Page:Charles Moore--Development and Character of Gothic Architecture.djvu/350

326 Mondjelia, basilica, monolithic arches, 6.

Morienval, abbey church, the Gothic principle first imperfectly exhibited here, 33; vaulting of the apsidal aisle, 33, 34 (cut), 35 (cut); tower roofs, 113 (cut); string on the buttresses, 215 (cut); rib section, 218 (cut), 219 (cut).

Mouldings, profiles of, in Romanesque and Gothic buildings, 26, 200-246.
 * Arch. See Arch mouldings.
 * Base. See Bases.
 * Hood. See Hood mouldings.
 * Of mullions. See Mullions.
 * Rib. See Ribs.
 * String. See String-courses.

Mullions, Gothic, 222 (cut).

, influence of, on Gothic foliate capitals, 270; tendency to over-naturalism, 274; direct imitation of marks the decline of Gothic sculpture, 278; why it is not allowable, 281.

Naves of English and French cathedrals compared as to length and height, 168.

Netley Abbey, pier arches, 149.

Nevers, cathedral, sculpture, 280.
 * Church of St. Stephen, 195.

NewShoreham, church of St. Mary, vaulting system and interior, 141; arch mouldings, 237.

Niccola Pisano, 293; pulpit of the baptistery of Pisa, 294; the classic element predominates in his work, 295.

Niches for sculpture not employed in early Gothic, 254.

Nogens-les-Vierges, church, string-courses, 214 (cut).

Norman architecture persisted in England, after Gothic had developed in France, 128; its influence on the early English architecture, 134; great length of the churches, 167; character of the English influence on, 312; the French influence upon, 312.

Norman conquest, influence of, on English architecture, 311.

Norwich, cathedral, piers, 42; nave, its length, 168.

Noyer, Geoffrey de, architect of Lincoln Cathedral, 134.

Noyon, its commune, 49.
 * Cathedral, resemblance to Senlis, 49; incongruity between vaults and piers, 54; compared with the cath. of Limburg on the Lahn, 173;—apse, 92, 93 (cut);—apsidal chapels, 101;—arcades, 50;—buttresses, 50, of the nave, 81 (cut);—capitals of the choir, 268 (cut), 269; clerestory, 87;—nave, 50;—painting in the transept, 298;—piers, of the choir, 49, 63;—of the nave, 50; string-course, 278 (cut);—transept, 102;—triforium, 87;—vaults of choir and transept, 38, of the choir, 49, of the nave, 50, longitudinal arch, in the choir, 68, vaulting of the apse, 93 (cut); windows, 85.

arch, 6. Ornamental design, ancient principles of, 23. See also Decorative art.

Orvieto, cathedral, want of Gothic character, 186; fa9ade, 189; sculptured reliefs, 294; Giovanni Pisano, 296.

Ouestreham, church, vaults, 51.

and Christian art compared as to motive, 264.

Painting in Gothic buildings, 298-300; its limitations, 21; less general than in other buildings, 298; in the absence of uninjured examples, its character must be determined from illuminated manuscripts, 298; conventional and decorative, 299; made no progress in connection with Gothic architecture, 300; its place supplied by stained glass, 300; painting in other countries essentially the same in character during I2th and 13th cents., 305.
 * Italian, 305-309; the early work (Cimabue and Giotto), superior to the French in technical points, alone, 306; the wall painting of the ch. of St. Francis of Assisi, 306, 308; the monumental purpose of art constantly before the mind of the painter, 306, 308; decoration his main object, but pictorial design always united with it, 306; Viollet-le-Duc on the supposed antagonism between pictorial and decorative art, 307; the two really in part dependent the one on the other, 307; the progress in Italian art an advance in truth of rendering, not in design, 308; extent to which pictorial treatment can be carried in monumental design, 308; mediaeval painting has been judged too much as an independent art, instead of in connection with architecture, 309.

Paris cathedral, the old work still intact to a great degree, 52; length of the nave, 168;—abacus and the members supported by it in choir and nave, 61-66 (cuts), 206, abaci of the canopies of the buttresses of the façade compared with those of the triforium, 204, abaci of the triforium