Page:Charles Moore--Development and Character of Gothic Architecture.djvu/353

Rh Flavian amphitheatre, constructive principle of, 10 (cut).

Roof of the church of Sta. Croce of Forence, 185.

Rose windows. See Windows, Wheel.

Rosel, church, tower, 113.

, cathedral, length of the nave, 168.

St. Denis, abbey church, origin of Gothic commonly traced to this building, 33) 36;—apse, 92; façade, 106;—glass of the apsidal chapels, 302;—piers and capitals of the choir, 37;—rib sections, 218 (cut), 219 (cut);—sculpture of west portal and north transept, 251, 252 (cut), of tympanum of west portals, 255;—triforium, 44, 91;—vaulting system, 76, vaults of apsidal and choir aisles, 36, 37 (cut).

St. Gabriel, priory of, vaults, 51.

St. Germer, abbey church, triforium, 87.

St. Germer, chapel, 19.

St. Leu d'Esserent, abbey church, 51; date of construction, 119; external aspect, 119 (cut); compared with the cath. of Reims, 121;—apsidal aisles and chapels, 101 (cut);—buttresses, 17, 78-80 (cuts);—clerestory, 69-70 (cut), 87 (cut), 88;—mullions, 222 (cut);—piers and vaulting shafts, 72.

St. Loup, church, tower, 115.

St.Vaast de Longmont, church, spire, 113.

Salamanca, cathedral, 195.

Salisbury cathedral, date of erection, and comparison with French buildings, 147; no structural continuity in the interior, 148; Gothic principles very imperfectly embodied, 150; absence of sculpture, 292; substantially a Norman building, 313;—buttresses, 150;—capitals, 231;—chapter-house, 168;—clerestory, 149; east end, 160;—facade, 164;—piers, 150;—pier arches, 149;—triforium of the nave, 149;—turrets of west front, 164;—vaulting of the nave, 147 (cut), 148.

Santiago, cathedral, 195; statues of the portals, 297.

Scott, Sir Gilbert, on Gothic architecture, 5; on the stilting of the longitudinal arches in clerestory vaults, 69.

Sculpture, French Gothic, developed in the Ile-de-France a century before the Italian revival, 247, 263; the earliest schools in Southern Gaul influenced by Roman and Byzantine work, 247; their classic feeling, 249; their want of original invention, 249; these southern schools supplied stimulus and guidance to those of the Ile-de-France, 249; favourable conditions in the Ile-de-France, 250; character and examples from the 12th cent., 250-258; statues neither employed as caryatids nor placed in niches, 254; yet a part of the architectural composition, 255; the sculpture of this period at its best in the lintel of the cath. of Senlis, 255-257; sculpture of the early 13th cent., 258; unrivalled in all but sentiment, 258; comparison with Greek art, 259, 263; the second half of the 13th cent., 261; expression of thought and emotion the chief motive of Gothic sculpture, 263; physical beauty aimed at also but subordinated to moral ends, 264; the place of the monstrous and grotesque, 265; Romanesque imagery early rejected, 265; animal forms introduced, 265; their truth to nature and ornamental quality, 266; leafage, 266; Romanesque leafage designs discarded for capitals except the Corinthianesque, 269; the influence of nature traced, 269; the best Gothic capitals of the last quarter of the 12th cent., 271; quick sympathy with nature, 273; the special plant forms employed, 273; skill in execution, 273; the best qualities shown in the triforium of the nave of Paris, 273; naturalism carried almost too far in the chapel of the catechists, 274 (cut); running leaf patterns, 276; orderly sequence without formality, 277; over-naturalism dominant after the middle of I3th cent., 278; why direct imitation of nature is not appropriate in sculpture, 281; importance of breadth, 281; use of colour, 282; its classic element compared with the same in Italian work, 295.


 * Of the cath. of Amiens, 23, south door of west front, 262;—the cloister of St. Trophime at Aries, 251 (cut);—the cath. of Autun. 249;—Chartres, west front, 252. 253 (cut), leaf ornament on porches. 279;—the ch. of Notre-Dame du Port of Clermont-Ferrand, 249. 250 (cut);—the cath. of Paris, south door of west front, 255, west façade. 259-261 (cut), portal of south transept, 261, of north transept, 262 (cut), grotesque figure of a hood moulding. 266 (cut), archivolts of the façade. 266 (cut), 276 (cut), of the Porte Rouge, 280 (cut);—the ch. of St.