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 additional altars, exist in Durham, Salisbury, Lichfield, Peterborough and Ripon cathedrals; and on the north side only in Hereford cathedral. In Rouen cathedral, east of the transept aisles, there are apsidal chapels, which with the three chapels in the chevet make up the usual number. The cathedral of Poitiers has been referred to as an example of a square east end, but a sort of compromise has been made by the provision of three segmental apses, and there are no windows in the east front; the most remarkable divergence from the usual design is found here in the absence of any triforium or clerestory, owing to the fact that the vault of the aisles is nearly as high as that of the nave, so that it constitutes an example of what in Germany (where there are many) are called Hallen Kirchen; the light being obtained through the aisle windows only gives a gloomy effect to the nave. Another departure from the usual plan is that found in Albi cathedral (1350), in which there are no aisles, their place being taken by chapels between the buttresses which were required to resist the thrust of the nave vault, the widest in France. The cathedral is built in brick and externally has the appearance of a fortress. In the cathedrals of the south-west of France, where the naves are covered with a series of domes—as at Cahors, Angoulême and St Front de Périgueux—the immense piers required to carry them made it necessary to dispense with aisles. The cathedral of Angoulême (fig. 7) consists of a nave covered with three domes, a transept of great length with lofty towers over the north and south ends, and an apsidal choir with four chevet chapels. In St Front de Périgueux (1150), based on St Mark’s at Venice, the plan consists of nave, transept and choir, all of equal dimensions, each of them, as well as the crossing, vaulted over with a dome, while originally there was a simple apsidal choir.

Returning now to the great cathedrals in the north of France, we give an illustration (fig. 8) of Amiens cathedral (from Viollet le Duc’s Dictionnaire raisonné) which shows the disposition of a cathedral, with its nave-arches, triforium, clerestory windows and vault, the flying buttresses which were required to carry the thrust of the vault to the outer buttresses which flanked the aisle walls, and the lofty pinnacles which surmounted them. In this case there was no triforium gallery, owing to the greater height given to the aisles. In Notre Dame at Paris the triforium was nearly as high as the aisles; in large towns this feature gave increased accommodation for the congregation, especially on the occasion of great fêtes, and it is found in Noyon, Laon, Senlis and Soissons cathedrals, built in the latter part of the 12th century; later it was omitted, and a narrow passage in the thickness of the wall only represented the triforium; at a still later period the aisles were covered with a stone pavement of slight fall so as to allow of loftier clerestory windows.

The cathedrals in Spain follow on the same lines as those in France. The cathedral of Santiago de Compostela is virtually a copy of St Sernin at Toulouse, consisting of nave and aisles, transepts and aisles, and a choir with chevet of five chapels; at Leon there is a chevet with five apsidal chapels, and at Toledo an east end with double aisles round the apse with originally seven small apsidal chapels, two of them rebuilt at a very late period. At Leon, Barcelona and Toledo the processional passage round the apse with apsidal chapels recalls the French disposition, there being a double aisle around the latter, but in Leon and Toledo cathedrals the east end is masked externally by other buildings, so that the beauty of the chevet is entirely lost. At Avila and Salamanca (old cathedral) the triapsal arrangement is adopted, and the same is found in the German cathedrals, with one important exception, the cathedral of Cologne, which was based on that of Amiens, the comparative height of the former, however, being so exaggerated that scale has been lost, and externally it has the appearance of an overgrown monster.

Under the headings, , , and , definitions are given of these chief components of a cathedral or church; but as their design varies materially in almost every example, without a very large number of drawings it would be impossible to treat them more in detail. The perspective view, taken from Viollet le Duc’s dictionary, of the interior of the nave of Amiens cathedral illustrates the principal features, viz. the vault (in this case quadripartite, with flying buttresses and pinnacle), the triforium (in this case limited to a narrow passage in the thickness of the wall), and the nave-arches, with the side aisles, beneath the windows of which is the decorative arcade.

 CATHELINEAU, JACQUES (1759–1793), French Vendean chieftain during the Revolution, was born at Tin-en-Manges, in the country now forming the department of Maine-et-Loire. He became well known in the country of Anjou, over which he travelled as a pedlar and dealer in contraband goods. His physical strength and his great piety gave him considerable ascendancy over the peasants, who surnamed him “the saint of Anjou.” In the first years of the Revolution, Cathelineau listened to the exhortations of Catholic priests and royalist émigrés, and joined the insurrection provoked by them against the revolutionary government. Collecting a band of peasants and smugglers, he took the château of Gallais, where he captured a cannon, christened by the Vendeans the “Missionary”; he then took the towns of Chemillé, Cholet, Vihiers and Chalonnes (March 1793). His companions committed atrocities which brought upon them terrible reprisals on the part of