Chapter XIII: Appendix (5)

Then leaving this district and going in a north-easterly direction, you will find a series of towns full of local peculiarities, quite unlike those of the Rhine:--Münster, for instance, with its churches of great height and without distinction between nave and aisles; or Soest, where the beautiful Wiesen-Kirche affords one of the finest evidences of what Germans could do in their palmiest days: whilst in the other churches in the same little known city you would see examples of Romanesque of the most grand kind in the remarkable steeple of the cathedral, and of a very curious kind in the low groined entrances which support a continuation of the triforia round the west end of the naves. In towns like these, and Paderborn, Lemgo, Herford, Minden, and Hildesheim, you will find a rich store of architectural matter; and then if you will venture so far, you will find at Lüneburg, and Lübeck, and Ratzeburg, abundant examples (as I have once before explained in this room) of the German mode of building in brick developed in a group of churches quite unlike any others in Germany, and most interesting in every point of view. Then again there are those curious churches at Brunswick and Halberstadt, Magdeburg and Burg, whose west fronts, contrived apparently solely for the sake of obtaining space for the display of immense window traceries, are so completely local and so thoroughly, I suppose I may say, an invention! Here too you will see the churches almost invariably with gabled aisles,--sometimes, as in the cathedral at Lemgo, so gabled at the sides that one doubts which is the side and which the end, and sometimes, as in a church at Brunswick, filled with tracery and panelling of extreme beauty. Then again at Halberstadt, Erfurt, Naumburg, and Marburg, you may see some of the most excellent work in all Germany of the best period. And if you go further south, to where Nuremberg takes you back in almost all externals to the sixteenth century, or where Ratisbon to the thirteenth, you will find yourselves again in the neighbourhood of brick churches, at Landshut and Munich: and lastly at Freiburg you may see one of the very best of German churches, eclipsed though it undoubtedly is by the unequalled (in Germany) nave of the thoroughly German cathedral of Strasburg.

I can but give you a hurried list of names, but not without a warm recommendation to you to go and see for yourselves how very much is to be learnt in all these churches, not only in architectural matters, but even much more in ecclesiological. Germany is the one part of Europe in which the furniture of the Middle Ages still remains. There where in Protestant Nuremberg every altar still stands with its white cloth, and candles, and crucifix; where the great rood still hangs aloft in the churches; where in one church, as at Brandenburg, one may see some thirty or forty mediaeval vestments still hanging untouched in their old presses; where you may see screens of every date, from early Romanesque to the latest pointed; where coronae, and all kinds of metal furniture and ancient work of a date far earlier than any other country in Europe can show are still preserved; where, as in the choirs of Halberstadt and Hildesheim, the old illuminated office books still rest upon the old choir desk; where hangings of quaint and gorgeous patterns still hang round the choirs, and where triptychs and carved retables are so common that one forgets to take note of them;--there it is, I say, that you must go if you would wish to study and to understand fully the ecclesiology of the Middle Ages. It is indeed a country full of the most wonderful interest to the ecclesiologist in all ways, and I am anxious to say that though I have been asked by your committee to give a second paper on Italian architecture, I feel very strongly that I should be doing their work much better by telling you somewhat of all those things to which I have just referred. In the first place, I have said my say on Italy, and have nothing new to tell you; and secondly, I have been obliged to avoid saying one word either on the furniture or glass of German churches, or on the domestic architecture in which the country is so rich,--and on all these points I should be only too glad at some future day to give you some notes of what I have seen.

INDEX

Abbeville, 33.

Abbot Odalric of Conques, 242.

Abbot Peter de Wesencourt of S. Germer, 156.

_Abécédaire_, 155, 158, 220.

acanthus, 95.

Aesthetic Movement, 13, 32.

Agnolino of Orvieto, 94.

Ainay, church of, 35, 39, 207, 228, 247;
_v._ Lyon.

Aix-la-Chapelle, 302, 307, 322.

_Album Photographique de l’Archéologie Réligeuse_, 215, 223, 224.

Alcalá, 43.

Alençon, 33.

All Saints, Clifton, 30.

Alps, 36, 49, 65, 89.

Altamira, Rafael, 48.

Altenberg, 321, 327.

Amalfi, 51, 53.

American attitude, 32, 33.

Amiens, 16, 32, 33, 129, 131, 151, 158, 163, 195, 206, 318, 321, 326.

Ancona, 50.

Andalusia, 42.

Andernach, 175, 323, 324, 327.

Angelico, Fra, 8, 9, 52.

Angers, 134.

Angevine type, 45, 128.

Angoulême, 231, 236.

Anjou, 128, 129.

_Antiquité Expliquée, L’_, 223.

Apengeter, Hans, of Lübeck, 277.

Apennines, 76, 82, 86.

apsidal choirs, 19, 89, 137, 176, 320, 325.

Aragon, kings of, 42.

Arbellot, Abbé, cited, 211.

_Archæologia Cantiana_, 255.

Archbishop Maurice of Rouen, 133, 135.

architect, the same, at Ainay and Le Puy, 207 sqq.;
Bayeux and Norrey, 123;
Châlons-sur-Marne and Rouen, 193;
Orcival and Issoire and Brioude, 240;
Rouen and Genoa, 133;
S. Germer and Paris, 156;
S. Mary Stone, and Westminster, 255, 264, 267;
Soissons and Noyon, 165.

architects, mediaeval, 23, 32, 73, 131, 136, 149, 151, 293, 296, 297.

architects, modern, 21, 26, 28, 40, 41, 54, 57, 100, 294, 303.

architecture, the experience, 28, 29;
growth slow, 318;
regular, 40;
height first requisite, 18, 142;
mouldings the test, 99;
sculpture, 99, 264.

_Architecture Civile et Domestique_, 161, 184.

Arezzo, 76, 80.

Arles, 128.

Arnold, Matthew, 8, 49.

_Arts Somptuaires, Les_, 153.

Arundel church, 158, 265.

Assisi, 51, 76, 77 sqq., 224.

Asti, 51, 65.

Astorga, 44.

Asturias, 42.

Athens, 249.

Auvergne, dates, 241;
type, 39, 201, 211, 231 sqq., 238, 244.

_Auvergne au Moyen Age, L’_, 205, 232.

Auxerre, 34, 35, 249.

Avranche, 124.

Avila, 44, 45, 46.

Aymard, M., cited, 215, 223, 224, 225, 226, 230.

Bacharach, 320, 327.

Baedecker, 37.

Bamberg, 175, 318, 321.

baptistery, 210, 272;
at Cremona, 272;
Pisa, 66, 272;
Pistoja, 84;
Siena, 72.

Barcelona, 38, 43, 44.

Bardonnecchia, 90.

Barnstaple, 4.

Basle, 277.

Bayeux, 43, 122, 163.

Bayonne, 43, 44.

Beauvais, cathedral, 16, 17, 33, 131, 144, 150 sqq.;
S. Étienne, 152 sq.;
bishop’s palace, 153;
Bishop F. de la Rochefoucauld, 152.

Belgian towns, 34, 48, 303–307.

Bell Scott, William, 57.

Benavente, 40, 44.

Bénévent, 231.

Benevento, 50.

Bergamo, 309, 317.

Berlin, 48, 290.

Bernese Oberland, 39, 48.

Bertaux, Émile, 51.

Bideford, 4.

Bingen, John and Nicholas of, 222.

Biscay, Bay of, 42.

Biscovey, 6.

Bishop Arnaud of Périgueux, 211.

Bishop Burchard von Serken of Lübeck, 273.

Bishop Evodius of Le Puy, 203.

Bishop F. de la Rochefoucauld of Beauvais, 152.

Bishop Garnier of Laon, 181.

Bishop Gerald of Poitiers, 211.

Bishop Gerold of Oldenburg, 272.

Bishop Guy II of Le Puy, 228.

Bishop Henry of Lübeck, 272.

Bishop Henry Bockholt of Lübeck, 278.

Bishop Hughes de la Tour of Clermont, 231.

Bishop Jean de Bourbon of Le Puy, 214, 215.

Bishop Johan von Mull of Lübeck, 273.

Bishop Namacius of Clermont, 232.

Bishop Peter of Le Puy, 220.

Bishop Stephen II of Le Puy, 220.

Bishop Théodulf of Orleans, 224.

Bishop of Beauvais, 161.

Bishop of Gibraltar, 96.

Bishop of Oxford, 7, 23.

_Boletin de la Sociedad Castellana de Excursiones_, 47.

Bologna, 86;
S. Petronio, 86 sq., 230;
S. Francesco, 87.

Bonn, 320, 323.

Bonport, 138.

Boppart, 323.

Botticelli, 29.

Bourges, cathedral, 137, 163, 176, 201, 212, 244;
S. Pierre, 244.

Bourgtheroulde, 118.

Boyce, George, 57.

Branche, Dominique, cited, 205, 232.

Brandenburg, 285, 328.

brasses, 6, 38, 274.

Brenner, 51.

Bretteville l’Orgueilleuse, 120.

Breuzeville, 131.

brick building, 30, 37, 38, 46, 72, 86, 270, 284, 285, 286, 328.

_Brick and Marble in the Middle Ages_, 21, 27, 32, 34, 36, 46,
49 sq., 88.

Brioude, 39, 201, 212, 215, 231, 234, 235, 237, 238, 240, 247.

Bristol cathedral, 27, 30.

Brown, Madox, 57.

Browning, Robert, 2, 52.

Brunswick, 274, 283, 321, 326, 328.

Buckinghamshire, 25.

_Bulletin Archéologique_, 223.

_Bulletin de la Société Archéologique et Historique du Limousin_, 211.

_Bulletin Monumental_, 207, 220, 230.

Burg, 327.

Burgos, 43, 44, 118.

Burgundian March, 34;
style, 128.

Burne-Jones, Edward, 13–18, 33, 57.

Burne-Jones, Lady, 14, 17.

Butler, Dr., 7.

Butterfield, 15, 28.

Byzantine influences, 84, 132, 135, 194, 202, 243, 245.

Caen, 33, 119 sqq.;
Abbaye aux Hommes, 246;
S. Pierre, 119, 120, 121.

Calvados, 16.

Cambridgeshire, 5.

campanile at Assisi, 80;
Bologna, 87;
Erfurt, 294;
Florence, 82;
Lucca, 70;
Pistoja, 83;
Siena, 72;
Siena cathedral, 73;
Susa, 64;
Verona, 72.

Carlisle, 54, 55.

carvers, 132, 135, 168, 300–01.

carvings, 186, 199, 303, 313, 317.

Castile, 42.

Castilian, 47.

Catalonia, 30, 45, 47.

Caudebec, 16.

Caumont, de, cited, _Abécédaire_, 155, 158, 220;
_Bulletin Monumental_, 207.

Cavallini, 78.

Chaise-Dieu, La, 251.

Châlons-sur-Marne, Notre Dame, 134, 175, 188, 190;
cathedral, 190, 194;
S. Alpin, 195;
the curé, 144, 191.

Chalvour, 171.

Chamallières, 220.

Chambéry, 50, 63, 89.

Champagne, style, 188.

Champagne, village on the Oise, 144–5.

Champenois, M., 191.

Chantilly, 100, 149.

Chartres, cathedral, 16, 19, 29, 33, 52, 114, 129, 130, 134, 163,
176, 185, 195, 212, 244.

Les Chases, S. Marie, 205, 227.

Chauriat, 231.

Chichester, 5, 281.

Chinon, 220.

_Christian Year, The_, 20, 31.

Church of England, 1, 11, 21.

Church of Rome, 11, 21.

_Churches in Kent, Surrey, and Sussex, Some_, 268.

_Churches in Northern Germany_, 270.

_Churches of Lübeck, The_, 270.

_Churches of Velay, The_, 39, 201.

Cimabue, 78, 79.

Cino da Pistoja, 83.

Clermont-Ferrand, 39, 128, 201;
cathedral, 231, 251;
Notre-Dame-du-Port, 212, 217, 231, 233–242 _passim_, 245, 249;
Bishop Hughes de la Tour, 231;
Bishop Namacius, 232.

Clifford, W. K., 49.

Clovelly, 5.

Cluny, 45, 231.

Coblentz, 175, 323.

Cock, Reimar, 278.

Cologne, 34, 151, 308, sqq., 319, 322, 327;
cathedral, 173, 197 sqq., 316, 321, 326, 327;
SS. Apostles, 320;
S. Cunibert, 309, 311, 318, 323;
S. Gereon, 308, 318 sq., 323, 324, 325;
S. Martin, 309, 323;
S. Mary in the Capitol, 309;
others, 322.

Como, lake of, 36.

Compiègne, 159;
S. Antoine, 160;
cloister, 159;
Hôtel-Dieu, 161;
Hôtel de Ville, 161.

Compostela, Santiago de, 43, 44, 45.

Compton, near Guildford, 278.

Conques, 231, 242, 245;
Abbot Odalric, 242.

Constance, 33, 294, 326;
lake of, 36.

Constantinople, 30;
Crimean Memorial, 22;
S. Sophia, 243, 245;
SS. Sergius and Bacchus, 247.

Corneto, 94.

Cornwall, 6, 79, 128, 268.

Cortona, 75.

Coruña, La, 44.

Coucy-le-Château, 162, 171.

de Coucy, Robert, 58, 184, 188.

Coudray, 158.

Courtrai, 303, 305 sqq.

Coutances, 124, 163.

Cram, R. A., cited, 28.

Cremona, 38, 272, 284.

Crépy, 107.

Crimean Memorial, 22, 30.

Cuddesden, 7, 21, 22.

Cuenca, 42.

Culoz, 62, 89.

Dalmatia, 32.

Dance of Death, 277.

Dante, 3, 83.

Devonshire, 128.

_Dictionnaire de l’Architecture_, 174, 212, 231.

Didron, cited, 229, 233.

Dijon, 34, 88, 277.

_Divine Comedy_, 3.

domestic architecture, 105, 106, 107, 110, 119, 124, 138, 158, 170,
183;
Romanesque, 124, 153, 228;
Gothic, 92, 96, 139, 153, 167, 170, 181, 186, 190, 230;
north German, 281, 283, 294, 308, 310;
_v._ also Gothic, domestic.

Donatello, 52, 87.

Dorat, 231.

Douce, Francis, cited, 277.

Dresden, 48.

Dublin, 27.

Duguesclin, 230.

Durham, 5.

East Grinstead, 22.

East Meon, 160.

Eastern influence, 212, 220, 223, 243, 247;
course along the Rhone, 247;
_v._ also Byzantine.

_Ecclesiologist, The_, 32, 37, 38, 127, 268.

Edinburgh, 54.

Egypt, 58.

Elizabeth of Hungary, S., 295.

embroidery and vestments, 6, 8, 152, 220, 280, 306, 328–9.

Emperor of the French restoring, 143, 145.

Empoli, 91.

Engadine, 48.

England, 3, 10, 32, 42, 55.

English, 1, 10, 11, 21, 32, 45, 54;
influence, 128, 130, 136;
stone, 30;
work, 122.

Enlart, Camille, 41.

Ennezat, 230, 238.

entasis at Pisa, 67;
at Le Puy, 213.

Erfurt, 292, 328;
architects, 293;
Barfüsser-Kirche, 292;
cathedral, 293;
Prediger-Kirche, 294;
Stadt-Kirche, 292;
S. Severus, 294;
others, 295.

_Erfurt and Marburg_, 292.

de la Escosura, Patricio, 46.

_España Artistica y Monumental_, 46.

_Essai sur les Églises Romanes et Romano-Byzantines du département
du Puy-de-Dôme_, 241.

_Estoire de S. Eduard le Rey_, 204.

Estella, 206.

Estremadura, 42.

Étampes, 244.

Eunate, 229.

Evreux, cathedral, 116;
S. Taurin, 116.

Exeter, 4, 12.

Fergusson, J., cited, 245.

Fiesole, 82.

Florence, 51, 52, 82, 83, 276;
Or S. Michele, 52, 83;
S. Miniato, 84.

Foggia, 50.

Fontevrault, 231.

Fonthill, 151.

fonts, 84, 161, 274, 276, 277, 281, 310.

Ford, Richard, 41.

fortified churches, 215.

Fountains Abbey, 32, 279.

France, 3, 30;
landscape and architecture, 88;
Spain’s debt to, 47;
Italy’s, 51;
_v._ also Gothic, French, and painting, early French.

Francia, 52.

Francis of Assisi, S., 76.

Franco-Prussian war, 21, 48, 120.

Frankfort, 33, 324, 327.

Freiburg, 33, 328.

French towns, 33, 34, 39, 131;
cathedrals, 163.

Furka pass, 36.

Galicia, 40, 42.

Gassiecourt, 142.

Gaulfredus, 220.

Gelnhausen, 318, 323.

Geneva, 89.

Genoa, 65, 67, 76, 90, 91, 133 sq., 200, 220;
English church, 30, 90.

German Gothic, 174, 175, 190, 192, 196, 199, 200, 283, 326;
influence, 128, 174, 182, 192, sqq., 195, 196;
_v._ also Gothic, German; Painting, early German.

_German Pointed Architecture_, 317.

Germer, S., legend, 158.

Gerona, 43.

Gimbert, François, 225.

Giotto, 52, 78, 83, 274.

Giulianuova, 51.

glass, early, 79, 94, 101, 109, 116, 139, 142, 152, 180, 195, 196,
251, 276, 291, 293, 294, 298, 300, 309, 314, 315, 329.

Glastonbury, 154.

Gloucester, 55.

Gothic, 46, 176;
revival of, 1, 13, 28, 31, 248;
study of, 6, 37, 244;
lectures on, 27, 201, 317;
power of, 3, 4, 23, 55;
modern, 8, 13, 22, 54, 55.

Gothic, domestic, 139, 183, 283, 303;
at Aix, 308;
at Beauvais, 153;
in Belgium, 303 sqq.;
at Erfurt, 294;
at Genoa, 91;
at Laon, 112;
at Lisieux, 119;
at Meaux, 115;
at Montferrand, 251;
at Münster, 310;
at Pisa, 68;
at Le Puy, 230;
at Rheims, 190;
at Siena, 68, 72;
at Trèves, 197;
at Ypres, 305.

Gothic, English, 3, 21, 130, 131, 160, 255, 320, 324;
styles, 45, 128;
comparison with, 122, 128, 129, 159, 165.

Gothic, French, 18, 21, 30, 32, 45, 47, 51, 79, 127, 176, 192, 244;
styles, 39, 40, 128, 167, 231 sqq.;
sources, 202, 244;
in Italy, 77–8.

Gothic, German, 32, 174, 190, 195 sq., 200, 270 sqq., 289, 292, 304,
317, 319, 323;
influence of, 128, 174, 175, 182, 194, 195;
judgement on, 196, 199, 200, 317, 319.

Gothic, Italian, 30, 32, 51, 66, 70, 72, 78, 91, 207, 309, 320;
influence of, 131, 133, 175;
characteristic plan, 207, 309;
Lombard, 32, 275, 322.

Gothic, Savoyard, 63, 65.

Gothic, Spanish, 32, 37, 39, 40, 43, 46 sqq., 320;
in Catalonia, 38, 45.

Government restoring, 143, 145, 312, 316.

Granson, on Lake of Neufchâtel, 245.

Grauenfels, 36.

Greece, 32.

Gregorian music, 18, 119.

Gregory of Tours, cited, 232.

Grisons, the, 36.

groining, 74, 130, 222.

ground-plans, 130, 136, 195, 205, 207, 229, 230, 244, 309, 317,
319, 327.

Guadalajara, 44.

_Guardian, The_, 129.

Guercino, 52.

Guido da Como, 84.

Halberstadt, 278, 288, 301, 328.

Hamburg, 33.

Hambye, 124.

Hanover, 48.

Havre, 16.

Heidelberg, 33.

height an element of Gothic, 18, 142, 150, 197.

_Heir of Redclyffe, The_, 13.

Henry the Lion, 272.

Herford, 328.

Hesse, Synsingus, 283.

Hewlett, Maurice, 45, 83.

Higham Ferrers, 281.

Hildesheim, 274, 278, 321, 328.

_Histoire de l’Église Angélique de Notre Dame du Puy_, 228.

_Historia de la Arquitectura Española Cristiana_, 41.

Holland, Jessie, (Mrs. G. E. Street), 10, 53, 57, 88.

Holmbury S. Mary, 28, 30, 55.

Homer, 3.

Howells, William Dean, 49.

Hucher, M., cited, 220.

Hueffer, Ford Madox, 57.

Huelgas, Las, 45, 118.

Huesca, 44.

Hunt, Holman, 46, 57.

Hutton, Edward, 45, 49.

Huxley, Thomas, 23.

Huy, 307.

Iffley, 32.

Île-de-France, 45, 128, 194, 317.

_Iliad_, 3.

Inchbold, J. W., 57.

_Inland Voyage, An_, 39.

l’Isle Adam, 144.

Issoire, 201, 217, 231, 233, 235, 236, 237, 238, 240.

Italian influence, 131, 133, 175, 230;
arcades, 310;
gables, 273;
workman, 276.

Italy, 22, 34, 38, 48, 49, 50, 51, 65, 80, 89, 176.

Jaca, 42.

Jean and Nicholas of Bingen, 222.

Jervaulx, 5.

Joanna the Mad, 46.

Keats, John, 2.

Keble, John, 13, 31.

Kent, 255, 260, 268.

Kneller, Sir Godfrey, 281.

Laach, 197, 320, 321.

Lagny, 113.

Lake Country, 5.

Landshut, 322, 328.

Lanercost, 20, 52, 142.

Lampérez y Romea, Vicente, 40 sqq., 48.

Laon, 38, 108 sqq., 129, 131, 162, 163, 172 sqq., 186, 188;
S. Martin, 112, 172, 182;
Templars’ church, 183, 229;
Bishop Garnier, 181.

Latin-Byzantine style, 42.

Lausanne, Anglican church, 30.

Lavoulte-Chilhac, 220.

Law Courts, London, 27, 46, 55.

lay vocation, 2;
fraternity, 12, 15.

Lemgo, 320, 326, 328.

Leon, 42, 44.

Leonardo, 29.

Lérida, 43, 44.

Liberal Arts, 39, 216.

Liège, 307.

Lille, 21, 38, 112, 303.

Limay, 142.

Limburg, 318, 323.

Limoges, 206, 211, 231, 248.

Lincoln, 31, 129, 172, 189.

Lincolnshire, 5.

Lisieux, 118; S. Jacques, 119.

Livi, Dominic, of Ghambasso, his son, 276.

Lombard churches, in Italy, 317;
on the Rhine, 275, 322.

Lombardy, 32.

London, 2, 5, 6, 17, 21, 24, 26, 27, 54, 67.

Longpont, 162, 170.

Lons-le-Bourg, 64, 90.

Louis IX, S., 170, 206.

Louis XI, 216, 217, 225.

Louviers, 117.

Lörsh, 317.

Lübeck, 37, 38, 270, 286, 314, 319, 324;
Burg-Kloster, 272, 276, 278, 280;
cathedral, 272;
S. Giles, 272, 281;
S. James, 272, 281;
S. Katharine, 272, 276, 278;
S. Mary, 275, 321;
S. Peter, 272, 281;
Burg-Thor, 271, 272;
Heiligen-Geist-Spital, 272, 281;
Holsteiner-Thor, 271, 272, 284;
Rathhaus, 283;
Bishop Burchard von Serken, 273;
Bishop Johann von Mull, 273;
Bishop Henry, 272;
Bishop Henry Bockholt, 278;
Hans Apengeter, 277.

Luca della Robbia, 85.

Lucca, 69, 76;
campanile, 70;
cathedral 69;
S. Giovanni, 71;
S. Maria della Rosa, 71;
S. Michele, 69.

Lucera, 50.

Lucerne, lake of, 36.

Lugo, 44.

Lüneburg, S. John, 276, 314, 324, 328.

Luther, 275.

Lynn, 274.

Lyon, 201, 212;
S. Martin d’Ainay, 207, 228, 247;
Manécanterie, 228.

Mâcon, 62, 88.

Madrid, 43.

Magdeburg, 318, 319, 321, 324, 328.

Maggiore, lake, 36.

Magione, 76.

Mallay, M., cited, 218, 228, 239–41.

Mancha, La, 42.

Manresa, 44.

Mans, Le, 220.

Mantes, 131, 134, 137, 139 sqq., 147, 149.

Mantua, 284.

Marburg, S. Elizabeth, 38, 169, 296, 319, 320, 328;
castle, 302, 327.

masons, mediaeval, 32, 240.

Mayence, 33, 321, 322.

Meaux, 115, 131, 162, 163, 165.

mediaeval architects, 32, 131, 136, 151, 293, 296, 297.

mediaeval workmen, 58, 156, 220, 222, 225, 234, 240, 276, 277, 308.

Memling, 274.

_Memoir_ by A. E. Street, 6, 10, 24, 27, 30, 37, 50, 56, 57, 58.

Menat, 215, 231.

Merdogne, 228.

Meredith, George, 49.

Mérimée, Prosper, cited, 210, 212, 214, 222, 229, 232, 239.

Merseburg, 287.

Metz, 195;
cathedral, 196;
S. Vincent, 196;
Templars’ church, 229.

_Middle-Pointed Churches in Cornwall, On the_, 268.

Minden, 277, 326, 328.

Miranda, 44.

_Modern Painters_, 36.

Mohammedan, 42.

Monestier, 220, 230.

Monistrol, 39, 201, 230.

Montéreau, Pierre de, 58, 156.

Montfaucon, cited, 223.

Montierender, 165.

Montmajour, 229.

Moorish, 42.

Morris, William, 3, 13–17, 21, 31, 38, 57;
first abroad, 16;
work under G. E. S., 17.

Moûtier, Le, near Thiers, 231.

Moustier-neuf, Poitiers, 231, 242.

Mozat, 231, 239.

Mudejar, 42, 46.

Muhlhausen, 320.

Munich, 33, 48, 322, 328.

Münster, 37, 274, 310, 312, 327;
cathedral 310, Oberwasser-Kirche, 311;
S. Lambert, 312;
S. Lüdger, 313;
Rathaus, 284, 310.

_Münster and Soest_, 303.

Murray, 34, 41, 49;
guide, 91, 125.

Mürren, 30.

Naples, 53.

Narbonne, 231.

National Gallery, 46, 48, 54.

Naumburg, 287 sqq., 299, 318, 319, 321, 324, 328.

_Naumburg Cathedral_, 287.

Navarre, 42, 206, 229.

Neale, John Mason, 13.

Nevers, 35, 39, 201, 231, 241, 242, 249.

Newark, 274.

Newman, 3.

Norfolk, 5, 45, 128;
middle-pointed, 45.

Normandy, 38, 128, 130, 317.

Norrey, 120, 121.

Northampton, 5.

North Mymms, 274.

northern race, 1, 10.

notebooks of G. E. S., 5, 20, 22, 32, 34, 38, 50, 53, 96.

_Notes d’un Voyage en Auvergne_, 210, 214.

_Notes of a Tour in Central Italy_, 59.

_Notes on French Churches_, 97.

Notre Dame de la Treille, 112.

Notre Dame du Puy, 206.

Noyon, 105, 109, 114, 131, 162, 163, 164 sqq.

Nuremberg, 33, 270, 322, 328;
S. Laurence, 273, 312;
S. Sebald, 321.

Odalric, Abbot of Conques, 242.

Odo de Gissey, cited, 228.

Oldenburg, Bishop Gerold of, 272.

Orcagna, 66.

Orcival, 231, 238, 240.

Orders, Holy, 2.

Order of Sir Galahad, 15.

Orense, 42.

Orleans, Théodulf, Bishop of, 224.

Or S. Michele, 52, 83.

Orvieto, 51, 73, 91, 92.

Ourscamp, 162.

Overbeck, 277, 281.

Oxford, 2, 13, 14, 18, 57, 58;
Union, 14;
Merton college, 15;
New college, 15.

_Oxford and Cambridge Magazine, The_, 16.

Oxford Movement, 7, 13, 14, 31.

Paderborn, 275, 311, 319, 324, 327.

Padua, 224.

Paestum, 95.

painting, early English, 262, 263.

painting, early French, 39, 126, 136, 158, 189, 215, 216, 223 sq.,
227, 234.

painting, early German, 274, 277, 279, 290, 299, 301, 309.

painting, early Italian, 53, 67, 70, 74, 78, 91, 94.

paintings, by G. E. S., 4, 8, 37.

Palencia, 43.

Palestrina, 9.

Palladio, 49.

Pamplona, 44.

Paris, 16, 33, 61;
American church, 28, 30;
Cluny, 33, 157;
Louvre, 33;
Notre Dame, 4, 33, 116, 131, 134, 137, 141, 149, 163, 200;
S. Chapelle, 116, 156;
S. Germain-des-Prés, 58, 156, 231.

_Passion according to S. Matthew, The_, 28.

Pater, 29.

Pavia, 317, 323.

Pébrac, 220.

Pennell, Joseph, 49.

Père Hyacinth, 95.

Périgueux, 212, 231, 241, 243, 245, 246, 248, 249;
Bishop Arnaud, 211.

Perpignan, 43.

Perugia, 76, 80, 133, 176.

Perugino, 28, 52, 277.

photography in architecture, 35.

Picardy, 317.

Pierre de Montéreau, 58, 156.

Pierrefonds, 162.

Pisa, 66, 76, 77, 272;
style of, 85, 93;
baptistery, 66, 84;
Campo Santo, 66–7;
cathedral, 67, 69;
domestic Gothic, 68;
Spina chapel, 71.

Pisano, Giovanni, 68.

Pistoja, 83, 85;
baptistery, 84;
cathedral, 83;
S. Bartolomeo, 84;
S. Giovanni Evangelista, 84.

plain-song, 24, 119.

Poblet, 42, 126.

_Pointed Architecture in Germany_, 317.

Poitiers, 176;
Moustier-neuf, 231, 242;
S. Hilaire, 231, 236, 242;
S. Radegonde, 231;
Bishop Gerald, 211.

Poitou, 129.

Polignac, 230.

Pont de l’Arche, 139.

Porretta, La, 86.

Port Vendres, 44.

Prague, 48.

Prémontré, 171.

Pre-Raphaelite Movement, 13, 32, 46, 135.

Priests in England, mediaeval, 20;
in France, modern, 121, 143, 144, 191.

Proctor, Marquita (Mrs. G. E. Street), 7, 10, 12, 13, 21, 26, 38,
45, 51, 57.

proportion in architecture, 168, 240, 269.

Provence, 251.

Prynne, Mr., 6.

Pugin, A. W. N., 292.

Pusey, Edward, 13.

Pustertal, 36.

Le Puy, 39, 201, 202 sqq., 212, 221, 246;
cathedral, 205 sqq., 239;
chapel, 229;
S. Laurent, 230;
S. Michel, 203, 226 sqq., 247;
paintings, 216;
Bishop Evodius, 203;
Bishop Guy, 228;
Bishop Jean de Bourbon, 214–16;
Bishop Peter, 220;
Bishop Stephen, 220;
François Gimbert, 225.

Quakers, 11.

Raphael, 28, 277.

Ratisbon, 33, 320, 326, 328.

Ratzebourg, 328.

Ravello, 51.

Ravenna, 220, 243.

Rayham abbey, 125.

Recanati, 51.

religious feeling, 11, 12, 19, 20, 21, 24, 49, 54, 114.

Renaissance, 42, 49, 52, 68, 71, 73, 76, 95, 187, 216, 307.

Reni, Guido, 52.

restoration, 21, 30, 51, 54, 66, 121, 129, 140, 191, 208, 255,
265, 298;
his own, 30 sq., 54.

Rheims, 58, 108, 113, 129, 131, 162, 163, 184;
cathedral, 113, 184;
S. Jacques, 186, 189;
S. Maurice, 189;
S. Remi, 134, 170, 187;
archbishop’s palace, 186;
Maison des Musiciens, 190, 308.

Rhineland, 36, 38, 174, 176, 275, 317, 318, 322, 323, 327.

ringhiera, 86.

Riom, 231, 238, 241, 251.

Ripoll, 42.

Ripon, 55.

Robert de Coucy, 58,184.

Robinson, H. Crabbe, 26.

Romanesque, 42, 45, 67, 70, 88, 103, 176, 187, 202, 222, 244, 245,
317, 322.

Rome, 51, 53, 95;
American church, 30;
English church, 30.

Rossetti, 14, 16, 46, 57.

Rouen, 16, 33, 114, 117, 132, 135, 163, 193, 209, 244;
S. Ouen, 117, 173;
Archbishop Maurice, 133, 135.

Royal Academy, 27, 57.

Royal Institute of British Architects, 27;
_Transactions of_, 27, 201, 243.

Royat, 215, 231.

Ruskin, 36.

Russia, 32.

S. Albans, 54, 274.

S. Croix, Montmajour, 229.

S. Denis, 318.

S. Georges de Boscherville, 134 137 sq., 156.

S. Gemignano, 91, 92.

S. Genés, 231.

S. Germer, 131, 134, 154 sqq.;
Abbot Peter de Wesencourt, 156.

S. Gervais, 58.

S. Gothard, 36.

S. James the Less, Westminster, 28.

S. Jean de Maurienne, 64.

S. Leu d’Esserent, 102, 104, 131, 141, 146 sqq.

S. Lô, 124.

S. Loup, 124.

S. Margaret, Liverpool, 30.

S. Mary, Stone, 255 sqq.

S. Médard, 170.

S. Nectaire, 231, 233, 238.

S. Nicodime, Athens, 249.

S. Omer, abbey of S. Bertin, 99, 303;
Notre Dame, 100 sqq., 137, 303.

S. Quentin, 106, 107, 131, 162, 188.

S. Saturnin, 231, 236, 238.

S. Sophia, 243, 245.

Saarburg, 197.

Saintes, 231.

Sakraments-Haus, 277, 302, 311, 316.

Salamanca, 44.

Salerno, 51.

Salisbury, 55, 128, 181, 189.

San Sebastian, 44.

Saragossa, 38, 44, 46.

Savona, 91.

Scala, 51.

Scott, Gilbert G., 5, 28, 31;
Scott and Moffatt, 6, 59.

Scott, G., 54.

Sedding, Edmund, 21.

Séez, 163.

Segovia, 44.

Senlis, 102, sqq., 108, 116, 131, 147, 149;
cathedral, 103;
S. Frambourg, 104;
S. Pierre, 102.

Sens, 34.

Shelley, 28, 52.

shrines, 158, 239, 306;
of S. Taurin at Evreux, 116;
of S. Elizabeth at Marburg, 300.

Siena, 11, 51, 71 sqq., 76, 176;
Academy, 74;
baptistery, 72;
campanile, 72;
_Campo_, 72;
cathedral, 73;
hospital, 282.

Sierck, 197.

Sierra Morena, 42.

Sigüenza, 44.

Soest, 37, 275, 311, 313, 314, 323, 327;
cathedral, 314;
S. Paul’s, 315;
S. Peter’s, 312, 315;
Wiesen-Kirche, 312, 315 sqq., 320, 322.

Soissonnais, 38, 162, 169.

Soissons, 131, 162, 163 sqq., 188;
cathedral, 164;
S. Jean des Vignes, 163, 166;
S. Léger, 168;
S. Pierre, 169.

_Some Account of Gothic Architecture in Spain_, 27, 32, 37, 39, 40,
41 sqq., 46, 51, 320.

_Some Account of the Church of S. Mary, Stone, near Dartford_, 255.

_Some Churches in Kent, Surrey, and Sussex_, 268.

_Some Churches of Le Puy en Velay, and Auvergne_, 201.

du Sommerard, cited, 173, 179.

Soria, 42.

Southampton, 160.

Southwell, 54.

Spain, 41, 42, 43, 47, 48, 118, 206, 229.

Spain’s debt to G. E. S., 45;
to France, 47.

Spanish towns, 42, 44;
travel, 45.

Splügen, 36.

Spoleto, 51.

square east ends, 137, 173, 176, 265, 320.

Stephen, Leslie, 49;
Sir James Fitz-James, 49.

Stevenson, 39.

Stone Church, 255 sqq.

Strasburg, 33, 162, 318, 326.

Street, Arthur Edmund, 6, 24, 57.

Street, George Edmund, life:
born, 2;
goes to London, 5;
again, 21;
to Wantage, 7;
to Oxford, 13;
abroad, 21;
to Italy, 34;
to Spain, 41;
married, 13, 57;
died, 27;
buried, 27, 57.
London, 21, 24, 26;
competitions, 21, 22, 46, 54;
controversies, 54 sq.;
commissions, 6, 7, 21, 22, 27;
appointments, 7, 55;
honours, 27;
books, 27, 34, 41 sq., 49 sq.;
papers, 32, 37, 39, 201, 268.
His buildings, 28, 30;
drawings, 35;
note-books, 34;
travel, 21, 27, 31, 32;
way of life, 24;
knowledge, 31, 37, 40;
character, 3, 23, 25, 26;
energy, 3, 8, 9, 23;
enthusiasm, 13, 25;
wit, 25;
genius, 13, 26, 35, 41;
religion, 1, 9, 24, 53, 54, 114;
affections of the hearth, 9, 12, 57;
friends, 26, 52, 57;
relation to other architects, 10, 24, 26, 27;
eye for landscape and the picturesque, 36, 62, 65, 75, 86, 88,
90, 92, 94, 108, 137, 171, 172, 292, 295, 307, 313.
Family:
his father, 2;
mother, 9;
sister, 6;
brother, 4, 5, 6;
son, 6, 24, 57;
first wife, 7, 38, 45, 124;
second wife, 10, 53, 57;
father-in-law, 10, 51.

Street, Thomas, the elder, 2.

Street, Thomas, the younger, 4, 5, 6.

Suffolk, 128.

Surrey, 268.

Susa, 64, 90.

Sussex, 5, 268.

Swinburne, A. C. S., 48.

Switzerland, 36, 37, 39, 48, 245, 313.

Tarragona, 44.

Tarrazona, 44.

Templars, at Eunate, 229;
at Laon, 183, 229;
at Metz, 229;
at Le Puy, 229;
at Segovia, 229.

Thames, 7, 21, 58.

Théodore, Brother, cited, 228.

Thrasimene, 74.

Timbered houses, 118, 119, 154, 313;
roofs, 118, 160, 246, 305.

_tissus_, 220, 224.

Toledo, 43, 45, 92.

Torcello, 226.

Toro, 42.

Torrington, 5.

Tortoir, 193.

Toscanella, 94.

Toul, 195;
cathedral, 195;
S. Gengoult, 195–6.

Toulouse, 38, 231.

Touraine, 129.

Tournai, 175, 305.

Tournus, 62, 246.

Tours, S. Martin, 244.

_Transactions_, 32;
of the R. I. B. A., 39, 201, 243;
of the Exeter Architectural Society, 268;
of the Kent Archæological Society, 255.

tree of Jesse, 139, 225.

Trèves, 175, 195, 196, 197, 221.

tribunes, 165.

Trinidad, 30.

Troyes, 34, 131.

Tudela, 44.

Turin, 65, 89–90.

Tuy, 42.

Tyndall, 49.

Tyrol, 36, 48.

Ulm, 33, 327.

Umbria, 51, 53, 75–81.

University, 2, 7.

Urgell, Seo de, 43.

Val d’Aosta, 48.

Val di Chiana, 75.

Valencia, 43, 44.

Valladolid, 43, 47.

Van Eyck, 274.

Vauclair, 183.

Vaux-sous-Laon, 183.

Velay, le, 39, 201, 202;
_États de_, 214;
archives of, 215.

Vendôme, 148.

Venice, 133, 194, 224, 248, 289, 304;
S. Marco, 4, 27, 212, 242 sq., 249.

Verdier, cited, 161, 184.

Vergato, 86.

Verneilh, cited, 248.

Verona, 71, 133, 270, 279, 284.

Vevey, English church, 30.

Vézelay, 35.

Vienna, 48, 322.

Vienne, 212.

village churches, 22;
French, 131, 143, 145;
English, 257.

Viollet-le-Duc, cited, 144, 150, 156, 162, 173, 184, 211, 215, 231.

Viterbo, 94.

Vitoria, 43, 44.

Volvic, 231.

Vosges, 36.

Wales, 1.

Wallenstadt, lake of, 36.

Wantage, 7.

Warfield, 265.

Webbe, the elder, 13.

Webbe, Philip, 21.

Wellington, Duke of, 41.

Wells, 128.

Wensley, 274.

Westminster Abbey, 27, 32, 58, 204, 244, 255, 258, 318.

West of England, 4.

wheel of Fortune, 153.

Wilars de Honecort, 184.

Wilberforce, Samuel, 13.

Wimbourne, 279.

Winchester, 5, 9, 12, 55;
font, 160.

Worcester, 2.

Wordsworth, 4.

workmen, mediaeval:
masons, 240;
sculptor, Gaulfredus, 220, another (Robert), 234;
architects, Pierre de Montéreau, 58, 156;
Robert de Coucy, 58, 184;
metal-workers, 274, Hans Apengeter, 277, John and Nicholas of
Bingen, 222;
silversmith, 225, François Gimbert, 234;
glass painter, Dominic Livi, 276.

Worms, 249, 321, 322.

Wurtzburg, 33.

York, 27, 32, 55.

Yorkshire, 4, 128.

Ypres, 303 sq., 311.

Zamora, 44, 46.

Zaragoza, 44, 46,
_v._ Saragossa.

Zinzig, 323.

Zurich, lake of, 36.

FOOTNOTES

[1] Since these words were written that country has seen another harvest time; the fields have been ploughed with the trenches of armies and harrowed by the bomb and bullet: Street’s record of what men saw fifty years ago has grown precious for us who shall never see it more.

[2] Your man of genius has run ahead of fashion by forty years. This description reads like the account of a house finished last week somewhere up the River or on the Main Line.

[3] Note from the sketch-book: Tournus has a fine Romanesque church with one complete and one unfinished steeple at the west end and another complete steeple on the north side in about the position (I think) of a transept. These two steeples have two arcaded stages of about equal height above the roof and are finished with square tiled spires in a very characteristic manner. (These square spires seem to be of very frequent occurrence in this district.) Just in front of the church are two round towers which seem to form a gateway and the space between the western steeples of the church is finished horizontally with a crenelated parapet on a machicoulis--the battlements pierced with openings of this kind ✠--the whole looks as though done with a view to defence.

[4] General de Boigne, d. 1830.--G. G. K.

[5] These must be those now given to Cavallini and his school; and Street’s taste comes out right where knowledge was a-wanting.--G. G. K.

[6] If Street did not know the name, how should the editor?--G. G. K.

[7] This will be Messer Cino--of Dante and Mr. Hewlett.--G. G. K.

[8] Eastern? queries Street in pencil.

[9] Attributed to Jacopo della Quercia; it is not hard to divine why, when Donatello had failed to satisfy, Jacopo should offend.--G. G. K.

[10] Qy.: S. Vincent?--G. G. K.

[11] The same ornamentation appears in the doorways opening out of the Great Cloister at Las Huelgas (province of Burgos, Spain).--G. G. K.

[12] The plan of six-foot cubicles, open above, with separate windows but a single lofty roof, carried on immense stone arches spanning the vast hall, is that of the great dormitory at the Cistercian abbey of Poblet, in Cataluña.--G. G. K.

[13] Our ancient sculpture is therefore of inexpressible value to us; and it is to be hoped that we shall hear less and less of that destructive and dangerous process called “restoration” in connection with it. The _Guardian_ lately contained a paragraph stating that a London carver is employed on the restoration of the ancient figure-sculpture at Lincoln. I shudder to think of the havoc which (if I may judge of him by the former performances of his class) he must be making. If the Dean and Chapter of Lincoln possessed a picture by an old master, would they employ a painter to touch up the noses and put in new heads where the old painting was defective? Assuredly not. And can they not feel that any sculpture is just as much a work of art, owing all its interest to the genius of the artist, as any painting can be, and as far beyond restoration therefore?

[14] I am, of course, aware that some of these churches are not locally situated within the Île de France, and one of them--Rouen Cathedral--might have been expected to be purely Norman in its character. To my mind, however, it represents a fusion between the Norman and the real French style, affected, moreover, at first to some extent by Italian influences. And Rouen, as well as most of these churches, was comprised within the _Domaine Royale_ before the death of Philip Augustus.

[15] The plan of an aisle or “procession-path” without chapels is, in execution, the only form of apse, the effect of which is decidedly inferior to our English square ends. It is on the exterior that its deformity is most conspicuous.

[16] The chapels round the apse of Senlis Cathedral form an intermediate link between the two plans at S. Leu. They form exactly half a circle on plan, and have only two bays, one of which is lighted with a window. Externally they have stone roofs, finishing under the triforium windows. These two churches should be studied and compared together.

[17] No one who visits S. Leu should omit to go also to Senlis. He will find a tower and spire of unusual--if not unique--beauty and elegance. There are two fine desecrated churches, and other remains which, with the charming cathedral, make a _tout ensemble_ not easily forgotten. It is a walk of about six miles only from S. Leu--passing by Chantilly.

[18] I copied the following from the “Tariff” of the seats in S. Étienne:--

“Une stalle haute par année, 8 fr.
Une stalle basse par année, 5 fr.
Les deux premiers bancs à chaque côté du chœur, 8 fr.
Les deux centres bancs derrière l’autel, 7 fr. 50 c.”

[19] See the Illustration of a Wheel of Fortune in _Les Arts Somptuaires_, Vol. II., taken from a MS. in the _Bibl. Imp._, No. 6877.

[20] This work recalls to mind the work of the same character at Glastonbury.

[21] It is sometimes called also the “_Sainte Chapelle_” of S. Germer: I know not, however, on what grounds. M. Viollet-le-Duc does not mention it in his list of S. Chapelles.

[22] There is some reason for believing that the Lady-chapel of S. Germain-des-Prés was groined with sexpartite vaulting: if so, it differed from the other chapels in this respect.

[23] P. 365.

[24] These groined triforia are called tribunes by the French antiquaries. At Montierender, where both occur, the upper stage is more than usually similar to our English triforia; and in all these cases it would perhaps be best to accept the French terminology as being substantially correct. The tribune is, in fact, a second stage of the aisle.

[25] The abbey church of Longpont was dedicated in A.D. 1227, in the presence of S. Louis. Its value as a dated example is therefore considerable, independent of its high architectural interest.

[26] _Dictionnaire_, Vol. II. p. 309.

[27] The arrangement of these gables recalls to mind the very similar arrangement at Salisbury and Lincoln.

[28] The autumn of 1860. The original paper, which has undergone considerable revision since it was read on 7th January, 1861, will be found in the First Series of _Transactions_, 1860–61, pp. 97–119.--A. E. S.

[29] I give an extract from “La Estoire de Seint Edward le Rei,” MS. Bibl., Publ. Cambridge. Ee iii. 59:

“Seint Pere, du ciel claver,
Va sa iglise dedier,
Des angeles mut grant partie
Li funt servise e grant aie.
Li angele chantent au servise,
La nuit quant dedient l’iglise
Tant ja du ciel luur
Ke vis est au peschur,
Ke li solailz e la lune
Lur clarté tute i preste e dune.”

This is the rubric descriptive of the illustration, whilst in the poem itself is the following passage:

“E cist si tost cum arive
Entrez est en sun muster;
Li airs devint lusanz e clers,
N’out en muster tenegre ne umbre;
Atant des angres grant numbre,
Ki s’en venent a sum servise
A dedier cele iglise.
Tant ja partut odur,
Ke vis est a cel pescur
Ke li solailz la lune
Sa clarté tute preste u dune
Angles pu cel avaler
Regarde e puis remunter;
Teu joie a, ke li est vis
Ke raviz est en Parais,
Pur l’avisium k’apert.”

[30] _L’Auvergne au Moyen Age_, by M. Dominique Branche. Clermont-Ferrand, 1842.

[31] The steps are arranged in successive groups of eleven, with platforms between them.

[32] As evidence of the popularity of Notre Dame du Puy this may suffice:--in Amiens cathedral, until A.D. 1820, there existed a series of pictures given by the “Confrèrie de Notre Dame du Puy.” A similar confrèrie existed at Limoges.--G. E. S. There is an image and a devotion of N. D. du Puy at Estella in Navarre, carried thither by French pilgrims.--G. G. K.

[33] The passage to the right is evidently modern, that to the left looks as though it were ancient, but a protest against the removal of some ancient work, in the course of constructing it, which I have found in the _Bulletin Monumental_ [A. de Caumont], seems to show that it is not so.

[34] S. Martin d’Ainay, at Lyon, is a parallel triapsidal church, with a central dome, and a western tower of unusual and picturesque outline, adorned largely with inlaid tiles and bricks.

[35] At present the exterior of the lantern is covered with a domical roof; but an illustration that I have seen shows it finished with a low-pitched tile roof, and without any of the inlaid mosaic which is now upon it.

[36] The division of the building into work done at various epochs is beyond question, though there may be some question as to the date I assign.

[37] Mérimée, _Notes d’un Voyage en Auvergne_, p. 226.

[38] See Viollet-le-Duc (_Dictionnaire_, art. “_Clocher_,” pp. 312–18) for a reference to this influence of the Rhine churches.

[39] M. Viollet-le-Duc considers the earliest part of the cloister to date from the tenth century; M. Mérimée thinks the eleventh century more likely.

[40] The _Maîtrise_ was, I believe, the school attached to the cathedral.

[41] Mérimée, _Notes d’un Voyage en Auvergne_, p. 232.

[42] It is very difficult to understand precisely where these hangings were found. M. Aymard, a distinguished antiquary at Le Puy, in the _Album Photographique d’Archéologie Religieuse_, speaks of the painting on the wall of the _Salle des États_, and then, in another place, says that the tapestries given by Jean de Bourbon served to decorate the _Salle des États_ of Velay, and after the regrettable destruction of that hall the remains of them were preserved part in the cathedral and part in the museum. Possibly he refers to the removal of the floor below the _Salle des États_, for the hall itself has not been destroyed.

[43] M. Mallay, of Clermont, says that the mosaic work of the church of Notre-Dame-du-Port, Clermont, was all set in red mortar originally.

[44] See further observations on this subject, page 223.

[45] The predecessor in the See, Stephen II., uncle of Bishop Peter I., was buried at Lavoulte-Chilhac.

[46] A diploma of A.D. 1146 is dated from the “Ville d’Anis” (i.e. Le Puy) and fixes the date at which this “cité” received the name of “ville.”

[47] See M. Aymard’s _Album Photographique d’Archéologie Religieuse_, and a communication from the same gentleman in the _Bulletin Archéol._ vol. ii. p. 645. M. Aymard mentions one other example, a diptych, figured in Montfaucon (_L’Antiquité Expliquée_) vol. iii. p. 89, which dates from about A.D. 900. The hand at Le Puy is larger than life, and has a double nimbus round it, the inner yellow, the outer dark red; the hand is white and the ground within the nimbus dark blue. The Secretary of the Comité Historique des Arts et Monuments considers that this representation of the Greek mode of giving the benediction makes it certain that the work at Le Puy is Byzantine in its origin. But one may, I think, be allowed to doubt whether this conclusion is to be absolutely depended on.

[48] M. Aymard. See footnote on preceding page.

[49] The spire-lights in the cathedral steeple are very similar, and the same form is seen in the steeple of the church of S. Marie des Chases, in Auvergne.

[50] Also the octagonal church, surrounded by an octagonal cloister, of the Templars at Eunate in Navarre, and the church of Vera Cruz at Segovia.--G. G. K.

[51] The elevation of one bay of the nave of this church is almost exactly the same as that of S. Petronio, Bologna, though of course on a very reduced scale. The plan is Italian also, the nave groining-compartments being square, whilst those of the aisles are very oblong; the contrary arrangement is, as I need hardly say, almost invariable in northern Gothic plans.

[52] The cathedral of Clermont-Ferrand, a fine fourteenth-century church, is said to have been originally on the same plan as Notre-Dame-du-Port; excavations have proved this to have been the case. The present cathedral is almost precisely similar in plan to those of Narbonne and Limoges (see Viollet-le-Duc, _Dictionnaire_), and is said to have been commenced in A.D. 1248 by Bishop Hugues de la Tour.

[53] I give a list of some of the churches which either belong to or illustrate the Auvergnat type, with their dates, as nearly as I can ascertain them:--Conques, completed by A.D. 1060. S. Étienne, Nevers, commenced A.D. 1063, consecrated A.D. 1097. S. Eutrope, Saintes, consecrated in A.D. 1096. S. Genés, A.D. 1016-A.D. 1120. S. Front, Périgueux, A.D. 984 to A.D. 1047. Angoulême, A.D. 1109–1136. Fontevrault, A.D. 1100. S. Hilaire, Poitiers, A.D. 1049; Moustier-neuf, ditto, A.D. 1069–1096; S. Radegonde, ditto, A.D. 1099. Riom (S. Amable), A.D. 1077–1120. S. Sernin, Toulouse, _circa_ A.D. 1150. Cluny, commenced A.D. 1089; consecrated A.D. 1131. Dorat (Hte. Vienne) and Bénévent (Creuse), _circa_ A.D. 1150–1200. S. Germain-des-Prés, Paris, consecrated A.D. 1163. Le-Moûtier (suburb of Thiers), A.D. 1016. S. Saturnin, Volvic, Issoire, S. Nectaire, N.-D.-du-Port, Clermont, _circa_ A.D. 1080–1160. Brioude, _circa_ A.D. 1200. Orcival.

[54] St. Gregory of Tours (Hist. Francorum) says that in A.D. 440 a church was erected in Clermont by the Bishop Namacius, 150 feet in length, 60 feet wide, 50 feet high from the seat of the bishop to the vault; a circular gallery surrounded the choir, and on each side were two aisles elegantly constructed. The church was in the form of a cross, had 42 windows, 70 columns, and 8 doors.--_L’Auvergne au Moyen Age._

[55] S. Hilaire at Poitiers and Angoulême cathedral have only four chapels.

[56] At Mozat is a magnificent shrine of copper, enamelled, and at S. Nectaire a variety of precious relics, crosses, reliquaries, and the like, of which M. Mérimée has given a list.

[57] See M. Mallay’s _Essai sur les Églises Romanes et Romano-Byzantines du département du Puy-de-Dôme_. Moulins, 1838.

[58] St. Mark’s, Venice, was commenced in A.D. 977.

[59] Plans (to a uniform scale) of S. Mark’s Venice, and of S. Front, Périgueux, are given in _Transactions_, Vol. IV. n.s. Illustn. xxviii., pp. 172–173.

[60] Mr. Fergusson gives a section of a church at Granson on the Lake of Neufchâtel, in which the aisles and nave are roofed in the same way as at Conques and in the Auvergne churches. He says that the date of this church is the end of the eighth or beginning of the ninth century, but I do not know what his authority for this very early date is.

[61] The Abbaye-aux-Hommes, Caen, has its aisles roofed with transverse barrel-vaults.

[62] I ought to mention that this dome and the western part of S. Julien at Brioude are much older than the choir, to which I have before referred in speaking of the date of the church.

[63] This qualification is necessary, for the curious evidence which M. Verneilh has given of the existence in the tenth century of a Venetian colony at Limoges would be enough to make it probable that, though S. Front is the earliest complete example extant of a French domed church, others may have been built before it and that some of those which M. Verneilh supposes to have been derived from S. Front may really have been derived more directly from the East.

[64] There is no end to the diversity of the countries in which they are found. In the cathedral at Worms there are squinches formed by semi-domes. In S. Nicodime at Athens they are identical with those of S. Étienne at Nevers, and the same form is repeated in the domical vault of the steeple at Auxerre cathedral. At Notre-Dame-du-Port, Clermont, the dome is circular, but the squinches below are octagonal in plan, and the circle (which is not, however, a true circle) is set upon the octagon.

[65] This statement must of course be made with caution, inasmuch as the invariable whitewashing of the interior makes it very difficult to say what was the exact nature of the decorations with which they were adorned.

[66] The subject of this paper, the probable identity of the architect of S. Mary’s with that of Westminster, interested Street greatly, and he refers to it often. The careful description of conscientious restoration has an interest for us as well. I have therefore reprinted the greater part of it without troubling the reader by indicating the trifling omissions.

[67] Will of John Bokeland, p. 10.

[68] One of these windows is still left in the south wall of the chancel.

[69] It appears from a note by Mr. Heathcote, a former Rector, in the parish book, that the church and chancel were ceiled in the year 1777. This is the only note in these books which refers to the building, if I except an entry in regard to the erection of a western gallery, which has been removed in the course of restoring the church. The old parish books are all destroyed, and no record exists earlier than the end of the last century.

[70] “Less usual,” but not unique. The church at East Barnet afforded another example of the same mode of spending money in the palmy days of ample church-rates and irresponsible church-wardens.

[71] John Bokeland, in his will, talks of the chancel door: I believe he means the door in the Rood-screen, from the nave into the chancel.

[72] The central shaft and part of the internal tracery of this window are destroyed, and we have been unable yet to restore them.

[73] I see no evidence of the existence of a clerestory; and the columns are so delicate that I think it is impossible that it can ever have been intended to erect one.

[74] I cannot express my vexation at finding that in spite of my earnest injunctions to the workmen to be careful, this painted cross was destroyed. It is often absolutely impossible for an architect to stop wilful destruction of this kind. I have sometimes thought that it might be a good plan to draw up a contract for church restorations, inflicting a heavy fine on the contractor for any such destruction of any old feature.

[75] See particularly papers by me on _Some Churches in Kent, Surrey, and Sussex_, in the _Ecclesiologist_ of 1850, and _On the Middle-Pointed Churches of Cornwall_, in the _Transactions_ of the Exeter Architectural Society, vol. iv.

[76] There are one or two points which appear to me to make it possible that the sculpture of foliage was not done at Stone, but wrought elsewhere and sent there to be fixed. The northernmost spandrel in the east wall should be examined with a view to this point.

[77] I need not say, to those who know the north of Germany, that the arrangement of this church is, after all, only an exaggeration of a not uncommon plan. The cathedrals at Hildesheim and Naumburg, the Liebfrauen-Kirche at Halberstadt, and many others, have crypts, whose floor is but little lower than the floor of the church, whilst the floors of their choirs are raised immensely, and so shut in with solid stone screens and parcloses, that little can be seen of them from the naves. The crypt at Wimborne Minster is a rare instance of the same kind of thing in England; but this is a middle-pointed contrivance for _creating_ a crypt in a first-pointed church, which was never intended to have anything of the kind.

[78] It is owing to this arrangement of the nave, and the consequent uselessness of the aisles, that several of the old altars still remain, one in each bay, against the north aisle wall, and one or two against the south aisle wall.

[79] I have given a drawing of these candlesticks for the _Instrumenta Ecclesiastica_. They are not movable candlesticks, but regular fixtures to the pavement, and made in some kind of white metal.

[80] I have given a drawing of this vat in the _Instrumenta Ecclesiastica_.

[81] It must be understood that these are not the original curtains; but that the Lutherans have here preserved an old arrangement is very evident.

[82] On the south side of this steeple still hang the iron cages in which John of Leyden and his confrères were suspended before their execution.

[83] This paper was read before the Oxford Architectural Society, in 1857.--G. G. K.

[84] Street was not yet familiar with the Spanish churches, in which it is the dominant native form. Cf. _Gothic Architecture in Spain_, new edition, I, 58.--G. G. K.

Transcriber’s Notes

Punctuation and spelling were made consistent when a predominant preference was found in this book; otherwise they were not changed. Inconsistencies between the Index and the text it referenced were resolved by changing the Index to match the text.

Simple typographical errors were corrected; occasional unbalanced quotation marks retained.

Ambiguous hyphens at the ends of lines were retained; occurrences of inconsistent hyphenation have not been changed.

Index not checked for proper alphabetization or correct page references.

In Footnote 3, the symbol following “openings of this kind” is a Maltese Cross.