Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/studybookofmediv01king_0 THE STUDY-BOOK OF MEDIAEVAL AECHITECTUBE AND ART. LOUDON : PRINTED BY R. CLAY, SON, AND TAYLOR, BREAD STREET HILL. / THE STUDY-BOOK OF M El)LEVA I. ARCHITECTURE AND ART; BEING A SERIES OF WORKING DRAWINGS OF THE PRINCIPAL MONUMENTS OF THE MIDDLE AGES. WHEREOF THE PLANS, SECTIONS, AND DETAILS ARE DRAWN TO UNIFORM SCALES. BY THOMAS H. KING. WITH NOTES HISTORICAL AND EXPLANATORY OF THE PLATES. YGL. I. LONDON: PUBLISHED BY HENRY SOTHERAN AND CO. .136, STRAND, AND 42, CHARING CROSS. 1868. ADVERTISEMENT. The special advantages offered to Students of Gothic Architecture by this Work, over other publications of a similar nature, consist— t 1. In the abundant supply which it furnishes of the most useful examples of Mediaeval Art.—The first two volumes alone contain ample Drawings of fifty Churches, which is a wider range than has yet been reached by any entire Work; and when com¬ plete, the collection will extend to Four volumes, each volume consisting of One Hundred Plates, illustrative, on the average, of Twenty-five Churches. 2. In the extreme accuracy and care with which the Drawings have been executed. —In this respect they challenge comparison with any which have yet been published. I have not in a single instance trusted to the measurements of previous Archaeologists. The details have all been drawn, the plans, sections, and elevations measured, expressly for the Work, and under my own eye. I am able, therefore, to vouch for their authenticity. 3. In the uniformity of scales adopted, by which the Student can at a glance compare the relative dimensions of different Churches.—This has never been done before. A large Church has been generally drawn on a small scale, and a small Church on a large scale, so that each plan or elevation might occupy a whole Plate, a system by which the comparison of any two Churches required an effort of the mind, instead of being, as it ought to be, and may be, a matter of simple observation. In the present Work the ground-plans are all at the uniform scale of 1 in 500; the sections and elevations at 1 in 300; the mouldings generally at 1 in 25. Plans, therefore, may be compared with plans, elevations with elevations, mouldings with mouldings, with perfect facility. VOL. I, 2 4. In the lowness of the price.—For this I have sacrificed everything but accuracy. The book is intended for use, and consists of working drawings. I have not attempted, therefore, to make the engravings attractive at the expense of the purchaser. Indeed, for all purposes of study a simple outline is preferred by a workman to an elaborately shaded drawing. Moreover, a very high degree of finish would have prevented my personal supervision of the engraving, since it would have required me to send the Work to different artists, in order to get it finished in sufficient time for publication. Further to lessen the price, I have endeavoured to give each Church in the smallest possible number of Plates, by using the whole of the available space on each Plate, as far as I could do so without crowding the page; and the purchaser will receive as much matter on one Plate as must have been spread over two or more, if the appearance of the book had been considered rather than its cost. For the same reason I have avoided the repetition of the same member in elevations and sections. CONTENTS OF VOLUME I. FLAXES BRAISNE.. 1 to 6 ETAMPES (3 Churches) . 7—10 FLAVIGNY. 11 ALBY (2 Churches) .12—17 ST. BERTRAND DE COMMINGES. 18 ALTENBERG.19—20 AUXERRE (2 Churches) .27—43 MAULBRONN, WURTEMBERG.44—49 SEMUR, AUXOIS.50—56 DIJON..*.57—64 SEEZ.64—74 SPIRES.75—77 GELNHAUSEN.78—SI LUNEBURG.82—87 TOULOUSE (5 Churches) .88—100 ST. IYED, BRAINE. The Abbey of St. Ived at Braine is a characteristic specimen of the purest French Gothic. France boasts of many larger and more magnificent Churches, but of none more instructive than this mutilated remnant. It was consecrated in 1216 by the Archbishop of Rheims and the Bishop of Soissons, and was considered then, as it is now 7 , a very model of architectural beauty. The plan consists of nave and aisles, transept, choir, and five eastern chapels. The length is 220 feet; the width of the nave and aisles nearly 70 feet: the height is about 60 feet. These proportions secure just those qualifications in a Church, which we require most in the present day,—capacity of nave, width of aisles, and reasonable height. The whole building is, moreover, admirably constructed, and finished with extraordinary care. The mouldings and pillars are of the very purest Gothic. The. elevation of the north transept is especially worthy of the attention of English Architects on account of its essentially French character. This beautiful Church is, how T ever, now but the wreck of its former self. All of the nave, except two bays, is gone. The western end, along with the attached buildings, was destroyed at the Revolution, and the fragments have since been cleared away to mend the roads. But in the possession of the road-surveyor, who spread the old arches on the highway, exist a model of its appearance in ruins, and careful drawings to scale, from which we are enabled to complete the building. However, we are not dependent on the model for our details, as the reader will see from the plans and sections contained in the six Plates of this number, all of which have been drawn and measured from the existing remains, with the single exception of the west elevation, which is unfinished, and by no means part of the rest of the Church. The Abbey was founded by the Counts of Braine, in the 12th century, and they furnished it with the most costly ornaments and appointments. Glass was procured from England; and those who saw the windows in their glory, describe them as alike remarkable for the beauty of their drawing and the harmony of their colours. The Church was rich also in magnificent monuments; for it had become the favourite burial- place, not only of the founder’s family, but of the neighbouring nobles. The tomb of a Count of Dreux, a companion of Louis IX. in the Crusades, is said to have been a work unequalled even in the 14th century. But all those things are gone. The ornaments are gone, the glass is gone, the tombs are gone; the shell alone remains, and that only Vol. I. 2 in part. Happily, all that is of great architectural merit is left, and the reader may jud^re of its beauty from the copious details we are able to give: — Plate I. Plate II. Plan of the whole Church restored. Upper plan of west end as now standing. Central tower. Western elevation from drawings before its destruction . Sections of transept and nave. Part of elevation of north side. Corresponding part of longitudinal section. Fig. 1. Shaft in angle of apse, with ribs of vaulting imposed ,, 2. Same, one bay westward in the choir. „ 3. Same, at angle of choir and chapel. j-at 1 in 500. } } „ 1 in 300. 1 in 100. 1 in 25. Plate III. Fig. 1. Eose window. North transept with section. ,, 2. Elevation, jamb, and arch, lower window of choir. „ 3. Its Section. ,, 4. Sections of jamb of upper windows of choir and chapels . . . . \ „ 1 in 25. „ 5. Jambs of window in tower. „ G. Single light of north transept. ,, 7. Lights in gable of north transept. Plate IY. Figs. 1, 2, & 3. Sections of shafts of pillars of north aisle and nave, and intersection of transept, with archmoulds and ribs of vaulting- imposed. Below each its base moulding in elevation. ,, 4. Elevation of an arch in the arcade of the triforium. ,, 5. Section at triforium, with archmould of arcades and ribs of vaulting imposed. „ 6, 7. Clustered columns of north aisle and angle of transept, with archmoulds and ribs of vaulting of aisle and transept imposed. „ 8. Pattern of slates sunk on the turrets of transept. „ 9. String course under the eaves of the choir. „ 10. Same across transept and round the eaves of the aisles. „ 11. Under the clerestory windows. Plate V. Fig. 1. Elevation of arch in arcade of triforium central tower.] ,, 2. Profile, and Fig. 3, section of same, with archmoulds and vault ribs imposed. \ „ 1 in 25. „ 4. Section of westernmost pillars of nave, with mouldings of arch.and ribs of vault imposed.] Below, a sketch of the Church with spire restored. A very elegant specimen of wrought-iron railing coeval with the Church, one fourth the real size. Details enlarged to half size, and sections of bars full size. Plate VI. m.i BEAISm^lI (SMvbiL) Elevation. '500 I.EL.2. BRAISNE.Pl 2 C S fc IvecD 1 0 Dejose a Loalon Bell &/ DalcLy 1857 . Metres T eet Lon.cbiLBeTL DaicL>^i857. T.H Eng" ArcLt c Brug'e I Pi 4 ERAlSNEFi 4 (Flved) IH5 .BHAISNE,PI5 C3 b Ived.) Lonclcm Bell <5/ BalcLy 1857 Depose 5 T H I&Lg'Arch tPBrages 1P1.6 BHAIOTE.P1.6. C S b Ivei) ETAMPES, FLAVIGNY, DIOCESE OF SENS, FRANCE. Etampes possesses four churches; but of these only three are worthy of our attention,—Notre Dame, St. Martin’s, and St. Basil’s. NOTRE DAME. The largest and most important is Notre Dame. It consists of choir, with numerous chapels, nave and aisles, double transept, and western tower. The plan, which is very peculiar, will be best understood from the Plate. Its singular deviation from the usual rectilinear form is owing partly to the nature of the ground, and partly to the character of the building, which is at once fortress and church. Notre Dame of Etampes forms by no means a solitary proof of the perils to which religion was exposed in the middle ages, and the necessity under which Churchmen sometimes lay of calling in military assistance for the defence of their lives and property; nor of their own only, but the lives and property of many others also, who, at the approach of danger, fled to the Church or the Monastery for protection. Dol in Brittany is another ecclesiastical fortress. St. Cecil, Alby, the details of which will be found in other Plates of this Work, and numerous other Churches in the south of France, were constructed with a view to defence. Upon the eastern side of Notre Dame, from which danger appears chiefly to have been apprehended, the windows are placed high from the ground, and above the chapels are casemated chambers for troops, with loop-holes, as in other fortifications. Thus the apsidal chapels on each side act as bastions for the defence of the high altar; and it was probably for the sake of greater security that the eastern wall of the choir was not made, to project in the same manner. Notre Dame is also remarkable for the antiquity of its tower. The rest of the building was erected in the thirteenth century; .but the tower belongs to an earlier Church, and possesses a unique specimen of a stone spire of the date of 1130. We ’ have thought it of sufficient importance to be given on a larger scale. The western doorway is also interesting and rich; but the carving has been grievously mutilated. We have devoted two Plates to the illustration of this Church. Plate I. Ground Plan.at 1 in 500. Transverse section, and western elevation, showing the tower and spire ... „ 1 in 300. Plate II. Elevation of the upper paid of tower and spire, with plan at a a.„ 1 in 100. Fig. 1. Elevation of side of western doorway . . „ 2. Section of jamb. „ 3. Its arch-mould. „ 4. Pillar of transept. „ 5. Pillar in north chapel. ,, 6. Base of same. „ 7, 8, and 9. Arches and ribs of vaulting . . „ 10 and 11. Sections of jambs of tower windows VOL. I. ST. MABTIN. St. Martin’s is remarkable for the exquisite proportions of its plan, and the beauty and "race of its design. As a fine model of a large Parish Church, it is very deserving of study. ■ It was built entirely at one, and that the best, period of Gothic Architecture. Quite clear of any pretension to the Cathedral type, it is at the same time comprehensive and self-complete; embracing all that is requisite for the performance of solemn functions,—a sufficient sanctuary—a complete ambulatory for processions—and three distinct chapels. The nave is capacious, without being extravagantly large. The entire length of the nave and chancel is 140 feet, without the retrochoire and lady-chapel; but, including these, the Church extends 200 feet. Its height inside is 55 feet. Altogether, it would be difficult to select a Church more suggestive for the present time. The tower stands detached at the west end. Its gabled capping is a good example of a class to be found chiefly along the southern boundaries of Normandy. A peculiarity of this Church is to be observed in the apse, the alternate columns of which are double. The whole of St. Martin’s is comprised in Plate III. Ground plan.at 1 in 500. Sections a a, a b, and interior elevation of one bay of nave.„ 1 in 500. Half a bay of the clioir and capping of the tower.,, 1 in 100. Fig. 1. Pillar in nave. „ 2. Its base.| „ 3. Westernmost pillars of nave.( \ 1 in 2*3 „ 4. Double columns of apse./ ” 5 to 10. Divers sections of arches and ribs of vaulting 11. Section of angle of tower. ST. BASIL. St. Basil’s is a fine Church, although inferior to either Notre Dame or St. Martin’s, but it has been much disfigured by various alterations at different periods. The tower is the most interesting portion of the building. It is finished with the picturesque capping common in Normandy, and the upper storey is surrounded with a very rich arcade, supported on a corbel-table of lions’ heads. But the effect is somewhat impaired by the roof of the nave, which has been raised, and now encroaches upon the arcade. The length of the Church is 155 feet; the height, 55 feet. The details are contained in Plate IV., upon which will be found The plan.at 1 in 500. Transverse sections.. 1 in 300. Elevation of the arcade of the tower . 1 in 100. Fig. 1. Angular section of tower, showing the window-jambs „ 2. Their arch-mould. „ 3 and 4. Shafts. „ 5. Corbel-table. 1 in 25. IP1.7. ETAMPESP1 1 Section Scale 1~300 I PI 8 ETAMPES.P1.2 (N. Dame) —O,--—--1-1-1-!-1--1- i i 1 1 / <1 1 1 [ / 1 1 .1 / ,1 I 1 1 j 1 1 i 1 1 "1 1 1 London Bell ^ DalcLy 1857 Depose 8 T. H.King'.ArcKt e Bruges _Z//y> /'" ( ’/hit'i/ffi , .7 ti /• //(iii/iycuil/,t , Pttfi-r, 1 PI 9 E TAMPES.P1 3 Depose. -Ztrtf’ C/Mrdi>n nuts , 3t r y/.m/s/ru *//*■ , fitirir London Bell Daldy 1857 T. H King; Archt? Bruges IP] 10 ETAMPES. PI 4 (S 1 Basil) Scale of towerlinlOO. EcBelle dela tourl alOO. London Bell Jy Daldy 1857 Depose 10 T H King. Archt 6 Brunei litis. 'io /• 7/imfe/rn t//s .S>„rr r /„/• O&uro a FLA VIGNY, DIOCESE OF BESANCON, FRANCE. a 1 Flavigny is a town in Burgundy, and was formerly of some extent; but the faubourgs were destroyed during the civil wars, for the fortification of the place, and it has not recovered their loss. Before the French Revolution it possessed, besides the parish church, another, belonging to an abbey of Benedictine monks. At the restoration of religion only one of these was given back to its original uses, but the townspeople were permitted to decide which they would have; they chose the parish church, to which they had been accustomed. The Abbey was in consequence suffered to fall into decay. It has since been pulled down, and very few vestiges remain of what must once have been a very considerable establishment. The parish church is dedicated in honour of St. Genes. It consists of chancel and three chapels, nave, and aisles, and tower. The tower is placed between the nave and chancel. The part east of the tower is very late and poor. The only fine architecture in the whole building is in the nave, the arches and pillars of which are bold and good. But the church would not have found a place in this work except for one great peculiarity which it possesses in the unique arrangement of jube and triforium, by which an uninterrupted communication is formed all round the nave. The jube is not a screen, but a bridge formed of a single arch, occupying the whole width of the easternmost bay of the nave. There is a narrow and inconvenient descent by a few steps into the triforium at each end of the jube. At the west the circuit is completed by a vault thrown across the nave to a level with the triforium, and two whole bays in width. A wooden balustrade, of the 15th century, runs along the triforiums and the western gallery. The jube is of the same date, and richly executed in stone. Access is had to it by stone staircases from the aisles, and steps from the interior lead by a door¬ way into the staircase on the south side. A gallery round the nave is not uncommon, and is indeed a recognised feature in the smaller class of the Rhine churches, where it is called the Mannerchor. It is said to have been appropriated to the use of the men, when the ancient custom still prevailed of the separation of the sexes. The arrangement is also to be found in France, as at Notre Dame, Paris, and St. Sernin, Toulouse, and some other early churches. The speciality of Flavigny consists in the completion of the circuit by the junction of this gallery with the Rood-loft. The jube is further remarkable for a pulpit, which is thrown out from it on a corbel, supported by an angel, as shown in the transverse section. This pulpit occupies the north-west corner, and the parapet of the jube is made to pass round it. Vol. I. 9 All that is interesting and valuable at Flavigny we have engraved on a sin Plan of St. Genes, Flavigny.'.at 1 in 500. Transverse and longitudinal sections.1 in 300. Fig. 1. Wooden balustrade.1 in 10. „ 2. Stone balustrade of Jube, being a section through the pulpit,' showing its projection . „ 3, 4, 5. Water-tables and string-course. „ 6. Lower tier of arches. „ 7. Upper tier.' ,, 8, 9. Elevation and section of pillar of nave. „ 10. Vaulting. „ 11. Arches of chapels. „ 12. Windows.. „ 13. Windows in tower... gle Plate. I.P1.11 FLAVTG-NV .bnojr. Cfuirtfan aUie ,3» r. MuttefhiiUr ..Part* London Bell Daldy 185^ S. CECILY, A L B Y, ARCHDIOCESE OF ALBY, FRANCE. We have already given one specimen of a fortified church in Notre Dame of Etampes. But a much more remarkable example of the military type is the Cathedral at Alby, which is scarcely a church at all, in the Gothic acceptation of the term; but a vast hall, enclosing a sanctuary. It is not, like Etampes, a church fortified; but a fortress made into the best church possible. Alby was erected into a Bishopric as early as the fourth century; but it was not till the succession of Cardinal Bernard de Castinete, the fifty-fourth Bishop, that a building worthy of an episcopal see was commenced. Suppressing the former church of St. Croix, which had belonged to a chapter of canons regular of St. Austin, who had been secularised in 1297, the Cardinal selected a more commanding site for his fortress, and laid the foundation-stone of the new Cathedral in the year 1382, under the joint dedication of St. Cross and St. Cecily. But although he took care to provide a building-fund out of the annual revenues of the see and the chapter, the work seems to have progressed but slowly; for we read that it was completed only in 1397, in the episcopate of William de la Youlte, the sixty-fifth Bishop ; and it must have been then burdened with a heavy debt, for it was not consecrated till the 23d of April, 1480, when Louis d’Amboise performed the ceremony. Although designed on principles entirely at variance w r ith ecclesiastical usage, Alby is certainly one of the most imposing religious edifices in the South of France. Italian in character, it approximates in type more to the Lateran Basilica at Rome, than to a Gothic cathedral. The details are nevertheless Gothic; and in concession to the spirit of the times, the pointed arch has been employed where constructive laws would rather have prescribed the circular form. The vault of the nave, for example, which is of ponderous solidity, would have been more secure if constructed on the principle of the circular arch. The church consists of an oblong, terminated by an apse, and completely surrounded by chapels, which are polygonal on the apse and square in the nave. These chapels are taken between the vast buttresses which support the great vault. Above the chapels are chambers communicating with each other by small doorways cut in the buttresses, and forming a gallery all round the church. These chambers were doubtless intended for the operations of the garrison, for they are of no use for ecclesiastical purposes. The length of the church, clear of eastern chapels and western tower, is 290 feet. The span of the roof is 60 feet, or 16 feet wider than the nave of Cologne. The ribs of the vaulting are 2§- feet thick; those of Cologne are only 12 inches. VOL. I. These figures convey a better idea of the prodigious massiveness of the roof than could be gained by any description. The enormous weight of this vault, the keystones of which are no less than 95 feet above the pavement, is securely supported at that great height by a series of buttresses, each of which is 5 feet thick, and 20 feet deep. Unlike other buttresses, these masses of masonry at Alby do not taper off to a pinnacle at the top, but retain their size throughout; and they are all bound together, first, by the vaulting of the chapels, which are formed between them on the ground-floor,—and, again, by the vaulting of the chambers above those chapels. Against these buttresses, externally, are built flanking towers, solid and semicircular in plan, with a radius of 8 feet, to each buttress a tower. These towers form a considerable part of the walls of the church, extending as they do 5 feet beyond the buttress on each side, and the space between them is filled up with masonry 3^ feet thick. The solidity of this system of buttresses, towers, walls and vaults running all round the Church, is fully equal to the support of even the mountain of brickwork contained in the roof of the nave. The flat space above the upper vaulting was intended for the use of the garrison, and should have been defended by battlements. But this part of the work was never finished, probably because peaceable times had come; and the absence of a parapet gives an incomplete look to the whole Church. In the narrow space between the towers narrower slits are made for windows,—veritable loopholes on the lower storey, but with some pretence of tracery in the upper. And to keep besiegers from approaching the windows, the foundations are built out below as far as the towers, and shelve off above to the line of the floor inside. At the western end stands the tower, or rather the keep of this fortress. It has no western doorway, or other aperture on the ground. The walls are 12 feet thick; and it is farther strengthened by round towers at the corners, which are solid throughout. The entrance to the Church is on the south side, and is defended by a flight of steps, with a fortified gateway at the bottom, flanked by a tower, and provided with the usual contrivances for pouring down pitch and stones upon besiegers. The only other entrance is on the north side, through the sacristies from the Bishop’s palace, which is strongly fortified by a thick wall and a donjon, while the river flows 30 feet below. This being the character of the building, it only remains to show how the vast fortified space within was adapted to the service of religion. This was effected by the erection of a screen of open-work, enclosing a choir of half the whole length of the Church, and leaving quasi aisles on either side. This screen was built by Louis d’Amboise, wlio, as has been said, consecrated the Church in 1480. He it was, also, who provided the Church with every thing necessary for the most splendid celebration of the Divine Rites. The western end of the screen is a magnificent and most elaborate Jube, a very miracle of fretwork, niches, images, and carving, although debased in style,— a jewel strangely contrasting with the rude simplicity of its military setting. Not less extraordinary is the porch of the nobles, erected over the south doorway when it was no longer dangerous to expose carved work outside. It was probably by the same hand, as it certainly is of the same date, as the choir screen. It will be obvious that but little light can enter through the narrow loopholes which serve for windows, and this little is farther obscured by the buttresses, which cast heavy shadows in thick bars across the Church In consequence, also, of the wide span of the roof, the ribs spring from half-way up the height of the nave, which would 3 naturally give a heavy look to the interior. But this and the want of light have been somewhat relieved by colour. At the beginning of the 16th century, 1510, the whole building was covered with painting by Ch. Robertil. Deprived of this decoration, the interior would be cold, dull, and clumsy, and could not bear comparison with our great northern Cathedrals. The vast edifice is entirely built of bricks, except the mullions of the windows, the battlements, and the screen of the choir. The example of the Cathedral at Alby, was followed by some other Churches in Languedoc; among others, Moissac, and St. Bertrand. Churches actually fortified are not uncommon, while there "were many capable of being converted into fortresses. But the type did not spread beyond the district in which it originated. The particulars of this Church are contained in four plates. Plate I. Plan.at 1 in 500. Figs, 1 and 2. Inner end of piers of nave and apse.„ 1 in 25. „ 3 and 4. Ribs of vaults. Below the perspective view of the Church is a sketch of an ancient bridge with plans of its abutments. This bridge was built by the Viscount Aton II., in 1035 ■ partly of brick and partly of stone. Its strength is so great that it has sustained without injury, the weight of the mountain torrent, across which it stands, and which occasionally overflows it. Plate II. a a. Section looking west, and showing the fortified gateway with its flanking ' tower... a b. Section looking east, showing the magnificent south porch, called the Porch of the Nobles, and elevation of the Jube.. \ Below is a bay of the nave ; the exterior view showing the semicircular | flanking towers,—the interior view chambers over, with the balustrade of the upper storey. Figs. 1—4. Specimens of tracery. Fig. 5. Part of window, fig. 1 enlarged. „ 6. Section of jambs of figs. 1 and 2. „ 7. Jambs of figs. 3 and 4. showing the vaulted chapels and Plate III. Elevation of gateway at A on plan. Fig. 1. Its jamb. „ 2. Its archmould. „ 3. Corbelling of battlement. ( ” ,, 4. Moulding of same. In the corner a sketch of the battlements, showing the projection and the machicolations. 300. 100 1 in 25. 200 . 25. Plate IV. Elevation and section of western tower ..•) Plan at A and B.j (The round towers are only covered to the summit towards the east.) Fig. 1. Parapet of round turret.1 „ 2. Parapet of main tower, with section.3 „ 3. Section jamb and mullion, and encorhlement, upper storey of tower . ! „ 4. Section jamb and mullion of upper window of belfry.) „ 5 and 6. Plinth of buttress and belfry, and string course below . . . . j „ 7. Angle of octagon of belfry, lower storey.3 „ 8. Engaged pinnacle. J )) 1 in 100. 1 in 25. 4 ST. SALVI. The cloisters of St. Salvi are alone remarkable. They belonged to an older Church, which was removed to make way for a structure more capable of being fortified. Although not so complete a fortress as St. Cecil’s, it shows traces of the influence of the times which produced that extraordinary Church. The windows are long and narrow, and high from the ground; and the Church stands on an eminence difficult of access. Plate V. Ground plan. Part of longitudinal section Transverse section . Arcade of tower .... Plate VI. Parts of elevation and plan of cloisters.„ 1 in 25. Figs. 1, 2, 3. Columns of nave with base mouldings. at 1 in 500. | „ 1 in 300. ,, 1 in 25. ST. BERTRAND DE COMMINGES. The Church of St. Bertrand de Comminges stands on a rock at the opening of the Val de Barousse in the Pyrenees, upon the site of an earlier building, the cloisters of which alone remain. It is not known by whom the present Church was commenced. But it was finished by Hugo de Cliatillon, the Bishop, who died in 1352. It exhibits the same peculiarities as St. Cecil’s and St. Salvi’s: combining the features of a fortress and a church. In plan it more nearly resembles St. Cecil’s, and has the same enclosure for a choir. The Plate contains :— Plan.at 1 in 500. Section, Elevation, external and internal, of one bay of nave.„ 1 in 300. Details of the remains of cloister.„ 1 in 25. London Bell ^ Daldy 1857. Depose 12 .7/tip F. C/utrf7j>rv amr , 3o f r JTfut //<• ,l\iri.r T H.King. Archt e Bruges I PI 13 ALBY PI.2 (S te Cecilej London Bell ^ DaldylSB" 7 T. H.King. Arclrt 6 Bruges IP1 14 ALBYP13 (S te Cecile) London B<31 & Daldyl857 ’ Depose T. H.Kmg. AcLt e Bruges "14, Zt>y> ./’ iVuirUi n ui/if , -')<> r. Z/rtu/tyStu/l# . P>trt.*. ALBY PI 4 (S‘ e Cecil e) YPI* 15. Depose. T.H .Kmg, Archt 6 Bruges ft u-tti ty, ■ in > r. //nn/iyr/ti /A -, PaJ-r.r London Bell % Daldy 1857 F. C’/tsirtA'f I PI. 16 ALBY PI 5 (S 1 S alvi) j PLgL El is' Sections 1 300 London Bell (y Daldv 1857 Depose 15 //up (?/uintoro mnv, .i». r,/AiM/tyrui/A-. Z'.iri.r. T. H King. Arclit e Bruges I. PI. 17 ALB Y PI. 6. ///y t/m ‘//tvr itf/ir , V /• //n//r/rtn//<- . /‘iifi.r I PI. 18. S T BERTRAND DE C0MM1NGES London Bell ^ Daldyl857 Depose IS T H Kingr. Archt e Bruges ,/rnp. .Z'\ C'/i,?/t/pn ninr- , /• ..//.mli friiiJ/r ,'PnrLr ALTENBERG. The history of Altenberg, so far as we are acquainted with it, may be comprised in a few words. In the year 1133 Eberhard, Count of Berg, invited a community of Cistercian monks to take up their quarters in his own castle on the hill. There, however, they remained only twelve years, for in 1145 they were removed to the bank of the Dhun at the foot of the mountain, where they built a splendid abbey, which continued to be occupied by monks of the same Order until the Revolution, when it shared the general fate of religious houses at that disastrous period: The conventual buildings were then converted into a manufactory of blue; but in 1815 they were totally destroyed by fire. The Church fortunately escaped, though not without injury, and it has been since restored by the Prussian Government. The Counts of Berg were munificent patrons of the Abbey during the twelfth and thirteenth centuries. Originally founded by their family, they kept it under their protection, and chose it as tbeir place of sepulture. One of them, Bruno, Archbishop of Cologne, who resigned his see in 1193, retired to the convent, and died there in 1200. Another Archbishop, Theodoric de Hunsberg, who occupied the see from 1208 to 1214, was also buried there. He was brother-in-law to the Count of Berg, and had been a great benefactor to the House during his life. It is probable that these prelates were concerned in the erection of the domestic buildings of Altenberg, which, although no longer in existence, have not been altogether lost to us, as Boisserie, who saw them in 1809, has left us drawings of a considerable portion of them. Unfortunately, the abbot’s residence is wanting, but the chapter- house, cloisters, dormitory, and refectory, we are able to give on his authority. They are too remarkable to be omitted in a work like the present; and as we have found the drawings correct as far as we have been able to verify them by comparison with the existing remains, we have no hesitation in reproducing them here. In the cloisters we observe the transition from the round to the pointed arch, the arches being round outside and pointed within. The cloisters, with the dormitory and refectory, are among the finest specimens of the period, and must have been designed by a masterly hand. Complete, with the exception of the abbot’s residence, they form such an example of a monastic house of the time as is scarcely to be met with elsewhere. Of the original Church no part is now remaining; but a chapel in front of the abbot’s house was standing before the fire, and was destroyed at the same time. It is to be regretted that Boisserie should have made no record of its appearance at the Von. I. 0 time of his visit. The present Church was built by the Counts of Berg from 1255 to 1379. They are said to have employed the architect who was then engaged upon the neighbouring cathedral; but in that case he must have exhausted his genius and skill upon the larger work. Except in its windows, which are admirably designed, there are no traces in the Abbey Church of the mind which conceived Cologne. Altenberg appears to be rather the performance of an inferior intellect envious of the rising glories of the cathedral, and vainly ambitious to compress the majesty of that gigantic pile into a church of half its length. The mouldings are meagre, and the several parts have all the appearance of properly belonging to a larger building. We have devoted eight plates to the illustration of the Church and Abbey. Plate I. Ground plan.at 1 in 500. Elevation of north transept, with a bay of nave and choir, west facade, inside bay of choir, and section „ 1 in 300. Fig. 1. Clerestory window, jambs, and mullion . . . h „ 2. Section of flying buttress.>„ 1 in 25. „ 3. Base of columns. J Plate II. Figs. 1 and 2. Windows in west facade. „ 3. Window in north transept. „ 4. Clerestory of westernmost bay of nave, with I its triforiums blind. ” m „ 5. Window of chapels round the apse . . . „ 6. Western gable of transept. „ 7. Jamb-mould of west window. „ 8. Same of apse window. „ 9. Same of clerestory .. „ 10, 11, 12. String cornice and cornice of clerestory ( ^ „ 13—21. Arch-moiddings and ribs of vaulting . „ 22. Section-moulding of gable window (Fig. 6) . ,, 23. Jamb of western doorway ...... „ 24. Cross of gables .. Plate III. Plans of cloisters and dormitory over, from Boisserie . . „ 1 in 500. Elevations and sections of same.„ 1 in 300. Figs. 1, 2, 3, 4. Pillars, capitals, and mouldings of vaults ,, 1 in 25. Plate IV. Parts of elevation and section of same, at enlarged scale of 1 in 100. Plates V. VI. VII.— A selection of patterns of grisaille from glass . . . at 1 in 8. Plate VIII. Tomb of Gerard and Margaret, Plan of Top, lateral and front elevation.. 1 in 20. With divers sections of its mouldings ..... „ 1 in 10. ALTENBEP& PI 1 /ini' //' fVum/t'/i . f. t ‘/mfift'/i. ,////'• . .'Si' > JT.tnfr/rn i// r //‘.irf.r T H Xing' Arclit e Bruges IH.22 ALTENBER&.P14 ? 1 1 i'ititi t tt rn 11 ti nn ii ii mtn ALTENBERG PI 5. I.P1.23 LLlLU u 1 1 1 I ' ll ii mi ill f T TTTHi i n rrn XTUZHZn iTiTm ' r rr n nxtnri nrfrr tin vi tit t i nyi ? i rrn 1 t nn ilnrnr I.P1. 24. ALTENBER&P1.6 London Bell iy Daddy 1857 Depose 24 T’ H King. Archt 6 Bruges I PI 2 6 ALTENEER&.P] 7 * I.P126 ALTENBERG PI 8. London Bell 5y Dal dy 1857 Dejoose 26 . T H.Kingj- ATc"ht e Bruges ./in/> / '. ( Ytti/ifoft ,/m, . . r. ZTautip-Jtitfn ,Ptin.r AUXERRE. Auxerre was very early a bishop’s see, and the bishops were possessed of considerable temporal power. Their county was co-extensive with their diocese, and many wealthy laymen acknowledged their authority. A magnificent monument of their greatness exists in the cathedral church of St. Stephen, the choir of which has few rivals even in France. The earliest part of the Church is the crypt, which dates from 1035. The choir was built about the end of the twelfth or the beginning of the thirteenth century, and the north transept in 1426 ; the tower was built in 1543. About the same date are the nave and the western doorway, which are far the worst parts of the Church. The details of the choir, with its aisles and chapels, are all so exquisite, so worthy of imitation and suggestive of thoughts for present use, that we have considered it necessary to devote a considerable number of plates to their illustration. Auxerre is a church which it is a privilege to have seen and a duty to study. Plate I. General plan, and plan of crypt.at 1 in 500. Section of crypt.1 in 300. Details of same.1 in 25. Plate II. Section of cho;r.1 in 300. Perspective view. Plate III. Elevation of choir on the north.1 in 300. Section of sacristy.1 in 100. Details of pillar and vaulting of sacristy.1 in 25. Plate IV. Longitudinal section of choir and transept.1 in 300. Plate V. Elevation and sections of Lady Chapel .1 in 100. Plate VI. Shaft capital and rib of vaultings of Lady Chapel. . . 1 in 10. Figs. 1, 2, 3, 4. Sections of its mouldings, with vaulting imposed.1 in 25. Arcading.1 in 25. Plates VII. VIII. Capital of choir.1 in 10. Plate IX. Brackets in choir.1 in 10. Sections of their mouldings, with vaulting imposed . . 1 in 25. Plates X. XI. XII. XIII.— Capitals and corbels of arcading in Lady Chapel and choir aisle.1 in 5. VOL. I. 2 Plate XIV. Sections of piers and archmoulds of choir, with the triforium and vaulting imposed.1 in 25. Base mouldings of same pillars.1 in 10. Plate XV. Pillars and archmoulds of transept, with vaulting imposed . 1 in 25. Fig. 1. Coping of a buttress. „ 2. Parapet. „ 3, 4. Cornice and water table.1 in 25. Plate XVI. Jambs of western doorway . .1 in 25. ST. GERMAIN’S. St. Germain’s in the same town belonged to a Benedictine monastery, dependent on Cluny. It is now in a ruinous state, but the tower is interesting on account of its remarkably early example of the true spire fully developed. It is octagonal in plan, the cardinal sides being gabled, and the others occupied by pinnacles. The curve of its outline is also very peculiar. It is built of stone. Elevation.at 1 in 300. Detail of elevation. Vertical section and plans. J Mouldings of jambs of rights and capital of pinnacles ...... 1 in 25. m.2z AUXEBRE P1I London. Bell I^DalAyl857’ Depose i- H Idag-ArcDt e Druges 27 I PI 28 AUXERRE, PI 2. , (S'- Etienne ) London Bell I)aldj 1857 Repose 28 H.King.Archt 6 Biuees. O O L° Metres JS° Feet "Elevation I PI 30 AUXERRE.P1 4 (S fc Ktienne) r. WuiM?nU/*', Zh LojiSpuBell <^DalcLyl857 Depose 32 , Jiry< ./>'. (J/urrifun/ tti/n ‘, w, r. ■ P.iri.r T Li Kmg ArcL.t e Bruges I PI, 3 3 AUXEKBE PI .7 ( S l Etienne ) //nr /•' f/nr.tvn r IP1.34. AUXEKBE T1.8. A t Et-ieons) //ry V'' t />i/./,•/> ainr . ■ in /■, T.H King' Axckt 6 Bruges . m.55 ATI^KKE.PI.a (S fc i tiermej m3 6 AUXEBBE RIO (S b iLiermeJ /Su'f./'-nf//.- . 1 PI,37 AUXEBBE Pl.ll (S t Etienne) 1 .ondon Bell ^ Pal Ay 1857 T H King - AicEt® Bruges jfttur.JF. Mtu-dot. ■ JZtat.frn,//. ,P.» EclieTLe ie Tejcecutioa. J PI 3 9 AUXEKRE n 13 (S k Etienne) Jr/tp / iVuny/i’fi IP1.41. AtJXERREPl.15 Z/iyi JT I '/iuriton aitte ,3o.r.J2Hcut/Af&tu//e , ,jPariir ssjqaj^ I PI. 42 4UXERREP1.16 PH rt 1 London Beil ?yDalclyl857 Depose 42 TffPSng- Archt e Bruges J/np JP C/uUifm nuf . w r. 7Zautiu//r-'rPati.r MAULBROUN. The Cistercian abbey of Maulbroun in Germany is remarkable as being the most perfect example remaining of one of those vast establishments which, under the influence of St. Bernard, were planted throughout Europe during the twelfth and thirteenth centuries. The church, the cloisters, the abbot’s house, the refectory, and most of the monastic buildings, are still in their original state. And what is lacking might be supplied from Altenberg, (PL 6,) another house of the same order, which it much resembles in arrangement; so that out of the two it would be easy to reproduce a perfect Cistercian abbey. But Maulbroun differs from Altenberg in this, that being earlier in date, it bears more traces of St. Bernard’s influence. Its architecture is plainer and more severe, in accordance with the principles laid down by him in 1119, in that first celebrated chapter at which the Constitutions of the Cistercian Order were drawn up. The nature of these may be gathered from the directions given for the building of the church, which run as follows:—“ The church shall be of the greatest simplicity, and sculpture and painting shall be excluded. . . . The glass shall be of white colour, and free from crosses and ornaments. No towers or belfries of wood or stone of any notable height shall be erected.” The immediate effect upon architecture of such regulations as these, adopted by a society so extensive and influential as the Cistercian Order immediately became, it is now impossible to determine. The pointed arch had just been introduced, and they may have served to restrain its too luxurious development; perhaps they were of use in preserving that element of dignity for the loss of which Gothic afterwards declined. And it cannot be denied that some of the grandest works in existence «are due to the Cistercians. Nevertheless, after St. Bernard’s death we find his disciples gradually departing from the rigorous simplicity which he had enjoined, and their latter foundations may rank with the houses of any other order in richness of design. The regulation against towers alone never became obsolete; we do not recollect a single Cistercian abbey in which one occurs. Perhaps this peculiarity was considered one badge of the society’s separation from the old Benedictines, since Cluny could boast of no less than seven towers, and was, on that account, the more scrupulously observed. But in all other matters the Cistercians conformed to the spirit of the age, and adopted not only the variations in style introduced by the progress of architecture, but even the decorations forbidden by their rule. Of this change of principle Von. I. 9 Maulbroun itself furnishes a conspicuous instance. Its later buildings are as ornate as the earlier ones are severe. Compare the church (Fig. 6, PI. II.) which was first built, and which dates from the year 1178, with the parvise and cloisters (Plates III. and IV.) and with the refectory (Plate V.) ; and the subsequent erections are even more elaborate. Yet the plan of the abbey was indirectly received from St. Bernard himself, which might have been supposed an inducement to the monks to observe his laws. It is as if, under the cover of a saint’s name, puritanism had made a premature attempt to expel magnificence from religion, and, unable to take root in the Church, had gradually died out when his personal influence was removed. The building of the abbey commenced in the year 1146-7, and the church, with the exception of the transepts, was completed in the year 1178. Masons’ marks, which seldom occur before the thirteenth century, are found in this part of the work at Maulbroun. The church was not vaulted till the year 1424, about which period (jreat additions were made to the whole abbey. The paradise at the west of the church, marked B on the plan, was built between 1215 and 1250. The hall ( H ) is also of the thirteenth century. The chapter-house (AT) with its little chapel, are of the fourteenth century; the lavatory (G) was built out in the year 1511. Plate I. Plate II. General plan.... (A.) The church. (B.) Parvise. (C.) Cellars. (E.) Cloister (F.) Refectory. (G.) Lavatory. (H.) Barn. (I.) Parlour (K.) Chapter-house. (L.) The Prior’s house. Elevation of the west facade of the church .... Section of nave looking east. Fig. 1. Elevation of the wall of choir, half interior and half exterior.. „ 2. Section of the mouldings. „ 3. Its cornice, interior and exterior. „ 4. Part of the mouldings in elevation .... „ 5. Corbel table on the west fagade. „ 6. Pillar of church. „ 7. Double pillars of the barn, with section . . at 1 in 500. 1 in 300. 1 in 300. 1 in 100. v 1 in 25. Plate III. Exterior elevation of bay of cloister, south ; section of same; interior elevation against wall of church. Figs. 1 and 2. Capitals of spring of arches against the\ church, in elevation and profile. „ 3. Section of mouldings of same. „ 4. Shaft against the external wall in elevation . . . „ 5. Section of mouldings of same, with mouldings of vault and window. „ 6. Vertical section from window-sill. 1 in 100. 1 in 25. Plate IV. Interior elevation and vertical section of a bay of the parvise at the west of the church. Section of the mouldings; elevation of bases and capitals of same. Interior elevation of bay of cloister at the south-west angle Section of mouldings; archivolt of same. 1 in 100. 33 33 33 1 in 25. 1 in 100. 1 in 25. Plate V. Transverse section; longitudinal section and bay of wall of refectory.„ 1 in 300. Details—capitals, columns, elevation of plinths, profile, and mouldings of same.„ 1 in 25. Plate VI. Figs. 1 and 2. Elevations of stall of choir ; part of plan of same. „ 3. Details of shaft . . „ 4 and 5. Details—back and cornice of stall . . . 33 33 33 1 in 25. 1 in 8. 2 in 25. London Bell &/Dalctyl857. Depose T HLnig,Arch.b e Bru.ges. 44 ,IP45 MAULmomP12 London Bell ^Daldy 1857 Depose 45 IchelLe.) _L T H Line- Archt e BraP'es' ocale J 300 ° 3 Jny> JT. C/uu ,Lh . .U /■. Jfiutte/eui/fe I’nrir . I PI 4'6 MAULBB0NNPI3. L ondo n B ell ^ Paldy 1857 Depose 46 TH Eng Archt e BTuges- imp ./' C/iardon amr. ■<« /•-//,tu/c/ciutfn/I-'anu-. 3P1.47 MAULBBOM PI 4 ./' ■ t Yt.m6//1/ mru'/' - >• J/t! iitr/l'tc iff*?, I PI 48. MAULBRCmN PI5. 48 ./mp.J? CAas-don/ ■&*&/, .'io . r.J&aa£e/GuMef,.p€u*w' t MAULBBONN PI 6 I PI 49 ■LondonBell ^McLyl857 Lepose THILngAxck e Bruges 49 rnw.r. c/utrdo,,. ,iw 0 Plate I. Ground plan and plan of tower.at 1 in 500. Section of nave. Section of north transept.I _ . . , . 1 . >- 1 m 300. Section of choir, looking westward. Section across transepts, looking eastward . ... J Plate II. Elevation of north side of choir.1 ' 300 Longitudinal section of same.J Elevation and profile of ringing apparatus, with per¬ spective view.1 in 5. Plate III. Figs. 1, 2. Perspective view of bracketing of gutters over buttresses. „ 3, 4, 5. Elevation and section of gutter, and cornice of choir aisles, nave, and choir. „ 6. Section of western pier of north transept all withal „ 7. Pier of nave and aisles.I arch- Ll j u •>g „ 8. Same pier at Triforium .... | moulds „ 9. Same pier at Clerestory . ... J imposed.J Plate IY. Section of north aisle.1 in 100. Details of one bay of choir, with string-course sections of pier and arch-moulds; jambs of windows of chapels, section and elevations.1 in 25. Plate V. North transept doorway.1 in 25. Perspective view of the Church. ! Plate VI. Piscina from chapel of choir, in elevation and vertical section. Figs. 1, 2, 3. Plan of its crown; ^ plan of basin, 1 plan on its shelf.1 in 10. Plate YII. Piscina from another chapel of choir. Figs. 1, 2, 3. As before . . . . 1 in 10. I,PI.50. SEMUR PI I London Bell ^ Daldy 1857 Depose 50 T H.Kmg- Arckt e Bruges /}/!/>. /' t Viiiri/i'/i I PI. 51. SEMUR PI 2 Zs/y 7 / ' tl'AsffrAvi n///t- , U> r..//iittfi/rut//< , Z J TP1 P9 FrtTMTTR PI ^ 52 T ID! c.rz J/nf> /■* GAtinlen eUflr , J*. r. J3'tin&frnffle, J~'aruf. London. Bell ^ Daldy 1857 Depose 54 T. H ILng Ancht 6 Bruges SEMUR.PI 6. ' I.P1 55 Depose. 55 . London Bell ^ Dally 1857 T H King- ArchL e Bruges ■ I PI 56 ' SEMURP17 London Bell DalcLy 1857 Depose I H Iftsng' ArcKt® Bruges 56 . Imp JT f.-'fiunlon turn-, ,)/> r JJnu/cfriit/lf J\ir!.r. NOTRE DAME, DIJON. Notre Dame, Dijon, is a Church deserving of the most careful study, as forming with Semur a complete epitome of the purest French Architecture. Middle Pointed, as has been said, made its appearance in France before it was seen in other parts of Europe ; and this Church, which was commenced in 1252, but not completed until the year 1354, exhibits the progress of the style during the century of its greatest glory. Dijon is rather earlier than Semur, but the two Churches ought to be taken together. A very remarkable feature at Dijon is the western porch or gable. There are other Churches which possess the same appendage, but it is now difficult to discover the uses to which it was applied. It has been usually supposed that penitents and excommunicate persons had their places there, apart from the general congregation ; but there seems little ground for this conjecture, beyond the fact that all porches were so employed ; and the question at once occurs,—what was there special in the case of Notre Dame, Dijon, and elsewhere, which required a distinct and magnificent structure to be erected for the use of those who were not allowed to enter the Church. At Dijon this porch occupies the whole of the west front, and consists of three stories,—-the two upper of which are galleries, externally fenced with arcading of the most delicate and exquisite design, and enriched with beautiful sculpture. But the lower of the three forms a vast vestibule, through which access is had to the Church. The vault is supported on pillars corresponding with the pillars of the nave and aisles. The great doors of the Church open between the rows of pillars. The tympana and jambs of these doors were originally filled with images ; but in the year 1793 they were stripped of all, and now only the niches and sockets remain. The second story internally opens into the Church. The clock over the south turret was originally at Courtray, in Belgium, whence it was carried away, in 1382, by Philip the Hardy, to be erected in its present place. It is a curious piece of mechanism. The hours are struck by figures upon a bell suspended in the turret. It has received the sobriquet of Jacquemar, either from the name of its inventor or from Jaque de maille, a kind of defensive armour worn by sentinels upon the tops of towers. Changenet, of Dijon, poet and vinedresser, who lived in the 16th century, has some quaint lines in praise of Jacquemar — Jacquemar de rien ne s’etonne Le froid de 1’iver de l’autonne Le chau de l’etai du printan, Ne l’on su rendre mancoutan, Qu’ ai pleure, qu ’ai noge, qu’ ai grole El 6 sai tete dans sai caule Et le deu pie dans ses saulai Ai ne veu pa soti de lai. VOL. I. 9 The Cathedral of Dijon has nothing much worthy of note. There is a curious monument existing in a private garden in the town, which deserves mention. It is to the memory of Philip Pot, Grand Seneschal of Burgundy, who died at Citeaux, in 1494, whence this tomb was brought. The deceased knight is represented on a bier, carried forth by mourners to burial; a mode of treating the subject common enough in later times, but sufficiently rare at this period to call for remark. Plate I. General plan ; plan of part of west angle at the second story, and plan of the lantern at the transept.at 1 in 500. Transverse sections of nave towards the west, of transept towards the east, and of choir towards the west.„ 1 in 300. Plate II. Longitudinal and transverse sections of parvise towards the east Lateral elevation of north side. Elevation of west facade. ^j> „ 1 in 300. Plate III. Bays of nave and choir, and vertical sections of the walls. Plate IV. Details in elevation and profile of bay of choir. Fig. 1. On the ground floor. „ 2. At the triforium, with various plans.. Plate V. Profiles of the piers of transept of nave and north aisles, with mouldings of archevolts and vaults. 1 in 100. 1 in 25. 1 in 25. Plate VI. Capitals selected from the lower arcading of choir 1 in 5. Plate VII. Part of circular glass in window of north transept, with sections of mouldings and details of ironwork ; elevation, vertical section, and plan of part of arcading of west facade. Plate VIII. Longitudinal section of west parvise. Fig. 1. Gable and tower of north transept. „ 2. Elevation and profile of cornice. „ 3. Sculptured panel in west fa 9 ade. „ 4. Elevation and mouldings of shafts of west portal. „ 5. Sections of triforium, clerestory, and upper vaulting of parvise J3 1 in 25. 1 in 100. 1 in 25. IP],57 DIJON, PI 1 J/Hf @/tftivftnt nine, '‘m. /■ y/nt/tsfrni/fs,^‘tiii.r. London Bell 4> Daldyl857 T H.King. Archt® "Bruges I.PI.58. DIJON PI 2 L ondon Bell Daddy 185 7 Depose 58 T. H.'K.ing. Ardit e Bruges Tntf, T. C/tai Ju. London Bell ^ DaLdy 1857 Depose 59 T H King Arclit 6 Bruges 7?Tyfetres - . London Bell ^Da%1857 Depose 60 T H.Kmg.Archt 6 Bruges I PI. 62. DIJON, PI 6. London Bell ^ Daldy 185.7. Depose T. H.King', Arckt? Bruges. 62 -Z/iy . min- ■'' t'A.in/i'/i nine T H King Archt e Bruges. r, ■'/>. / ,J£tn(rfi : i(i//e,P r,/7/a/Afiid(U,.r.>i Metres London Bell &, Daldy 1857 Depose T H King Archt e Bruges 69 J/'i/' .r t Z ..V , f //.iiihy/ni/A- ' /•., 1 I PI. 70. SEEZ Pl.6. Y/>y jP’ f '/itin/i'/i Min' , -l/> /■ jfYti//ffrnt//r r T‘iti-i.r 1 PI 71. SEEZ PI. 7 London. Bell ^ DalcLy 1857 Depose T H Kins' Archt e Bruges 71 Y/ry .J?.'C/uirtfonJ ai/ui/ t So. r r. J/auis/eui//* / Pan.r. London "Bell Daldyl857 Depose 72 T H King Archb e Bruges I PI. 73 SEE Z. PI 9 I PI 74 SEEZ PI 10 SPIRES. Few churches possess a more eventful history than the cathedral of Spires, or have endured so great disasters and survived them. Four times burned with fire, twice dismantled in war, twice condemned to be rased to the ground, often desecrated, its treasures rifled, its tombs profaned, it is still standing, as if neither time nor violence had power to hurt it,—a monument of the patriotism with which, after each calamity, it has been restored. Spires was to the Germans what Westminster Abbey is to the English and St. Denis to the French. The successors of Charlemagne chose the city for the imperial residence, and built the church to be their place of sepulture. There were buried Conrad II., the founder, and his wife, Henry III., Henry IV. and his wife, Henry V., Philip of Swabia, Rodolph of Hapsburg, Adolphus of Nassau, and Albert of Austria ; also Beatrice, the wife of Frederic Barberousse : eight emperors and their empresses. So it was, therefore, that when fire or sword had laid waste the church which contained the tombs of so many august personages, whose names were interwoven with the history of the empire, contributions poured in to the treasury as for the restoration of a national monument; and once, after a conflagration which had left nothing standing except the four walls and two out of the six towers, men congratulated each other upon the fortunate destruction from which the church had risen again more beautiful than ever. At this day the glory of Spires is gone; the city never recovered its destruction in 1689, when the soldiery of Louis XIV. marched out the wretched inhabitants, and burned the town behind them. But the Germans have not lost their veneration for the old church, although when the French burned the city they also sacked the cathedral, and scattered the bones of the emperors in the winds; and at this moment it exhibits the most perfect specimen of restoration which the Continent can furnish. The west facade has been rebuilt; the whole of the interior has been decorated with frescoes, and the windows filled with stained glass. It is not indeed what it was seven centuries ago, when Conrad III. and the chivalry of Germany assembled within its walls to receive from the hands of St. Bernard the banners of the Crusade; but it is still a magnificent pile, and retains the full proportions and the plan of the original church. The first stone of the cathedral was laid in the year 1030, by the emperor Conrad II. ; but the building was only completed by his grandson Henry IV., in the year 1061. It stands upon the site of an older church, which had been built by Dagobert II. upon the ruins of a temple of Diana, soon after the introduction of Christianity into Germany. It is one of the largest churches in Germany, , being upwards of 400 feet in length. It possessed originally six towers : but four of these were destroyed by fire in 1450, and were not rebuilt. The cloisters were built in 1437 ; but they, too, no longer exist. The west end was blown up with gunpowder by the French in 1689 ; but they failed in their attempt to destroy the rest of the church, and it escaped unhurt from the flames of the city, which for several successive days were raging round it. For some years it remained in a ruinous state. The chapter Vol. I. o fitted it up rudely, according to their means, for the use of the inhabitants, who, after a time, began to return to their smoking houses; but in 1772 Augustus Philip, Count of Limbourg-Styrum, bishop of the see, commenced a more complete restoration. Ilis works occupied a period of twelve years. But shortly afterwards broke out the French Revolution, when it was again profaned, and when indeed it had a narrow escape from total destruction. Its existence at this moment is due to the intercession of the Bishop of Mayence, who, in 1806, obtained an order for its preservation from Napoleon. In 1817 a concordat with Rome re-established the bishopric of Spires, and since that time the cathedral has been diligently cared for; large sums have been devoted to the purpose of placing it in a state of substantial repair, and the interior has been decorated in a very costly manner. The frescoes with which the whole of the interior has been covered, deserve great praise on account of the feeling after true principles which they evince. They are by Schrandolph. The subjects have been well-selected, and are appropriate to the building, wdiich cannot always be said of the indiscriminate assemblage of oil pictures commonly found upon the walls of churches. The choir and nave are devoted to the history of the Blessed Virgin, patroness of the church and diocese. In the south choir are depicted the history of St. Stephen the Deacon, to whom the original church of King Dagobert had been dedicated, and the history of St. Stephen the Pope, a relic of whom is preserved in the sacristy. On the roof are four illustrations of spiritual martyrdom, as represented by St. Catherine of Sienna, St. Elizabeth of Hungary, St. John of God, and St. Paul the Hermit. In the north choir St. Bernard is painted preaching the Crusade in this Cathedral. On the roof are four illustrations of the influence of religion on the Family, Society, the Arts, and Sciences, personified by St. Clotilda, St. Henry, St. Chrysostome, and St. llildegard. In the great choir the first picture on the left is Our Lady and St. John after the Ascension; the second is the Death of the Blessed Virgin. These two pictures are surrounded by personifications of the eight Beatitudes. On the right wall of the choir the first picture is the Entombment, and the second the Assumption, of the Blessed Virgin; and these are surrounded by figures of saints illustrating eight suffrages from the Litany of Loretto. Above the Bishop’s Throne is the Coronation of the Blessed Virgin. In the dome are depicted the Twelve Apostles, the Fathers of the Church, the founders of the chief religious Orders, and the nine choirs of angels adoring the Holy Trinity. These frescoes are already somewhat faded, and perhaps the figures want something of the ancient spirit, and are not altogether free from the influence of classical art in the draperies; but they enable us to form a tolerably correct notion of the internal appearance of almost every Church in its original state; and, without applauding every particular of the design and execution, it is impossible to compare the method of painting adopted at Spires with the modern system of hanging oil-pictures in rectangular frames, and not be struck with the infinite superiority of the ancient mode of ecclesiastical decoration. Plate I. Ground plan and plan of crypt Interior and exterior of one bay of nave Plate II. Section. at 1 in 500. 1 in 300. 1 in 300. Plate III. Perspective view. Fig. 1. Exterior arcading of nave. „ 2 , 3, 4. Sections of mouldings, shafts, and capitals of 1 in 100. arcading. ., 5, 6. Mouldings of cornices of nave and transept. . 1.P1.75 SPJPE H 1 L ondon B ell ^Palely 1857 Depose. 75 T H King-.ArcKb® Bruges 1 ..? ■ ■ ■ -■■■■■ T_2_!1 Metres 300 _._*_.___3£_,_,_,_,_12° Feet L onion J3 ell ^ Dally 18 51 T H King - Archt e Bruge, London Bell Dalcly 1857 D epose 77 T H.Kmg. Archt 6 Bruges GELNHAUSEN. The choir of Gelnhausen presents a very interesting specimen of the transition from Romanesque to Gothic. It was built between 1210 and 1220. In France, at that time, pure first pointed had become fully established; but here, although the design approaches very nearly to Gothic, the round arch, as may be seen from the drawings, still retains its influence; which is yet another proof, if more proofs were wanting, that France is the real source of Gothic Architecture. The twisted form of the Spire, as seen in the sketch, is said to have been a caprice of the architect; it may have arisen from some mistake in the progress of the works. But whether its shape was accidental or intentional, it cannot be said to be worthy of imitation. The sculptures and style of execution are good; but Gelnhausen is not superior in these respects to many other Churches for which no room can be found in this publication. The particular object of interest in Gelnhausen is the Jube, which is coeval with the choir, and is especially worthy of study. Yet it has escaped the notice of all the savants and bookmakers who have described the Church. Its design and execution will be best understood from the Drawings. It will be observed that the central altar with the doorway on each side, which attracted our attention in describing the abbey of Maulbronn, is here provided with a singularly bold opening above it. This peculiarity deserves attention in the present day, when it is so often required in monastic Churches to build an altar which will serve at once for the community within the choir and the general congregation in the nave. Plate I. Plan.at 1 in 500. Longitudinal sections and east elevation of choir .... 1 in 300. Sketch showing twisted and hanging spire. Plate II. Elevation of doorway in north transept.1 in 50. Fig. 1. Capitals of same."1 „ 2 and 3. Sections of jamb and archmould . . . . f-1 in 25. „ 4. Bases of shafts. J „ 6. and 7. Elevation and profile of corbels supporting arcading in choir.1 in 10. Plate III. Capitals of shafts of arcading round choir.1 in 10. Plate IV. Elevation of the centre bay of the Jube, with its altar. Figs. 1, 2, 3. Sculptures in relief on the spandrils. „ 4. Profile of archmould and balustrade. „ 5. Section of pillars with archmould and i;ibs of vaulting imposed.1 in 25. General plan.1 in 100. VOL. I. 1.P1 79. GELNHAUSEN PI 2 London Bell ^ Daldy 1857 Depose. 79 T H.Kmg _/\rcht e Bruges I.P1. 80 &ELNHAUSEN P1.3 I PI. 81 G-EL1MHAUSEN PI 4 Pepose 81 London Bel ^DalcLyl857 TH Ung Arch.t e B rages 1/Tetrei LUNEBERG. Luneberg was anciently a place of considerably more importance than it possesses at present. The town may be said to date from the erection of the monastery of St. Michael and the castle hard by; but it is uncertain when these were built. By some antiquaries the monastery is referred to the twelfth century. According to others it was not founded till the fourteenth. However that may be, the monastery and the castle were the commencement of the present town. Mr. Parker, in his interesting- account of Domestic Architecture in the fourteenth century, p. 153, says,—“ that one class of old towns consists of those which have gradually clustered round the walls of a castle for the sake of protection, as at Norwich, in which the principal streets wind round the castle, following the line of the moatand that another “ class grew up under the protection of some wealthy and important monastery, as Bury St. Edmunds.” Luneberg is an instance of the influence of both a monastery and a castle. These stand on the only eminence to be found in the whole neighbourhood, and the city crouches on one side of the hill on the plain below. Although the date of the first foundation of the city is obscure, it is evident from the character of the whole architecture of the town, as well of the municipal as the ecclesiastical buildings, that it was‘not a place of much importance until the fifteenth century. The same inference is to be drawn from the style of the corporation-plate, a very valuable and unique collection of which is still preserved in the Town Hall. None of this is of the very best period, and some of it is quite in the Renaissance style; but all is designed on the true principles of metal work, and there is scarcely a piece in the whole collection which does not deserve, and will not repay the closest study. It is, however, unnecessary to engrave any of them here, since Mr. King has already given the working drawings of a large selection of the most instructive objects in his book on “ Orfevrerie,”—a work exclusively devoted to the illustration of choice examples of mediaeval art in gold, silver, and other metals. Some description of them is nevertheless required in a work like the present, which aspires to direct the attention of those who are engaged in the revival of Gothic towards such examples in each department as are most worthy of their study. In enumerating these, we attach to each piece the number of the plate of the Orfevrerie book, on which its details, with all the plans, sections, and elevations, required by the working silversmith, may be found. Vol. I. 4 Plate III. Basin in the same Church at 1 in 8, holding a prichet for a taper, suspended by three chains of singular workmanship, also belonging to the woolspinners. It is drawn one-eighth real size. The star upon the bottom of the basin is only painted. A figure of St. John the Evangelist, holding a candlestick and attached to a baton for processions, one- fourth real size. There are two of these exactly alike. A branch for three lights, at one-tenth real size, with escutcheons attached. This is shown in elevation and profile, and sketches are added showing the manner in which the shields are attached. These are all from St. John’s Church. Plate IY. A door with a wicket, remarkable for its simple but elegant framing. It is given on a scale of 8 in 100. The details of the ironwork are at one-fourth, and the nail-heads are full size. It is richly coloured; the whole framework is painted white, the ground of the panels light green, the champers lilac, the studnails vermilion, the piercing of the iron¬ work showing dark green. Fig. 1. Hinge. „ 2. Handle. „ 3. Bolt. „ 4. Champer of panels. Fig. 5. Section of panels. „ 6. Pierced plate of handle at a. „ 7. Nail-heads, front and profile. Plate V. An image of the Blessed Virgin and our Saviour, on a pedestal, c. 1500. The Blessed Virgin is in a cope, the orphreys of which are set with precious stones. It is beaten up with silver, painted and gilt; shown here at two-fifths real size. The crown and sprig of flowers and fruit are of very remarkable work, executed upon true principles. The flowers are of strips of metal, cut out and twisted into shape, with a taste peculiar to the age. Several of these are shown unrolled and laid open. Plate VI. Part of an iron railing at the foot of the staircase in the Hotel de Ville, on a scale of one-tenth real size, showing its construction and workmanship at one-fourth. Although very late, this railing is an object very worthy of attention at a moment when the superior capabilities of wrought over cast iron are becoming more generally known. r pi 82 LUNEBURG PI 1 (Johanruskerk.) / I.PI 83 LtINEBlIRG-.Pl 2 I PI 04 LTJNE3TJRG.P13 /m/j. C/uu-s/on. /■, 3p r J/.iu/r/vuUU , Vmw. ^ t P e . 1 '^ 7 __ '_ Metre 1,10 IP1 85 LUNEBUR Gr PI 4 London Bell ^Daldyl857 Depose 85 T H King- Arclit 6 Bruges aW* „ -.y/huUt/aUlfoPgrL r Details grandeur de 1 execution. Details real size I.P1.8 6. LUNEBUR&Pl 5 Date about 1500. Scale of-^- Eclielle de-^- Londoti Bell Jy Dally 1857 Depose T H King. Arckt 6 Bruges 86 /, v r i , 3a r. I/nutp/i'ni//f _ jPar 'ur. I. PI 87 LUNEBURG PI 6 TOULOUSE. ST. CERNIN. Toulouse was a place of some importance before the Christian era. It is said that the Gauls, after their pillage of Rome, carried thither immense treasures, and deposited them in their temple of Apollo. Afterwards, for greater security, they sunk the booty in the lake upon the borders of which the temple stood. Upon the site of this temple and lake now stands a Christian Church. The temple was demolished and the lake drained by St. Sylvius, the Bishop of Toulouse, for the erection of a Church in honour of the martyr Saturninus, or St. Cernin, as he is now called. The present building under this dedication is the fourth which has occupied the same spot. It was commenced in 1060 by St. Raymond, a canon of the Cathedral, and finished in 1096. It was consecrated by Pope Urban II. Soon after the consecration of the new Church, William Raymond was made first Abbot, and it continued to be governed by Abbots till the year 1526, when the foundation was secularized. St. Cernin’s is the most remarkable model of the Roman Style in France. The Church at Congues is equally complete, but much smaller. In form St. Cernin’s is a very long Latin cross ; the aisles and nave are very narrow. The south side has two porches, ornamented with curious sculptures, representing the Massacre of the Innocents and the Seven Deadly Sins. The tower is very lofty : it is built on stages, each smaller than the one beneath it. It is of the fourteenth century, and the architect appears to have intended to make his work harmonise with the earlier portions of the Church. The iron screenwork in the chapels of the south transept is of admirable workmanship: it is somewhat Spanish in its character. The leaves and flowers of the cresting are beaten up with great spirit. St. Cernin’s is the only Church in Toulouse which is built in stone; all the others are of brick. THE JACOBINS. This is a desecrated Church, but of great interest, notwithstanding its deplorable state. It belonged to a community of Dominicans, and was commenced only eight years after the death of St. Dominic, so that it is almost as old as the Order itself; but it is now in military hands. It is divided into two storeys by a floor, the lower of which is fitted up with stalls for horses ; the upper is a hay-loft. But could we see it Vol. I. o as it appeared before its treasures were scattered, and its works of art mutilated by revolutionary violence, we should find it worthy of an Order celebrated above all others as the home of painters and sculptors. Even now there are exquisite frescoes on the walls and sculptures in the niches, which excite the admiration of the visitor as he threads his way among the horses and the hay which divide the sacred building between them. The Church and Library were commenced in 1229 by Raymond de Falgar, Bishop of Toulouse; but the Church was not entirely completed till the year 1336, when Pierre de Godin, Cardinal-Bishop of Sabine, himself a Dominican, brought to a termination works which had been slowly progressing for more than a century. The munificence of this benefactor was recorded on the rood. This rood is still preserved in an obscure lumber-room at Toulouse : it is a rare piece of workmanship, executed doubtless by one of the early artists of the Order. The Church was consecrated in 1385. The belfry on the north of the Church is of the same style as are the upper storeys of St. Cernin, and the two towers are probably by the same architect. It was erected at quite the end of the thirteenth century. The cloister, chapter-house, and refectory, are also on the north. Two galleries only of the cloister remain, those on the north and west side of the quadrangle. It was built at the commencement of the fourteenth century; of which date also are the chapter-house adjoining, with its side chapels. The refectory is a little older. The Church exhibits several peculiarities of construction. The nave is remarkable for an arrangement which obtains in the Dominican Church at Paris, and in others of the Order both in France and Spain. It is divided by a row of columns down the middle into two parts, which terminate in a common apse. Some instances occur also in England, as at the Priory of Abergavenny. The chapter-house is divided into three parts by arches which support the vault, and an apse is placed at the end of the centre division for an altar. The refectory is remarkable for the peculiar construction of its wooden roof. The purlins are imbedded in stone arches, and the spaces filled in with panelling. It is, in fact, a wagon-head roof, with stone principals. THE CHURCH OF THE CORDELIERS. The Church of the Cordeliers is another example of an ecclesiastical fortress. It is almost as wide as the Cathedral of Alby; and the north side, which is the most exposed to attack, is built upon the same principle. The windows, like those at Alby, are placed high out of reach, especially on the east, and a passage for the garrison is formed along the roof by arches thrown across from buttress to buttress. It appears to have been the object of the architect to screen this passage from observation, which may be the reason why it is not supported on a corbel-table as is usual in castles and other buildings exclusively military. 3 ST. NICHOLAS. This Church is of peculiar form. It consists of nave and chapels, without a choir properly so called. On the north side these chapels have an apsidal form. The tower stands at one angle of the west fa9ade, and forms a porch. In its upper storeys it resembles the towers of St. Cernin, and was probably built by the same architect. NOTEE DAME DU TAUE. This Church was also originally dedicated in honour of St. Cernin, haying been built upon the spot where the martyr was left by the bull to the horns of which he had been bound. The facade is carried up above the roof, and the bells are hung in the thickness of the wall. It is, in fact, an extension of the bell-turret common in English Parish Churches. The principle cannot, however, be recommended on so large a scale. The most conspicuous feature in the Church is the double chancel. Instead of a single choir, occupying the whole width of the Church, there are instead two large chapels of equal size, with a small space for an altar between. TOMB AND SAECOPHAGI. In the Museum at Toulouse are preserved the elegant tomb of an Archbishop of Narbonne, and two sarcophagi, which probably date from a very remote period. We have given ample Drawings of both the tomb and the sarcophagi, from which the reader will gain a better idea of them than from any written description. The flat part of the slab of the tomb was formerly laid in enamels, but these have been removed. The effigy is most beautiful, both hi design and execution. The sarcophagi are evidently much older than the ornaments upon them. It is not improbable that they were of heathen origin, and were afterwards carved when they came to be used for Christian burial. The sculpture is of the fourteenth century. Plate I. Ground plan of the Church of St. Cernin.at 1 in 500. Elevation of one side of tower, with vertical section, the continuation of the spire and plans of the different storeys., . „ 1 in 100. Plate II. Semi-section of the nave and transepts.. 1 in 300. Figs. 1, 2, 3, 4, 5, 6. Piers of the nave, of the aisles, of transepts, of the aisle of nave, and of the side of choir.„ 1 in 25. Perspective view from the north-east. 4 Plate III. Iron screen of the chancel at the south transept.at 1 in 5. Plate IY. Two gratings of iron, beaten, in the aisles of choir. 1 in 5. Plate V. Plan of Church of the Jacobins, chapter-house, refectory, and cloister . „ 1 in 500. Elevation and section of chapter-house.„ 1 in 300. Fig. 1. Pillar. „ 2. Ribs of vault of chapter-house. „ 3. Mouldings of windows in chapels in the apse of church. . . .4 „ 1 in. 25. „ 4. Vaults of same. „ 5. Pier at the angle of chapels. Plate VI. Elevation of west fagade; transverse section, elevation, interior, and exterior of a bay of nave. Fig. 1. Transverse section. r» 1 i n 300. „ 2. Elevation, interior and exterior, of bay of refectory. „ 3. Moulding of flying buttress of refectory.„ 1 in 25. Plate VII. Elevation of one side of tower, with vertical section.1 Figs. 1 and 2. Plans of the different storeys.J ” m „ 3 and 4. Profiles of mouldings of windows."1 , . L 1 m „ 5. Details of bay of old cloister, with plan and section of archivolts . J ’ Plate VIII. Ground plan of Church of the Cordeliers.„ 1 in 500. Transverse section of same; elevation, interior, and exterior, of bay of nave „ 1 in 300. Figs. 1 and 2. Profile of mouldings of piers of nave and apse. „ 1 in 25. Perspective view from the south-east. Plate IX. Ground plan of Church of St. Nicholas.„ 1 in 500. Transverse section and interior elevation of bay of nave.„ 1 in 300. Fig. 1. Part of rosace in west fagade; profile of its moulding."1 . C)r „ 2. Mouldings of flying buttress of vaults of nave.J ” Perspective view from the south-west. Plate X. Gi’ound plan of Notre Dame du Taur.. 1 in 500. Transverse section at the transepts, taken at the western bay; elevation and vertical section of the west fagade.. 1 in 300. General plan of the ancient cloister of the Augustinians.„ 1 in 500. Detail of arcade of same, with plan at the angle and section of the arches . „ 1 in 25. Plate XI. Tomb of Archbishop of Narbonne, now preserved in the Museum • plan of the effigy; part of elevation of side, with profile of effigy . . . . „ 1 in 10. Panel of tomb.„ 1 in 4. Profile of mouldings.full size. Plate XII. Sarcophagus— Fig. 1. Part of elevation. „ 2. The lid.Ut 1 in 10. „ 3. Elevation of end.J Plate XIII. Sarcophagus— Fig. 1. Elevation. „ 2. Lid.I „ 1 in 10. „ 3. End. J „ 4. A cemetery cross..„ 1 in 10. „ 5. Reliquary.„ 1 in 5. I.PI.88. TOULOUSE PIT (S t Sa-tumin) London Bell ^ Laldy 1857 Depose 86 H.King Archt® Bruges /'■ t2/urrd/>n aim'. Jo r, //aut&Gicil/t ■, Aa/.,• I.PI 8 9 TOULOUSE PI 2 (S' 1 Saturrun) /my /'' C/tardon/ a-me/, 3o. r ■JfuUt/KtuUe’,/Ptu J_ del'execution 5 of real si ze X PI 91 TOULOUSE. PI .4 /'"ft ,/ > Par,., IP1 92 TOULOUSE PI,5. (Jducoiiins) London Bell ^ DalcLyl857 Depose 92 T H.King Arclit® Bruges J//y IT C/ui rdo .iZmtsfruMv r Parin'. IP] 93 TOULOUSE. PI.6 (Jacobins.) /}/y>. J? C/iardon* I PI. 94 TOULOUSE PI 7 (JacoBms) M, V®J le l a. London Bell ^ DaLcLyl857. icale 1 in 100 EcLelle 1 a 25. Depose 94 Scale 1 in 25 T H.King, Archt e Bruges .B*r> jr ml,:* I Pi 95. TOULOUSE,PI 8 ( Cordeliers) London Bell ^ DalcLyl857 Depose 95 . T. H King Arc]it e Bruges r,„/' ir t Zf./u/r/’.un//,- , jP*t I PI 96 TOULOUSE PI 9 ( S* Nicolas) JfHp.IT. CA.irJ#n ain e , .><•. r JBim tepn if ft t Paruj\ London Bell ^ Daddy 1857 T. H.Kmg AxcBt- Bruge^ I Pi 97. TOULOU SE.PDIO Imiclon Bell ^ DalAy 1857 Depose T H.King. Archt e Bruges 97 fiy fffanbn. r,./7?n,trfviu/fe , PnH*. I.pi QA> TOUT ntT9TT Pill London Bell ^ Daddy 1857 Depose T H King Archt 6 Bruges I.P1.99 ro,LOUSE PI 12 -f/np .P. (ainr . r Uaute/iiui/c. ParU, London Bell ^ Daldy 1857 I. PI. 100 TOULOUSE PI.13.