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 RELT@NBACHER'S MEDI AgVAL ARCHITECTURE. 
 TabBLe CF CONTENTS.: 
 
 SECTICN 1.° DRVELOPMENT CF WEDIABVAL aRCHIT&CTURE- - - - - -11. 
 Relation of kediaeval to Antique and Renaissance architecture- - -11 
 Basilicas in narly Christian art - ----2- 92-22 + ee =e ‘1 
 Section of Basilica------+-+- ---+--+-+-+-+-+2++-+-+--- 12 
 Greek Cross Plan------+-+-+-+-+-+-+-+--+--+-+-+--- ee eS. 
 Central Buildings- --------+---f -s ff - ef eee ee eee i2 
 Inherited Portion of Mediaeval srchitecture- - ---------- 12 
 Individuality otf wediaeval architecture- --------+-+---- 12 
 tethod of artistic Creation in Mediaeval architecture- - - -- - - +3 
 Principal Periods pf Mediaeval architeeture- + = =< = -— a6 = =e '= 18 
 Charlemange- - - -----+---- 2 - eee 2-2 - -- - --e 15 
 Post-Carlovingian Period - ------+--+-+-+-2+e 2262+ -2-- 17 
 Kingdom of Lothair- -<-- #+-*--<-=--=6 ee ee Se ee 17 
 Kingdom of Louis ----------2---- 2 2 -- Pe ae ae pe 
 Kingdom of Charles ------+----+--+------ ee - ee 17 
 Roman Buildings in Central Europe ae ee ae ae a an 17 
 byzantine Influences in Western Francé - -------+----- 18 
 Normans- --------+--+-+---- a ee a ee ae ee mae the 
 Neustria- -- - - = + = --- +--+. abe St SG ee aaa sac aw alia 18 
 Middle Ages Proper -----+--+-+- Pa gt: Oe lk, eg Va a aR a -19 
 Period tefore Crusades - - - - - ee) Sas sake glee ans as ERRNO A, Rp ce a Pf) 
 Period to end of Hohenstaufens ~ - ---+-=+---- ie kal not gece al 19 
 architecture of Gallia-~--------+---+-+-+-+-+--- amas 
 Germany- -------+- ah sl a lade Sl * el al Mah ae il ei aaa 
 Lombardy -~------~ ee eee ene ne cs” Sa ak eon il Tl” me 
 Religious Orders -"- -----<+-- Se be sl ga Ga i ly den des Ue Sea aa 
 Benedictines- +~--~ === - = om em eis aap ip. ae ib gt Nae oak 
 Cistercians and Cluniacs - =~ ----<-- = Oe oe a ee os ae 
 Mendicant Friars ---- = = ee ap li” i i ag a 
 Monastic Churches of Benedictines-< - - «= = =» ee we ee ee = = HZ] 
 Monastic Churches of Cisterclans - --+--- ++ --- ---- -2£1 
 Monastic Churches of Mendicant Friarse - - ---=------+- - -21 
 Religious Crders of Knighthood --~---=-----+-------- rps 
 
 Equipment of Wonasteries -«---+ =---=--2=---<-s--e- ~ =21 
 Levelopment of Mediaeval Architecture- - ---------+--- -21 
 pxtension of Hediaeval Architeoture - - ---— =--=--= = + == ~£8 
 French Architecture ----+ =< === se eee ee ere ee HH 
 German Architeoture ee ee em ee ee ee HH 88 
 
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 | * sedowdo bus pineal 
 
 em = egomwd: bee quiseied do cobs dead 
 tal lei ele... toc) = = egos to woba semen 
 dias ReMi de ‘a eons t4 at aided ybtas 
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 Stee ees = wtied ve ond endo 
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 REDTENS ACHE! 
 
 German Transition Style ---------- 
 
 G2 
 
 bifferent tendencies of German Transition Style ------- - - -#4 
 Rhenish Trensition Style - << - = +--+ += ears: 
 Transition Style of Cistercian Churches + - ------=- == = -&5 
 Transition Style with Gothie Tendency - =~ --- ----=-- = -.-24 
 Nature of Late Gothic ------ +--+ <2] - = ee eee eH HS 
 Schools of Southern France- - + -<-<+-<+=+<+--+- me HE 
 Churches of Provence- - -----+-----+-- we EE 
 Churches of Languedoc - -------+-=-- ~ mee ee Re ee HE 
 Churches of Auvergne - ----+---+7-° me ee HEE 
 Divieions Of “AQUITanT Ge as fam) Se aR ee A me ae ee at me = MEO 
 Perigord ----<--> ~- ee eee ene ~— eee eee = =26 
 Poiteu- ------ —- eee eee ee eee wee eee pF 
 BEAU mn ae me ee a tee a ee a a RE a ea meee ee ee HE 
 CRGRCReB ct Reni gongs S-e sit S. = Me ee me i 
 Churches’ of: aquitenia = + + =< = 6 8 ee 6m em wee me 22% 
 Churches’ of Anjou'= <<< <2 ++ = Be eee He ee mo om OF 
 Churches of Foiton ----+----- +e ee - eee ee me ee 
 Burgundy’ and’ Churches «+ «§ 4 « = + & 4 & * we RE 
 Normandy and Churches - = «= - - - OR i sR aa ae meee nee HE 
 Churches in Isle-de-France- - -------- - ee errr re 
 sbtey Church at’st. Delia =.“ + + ee 6 = & Be = ee —--- = = $00, 
 Romanesque Style fn*Ger@any’+ < « Se me em am on ee ee ee He 
 nifference between German-Romanesque and French architecture- - - -22 
 Basilicas with columns - - - -- ---+-- meee eee eee eH om HS 
 Rhine Provinces — 20-0 -oe a a eee ee a a eee SS ae 
 paxony - ----- - pet sy a atl an le sok i tle ete i te ~~ S4 
 Remainder of Germany and Burope - - - - - - Ww - ee e- eee Bo 
 Remainder of kurope - ~-----+--+--- W~ ee eee eee ac 
 Pari) Hethie 1h Peering! 6 ee my wm ee eee me ge eae -2s 
 Cathedral at Chartres ----*=--- se 77 rrr r rrr aa 
 Notre Dame at Peris----<------ ee eer rrr rrr os 
 Cathedral ‘at’ Rheines — a ail Dla ee ee ee ee em ae 
 Other cathedrale’ = (Sis eee ee ee em le ee me OEE 
 Best Period of Gothic - -------<---- e777 errr re -27 
 axtension of Gothic outside France ---------- - 7 27 7 wt 
 extension of Gothic in Germany- -------------- 7-7-7 738 
 Liebfrauen Church at Treves------ 7 eee errr rrr ~ SE 
 
 wee eee ee eH HE 
 
 St.: Elisabeth's Church at Marburg - - - - - 
 
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 = SAAS. SO UDI TOURER 2.c noeTOds | 
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 State nce = pele loel fonkoiied yolvoiqat +. 
 —~« — 4 bowel efven seednte iwtluel Beleoasnend oc. 
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 PS 41.° 
 
 ADTENBACHER'S MEDIAEVAL ARCHITECTURE, 
 
 Cathedral at Cologne - ---------+--+-+-++-+-+----+-- ag 
 Cathedrals at Strasburg and Freiburg --------------- 39 
 Collegiate Church at wWimfen - -- - - - eee eee eee ee ee a¢ 
 Buildings at Regensburg --- -------+--+-----+--+-+-+-- 40 
 Buildings in austria--------+---+--+--+-+--+-+-+---- 40 
 Brick architecture in North Germany - -+----+-+----+--- 40 
 Gothic after 14th Century - ------- --- =e = ---- - | 40 
 Most Prominent Buildings of this Period --~---------- 41 
 Masons! Lodges - ----- 2 eee ee eee ee ee eee ee ee 41 
 Italian Gothic ---+---+-<+--- 2 ee we ee ee He ee eee ee 41 
 Synopsis of Forms of Mediaeval Architecture- - ~ -------- - 42 
 
 SECTION 2,: CONSTRUCTION OF VAULTS ---------+--- 43 
 Roman and Romanesque vaults - = ---<--- - == -- -= = = = = 48 
 Dome -=--s=—<-<$-s = ee ee wee He eee KKK 43 
 Principle of Gothic Groin Vault ------------<--- ~— 44 
 Practical Construction = -=+«—=<-- «85 5§_--_-4+--=-e- ee a = 45 
 ImprovementB ---s=-=-\-|-2= == =e ene eer eee ee eee 43 
 Trapezoidal Vaults ---------- -----+------ -- 47 
 Pointed Vaults -- ------- a a ra (ee od. a 46 
 First Method of Construction- - ---------------+--- 48 
 Second Method of Construction - --------------+--- 46 
 Third Method of Construction --------------+---- 48 
 Fourth Method of Construction -----+---------+---- 48 
 Criticism of Methods - -- = «#<$+#<---4+«-+--+--------- 45 
 Advantages of Pointed over Round Arch - ------------- 49 
 Conditions of Stability of Pointed Vaults - ----------- 49 
 Richer Treatment of Barly Gothic Vaults - ----------<-- Be 
 Triangular Vaults ------ -- eee ee eer er err eee 52 
 Hexapartite Vaults ------- ee eee ee ee ee eee HH BS 
 Polypartite Vaults ---- <<< =e ee ee eee eee eH 
 Ornamental Vaults of Barly Period -----<-----+---=--+- B4 
 Improving Method of Vaulting - - -----"e---------- BE 
 Ornamental Vaults of best Gothio Period -------«------=- 65 
 
 First Appearance of these Vaults ---------= == - 55 
 
 Other Deriviation of Ornamental Vaults ---------- Be 
 Ornamental Groin, Star, and Net Vaults ----- -----+--- BS 
 
 Construction of Star Vault - - - - - = =< -— = wm we &@ 
 
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 ~~~ = OLdto’ betowrwd nai asnodeyel 
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 44, : 
 
 REDTENbaCHER'S MEDIaEVAL aRCHITECTURE. 
 second liethod of Construetion; First Example - - - - - - 
 Second Method of Construction; Second Example- - - - - - 
 
 Various Examples of Ornamental Vaults - - ----. 
 
 Net Vaults ------+--+-+-++-+--+--+-+-++--+ OE a a ee 
 Further ctxanplies ot Crnamental Groin und Net Vaults - - - -— -FF 
 Vauits in Towers with Masonry Compartments ----+----+------ ES 
 Latest Prollems in Gothic Vaults; c,ports - --------+-+--. -FS 
 Cell Vaults -------+---+--+----+- wi. aly lei it i cme ee ad FO 
 Dr Lie ROU RRR ios ae ts wes: ake yt ae ae al dn si i wh 
 Rits Curved on Flan- -~----+--+---- -S- ee ee eee ee ec 
 Doutied System of Riles ----------+-+-+-4++-2+-+-+ + Zn 
 Cusps on Vault Riks ~--------+--+-+-+--++-+-+--- ef. 
 mariy Examies of Rits Gurved on Plan -------+---+----+ ee, 
 Coupsrison ot Lute Gothic with Roman Vauits- --------- - -2° 
 Use of Depressed Arch - ---------+--+--- ee ef 
 Literary Bvidence -----+---- +--+ - - - He ee é1 
 Italian Vaults ---------+-- = -- ee ee eee -~- - -2 
 Comparison of Northern mediaeval with Italian art of Vauiting- - -é1 
 SECTION 2, SUPPORTS OF VaULTIS--------------- ag 
 Kils and Transverse aArches;-Keystenes-of ¥eults- - ------ - -é2 
 General Remarks ----- ------- | 
 Decoration of Ritg------- “j-f ee ee ee ee eee ~-¢2 
 Construction of Keystones ------------ -- ee He = = -83 
 Ordinary Intersections of Ribs- -------------- -é3 
 Decoration of Keystones = - ---------- -- = -~--- -&4 
 Varations in Treatment of Keystones - ------+-- --- -&4 
 Fertorated Keystones -- ------- —~— eee ee ee ee ee c4 
 Annular Keystones - - ---+------ e+ -- -- ---- -t4 
 Development of Keystones in France --------- -~------ -¢4 
 Keystones in Pertected Gothic -- -------- - ee ee ee rh 
 Keystones in Late Gothic. - - .- ne. cee ee eH ~ — ~cF 
 kendant Keystones - --------- -- eee eee eee cF 
 Keystones of Late Gothic Crnamental Vaults ----------- -<f 
 Extrados of Vault Rits and Keystones - - --- - ~- ee ee — HEF 
 Rits of brich without Keystones - --- - - rs 
 Form ot Imposts off Vaults on Fian ------ eee ee ree cé 
 RiLted Vaults with Longitudinal and Transverse arches - - - ~ - ~¢¢ 
 Ribted Vaults without Longitudinal and Transverse arches - - - - - é” 
 
 advantages of these,= <.-- = 757.7 sae a a 
 
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 REDTENBACHER'S MEDI ABVAL ARCHITECTURE, . 
 Groin Vaults without Riles --+---+--+-+-+-+s+-+s+-+-+- eee 
 Triangular Veults without Ribs 
 Impost bloces in Blevation ------+-+-- - ee ee he ee ee 
 
 _—_——_— oe lll Ol Ol hlUC ll ll) ho 
 
 Impost block as a Corbel ----------+-- i oe oad 
 Treatuent OF Im.ost at Convex angles- ---+--+-+-+--+--+ee- 
 Late Gothic Complicutiens -~ -----+------- LAR mm, am var coh en 
 eM 8 et Convex angles---+---+-+-+--+--+---- 
 ts for riers set .di azonally POP hea er ae iar tage Beet i te eee 
 Forms of Imposts in Barly hiddle ages ----- - So Se > eae 
 Profiles ot Rits ~--------- Ss Fe ae “lal pg rece 
 
 General Gran.terpmations. - <= Se «eee eS Se ee ee 
 
 Forms of Vauvlis and their Plans - --------+- - 2 = - 
 
 Digensions for Strength -------+-+---+- Ch See 
 Gepiteals ‘und basestol: Rupports, oe Re em ee a ee eee 
 General ---------* cer eee aie 
 Forms in Barly Christian art. - -.- = -_ 
 Ingost Lilocks atove Capitals of Romanesque Columns - - sae 
 
 Variations of These -- --+----------- ee es 
 
 antique-like Capitals. -°--- — ----- ere eee ee | 
 satacuses like Roman Corinthian 
 atnormal Cushion Capitals --- 
 Richer Late Komanesque Capitals ------------ 7-7 == in 
 Coupled Cagitelg ----- <8 4-- 4-7 eo eee Papers <p 
 Capitals with Corinthian Foliage -- -------*- <== 
 Decorated shafts of Columns - ----- --- ee ee em wee 
 Knotted Courled Columns - ----- on Waianae le Sy age gn a 
 
 sVechiséd of Rowenesque Copitelse i= + <g = =< = = gle = ee 
 Decornted atacuses ~— ~ nmaonweestmee ws wewemensepe@as =| ws = & 
 
 belli Capitals of Trunsition and Bariy Gothic Styles ------- 
 
 Bbucuses - =e eee eee ere ee re —-- eee ee 
 Bases Of oRomeheryue Coluans - - = = - =< = + == --2---- 
 Procortions of bases ot Colugns - - - - = mee eee ee ee 
 AbnorwaltPorus of. bases. ~ tees = - <= = ee actlieatiiet cca tga) thon 
 Decoration ot Torus - aillaallliceatitentiiediine —- ee eee eer eee 
 Frofilte of Torus -------2--r ere" > -e--e-e eee 
 Liter sry wiidencer A so Se oe oe ee re a ee 
 Tonic Besos vai Galinnigir ie iia se ee a ee 
 
 bige8 ls. ania dekkio pe Transitional Styles - --------- 
 
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 REDTANS sCHGR'S MECIARVAL ARCHITECTUKG. | 
 avoidance ot Corner Leoves - - - = ee eee ee we 
 
 bases with Corner Leavee ir 12th Century. . 
 
 Gtner mwcens of avoidin, Corner Leaves - = - = 
 bases with separete Plinths -.- --«-+ 
 Caissicon ot Corner Leavesin Perfected Gothic. 
 Bases of doulie Columns - ---- == - - 
 Forms ot riers in Romanesque - ~ - - -<« == 
 Rarly Christien Forms of Fiers ---=— == «+ <+ 
 aroade Systeus et Eehternech and hirsehau 
 alnormal Forums of Piers - - - ew we we, 
 
 aiternating Piers and Coluans in Lower Saxony. 
 
 alternitity, Rouud and Octazonsi Piers - = - = 
 
 Round Piers with -Round vhaf ts ~~ on oe em lo elle lle lee oe ae ae -~ - So? 
 
 - 
 
 - 
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 —_ 
 
 — 
 
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 Forms of Piers in Transition Style --------- + -+-- = &2 
 cewicircular Projections from Piers - ------- - - = = -E% 
 
 Rectangular Piers in Saxony ----- ee eee ee eee ee = HEE 
 Round Coluuwns in Later hiddie mes — - ee ee ee eee ee me HEP 
 Gothic Round Piers --------\ ee ee ew ee we ewe ee & HEF 
 atnorm:i Cantoned Round Piers ---=------- 2 - = = = ~82 
 Letached and Enya-ed Shafte; band Mouldings - --- - << - - = = = -82 
 Combinations of both. arrangements.- - --------- = = -E4 
 Piers in Severe Gothic Style -------- eee eee ee H8E 
 Forms of Piers in 2-aisled Church with Transepts - - << =< - - - <8¢ 
 Piers, Capitals, and Bases in Later Gothic - ---------- ~62 
 Comtinetionus cf Profiles of Riles and Traneverse arches - - -€% 
 Change in Form of atacus - ---------- ere ee er HEE 
 Combinaticn of Fier and Round Shafts ----- +r ee - = = HFC 
 Change in Form ct Capitals ------ a 
 Capitals atd Suees in Late Gothie <2 ek - e# & ee eee ee ee ER 
 Change in ProtiiG------- meee ee wee eee ee oe 
 Change ic bFiers o- = --= = eee eee ee er ee et AEE 
 Gc6eClal Cuse - - -- - -- ee eee a 2 
 Sinplification of Prey - - - - =e ee ee ee eee ee eee Be 
 Variations in Date Gothic Imposte- --------+-- ---- - -&F 
 bkeses and Plinths in Pertected and Let GCtEIo == - -~----- - -€ 
 Simplification of Protiles of bases seek & ee Se Ee &¢ 
 buses of Cyee Rils ----+--------- “eee Pig ee ee ol 
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 iperay a 
 
 beseg 6 otf varied Heights for rich Late Gethiec Piers -- - - 
 
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 KEVTENBACHER'S MEDI ABValL ARCHITECTURE, 
 
 blinthe without Bases ------- +e ee eer 
 Capitais. dp. Late. Gothia. mts em pe Se 
 Their Feouliarities- ---.*.---=---- 
 
 SECTION 4. 
 
 BUTTRESSES a> FLYING bUTTRE 
 
 ~ 
 
 mm 
 YO 
 
 buttresses in General ------ - - ee eee 
 sarliest Buttresses in Germany - - ~- ~- 
 
 Sariiest buttresses in France 
 
 ae Ele 
 
 - 
 
 Finnvales of buttresses - - - ---- em ome 
 Ucer Terminations of Barly French buttresses 
 Frony Cffsets of buttresses - -------- = 
 
 Crenings in Buttresses - - 
 Leteils of buttresses - ----- = ~ 
 wash at Offsets of buttresses - - - = - 
 cide Cfisets of buttresses ~ 
 vrotiies of Cffsets, Lri,.s and Corbels 
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 Urper ends of buttresses - 
 
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 Pinnacles, General - -------+- Mae ae eras tee ane 
 Construction ot Pinnacles - - - ~- - Per iae igs. ee ee Sener ae 
 
 Rules Ly Roriser and Lucher - - - ~ - - 
 
 peteild of Pinnsateg = 2° s 6 2° egos SS Se SS 
 
 Reduction of weight of Pinnacle - ---- = ++ - ~~ 
 
 Connection or Finnacle with buttress and Main Cornice 
 Flyang Buttress --- ----- 5 ee ee ee ee ee 
 
 Bardiest Faying Buttresses in France and Germany 
 
 Fiying buttresses of French Cathedrals 
 Dutcal Forms of Flying buttresses 
 Connection with Clearstory tells 
 maternal and Internal Pussa,es - 
 Channel for hater - - -- - - 
 Frojeetion ut Top of Flying buttrese 
 
 Frojection at Base of Flying Buttress - - 
 
 Remevel of Tater from Roof of Side aisis 
 Forms of atutwente - = - - 6 = ee eee 
 Fiying buttresses of Feuisied Churches - 
 Substitute for Buttress - ~« = - = + a 
 SECTICN &.. 
 
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 Principle of Choir-ending in large Gothic Churches - ----+--- 114 
 Latin and Greek Cross Plans - - - - = - tae “Swe im tn Se Sin -112— 
 Churches with a single Aisle - ------ << 2 wenn ne & 11h 
 Dimensions and Details of Plan of Choir ----+--- “se ee = LIE 
 Reetangualr ending of Choir and Nave - ----+--+=2#-<+-+----+- 117 
 Location of Staircase Towers = -- << - - ss se se nn eo 
 Connection of Choir and Nave -----+--- + = = = = = eee a 118 
 Churches swith wo AR eee! ab ie te jie teeta ew tent ema cater 11& 
 Plans with three Aisles --- + «-=-<+-<+8e#s+--+ se - e-e= e = = = & 119 
 Ending of Side Aisles-----<+ -©---++- +--+ res a Se 120 
 Gothic Choir Endings - -----<-- ha an tt i sy iy 120 
 TranseptS ---- 8 = -s ee ee eer ee ee wr Hw ee 120 
 Plens of Choirs with Choir Aisle and Chevet Chapels ---=+----=- 121 
 Unusual and Irregular Choir-Endings ----------+-=---:6 125 
 Plans of Towers += 3 = 2+ == eee ee ee eee ee ee ee 128 
 SECTION @,: INTERNAL CONSTRUCTION OF M&DIAEVAL CHURCH - - - 129 
 Interior of Nave---- s+ --—- - = = - eee wee eee ee 129 
 bay of Single-Aisied Church - -------+---+----+-- 129 
 bay of Khenish Cathedrals ---=----* = -#-+-----+-= 129 
 Gallery and Triforium in France -------- —_—----=-- 130 
 Cathedrals with Five Aisles - -+---+--+-+------ 131 
 Rarer @ases thereof ---- -- -----f-+- 7-7-3 181 
 Substitution of Stained Glass for Walls -------------=- 421 
 Hall Churches - - --------- tr eer ee mere rere 182 
 Churches with Clearstory over Central Aisle - ------- 182 
 Interior of Choir-------+-+-ee------ eer rere 182 
 SECTION 7.° mATRRNAL ARCHITECTURE - ------------ 124 
 mxternal Construction in General ---------- --- = - = 184 
 External Construction in Detail] ----------s-+----°> 135 
 Towers and Western Facade - ---------- ee eee ee 125 
 Towers in French Transition style ------------- 136 
 Towers in Gothic ----------- --- - ee rere ere 128 
 Forms of Towers in Detail, -+- rr - ee ee ee er er 127 
 Uses of the different Stories --------------->- - - 1327 
 Stone Spires ----------- - eee ee ee retro SG 
 wooden Spires ----------- ee eee er rr err er 140 
 Koof Spires -------- i 140 
 
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 LEAL] OVE DOOR eel mee Re ee ae ma ane 
 Special Case of Loor dath- = -<—-- = ++ = = etait. kc Aiwa M cs 
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 Gatels of Portals ----- Lola Kons, Chat mecRe OS OS 
 
 Architecture .of windows ---- - skid aac at called bl bn roth ad ae Peni 0 
 Details of windows in Romanesque and Transition Btyles - - - 
 
 ‘tindow Trecery - - - - = Ska es eee NE ee 
 Rarlier Tracery ------------- ce eee ea a 
 Dpeos el Bs Sw ee me Pe tee Se oe Hea a ea oe oe 
 
 PLNGOW TP BOGry Tt, LSet oe ee ii ame teem vik eae et ee ae 
 oxamples of plain window Tracery - - --=-----+=<-<= 
 Triangles and Squares with Curved Sides ---------- 
 Motives of Later Tracery - - cee oo -#-+<+6 ---- 
 
 Details of Tracery - - - - - - wee eee ee ~ eee eee ee 
 Profiles of Tracery ---#---+--+---+--+--+-=- 6 om ee 
 
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 wheel and Rose windows ~-------+-- oie | gah dag Ne sae oe aS ee i 
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 window Gables --------+- A eae “se ee eee -~<—- 
 
 Cornices, belts and String-Courség SoS So 
 
 Dase-Courses - --—----+-+-.-- +. SE a san aah sa LO 
 
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 Profiles of, Copings:.. mime ‘sean wi + on a beer ei ae te oath ol ban ae 
 
 horizontal Members of Various Kinds -~---.-.-..— Pak ot tn ed 
 
 Crnamentation of Romanesyue Architecture ---.--.-40202020727. 
 
 Crnamentation in Transition Style and in Gothic architecture - - - 
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REDTENBACHER'S MEDIAEVAL ARCHITECTURE. 
 
 SFCTION 1, DEVELOPMENT QF_MBDIAEVAL ARCHITECTURK, 
 m4 1. Relation of Heal pewaln to ee aee aed penatagnnae Are eeeores. 
 
 as Antique architecture was chiefly developed in the Temple, so was Karly 
 Christian and Mediaeval architecture principally worked out in the Church, in 
 contrast with Renaissance architecture, which depended upon the Palace more 
 than on its Churches, But while the Antique only created small rooms. with 
 horizontal ceilings in the Greek temple, or spacious vaulted structures in 
 Roman baths, only by using great quantities of building materials, Karly 
 Christian, biediaeval, and Renaissance architecture errected spacious vaulted 
 churches with a relatively small amount of building materials. Architectur- 
 el construction in the Antique moved within a narrow circle, although it 
 succeeded in making the noblest disposition of the space; Barly Christian art 
 employed nearly the same construction as the Antique, but applied it to the 
 new problems proposed by Christianity. It really invented nothing in con- 
 struction, leaving this to the middle ages. Neither was the Renaissance creat— 
 ive in this field, for its work lay elsewhere, although erecting the largest 
 domed structures ever built.. 
 
 In the artistic decoration of buildings, neither Antique nor Barly Christ- 
 ian architecture clearly decided to make construction the beginning point of 
 decoration; this remained for Mediaeval architecture, which first rose to the 
 idea of applying ornament where construction afforded oppurtunity, thus im- 
 parting to this an expression of form exceeding absolute necessity. Although 
 it may not be stated that neither Antique nor Renaissance did this, yet med- 
 iaeval architecture did this most consistently, if not most completely. Thus 
 it absolutely freed itself in construction and decoration from every tradition 
 of the past and sought its own methods. At its Lest, medieeval architecture 
 recalls almost nothing of antiquity, to which it primarily owes the means of 
 its creations; what was taken from the Antique was not received directly , 
 like the Renaissance, but indirectly and from Harly Christian art. in la 
 
 2, Basilicas in Barly Christian Art. 
 
 After fixing forms of divine worship, Rarly Christian art Lukewise fixed and 
 developed the ground plan of the church, The most important types of plan 
 were those of the Latin cross, the Greek cross, and the central plan, The 
 basilica in form of a Latin cross were treated as follows: The-nave was oc- 
 _cupied by pelievers, in larger plans being divided into 2 or 5 ‘aisles by rows 
 of columns; the middle aisle ended at the east in the semicircular apse contain- . 
 ing the altar, the throne of the bishop, and the seat of the priests. A trans- 
 verseaisle for use ty the clergy was sometimes inserted between nave and apse, 
 and before the western end was usually placed a court enclosed by porticos.. 
 This form of plan prevailed during the entire middle ages; towers were at first 
 
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18, REDTENBACHER'S MEDIAEVAL ARCHITECTURE. 
 unkown in Barly Christian art, being first employed-after the 7th denture: 
 free and detached from the church. f#arly Christian basilicas were covered by 
 ceilings with wooden beams, the apse alone being vaulted by a half dome, “ 
 
 &. Section of Basilica, 
 
 beams were laid on the colymns or on the arches turned Letween them, 
 which support the clearstory wall of the middle aisle. Windows were pierced 
 in the clearstory walls above the roofs of the side aisles. These designs with 
 3 or more aisles and with clearstory windows are termed basilicas, as a dis- 
 tinction from hall churches with aisles of equal height, and from churches 
 with a higher central aisle without clearstory windows. The Early Christian 
 basilica usually has a horizontal ceiling, but the principal nediaeval basili- 
 cas are vaulted, 
 
 4. Greek Cross Plan. “a 
 
 In the byzantine empire, founded Ly“transfer of the capital to Constantinople 
 in 800, was developed byzantine art, whose principal achievement in arch- 
 itecture eas the domed structure. The Greek cross type with equal arms was 
 embodied in a series of churchesk with nine squares on the plan covered by 
 domes, eight of these teing grouped around a central square enclosed by four 
 piers. Circular arches connect the piers imd extend to the walls, upon 
 their crowns resting the domes. The interspaces between domes and the sup- 
 porting arches, the so-calléd pendentives, were built in horizontal courses 
 or were themselves vaulted. fhe dome with its pendentives is called a penden; 
 tive dome. Only when four arches about the central aquare supported between 
 the pedentives and the dome a cylinder or drum, pierced by windows, may we say 
 that the Greek cross plan attained its highest point. 
 
 E.. Central Buildings, | 
 
 Central buildings in Barly Christian architecture are circular: or rarely 
 polygonal plans, consisting of an inner circle of columns or piers and one 
 or two concentric aisles, all of equal height as in hall churches, with a 
 higher central aisle, like basilicas with a central raised structure lighted by 
 clearstory windows, These central Luildings either have horizontal ceilings, 
 like the great 5-aisled Church of S.Stefano Kotondo in Rome, or are vaulted, 
 like §.° Vitale at Ravenna. : 
 
 3. Inherited Portion of Mediaeval Architecture. 
 
 The inherited clements in mediaeval architecture are the Roman vaults, such 
 es tunnel vaults, groin vaults, and dome, whose highest triumphs | are found in 
 the baths, and also the most important forms of Barly Christian church, the 
 pavilion type of plan, the Greek cross plan, magnificently executed in the 
 Church of Mark at Venice, and the central structure, best represented by S.. 
 Lorenzo at Milan, and at Ravenna. 
 
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 ever eadys seis. owl? aft Yo woltoss seoto to stot ot Brager al 
 nirdoiinsa’ bolaie~6 oli .ddgted leppe to selels, dviw eweouwa Lied edz 
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 ; | ia  eqowd Santae? to. g@eirtadsa: ane : 
 ats a Jv gautomtidewA Isvea tbe to vid laphiy thal: sana. 
 
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 18 REDENBACHER'S MEDIAEVAL ARCHITECTURE, 
 
 In regard to form of cross section of the Church, three types were in use: 
 the hall structure with aisles of equal height, the 3-aisled structure with a 
 higher central aisle and without clearstory windows, and the basilican design 
 with clearstory windows,, On the combination and development of these motives 
 depends the entire system of mediaev4l architecture as developed in the var- 
 ious countries.of Central Europe. , 
 
 7, Individuality of Mediaeval Architecture, | 
 
 Mediaeval Architecture inherited the acquirements of its precursors in con- 
 struction and glan, but transposed and developed this inheritance. It s con- 
 struction and its plans were usually quite different amd novel, Although re- 
 taining the typical idea of supports for horizontal beams and plané ceilings 
 or arches and vaults, these supports were of quite different form although it 
 adopted in the decoration of its works the generally valid ideas of free-end- 
 ing, of subdivision of separated and combination of connested parts, of bord= 
 ering and enclosing openings, of characterizing and accenting individual 
 perts, of tramsfer of related though diverse parts, of unity in variety and 
 variety-in umity, etc., likewise the basis of the use of form in the Anti; us, 
 yet it produced ism individum] treatment, peculiar to itself alone. For it 
 solved an esthetic problem, which its precursors scarcely recognized or 
 could not master, that of making the vertical axsis of the building dom- 
 inant, which appears in every detail, subordinating the horizontal so far as 
 necessary, and allowing it as if suggested in certain portions of the organio © 
 structural mass.: Better than other architectural styleak it understood how to 
 indicate even in the substructure what was to te developed in the upper parts. » 
 While all styles of the past and future are characterized by a simple and plais. 
 treatment of the masses, mediaeval architecture first understood how to pro- 
 duce effect in the richest and most costly structures by a difference in pro- 
 portions, and ty treatment of the whole, and of the separate masses, in har- 
 mony with the whole from every paint of view.. 
 
 Mediaeval Architecture is more than any other peculiar in its creations; in 
 spite of general rules fixing its ty.J¢, a peculiar artistio nature is found 
 in all its works, ever striving after new ideas, according to a knowledge of 
 things already accomplished, although often at the expense of artistic value. 
 Only with a superficial knowledge of mediaeval architecture oan one deoide, 
 that the individual first makes himself felt in the Renaissance; the Ren- 
 aissance made a certain progress in words, names and books, compared with 
 the middle ages, but not at all in architecture. 
 
 8, Methofi of the Artistic Creation in Mediaeval Architecture. 
 
 Agoording to development of the style at the time, mediaev,l architecture 
 
 Simys methodically treated in its designs existing problems and the means iad 
 
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 - ia sight aefdor4 eit no Qaiddyrzeve gateed .noltuiow aiedé sot elds lisy 
 wong enti eds at tind ¢ of oxew dowdo 5 OO8L wey oft gods, 2 eo Lqats 
 Powdidows, edd jatawbnetia to sedaun oft yd bexit gated emia avi. .ceoaty 
 (a0 ot dguone egtal od tous dowde edt to even ed? ~-tawailot ae beaoases 
 eo > goltive bloow eeleis © détw asiq 6. idotudo ge avasbaetis Ile aisy 
 su ee moot ielooga 6 ,elsyitae? so eoiviee siivth to solanetxe cof =. eacgtig 
 i jar _dlormco aid Yo ebie dose mm toejoxg of aqeamet? bbe [Lin T bos, ,betivpas - 
 ; ces us wd wOGl® tast edd de. shodo edeimger hextupes od Liiw ,yytalo edd 
 Te 30808 edie owt goolg fitw I ,-edfe, dgid eft of nolsibbs, ak yusekooen ots , 
 i 1, hse Ow ole’ g of .adgeanei odt to ebis tese odd ao sags aloo ony shined 
 gle ebb x , + “evo aotreling egtsaie, (Liw B ,eotwiea entyih gaiwh non sort sem 
 oo eayew: teJa déiw exewod ows obsost teow edt mo extuper [ftw ezedT avi 
 6 méi¢ acewted wbulont syorod acodl .exowot Lied mot (iw saoltsoq te J 
 o + bose alode edt aeewted .evods, vail ing ang1o as bas woled oiuditaey 
 1 eft of aasoos wvly of arowod easotiase egnaris LLtw I ,s08ge, ebte 
 tolViwa od kikw doaude odT donde wit to tadd abd? tewol ,xtoe ede 
 bet @ gfate ebia dose bas ,.d% 08 elwis elbbia edt edem f ti egret 
 4 Linde i ad tuay niows, ewmupe ddiw dowmde edt tevoo of datw T goat? 
 | Alea foay tot seteypa cia bus, oleke elbbia adt rot eersupa List eons 
 aad oie , Leda I .wowupa opie! ed? Yo eaodd tisd ex aobla eacdv .eleis 
 “etlvey «eliswa odd “ot wono teddgil bas etiuav egui elt sod axedg 
 3 exit te eosqe femredn? eit nyiees Lhiw I. ,ebsoa? feew ed? sa tewos 
 d doeiory erctareds fave elise wdolds siedT  olsto obte odd 
 os my nse jee v¥ieves aodé ysu ywling aagio eit  .towido edt to aehia 
 oleate she . ” me. te pacd? asdf seentotds esol soriupes t Law tnoxt oat aetmoupea Lema 
 en a rk eeenan edt gan (ite 1 41 ‘haoyed doatorg Litw arvewod edt dads Om 
 dew a1, rag eiotsweds Liiw si bas olabs efbbia edd ae dégnel once edd elats 
 per vat t ashy hanony ei? .erwu2 (ieme s to ebie s tuods even aft to ebie 
 oh sao. ry ense eal gainorse2 To aaenomg isoftgol s. movi yfer tine atlueet 
 ge Lage tne aig ae. Liew 6  anabaan aaaris Liat Santhadigacs en? tugega tron 
 Pi sme ©, ane é Jdorio edt % eons tneg 
 | eatuey edd sees {iiw dolrw ao. eadtons xd aretg eis ¢oenmos fave f. 
 “ , § Baxtine oily ota nege ifiw dotdw. aetyetisg ed of om eelete, bia edz 
 ge. oe aldtaaog as wol as eaedt gdem of duty Leoni § .againegs abin td 
 ii ext iw oleis efbbia edt ¢xon aodowe ated? ,eosqe edesw dos bas ,alaited 
 rananioo iisae ‘ad bebivih ed of ,ayrinoge wol Uleviseter to settee agourcivaeo 
 | to elke yrodarselo ed? Jentegs, tude, asieie bie ait to etoor edt eaedt 
 god ceonge ‘Siew egwe{ vediio obtaat ode aa ved aay i ,ofate albbin ef. 
 ft -— aantso Lisae fo aaivee 6 to beacqwos mabsot iis axountvaoe s ‘to ,ayaivatag 
 re éeety ond: eoneusoo LLiw wus OES atdt evodA .verdow bas 
 
 me ay 
 ef 
 
 4 iis i oe 
 ha is ak . 5 
 
 YY 
 
14 REDTENBACHER'S MEDIAEVAL ARCHITECTURE, 
 vailable for their solution, basing everything on the problem itself, For ex- 
 ample, if about the year 1200 a church were to be built in the Rhine pro- 
 vinces, its size being fixed by the number of attendants, the architect 
 reasoned as follows:-- the nave of the church must be large enough to con- 
 tain all attendants at church; a plan with 3 aisles would suffice for this 
 purpose. For extension of divine service on festivals, a special room is 
 required, and I will add transepts to project at each side of the church. For 
 the clergy, will be required separate choir at the rast, Since two altars 
 are necessary in addition to the high altar, I will place two side apses 
 beside the choir apse on the east side of the transepts. To separate wo- 
 men from men during divine service, I will arrange galleries over the side ais- 
 les. These will require on the west facade two towers with stairways, whose up- - 
 Ler portions will form bell towers, These towers inolude between them a 
 vestibule below and an organ gallery above. between the choir and the 
 side apses, I will arrange staircase towers to give access to the roof of 
 the choir, lower than that of the church. The church will ke sufficiently 
 large if I make the middle aisle 50 ft., and each side aisle ©5 ft.. wide. 
 Since I wish to cover the church with square groin vaults, I shall have 
 three full squares for the middle aisle, and six squares for each side 
 aisle, whose sides are half those of the large squares. I shall need large 
 piers for the large vaults and lighter,ones for the smaller vaults. To each 
 tower on the west facade, I will assign the internal space of one square of 
 the side aisle. Their thicker ealls must therefore project beyond the 
 sides of the church. The organ gallery may then receive the space of two 
 small squares. Its front wall requires less thickness than those of the towers, 
 so that the towers will project beyond it. I will make the transverse : 
 aisle the same length as the middle aisle, and it will therefore project on eech 
 side of the nave about a side of a small sjuare, The ground plan there-fore 
 results entirely from a logical process of reasoning, The same is true in 
 working-out the longitudinal and cross sections, as well as the external ap- 
 pearance of the church.. 
 
 I must connect the piers by arches on which will rest the vaults. Above 
 the side aisles are to te galleries, which will open into the central aisle 
 by wide openings. Since I wish to make these as low as possible to save ma 
 terials, and not waste space, their arches next the middle aisle will form 
 a continuous series of relatively low openings, to be divided by small columns. 
 Where the roofs of the side aisles ebut against the clearstory wills of 
 .ghe middle aisle, I can have on the inside either large wall spaces for 
 paintings, or a continuous triforium composed of a series of small columns 
 and arches. Above this triforium will commence the great vaults over the 
 
| As 'aSHDA gd Tos at 
 wit eliew ‘peor Be edt nt avobatw pecs 9 fede 1 _slais efbbia 
 aay Teatesnt fs bas eetrolisg asiw sotiiess hodiuar-atowy 2 eoub 
 Pas, aU ELOtiss be 
 lis ween Goes ont dowde oily 30 tod dose Yo ‘aoltedze of? 
 aes yd batdarl ed yes neine lias edd bus jawobaiw extnpet avlats 
 elets bla od? bas atesentiq yd aysd taoxettib ode oisieqoa ILiw 
 -Eakosoagyate add redtegor soennoc [ite 1 waemoo-tied 6 yd aettzel 
 pelo, odd ebivib oa twotl {fiw eee itt dow—bavor 8 Yd seo 
 goes LLin I. ehsoe? alee add m0 velais eetevenait edd es ilew en 
 b ot gn tbaoquento® telisg agyxo edd at wobatw mmexg c costg bas 
 ei Tiw I dotdw at ,oldes s yd @bapst edd awor iftw I .ofets efbbta 
 beast fquensid edd tsort AL Ew 1 woftte odd digki of wobain bavor 
 "gal eluditeey edd, woxt rosedne exe anewot adl eheos) legtouktg 
 fasten edt evodA .ynisdgtf wot awobniw Liam dtiw oftis atid og 
 etifed neyo oll ‘gaied ald’ giods. ,a8a0qiwg avolisy, tet v.tove 6 
 rT, ‘Yo esa gs {isma odT otige ed¢ to saad edt to vrofleg s egnst 
 
 dxe vol 6 ego sus bute -awobaiw eeads to ows yd eeys thors agied 
 ro erowot sesc-rinie slodo owt et soanios of ativay avi vvods 
 tides, Igvesthem ai anzieeh fig dk atifooo eaccom Isotuol ath? 
 
 * for otew bas. meat old adiw sorte rooos ai Pasetahe etew yout vot 
 
 aa sie enokt 
 Bey ‘ Newitoos ido tavwathel to 2boixe4 fagioni it ‘8 
 
 Lak Seisiadidon, teves bol of maitatidd ylisd fort aoltianaté of? 
 gnte aid to bas, (at8-86°) egcomditad® Yo Jedt ao ,boite ne tynévolwed 
 
 one ‘eds to teas af aegs olbbim edt to hoiteg veed uA? Yureae? As? 
 
 ae ebeeni0 de¥ edt to eaole ods Abtay S80! at sal edd to Qaiiaiged ede 
 
 lage  ytutav8 Adve eds to ‘bne edt of dalt odg to bay efit mort to 
 | ot ot Ylestiags geoufs acy etufout idiots \Vitssae® dhl weds Fo wld 
 sf divolin? edt .ydtel odt wd belloisaoo abiswrests gnted \yyreto 
 b eds at. Liew as yiote id {eves then to oemwoo eifdne @ds aenimiest 
 4 “.botreg {soltodaid mens eninsxe jan it ru doe? bios 
 '-  opmemetied) OF 
 
 auotaso {eves thom to whavo? euad ond aH apneas lxetd 
 
 . @eiqosg olasaie® evitining {le, besins ofwavineg bebada 
 ismo® prejareng fice nea add ao ex tyao tignot tneteas, edt erode 
 asco mated dgtw beakduoo seurmouttn? emdlvo poboumedol yitusg baw, 
 
 7 fy 
 
 iat itv LT .ayeteaslug yd bosstooed ed fliw bes awobretw on beeu ofa ” 
 
 set bee apaiblind ¢aoietith mort aovitou gaieap lq hetoeiion r6ven) 
 ¥ beoubeb ‘ton fnemele yisve betoo{eox ‘tt (yxsidaco odd as sreddey 
 18 her tis ta yoomisd edd abaegsh ality 4H obtelove Isiten Ya. 
 
 ae 
 
15 REDTENBACHER'S MEDIABVAL ARCHITECTURE, 
 middle aisle. I shall place windows in the clearstory walls. Thus I shall pro- 
 
 duce a groin-vaulted basilica with galleries and an internal passage, the so-cali- 
 
 ed triforiun. 
 
 The exterior of each bay of the church also results naturally. The side 
 aisles require windows, and the galleries may be lighted by round windows. I 
 will separate the different bays by pilasters, and the side aisles from the gal- 
 leries by a belt-courseo I will connect together the pilasters below the gorn- 
 ices by a round-arch frieze. I will likewise divide the clearstory pilasters, 
 as well as the transverse aisle. On the main facads, I will use a large portal, 
 and place a great window in the organ gallery. Corresponding to the roof of the 
 middle aisle, 1 will crown the facade by a gable, in which I will pierce a 
 round window to light the attic. I will.treat the transept facades like the 
 principal facade, The towers are entered from the vestibule and require stairs 
 to the attio with small windows for lighting. Above the attic, I will provide 
 a story for various purposes, atove this being the open belfry. I will ar-_ 
 range a gallery at the base of the spire. The small apses of the transverse ai- 
 gle need no windows and will be decorated by pulasters. I will light the 
 large choir apse by two or three windews, and arrange a low external gallery 
 above its vaults to connect the two choir stair-case towers. : 
 
 This logical process occurs in all designs in mediaeval architecture. I+ 
 never collected pleasing motives from different Luildings and fused them to- 
 gether; on the contrary, it rejected every element not deduced from the protien 
 by natural evolution. On this depends the harmony of all mediaeval buildings, 
 
 for they were ddsigned in accordance with the plan and were not fanciful combina- 
 
 tions, 
 9.‘ Principal Periods of Mediaeval Architecture. ty ag 
 
 The transition from Early Christian to Mediseval .rchitecture is formed by the 
 Carlovingian period, on that of Charlemange (7@8-814) and of his successors, the 
 8th Century. The best period of the middle ages is that of the Crusades,from 
 the beginning cf the Ist in 1096 until the close of the 7th crusade in Te91, 
 cr from the end of the 11th to the end of the 12th Gentury. Before the mid- 
 dle of the 12th Sentury, architecture was almost entirely in the hands of the 
 clergy, teing afterwards controlled by the laity. The Carlovingian period de- 
 termines the entire course of mediaeval history as well as the development of 
 architecture. First examine this historical period.. 
 
 10. Oharlemange. » 
 
 Charlem&ngé was the true founder of mediaeval customs and culture,a broad- 
 minded genius,who united all primitive Germanic peoples, and intended to re- 
 store the ancient Roman empire on the German soil; under him, Roman, Byzantine, 
 and partly Mohammedan culture influences combined with Germm character. 
 
 my 
 
 : 
 J 
 & 
 
ain 
 eriqne a ‘ insisg Lad 
 "3 tehiod gaibu loxe 
 afb & : sei ~Ofgad yd besidedat 
 ye “ i Bapiees an ihe eo eR edt Yo nobgatd edt .avbewd bas 
 laoktibbs ut no idw! or iqn@e enidanaye edd bas. ..eaniviee. eae tteg [n8 
 eigait lech Nissl wiodsvoa! bas yetsemied tong lah .covar® babslont enous’ 
 ‘ pte wid Vebuegoh ilteths. or tgme ae bgntvo fas) edd to wxot atdt ad wtiiais 
 | ot oad ashte bdD ylimeeing oF Ue, ousdoett fdows flavaatbem to noksifoyv 
 ive “ ; - gal oN i etd xiii nemoR~neaagD meds. .YSinslteial? yd gi sot 
 | abe | radon bas arhigen:! 1@ Mobtstsbianco exb dtly .2tceme le Ismet - 
 a bas settacpii-oi it) 26 ono genders bavot of botiash sgnsmelisdd 
 0 ht seiethy based  ,eodaesiacu? ~oiqnd te baits of ee youwbaes idcustee$ | 
 is bya. a betootia- cals alnomete nabomasdoM gud - .exivurei¥ Yo vbyte. 
 tsi: taboo BET AE stag’ to. 77818) betevpaoo ogasmelied? aadw jeautows . 
 ignos bee Mi axgod enw svObT0 fs, eupaok edd wtaod ast ga ybows 
 or berieleaes! od viseqorg ny SLioo a9 ,aseb? henis Javo arte 
 y ‘ . (MP TbIOey 
 in aint desk? tow, botnieg like vbolseg ylime atdd al 
 09s atk wor: ‘to eupecll ody ni bavol sestinse ai ¢t dow Lewrourte » 
 o dots oe odd as sau at ybsotle enw tt vw toed as8 wht wpa? LObS gh 
 gnbars Lemogeth eA COcRE BARA tHON xi gedowdd oft jo dina | 
 psifeqedO+el-xth. 15, Legbedesd a ‘oymemelisdd ai bavod tart 
 ibe at disq tastrxogak feom edd exalts sions ,eantbiivd ine 
 ee HOS 200 fie to ebiz: dose mo beddtoeeb od of otsnge 8, aniowead 
 5 llega fc. doiw .aebie 62 46 negy fog m aistdo ew .eslons aleds 
 oes ei eifeged0reirx it te isibed te? ods to aglg oat ROTEL D ori 
 Bie taWol edt nt herevo> ets olais wedwo aids Yo aves wingneics off {6 
 2 ° 16 unt ‘ylno bavot Ylerptvesy ovigom 6. ,atiosy niow wslugasics | 
 benisiace “bssrfs of leged?- seth ge nefo bavosy aidt tua -agithtiud 
 ag tiis qiletimare bas .2ls tbeddae. pido” Yo gatbne-sicdo edit to se 
 fe elas. 8 fo hes (2.417) ooke fh ni middaisare® ts dowd? ed? fo ens 
 , {anogetoo oft Prego owed odd od bacgee ts00 dotdw (8 gf 
 Mix di ta faabad ted ‘ont. 6% Iebon s as bovv0e yidadorg | nidennd 
 % ene ofall the imo? wi lvotke danzetxe ast yd yico ase ¥tib $2 do id 
 ie} sw photyaes yliase eroteieds b Luog has, .eliaso s he egasmefasd? 2h ig 
 foe gmeutag oft sdoadbt o¢ anthro com .yautae? ddl edt at betoers get lind 
 ie ) 6 ofbbte ulus edt to nanthifed Dertaeo vate Iie baw deeds roi” 
 sdanoU bad Lach enodanu eh os eee yloli odd to ee, edt aver 
 abies Tht bey a, r ee oF 
 past : = ‘aod sean fang ebay, move laeuidie 908: ewlorerd ot 
 
18 REDTENBACHER'S MEDIAEVAL ARCHITSCTURG, - 
 Charlemange's empire comprised France, Germany, Italy, and thus Central Burope; 
 excluding border races and kingdoms, Slavic peoples, also Spain and England, 
 inhebited by Anglo-Saxons, Irenians, Picts, and Scots; alse excluding Denmark 
 and Sweden, the kingdom of the Avars, comprising the greater part of Hungary, 
 Bulgarians, Servians, and the Byzantine empire, which in addition to Turkey in 
 Europe included Greece, Asia Minor, Dalmatia, and southern Italy from Naples to 
 Sicily., On this form of the Carlovingian empire chiefly depends the entire e- 
 volution of mediaeval architecture; it is primarily Christian by the prcetiem set 
 for it by Christianity, then German-Roman from the combination of different nai- 
 ional elements, with due consideration of Byzantine and Mohammedan influences. 
 Charlemange desired to found another Kome at Aix-la~Chapelle, and his archi- 
 tectural tendency was to a kind of Proto-Renaissance, Lased directly on the 
 study of Vitruvius. But Mohammedan elements also affected Carlovingian archi- 
 tecture; when Charlemange conquered a part of Spain in 778, Moorish art was al- 
 ready at its best; the Mosque at Cordova was begun in 786, completed in 965, 
 and contained ideas, that could very properly be transferred to Christian archi+ 
 tecture. 
 In this early period, the pointed arch first occurred in France; as 
 a structural arch, it is earliest found in the Mosque of Amrou in Cairo, built 
 in 640, from the Sth Century, it was ¢lready in use as the section of the tunnel 
 vaults of the Churches in southern Fmmce. The diagonal arrangement is a motive 
 first found in Charlemange's Cathedral at Aix-la-Chapelle, except in Mohamme- 
 dan buildings, and it plays the most important part in Mediaeval architecture. 
 assuming a square to be described on each side of an octagon, and joining 
 their angles, we obtain a polygon of 16 sides, with triangular spaces between 
 the squares. The plan of the Cathedral at d4ix-la-Chapelle is thus formed, (Fig. 
 Digest triangular Lays of this outer aisle are covered in the lower story by 
 triangular groin vaults, a motive previously found only in Moorish 
 buildings, But this ground plan af, Aix-la-Chapelle already contained the germ icm 
 ea of the choir-ending of Gothic cathedrals, and essentially differed from the pie 
 ans of the Church at Ottmarsheim in Alsace (Fig.1), and of 5.Va.tale at Ravenna ( 
 Fig.2), which correspond to the two concentric octagons. The cold Cathedral at 
 brescia probably served as a model for the Cathedral at Aix-le-Chapelle, from 
 which it differs only by its external circular form; 1st Malcesine on Lake 
 Garda, Charlemange had a castle, and could therefore easily have known this 
 building, erected in the 7th Century, acacrding to Hubsch. The primary model 
 for thes. and all similar centrad buildings of the early middle ages may have 
 been the Chapel of the Holy Sepulchre at Jerusalem, tuilt by Constantine 322 
 to 33265, 
 
 We therefore seo that even under Charlemange, these ifportant motives of 
 
Tie ee Re el am K" wae, ae biog i iia ge } eats 
 aaa aes aoe 
 ee Pls EES ees h 
 a re ie ; 5 a he ; if . a r éé «| ee : . Z : 7 ee | f ; ‘ } i. i ¢. 
 -Teaes | fees. 5 ROO | | i saieaaihlin eine 
 
 tise by ae Pr, leetaneet nied sa tognsiie eat 075 irae 
 - mote pscnchierdan saot 
 
 e _ sainod ig Beat paras 2 nat soe 
 Bia a (8x8) aah nat tz: 
 
 fee diet eywoty linge 
 
 on 
 
 pa nial wy * 
 
 Ss A eee Nee “chit bevives #1 thediod:. 
 10 fexd.»00 ak sasah ‘edt to dned. pte Git fe Dorturos edt bas ybau yred 
  D ferme Fie divonds yfest cont. endl usa tinas @ AeoYoonst sy sade of 
 a a ‘eiod 1304. Mie daew pais 1osa0m Otek agar by: Sivih watha oll gaot 
 Lind gird eae daeq & (Beomivor, a cab pina wid town velisyed ati iy 
 ey 8) oy b bediaodat aid eebse ORE a hits Hesicerrt vecmene tbe ~araon 
 int 9 rapadeeaes iNbertins ; Sou Bey tived. saan tadaagé ‘Os baniedie 
 
 7 
 
 24 Roe (fleas yt! rns | lenksoues doty sas gbaap wud Wie 
 
 \ 5 
 
 Yt wai test fas mats: ,doaeet od Hak Babivtd PIMTOaTL: roms Is 
 > gia S sivAgod Yo acontvotwg Gat (iA .equo4xg isuiteosidoss: » ofb 
 odd wwieelitow viedtuat Gonnod yatdtomee aags- olbbiu off 
 aeemaraah tei6. .yotiies Ls tion duot ddiw attiiesd ear to says 
 nua ioatas eee to ash: sath wild to eo hqueg bau auoitvera »il 
 a4 "afte dot Od agitid i led, ede Weg teweog ods ouscvayidorwe 
 io ae te coed As dion dO Adie sotliead ‘eas achhond Bah 
 Noi DS elyven oss ‘adn eins tooos Ad aemlilesoe NN Cem pE 
 aka 1. eRORSe hae 2opataawbse de Lo R29 - ebaus Ys aon? 
 wtateadood beaicgbe, goastt etme Veliov adf bave.; , arayvegad do 
 4 V@anonsarn haut Swedynti ove ade, word. Pipi itio- eidep gon don yakoge 
 | vk Pasonguitn: edivasayd yo tcow bux. diuor od? af betosits yliedowqas 
 3 a ot Snow tase ial ni 8 iqont tag satta? hee edhaw® sigiwe wenoisadey oaks 
 
 Torre 9803 ~o | damit. tat oN a td Aeyoa wid al ‘ban ,avgneuling de ined” 
 eh wtoted LAQeSey ainiwol lor ane Yd hewiclaye et: sii? 
 
 bate Jodo ‘ +e gdan? Se viewer? | dud yne, bente tage Xisoanes yous Jagd bre y bet D 
 mY es op 36 » hav tau Loxe saouie. bswaseaog @tigas eattaes y@ al bao oath. 
 
 Je fae Yj ‘Bae weliaen near Yaen tebiget. .aeoto deeyl edt to ely oid 
 ywiven j af bniail .otgoic? ,aevert to eeatin pit eWiow® af vided 
 
 2 : a0 seni abiwk Yo eedsio ot? - sonst? at ybaugw 
 
 ee 
 : hh Te) et 
 A > i Pd sd ve) 4 } be} t ( , hi i Y age Td / f ‘ 
 > ev), a aes | ; moo TN Weal ee De Fe a aa 9 re eae 
 
 : plies ‘tad ais 
 
 c. ous wate J dys ree ie dipts ho. wud ‘BMOE | eid doar ptisnely: 
 dan te 47293, Mbise oad enisgad oats. yods Jee, xtodeda. To Stekeg” 
 
 PONTE .eunidliod gemol at doty eistosaes etew gacd | 
 
 | vesahaper ~~ babi beniases. wrod atirmaanae® p 
 
 rer 
 el 
 t< 
 
pia DERNBACKER'S MELIAEVAL ARCHITECTURG, 
 vruly mecisevel architecture cecur; the pointed erch, the diagonal arrange- 
 tent, and the triangular groin vault. 
 11, Pest Carlovingian Period. 
 Charlemange's grandsons Lothar, Louis, end Charles, cestroyed his work ot 
 union by the partition treaty of Verdun (842), the origin of the German and 
 
 French nations. Thereafter three natione] groups existed, the Gallic, Geruanic, 
 
 and Lomkerdica. ( 
 Lothair received the kingdom of Italy, excepting Naples and southern lialy, 
 
 Zurgundy and the countries cn the left tank of the Rhine in central Germany, 
 
 so that thenceforth s continuous line from Italy tig Switzerland and e 
 
 tone the Rhine divided Burope into western and eastern portions; Louis united wi- 
 
 th his baverian cuohy the German-Prankish ennai a part of the avars end Fer: 
 nonia, @llemania, Priesiand and Saxeny; besides his inherited Acquitania, Charle 
 oLtoined the Spenish Mark, western France, brittuny, Flanders, and alse west- 
 ern burgundy. The three countries, Trance, Germeny, and italy, from their be- 
 ginning not only tock in charge eli further culture, were not merely the chief 
 makers cf history, but they also tecane the early seats oF ert, end. especially 
 of architecture, divided into the French, German, and Italian or rather Losbar- 
 Gic , architectural groups. All the provinces of Letheir's kingdom had in 
 the middle ages. something common in their architecture, the prevailing Somen 
 tyoe of the basilica with horizontal cgiling, later grcin-vaulted. 
 The provinces end peoples of the kingdom of Louis approximated in their 
 
 wrcehiteeture the general type of the tuildings in Lothzir's kingdom, but BOme- 
 
 times developed the basilica with heriwontal ceilings or with vaults indse- 
 
 pendently, sometimes in aceordance with the people ct burgundy... The Rhine ore- ~ 
 vinoes, by their commercial advantsges, and Sexony, prominent under the Sex- 
 on emperors, played the chief parts France adjoined Lotluir's kingdom and 
 
 e 
 
 meat and was quite cifferent fron ‘ale two kingdoms just mentloned: it was 
 especially affected in the south 2nd west cy byzenbine influences from its mari- 
 
 tine relations with Venice and Constantinople, in the southwest ty Yoorish- 
 
 anish influences, imid in the north by a Noraam-angde-Saxcn coloring. : 
 This is explained ty the following reasons. before Charlemange, central 
 
 itzly end Lombardy scarcely contained any but Roman and burly Christian buiid- , 
 ings, and the byzantine empire possessed sluost exclusively domed churches on 
 
 the pean of the Greek cross. Sesides many foman castles and isolated Roman 
 
 baths in Germany, the cities of Treves, Cologne, Menta, Strasburg and Regens- 
 
 burg were especially rich in Roman buildings, like Provenoc, Auvergne, end 
 
 Burgundy in France,’ The eities.of Arles, Nimes, Srange, Aix, Avignon, Autumn, ond 
 Cercasscne, there remained important Roman buildings, then used for ecocles- 
 
 iastical, secwiar ond uilitsay purposes, A411 these Roman buildings exerted 
 
a AaNOR MONA eg 
 | c Pd aiedt at erie leven thba 0. consults: bebtoud 
 > tert 20 tnondses edd sud | aorgsou Tse treseThtb edt to qetoarsto isteneg' 
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 é: = we Ey os bessquag ast basor3 odd olyia nolfisast? admted bel ion. ait: Harfoub 
 isa de dowd? meee edt ,gathitod nates aeaod jaoi lass. oid Yo eoabiteg 
 ROL ea Ne 
 
1¢ REDTENBACHBR'S MEDIAEVAL ARCHITECTURE, 
 
 decided influence on mddiaeval architecture in their vicinity, not affecting the 
 general character of the different structures, but the treatment of their de- 
 tails. 
 
 in The reason. why Bygantine influences appeared in western France, and especially 
 in Acquitania, was that all communications between Venice, as the intermediary of 
 all commerce with the east, and northern France, passed along the main route 
 through western France, to avoid the long voyage around Spain and passing the 
 Straights of Gibreltar, then made unsafe by Arat pirates. The maritime traffic 
 with the Hast found safe ports at Marseilles and Narbonne, whence its goods 
 
 were carried beyond Limoges,ihe seat of an ancient Venetian cilony, to Nantes or 
 Rochelle, and even to Brittany, Normandy and England. The arrival of the Venet- 
 ians at Limoges in 988 or 989 decided the coloring of the entire civilazation of 
 western France; from thence the merchants sent in all directions their spices, or- 
 nements, rugs and fabrics. The important abbey of Periguex was founded shortly 
 before, whose church exhibits in its plan so many similarities te the Shurch of 
 5. Mark at Venice, like that, being covered by domes over square baysk,the send- 
 entive domy; this was the model for a series of some 40 churches in central and 
 western France. 
 
 The Normans were we warlike and active race, filled with energy and desire to 
 learn, not influenced by Roman civilization, Lut accepting Christianity, and Le- 
 sides the Roman and byzantine elements of Civilization, they formed the third fac- 
 tor, which aided in determining the architecture of France. Their peculiarities 
 were their practical Lent, appreciating the economic advantages off durable cons- 
 truction, a desire for fane impelling them tc the founding of permanent monuments, 
 a love cf splendor and lavishness for pride, a knightly pride with the old 
 nerthern rudeness and hardness, yet with this was joined a receptivity for religs 
 ious feeling, causing an energetic acceptance of Christisnity. 
 
 The great province of Neustria: around Paris, also termed Francia, understood how 
 to unite :achitectural elements from the countries already mentioned, under the 
 influence of Burgundy and Austrasia (eastern France with Belgium, Lothringia, and 
 countries on the right tank of the Rhine), in tuilding the Abbey of 5.Denis, theres 
 by creating the Gothic style, the name of Komaneg-ue teing applied to mediaeval 
 architecture preceding this. The yeriod from 1000 to 1144, the date of the found- 
 ing of the Abbey of 5.. Denis, is that of the Romanesy:uve style in France, and from 
 1144 til] about 1227 is that in which the Gothic style attained its clemax. Al- 
 though during this period some details of the new style of architecture penetrated 
 into Germany, and gave a peculiar tingle to the Romanesque style used there, pro- 
 ducing the so-called German transition style, the ground was prepared for the ap- 
 pearence of the earliest German Gothic building, the Lietfrauen Church at Treves, 
 commenced in 2ee7,: 
 
aa dmg tel liceg g, berate te pre Ra ot bamiiad eyewin ew Yds 
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 foe tbbin oat tuods, ngrieo0 eobsauw edt to bolwq sd gatsob aokisstlivte 
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 laces gon: isavketiev ni Se athhn qwisety yo eoasrt aort ereltih yosmw 
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 att. tats rh o6, seoneuLtai ‘oatsnes Ya fas ashes % 8 domi ctom 
 
 batt 
 
 * 
 
19 RUDTENBACHER'S MEDIAEVAL ARCHITECTURS, 
 
 To avoud misunderstanding, it must be here stated that the Romanesque style 
 in nowise ended at the introduction of Gothic at 5. Denis and at Treves, but the 
 new tendency, like a religious faith, had to gradually conquer its ground. Ger- 
 many was always inclined to decentrilazation, and took a peculiar part in the 
 evolution of mediaeval architecture; it was most important in the transmission 
 of both civilization end art to the eastern provinces of Europe. 
 
 12. Middle Ages Proper... 
 
 From the Carlovingians to the Crusades is the period of consolidation of 
 three great western kingdoms. After the end of the Carlovingians, the Capets 
 ruled in France from $87 til] 12668, being named after their first king, Huge 
 Capet. Instead of the series of Carlovingian princes in Germany ending in 911, 
 the Saxon imperial house succeeded in 919, followed by the Salic emperors frem 
 1024 +111 1125, and by the Hohenstaufens from 1168 til] 1254. After the Carlo- 
 vingians, two powers controlled Italy, the Romam-:German empire till 1056 and 
 he Eapacy soon afterwards. Under Charlemange, the Pope was merely the "First 
 ishop of France", the Papacy only becoming independent after his death. The 
 secular authority of the Pepe was established under Gregory VII (died°10&5) by 
 the subjugation of Henry IV at Canossa. The period from 1056 till 2254, the 
 end of the Hohenstaufens, is that cf the contest between papacy and kingdom. 
 
 Urkan II originated the Crusades, carried out by his successors. This is an 
 outline of the historical background of the architectural history of the early 
 middle ages; a new love of life and "willing sacrifice" in favor of the church 
 
 was awakened by fear ot the year 1000, predicted to be the end of the world. 
 
 The ruinous ancient churches were rebuilt, and innumerous churches and monasteries 
 were founded. Cities gradually prospered, and since their wealth, with that of 
 the princes and thet of the church increased during the Crusades by the exten- — 
 sion of the commerce of the nations, they aroused x: peculiarly religious inspir- 
 ation, and made it possible to strengthen Germany, Italy, France, and England, 
 while these employed their power externally... 
 
 The architecture of the Gallic peoples, divided into many races, evolved differ- 
 ent types of architecture in accordance with its coloring by Roman, byzantine, anc 
 Norman influences, whose combination in consequence of the general rise in 
 civilization during the period of the Crusades occurred about the middle of the 
 leith Century, in the vicinity cf Paris. 
 
 Germany differs from France by greater conformity in architecturek not there 
 divided into types of architecture, but like different dialects, it varies ac- 
 cording to the derivation of the people. The basilica with horizontal ceiling 
 or groin vaults prevails everywhere in Germany, the zntique coloring of the 
 monuaients fades, and 5Yzantine influences are scarcely visible. but the tunnel 
 vault znd dome long continued in use in France. At a very early date, a chief 
 
 t 
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‘20 RUDTENBACHER'S MEDIAEVAL ARCHITECTURE, | 
 motive of Gothic appears in the ground plan, the aisle around the apse with a 
 series of chapels (Fig. 4), contrasting in Germany with the idea of the church 
 with double choirs (Fig. 5) umd with the triapsal plan CF yes hy before the 
 12th Century, Germmy was especially influenced by Lombardy, efterwards by France. 
 
 Lombardy chiefly adheres to Roman-Harly Christian church architecture, is al- 
 lied with Germany, but was politically independent from the 10th to the 12th 
 Century. As elsewhere in Italy, Lombardy is characterized by the use of costly | ( 
 building materials, marble columns and mosaics, a preference for decorative 
 coverings for walls, neglect of consistent and complete construction, with 
 the resuiting use of unstructural expdients. 
 
 12, Religious Orders. 
 
 The clergy, especially monks, engaged in improving and extending mediaeval 
 architecture until in the 1°th Century; the laity chiefly cultivated arch 
 itecture afterwards, were originally educated in monasteries, but later be- 
 ceme independent architects, who worked in common in fraternal Societies, sim- 
 iler to workmen's lodges. This results in the first haif of the middle ages fron e 
 the ecclesiastical buildings and cloisters, as well as the care of the arts and & 
 sciences connected therewith, chief duties of the clergy, after their fulfil- 
 nent in later times less important than other aias of the church. The rise 
 of cities and the increased strength of communities brought to architects 
 in the later middle ages a series of great problems, whose solution required wnitec 
 skill. ¥ | 
 
 Among religious orders, the Benedictines played an especially important 
 vert; the first minastery in the west was founded by %.. Benedictine in S22 cn 
 Monte Cassino in Camyania, and placed under the rules of the Order. From this 0 
 doie until the Council of Constance (10DE%, the Benedictine Order founded AO7C 
 monasteries and furnished £4 pores, 200 cardinals, 400 archbishops, and 7000 
 bishops. Monasteries and monks fell into great decadance during the llth and 
 12 Centuries and needed reforms. | 
 
 The Benedictine Order was regenerated by the abbots of Cluny (founded 909) 
 in accordance with the rule of the Mcnastery of Citeaux near Dijon, founded 10PE 
 by the Benedictine abbot Robert for severer asceticism. A Number cf ménaster- 
 ies became subject to Citeaux, and the Cistercians were diligent in establishing 
 monasteries on the model of the parent Monastery at Citeaux. The most import- . 
 sntBBenedictine monasteries were at Tours, 5.Gall, Fulda, teissenturg in Alszce, 
 and Corvey in Westphalia; they were nurseries of culture and schools of develop— 
 ment. The Cluniacs receivef from their parrent abbey at Cluny the work of the 
 education of man, and Cistercians also in Germany, sys successors of the Bene- 
 dictines. In the 12th Century, the brotherhood of Cluniacs counted over ©00.© 
 
 monasteries, and there still remain in Germany about 100 prominent monasteries 
 
te Ot Dee 
 
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21 RUDTENBACHER’S MEDIAEVAL ARCHITECTURE, 
 
 of Cistercians from this and the next period, The other orders,Carthusians, 
 naned from the Chaster-House of Bruno of Cologne near Grenoble, and the Premon- 
 strants, deriving their name from the parent monastery of Premontre near Laon, 
 were Of less importance during this period. 
 
 The so-called Mendicant Orders were founded in the 12th Century, rejected all 
 earthly possessions in faithful imitation of Christ, and Franciscans, Dominb;- 
 cans and Mincrit@s dirst exerted a decided influence on the Gothic style. We 
 shall consider the activity of the monastic orders more fully. To the Bene- 
 dictines are due the abbey churches with doutle choirs, already represented in 
 the Sth Century in the famous parchment plan of S.Gaol, and a faithful copy 
 cf these plans is found in Cathedral chapters and their cloisters connected 
 with bishop's palaces, as well as collegiate foundations originating in the 
 10 th Century. “ 
 
 The mastery plans of the Cistercians were developed from the parent 
 churches at Citeaux and Fontenay and have rectangular choirs; with an aisle arounc 
 the choir in accordance with the first example, are the monastic churches at Riddp 
 agshausen, Brunswick, and Ebrach near bamberg (Fig. 7); without an aisle 
 like the second model, but with several choir chapels, are many monasteries in 
 Germany, like Loccum (Fig. &) in lower Saxony, and kalbrunn in Burtemburg.. 
 
 The chacteristics for the Cistercian Order are simple arrangement and omiss- 
 ion of the towers; monasteries sre Benatae extensive designs, like those of the 
 Benedictines. 
 
 The monasteries of the Mendicant Friars, (Fig. 9) are less extended plans, 
 even simpler than those mentioned, and they lack the transverse aisle as wel] as 
 the bell towers, Allied to them are the hermitage monasteries of the Augustines 
 and the pilgrimage churches.. With the religious orders were connected the relig- 
 ious orders of knighthood, which combined the lives of soldiers and monks, whcse 
 architectural labors esyjecially extended to the castles of the Order of Teutonic 
 Knights in frussia (Marienburg), and also to designs of hospitals. 
 
 The monasteries were so completely supplied with all the necessities of 
 life, that a really isolated life could take place in them; a1] necessary 
 trades and art industries were carried on therein; architects, Sculptors, 
 painters, masons, stonecutters, cabinet~makers and locksmiths, wrought 
 therein, as wd] as workmen employed for other material needs of life. The 
 most complete plan of a monastery, such as scarcely ever existed, is shown by 
 the well known parchment drawing of the Benedictine monastery of 5.Gall. One 
 .d@ the finest znd mcst extensive Cistercian monasteries is that of lieu) bronn,. 
 
 14. Development of Mediaeval Architecture. 
 
 The law of development of mediaeval architecture was studied by Franz Mar- 
 
 tens with especial care, and his results were published in a series of works, 
 
 Sard 
 
 (e 
 
 KP: 
 
Ay 
 
 an ae 
 oe uw boxt? weit | to asaiog te ido eft 
 Odat ystnsizeint? to Soasitae eft 0 2 |. 
 8 Tel a eft to stew agatblivd ile geomiy 
 | De: weeek ere" vee @uaibliud bad bas i Lom 
 ihn \y) | Dbevies 
 obo 4 ewwisetidews to tnomgolevoh of? .,8 
 heey Sdivididne bas iadto dcse of notte lo: 
  welies alae te adder tose ot bag. Aagiib ling eviseeso" ghedied yJ 
 BPO ‘qlereds av Tveet to. ba: qe feoo) edt eden bins doidw edoktsoi) 
 nm onit mise ed? (6 Jaewcion tagatmory Yilstenes ets agrtblind evivewro 
 or Spread apd ad kunt faoo pee] Neti go"t eonil ebia oft .aoanevbs gaoxrte 
 6 Ineagoleved edt at syed: Ls, Oi TY i ew déSt bne fJSl ot ai eoned 
 oe Pavoele tae at ¥livd ner: gone omit ene3 ede ki bovtooe omsoetidens 
 | ae “aast Ad to efbirtm edt s20te5 ef iiw aetgia eiadod one Molisaneit .erssenemel 
 iogeh iidxe sree ds seitsatroo ihe pot ww dite® Agel eds to bao edd wets bas 
 | | .gaticios dasiwTiib djiai TM neve ,eivta wi 
 -OMORSIGOTA Lavostholl to aoieaetxd at 
 ot sons? nous bebavurxe ewtoehidoas levesibem Yo eedons ud ‘wore thd 
 edd of dnsitogei secu aaw ynaare® iting? bas Sivenshm 2 ann 
 rat basfiod ,etisrsbusss beotel tind ylieitvasg bas .tebr0d gistase ety 
 2 ks qltore® .ytesl tovol bas iengme9 bodes Tis qiat .eeryoh toasel 5 at 
 “pe Beiainuas seed? [lis ni bo ltsveag ullesoneg olyte ese ensaok oA 
 iy edd bemtes od yam ex4ow jastgid asi at bas ausae drt edt to wfb 
 trad dg82 ory to elbbix any oda “ayed wsips Asin soiliass borlugy 
 i, a auryana 08 wit to woktmxo teased B avosiq tasdeib Jeow asd ai feonea 
 189 wae aia a to dowd yadda edt to viedo ed} at viveer afi. bawod 
 beds dtiw yews yout ie. osu SET gost yxosestom ed. to S:sor gy sogsr0 
 even bre “stods edt to gn ibe ludex este Seonvanco aedt af MI ge dowdo 
 “ets ak oma eiton to galbiiud edd Livow beuaisaoo et dood idose at tnaea 
 aT Apa gad he 43 Yo acinntged edd de betelyaoo gaied shsast att goes 
 # bar pelyte WOE are en ASast? odd to feds beliso od ven OMT exoted jays 
 to sede Ylitisogeo efile algzod ulwe edt to ew oft MIS! oy Ob | 
 mo ai at bed ofdgoO yiase YT” “@iivay Bhowg ort Stegexed atiw sollioaad 
 © tiempoleveb edt Yo todd ai 3891 PIT botteq od? nods ,wateys od¢ to aga. 
 ° labits ites gdk''se et enbad Tstbedted ont Jtegioht eff Js sina ofdud. 
 ol tO eam ae ‘eth fin dud dolttol eds 03 bbkis ss" taenele wor on. regis 
 é-noldaort thle ist bas elute adt 1 polenesxe ody at amoLiod tediw.2 tndy 
 r ‘niow ede Io: deas ai SH80 wort ‘bolita edt dG one LE ow't bis eoltibies 
 ob wilt t0 tad al. O58 ters boli sedt \@tleav: ciory isiugnstoet duiw esti 
 % | | Me ae imetient toe to bive @olvs Ls mort epson fat to eons 
 
 ry 
 
 a 
 
22 RUDTENBACHER'S MEDIAEVAL ARCHITECTURE, | 
 [the chief points of view fixed ty Mertens are the following: -—- 
 
 1, On the entrance of Christianity into Germany and the founding of the church, 
 wlmost all buildings were of the plainest character, chiefly built of wood, alse 
 small and bad buildings. All were later rebuilt, few preceding 1000 being pre- 
 served. 
 
 2. Bhe development of architecture produced a series of monuments in intimate 
 relation to each other and exhibitihg gradual progress; these monuments are termed 
 Ly liertens "creative LuildingsA and to each member of this series are joined rami; 
 fications, which indicate the local spread of results thereby obtained, The 
 creative buildings are generally prominent monuments, the main line making 
 strong advances, the side lines frequently continuing independently for a long tine; 
 hence in the 12th and 18th Centuries all steps in the development of mediaeval 
 architecture occurred at the same time that men built in different places in the 
 Romanesaue, Transition, and Gothic styles, while tefore the middle of the léth 
 and after the end of the 12th Centuries, a1 countries at least exhibited unity in 
 in style, even if reith different coloring. , 
 
 1E, Extension of Mediaeval Architecture. 
 
 Differeni branches of mediaeval architecture extended from France to England, 
 Belgium, Seamdanavia, and Spain; Germany was nost impobtant to the countries on 
 the eastern Lorder, and partially influenced Scandanavia, Holland and Lombardy 
 in a lesser degree. This affected Central, and lower Italy, Sicily and Dalmatia. 
 
 The Romanesaue style generally prevailed in 2il] those countries until the mid- 
 dle of the T2th Century, and in its highest works may te termed the style of the 
 vaulted Lasilica with square bays. About the middle of the l&th Century, there cc: 
 menced in the most distant places a transformtion of the Romunesgue style, which 
 found its result in the choir of the Abbey Church of 5.. Demis near Paris. Abbot. 
 Suger was. heard of the monastery from ii¢l, was already busy with the facade of the 
 church in 1149:, then commenced the rebuilding of the choir and nave. The move- 
 ment in architecture continued until the building of Notre Dame in Paris, begun in 
 117%, its facade being completed at the beginning of the 18th Century. The period — 
 just before 1140 nay be called that of the French transition styles, and that from 
 1140 to 1212 the era of the early Gothic style, espechally that of the groin vawited 
 Lasilica with hexapartite groin vaults. If early Gothic had in view the perfec- 
 vdon of the system, then the period from 1212 is that of the development of the 
 Gothic stpse at its richest. The Cathedrzl Rhdms is at its culmination. There- 
 after no new element wate addcd to the. Gothick Lut 211 its parts was completed; 
 whwt furthef follows is the extension of the style znd its modification Ly local 
 conditions and reuirements, The yeriod from 1212 is that of the groin vzulted kas- 
 blica with rectanguler groin vaults; thep eriod after 1£50 ig that of the decad- 
 ance, of that escaye from all rules, smd of .wpplication to all conceimale arramge- 
 
 fe 
 
ey PET B's i i.) £h ek ite. ee eA P_ ve 
 ar le i se ne Ale $, ae G SP Poe Mn es nh vole, Aa 
 4 ( ‘4 ie Py , if } ’ 
 “= , 
 Widao : 
 a pies ae de 
 te eee : ce 
 
 “- poet Weler ae gS 
 re 4% taseool odd ,yllentt atin ade to iin 
 iyasmre? ni eziviedto etivp e1ew anotsibac? 
 we fad prone edd Yo emt? sit te aotisvtiivte Yo eousvbs {610 
 Y enitie® Ag82 edt Yo olbbim odd tvods wiwd ct bedeatneonco tow 8% - 
 
  geividia 6 beotion of of tedd#a eew sxedtT .yaemw® ni besatxe tatoy - 
 yaa # <ajasaseet ei Yona 10% extael @ asi .@ til to shemtee's3 ise 
 
 x. 
 
 u | iktasitoonig as abut fo ons® extol retts nevivemeds bewode <{ 
 belnspeaa @dé Yo tfotio sx9eteew edd no satét beweqgs dlyta moistaner 
 whi ods Aguodsih - Bt ftine yaanm at betas! bas (P5LL~-SALr) 
 : 6 Asind) oeus rtadets edt ak Loe assized no berssqqs, saveifise selyta 
 sb ot oe ew SPST bebavot ecw engofod te lorbedes® Saesetg vit dguodtic 
 han ate ats ni ylbebtoeb reading? & to fowwdd ef to aoiteigace edz 
 j auoitsy ni S88f bas OOS! weste, beyolgae sedéw%t goled eupasasmod eds 
 I to feds beoslaeib ewiossidore. {avesiben tasmreDasdt aid? wot ee2 
 rd: tio 8 As monte beriase tide ‘ggned 60 otnae ant al Beezyoig Jad 
 As wouex? at. 
 eet siieaadast Se to aitiebnet deere Thi ah : 
 fae ae woonsad at dead wort exettth ylbobined siyla Isucitiansy, eit 
 7 h odd to énomevoryai anseu atdd QB tet co ,elyse isnolsiansat » eons Tl 
 | tat Yletean sen ti enemted ai gud .Sidgod™ eds io nigtso edd Sie 
 pelts pots tans xs oie to setonebass seid) ed? otdtel bas eypaeneaot 
 “eae i = ewollolt as yehto dose mort bere 
 & 1! he fetbhontte? odd ¥ ae Atesagw ont ao eatged dokdw tell “sf 
 tind fatooga anias v2 .ceonivorg enid® odd appends anetse yltetio 
 Ed. be “ pdtsg Ietujouita sor esydostt etivsy hae af few Wot etes as Aone 
 vi Pavttexooeb wilsved 8 agath Ciud dained# edt evsa ti ,eamwloo {1 lame 20% 
 siw t gti itd be brane eid iteiane nad 610m ,stbotdo all oow dotdw’ . 1982 
 oS t > ee oiteursano © eit O2 sonete 
 t danas beaottuen Shbshviny edt nortt ignietais tiesty ite «baodea & 
 @isdennmot to- alowed sesasn ot oveebas adf sort yucd wD nf bedealytio 
 i) eheooig “GEL toegas yousbnot ef? otto? dower? to eaods abdt abatven 
 ae bs ¥ > of Ysa bas vs lyda dewtoursa 6 ase .avlietesnos as lowsaid 
 ey ee Oat ia 20. ‘er ar @{qmaxe faeank? edt idto? gathbevat edd saniasgs ‘wok 
 pee ‘etbiwea lo bas yasore? ai supiaw yew adi ai S882 of ORL doe dweteivl 
 oem olajs ne, yoived oasis oe te QMMBITE 8 to Iedt sit! tsdwomoe boebat st 
 2) edd to galsiysy oft tod ,alogaip gikhe ibe ‘fovea <itiw atedo edd 
 intotg bettie, ei? Yo baisent yaw me ilvosy 5 af-onoh esw fialy od Bo... 
 toss aaa ‘bas nko aolseatiwsc oupdenanotynans®? of% .obdded 
 | tuodguomuit bey. ig 
 
 t+ 
 
23 RUDTENBACHER'S MBDIABVAL ARCHITECTURE, | 
 ments of plan, with finally, the loosest freedom and decay. 
 
 Conditions were quite otherwise in Germanyp this likewise took part in the gen- 
 era] advance of civilization at the time of the Crusades, but while art and cultu- 
 re were concentrated in Paris about the middle of the 12th Century, no central 
 point existed in Germany. There was rather to be noticed a striving flor individ- 
 ual treatment of life, than a desire for harmony. The Romanesque style was so 
 deeply rooted in all Germany and so popular, that the first vestiges of Gothic or- 
 ly showed themselves after Notre Dame at Paris was practically completed. The 
 transition style appeared first on the western choir of the Cathedral at Treves 
 (1152-1169) and lasted in Germany until 1250, Although the perfected Gothic 
 style earliest appeared on German soil in the Liebefrauen Church at Treves, and 
 although the present Cathedral at Cologne was founded 1248, we find the same yea 
 the completion of the Church of 5, Kunibert, decidedly in the transition style, 
 the Romanesque being further employed after 1284 and 1285 in various places. ie 
 see from this thagtGermany mediaeval architecture displaced that of France, so 
 that progress in: the style on German soil occurred almost half a century later thar. 
 in France.’ 
 
 16, Ditferent Tendencies of German Transition Style. 
 
 The transitional style decidedly differs from that in France. It was truly in 
 France a transitional style, so far as this means improvement of the Romanesque 
 and the origin of the Gothic, but in Germany it was merely intermediate between 
 Romanesque and Gothic.. The three tendencies of the transition style strongly diff- 
 ered from each other as follows:- 
 
 1.. That which begins on the western choir of the Cathedral at Treves and 
 chiefly extens through the Rhine provinces., By using special building materials 
 such as tufa for walls and vaults,trachyte for structural parts, and black slate 
 for small columns, it gave the Rhenish buildings a peculiar decorative charac- 
 ter, which wae its okject, more than improving the system of Luilding with ref- 
 erence to the construction. 
 
 &, 4 second, entirely differing from the previously mentioned transition style, 
 originated in Germany from the endeavor to master defects of Romanesque by othe 
 methods than those of French Gothic. This tendency especially proceded from the 
 Cistercian monasteries, was a structural style, and may be considered as a reac- 
 tion against the invading Gothic. The finest example is the Cistercian Church at 
 HeisterLach, 1602 to 1223, in its way unique in Germany and elsewhere. The plan 
 is indeed somewhat like that of 5.ETIGNNE at Caen, also having an aisle around 
 the choir with seven radiating chapels, but the vaylting of the rectangular bays 
 cf the plan was done in a peculiar way: instrad of the pointed groin vaults of the 
 Gothia, the German;Romanesque combination cf groin and classical vaults was em- 
 pliyed throughout. . | 
 
 a 
 
we ee tae) P2e\4 Ae (e8 
 
 Mecsas eeu thad- teotts 6 bessexe sgh howe seid vd? 
 138 | tq vse bi aiedd to selausxe gaintemet wot eds bare ~aoaas? 
 Prood frei «xoawbaed—eiyte a to nottqeonoo odd wolle modaye {siwioetinows 
 ‘ee prod are. _ qeaiis ovad sqsdieq. tight dokdw sotdioe-demer? of beacyye 
 | y Ore al busoiweet bas bot qaestni need olyde Aoliisasit asa 
 d aliy ‘edd o5ew oldsod domes} to one youvbaes 2idd to weebi pawory 
 ns ASisiourtenos ods oF bekigge ae" si (Sawtetith erew noktsoexe ‘to 
 mo ye sland cyor gh om bem beantog glo Love tines mhoxy 1s hu 
 re if talel weliorg aid’ ot 
 
 ae: ential! mi yn arg Bats edd. te yadebse J buried o 0 
 
 7 Of a8 co (amiot wea olf Q? Yasais? bewovanoos bas ,alys ofatou 
 te jasiliee edd tu8 .olyde oidie? betoelieg 6 to voasiine Iqetie 
 forte edt evig don bith S332 babawot ,aevex! ge dowdy aowes Jotd edd 
 by sedi tod J ,(nemse® fie suodgvoruds elyse giddod wd ig Aoijoubowtar ods gaidtia 
 ad ef tot nooe (983% wi weagolod io teabedve? ads hy gitibavot edi of oub aay 
 aaa ie bys seitagt edt at giud¥exse t6 icabedte oat io aoivaerxe 
 3 4)  ktvo® gtsd to eweell .*1 . 
 ia ems etal to euiten of} awond whew yliselo tail? agedset area 
 Aaot begolevel yleteiqnos eff mesoqquaets (Lt ~tbuteua yiiviad 99 
 ih yaivaixe Ybeetie (astes sistteo To tiewqoleved eid ao beerd af 
 b ncasoe agfel 6 xd bebie .soisnetxe ateds m bas ,ointo0 to botiwg sa 
 Hime sod @qofeveb aids aeomeuliat [eool anti ab kai ~ dees 
 PP | ygartot. Isa youre betoal 104 0 Roitemotean tt brewod dae 
 qase@w? ai ,avyorl te nieds.2 dtiw gonet? ai ikyoaumnce woivsottt (uate 
 iy Med? .BSSf og L6SL bebsvot aew aeyorl fe ainda 6 ~th weal gad jaet 
 w ya yaa. or —s pengolo® ts dogudd 'aetironid ait enw yaowied At wig 
 ¥ cone ee 1 4sewog Dae gaelss gael tos rye see: mw Od gud leds 
 | @ wviterooe! hi 6 mm qeriwoco emxol dawtoedinows To noiisusotens st 
 — eengo edi l- ywet, bis Yoanisette theds yd tO weds galaegiede bas ativetekyons Yd 
 TORE “ostetl at snes gy (bse1ls, etew yanehaet eidd Yo ekigit agetsous 
 Oy Be oy w aagolo? oe dowd ‘eesti tome edt. to tweteiols sil sane qh gaat od 
 
 (Gs ie ¥ 
 
 TOP sug 
 
 al 
 
 stod gifted ofa eandd Aguada ta ol Saar) Youvbaod sidg¢ to ol quer xe 
 anw dads dosh bertaote GE dedd Yaw Jou Ysa ww ,ysoed To mic 
 
 ; 3 avorwau beoubom bas -igeieaaaiaaaai ai ase 139% dova gvbaw Le 
 ae a pweholteaiJ£o2, sup 
 
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 in a ber itity ed wou ys doidw. etavagoleve to didegso antey wet 6 Joa J 
 
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 het eds baisgeoty $k pond 1! ai obeu aeetsotg wit weilidy fey Iyo : 
 
a4 RULDTENBACHER'S MBEDIGEVsAL ARCHITECTURE, 
 
 The Cistercians exerted a stronger influence on Avchiteoture in Germany than in 
 Franca, and the few remaining examples of their endeavors to perfect a structural 
 architectural system allow the conception of a style-tendency, parallel though 
 opposed to French-Gothic, which might perhaps have arisen had not this purely Gey 
 men transition style keen interupted and restricted in its development, The 
 ground ideas of this tendency and of French Gothic were the same, but the methode 
 ct execution were different; it was supplied to the construction of the rectang~ 
 uler groin vault, avoiding pointed erchitecture. we shall give particuker attent. 
 to this problem later. 
 
 3, «a third tendency otf the transition style found in Germany endeavored to ad- 
 cet and utilize the progress made in France; it prepared the ground for the later 
 Gothie style, and accustomed Germany to the new forms, so os to prepare tor the 
 
 iL entrance of a perfected Gothic style. But the earliest Gothic monument; 
 
 ct 
 
 mitting the introduction of the Gothic style throughout all Germany, tut this 
 vas due to the founding cf the Cathedral of Cologne in 1248, soon followed ky the 
 extension of the Cathedral at Strasburg in the Gothic style. 
 17, Nature of Late Gothic. 
 Franz Mertens first clearly made known the nature of late Gothic. His ideas na) 
 te briefly stated:- 1. It presupposes the completely developed Gothic style. ©. 
 It is Lased on the development of certain germs, already existing during the : 
 
 best period of Gothic, and on their extension, aided by a later common decadence ii, 
 
 taste. °&, aside from local influences, this develops both toward simplification, 
 ond toward transformetion of perfected structural forms. 
 
 Simplification commenced: in France with S.Urtein at Troyes, in Germany with the 
 Kegging Friersi- 5. Urbain at Troyes was founded 1261 to 1e¢4, The first exam 
 cle in Germany was the hinorites' Church at Cologne, I<70 to 1260; it was a week 
 style, due to masters of less talent znd power. | 
 
 ranstormation of architectural forms occurred un a purely decorative sense, 
 Ly exaggerating and sharpening them, or ty their effeminacy and jewel-like con= 
 nections. tarks cf this tendency were already apparent in French Gothic, acco dir: 
 to Franz Martens; the cloister of the Minorites' Church at Cologne was the first 
 example of this tendency (1292)q Altheugh the Late Gothie bore within itself the 
 verm of decay, we may not deny that it created much that was beautiful and ori, in- 
 al, made much pwoeress in constructicn, and produced numerous graceful imd picture 
 gue combinations. | 
 
 It is unjust to regard Late Gothic as merely a decadance, for we may discover i: 
 it net a few germs capablic of development, which may now be utilized. That med- 
 geval masters even employed the severe forms of the test Gothic in the same de- 
 sign with Lete Gothic forms, to produce Ly contrast more vivacity in the closel} 
 
 ekrup 
 she Lielfrauen Church et Treves, founded T&<7, did not give the strong impulse pe: - 
 in 
 
 G 
 
hae 
 iP cai Cer ae 
 
 iy land pics one : rena h ie keer 5 es 
 6, ey AS tO gatwetbh 6 ni sone ve eves on Lautan es ho2eheut 
 22. nev hove ly 49s tab e2oiw .ytulens se 
 Gi Bin ssid «fas tin00 401 teddo d loas obiaeJ 
 cals . be cba seD 
 gl pe nee fe ie ‘oqwe nieddoe2 to slooied at 
 ® Rid Nonna Loree alt ai wite sido ‘[evesibas to wety & Sevty eves oi 
 rat Noidnen O evad ow .todtat af # Yxies oF Mada ow ti Givagoleveb to 
 al? ‘wk fa «ybaugaud engrave wetted suph webeugasd eoriwvord to nea 
 . iaaiiete suit biiodivorg-off bom ideega ot due tte me’ feYyor) eoass toh 
 a? Bao qbittand eiiwved (ei igw Sinoonsat HONS ,ontAA yegal bas eibbii 
 (lest aesaow bas. ybtsdaol 29 Jme o'r Gain faim ot bat iwol asa) deq04 
 bas, Qinel oil Stent lo s. ‘Bem Genero. Kenol ute ott ,ebmayord .f 
 ee ie F ynooly bas, yveod  Lisne og. ‘eapgwaeaot me ayrib Live ehiedinot ego 
 <gtg D bavor yd beteven. Ylevian foxe dsoufs ,eeleis eviit 10 ate atin 
 $i blueo atoor emote. ane fy. A@arlors ae Tyres a3 yd Semedtanetya atlosw 
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 ine me cneshagiaea eid daquowit bets taanery aew olais lbbiw. ef! to tiuev’ 
 , 'ipas oe tends ayse aitedtell ailew Lantedxe oft od eeleis able 
 ; SS setosisis edt gasecooth Ymbi oLdi Resaivorqy edd to mieivibdua of 
 tou nemo oF apemisen vi benimteteb ylos: tte af aliniud.: ati ti awioed 
 stud asiiegt ab Baty wad itu ght oF Xhoaole etea Betantxory 
 a qo sedowsd. Sit o's apath Lind jmiPisqet Jaca ef? , 
 ees <i de idnbol aay eee has {6911 8.2 Go .MOigiva de. @eon 
 Bok a WO. \vetdeeritiow 234 WE gomevorl axel fot bas froszin’ up Semen 
 ue. Re atuieo eit og aitiynotes comivong gy Shou ga6 46 ‘[eodec edT....3 
 Poc%edo & etidiixe .2eeao.: i od bas eathtivpA jsomevoxt nesw sed gitivl 
 wieed mt ‘gaimegat eros. ious oe euaie Laud eit tud cctv to seid of 
 ‘teido sit ‘a@s0stsHo se20% ghiveninobers \ awoda sciwelil aottsaoosh 
 7) (BROL). waotvo?: $8 Hint? .2- .(O80r gar} aeypae? Js dowdl-yeddaos? © 
 wid belaie~werdd (eleusis pabilednd bas elais—yiodo dviw welg belats 
 tlc i oesovanst? Gaiaedsynoita bis lets olobin ais wyo adivsy teonwJ 
 pdanias iia 2t enysevus benok inom aut ows oft sin teestnoo al _ .f 
 : So doswd? off at grthliod teido otT Vaytiblicd demoed amit tuo 
 de Re Qriuniged ro dstl edt to bae) Dadra T~saowield: 36 3404 
 6 “betevoe cate bas obey yield to aedomdo sdt of nefg ak doll 
 (qu, pldoes: toate. @toot enote eti -bertine 91a. asdors va tovanisit rinsed Jyoewe 
 ce “eee ‘ous, eeleis shin ods weleis eeatt end dowdo sd? .asiony odo a6 
 one : weit ioe feniyt yd reqgu HOTS vd herevoo' yrode ‘tewol ges Wiley dgiw 
 _ bila é via dotitw Sais tavon pinsioy Uteide edt of gub bas. eayrevsA to. oicet 
 : st hand icusteatad ‘ota wie a Laisiaaan Suousthih to kisizeten wat 
 
 , aD Seay . 
 
 Pe 
 
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 HPolies, aidd 
 
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 ) : v ae “i te % et 
 ‘eer eo i ees Pee Meek Pa Wie 
 
26 RUDTBENBACHER'S MEDIAEVAL ARCHITECTURE, 
 restricted system, we have evidence in a drawing for a massive tower, found at 
 Regensburg, whose designer placed very severe and very fanciful forms of tracery 
 Leside each other for contrast, and also in the original drawings for the Cologne 
 Cathedral. 
 
 18, Schools of Southern France... 
 
 We have given a view of mediaeval architecture in the general lines of its cour 
 of developmentg if we wish te carry this further, we have to mention in France th. 
 types of Provence, Languedoc, Aquitaine, Auvergne, burgundy, Normandy, also of Is. 
 de-France (reyal domain), and to speak of the provincizl German styles of Lower, 
 Middle and Upper Rhine, Saxony, Franconia, Swatia, Bavaria, Austria, and the 
 north Germen lowlands, we must also rememter Lombardy and western Italy.°: 
 
 1, Provence, the true Roman province, was a climate like Italy and is rich in 
 Roman monuments. Buildings in Romanesque are small, heavy and gloomy structures, 
 with one or three aisles, almost exclusively covered by round a pointed tunnel 
 viguits strengthened by tramsverse arches; plane stone rocfs could Le used there, 1 
 ing on the tunnel vaults... In designs with three aisles, the thrust of jhe tunnel 
 vault of the middle aisle was transmitted through the half-tunnel vault of the 
 side aisles to the external walls. Mettens says that the small monuments are duc . 
 to subdivision of the provinces inte many dioceses; the character of the archi- 
 tecture in its details is entirely determined by nearness to Roman monuments; 
 it even epproximates more closely to the antique than do Italian buildings of 
 this period. The most importamt buildings are the Churches of Notre-Dame-des- 
 Dons at Avignon, of 5.. Gilles, and the Cathedral of 5..Trophime at Arles. Ro- 
 manesgue Switzerland follows Provence in its architecture. 
 
 2, The School of Languedoc, the province belonging to the Counts of Touldse 
 lying between Provence, Aquitaine, and the Pyrenees, exhibits a character similar 
 to that of Provence, but the buildings are much more imposing in design. The 
 decoration likewise shows a predominating Roman character. The chief monuments are 
 the Abbey-Church at Conques (1025p1060), 5. Sernin at Toulose (1098), a noble three- 
 eisled plan with choir-aisle and radiating chapels, three-aisled transepts, with 
 tunnel vaults over the middle aisle and strengthening transverse arches. 
 
 2, In contrast with the two just mentioned, Auvergne is an inland province nibae 
 cut fine Roman buildings. The chief Luilding is the Church of Notre-Dame-du- 
 Port at Clermont-Ferrand, (end cf the 11th or beginning of the 12th Century), al- 
 lied in plan to the churches of Languedoc, and also covered by tunnel vaults, but 
 Strengthening transverse arches are omitted; its stone roofs also rest directly up- 
 ei Sioa vaults. The church has three aisies; the side aisles are in two stories 
 
 ‘ith galleries, lower story covered Ly groin, upper by tunnel vaults. Character- 
 istic of Auvergne and due to the chiefly volcanic mountains, which supply build- 
 ing materials of different colors, are the mosaic patterns of the masonry imitated 
 
| Siete (ited edd al nove eeu ovieaetae ai apdeluotter eugo ad: 
 | gentoT sit Yo oaod?s of tofe ls! ealaiwdso ors eagiaw to eedo ide 
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 ” se¢lusy fwobeoe att has yothlind gntsatxe edz tot soscsco. at doteado 
 
28 ; RUDTENBACHER'S MEDIAEVAL ARCHITECTURE, » 
 from opus reticulutum in extensive use even in the Barly Christian period. The 
 churches of Auvergne are otherwise inferior to those of the former provinces in 
 richness of sculptured ornamentation. The Church of Notre Dame du Port serves as : 
 odel for a series of other similar designs, first for the Church at Issoire. 
 
 19, Divisions of Aquitania. 
 
 Aguitania is divided into three provincial types, of Perigord, Poitou, and Anjcu. 
 Perigord comprises the dioceses of Periguex, Angouleme, and Saintes, with Peri- 
 guex as the central point. The churches of this country are all domical struct- 
 ures. Poitou, with Poitiers as capital, is characterized Ly three-aisied churches 
 with aisles of equal height, (hall churches), or with a clearstcry over center 
 aisle, as well as by churches cf a single aisle.. basilicas are almost entirely A 
 wanting. Anjou, with the cities of Angers, Mans and Tours, is ty its situation ch: 
 efly allied to the North. From the middle of the 1¢th Century all these count- 
 ries belonged to the Plantagenets. 
 
 Perigord is also noted for its important church at Periguex, built on the Greek 
 cross plan, an imitation of the Ghurch of 8, Merk at Venice. The characterist- 
 ies of the church at Periguemx are its teing covered by domes, separated Ly corn- 
 ices from the pendentives. At the restoration, these pendentives were entirely 
 tuilt of horizontal courses, thus Ly cortelled, their builder imitating a form, 1c* 
 clearly understood Ly him, Viollet-le-Duc has very fully explained this imper- 
 fect construction, after all merely an inconvenient refinement; the quite primitive 
 construction of the vaults and the peculiar form of the bell-tower of the churct 
 wake it appear scarcely doubtful, that the date of 1047 for the dedication of the 
 church is correct for the existing Luilding and its domical vaults, The domes 
 are pointed and the pointed arch is employed here for structural reasons as in. the 
 south-west provinces (V-L-Duc, I - 171; IV - 950; VII - 110), 
 
 Phe system of domical forms at Peri giet erp lies to a series of other churclés 
 at Souillac, Cahors, Angouleme, Tremolac, S.svit at Solignac, ©. Emilion, 5. Hilvir 
 at Poitiers, Fontevrault, boschaud, etc, but all these churches have the Latin 
 cross plan or are without transepts. The transverse aisle and choir are usually 
 covered by tunnel vauvits, and apses generally have a choir aisie and radiating 
 chapels, Such are the churches in the dioceses of Angouleme and of Saintes. 
 
 hile the church at Perigueux has in its masses a decidedly foreign, byzantine 
 appearance, it adheres to Roman forms in detaiis; the character of these tuild- 
 ings is entirely Romanesque, and Roman details are almost entirely replaced by 1ich 
 
 ornamentation with partly Norman forms, partly those recalling Celtic inter- 
 lacing Lands, mixed with animal forms and grotesques. 
 
 With these buildings should be mentioned the Abbey Church at Fontevrault, whore 
 eastern part wes built after the middle of the 1£th Century and contains a new ¢- 
 lement; the intersection of the nave and transverse aisle being wovered by a pend- 
 
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 » 
 
ar RUDTENBACKER'S MeDIARVAL ARCHITECTURE, 
 
 entive dome without a horizontal cornice, so that the system of Perigueux has give 
 place to a better one, more easily constructed. At atout the same time, true 
 Gothic already existed in its chief elements in 5. Venis. 
 
 Northern Aquitania, the diocese of Poitou, very distinctly differs from Peri- 
 gord; the most imperfect and oldest examples of this provincial type are the 
 churches of Notre Came la Grande and of 5, Radegende at Poitiers. One fragment 
 of Byzantine architecture, the pendentive dome, continues in use in these parts, 
 cut eight purely ornamental ribs subdivide the vault, a form derived from the 
 northern provinces of France and without any structural meaning: the vaults are 
 entirely constructed with wedge-shaped voussoirs radiating from a center. Even 
 in the beginning of the 1lgth Century, the single aisled Cathedrs]l at Angers, was 
 built (1146-1185), in plan recalling the similar Cathedral at Angouleme, extended 
 vy adding a transverse aisle and choir with domical vaults divided by eight ribs, 
 The Cathedral at Poitiers, a three-aisled Luiiding with slightly raised central <i- 
 sle, is similarly covered by domes with eight ribs. "e find a second type of 
 plan of church in Poiteu in the Ghurch of 5. Savin at Poitiers; three-aisled in 
 contrast with the preceding churches, but of entirely different type. The raises 
 center aisle is covered by e tunnel vault, with groin vaults over side aisles. 
 
 Both churches, the Cathedral and %.Savin at Poitiers, have in common with the tcie- 
 zoing churches the center aisle without windows, the entire interior therefore 
 Leing very dark; tut differ in that the roofs are no longer of stone Lut are ot 
 wood in provinces more exposed to rein, then covered ly tiles. Instead of square 
 niers with engaged columns, the vaults in Ss, oavin rest on round piers. 
 
 In like manner and with domes having eight ribs, the churches of the province 
 of Anjou at Angers, LeMaus and Tours ere veulted. The churches of Poitou, espéecial- 
 ly that of Notre Dame la Grande at Poitiers, are characterized by their richly cec- 
 crated facedes (Lubke, 464). 
 
 All these churches have a heavy and gloomy character, unavoidakle with small 
 windows and defective lighting of the centre aisle; their second peculiarity is 
 the almost exclusive use of stone roofs, necessarily replaced in the rainy noril- 
 ern provinces of France Ly wooden roofs, covered with various materials, tiles, sl- 
 ates, or metal sheets.. Various ways were used to cbhviate the gloom of churches 
 vith central aisle covered by tunnel vaults and withcut direct lighting. 
 
 Climatic conditions and the geology of southern France, together with the fixed 
 and conservative character of its people, chiefly determined the evolution of 
 its architecture. Throughout the remainder of France an important influence of 
 Germanic peoples made itself felt therein. with active introduction cf Germanic 
 elements, an endeavor to perfect architecture criginated from their mixture with 
 other races of different nature Lut with great talents, and happy combinations cif 
 their varied peculiarities result. | 
 
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ee RUDTENBACHER'S MEDIASVAL AKCHITECTURE, 
 eO, burgundy and Churches.: 
 
 Burgundy is Lounded on the south by Auvergne,on the west by Aquitania and Isle- 
 de~France,on the east by Germany; in eastern France it plays an important part in 
 the development of mediaeval architecture. It belongs to the districts influenced 
 ty Roman monuments, in which it is rich, especially at Autun. It not only torrows 
 from Roman buildings their decoration, like Provence, but also their structural e&- 
 lements. Sculpture is used, not merely to cover surf aces, Lut is concentrated on 
 coints made prominent by construction. 
 
 Church architecture is especially characterized Ly a decided acceptance ot the Las- 
 
 ilica with clearstory windows, and by the grand design of the building. The inter- 
 nal piers are frequently treated like Roman fluted pilasters, and the rits are sub- 
 divided into rounds and richly decorated mouldings. : 
 
 The oldest monument in burgundy was the Church of 5, benigne at Dijon, ouilt by 
 an Italian abbot rilliam, which has entirely disappeared. It was erected on the 
 Latin eross plan (1000), and to it was added a three-story circular building witi: 
 two eisles around the central space enclosed Ly eight ecclumns, which rose atcve 
 the three stories and probably ended in a conical roof of mascnry. The rotunda 
 was an imitation of the Church of the Holy Sepulchre et Jerusalem, and (V=1-Duc, 
 VIII-#W@) contained a large crypt, more than one hundred marble columns for its 
 court being trought from Italy. Massive Btaircase towers connected the three stor- 
 les, 
 
 Another tuilding ty the same atbot Si}lseh was the Church of 5. Philiktert at Tour- 
 nus, (after 1007), a three-aisled vaulted basilica with a vestibule, as in Burgundy, 
 
 in every way differing in design from the preceding churches, since the semicircu- 
 ler transverse arches of the central aisle support tunnel vaults at right angles & 
 with the longitudinal axsis of the church. The supports of the vaults are hassive 
 round piers; the side aisles are covered by groin vaults. This awkward and heavy 
 system of vaulting enatled the architect to place windows in the upper walls of 
 
 ihe central aisle. sdjoining the nave is a transverse aisle with choir, circular ai- 
 
 Sle and radiating chapels. 
 The use of transverse tunne] vaults occurs independently of this church over side 
 aisles of churches in different places. Lighting the central aisle resulted from 
 
 placing the tunnel vault over the entire middle aisle so high abcve the roofs of si- 
 
 de aisles as to permit windows in clearstory walls above these roofs. This cccurr- 
 ed in the Abbey Church at Paray-le-ionial, also in the Cathedral at Autun, (commen- 
 ced 1182), 
 
 From the impossibility of covering side aisles by abutting half tunnel vaults, it 
 resulted that the side thrust of the tunnel vaults of the middle aisle must Le re- 
 sisted Ly buttresses, with the disadvantage thet the tctel height of the building 
 
 wust Le materially increased, and still the end was but partially attained. In 
 
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 By: Hiatt benoit diee Yowot is, editert Yo aiasg wily al Wooo Sout ob omit 
 edd .azivay atoty yleriine teenie @iab vlise Wier 6 ve wow coluet 
 us aes sai at as sage fonaue Ped Xd besser eunilenor git 
 
 Thal 
 
rae) RUDTENBACHGE'S MEDIAbVAL ARCHITECTURE, 
 
 spite of Luttresses, the vaults of the central aisle threatened to overturn the 
 clearstory walls, and although such churches were long Luilt, their defects were 
 evidently Blainly felt; on the greet Abbey Church at Cluny, Luilt on the same sy- 
 stem (1080-1120), on the Church at Beaune, and on the Cathedral at Autun, tuttress- 
 es were necessarily added in the i@th and 1°th Centuries to remedy these evils. 
 
 This system of construction was abandoned in building the fine Abbey Church at 
 Yegelay, for instead of tunnel vaults over each bay of the middle aisle, groin © 
 yoults without ribs were introduced kefter 1120), | 
 
 The most important and grandest cuilding in burgundy was the Abbey Church at 
 Cluny, unfortunately destroyed; it afforded the most perfect type of the burgun- 
 dian churches. This church had tive aisles, two transverse aisles, a long 2-ais]- 
 ed vestibule, a cheir with circular aisle and radiating chapels, and nine towers; 
 it was decorated with magniticent sculptures and costiy tuilding materials. Abict 
 Hugo commenced the Church in 1£09, and hed columns of Pentilicen martle and Cipre- 
 line thirty feet long -rought ty sea. ‘i 
 
 The Cathedral at Aulun borrowed its detyils from Roman Gates there (Forte d@'ar- @ 
 
 roux); likewise for the Cathedral at Langres end for cther churches in this country, 
 rich in Roman tuildings; fluted pilasters, Corinthian-like capitals, and mould- 
 ings resembling Roman, are characteristic of these buildings. Members and orne 
 mentation ere Lold and tasteful throughout burgundy, end so tar as not influenced Ly 
 antique forms, harmonize with the treatment of details of the Romanesque style in ti 
 adjoining provinces. with the intrcduction of the groin vault over the bays of 
 the middle aisle, the oid system of vaulting was dropped, preparing for farther ste 
 es in the evolution of the vaulted basilica. 
 
 21, Normandy end Churches, 
 
 From their native country of Normandy, the Normans conquered England in 1C¢@ under 
 their strong and atle Duke William. The Norman nobles therety won great estates in 
 the conquered country, and their religicus feelings led them to found convents, ch-— 
 urches, and monasteries, which they, fond of architecture and magnificence, Luilt 
 permanently and intelligently, decorating them as far as possitle, 
 
 The plan of the Norman church is siways the Latin cross; side aisles extens te~ 
 yond transepts, tut do not, 38 in almost all provinces previously mentioned, form a 
 circular aisle arcund the choir, or end in small apses, almost always ending in — a 
 square form. The central aisle terminates tetween these squares in a semicirculer 
 epse, Side aisles generally have galleries above them, or a triforium takes tfeir 
 place, a passage in the clearstory wal] with arcades next the central aisle, o1t- 
 Bide it being the roof of the side aisle. xcept in the Cathedral at Autun, trifcr- 
 iums do not occur in the parts of France already mentioned. - 
 
 Vaults were at a very early date almost entirely groin vaults, the galleries tem | 
 ing sometimes covered by half tunnel vaults, as in the southern provinoes. The. mic- 
 
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 ravers 
 
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 otiup al [low fe @ edd to nolaivibdue oA? .notvoestini 
 eles ai eau Roaaos ak i ox atedaslia wets? bus -eoans4 dgucc 
 
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 si =}. tee 
 
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 we ; oid ae. savittod gregh} oat (BEDE. 99) aovt-vobeateaied .3. 32 
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 uo ee bad ccm pecan Sid dod ope odtod yLiesa ‘oa. yhsetis 
 LSS ae J agdhte etgats i- 1102 of genddngs ‘ify ‘yi 
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 ak ai dibntoorg ghininegen sou al (sieugb fuyor) eOrte T4 phy [gt | 
 
 de pee NOE ; exiedaaile-s toned & to dead et ao bie inge 
 
30 RUDTENBACHER'S MEDIAEVAL ARCHITECTURE, | 
 
 dle aisle was usually covered by hexapartite vaults, which were not so early in use 
 
 in -¢he rest ct France or Cermany.. The early and common use of groin vaults led te 
 
 the use of the pier with semicircular projections for support. Columns do not oc- 
 
 cur in Normandy. The exterior of the Nornian church is always characterized by two so- 
 
 uare, slender wrstern towers with tall spires, and by @ massive tower over the 
 
 intersection. The subdivision of the external wall is quite different from that in 
 
 South France and Germany; pilasters are in common use in Germany, connected by e 
 
 round-arch frieze, while in southern France projections from walls are mostly in the 
 
 the form of semicircular piers, whose capitals are connected with the entabl ature 
 
 and are suppotted ky corbels; Norman buildings have noderately projecting buttress- 
 
 es ending beneath the main cornice, which usually rests on corbels, The facade 
 
 with two towers is divided in several stories and is decorated Ly a great portal. 
 The entire ornamentation in Normandy differs essentially from that of the remair~ 
 
 der of SHADER Excepting the attic base and some forms resembling the Corinthian % 
 capital, all Roman reminiscences are avoided; it likewise excludes all plant forms 
 
 and is batuetied with geometrical shapes of the most diverse kinds, very strongly 
 sexlline wooden architecture end its simple carved forms; we meet these forms 
 
 asain on the Romanesque buildings of Germany. With them are usually found inter- 
 laced animals with very varied applications. The decoration by these simple meens 
 
 is concentrated on places requiring ornament, gives the buildings a pubstantial bhougt 
 cribliant appearance, and they are strong and sturdy, though rich in effect. 
 
 The Abbey Churches of 5. Etienne and 5.Trinite at Caen were both founded 1068, and &# 
 
 with the Church cf 5. Nicolas, are the most important examplés of this Nomen arch~ 
 
 “| 
 * 
 
 soture, 
 
 2é, Churches in Isle-de-France. 
 
 Isle-de-France (roysl domain) is not especially prominent in Romanesque archi- 
 tecture, Lut is characterized by a ccmbination of all elements of the types of | 
 architecture mentioned. It contains a new structural element, not ocourring 
 elsewhere in France or Germany, of the greatest importance to the evolution of the 
 Sothie style, the strongly prcejecting Luttress, shown ty Franz Mertens (1843) t6 
 cecur in several Roman buildings in Paris, and transferred from them to the Church 
 ct S, Germain-des-Pres. (997-1031), The flying buttress was introduged as a struct- 
 ural element to receive the thrust of the vaults of the central aisle and transmit” 
 it to the walls of the side aisles; according to Mertens, it may already be rec- 
 ognized on the Church of §&, Benoit-sur-Loire (1070-1080), 
 
 hertens seys for this province (1874) that Romanesque architecture is here 
 already so nearly Gothic and Gothic architecture contains so much Romanesque, that 
 it all combines to form a single style. 
 
 eg, aébbey Church at 5, Denis.: 
 after various preliminary steps already stated, the Gothic style appears fully 
 
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 in = a? ry > be) >a © < ¥*. Pa Ye | A _) y a = a ’ 
 
1 RUDTENBACHER'S MEDIABVAL ARCHITECTURE, 
 expressed in principle in the Church of 5.Venis at Paris. To make the émport- 
 ance of this tuilding and the creative activity of abbot Suger evident, this 
 Luilding will be treated at length. 
 
 The ALLey of 5,: Denis was a rich foundation and the burial place of the French 
 kings. Suger was chosen Abbot in 1121, an existing older church with a crypt ned 
 Lecome too small, and Abbot Suger commenced a new structure on the old foundeticss, 
 
 ta) 
 
 \ 
 
 leaving us a detailed account of its erection. Ke strove to attain the hivhest gcic: 
 
 then possille in architecture. Schaase says (V, 32) of Suger: "He took part nis- 
 self in every part of the constructicn and decoration of the church, went inte the 
 forest where trees were felled, and endeavored to use his artistic school studi¢s. 
 He collected as many foreign artists from Lothringia anc other countries es peesilLie 
 and emulated all great works known to him, or of which he had heard. Lesiring ic 
 heve such columns as he had seen in the Palace of Viocletian at Rome; he estinatea 
 the cost of having them trought from Italy Ly aid of the Saracens, but was so fert— 
 unate as to find a gocd stone in a neightoring valley. He gladly exhitited art 
 works already completed to these returned from famous countries end scquainted 
 
 with the treasures of the Church of &, Sophia, and telt flatteres if they declacé 
 his possessions to excel." 
 
 He began with the west facade, dedicated in 1140; this, like Nherman churches, tse 
 two towers, contains a porch between the two towers and @ gallery etLove it, dighies 
 by three windows, one round-arched Letween two pointed-arched,; the porch is a- 
 dorned by three massive portals with torms ef arches alternating like windows 
 Above the windows of the gallery is a wheel window, an idea appesring for tne Tire 
 tine, according to Mertens, in the Uhurch of S.Etienne at Beauvais. 
 
 The three principal coors of the facade were covered by enamelled plates of ccp- 
 per decorated ty gold ornaments (Wr1-D, I, 36). The deep jamts of the portels vere 
 richly sutdivided ana decorated by relief ornament.. The entire facade with aessive 
 and slightly diminished towers, later completed Ly stone spires with four angl< 
 pinnacles, recalls that of the Church of 8 #tienne at Caen, The chois was nekiy 
 slanned and finely executed; Abbot Suger commenced this after the completion ci ths 
 west facade, retaining the ancient crypt (V-1-D, ILI, 233 _ He adopted the active 
 of the seuthern French choir and its aisle with radiating Kees which for tle 
 first time formed here e complete series of seven chapels; the main apse was sur- 
 rounded by cight columns. This choir became the model for most later Gothic czth- 
 edrals. Groin vaults with circular diagonal ribs and pointed transverse ribs hod 
 already Leen first used in the vestibule of the abbey Church of Vezelay; ALLot civer 
 used this mctive and Lrought it to its fullest development in his choir. 
 
 The vaults at Vezelay were sco built that, as in ali ribbed vaults preceding ©. Le- 
 
 ic a) 
 
 nis, the diagonal rits were not structural members indispensable to the stability ct 
 
 the vault, but merely stone centering arches for aiding the construction of the 
 
| Z 2 st Tk vad iat (208 At Snake). Lue v 
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 engl tinny ov ids ic “rel aw eluss) 
 poikw ef! no beyol qe xidaege dence ‘Onis ger 
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 ‘0 — koe te supeens mg! wah 
 
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 r Sale eee Yo, 
 : un 7 ® agate eta’ fo eibbin odd, Litna yaoi ied at olyve ‘bip . 
 pistes yleacto isa beatriaos, baa esys’ Slavia, ois ui besin. | 
 
 . Mereside Bsa wha ating 3 ict Steit audovsl 
 
 he 
 
ae OEDEENB ACHGR'S MEDLa®Val akChITHCTURE, 
 
 vault (V-1-0, Ik, 801). In the choir of 5. Denise, Suger with olear knobicdge assizic 
 ed tg these veulte their structural usds in architecture; the vaults chiefly owe tc 
 whe ribe their stacility, end would lese their permancy withcut them, they owe to the 
 combined uge of the reund and pointed arches their suitatility for teing built cn 
 
 ony form of ground plan without especially complex methods. The entire choir ef ©. 
 Uenis was covered ty three vaults, and the pointed arch already used on the facade 
 was also consistently employed on the windows cf the choir fcr both practical and es- 
 thetic reasons, for its harmony with the longitudinal arches of the vaults. The reve 
 yas Comaenced Ly sotct Suger after the completioh of the choir, retsining the old & 
 walls; like the upper part of the choir, it was later entirely rebuilt and changec 
 uncer Levis I% into the form in which it now appears. 
 
 “hide the Church of & venis the entire construction and wven the mouldings are al- 
 ready Gothic, the forms ct the ornaments are decidedly Romanesque, and exhibit 
 scurcely a tendency towerds the northern flora, from which the riper Gothic derived 
 its forms. Compared with earlier designs of churches, the entire tuilding is iiglt 
 in masses anc slender in preportions. 
 ig we sumiarlze the peculiarit ics of the French schoole ct architecture, we shell 
 obtain the following statement: 
 
 ligtmandy. Surgundy. 
 Groin vaulted Lasilica in Latin cress Bbasilicen designs, mostly with tunnel 
 
 form with simple choir; facade with two Vaults and in Latin cress form, with richiy 
 towers; tower over intersection; rich developed choir and radiating chapels, 
 
 . 
 
 ornument derived principally from gecm- porches and imposing towers, ornemented 
 
 = 
 
 3 
 
 etrical tcrms. like the antique, 
 Reyal Domain. 
 & comtination of the other tyres. Architectural crnaments not very prominent; ten- 
 dency toward Gothic; strongly projecting buttresses native here. 
 
 Agquilenia. Southwest Types. 
 
 Generally with e single aisle, dom- Provence, Lenguedoc, suvergne. Three-aisi- 
 Ga; souwetimes in three aisles with ed non~-basilican designs witn tunnel vaults, 
 tunnel vaults; glans not basilican, tut usuelly with galleries and very high middle 
 with choir aisle and radiating chap- aisles; stone rocfs; choir aisle with red- 
 wis, Tower cver intersection, Crna- lating chapels, or choir with chapels on € 
 mehtS rien and fanciful, strongly in- east side. Ornament strongly Antigue; tos- 
 tluenced ty Celtic viements. aic decoration of walls in Auvergne. 
 
 4. Komanesgue style in Germany. 
 
 Before treating the further development ef Gothic, we have to consider the Romenes- 
 que style in Germany until the middle of the léth Century. Germany was politically 
 uuited in the middle ages and comprised many closely related races, so that in arch-— 
 itecture there prevails a quite uniforn: general character. This very materially . 
 
 Say 
 
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 i a aa Rifne Listed a onal nisigue Claw 29 widetadd Jasbae 
 ae ge he . aoonivar entan ee 
 
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 ’ " ePish da td m to bas bapidaboD ufo sada’ aie ai agadblins tow 
 fae, dash eld hedetseanco bas ‘POLL DSEE d Lind baovee aad SEtT batelqwon Ja 
 
 | i. i, ‘ Po) pres dns aeisio tas. svogmt " bolionanos gtew soortyorg amitt oA? 
 
 ah re 
 
ge REDIBNBACHER'S MevlARVAL ARCHITECTURE, | 
 
 ditfers from the French, since many elements employed in France are entirely 
 
 foreign to it; aisles with domes or tunnel vaults seldom occur, and excepting 2 
 
 tev ceases, radiating chapels are not used in German Remanesque. Stone roofs, buttress 
 eS Or semicirculer projections are found only in quite iscleted examples. Germany 
 Gecidedly ditters frou France during the Romanesque style in :---1, The extensive- 
 
 iy used plan of church with duplex choirs; ¢. The triapsal design; 2, The alter- 
 untion of supports in the interior, sometimes of piers with columns, sometimes cf 
 heavy and light piers; 4. The columnar Lasilica; 5, The invaristle basilican ari ange 
 det of churches with three aisles, with or withcut vaults; @. The constant use 
 
 of yrein vaults in vaulted buildings; 7. The prevailing subdivision of external 
 
 walls ty gilesters with arched frieze; 6. The low and open galleries, probably de- 
 tived trom Lombardy. 
 
 The wheel window scarcely oceurred to decorate the gable in the French Romanesque, 
 Lut is frequently of great importance in Germany, although only when Gothic had al- 
 reudy Leen created in France, and it is therefore to Le considered an clement under 
 the influence of the new French Gothie style. 4s the older form cf design of German 
 churches, the besilica with Germen columns is usually rare, though several examples 
 cecur. The chief provinces in Germeny which assist in the evolution of the Renenes- 
 gue style sre the Ahine previnces and caxcny; the remainder of Germany is more cr less 
 Gependent thereon. we will explain these in detail. 
 ef, Rhine Provinces. | 
 
 ahe basilica with pliers almost generally prevails, at first with horizontal. 
 ceiling, efterwards veulted. The most developed form is that on the plan of 6. 
 Gell, end later on that of the abbey at Fulda, s church with duplex choirs and 
 transepts, neat the trigpsal design, derived from the inferial Palace at Treves, as 
 in the Church 5S. Maria-im-Capitol]l at Cologne. | 
 
 The Rhenish plen with duplex choirs required accenting the intersections of 
 auve end transepts Ly towers over them, the middle part of the eastern transepts some- 
 tines alone served as the chureh, the cuter transepts Leing divided in several a 
 stories and used for purposes accessory to divine service. Such transepte required 
 Ssvalrcase towers to connect the stories, and others were necessary to wake the upper 
 bort ot the western choir accessible, thus producing the imposing design of 6 
 cathedral with six towers, first built at Fulda, St. Gal], and the old Cathedre] at 
 Coicgne, and cuused ty the requirements. Until a tolerably late period, this ¢esign 
 sacrcised its influence in the Lorder provinces ct France as well es on the loer | 
 chine and in lower Saxony. Imitations appear in eastern France in the Cathedrels at 
 besencen and Verdun (V-1-L, I, 29), In northern Cermany are good exemples of 
 euch Luildings in the Churches of 5. Godehard and of 5. Michael at Hildesheim, the fi- 
 rst completed 1122, the second built 1164-1184 and consecrated the last year. 
 
 the Knine provinces were controlled by important cities and bishopries (iient:, 
 
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34 REDTENDACHER'S MEDIAEVAL ARCHITSCTURg, 
 Seires, worms, Cologne, Strasturg), and their buildings are therefore grand and rich- 
 ly ornamented; their great masses and picturesque grouPings combine with strongly 
 duccrative expedients, such es open external galleries; the subdivision and decor- 
 etien is severe and dignified, rich and animated, The cathedrals at Spires, ‘orms, 
 ond Mentz exhibit varied tendencies in taste: the first is scarnest, massive and 
 Dlein; the Cathedral at Worms is luxuriant and fanciful, recalling French, es- 
 pecially Norman buildings; the Cathedral at Mentz harmonizes with the grandeur and 
 simplicity cf the Cethedral at Spires, and is partly influenced Ly the animated 
 erchiteeture of the lower Rhine. 41] three cathedrals are dry and told in details, 
 in nccordance with the cuilding material---sandstone of strong colors. 3 
 
 Ags previously stated, the buildings on the lower Rhine, and at Cologne, owe ; 
 their distinctive cheracter to the peculiar volcanic building materials of the tifel. 
 
 eountains, as well as to the product of the Rhenish slate mountains. The hard tri= 
 chyte from the Urachenfels is especially used for structural parts and demands sin- 
 le treatment; the easily wrought tufa fron Leke Laach makes the richest ornamenta- 
 ticn possible. The easily split Llack slate is better polished than cut end is 
 -teretor used ior cclumns; Slate rubble gives a gloomy and unfinished appearance tc 
 Uhe Luil¢@ings | 
 
 Frou these materiels, buildings on the lower Hhine obtain rich’ animation, accuracy 
 in execution, and piquant effect by the use of complex structural motives, easily ex 
 ecuited in tufa, ond wore refined treatment of details, than is found on the middle 
 end upper Rhine, and also a more effective harmony of color with light tufe as Luiid- 
 in, materiel, with which the small Llack slate columns strikingly contrast. This 
 style of architecture extends into all side valleys on the lower Rhine, and although 
 at Treves the Romanesque style mixes with French forms, yet the architecture there ber 
 gs essentially with that on the lower Rhine. . 
 
 The LDuildings on the upper Rhine, around Strasburg, Freikturg, and basle, practical- 
 iy belong with these ct the middle Rhine; in accord with the bright colored sand- 
 stone, their decoration is heavy and earnest in treatment; from upper Alsace, as et 
 ein, a fancitul and Lizerre tendency radiates through Basle to Zurich end other 
 claces in Switgeriand, Lut from lower alsace, especially at Strasburg, a nobler 
 style extends to Freiburg and points dependent thereon. 
 £8, Saxony. 
 
 Saxony attained prominence under the Ottos, and men carly Lecame accustomed to 
 sooden buildings, which furnished a motive for the round pillars of churches. To 
 sconemize costly stone columns, in the construction ot stone churches, Piers were 
 used #b the principal points of support. this produced the motive of alternating 
 piers and columns prevailing in the tasilicas of the Saxon provinces. The plan is 
 generally that of the Latin cross with a simple choir apse, usually with side 
 apses at ends of the side aisles. This plan easily led to western facades with 
 
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ob REDTENEACHER'S MEDIAEVAL ARCHITECTURE, 
 
 two towers including tLetween them a vestikule and gallery above, as for the churet « 
 Gerurode consecrated in 8&4, or as in Sestphalia, where the middle part of the weert- 
 ern fucade was developed into a massive tower, while the sides were reduced to lc: 
 stgircase towers, as on the Cathedral at Paderborn, dedicated 1143, 
 
 The churches in upper end lower Saxony are usually less distinguished by dimens- 
 ions and by importance of architectural motives, when compared with those cof the 
 Rhine provinces and other parts of Cermany, than ty variety in design and develop- O 
 ment of motive in detaio. Originality send refined feeling for treatment cf details 
 are expressed, which might almost Le termed the classicism of the Romanesque style. 
 while the Rhenish provinces employ the vault-pier, Saxony develops the rectangular 
 wall-pier with decorated angles, which is suited to the tasilica with horizontal 
 céliing.. 
 
 27, kemainder of Germany and “urope. 
 In Franconia, with the important dioceses of “urzburg and Bamberg, architecture 
 or commercial reasons less closely connected with the Saxon provinces than with 
 the Rhenish. Wurzburg, Bamberg, and Hesse with its ancient abLey at Fulda, were (Z 
 essentielly influenced ty Mentz and torms; while the less important monuments in ites 
 se at Fulde, Herrfeld, Iltenstadt, and Gelnhausen, jikewise have middle Rhenish aroh- 
 itectureé in eccordance with the building material of colcred sandstone; the dioceses 
 of Wurzburg and bamLerg pursued another development of the style, favored by a soft 
 yellow sandstone, the detail is finer and richer, witn a nebler treatment cof the 
 whole, Romanesque architecture in Suabia essentially depends on the benedictiné 
 monastery ct Hirsau, tuilt 108¢-10¢1, | | 
 bavaria is active in the development of architecture at Regensburg, already inport- 
 ant in the Kiddle Ages;like Cologne and Treves, this was richer than other Cermin | 
 cities in Roman monuments, which influenced its architecture; as an important trans- 
 fer point Letween Germany and Italy, it later received many influences from the 
 south; ueny peculiarities were brought to it by the sectch monks at the end of the 
 lith Century. ae 
 
 Laverie succeeded eariier in an originel development of architecture than did tie 
 Rhine provinces, dependent upon Franconia and Suekia, and this distinétive char- | 
 seter is retained until later times. It is distinguished in Regensburg and Freisin- 
 by richly ornamented sculpture in Romanesque, hardly found elsewhere in Germany, 
 occurring on the Scotch monastery atter 1276, about ©0 years later than the foundin, 
 of the Cathedral of Cologne, perhaps imitated from the carved wooden style of the 
 Scotch, who had already Luilt wooden churches in bevaria during the 7th Centur. 
 
 austria, in its imfortant cities of Salzburg and Vienna, was the channel of ¢ca- 
 merce between western and eastern Europe; its architecture is not essentially cii- 
 ferent from that of other German countries. . | 
 
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2é REDTENBACHER'S MEDIAEVAL ARCHITECTURG, 
 Slavs during the Crusades and take little part in architecture during this period. 
 In Loth Romanesque and Gothic architecture, they differ from the rest cf Germany Ly 
 brick construction and Ly the use of granite boulders as tuilding material&, scatie: 
 ed everywhere, 
 Other countries of Surope which took part in the development of the Romanesque 
 style may Le briefly mentioned. Italy hes already teen considered; we have only te 
 add that lower Italy and Sicily mixed Nerman and Mocrish forms in their architect- 
 ure. Spain chiefly imitated southern France; tngland was like Normandy; Cenmark, & 
 Sweden and Norway received their architecture from tngland and Germany; belgium and 
 Holland took theirs from northern France and from Germany. 
 _. 28). arly Gothievin France, 
 ? To extend our sketch of the evoluticn of Romanesque architecture further would 
 not Le proper, for a detailed history of Medizevel Architecture is not intended, 
 ut merely its relaticns, so far as necessary to understand the mediaeval styles. 
 we therefor now give the course of the Gothic in cutline and return to & Denis. / 
 
 re 
 
 This tuilding was soon fcéllowed ty an entire series of the most important cathedre]< 
 in France. The uplifting produced atcut the middle of the 12th Century in France oe; 
 well as in Germany manifested itself in a generelly prevailing literality, high ane 
 low taking part both in offerings of money and of labor fer the greatest architect- 
 ural works, 4n equalled emulation affected all Lelievers, as already evident in the 
 erection of 5 Lenis, so that ncLles and pecple with their own hands helped to 
 build the massive stone piers, and this was repeated in the grandest way at the 
 building of the Cathedral at Chartres, founded 1145, where "this assistance was 
 thoroughly organized", Ly which "cbhstscles were overcome which would have eppelled 
 hired workmen." AtbLots and bishops then toasted of this zeal of the laity. ; 
 
 The Cathedral at Chartres, whose west facade end the Lases of the towers alone be- 
 long te this period, vxhikits a turther step in the development of the new style; 
 especially in the pointed arch consistently employed thereon; the very Lroad nid- 
 dle eisle is externally lighted by threes windows and ty a colossal wheel window 
 having the entire width of the fucede, terminated at top Ly a herizontal arcade with 
 figures in niches, The three portals of the facade are combined in a group, while — 
 those of 5. Denis were separated Ly the buttresses cf the tower. The further devel- 
 Cpment of the style does not then proceed regularly, that each separate Luilding 
 might represent the unity of the style, but only a portion cf each new structure ad- 
 hered to the course of development of the style, while the enlargement and compl e= 
 tion of these Luildings occurred later. 
 
 the treatment of the facades of the cathedrals at Sens and Noyon was followed in 
 the magnificent facade of Notre Dame at Paris, of dignified earnestness and zpreat 
 severity, with energetic and clear treatment of the style. The two stories ci the 
 facade, whose portals were separated like those cf 5. Denis, are divided by 2 great 
 
 © 
 
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 din sven oie Yo MOL ION 1580S To meveye etiine of? .etaed  ettA 
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 ada bas Linw edz gnibiveb x09 Brteda tor aquosy dvtw ale sdoil si - 
 | ogra beresauio oak moteneid orem seed? dod \elesigad 
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 eee 
 
 avy 
 
av REDIGNBACHBR'S MEDIABVAL ARCHITECTURES, 
 
 arcede deccrated by statues, and the upper story with the great rose window at its 
 center is terminated by a similar arcade, The towers have windows in pairs ‘and rise 
 arcade with a more slender treatment than those of &S. venis 
 
 The system of the facade of Notre Dame at Paris, at the highest point in devel- 
 opment and with the richest ornament of the perfected style, is found in the Cath= 
 edral at Rheims; all the plain masses of the angle buttresses of the towers ere 
 here replaced Ly open canopied niches containing statues; the portals are again 
 joined in a group, which projects before the facade; the windows have gables over 
 them and are filled with tracery, which was wanting in Nctre Vame at Paris. This 
 faceds was Luilt after 1241, eight years before the founding cf the Cathedral at 
 Colcgne, and is the most Leautiful facade produced ty French Gothic, even Leing tle 
 most magnificent facade which exists. 
 
 After 3. Denis, the entire system of construction ot the nave with its imposing 
 choir is developed in a series of cathedrals; most important wus the perfection ct 
 the groin-vault, indeed the change from the hexapartite to the rectangular groin- 
 vault. Then the development of the plier in the interior, and of the fiying buttress 
 and buttress on the exterior, with @ general reduction of structural masses Ly the 
 use of great windows with tracery, the common use of the pointed arch, subdivisior 
 of the interior end exterior, the forms of towers, and lastly, the details and orne- 
 mentation. The Cathedrals at Paris, Laon, Sens, and Noycn the Churches cf 5. Ger- 
 
 mer near beauvais, the Abbey of 5. Remy at Rheims, the Church of Notre Dame ai Chej- 
 
 one-sur-Marne, the choir of 5, Germain-des-Pres at Paris, all take part in this de- 
 velopment of the style. 
 Attached to nearly all of these churches and grouped in their eicinity are a nug- 
 
 ter of smaller imitative structures, the first series of great cathedrals in which tic 
 
 stvle was developed being followed by another 
 
 h Ce 
 
 he Cathedral at Le Mans, the abbey Church of 
 
 éries extending it. to this belong 
 
 o 
 wt 
 "~~ 
 a 
 
 c+ 
 
 Ived in braine, tne Cathedral at 
 vauvals,and others. 
 
 Nth the Cathedrals at Amiens )1220 - 1288) and at Rheims, (1241 to 1800) these crez- 
 tive monuments attein their purpose and their highest point. The relative heights in- 
 
 crease, the Latin cross plainly appears in the middle and transverse aisles, raised 
 high eLove the side aisles, and the choirs extend in length; two towers are usually 
 udded to the transept facades like the western facade, and a high tower is even place 
 ed over the intersection; a like church with seven towers was planned in the Cathec- 
 ral at Laon and executed in reduced proportions in the Cathedral at Limburg-o-Lahn. 
 The choir aisle with its series of chapels remains in France the general typé of tle 
 terminations of the plans of cathedrals. Round piers were preferred in the older 
 cathedrals, with groups of shafts for dividing the wall and springing from their 
 cacituls, but these were transformed into clustered piers with four rcund shafts. 
 29, best Period of Gothia. Aaeve ye 
 
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 at omiadl 6 ud dhivd .isises 29 oom@epas? 40 to dowd? of? ai (3992 yuods) 
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 1b abu ae me i gnole gever! aort heheecosg yiseie® ai viyta ofdsod edt 
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 ui “ada. to. aslq wes luoeg otivup off ged dever! te dowd? sovestdadd wt 
 nk goibae Bum wot all saben yi debit ealgos Jneitaweg dei: 2) ae 
 tek ant. anole edd lide geek ban lestaoo ts ear ey [ chunagoaeet ode teil oy 
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 : Ps ohne bas "alscisb ah “anol 291 AP owata? wvatigg daeseoiis 
 
S REDTENBACHER'S MEDIAEVAL ARCHITECTURE, 
 
 The best period cf Gothic style begins with St. Louis, who commenced in 1231 to re- 
 tuild the nave of 5, Denis, and was a noble, art-loving prince, whese era is compar- 
 ed ty French archasogcogists with that of Pericles. His finest creations ere the 
 famous 5. Chapelle in Paris, a pearl of French Gothic, the Leautiful Church of 4, 
 Nicaise, and the facade of the Cathedral at Rheims. Though the creation cf the new 
 style only extended around Paris as a center, the second extension of the perfected 
 style reached all parts of France, and was variously colored by local conditions. | ® 
 It was especially the Cistercians that took the most active part in this extension. 
 
 38, Extension of Gothic outside France. 
 
 Cutside France, Enyland first adopted the new style. The Cathedral of Canterbury 
 was turned in 1174, william of Sens in France was called to rebuild it, and brough: 
 over the new style. Thence the Gothic extended generally over all England, always 
 using peculiarly different forms, Germany, Italy, and Spain received the Gothic at 
 ebout the same time:Germeny in the Liekfrauen Church at Treves (begun 1227), Italy 
 (stout 1£2€) in the Church of 5, Francesco at Assizi, built by a German Master, and 
 Soain in the Cathedral of Toledo (built 1227). Gcthic was long prepared for in Gex- © 
 many; the first purely Gothic building was kept in consistent German style, while 
 the Cistercian Abbey Church at Marienstadt in Nassau, begun in the same year 1227, ; 
 cnc of the few German monuments with a purely French character. ven in the earlies: 
 lislian building at Assiazi, the local style of Gothic is very distinctly expressed. 
 
 Spain. first imitated the cathedral style of northern france, and the style only lat«e: 
 Lecame strongly mixed with local ltoorish torms. Belgium and Holland likewise re- 
 ceived (about 1280) the developed Gothic style from France.. 
 
 S1, Extension of Gothic in Germany. 
 
 The Gothic style in Germany proceeded from Treves along a few muin lines; yet in c 
 some Plates is found a direct importation of the style from France, or at least a 
 direct influence; it may te that from the moment in which Gothic Lecame the fashicn, 
 architects studied the style at its source when possible. 
 
 The Lietfrauen Church at Treves has the quite peculiar plan ef the Latin cross (Fi; 
 10) with reentrant angles filled by chapels, its four arms ending in apses; its ol ai. 
 thersfor resembles that of & central Luilding, while the cross form is very decidedi 
 expressed in its upper part. The plan did not result, as Mertens stated, from Douk- 
 ling the plan of the choir of 5. Ived at braine near Soissons, but from limitations 
 of the site. All] forms of the church are decidedly Gothic, and the ornamental de- 
 
 tails are mostly tased on native plant forms, | 
 
 The noblest endevvor of German Gothic may Le found shortly afterwards (in 1222) 4, 
 the Church of 5. Blisabeth at Marturg. It also exhibits peculiarities: in plan (Fi, 
 11), because triapsal; in section, tecause a hall church; even more than the Liet- 
 frauen Church at Treves, to which it shows decided similarity , is the Church of 53. 
 Elisabeth entirely German in its forms. 41] details and ornaments, as well as seul, 
 
 = 
 
ry beg eee Teens eae 
 
 |  gotieains suas tame e'nguonanaTae 98 
 nk “yltw tomo saom wis (SnoisJe100cEb iow! 
 
 atten tines aldenan wit: Gage Blk esl usfeteset? oft bas gwdik ss 
 oe wirgohoo gs bootie aziaedh edi to Jaebasqubai jewtosstdews oidJoo to 
 | ie dowd ody wdti ,yacmse® aye sion ni-a2aiog wot 6 besang oats pidgob 
 : > oa tefodoit (A to Bow? ait bam. jatoddebed Je LsaboitdsO ods ,silotgize 
 
 Hea eat wurden! fa ieabetiad ef bas ,'@-e~grudawtl je dowd) edd . ats 
 His “% yea astovetel? odd ak bevwoog yaoxsd ni-oidzoD to ¢aeumdoley 
 gitat as oma) dw aeectod bas .thevened{el jyuudobyM Je eletootisy 
 | aa: one rt mos? pobied 090i soetib aod. droisgqe azo! et Loodos ce tagei 
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 Pap died. - bsowatd anol seat fowmtowstdorw nai? {fe do fie svezes Jeon ens 
 
 ne 
 
 a : oaest 
 oo oe ‘ie “ptwnbedited wit te aneiq add Yo pitanes xe as ae ist oi? aay alt 
 Sqede atoio aevee bre .wigia tiodo .eiqsenste belatet ddéw bulete4 aig se 
 if OAs to noisouxstenco of? ean (S82) ahodo. odd Jo nobielguco odd wert yiad 
 a stg { soogzes, yseve ai af oiwlowdiiow od? sbaonemaoo supwod weleew Jeoiy off 
 a - ug abo eet. ati Oe beaitet ee «ts pucuntnii evi das. acini asaiet To 1O"8ebile 
 iteog 
 i ego). ‘disbte iis: no bebmesxe coeeiaien: eecitn .ttomuaon daodtogst efaT 
 in wp eii baetleat?. eagols «i begedeveb ,oswiowsinlow- olivo to equ ine 
 oe ; , eal. to gttbLiod wid annotled qlisisegse - 22 OF -wiidd-edz nwob bas ya 
 ‘s che ont nef4 oid gnetae®. sy soroc¥. 2B to dowd? ads. psagoiod wea giwonedin 
 -Y dowd? edd jpoverT re dont? neustideid:eds. to vets of botlle ei siodo 
 | Ye bas asad ds. orange wat Yo atv Gus ..sdoetdl Jo leabwtited edd .r3bier 
 Sas 9, silage ggo do eattedie? < to howe all 
 hf  botoonece os ‘ean bas ywiasswW? Je eynih Loud leubedtss bibaviga od 
 46 elim ‘Yaido ort vensare® otat elude oiddc? edt Yo avils210qai oridtiodrl 
 = a Heawdae? dvSl ed? to ied bacgee ods al bosolqmed -vt98 syctbhiwd Atal 
 a » ey _ seo} dgecttiagen afi ys bedaiv gnive th Yiaeivoiswg @i qwiast2 Ye fe ibe 
 feteoety eaods to geiit ot tees Didneige aii yi ay idiest ge stats 
 id » deoate bag woonlg yon vi bedsdind ymamie? to olvartesowimdy (Real ye 
 Se cor dnwoltiagsa edd enisie: gwieswe de levdbeitial if oon 4% at gaidosi 
 i et nee petenst we turd inten ab Ele div (elorbediea donerT ods to 
 ‘re | wuvatestt of dislg bis ewes 
 wy hm B8BF shine jaaset: ts dows vit Wh eisbee botesav Jertt elyde oinsod aT 
 9 softs te) guldeiwol) betoetieg one at #1 .aissS wot? doortdow as yd ESL 
 Aomalianadnad idl dawntaorg oa oe codomwde eesnd ynoaned nk eek orsdiwon dauot 
 re . | oamea donors’ ofa. goede itd ae, Bed) enotiten wohobaoxis 
 . antes ede wo (78ST at) bawod gaxid wi olyte ettto? oda gikoras x al 
 . a donned penne ads on ae do kaw arodney iesbeide? 
 
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ao RECDIENBACHER'S MEDIAEVAL ARCHITECTURE, 
 tural decorations, are most carefully finished, 
 
 al Marburg and the Cistercian Abbey at Haina wes developed a truly Hessian sehac] 
 ot Gothic architecture, independent otf the Rhenish school at Cologne. The Martur; 
 Gothic also passed a few points in northern Germany, like the Church at Lippsteadt 4d: 
 restphelia, the Cathedral at Paderborn, and the Church of 8, Nicholai at Obermars- 
 curg, the Church at Nienturg-a-S', and the Cathedral et Namburg. The highest de- 
 velopment of Gothic in Saxony occurred in the Cistercian abley of Sehulpforta, the 
 Cathedrals at Magdeburg, Halberstadt, and Meissen. but there an influence cf the 
 Ressien schcol is less apparent than direct importation from France. 4 second was 
 the erection of the Cathedral at Cologne, commenced arter the fire in 1248, perhy s 
 the most important of all German architectural creations directly dependent upon 
 France, 
 
 The plan (Fig. 12) is an extension of the plans of the Cathedrals at Amiens endo. 
 beauvais, S~aisled with 2-aisled transepts, choir aisle, and seven choir chapels. 
 Cnly after the completion of the choir (181€) was the construction of the nave and c: 
 
 the great western towers commenced. The architecture is in every respect the supre: - 
 
 endeavor of German Gothic, and its forms are as refined as its masses are in-. 
 posing.. . 
 This important monument, whose influence extended on all sides, formed a sec- 
 ond type of Gothic architecture, developed in Glogne itself and its vicinity, 
 ug and down the Rhine; to it especially telongs the Luilding of the Abbey at — 
 sitenburg near Cologne, the Church of 5. Victor at Xanten, the Plan of whose 
 choir is allied to that of the Liekfrauen Church st Treves, the Church at Abr- 
 Weller, the Cathedral at Utrecht, and parts of the Cathedral at Mentz and of 
 whe Church of S, Catherine at Cppenhein. 7 
 The splendid cathedrol buildings et StrasLurg and Freiburg are connected with ~ 
 the.third importation of the Gothic style into Germany; the chief parts of 
 Loth cuildinzs were completed in the second half ct the 18th Century; the Cath- 
 vdrel at Strasburg is particularly distinguished Ly its magnificent facade, 
 that at Freiburg Ly its splendid tower, the first of those gracetul perforated 
 spires, characteristic of Germany, imitated in many places and slmost entirely 
 lacking in France, The Cathedral at Strasburg retains the magnificent style | 
 ot the French cathedrals, with all its grandeur, that at Freiburg being more 
 severe end plain in treatment. . 
 The Gothic style first entered Suaiia in the Church at Wimfen, tuilt 1262 - 
 127& by an architect from Paris.: It is the perfected, flourishing Gothic style, the: 
 found nowhere else in Germany; these churches are so prominent in Germany thet the 
 chronicler mentions them as tuilt after the French manner. 
 
 In Franconia the Gothic style is first found (in 1287) on the weatern choir of th. 
 
 Cathedral at bamterg, which is not the perfected style of the Luildings firat sen- 
 
 Cd 
 
; HOMA da Vea lita SHENG TAS | oA 
 eiaaadh 9 00 spa $8 alsthottee itie? dones™ yas ott Yo sods ivi pronoi! 
 t seartbited sidnion eau dsiw jasit axseqys ywwdeaeyel siwved aetivoc ni 
 inde wWiuyassoor sxeiluneg y ,fywwaaed. del to sodsexp baooda) vdofaii .2 io doy 
 3 hod wt bowose Cle wtbnedne selieliex dviw ,ofigod dones? viz we 
 Pains weir ge) totic iviw beweqao? . ,aedeeh Js dowd odd to eeonsaaini 
 tee $l. hissebatlsieg baw. Wioktourdano ghee gi Leaigizo. uleriine 2: gai 
 pedd diiw dotda (258! ay yes) dowd? appteinol odd ei yiwdasoge? mi stow 9f1700 
 fe boas deb eds adigidne sant (OBR! bedsotbeb) eagaio? 36 dowd aeiiie 
 an i nottoar@ adi giwedeneget at doyod ,STSL aorta wert -sdyto bas vib 
 page al am191 ta vau baa .totaeexe | ,9819 at dotdiw . inched i629 beagic 
 vr iat ~eirewe2 to eWiguiidow eti¢ae oft eft! tilgalygiro , 
 i to agvizes a ni eiateun ak beteegas Jjexit eiyta sédtoo betoultey o4f 
 pear sdosdal gs ,sanet) asec. gteduenietaol x Siugrlie yi fiet 8 ayaéh hind 
 woitoussencs doiwd nrsitgoa Yo. aiemob odd aj bemyotens 13 aqw- rt ee 
 + velo cisaslg edd of elyia emote suo odd motd wx02. ai epnsioc beaies 
 p-onnso® ed? .Yteae® ataisied at.yew violostadise duow edi at bevios | 
 “ya iaed, aga: e423 iijqgu seonkvetg seeds. aé baJgsbs 
 | oe setae) dwelt sedte ofdjod “Sf 
 ptogpidore. isaxe) to ssiwesigdad evi tas. YUtwsaed AISL wag ne oleae 
 een on otkept , JIS. wed O82 fo sotiea od! 26 gaibude sid Atiism ,egn.4 
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 > elteide aew eiyze od! to. eh ei ett bas: ,beased ylisea bad eons? 
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 ats Sads. B®. abned wad ai qiteido Kigeds bavet etwtoetidens teilwe olidd - 
 Adie bebiouton ti yrwiaed dil add ot .2oLdon. bas aGON6Ig Ys Pexingides 
 fe dete? ftiettegiiivio to etaygs Jgagmoria vis nedg. 2 aetdso edd lo ysineg 
 mask iS 4 daesr0dad Jeoe, ait noi? ety auatblius ts aumnoo bys avaved ese vi4 
 fotoeee o TSW aedowde Lisd ¢advcoa: (8%0o% t4yid. bas beot! Settupert Je" i 
 o dtiw elvis stofo sdi .votvree enivid 101 bead Mwe attodo algaly Ds 
 nisto edd te. fuentes edt ai ysoinew baton al soaity ati «lh sbedigmo yCisw 
 d ielais. ‘ttoto edt beaiste: yi (ome, aedowdo Liga. ‘ylad satenwe® ag vlao 
 4 4)t08 ida av. oaiteth ati fzineb acotiived eit. gniviy. ,beltigo aed . gtew evgae ts in. 
 
 a ete . ok oft amit atten prince: to tambien in wig ov ituget egnihiing wives 
 by oa Bas.) edule edd to net? 
 vn wut a obiauoedis oabidte at elatenoo aided wedel af Jnkeg Isivasses edt 
 
 i om ei luaex buagetoni tedi oa aero? lu stoetidow yatgiado ai bas aésasin 
 
 oe 43 aon wp amie, eign an ‘gliwwinai suottiw gagew beftilgqais ddie bo 
 Simold dns ylibiul} beaswrsnt as .emdsay? 
 
 | ra) oaniagtie, as “dgod. oidaod ers te ObJalioJocsado yeddest 2s 
 silamana i Akan Lanner su Senate t Jgenteed) af ascayah 
 
 houses " 
 
40 REDTENBACHER'S HED lAnVaL sRCHITECTURE, 
 Licned, Lut that of the early French Gothic cathedrals at Laon and Chartres. 
 
 En scuthern bavaria, Regensburg appears first with sone notable buildings, the Chu 
 rch of 8, Ulrich, (second quarter of 18th Century), © peculiar rectangular structure 
 in early French Gothic, with galleries extending all sarcund it, apparently with rem 
 iniscences of the Church at Martes. Compared with cther fans sie churches, this Luilid 
 ing 1s entirely criginal in design, construction, and partlyadetail. ‘The next 
 Gothic work in Regensburg is the Dominican Church (Legun 12732), which with the Min- 
 orites Church at Cologne (dedicated 1250) first exhibits the debased Cothie style in 
 end crude forms, After 1272, Legon in Regensburg the erection of the grandly de- 
 signed Cathedral, which in Pian, extericr, and use cf torms is characterized ty 
 originality, like the entire architecture of Bavaria, 
 
 The perfected Gothic style first appeared in Austria in a series of mcnastic 
 Lt MALTA DES at Heiligenkreutz, Klicsterneuberg near Vienna, at Imbach, and Gratz. 
 
 2. 
 
 thie was transformed in the domain of northern brick construction. FEere was re- 
 abea’d a change in form from the cut stone style to the plastic clay, a problem 
 solved in the most satisfactory way in nerthern Germany. The Gothic style was net 
 edapted in these provinces until the 14th Century. 
 Sé, Gothic after 14th Century. 
 
 while in the 1¢th Century active intercourse of German architects occurred with 
 Franee, making their studies at the source of the new art, in the 14th Century with 
 an iamense nusker of large and small new buildings and enlargements, intercourse vith: 
 Prance had nearly ceased, and the Depo of the style was chiefly connected with 
 the greet cathedrals end their mason's lodges, developed into schools of masters 
 
 while earlier architecture found itseif chietly in the hands of the clergy hs 
 cetronized by princes and nobles, in the 14th Century it ccincided with the pros- 
 perity of the cities, then the strongest ogents of civilization. Parish churches, 
 
 = 
 
 private houses and communal Luildings were then the most imbortant problems: the. 
 first required Lroad end light rooms, so that hall churches were especially preferr- 
 eG; Simple choirs sufficed for divine service, the choir aisle with chapels being us- 
 ually omitted. In its place is noted variety in the treatment of the choir, founc 
 aay in Germeny. Only small churches uaually retained the choir aisle; the flying 
 
 uttresses were then omitted, giving the tasilican design its distinctive character. 
 Secular buildings required the abandonment cf ecclestiastical forms and transfort o- 
 ticn cf the style. 
 
 ihe essential point in later Gothic consists in extreme attenuation of structure] 
 
 messes and in changing architecturs] forms, so that increased results could te obttair: 
 
 ed with simplified means without injuring the general effect of richness of the arch- 
 itecture. an increased fluidity ana flexibility of forms end of their connection: 
 
 is further characteristic of Late Gothic, Loth an effeminacy and also 2 hardening enc 
 dryness in treatment of forms, but combining with the simplification of means an ix- 
 
 a! 
 
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 a 
 fe 
 
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 setde vawaow Isaviossidoxw « Io n heoe 1g % esiisa « gnuige aotiopizanso Yo 
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 lov beaeel wed sand idem: eenannietcee bas abodten teool beqo 
 
NBACHER'S MaDIAnVAL ARCRITECTURD, 
 
 ease ln richness ed repetition cf motives. | 
 
 The nost prominent Luildings of this period are the facades with two towers for 
 some German cathedrals, as at Cologne and Regensburg, ahae the towers of the Cath- 
 
 edrals at Strasburg and Freiburg, the last only completed at the Leginning of the 1 
 
 mmm mH 
 At REDT BI 
 
 J 
 
 vb Century, and those of the Cathedral of 5. Stephen at Vienna; then some choirs, z 
 at the Cathedral of Ulm, and the Church at Kuttenberg in Bohemia; also, the Liet- 
 irauen Church at Hsslingen, the beautiful Church of 5%. Maria at Reutlingen, the 
 
 i 
 Cathedral at Thann in Alsace, the Cathedral at orfurt, the Cathedral of & Martin 
 
 at Lbendshut in Bavaria. To these are added a series of smaller churches, portions 
 
 ct monasteries, military and secular structures of all kinds, and some great cas- 
 tiles, -that at Marienburg in Prussia, of Albrechtsburg near Meisson, of Carlstein i: 
 Schemia, and of Vayda Hungad in Siebenburgen. 
 
 ALS Wh 1460 was founded a league of schools of masters at the great cathedrals, cr 
 mason's lodges, especially a union of the mason's lodges at Strasburg, Cologne, Vier 
 ne, and berne, under the presidency of the master at Strasburg Cathedral. Thus an 
 
 reanization of the stone wason's craft was effected, Loth for better work and appit 
 cation of art, and also for a purer life. This organization had as much beneficial — 
 to German architecture as could become injurious thereto; to it is due skill in werk © 
 menship and great aptitude for the sollution of difficult protlems unknown to ear- 
 ave periods; proofs of this are the late Gothic towers of the Cathedrals at Straske 
 Ulin, Frankfort-am-Main, antwerP, and large tabernacles imitating towers, graceful 
 reredoses, rood-screens, memorial columns, fountains, etc. However important these 
 forts of the skili of stone masons in the Mth and l¢th Centuries, there results 
 frvca this endeavor to excel'in competition, with lack of artistic training in worx- 
 heh an exaggeration of stone-mascn's fancies at the cost of cther branches of art, «: 
 that architecture finally came to a point, where it could proceed no further and 
 found a welcome rescue by the invasion of the Renaissance from Italy at this time, 
 which rapidly attained its highest foint.. 
 
 The same occurred in France, England, and other countries, which adopted the Goth- 
 ic style and developed it in secerdance with local tastes; the luxuriant Gothic unil: 
 ea with the imported Renaissance, and from the combination of two different methods 
 of construction sprung e series of graceful architectural works, which, in spite 
 ot thelr evident mixture of forms, always exhibit high feeling fer art and refined 
 taste, 
 
 338, Italian Gothic.. 
 
 To introduce Gothic inte Italy is a greater contradiction than the reverse, the in- 
 portation of classic architecture into Germany. The masters of Italian Gothic chan. 
 the new style to suit their tasted#. The Italian Gothic retained the mest useful ide- 
 as, derived from the results of northern architecture in its spacious churches, deve: 
 oped local methods, and Renaissance architects thus learned from northern Gothic to 
 
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 bedie?” edu «ois ngiin dk ai pghtb liad froatt ed? dwiglvoe oviss 
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42 . REDIBNBACHBR'S MBDIAgVAL ARCHITECTURE. | 
 plan clearly and practiced the construction of vaults, especially the erection of 
 domes ‘of wide span.’ In spite of brilliantly effective decoration cf facedes,. this 
 architeéture otherwise failed in true meaning; where simplified, it gave spacious 
 churches a vary plain character, and when richer, it remained nearly a repitition ci 
 a few Zround motives., The buildings consist ot slightiy suldivided masses, over 
 which often extends a rich marble covering like tapestry; a few notle erchitect- 
 ural motives from the north are employed, arrangedin the simplest possitie manner; 
 they produce clear subdivision and accent horizontal] lines more strongly than in 
 northen Gothic; but the suktdivision is repeated, and the greater prominence of 
 horizontals would Le no gain if the vertical were as strongly expressed; but the 
 defect in the general composition cannot be concealed by martle mosaic and decor- 
 ative sculpture, The finest buildings in Italian Gothic, the Cathedrals at 
 Florence, Orvieto, and Siena, were commenced at the end of the 12th Century and 
 continued in the early part of the 14th, all have something decidedly dilettante 
 in spite of their magnitude and splendor, and the Renaissance justly termed this 
 Italian Gothic barbaric. It first succeeded in what Italian Gothic attempted. 
 24, ‘Synopsis of Forms of Mediaeval 4rchitecture. 
 
 To treat mediseval architecture in detail, we have first to make clear that its 
 highest problem was the construction of enclosed spaces, and its highest endeavor 
 to cover these by vaults. Everything else depends on a knowledge of vaulted 
 architecture in the fiddle ages. The second Section will therefore comprise vaulted 
 architecture. hy 
 
 Vaults lead us to the treatment of their supports; piers, columns, walls and a 
 butments, buttresses and tlying buttresses. we accordingly have to consider in 
 Section 2 the support of vaults; in Section 4, Luttresses and flying buttresses. 
 From the comkination of vaults with their supports result Section ©, the treat- 
 ment of plan, and Section ©, the internal construction, the system of cross 
 section and arrangement of longitudinal section. "ll three determine Xection 7) 66 
 external architecture. 
 
 % 
 
 7 
 
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 oki ARAB 4 TA Gee “ie?) ‘peeks ancts. ‘Opa 
 awa: esaoe tati no hy jody ae a, to notbowidantoo jeatante ad? 
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 of (ir Lacih erie af i Thea. bate vedogis sat conse (aie 
 
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 os 
 
 =a ane lainaya ‘ atog to. vo Bt lgaauor to Jhind twisie -er0w bis ¢ 
 
 ISS 
 
43 ReUTENBACHBER'S MBDIAnVAL ARCHITECTURE, 
 SECTICN IIT, CoNSTRUCTION CF VAULTS, 
 SE, 4oman and 4cmanesque Veults. 
 
 Soman vaults, the tunnel], groin, end domice], ccecur instead of horizontal ceilings, 
 and were wither tuilt of voussoirs, or of pots of special shape and inserted in 
 each other, especially suitable for the construction cf domes; a third mode of 
 construction was the concrete vault. These vsults were freguentiy of censiderstle 
 ; but were always tuilt with such massive abutments and with such masses of 
 weterial, that they appear noble and heavy. The Romenesgue style hardly knew other 
 
 Roman forms of vaults, It indeed invented the helicant rampant vault for 
 stairways. ‘tarly Christian art frequently used the vault in rich combinations enc 
 forms ot plan more varied than these of the Romans; even excelling Roman Luiiding: 
 in spaciousness, as in the Chureh ct St..faul at Bome with its horizontal ceilin,' 
 cud the domed Church of &. Sochia at Constantincple, but essentially retained the 
 roman forms of vaults. 
 
 Votes have soherical surfaces; ali seotions 2i, o d, through the center of ths. 
 vlen are greet circles (Fig, 12); it a dome te constructed cver a square rocn, 
 
 » pencdentive dome results if the diameter of the done equals the diagonal of the 
 square. The crowns a', b', c', d', of the side arches (Figs. 14, 142) lie on a heim 
 
 igzontal circle in elevation, seperating the calotte oi the dome from the pendeni- 
 ives. On the plan of a dome may te drawn any rectilinear cr curvilinear figures 
 (Fig, 1&), whose vertical projections (Fig. 15a), cr lines of intersection of the 
 spherical surface with vertical planes passing through these right lines, cr with 
 verticai cylindrical surfaces passing through curved lines, form a system of cir- 
 cular ares, whose points of intersection likewise lie on a sphericel surface. Thiz 
 Lasis of many lete Gottic star vaults. Evidently above the circle 
 
 separating cal@otte from pendentives, there may be constructed instead, a dowe 
 heving a semicirculer cr pcinted arch as a generating curve (Fig. 18). On the 
 : Ss. Front at Perigueux and on other churches in Perigord, such dotes 
 vere ulone used. (V-1-0, I, 174; IV, 262), 
 
 The sisFblest construction of a dome is that with horizontal rows of vousscirs, 
 each with two redial Leds and two radial end joints directed the center ct the 
 
 (Fic, 17). The keystone is then the frustum of a cone with two concentric 4 
 herical surfaces as Lases (Fig. 18). horeoever, the dome may also be divided ty 
 tobidians and Le constructea of vertical rows cf stones becoming thinner toward 
 the vertex of the deowe (Fi,-, 18 
 Reneissence for niches and small demes, in sPite of its comPlexity and cf its 
 sli,ht Practical value. | 
 
 a combination of the two kinds cf vaults occurs ir use as coffered vaults in Rema. 
 architecture, as well as in those ot the Renaissance (Fig. 19, right helf); (éan- 
 theon, Come of Cathedral of Florence). A peculiar mode of vaulting is shewn Ly 
 
 , left hait), a taverite torm of vaulting in Dutch 
 
 (ofA 
 
4 
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 Ci 
 
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 ‘hog 
 
44 REDIENBACHER'S MEDIABVAL ARCHITECTURE, 
 the dome of the Temple of Jupiter at Spalato (Fiz. 21, lett half), an attempt te 
 increase the stalility of domical construction (V-1-D, Ik, 478, ete,). A further 
 possibility of dividing the surface of the dome into clearly rhemtoidal (Fig, 2) .. 
 triangular areas, whose sides in the first case form sPirals cn the surface, 2n4 
 
 in the other case even form meridians, has searcely teen employed, but torms the 
 basis of many late Gothic star vaults. 
 
 Roman pot vaults were composed of especially shaped pots inserted in eaci, other, 
 their interspaces filled with cement concrete, and also consist of a series of 
 pots erranged in a spiral rising from the Leginning of the vault to its vertex ir 
 continually closer turns; or the pots were arranged in zones, forming cireles cf 
 dininishing diameters, . | | 
 
 4 peculiar mode of domical vaulting (Fig. 19, right half) was employed te fill i: 
 Letween supporting arches of Cy ee right half) was used in the dome of the 
 Cethedral of Florenoe; bricks were set in herring~bone bond, at'ter the dome was 
 divided ty meridians.. It is clear that ornamental ground Plans, as indicated in Fi- 
 le, may be constructed by different modes of vaulting, es in the figure. Ey the 4 
 aid of ornamental brick bonds, ct different materials, or of bricks cf different 
 colors, the most veried surfece patterns may then te obtained, 
 
 3¢, Prineiple of Gcthic Groin Vault. 
 
 The chief result of mediaeval vaulted architecture consists in the invention cf 
 the groin vault with supporting rils, between which extend the compertments as cuir 
 cal surfaces, | . 
 
 Taking e simple agusre groin vault (Fig. 282), produced ty intersection of two 
 semicireuler tunnel vaults, it is clear that the diagonal line of interseetion c1 
 two tunnel Vaults is a semice¢lipse. Further, that in the side or end arch, tie 
 pressure of the voult is least at its highest point or crown, and increases downnar: 
 Ly addition of the weights of the voussoirs, atteining its maximum at the lowest 
 voussoir and the pier; it is also clear that in the diagonel arch, the pressures on 
 each different stone will be doubled, since the pressure from two sides cogkine or. 
 it. The most heavily loaded portions of the vault are therefore the diazonal arches 
 and the piers. The voussoirs of the vault then slide outward, and this thrust is 
 eater in the Giegonel arches and on the piers; or they tend to produce rotation z 
 Lout the inner or outer points a b of the vousscirs (Figs, 28, 24), the fall cf the 
 vault resulting trom the cpening cf the joint inward or outward, 
 
 For a vault to te stable, the abutment must te firm and neither slide nor rotrte 
 avout an edge; it must form a homezencous, fixed, and heavy cr strongly leaded wags, 
 much too heavy to Le overthrown by the thrust of the vault. The vault must itscl? 
 Le so strongly constructed, thet its parts are immoveble, that its material may ct 
 tbe crushed by its own or an added load, nor cracked by too great strain at any wert 
 points. The tirst condition is fulfilied by correct inclination of the joints, rer 
 
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4& REDTENBACHER'S MeDIABVAL ARCHITECTURE, | 
 
 oendicular to the line along which the Pressure of the voussoirs is transmitted, arc 
 ty good mortar, which hinders the sliding of the stones at the joints ky increasine 
 the friction. 
 
 The fall of the vault will te prevented by its thickness and ty increasing this +t 
 the points most severly strained (Art. 39). If such a vault is built of brica, the 
 separate bricks must be wedge-shaped, or, if rectangular, the mortar joints must 
 Lake the wedge form; these are then like vousscirs tetween which the bricks are 
 
 a 
 
 sgeezed, 
 
 For vaults already considered, such as the Komans constantly employed, a difficult. 
 in executing them in cut stone is caused ty the necessity of arranging separate grci:. 
 youssoirs along the groins (Fig. 25); were such a vault Luilt in brick, then must 
 icks be butted and mitred at the groins, forming a through joint (Fig. é¢). a 
 sharp groin could scarcely be built cf ruttrle. In tuilding concrete vaults the osm 
 ans could easily overcome this difficulty by excellent mortar; in mediszeval architec:- 
 ure under entirely different conditions, men were compelled to avoid this defect af 
 ube groin vault by a peculiar expedient; it was merely necessary ti construct sez era:: 
 ribs of stone or brick (Fig. 27) against which the compartments abLutted, and the pre 
 tlen was solved in the simPlest manner. Dut whether executed in stone or in trick, 
 the elliptical diagonal arch was constructed with difficulty, the radius of each sej- 
 arate point having a different center. “hen al] complexity of the vault is to te 
 syoided, the arrangement of separaate diagonal ribs is only practicable if these 
 diagonal ribs are circular ares. The first important innovation in the construct- 
 ion of the groin vault was introduced in the Middle 4ges Ly arranging semicizculer 
 
 Oh RR ay 
 Lise br 
 
 a es 
 
 G 
 
 disgonal rits. but these produced various consequences; if the diagonal rits and t!. « 
 side arches have a common height of springing, the keystone of the vault is higher 
 than the crowns of the side arches ty the difference of the radii of the two urches, 
 the compartments of the vault rest most heavily on the lower side arches and cause 
 considerable thrust on them, and the highest part of the vault will be very dark. 
 
 4A second innovation consisted in making the ridgelines of the compartments of the 
 vault not straight but circular arcs also, so that each compartment was itself 
 strongly curved like an expanded sail, approximating a domical surface, stronger 
 and more immovable, at the same time loading the diagonal rib more heavily (Fig. 26). 
 
 The French Gothic always -tased the groin vault on the dome and treated compart- A 
 ments as simple domical surfaces. The German Gothic usually curved the compartment: ) 
 more strongly, so that their middle lines correspond to a greater radius than the 
 radius of their cross section; it is easily seen that a greater curvature of the 
 
 section is preferable for stability of the vault, for the strongly curved compart- 
 | t causes smaller thrust on the ribs than if flatter. Especially in Holland, 
 where the yielding soil required the vaults to be made as stakle as possitle, compo: - 
 ‘ueils were sometimes so strongly curved that their highest point not only rises a 
 
tA JAW hsp i PRY Sie 
 | w1on zo eedoni 7S edavike dud ,aiodeyes anid &¥ou 
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4é BOTENBACHSR'S MeDIArkVAL ARCHITECTURG, 
 
 Love the keystone, kut extends &2 inches or more higher. The view of these vaults 
 
 aleve very meterially differs from that ot simpler groin vaults. ‘Such vaults are 
 
 uot only tiore stable, tut are more easily executed; require no special centering ,fince 
 euch row ot voussoirs is set Ly itself; and produce a strong play of light ond shite, 
 
 advontagecus for softened internal lighting. Tie difficulties in the constructic: 
 =f such vaults will later be seen to result from geometrical peculiarities of the 
 
 vcoin veult, and almost wholly disappear, as on the Rhine and in Holland, where tlhe 
 
 easily wrought Srohital tufa was employed. 
 o?, Improvements. 
 
 ondeavors were made to solve the problem Ly making the crowns off the side arche: 
 proximately or exactly at the same height as the crowns ot the diagonal arches. 
 
 BE) 
 - 
 eh s 
 Ln 
 
 vained, but the difficulty was increased, since semicirculer diagonal rits were 
 voduced with perhaps two different kinds ef elliptical side arches, not easily 
 cnstructed. The ellipticel arches could inoeed be replaced Ly oval arches, 1. 
 ty giving to the lower part of the arch a greater radius than that of the upper 
 ert; the purpose was tetter fulfilled thereby, Lut only imperfectiy so. Cr ky 
 ae the crowns of the diagonal and side arches at the same height, and the 
 ‘inging points of the two kinds of arches at different heights; the large dia 
 
 ica] priser whose height egualed the difference of the radii of the side 
 
 , 
 
 another methcd was to omit the capitals cf the supports of the transverse arch. 
 
 & last method remained far solving the problem, when transverse and side arches 
 
 cculd te done in various ways; either Ly making the side arches elliptical witl. 
 axes vertical, es employed in some early Sothic churches (Ungew. 6.0. 2d edi. 
 , a8 in the Church at fetter and the Church at Nantes; the end was thereby ‘t- 
 
 he 
 cual ee were then set on capitals, end the side arches were "stilted" by aHiee 
 “tl 
 
 his sclution of the proLlem was treated in many ways; diagonal rits were some7 
 Limes set directly on the capitals, while side arches were placed on separate smail 
 capitals of short columns resting cn the principal care as in the Sefectory at 
 ~aulbronn. At other times two terms of capitels were arranged for the two kinds 
 
 of arches end viso two forms cf supports, so that the PRC pier had capitals #t 
 dirterent heights, the abacus of the transverse arch forming an annular Land on the 
 columns supporting the side arches, as in the porch of the abbey at Maulbronn (1:20) 
 and in the vaults of the galleries of the Cathedral at kagdeburg, or these may be 
 
 nede separate, as in many buildings of the transition style and of the early Gothic. 
 
 vere of syual height; the transverse erch was set on the capital and the diagonal 
 rik was permitted to intersect the abacus cf the capital. 4n example of this un- 
 
 usual arrangement, already suggesting Late Gothic, is found in two choir chapels 
 
 of the Cathearel at Regenslurg. 
 
 all these methods have oljectionatle resuits, If the hexapartite vault was em 
 
 P. 
 
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AY REDTBNDACHER'S heDIabVAL ARCHITECTURE, 
 
 cvioyed, greatly preferred attimes (Fig, £9), thre were three different spans of arch- 
 23, cr even four, since piers bt for receiving the simple transverse arches were small~ 
 er than main piers a, serving to receive the cross arches and ribs, for arches of 
 
 four kinds. 
 
 Tn the Refectory at liaulLronmn, disgonal ribs are semicircular arches, the smal] 
 transverse arches are circuler arches very much stilted, and the larger cross arches 
 a, bb, are pointed, Although this alternation of arches and cf their curvatures 
 nekes 3 strong impression usually, e certain disquiet and complexity in techbical ex- 
 ceution exists in the entire system. Architects in the transition and early Gothic 
 
 styles in Germeny sought to remedy these evils. They were auch hampered Ly the 
 aguare form of plan; for vaulting rectangular Lays, they had three ditferent widths 
 of span, having retios to each other as that of one side to the other and to the Gié,~ 
 
 » | 
 
 chal, like the corresponding radii ot the arches. The different heights cf springir, 
 were very inconvenient, reyuired more expensive capitals, and made the stone-cutting 
 nore conplicated. 
 An attempt was made to bring all springings to a common level. There was the choice 
 of spmning the longer side of the rectangle Ly a semicircular arch (Fiz. 20) and tre 
 shorter one by a pointed arch of equal height, as in vaulting the different bays/of 
 cide aisles of the Church of &. Ulrich at Regensburg (1250); or the diagonal 
 arches were made semicircular, the side afches then being pcinted (Fig, 31), The £ 
 construction, whese alternation of differently curved arches for low vaults mekes a 
 cood impression, is not advisable for high vaulted aisles of churches, the use cf 
 the pointed arch fcr groin vaults, already found more than a century earlier at Veze- 
 lay and 8S. Denis, was very slowly accepted in Germany; Heisterbach indicates a react~ 
 ion against the Gothic, a desire tc solve the problems of the Gothic style without 
 its seientific expedients. 
 The protlew of vaulting becomes nore complex for trapezoidal bays. in the choir aisi~ 
 les of churches. If the ditterent s:peces ere then spanned by semicircwiar arches, 
 the cuter side arches a bt (Fig. 24) will be larger than the inner side arches co d, tle 
 radial arches ae and b d will be alike, and may Le greater, (Fig, 22) cr smaller, 
 (Fic, 83) than the outer and inner side arches. The radial vaults will then be 
 conical vaults inclined upwards toward the exterior of the choir (Fig. 24); the vault 
 ribs may either be simple diagonsls, as in the choir aisle of the Cethedrzl at Leng: es’ 
 the keystone © is then lower than the apex of the voult (Fig. 22) and the ribs are | 
 of ung:ual length; or the ribs may be made of equal length, when the keystone e (Fig. 
 2) indsed talls ai the epex of the vault, but does not form the centre cf the axis 
 3. Finelly, the spex and keystone of the vault may be placed at the centre e'! of 
 the axis f ¢g (Rig. 36), as usual, producing unewal arches, though not differing en 4; 
 from cach other, for the longer earch te crowd the shorter one towards its springing. 
 Viollet-le-Duc gives interesting examples of endeavors in the Romanesque style to 
 
 Eye 
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468. REDTENBAChER'S MEDIABVAL ARCHITECTURE, | 
 
 conquer ditfioulties in groin vaults over trapezoidal tays Ly a double curvature of 
 
 the diagonal ribs (Fig. 3@). Thus in the Church of Notre Dame-du-Fort et Clerseni, 
 
 and in the Cethedrel st Bourges (V-1-Duc, IV-69; 14-491 etc.), In the Church of 
 
 Rotre Deme-duePort et Cleraont, the radial arches are omitted ond the diagonal groins 
 
 ape constructed without special rits. But the entire construction thereby tCecones 
 
 very complicated and is executed with difficulty, eech voussoir of the doukly 
 
 curved diagonal groin requiring its special form. 41] these modes cf vaulting trape 
 
 zoidal bays must be termed guite imPerfect in comparigon with the Pointed vaulte ot & 
 
 the choir aisles of & Denis, By the use cf the pointed arch, retaining equal height. 
 
 .¢ all springing points and crowns of vaults, any required form of Lay aay be covered. 
 2€. Pointed Vaults. 
 
 The problem of constructing 6 rectangular groin vault aay te treated Ly different 
 wethods, 
 
 First Kethcef of Construction. The diagonal arch is semicircular, und with the soile 
 radius two pointed erches azeé constructed as Side arches, one being depressed and. the 
 other lancet, the centres Leing inside the first arch and cutside the second (Pij;.. 2), 
 
 Second Method of Construction. After wore fuliy learning the pecuiivrities cf the  ©¢ 
 
 cointed arch, the two pointed arches were constructed in sccordunce with the see 
 orinciple, but with different radii. In both cases, di: 
 
 arehes were obtained with the sumo heignt of springing. lt these were to be made 
 
 fferent heights ci the site 
 exactly or approximately eaual in height, there were two mease cf procedure: +- 
 
 Third Method of Construction. Both pointed serches were drawn vecerding to the ssue 
 srinciple but with different ralidi, their crowns being rgyised tc exactly or neéeriy the 
 sae height as the cromn of the transverse earch, the different heights of the springs 
 ings Using esualized by stilting the arches (Fig. 28), 
 
 Fourth Method of Construction. Or lastly, the heights ot springings ond cf eruins + 
 ware nade unitern, the first pointed erches being then found, :chich directly resulted 
 
 from the givem conditicns, | . 
 
 Criticism of Methods. The first method produced a striking diversity in ;crm@s ch 
 arches but cresented the advantage, thet excepting the keystone end e few Course: BLOVS: j 
 the springing, the rib blocks and arch voussoirs could be cut Ly « single tethod 
 (Teriplate or Pattern). The sycond method produced » uniform appearance and & certain 
 snimetion of the vaulg, yet cver very harrow rectengles, there was on unPleasing result 
 from the ditferent radii cf the arches and very great differences in the heights of the 
 crowns; but just as such differences were often desiralle, for this increasing the » 
 height of the vault towards its apex Was an esthetic ativantage, and Ly combining the 
 
 Pa 
 
 second with the third methed, any desired proporticns of heights in the vault could 
 Le obtained. The heights of the crowns are generally located in Sarly Gothic on 8 
 spherical surface, ecnstructed with the diagona) .arch as # meridian curve, when the 
 height sof the vault (Fig. 37) is ivid off from both sides of the rectangle, “wné ‘the 
 
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 2 x Me he 
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 ate iy ' me ity oe = . ~ 
 
4¢ REDTENBACHSR'S KEDIABVAL sRCHITECTURE, 
 
 circulsr ares t t and € ¢ are descrited with e aus radius, their inte: sect$ons bib ane 
 
 © @ with the produced sides of the rectangle determining the heights of the ercrny, 
 ihe advantage of equal] radii was more or less important in early Gethic, since tic 
 
 rits and transverse erches generally had different profiles; Lut is so authoritative 
 
 wn the richer vawits of Late Soethic, that a single redius is almost always used, 
 
 The disadvantage of different heights of crewns was generally iess in pointed groin 
 
 vaults, compared with round-arched vaults, Finally, the fourth method hed scereeiy eo. 
 
 wudvantbege over the others, Lut a defect, thot as ty the first, lancet pointed serelc« 
 were produced, which the beat Germm and French Gothic sought on principle to aveid. 
 4. least, the pointed arch Lased on the equilateral triongle wes preferred to uny 7 
 lancet arch 
 
 after the pointed arch had quickly g@ined the preference over the round areh, Low. 
 on account of its slenderness, test suited te high church buildings, and also by ites 
 advantages in the form of windews, it was but 2 slight further advance to make the 
 
 diagonal arch also pointeds this completed the Gothic groin vault with entire consist> ... 
 
 eney according to its geometricsl peculiarities, 
 3, Advantages of Pointed over hound aroh. 
 
 The pointed arch possesses over the réund arch not cnly advantages in its geosetiis 
 ca] peculderities, Gut also has an important structural value ty its nore feveysil. 
 Goncditions ef stability, since it exerts a smaller thrust. It is easily seen that i: 
 we rest two bodies ak (Pee. 0) against’ each other, like Loards, playing cards, ov 
 dowines, so thzt they remein in equilitriun,: this may te possible if nearly vertigei 
 (no. 4), but perhaps not if more inclined, §Nos. 2, £, 1), since they tend to slice, 
 i,c., to exert a thrust cn the supporting surfuce; we can prevent slipping ty pleein. 
 2 heavy kody against the lewer end of each domino, such as a pile of denincs, againgt 
 which the two doming. a b press, The more steeply inclined the Lodies at are to the 
 ” surf ace; the smaller thrust they will exert, and the more neariy horizontal es in le, 
 
 1, the greater their thrust, therefore the heavier must Le the abutment against whic. 
 thoy rest. But the two halves cf a masonry round, segmental, or pointed serch are 
 4 
 Fig. &, Nove) will exert « smalier thrust than the two halves of the round arch. 
 Fig, $@, No. £), sssuming the sume scan; the halves of a leneet arch (Pigs a. Ho. 
 
 39, No. 1)'will Le very great. 3 
 
 If we now Compare (Fig.. 40) a segmental. arch, whose length is one-sixth of the 
 circumference ¢f 2. cirole with radius r, with a round and an egubieteral pointed 
 erch, all of equal span, the lengths of these three half arches will te te each atter 
 as 1/8 pi x: V4 pir: V2 pir, or as Anumbers 2: 3 | 4; with equal ercse seétions 
 of masonry arches and like materials, their weights would te to each other os their 
 
 lengths.. The weights of the arches increase with their rise, But thes ehghy: aso 
 
 inijer to these two blocks or cards in equilibrium; the two halves cf the pointed eet: 
 
 C 
 
 i 
 ) will exert e@catill smeller thrust, but those of the halves of 2 Segmental areh (Fig: 
 
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BO) ROUTENDACHBR'S MEDIAEVAL ARCHITECTURE 
 vertical pressurs, and the rise of the aren for the seme span, determine the thrust 
 
 '¢ we now ¢neéive the three arches eo b c (Fig. 41) to ke divided into inrinitely 
 thin verticsl leninas, we casily ottain their centers cf gravity, which are joiner 
 
 in 2 curve and represent the so-called middle line of the arch. Uencte by s the 
 boint in which the middle line of the arch intersects ea vertical through the sprile” 
 ing of the va and this tangent will give the direction of the resultant thrust, 
 which the weight of the half arch exerts on the wlutment. cut the parellelograx ci 
 forces, this resultant thrust is the resultant of the horizontal thrust and of 
 the vertical pressure FP (weight of one*half the arch) at the point s. Lay off s 
 9g the vertical pressure P draw the herizontel p h, whose magnitude corresponds vc 
 the horisontal thrust, which with the load P produces the resultant thrust 5 -- sh; 
 Then for cl] tnree arches, we have eek COL. 8; B-.. 008, a, ae Bin. a, or since the 
 weight is BP Aaheiay in @ given case, the middle Tine of the arch end its tangent. are 
 constructed, end the angle a is therefcre easily found:-- 
 Hcrizontal thrust H --.5 sin, a -- SotrTe 
 
 Thrust coo he ei - H cot. a 
 
 weight F nH col. 2=<- S cos. a, 
 & correctly constructed drawing shows that with an inercase in the rise, and CONT 
 
 sequently in the weight cf the arch, assuming @ constant width cf span, the hori 
 
 zontal thrust remains constant ond the resultant thrust increases. If for example, 
 A & (Fig. 42) represents the middle line of the arch, and we lay off at its points 
 =, 10, 15 - - = the magnitudes Pi, Pe, P32 - - of the corresponding weights fren 
 
 i 46 
 
 b to 5, 5 te 10, b te 12 -- -, drav the tangents end the horizontals, we obtain 
 tor each point the resultant thrust ag the resultent of the increasing weights and 
 of the constunt herizontal thrust. 
 
 For example, if we have te determine the thrust cf a Gothic groin vault, whose 
 ceupartments are themselves curved and are not cylindrical but domical surtaces, the: 
 each half rit # 6 supports the weight of the two half compartments a a B, Ab B, of 
 plan (Fig, 43), This weight is sasily found for any given constructions lay off for 
 wach point ct the diagenal rit ghe weight of the compeartwent corresponding therete,- 
 and represent the ugper line cf this loading in elevation in Fig. 42, and whict: 
 teeté.on the rib ab, then divide the entire figure in vertical laminas, which 
 ore halved to find the centre of gravity of each strip; join thses centres of © 
 grevity in a curve, the middle lins of the arch, which cuts at 5 a vertical through 
 she springing, and to each point i of the middle line of the earch, then corresponds 
 as 2 vertical pressure the weight of that portion cf tte arch lying between it and 
 n vertical drawn through the crown cof the arch. The load is ieast at the crown and 
 greatest <t the springing of the arch, If the loads P te laid off in correct pre- 
 portion to each other for each point of the middle line of the arch, the tangents 
 drawn at those points, and the horizcntels p h drawn through the ends of the loac 
 
 — 
 
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 an 
 
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 eon var wo TERS 
 
 h A = A + > 4 Ly - __ ‘ iy 4 - 455 5 
 
ja 
 
 REDTENBACHBER'S HSDIABVAL aRCHITECTURG, 
 aagnitudes, the angles are then found and the juantitics PH, and S may be computed, 
 Tf in an arch the single vousscir 4 be set on the one neat below it (Fig. 42 a), its 
 weight makes it tend to slide down on the joint. If we conceive its weight to act 
 vertically et its centre of gravity s, the resultant thrust s h acts perpendicularly 
 to the joint, s p is thr load, end ¢ h is the horizontai thrust. The voussoir is in 
 equiditrium, if it can neither rotate nor slide, the entire arch composed of vousseirs: 
 is in eguilitriun, if each of its voussoirs can neither rotate cr slide. The vous™ 
 scirs are assured ageinst rotation, if the lines of action h of the pressures acting 
 
 ~ {> 
 cr 
 
 con them passes through their centres cof gravity (Fis, 43 a); it the pressure acts cn 
 then elaewhere, a rotation in a positive cr negative direction around the centre of 
 wravity might Le Possitle, «4 rotaticn also Lecomes impossible if the line containin, 
 il pressures, the line cf pressure or support, coincides with the miadie Jing of the 
 reh. The possibility cf the sliding of a vcussoir disappears, if the pressure acts 
 nerselly at the joint, when the possibility of the sliding cf two stones on each other 
 is equally great in ull directions. The lins of pressure cr suppcrt indicates-at each 
 point of the arch by its tangent the direction of the pressure, resulting from the 
 corate torces acting on the arch, and likewise gives the pressures, which each sec- 
 tien or the erch must withstand Ly the resistance of the material te crushing; in piéec- 
 tite erches are mostly circuler and the radii of the joints point toward a centre. 
 | line of support does not then coincide with the middle line of the arch, Lut shcuid 
 vary therefrom the least possitle. lt the arch be uniformly loaded by en egual 
 weight per unit of length, as for an crdinary chain, the line of support assumes the 
 opm of the common catenary curve. The line of support may be accurately calculatec 
 in, any given case or be found by geometrical construction, « 
 The effect of the conditions cf losding of a vault may be made clear te any one by ; 
 3 glaple experiment: two heavy orjects are igid on 6 table, for example two bocks, and 
 sheet ot cardboard (co: playing-card) is placed Letween them, taking the form of a 
 Ling cf support (Fig, 42 t); if the crown of this be loaded ty pressure with the 
 oat it sinks down and the curve bends cut sidesise (Fiz. 43c)k and finally the 
 rewn falls in. By loading a semicircular arch of masonry, the line of support is 
 in like aienner bent cutwarus end epproaches the extrados et Lb (Fig, 42 
 a}; not only will the pressure in the arch at b no longer te normal to the joint, ame 
 2 SLiding cf the vousscir therefore beccnes possible, tut at b the line cf support © 
 will tend to produce rotation in the direction of the arrows, i.6., to compress the 
 point & more strongly than any other part of the joint; the jcint may then cren out- 
 wards, (Pig. 43 4), cr the materizl] may Le completely crushed at this point and the — 
 Y-)] of the ereh vill thm occur. 
 The points of rupture b L tall at about one~hali the height. If the loading were ec 
 Srevb as te cause the line of support to sink (as st c, Fig. 42 6), thie joint would 
 pen inward end the erch would treak into four pieces. The line of sugport is a cet- 
 
 ¢ 
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 UNIVERSITY OF ILLINGHY 
 LIRS 
 
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oe REDIBNBACHER'S MEDIAEVAL ARCHITECTURE, 
 
 enary for uniform loading, but mcre nearly approaches the widdle line in a pointed 
 arch (Fig. 42 £), so that the pointed arch is therefore more suited for the arches ct 
 leaded vaults, If the former exreriment Le repeated Ly Lending | the cardboard ine 
 cinted form uae loading its crowng the arch toxes the torm in Pig. 48 id pees ted line), 
 and the points of rupture fall at about one-third the height. The pointed arcn net 
 only supports a heavy losd at the crown withcut cuusing the line of support to very tc © 
 much from the middle line of the arch, Lut it actualiy requires a heavy: load at tie 
 crown, such as could not be expected for a segmental or round arch, since the wei, ht 
 of the sides of a pointed arch of masonry tends to force the spandrels together eid 
 slide the keystone ugwerds, as made plain Ly Fig. 4° zg. very cone knows Ly exper— 
 ience, who has ever Lublt & pointed arch wault, thet +i crown of the vault must Le 
 very heavily loaded lefcre removing the centering, and also, that in eld vaulis, 
 
 = 
 
 their loading by rubbish cr masses of masonry set on crete ercwns cennot be Gare> 
 essly removed without introducing a change in the conditions of the leadins of tie 
 vault, which may act dangerously. To avcid the danger of fracture in the arch ct ¢ 
 & &, this is backed up by horizontel courses one-half the height of a round, or cnem 
 third that of a pointed arch. 
 To construct a line of support, divide the arch (Fig. 42 bh) and loeding into ver= 
 t.icol laminas of squal wifth bt. Let Pl, P°, PS --- P n weight ot each separate verti- 
 cxl strip. Let al, af, af---en be the angles between a vertical and line ci support 
 in eech strip. Let s be the point in which’ line of support cuts a vertical at elut- 
 ment; then retaining same notation: F -- pl + pe + po + ~-- = + = - pn, 
 
 tl o=— P= 
 « 
 
 ', y teing rise of crown of the line of support thoweeh point of inter- 
 
 ’ A y La 4 AS nai 7 2; i Ne vi vi . 
 section s,° and z distance of centre of gravity of arch with loading from vertice] € 
 eM a, x, j 
 through 6A; hence Z-— tan. a. 
 
 Direction and magnitude of resultant at any point of line-cf ‘support may Le olteinec 
 Ly constructing parallelogram of forces with constant herigzonta] force H-end the 
 vertical torce = pl + p& + p3 + ~-- force = 9 at the crown, énd-mignitude ct the 
 rerizontal resultant there ean t9 the angles al, af, aS ---- an, corresrond tie 
 Loments, tan al -- ant tan a& ~-t--, ----— tan an -- pl te pet so-opn. Tai- 
 ing a horizontal through crown of aot as Origin of abscissus, ley off ordinetes down 
 wards; then let yn * ordinate, and y n= tan al + tan a2 t-----ten an. It. line cf 
 suport does not coincide with mon ere of erch, then must the form of arch 
 Changed until this occurs. 
 
 If a room with three aisles of equal height and uneguai widths: is to Le vaulted, 
 ond lancet erches are to be arranged over side aisles, their keystones must be 
 
 heavily loaded, since the side aisles. will be crcwded together ty the middle 
 vault. In the Church of 5, hkartin at Landshut in Bavaria, this was so arrang 6G 
 hat by peculler construction of framework of roof all the keystones:of the 
 
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 oe oes? 
 
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 Br 
 
ee REDIENDACHER'S MeDIazVaL ARCHITECTURE, 
 vaults were directiy loaded. In the lower story cf the 3, Chapelle in Par- 
 is, special flying buttresses were pleced et aicut onewhalf the height of 
 tie centre eisle to receive its thrust (V.i-Duc, I-78; IV-478), The simp- 
 lest soluticn of this protlem consisted in loading tne keystone of the vault 
 Ly masonry, or chenging 1t into a pendant keystone, permitting it te extend 
 down far Lelow the crown cf the vault. Louding the keystone with o mass ot 
 l¢ad was also sometimes employed. 
 
 Pow Richer Treatment of tarly Gothic Vaults. 
 
 after the intredueticn of the pointed orch, not only were vaouits possitLle 
 over ony required reguiar or irregular form ef plan, tut also a richer treat- 
 tient of vaults. 
 
 Trianguler Vaults 
 
 Triangular veults are not rere in early Sethic; we first find them in the 
 carly Christien Catnedrol at aix«la-Chapelle; in the choir aisles of Notre 
 Vame at Paris and at Chalons, such triangular vaults are consistently employ- 
 ed in the form cf simple compartuents extending Letween side arches. (Fig $, 
 At 4¢), a second method of vaulting, preferetly used in Gothic, treated 
 
 + 
 ~ 
 
 La 
 
 “% Vault as an actual triangular grcin vault (Figs, 47, 48). the moet com 
 wle exanple cl the arrengement cf @ flan on the tasis of trianguler Lays, 
 fe.) 40) 48 in the chabter hall of the Honastery of ELerlach in Rheingau, 
 cs well os the Homer et Frankturt-a sv (Ungew. p.S@; V-l-bue, I-23), 
 Hexapartite Vaults. | | 
 
 to 
 = 
 et 
 
 ve plan with aiddle aisles in squere Lays, esch corresponding tc two 
 Lays a the sidé alsics, fliers a @ were Staveda Ly the arches of the ein yi 
 wut plers -t tL, hoc to resist the thrust of the vaults of the side aisle 
 and must either Le made too great in depth (as chown in Fiz. G1, OE civa 
 thrust must Le opposed by a thrust in the cpPpesite directicn, Piers b bt then 
 ising likewise connected ty an erch. The hexapartite vault was thus produen 
 oo, tirst used in the Cathedral at iieyon (1160-1120) then in Notre Dene 
 at ha: in the Cethedrals at Lacan and Scourges, in the Church et Mantes; 
 in Germany it was made the Lesis of vaulting in the Cathedrai at Liawkurg. 
 re the last three churches, piers c were made thinner then piers a, since 
 tne former were to take tie thrust of only six, and the latter, cf eight 
 riks ond transverse arch | 
 Alio in sony Cevisled transepts, as in the Cathedrals at Paris, Laon, and 
 boauveis, hexapertite groin vaults necessarily appeared, (Fig. B2)) One’ 
 mic St teeutitul rooms with hexapartite groin vaults is the refectory 
 of the sonestery of Maultroenu; (Pig. &3; the diameters of the round piers 
 a1 $0 eltérnate here, intermediate rivs are consistently carried along the 
 ends of the room also, and inveriedi ate buttresses are omitted. In many 
 
 c 
 tr + 
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 Pe 
 & 
 
 24 
 
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 FA REDTENEACHBR'S KEDIAEVAL ARCHITECTURE, pe 
 cathedrals, like these at Peris, Noyon, Doeurges, Sens, Troyes, Kouen, har- 
 Lonne, and at alky, as well ss in many German churches, the hexapertite 
 veult was well suited to cppose a contrary thrust to the thrust of the riis 
 of e choir vault at & ty means of the rits at; in many other churches theo 
 halt-hexapertite groin vaults were omitted, since the compertments a t ot 
 ig, 5&) securely held the arch bat and prevented yielding sidewise. 
  Cotapartite Vaults. 
 Cetapartite vaults are not rare in the early mid 
 
 die ages of France; in pro- 
 vinces where domes had eight ornamental ribs, it would Le easy to change thoes 
 
 jowes with eight ribts into octapartite groin vaults. But in Gothic, that 
 
 form would Le cecesioned by a reguirement, and the octapartite groin vault 
 necessarily results from arrangement of vaults in the towers cof the Cathed= 
 ral at Faris, The crowns of these vaults (Fig, 5¢) receive Leth the inter- 
 wediaLbe transverse arches of the hexapartite vaults of the middle aisle, ona 
 alse the longitudinal arches of the douLle side aisles, as well as the vault 
 rizs. In the Cathedral at Cologne, whose plan is an extension of those at 
 aniens and et Beauvais, ond whose middle aisie is covered by rectangular groin 
 Vaults, this necessity tor octagonal groin vaults in the towers disappears, 
 and a pier o¢curs instead of the keystone a; in place of vault with eight 
 ribs, there ars four ordinary groin vaults with two ribs each. Cctapartite 
 groin vauits are further employed csr the intersection, sc that tesides 
 four diagonal rics, four ¢rewn rics ere arranged, as for the intersection 
 in the Cathedral at Laon. 
 
 Polypartite Vaults. 
 
 In the vault over the intersection in 5. Maclou in Rouen, an octapartite 
 roin vault, the crown is zslso marked by special rils, so that the plen of 
 he vault ig divided into 1¢ parts. Vaults divided by 1¢ rites also cever 
 the middle aisle of the Romanesque Ffarr Church at Boppard, rebuilt (1¢12- 
 1242) in the Rhenish transition style (Fig. 57), A decapartite groin 
 vault covers the interior of the Church of 5. George at Cologne. 
 
 Ornamental Vaults of Early Period.. 
 
 A most Leautiful Sarly Gothic vault of rich design (Fig. 58). which does 
 not appear at all in France, is found in the sacristy of the Cathedral at 
 Worms and in a beautiful private chepel at Regensburg, the "am Romling" ( 
 Villers de Honnecourt included this in his Sketch-Book; V-1-Duc, VIII- 4 Ii 
 from a central pier diagonal arches extend to the angles of the square, sat 
 the compertments of the vaults are Givided into smailer spaces Ly a system 
 of ribs, each teing separately veulted. euch e construction approximating 
 
 rt 
 4? 
 co 
 4 
 u 
 
 Late Gothic vaults, from the latest middle ages, is found in the Castle 
 
 of Ronneburg near Gelnhausen. 
 
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 ; “sees ow, foi voli, sae l yas eit 38 aovesuabaog atooge ert Oo: Yi ismone ce 
 : nn ‘asasai at. Wogedow, OF Sagepa: gett” Rotdicingns ¢ “bat? yiteros 
 gdivey dave we be'tevoo ak. ‘Beonk JuGe is ‘be tbanse? | adt ni nos 
 wth na Ce atyse ‘eppdensaod oA? neta. ad wyaeit i Texbs 
 yey Aue 20 . Agte as fuer sete tole | ind ye i00 whet vise ia: 
 | me | oioo 42 witeupH’ hw Holloed seat sit) sted Fod? os gaibt02 
 xyert | “ybie foeyaw agen abipee Hoag, fgeens ati: wae I” 
 -) bags wth pls 9 100° 8, elorierceit- “yehatse Weesiailed sto 
 ag einen x sind ner ame te ple galeatos: er ES i 
 ned aw 9 te 83 anony P1esA t. AevO: ae aed - oe 
 
 o25 
 A ae 
 
EG REDT@ENBACHBR'S MEDIAEVsL ARCHITECTURE, 
 41, Improvement in Method of Vaulting. 
 
 With the introduction of the pointed groin vault also came an imbrovement 
 in the mode of vaulting. If the courses of vousscirs were arranged parall- 
 el to the axes of the vaults as tefore (Fig. 59) and each course was itself 
 curved, so that the entire vault was curved upwatd, a wedge or lens-shaped 
 space must necessarily occur at the crown of the vault (Fig. 60), very hard 
 to close. This might te avoided if the compertments were vaulted die,onal-~ 
 ly (Pig. @1), Fer a vault rib was then formed above the stone rit Ly inter- 
 locking the voussoirs themselves (Figs. ¢£, 2), egainst which the compart- 
 ments abutted, and strong encugh to support the vaults. 
 
 This vaulting in courses normal to vault ribs and side arches first cccurr- 
 ed in the Snglish Cathedrals at Ely and Westminster (1220-1240), snd was trans 
 ferred in Norman buildings to Frence, At the crown cf the vault, the Vous 
 soirs join in herringtbone bond (Fig. 64), and the stone ribs become unnec- 
 essary and merely serve as centerings, Plentiit atin the free hand vaulting 
 of the compartments. } 
 
 Crnamental Vaults in the best Gothie Period. 
 
 To construct the compartments of very large vaults without centering, iv 
 is necessary tc arrange intermediate riks (Fig. @5), solidly construct ing 
 them of stone and connecting them Ly a keystone. 4 richer treatment of the 
 vault was thereky produced. when this step haa teen taken and the richer 
 appearance of the vault been accepird @s satisfactory, it was easy to suim 
 Givide all vaults by a system cf rikts into smaller compartments, separately 
 vaulted, therety jpoducing the infinite aLundance of Late Gothic ribked # 
 vaults. 
 
 cuch ornamental groin vaults first case into use for covering the inter 
 section in the Cathedrals at amiens, Beauvais, Narbonne, and Clermont; o- 
 mitting diagonal ribs, we find the vault employed in the Abbey Church at 
 Heisterbsch. The German Romanesque style preferred to cover the intersec™ 
 tion by octagonal groin voults (Figs. 6¢, @7, diagonal section), but set 
 diagonally te form special pendentives at the angles, akove which we occas 
 ionally find a transition from square to octagon; in France, the intersect- 
 ion in the Cathedral at Coutances is covered ty such vaults, and the Cati- 
 edral at Mentz in Germany. The Romanesque style also usually covered the 
 intersection by octagone] cloister vaults with or without pendentives, acm 
 cording to whether the intersection wes square cr cctagenal plan. 
 
 These ornamental groin vaults were especially appropriate where instead 
 of a keystone, a ring~ key~circle of considerable diameter was arranged, ( 
 Fig. 6&8), for hoisting bells in church towers, building materials, water, 
 etc., through vavits over intersections or other parts of churches. when 
 
boop 
 , ee 
 
 } | “gaoreanai VIA 1G a8 S*4GHadNaTGa ye 
 Teva at perineal el ‘Thuow’ adit ‘tiiges Pkgeeu oy hate Jo -buleianoo sidt 
 arsine’ eid abaswot- api 
 he of? 40. noiq ody it bow i ” ed pets yeu tiuev atets istaossais wi 
 “evtl to Sudatios atodo edi te (80 gi) sees taelgaia 949 ci en baris {Rito 
 Set edit ast to solIeytolors oid “e7h host l. 3) b bepw i Beara #6’ Bebts 
 ‘os wy bsoubotg punt Ww o bie oc S26 ‘begenget el ord © fy Suoteyed att Baoy 
 gy Batge iE to dowd. bo tate =u s ole ae au “ya ivey ators dayusme nto oe eas 
 Caniienise wpfereds (2S {Oe re ht pb ayeitied juny rbot: wehee's 
 ) gabseborg legs. se3u0 ei at Ls ig TS nodave wos 
 ite buloidis odd? oe gata. Aoki WeeleswoT Fis oy to estos syiaiind vx 
 Le RET | Hoge ked erty. “to sebib. Wight o “woh, afluey OAs TOHS Giebd c se ahieu 
 eS i) “ehtetas) Kokeloo ods: “F9 apbiee evit Td. maven i i ote MIB IOe ‘aid to gosis 
 gi a edisove T ei fesy ator} te shomnato. oeats -ancliai-n’ — Agnibas rics 243 
 es ie ewtied ee Hove aynth fied “ie. ehes ai npgolerss. bemeaut eter Yoidto? agai at 
 mc 1 Aganeb2 dat bebivib sebis ods ation et goa Ballot eds vtwite ‘eeactiew) tc 
 BRS. eine ye? . tudabasdt ng lave por to wiled ee otedi. eyes’ 1 exrednin sue 
 ite). ssreitde cf aa 448 bas ebie one a6 'iyed ‘ovit Avin ativey: ado fediou — 
 . aa MO ee 4 a eg ‘8 .qeas As gat: eyit eS teh 
 iby ee Me ey, Tus’ $34 bie 4632 bow? Ai deasis? Be 
 ras oti atin at? biuoo $i y en Lovk 16 Aen eit wiPL" dus “tars ef? 
 hivib’ Sorew Bs iuev. osond: Je emai ‘odd meres att iusvi {edusasiic ’aedd to ei 
 ets tone aa nota ih bepbirirgnde wyatd to: ‘Wiows ex * Yt a row PyaqmMoe nk be: 
 ege edn aedt” cei! nee TS hes ivev-saan sitedtimgnes edt bne yadis 4 
 ee a “A - bluse tea “ead. bos db hust 1858 afd: thaw ntorg: is snes Ho gli Ds 
 8 “Ue Viiitdeda ae ol ideavgqetbag qie asdous’ ‘bas eibr'y Age ated baa Leanogs id 
 ; > Weer date sedan bo ‘beta. ails to” ‘ag Lijoi’ ‘pey tio S ‘ORs i Eb Of. Fey ye fusy wig 
 : Iejaonown eaedd Axtw oa.he: out is. ahem wd b ind, aacttows: bis. bar bo <iuaws 
 Bille 95: ‘tg dongta you Lia hes igp et. sagael. ot” eas ewilortn béd ator: ba luov 
 aba ans, aa bRe Biya 6 di qiedy! bre cadalhgup ied Prot ry ae: {agi qh abt yp fe Ned 
 
 v 
 
 ‘Tikes ariae ‘Isolnct iggavass 40 Of -Seasetet. wygirle peonis s88) (aa) ibe we 
 
 es ” a 
 * So 
 
 ete 5 
 
 ions 3 i. agit" sbiia .@eivey. tea ne Akay ipsioneivie ni aise: 56 30HG We byouri 
 yea Be Botwroe oiitns- ont” dows: fava. to ingtegivty S4i oF 2a LoGes evar oa ix 
 seul iad, ‘begiton§ eng bits ov siitate ag” Byowb 5 feed aul ‘hat Sititiee-se oda 
 * yada bibs aaa ‘gn iy deAdata yde-netid .8oRtivod, eee Agtoggy. dsiw Jeon noveye: 
 yas Say 2 lesBeiise9. oad 2g. ad lus awed etd ‘¥s: "pads 2: hal yatta bgehuwo: 
 ee aatieag’ aig satan, ab Aves logy be: Gen 8 ae Be re bine tas 
 ieee: ceased Se gos Save Aidivedge. A Almth- Uli eeble bootd #, wtaiog 
 nid ho bale EB ir 9. oath eag ted abiye tog WES BTA an? 
 ++ belie aan yd fn. Tis stenk: Sdectamstitad -90° 18 REE tel svi 
 , 3 ed bao Ay %..0 Gv ibe “omteumuanes did side wos | ae teens he die esis 
 
 ‘ak? 
 
  &< 
 
 ens ; ae 
 . vhs ET iy coh f eet + Me 
 ‘ * m tt ee « 6 ni et + aie Pa 7 ‘ ba ty 40? » ‘} : pat 
 oe LAMM ae try oy ‘ “ hs ao * 
 ” * iene hatte) ; not ' ai 3 re arty 
 noe ine ies we e's eat inf”? chat cee 
 : it ee 29 Sng hi <A ea .s Scthick i ) 
 
> rome 
 
 ce RECT ENS ACHBE'S HavlAbVaL ARCHITECTURE, 
 this consisted of eight vcussoirs, eight riks would ke required to press 
 them towards the centre. 
 
 An crnowental groin vault may also be derived from the plan of the poly- 
 eonal choir; in the simplest case (Fig. €9), it the chcir consist of five 
 
 sides of on octagcn, it would te likely for the prolongation cf its rits beq 
 
 yond the keystones et a tb to be repeated at Lc and cd; thus produced a «)7 
 stem of ornamental groin veults, as in the two-aisled Church of 8. “phia at 
 bresden. Or choir vaultswere decorated (Figs. 70, 71), therety obtaining 
 
 2 new systen of 
 
 atv antinite choiee of possible vaults, which might te further enriched by 
 
 ornamental grein vaults, a8 farthe outer aisle, producing 
 
 using a8 @ Lesis for the vaults three or four sides cf the hexegen, five 
 sides of the decagon, etc., instead ct five sides cf the oetagon (briefly, 
 S-£ choir ending). Variations of these ornamental groin vaults, favorite 
 
 in German Gothic, were further developed in secw.ar buildings, such as halls 
 
 st dwellings, where the problem was to unite two sides divided into differ- 
 ent nuaters of Lays; there ere halls of houses in Landshut, Baveria, ornaq 
 wentel groin veults with five bays on one side and six on the other. (Beit. 
 Tet, £4, Figs. 18, 16; Chap. 9; Ungew. p. 144). 
 
 Y wat 
 L 
 
 ~& Leo 
 
 42, Ornenental Groin, Star, and Net Vaults. 
 The groin vault, like the tunnel or domical vault, could te made the vas7 
 ia of these ornamental vaults, since the plans of these vaults were divid- 
 in compartwents by a network of lines, constructed in stone as a system 
 
 of ribs, end the compartments were vaulted between these. Thus were produc” 
 
 ed the ornamental groin vault, the star vault, and the net vault, #ith 
 diegonal vaulting, the ribs and arches were indispensalLle to stability of 
 the vault, yet no difference Letween profiles of rits and of arches was now 
 reguired, and all sections could be madé alike; also with these crnomental 
 yeults, pointed arches were no longer required; all keystones of the vaults 
 tuy on cylindrical or sijherical surfaces, and the ribs could ali ke cut to 
 
 a 
 
 one radius, as almost always inferred in ornamental domical vaults, end 
 
 jikewise preferable in ornamental groin and net vaults, since one must other- 
 
 vise have recourse to the eliiptical or oval arch. The entire science of 
 stonescutting had thus been reduced to simblar rits and grouped similar 
 keystones, with special lmpost courses, thereby simplifying the vaulting. - 
 Ground-plans, like those cf the tower vaults of the Cathedrals at Frank- 
 furt and Strasburg (Fig. 72) may be vaulted in varicus ways; ¢ither the 
 points at ede not only lie in a spherical surfece with a diameter equal 
 io diagonal of the polygon, Lut also ribs a t, bc, od, de, which then 
 have different radii, for to°horizental projections ab, b d, correspond 
 vibs with the diameter af, to rib b b corresponds a diameter g g, and tc 
 
 t~ 
 
Aa Wot A ee 
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 Ie uy “gaveatasa s*asuonanassn el ae 
 "pg ait aft slyiegtyy atte ae wouy!oq one Id iemoysib aft .o b din 
 
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 wut vd? 89 fosy-telt yay et ebadlrdtell. od) Bae bac lyn? 2 L ,eoijos sq 
 hen. es set lusy 46 iia: ay heyoltue. eone whey Nu’ eae: ‘down “iets a9 
 ark Beds iyi elgesx?  son8 {nad touaten00.- te bod Je (Baosws 
 ab diwtanoo ad tun: beSdtt. fetnode sso. 402. doksowxsanao. 4t0 boddwit* PAoDSee 4 
 
 ae Baz 
 
 he. ‘adie to ay tbas. as feapiera: lie ‘ode. a tle ‘Jon mé- aatlus va ataag rey bas 
 
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 pecs: bite x; Lek te béniies ons aviser. ‘eeedt. {45 :, gst) 6 bate ov. ee ee 
 “eal Poe ‘6 bas J asatog odl. spedote elqboasn ew od * de antes: ad Add bay 
 ok tis gutbetiAdiw op hie” “to tnedge # ao? aw get) dobiowiog. inoivsev at 
 ve Ra beers frotiagy wid 'e, ¢6- Apes vosad githe? alte dade o 6 @if% tut 
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 ‘canadian: aha eit. qo daev ‘ety to fo (ROge aid Bag +6 gadgatige eld lywoutd 
 aaptae ae ne, “Bia 2: mort: pits avgedo- add Ay tw b aofdawe tele wii visoGk oJ 
 , ede ai500n8 ak eds aids! & 8 ots, one abi dor) dibssaed. 2 , (a git) 
 4 bagwaas, at ‘ether san sGets tate wba, syd ged ei, 38. isk iien ons qiomp et 
 if : ja wt. dows 8, ea. efoe: he snag: es ‘pd gitodogaes pe dit fanegeto. ody 
 Bech) ich: ne i i Hh oe peg is “gadget age wa" leotisev of Prague s 
 Biles. ORIN ea baeni basow® Sadr iied te bodtek brraae® ; 
 rae ae enten fas iagioateg ead: ‘to Sitbae eS bo * 95 * de ted 
 
 ae é-Unotsodorg. linen it thd: ot bie .onwa ots af Jiuev to xegs to 
 oe eiitiaths ‘ef? 7 oe gi) *s ay iP anoiiseion lsoitaer of) brogeori99 ,b 
 a yon" lu tiowes ipsitwoaga, dion is at aotiee: to borisse edd vd dow nig nth to 
 ae eae so * oA ‘69 dade ee viadal aoed eved ddgtm euidsx solto’ yas 
 
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 hogs th toot fs ned’. re buey att 2 BOY etd to O “nett tooo i {i 108 t t4“pd ond 
 
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 gc ade, b 1 a me 1SVO beJoetw od yeu, hors ela ee 
 
5 RBLTENBACHER'S MectAsVal saRCKITscTURE, 
 rib d se, the diagonal cf the polygon; on this principle sre choir vaults gen- 
 erally constructed (Figs. 73, 74). (Church of Prill near Regensburg). Now 
 it a common radius for all arches was desired,this might te less or more thar 
 half the diagonal of the polygon; in the first case, al] ribs would be stron:- 
 ly curved and compartments would be strongly convex, in the latter, rils # 
 woultl te less curved ond compartments flatter, than a sphericsl surface with 
 2 padius of the half diagonal of the polygon. This may easily te seen Ly 
 the diagram (Fig. (75) from Fig. 72. ai, ba; ci, di, 64, are the dis 
 tances of the horizontal projections of the intersections of the rits fren 
 the herizontal projection of the apex of the vault. “hen 2 i, heof diagon- 
 al of polygon, is taken as radius of the spherical surface, there corresponc 
 the height points 1, 2, 3, 4, 5, In both ceses, essuming a radius mcre or 
 cess than half diagonal of the polygon, the arches a 1 would not be tangent 
 to a vertical at the springing of the vault, and this would ke unstable in 
 practice. In Sngland and the Netherlands for very flat vaults, the Tuda@ 
 or ovel arch was by preference euployed for rits of vaults. 
 
 Second ethod of Construction; First sxample. 
 
 & second method of construction for ornamental riobed vaults consists in 
 not placing all keysicnes in the surfaces of groin, tunnel, or domical vaults, 
 and tor groin veults, in not taking the half diagonal as radius of ribe of 
 the vawit, but o greater radius, found’ ty laying off horizontal projections 
 at, tb c, end to end (Fig. 7é), These vaults are termed serial, and arches 
 with the radius abt + bk ¢ are principle arches. The points b and ec now lie 
 in vertical projection (Fig. 77) on a spherical surface with radius a Lt t 
 e, Eut riks a ¢ with like radius intersect at 3! the vertical erected at 
 the seringing. If it Le desired to arrange arch 2: ¢ of the plan to pass 
 
 hrough the springing a and the apex c' of the vault, it is only necessary 
 e the intersection d with the chosen redius from 2 and c' as centres 
 F then deserile from this the arc ac’ this then intersects ob- 
 iguely the vertical et springing. . Only when another radius is assumed for 
 he diegonal rit, ccrresponding to @ pointed arch, may an arch te obtained, 
 ent to vertical at springing. 
 Second Method ot Construction; Second txample. 
 
 Let ab +t et+edte radius of the principal erch (Fig. 78). The height 
 of apex of vault is the same, and to the horizontal projections a', b, ¢, 
 d, correspond the vertical projections 1, 2, 2, 4, (Fig. 78), The choice 
 cot principzl arch by the method of series is always somewhat fanciful, for 
 any clher radius might have been taken, greater than ad+bete d. 
 
 The crowns of side arches may be fixed in various ways; any round or 
 pCinted arch may be erected over the side cf the octagon against which the 
 
 Lang 
 
a MS el fe 
 
 | om Pore 
 
 {Lie avdoms: ‘fs tontty, Adie aetiws savdt ‘gaiwenb.. ai ae gut xe wet & llew end 
 . tions iw. aliuey ideo otsJ Ko [gmoo » om ote #oualaace. ‘8s eag ef igas Yao tou 
 bie wie. ud alley. Suivaixe to egatwe gd, ‘ese qwode” eiaa os Gade tod ur luotttib 
 
 vad nh penkeet, sealer, oe waead betsaias eiou doum weqgs YLalssimo 
 Oy) psa hid hl. He oN + G4 Lin leotmop 10 lena s alory 
 ok Ani tivasel yt novia @ at totdw, ‘to Solids 6 .2t wav. letuganay eaedd YO 
 
 _ ide bebba eved’ 1 dosdw. od , (aghiouqens® ottiog to isyasal) “Houdedol” acd 
 ates leves.thell to: egbe Iwo oF enoptinitasaod) “aghast ied a | af envaloegs av 
 os > bedis- Od ys. do¥sd goisavtedat bag gaisesli wet « - «A yas at ai siitousi 
 ‘ tetiosg” ‘mandomh. i dest ja terres ted, add To aevinoss ody, i oti, O83 gtT ad 
 0. evdous 3 (75, BET) euker iss: lotbedded.ode to feqsdo, ebta« geveo er tlusy 
 . eo 8 goasl Tod poate ot yatbrosoe acidevele: at ylavoirey: be tsoxd od yan nal 
 
 ; a cae ak todd ai aoble, 5f: ditéw aoy sy log eds: mort" catusy igia. fejnensaio ist 
 . ah ta Aoigauatanco: ent Biudaaeged Ise LB2% Je ‘ysedesiroll ons 3 to tledo 
 Reis | Ber. i pins ha, Me: ae wy, Pentaintob: ejed ativev 
 ci at ed . *  \edksiaY gett 
 “ai, chsnoys it. ated oi? ‘x0 (88 ity, o 5 aly odd Fuse Jen aid 403 
 ate oid to. anodtownasiat ont dts “Esabpaceyy to entbs% ‘3a “aig 2 elie seney 
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 co gi @onia .¥ hebanials:® “pork: List jd based senow:. ee 5.2 2 Od 
 “o6,"buxi? ee wa a * nedors ebie edt: to ddyiah 1) de ddgted iia: a fe 
 his are era oP wok: ta'dgid Qs wis: awabadw. ibdsodw oF: ytkbrvog 
 ee ‘bitorntiats opto ‘ojanl, ton ob” dir Ot ‘Pe tiewsg, bars” ad luav: gonis 
 pod Je dowd? odd od as | adios airy elquta td Hodtine ow saat edo 
 alt al: ‘beseotbai. as edivey aiorg- Tes nomen ai to. OS .g 28) sivevsd ah Bod 
 2d wakate able. edd al. Beis. ebb ia ‘ae. odd aE bevel yng, YLuomaan ex 73 
 
 is 
 
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 apt eae fl wikadgag | eno -Faoden 
 
 il “Of etd » Bort fone aslporid. 6 aning i 
 Aa ue lenaud ead oil won eset to 
 
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 ‘odd au singed oma odd” te ai bo dit oar fae iwoae ede hosiotues 3 aesly 
 _ Atowmaeg oda. a8 gaol an: Find yled witb © woaie bas if dis ad? 32 4 anore 
 
 1 bay 
 
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 path ete oor Aree vs Mb elt wes ew i Ce a he RS yee On aot s Tah ade ; Peg AL 
 f Wy » t yl na § n t J ae 
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 ar Pa sib the te te) an keys 
 a ¥ Pa ene 7 ‘i hie tp 
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 FORD GA? 480800 dom eo , easiga0 ‘dé 40. “ddgion 4 doi avind od | 
 | gnieq mort vai stasats63i00. ond teds 08 .9 gabdi ots oedd dodged 
 
 * ppe3g" Geom 4 stow Is ginni yy - dD. auibes. ae money, od. aeiiée 50. Ob %, 
 
 gtthee. Pikoms 26114 “awituoeg a ef § pudatat teitoat 2 aide ae ti ig dowd eds 
 
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 eerste nies cares aot? + ‘ed mtg ne a b 2 bs asia gai 
 
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 dows [sqioniig vty ag Seasi. geloev deasT ,oam, Tegionirg edt bas tefg se. to’. 
 
Be RECTENEACHBR'S MEDIAEVAL ARCHITECTURE, 
 
 compartments abut, or a e may te laid off on the radius and the height e 
 Le taken for the height of the crown, cr as not unusual, the crown is made 
 higher than the foint &, so that the compartments rise from point © towards 
 the wall. 4 few examples in drawing these series with principal arches will 
 not only enable one to construct the most complex Late Cothic vaults without 
 difficulty, but also to meke accurate drawings of existing vaults Ly the aia 
 of a plan and the principal arch. These vaults based on the principal arch 
 certainly appear much more animated than ornamental vaults, derived from the 
 
 Py 
 
 groin, tunnel, or domical vaults. 
 
 Of these ornamentyl vaults, a series of which is given by Ungewitter in 
 his "Lehrbuch" (anual of Gothic fonstruction), to which | have added oth- 
 er specimens in ny “Beitrdge" (Contributions to Knowledge of Mediaeval Arch- 
 itecture in Germany), a few Pleasing and intefesting cases may be cited. Tiose 
 in Fig. 0 are in the Archives of the Cathedral at Mentz, Another peculiar 
 vault is over a side chapel of the Cathedral at Prague (Fig. &1); such a 
 plan may be treated variously in elevation, according to whether lines ab, 
 ed, ef, or a series be taken as radius .d principal arch. A most greceq 
 ful ornamental groin vault, from the polygon with 16 sides, is that in the 
 choir of the Monastery at Prilll near Regensburg. The construction of the 
 vaults here determines the widths of the bays.. 
 
 Net Vawits.. ‘ 
 
 For the net vault, the distence 2 co (Fig. 82), or the half diagonal, is 
 
 generally taken es radius of principal arch. The intersections of the rits 
 
 in the first case lie in elevation at points °, 3, 4, ©, of the verticals 
 
 b £2, ¢ 8, 4d 4, e 5. arches h © and bh g fall from © tcwards ¢, since height 
 above h equals height at ¢. Height of the side arches f g may be fixed acm 
 cording te whether windows are to be high or low. 
 
 Since vaults arched parallel to ribs: do not longer require transverse ar- 
 ches, these are omitted in simple groin vaults, as in the Church at Veggen- 
 corf in Bavaria (Fig. 84), or in ornawental groin vaults as indicated in Fig. 
 f= as commonly employed in the late middie ages. In the side aisies cf 
 the Church of 5. Agatha: at Aschaffenburg is a peculiar arrangement of the 
 simplest net vaults,psoduced by throwing a circular arch from a pier to the 
 second one opposite. Intersections of riks now lie on a tunnel vault, 
 whose generating curve is a semi~ellipse with major axis vertical. If this 
 simple network of ribs be repesited in a second interposed series, a nost 
 frequently employed net vault is obtained (Fig. 86); since the arch ab is 
 then a semicircle, the crown e of the rib cd is at the same height as the 
 crown t cf the rib ab, and since c d is only half as long as a b, connect 
 ing ribs ac, dg, must either be struck from keystone d over d with same 
 
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 B¢ REDTENBACHER'S MEDIAEVAL ARCHITECTURE, 
 
 radius to g on Plan, or from d' to a’ in elevation (Fig. @7), when centre 
 of the cireuler arc is at d 2 cn prolongetion of the line dd’, 
 
 Ags seen in oblique view (Fig, 68), only points 2, 2, 4, 5 (Fig, 88) may 
 
 now Le connected by @ compartment; points 1, ©, ©, form a vertical divid™ 
 
 ing surface, The section 2, 2, of the compartment ©, ©, 4, ©, with divie 
 ion surface 1, 2, 2, mey be replaced Ly a new rik and the division surfece 
 te itself omitted, in case rit 1, %, alone remains, or it may be filled and 
 decorated by tracery, This motive is found in the clolster of the Church 
 of S. Stefan at Mentz (Ungew, Fig. 678 L). Such vertical division surfaces 
 srosé in a peculiar way in the vaults of the western choir of the Church of 
 _ Katherine et Cppenhein (Fig, €09;a f + f ¢ is redius of principal arch; 
 ¢ f and eb are projected in elevation (Fig. 90) as o'\t' and ¢’ L' d' a! 
 correspond to d d end lie higher then f' b', but erch over a dg from d' 
 intersects at g! the vertical above the springing. "e here cLtain vertical 
 surfeces 1, 2, 2 (Beit. Taf. 11, Fig, 51 and text). 
 
 If in a room with triangular groin vaults the diagonals Le omitted, peoul™ 
 ier net veulte are produced (Fig, 91), transformed by doubling into hexagonr 
 al ster verlts. Thus the sculptures in the cloister of the Cathedral at wur- 
 are covered by vaults, From the ground-plan of this triangular groin 
 
 e 
 pw 
 
 vault erises a new series of possible net vaults (Fig. 92), used in the most 
 diverse places. : 
 
 In the vaulting over the belfry of Gothic church towers (also for small 
 chapels, as in Church at Ferte Bernard near Le Mans), instead of vaults, hor- 
 izontal eeilings were employed, supported by rits. Then as in the tower & 
 veults at Frankfurtrta@-M. and Strasburg, short columns were set on the key~ 
 stones of the intersecting ribs ef the vault, supporting the horizontal 
 ceiling, or on the rits themselves were placed perforated walls of tracery, 
 as in the tower vaults of the Cathedral at Freiturg-i-b. (Ungew. Fig. 279). 
 At the Church at Ferte Bernard (V-1-Duc, IV-122) smell columns, connect 
 with arches beneath them ena suPPort the coffered ceiling, and are set on 
 the vault rits; lastly, at the angles of the Church of S,Katherine at Oppen- 
 heim, the interspeces Lutween supporting ribs, ceiling, and angles, were 
 filled by the simPlest torm s of trecery theinn Gat 85, .Pigddhis 
 
 42. Detest Problems in Gothic Vaults; cports. 
 
 Further Progress in the mediaeval science of vaulting was ne longer pos- 
 sitle, 
 
 Cell Vaults. 
 
 tn northern Germany, eub stone was gcrocured with difficulty and bricks of 
 excellent guality existed, thus stone rits were usually omitted (Fig. 93); 
 since tricks were suitable for the construction of a rit, and spherical com~ 
 
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C REDTENBACHER'S heplasVal ARCHIT&CTURE, 
 partments were replaced Ly triangular and square cloister vaults. The Cas- 
 
 (o>) 
 
 tle at Meissen everywhere exhilits these csll vaults. “e must rezard cer- 
 tain apparently complex vaults in Late Cothic as merely sportive, where in- 
 stead of a single rit, dcubled rile of different redii are emPloyed to pro- 
 duce a rich effect (Fig, 94), as in a side gisle of the Church of 3. Leon- 
 hard at Frankfurt-a-M, This is oljectionsLle for structure] reasons, since 
 the lower rib opposes and neutralizes the pressure cf the upper rib. 
 Sits Curved on Plan, 
 
 an extreme result of Late Gothic vaulting could ke produced Ly curving 
 ribs on plan (Fig. 28), the spiral series, then usually transtormed into tiere 
 forme of tracery. Another sport is in Ungewitter (p. 148). from the Church 
 vt Langenstein, where two entirely Seperate systems of ritis are errenged a7 
 teve each other, the compartments cf the upper system being seen through the 
 lattice-work of the lower one, as in Fig 
 ic sometimes decorated ribs of vaults ty fceileda arches, as inachapel lin a 
 side aisle of the Cathedral at Meniz. 
 
 Ungew. Fig. £80), Late Geti- 
 a 
 
 mF 
 ties 
 
 The spiral series, (examples in my "beitrage (Tat. 54, Fig, 14; 58, Figs. 
 14, 18), slready eppears in combinaticn with straignt ribs and tracery guite 
 eariy in the best pericd of Gothic, es in the sacristy cf the Cathedral at 
 tegensburg,; like foiled arches, they reyuire the use cf more material, than 
 do simple rics, Lut compose the most graceful fora. 
 
 Comperison of Lete Gethic with Remon Vaults... 
 
 Thus in mediveval urchitecture e series cf the most diverse forms of 
 vaults result from combinetion ct the dome with the groin and tunnel vault, 
 which may be used on the wost diverse ¢lens, and a single principle makes 
 pessille an inexhaustitle wealth of forms. These ornaments] vaults are 
 very closely allied tc Reman vauite with coffers, lize those in the Pentheon 
 ond in baths; Lut they have an advantage over Roman vaults as the rits al- 
 ttost always fora a system of self-supporting triangles, whose light panels 
 or comportnents might with good worter have Leen as easily changed into 
 cotfers, as those in Homan monuments, The pointed arch was in Late Gothic 
 ribbed vaults almost entirely confined to the side ercnhes, ond was suPer- 
 fluous in the vault itself. } 
 The segmental arch came inte use rorely in Romanesque, chiefly in secular 
 architecture, os at the Castle of barbarsesa at Gelnhausen for a discharg- 
 ing arch, and sometimes for the same purpose over church decors. It is in- 
 deed not entirely disused in Sothic, tut only exceptionally employed. The 
 Late Gothic found it tasteful and liked it, es. ecially in secular architect- 
 ure. Late Gothic vaulting generally required segmental rits and compar t~ 
 ments of vaults, and in secular architecture this need was increased by the 
 
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1 REDIENBACHER'S maDlabVaAlL ARCRITECTURG, 
 
 snzl] height of rooms. The segmental arch was usually made 1-2 or 1-4 of 
 the circle, more rarely i-¢, or with even a smaller rise. 4s an exemple of 
 the segmental arch voult in secular architecture, is the court of the Cas- 
 tle at Stuttgardt, entirely Gethic in prineiple, and she court of the Inn- 
 gum-Hirt at Steyr in upPer Austria, with loggias in three stories alove 
 each other (Beit. Taf, 47, F 2), 
 
 ea | 
 
 the development of the mediaeval vault, as here trisfly cutlined, only oc- 
 pleyed the chief Part, then 
 would vaulted architecture have been freed from all restraints, and strivin; 
 tor piguant effects and sportive fancies would have controlled the archi- 
 tects. Rich Late Gothic vaults in austrian buildings may be found in Hel- 
 
 on 
 
 curred in general. It structural problems had 
 
 tert, Atlas Kirch. Bau., also in wien. bBauh. 
 44, Italian Vaults. 
 
 Nothhern mediaeval architecture, compared with Itelian architecture, laid 
 sreeter stress on height of interiors than on their magnitude and spacious- 
 nuss; veults of the central aisles cof its choirs seldom exceed gpans of 50 
 feet; great vaulted rooms could be constructed in the middie ages when re- 
 yuired, as shown ty the Karlshofer Church at Prague, an octagonal interior 
 covered Ly a domicai star vault cf about 77 fi. span. Italian mediaeval 
 architecture contributed scarcely anything tc improve the science of vault~ 
 ing; it was content with the less developed forms of Roman vaults, and us- 
 uslly preduced its spaciousness only by exchanging effect for plainness and 
 eubtiness, ty the aid of tie-rods at imposts cof vaults, and Ly greater di- 
 mensions of structure] parts, 
 
 Comparison of Northern Mediaeval with Ivalian art of Vaulting. 
 
 boldness of construction ct a vault depends on three things} on its span, 
 on section and height of piers, as well as on thickness of vault itself: lest- 
 ly, on messiveness cf its abutments. if Italian vaulted construction is 
 praised for boldness, like the Cathedral at Florence with its centre sisle 
 @S ft. wide and ncderately lerge piers, we should net forget that churches 
 like 3. Mertin ot Landshut and that of Karlshef et Prague are not interior 
 to Italian in keldness; the tirst is a “-aisied narrcw hall church with very 
 slender piers and en encrmous height, and the second is very spacicus, 
 
 though both have very weak abutsents. 
 
 The principal endeavor of Itelien mediseval architecture and of the Renm 
 gissance in the art of vaulting is almcst always devoted to the develop- 
 ment of the dome over the intersection ond in central buildings, the first 
 of these scercely exceeding the clear span of the centre aisle in northern 
 medieeval architecture, and the lest being usually rere during the Gothic 
 pericd, Large towgsss over the intersection were in the Gothic period only 
 
a Hiss: bet yo8: ees endae: akin 
 
 sone f1- ‘ben (ined ent. ds: alot” 
 ii - ma ‘ade wi dase. (985~ “4: {gidul 
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ae KaevTENBACHER'S MEDIAEVAL ARCHITRCTURE, 
 intended in the Cethedrals at Regensburg and at Fassau- 
 
 Italian Gcthic led to the great dome over the intersection in the Catned- 
 rals at Pisa, Siena, and Florence, as well as in 5, Petronio at bologna ( 
 Lutke, p-. 626), which in the Renaissance found its highest development in 
 athedral at Florence and in 5, Peter at Home, fer surpassing all] Rom 
 an works. The Renaissance excelled the Homans in teldness of construction, 
 but not Gothic vaulting in technical cleverness. had Kenaissance masters 
 been ecguainted with the simple and aPpropriate principle of Late Sothic ril- 
 ted vaults, applicable to the three tasal forms of vaults, they must have 
 appreciated its edvantages over the heavy Roman vaults; had they desired to 
 replace the ornamental effect cf Late Gothic vaults by the effect of guiet 
 surfaces, they could have executed their domes in accordance with the Goth- 
 ic principle. Sut the Renaissance hes the single advantage over the Ital- 
 ian Gothic in that it never produced in its spacious vaulted interiors the 
 effect cf plainness and Lareness, it understood how to richly subdivide in- 
 teriors, and to make them appear even larger by variety in decoration than 
 
 in reality, excepting in S. Peter in Nome, which is larger than it seems to Le. 
 
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a REDIENSACHER'S koolacVaL ARCHITECTURE, 
 SECTICN III SUPPORTS OF VaULTS, 
 40. Kite and Trensverse arches; Keystones of Vaults. 
 General Regarks. 
 eupports of vaults are primarily rits end tree sverse erches; the parts of 
 & Lis worthy of consideraticn are keystones end impost stcnés. 
 Ihe actual support of vaults are ecluans ond piers:. The structure] perts, 
 i 
 
 which reel the thrust ci the vaults, ere Luttresses and tiying Luttrese- 
 
 t 
 eg we heve Tirst to treat ribs, their keystones and itpoest stones, then 
 columns and piers, lastly buttresses end flying Lutresses. 
 
 Iie ssc SUR Ai Ne HAH | PG at detain b econ aust 
 BOoCOMeEViOn Cr ALLS. 
 
 Kite end transverse arches, whese sections will ve considered later, aie 
 
 ig : : ‘vo Sane ee hi Pea - Baie Nee ee, : eo ethan ee 2 
 mostly plain and not decorated. Yet avout 1600, rits eccur in England and 
 
 14 Wienke ae ve ou ey . wet a ~ 4 ’ a meer ys r ‘ : 
 in bermeny, where decorated alternate with plain vcousscirs, es et the Cetr— 
 
 earvel et Puyren-Velay (VYrl-vuc, L1is2629% er like the rits of the choir 
 
 wlte of S, dacob al Negensburg, where square peerl-Leaded flower rosettes, 
 connected Ly aimiler Lands, decorate the sorfit cf the rit (Pis, 97) (Beit. 
 
 rie 2 ae 4 rs th Ah 8 hae : = i > rs 
 Pig. 171). Gometines, es on transverse arches 
 fectory at Maulironn, rounds of the section of the arch are seberated ty naii- 
 
 an fe ae are ee Oc Rents Ry dan ie Tag ¢ y 
 i eace Lene wo Veae, aids ) (Sei. ede ia aos ie te 1): In-very lé LE Gothic Lia 
 
 oa 
 
 fat< 
 
 iid- 
 ings, rounds @re lugsed decorated in lmite ation of trunks of trees (Fig, 109), 
 founds of transverse arches in sone buildings in Khenish transition style 
 ave. trested in a peculie: wey, shert columns of slate Gelny seperated froa 
 
 “eeaeh cther ty band aculdings of trachyte or other stone (Fiz. OF), These 
 ie 
 
 ae iit « + - 4 each te | “7 ¢ a a n - * = Se Op a Ae 1 : rt Os te 4 OS”: F 4 oor Fy 
 arr i oL moul Ua He He} a] way Se NG AG ale On & he ANLitc OnG Lh MoD ony LOG tS ecu. 
 Cothie leaves vils ond transverse arches plain; Late Gothic decerated tne 
 OL toh 40 epee | i) Chiba. i whies & nS wa wo ig o) n; Cee ae IO ope a: GAeccr aveg Pe Beet HI 
 se tj es a ; Uy) i- MPi.or 6 | Pie aan hy Oy; ey eo ae Gq A ewe “ge ’ hy " ad “ “re 
 VOC sETonas bY Une Cuspsd erch On fag, oS, as in 9 chapel of the side 
 
 hy 
 aisle of the Cathedrel at Hentz, end German Nenaissancse also used pearl-tesds 
 
 ' t 
 
 end epgtend-care. mouldings, os in the choir vaults cf the Konastery at Prilil. 
 
 ~, 
 
 2onstruction of Keystones. 
 
 ihé Keystone of vault rite 4 intersection is produced by drawin 
 
 co 
 - 
 18 
 b- 
 — 
 
 theough tpeir common points ol at cf the plan (Fig, 101) tré radial joints 
 ae and “ph oh ee ecu ion (Fig. 102). The @igtvence P' C’ ther fives 
 
 the prestest wicth cf xeystone end the aimensicns of the stone tor it. Such 
 o keystone in cLligue projection is shown in Fig. 102, When rits intersect 
 
 esch other celigucly, the keystone is considerably larger (Fig.: 104), since 
 
 fd 
 o> 
 ee 
 
 the distance as on the plan will te greater than for riis intersecting at 
 right angles, ang this is alse true for keystones cf hexapartite or octapar~ 
 tite groin vaults, while fer tripartite groin vaults the keystone will rel- 
 atively te amallest. 
 
 Keystones forming an intersection voussoir of vault rits (Fig, 105) are 
 
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 tee 
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 ‘ vf iY ; vas oh he A Tt Pay ‘ . 
 
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ea KEDTEBNBaCHER'S MEDI AeVaL SRCHITSCTURS, 
 evoideda in Lest Gothic, since they have little charecteristic effect and re- 
 guiveé an unnecesssry baal away of the stone. but they were very much us” 
 ed in Lete Gothic ornamental vaults. The intersection of the rits is usual- 
 ly replaced by 2 RFR boss (Fig. 105) against which the ribs ebut; 
 ends of the ribs are then worked on the keystone in the sclid. JB 
 Yecoration of Keystones. 
 
 The motive of ornamentation of the keystone results from the decoration 
 of the intersection of the ribs and alse from the loading ot the keystone 
 and consequently of the vault, when it is permitted tc project below the 
 vault rite. Cate Hcmanesque either treated the keystone Ly concealing the 
 intersection of the ribs by a rosette cf ieaves; first on tke vaults of 
 the abbey at wae ay (112C) combined with sculptures, also on the Abbey at 
 bltengelle, (1162-1197) or by large bosses pendant from intersection of the 
 rics, besketvlike end with rich pA as a keystone at altenzelle and sev- 
 evel very teautiful ones in the Cathedral at Hentz (Beit. Taf. 2, Figs, 27° 
 2e° 28); a third form ccours at Altenzelle, consisting of a disk, placed bem 
 neath the intersection of the ritts and decoreted Ly Romanesque ornaments; 
 
 » fourth is found in the Honastery at arnsLurg near vetzlar, consisting of 
 
 y celow the ribs, ctherwise profiled like them and 
 
 Cecorated by a rosettes leaves. Among the variations in treatment of seve 
 stones ae those with a square nucleus-A(Fig, 167), and those in which this 
 is Profiled like the ribs. Very beautiful examples are found in the Rit- 
 Lersall of the Castle at Vayda Hunyad in Transyivenia (4iener Sauhbtte). 
 ibis nucleus sométimes takes another form, as well as the deecrated disk 
 
 ; DR Be 
 acing dropred Considerably 
 of le 
 
 cugounded beneath the vault ribs. Ferns cf such keystons-tosses shown in 
 
 ~~ 
 
 es aes iheokep 
 Ulee 102 are net rere. 
 
 1) oa 4 ana om ogN 
 Perforated Scystones, 
 
 The keystone is usually perforated for suspension rod of a chandelier or 
 cheneed into a large ring of voussoirs, as in the vaults of towers or in 
 
 valits over intersecticos, for hoisting Luilding materials. 
 ahs great ring keystones of tower or intersection vaults sometimesmerely 
 the profile of the rils cn the inside cf the ring, or change the prom 
 
 t 
 s (Fig, 109), and are wore frequently cut plain on the inside, us in 
 the keystones in the towers ot the Church at Friedberg (Fig. 110). 
 
 tect of Keys vones 1h France. 
 In F v, (V-l-buc), the Eurgundian type, that of Isle-de-France, and that 
 
 ot vluny, ave especially developed the sculptured ornamentetion of the key- 
 perk greceful follage and symmetricai representaticns of all kinds were 
 employed; yel these keystones of the 12 century were commonly not treated 
 in correct Fropertion to the height of the interior of the church, and did 
 
 ‘AN 
 
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 Dr [at agera3eh * a9'tiu pet dotdw .St2.g2% nt weld ert al ws ABT yao, Cigv 
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 ‘aaa aiden bad: esis atuet 0: gabe aan 
 
o8 REDTENBACHER'S MEDIAEVAL ARCHITECTURE, | 
 not produce e proper effect. Cnly in the 1¢th century were the keystones 
 ctrorely treated to produce a suitable effect at a ccnsideraile height. 
 
 The keystone was not always carved before setting, partiy for lack of time, 
 ertly to not injure the sculpture in settings it was then perfcrated and 
 crnaments carved in wood were afterwards atteched, as in the lower chapel 
 
 Le 3 
 
 cf 8. Crepelle in Paris (1240, Vel-Duc, IITI-=¢€), 
 Keystones in Perfected Gothic. 
 
 The perfected Gothic preferred to treat the keystone as 2 circle with a 
 section like that of the riks, while the disk-like sunxen lower surface was 
 decorated ty various foliage ornaments, sculptured figures or heraldic shields, 
 and suspended from the epex of the vault ribs (Fig. 111); short endings of 
 vault rils were then worked on the keystone(beit. Taf. 2, Figs. 28, 29, 20), 
 
 Keystones in Late Gcthic. 
 
 Late Gothic often decorated keystones by trecery and even shaped then like 
 suspendec canopies of tracery, lixe the keystone of a chepel in the south- 
 ern side aisle of the Cathedrel at Mentz. 
 
 Pendant Keystones. 
 
 Pendant keystones, which drops much below the vault, already occur in Lats 
 Romanesque and in the transition style, interesting examPles are Tound in 
 the Temtlears' Church at Bacharach: enother kind of pendant keystcnes is 
 found in the Church of & Katherine at Cppenhein, and in Late Gothic in the 
 Church et Pirna; they were especially transformed in Sngland into complete 
 pendant vaults. In Late Gothic ornamental vaults, corresPonding points 
 were often decorated Ly similar keystones, so that different kinds of key- 
 stones came into use. Thus in the teautiful choir vaults of the Monastery 
 at Prdll near Regensiurg, 2 rare and instructive examPle of » Gothic net . 
 veult entirely executed in Renaissance forms, principal keystcnes are treat— 
 ed es pendant rosettes, keystones of a second rank as lions' heads, and the 
 chird rank ere crnaments. Surfaces of compartments are adorned by delicate- 
 ly profiled reliefs in stucco and by angel's heads. 
 
 Keystones of Late Gothic Crnamental Vaults. 
 
 Construction of keystones of late Gothic ornamental vaults may either be 
 very complex, as in the Plen in Fig. 112, which requires § difterent key- 
 stones, all with different dimensions, directions of rits, and mode of jund- 
 ticn, Kibs most commonly intersect as shown in Bigs. 112, 114, so that to 
 correetiy construct the vaults, the keystone must be eased off according to 
 dotted lines a b (Ungew. p+ 160, Fig, 209 a), 
 
 txtrados of Vault Ribs and Keystones. 
 
 In regard te the treatment of extrados of vault ribs and of keystones, an 
 
 upper rebate on the rits is sometimes used as an abutment for the compart™ 
 
aaa avvmnengnege es 
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 re et rar aber _Benose yoo fuodita dotad Yo aura — 
 
 ec to een atta wi ‘tt te idescdy a ae tdowrsaacn dogsd cxode, ed lesv 107 
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 t ts ae 
 
ofe' REDTENBACHER'S MBSTALVAL ARCAITACTUrG, 
 ments, carried around the keystone as a nuoleus (Figs. 116, 11¢). Cn the 
 ribs at Altenzelle (Fig. eye grocves Lc ore cut in this retate to receive 
 an inserted iron anchor. Cn the Lutt joints of the riks channels d are us- 
 ually cut, brenching Lelow, and filled with melted lead (Fig. 11€). 
 
 Ribs of brick without Keystones. | 
 
 For vaults where trick construction is necessary, if the rits are also of 
 trick, keystones are omitted; thus in the cellar vaults of the abbey at id- 
 delburg in Zealand in Holland, (about 1250), one round-arched diagonal ex- 
 tends through the intersection and the second rik with the same Profile a 
 buts against the first rit; the cavities at the intersection of the two rits 
 being filled with mortar- The simple round or Pointed arch remaing in med- 
 iseval architecture without any deccrated keystone; only excePtionally is 
 this rule broken. 
 
 48, Form of Imposts of Vaults on Plan. 
 Ritbed Vaults with Longitudinal and Transverse Arches. 
 
 Conclusions on the treatment of impost tlockxs or atutments will Le reach- 
 ed Ly the following Lrief consideration-:. assume » square room with groin 
 veults consisting of four tays in plan (Fig. 119); then will the four vaults 
 rest on two transverse arches a a, two longitudinal arches t kt, four Pairs 
 ot intersecting rits ¢ c, and eight walt arches C b, arches and ribs trens- 
 mit the weight of the vaults to a central Pier 4, to four wall piers C, end 
 to four angle piers 6. well arches C 6 suPport the least Fart of the totai 
 load, each tearing BFA%, esch ril carries WS, and the transverse and lonzi- 
 tudinal arches each support 1/ €. at angles 5, verticai loading and thrust 
 of two half compartments unite, at point s © are those of four half ccmpart- 
 ments, and et centre 4 1S vertical Icading at eight half comPartments. 
 
 Piers C ere therefore made helf as large as central pier aA, and twice as 
 large as angle Piers 5; the same FroPortions to Le emPloyed for ssetions of 
 wall arches, of ribs, and of longitudinal and transverse arches. If a square 
 Profile te taken for the ribs, then will iibs, wall and main arches ke form 
 ed as in Fig-. 120 a, bk, c, and angle, wall, and central piers naturally 
 
 take the form in Fig. 1£1 a, bL, c, in case ribs are te te entirely separat- 
 ed above the imPosts. These piers ccocupy much spaces and reguire much labor 
 in cutting the stcene.. They aay te simplified Ly giving them the smallest 
 projection possibile from the wall, and by assigning to the central pier the 
 least possitle section. Thus ly gradual reduction of nasses of piers, Ly 
 junetion or combination of main arches and rits with a corresponding increese 
 of their spans, ferms of secticn are obtained ss indicated Ly shading in Figs. 
 131 a, b, c, darkest nearer the nucleus. The wall arches finally disappear, 
 with Projecting wall piers, and the central pier is deduced te a square. The 
 
 We 
 
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 ee sit : i are arta fe. a ane 
 Pros} ’ 
 
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 GaCHER'S MablasVAL AhChITeCTURR, 
 
 ribs and main arches then sPring from the wall at a height akove the impost, 
 and only receive their full profiles at some height above their junction 
 with the wall. 
 
 This proklem cf voulting contains in a nutsheil the general course of de- 
 velopment in the treatment of piers and imPosts from early middle ages to 
 Late Cothiec. The undiminished Plan of imposts of ribs and cf their sufports, 
 with little theught for construction of space, corresponds to Romanesque end 
 transition styles, and the simPlified ccmkLinations, economical of space, teu 
 Gothice. 
 
 Ritbed Vaults without Longitudinal and Transverse Arches. 
 
 If transverse end longitudinel arches be owitted and are rePlaced by sid- 
 vle ribs, a second aode of simPlifying the imposts results (Fig. 122 a, b, 
 c), which likewise influences the sections of piers and also embodies the 
 Sothic, espiring to lighten the entire structural system. This omission cf 
 ueain arches cf the vaults is especially emPloyed when imPests of vault and 
 
 ier are to be reduced to the smallest dimensions; Ungewitter (P. 128) gives 
 axemPles of such vaults in the Monastery at kaina; also in hexaPartite groin 
 yaults without rits and with main arches in the hail of the Rémer in Frank- 
 furt. This has the edventege that three rits may be set on a single wall 
 eoluan, and the Gentral pier may be méde round orkdtagonal. ‘all arches may 
 then te cerbelled out from the imPost. Ungewitter (p. 182) pives such en 
 
 example, troa the Church at, Pmmenheusens, 
 Groin Vaults without cibvs 
 
 The greatest Possitle sinf Britis ation Will] result from returning to ¥roin 
 vaultS without ribs in po peti permitting cnly main arches to project 
 below surfecee of vaults; bete Gothic nas cften done this. The most complex 
 Lete Gothic construction er vaults is Lesed on this simPle princiPle. 
 
 4?, Impost flocks in Slevation. 
 The forms of these imbosts in elevation may likewise Le referred to a few 
 eround Principles, we first distinguish two cases, Loth wall and main arches 
 ving round, or the former are pointed arches of the same er of different 
 redius, then thut cf the round diagonal arch. In arrangement I of the ground 
 
 ig He: 
 
 al 
 
 plan, Figs-. lel ae, bt, ¢, a polygcnal funnel fora would occur in Loth cases: 
 et the teet of the ribs and behind thes (Fig. 122), whieh could scarcely te 
 cuilt excefL in horizontal courses; to neke this imPcst a firm support and 
 tc lessen the span of the vault and its thrust, the imFost is made a sclid 
 bleck (Fig. 124), against which are set the rib imPcst blocks, the imPost 
 being in sometimes cf a single stone, if in sccordance with the reduced ar- 
 rangements II, TII, IV, of Fig. 1¢1 a, t, c, rits and main or wall arches 
 
 start in ty ae torn (Fig. 125), It wall cr main arches and diagonal 
 
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eS REOTENSACHER'S MEDI a&ValL ARCHITECTURE, 
 
 arches are round, thus having different radii, then in Figs. 12° and ic? the 
 Points &' and b, at which the uPper angles t c, b' c' of the arches inter- 
 sect the corners of the vault above a, wild fall at ditferent heights. 
 Joints may then be cut cither as at b dor k' d', i.e., the first joint 
 Letween the rits ond their imPost blocxs would be too snert or too long on 
 their skew-back (Figs. 128, 129) and would have toc much or too little Learn 
 ing; then es indicated Ly the dotted lines in Figs, 12¢¢, 167, the arches nus 
 have different debths if the skewrback joints are all to be Lrought to the 
 Same height. In vaults with Pointed mein end weil arches of the same radius 
 as that of the semicircular rits, this difficulty dissePreered, as well as 
 
 in vetuitse where diagonal and side arches were all pOinted with egual redii, 
 and lastly in these which comkine round or pointed witn Tudor or oval ereh- 
 és, os usuel in the Netheriands and in inglend. Finally, te evade the dif- 
 ficultice of the constructicne mentioned, the joints cf the larger arch are 
 cut horizontal; Lut this can be done cnly when the joints de not cut the erch 
 
 = 
 
 ae 
 
 ab 2a tec acute apy 
 
 « difference will further arise in the intersection and jointing at 
 inpost Letween side and diagonal arches, if they de net, as in Fig. 120, weet 
 od angles or central pier at equal angles, a case usuelly occurring in ot 
 long grein vaults and in choir vaults. If the cut bLlock tecomes too large, 
 che or nore herizontel joints are insefted between springing end skew-back 
 
 jeints. The II mekbed cf reducticn treats the parts es in Figs. 126 te 122; 
 Ho, Lil of Fig. 121 is of quite peculiar form in elevation. In toth cases, 
 wall and corner piers way extend te the flocr or te repleced Ly corbels, as 
 eb ¢@ in Fig, le, so that the rectangular angie continues to the spring- 
 ing. Yet the dieseoual ribs would in No, Iv of Fig. 121 only tecoms sebaii- 
 
 ate at scme height stove the skew-lacas of wal] and sigin arches, and then 
 intersect each other us segmental arches (Fig. 180), 
 
 In arrengement Sc. IV of Fig. 1¢3, the development ci the imPest block in 
 sievation is such, that the wall arch starts from angie of the walls as a 
 Segmental arch at some heiyht above imposts of the central pier, then inter- 
 
 cis it of some heighv above their penetration in the walls, and Tinally 
 intersects the diagonal rik at some height above their cwn intersection, 
 
 If economy of spece is to be consistent with this Principle, and the ex- 
 treme can be assumed, longitudinal and transverse arches would detach thed- 
 Selves vs circular arches at the sxew-back above a squere pier, wall arches 
 would entirely aisaPpeer, and diagonal ribs would strike the angles of the 
 roc¢m high above the skew backs. This would produce s room divided Ly a 
 square central pier and ecvered by four regular groin vaults (Fig. 182), 
 appearing ss if its walls were afterwards set Lack te the lines Pan epee ee 
 
 aS 
 
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 viet Satie. od Divow Jootte 
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ore) RECITENDACHER'S M&bIasValL ARCHITECTURE, 
 effect would be guite ugly, and in Late Gothic the inkost blocks were simfli- 
 fied as much as possible, to cktain the greetest extension of space ty a cou 
 bination of the notives it ae retaining the central pier in its simb- 
 lest form, omitting ell projections from walls #nd allowing arches and 
 voult ribs to spring directly from the walls in full semicircular or point- 
 ed form, so that only diagonal rits assumed the segmental form, If the mest 
 complex mediaeval imposts te examinec, they amy mostly be referred to mot- 
 ives I tc V of Fig. 1£1 and their combinations, produced whether ribs aP;- 
 prowch more nearly the centre of the pier (Fig. 121 «), or they ere more dis- 
 tant from it, vith rib sections of richer forms in Are eein lt veults end 
 those with spiral series, the most complex appearing intersections occur ett 
 cve the imPost blocks, but these ere always simple in princiPle and wore 
 easily executed than they appear. 
 The imPost bicck is only to be regarded as a cortel, and may therefore te 
 treated as such; vault rits and arches may atut against it as segmental 
 ‘ches, This trensformation of the impost block into a corbel (Fig. 138) 
 i tines, used in low reous, both to allow furniture to be placed agains 
 the wall and vrot intertere with Passage up to the height of a men. 
 La 
 
 In Late Gothic, ribs are frequently set on a corbel below the impost, treat- 
 wd in accordence with the séetions of ribs (Fig, 134), If an oe be edd- 
 ed to the cortel, its plan might foliow the Sections cf ribs the sPring 
 
 ing. Seperate ribs may elso receive their required oa he ee ty cortell- 
 ing out abeve the abacus, if the abacus affords thea nc Support; this is 
 found in the uPper dermitery of ALbey at Heiligenkreutz (Fig. 125), (Helferi 
 VI-34-1), 
 The ribs may also spring from a Point (Fig. 138) 
 
 and a cortel cr capital could then be cmitted. If the abacus cf the capit~ 
 al or ecrtel does not follow the profile of the ribs, Lut all sections cof 
 ribs combine in 9 comtton polygon at the impost, it is proper to extend the 
 abacus as a Srismatic nucleus up to its intersection with the ribs (Fig. i27) 
 
 8s common in Late Gothic, 
 
 an errangement much favored in the middle ages and especially justifiable, 
 
 if the central pier also receives the polygonal abacus, Polygonal and alse 
 ircular abacuses were in use in the late middle ages, 
 
 48, Treatment of lupost at Convex angles. 
 
 In arranging ribs and mein arches at a Projecting angle, differces are 
 pessible; it appears aost natural that as at the angle of a cloister, the 
 exes of the squeré on the plan are taken as the centre lines of ribs and main 
 arches (Fig, 12€); but main arches then Project half their width from sur- 
 faces of walls 4 6, angle «4 being taken as the intersection of all axes, and 
 a pier with capital or a cortel is reguired to receive the arch. The pier 
 
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 if ier to noltovsatedal “doaideibar® ‘hag wilsoed wits te boouboyd wees * 2 a0 LS | 
 57). bebi ove ed os os: ehh. hes aledaee Sletiqas ils yt rapiis.s6 nism 
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 oak adond-woia ceasohbese Io — fetta TiEb ot guib BOSS ae 
 
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70 REDTENBACHER'S MEDIAEVAL ARCHITSCTURc, 
 nay then be a round cr a compound pier. If the arches be set back enough 
 
 vor their entire width to strike the angle, their exes ere also set back halt’ 
 
 the width cf the arches from the angle A(Fig. 189), so that the Point of 
 intersection A in the intericr of the wall is the sPringing point of the ex 
 es of the diagonal ribs, in which case the imPcost is of regular form, so that 
 ihe outermost points of the arches form en octagon; the wall erches then eh- 
 tirely disappear, and either # ccorkel, 8 compound or vound Pier will be re~ 
 quired. Or the original engle 4 may continue to Le the pcint of intersecm 
 tion of the axes ct the riks and wall arches (Fiz. 140); the abacus is then 
 of irregular form. If the ribs be now moved so far back as to epring from 
 the main arches and require ne separote capitals, (Fig, 141), two capitals 
 or cortels and two plers may be made to froject; but complex and ugly Lupost 
 tlocks are Produced Ly the Peculiar and indistinct intersection of ribs With 
 mein arches. If all] capitals, corvels, and Biers ere to be avoided (Fig. 
 142) | the main arches with their axes remain, as well as the wall arches anc 
 
 their axes 4B. But the rits most properly spring in the direction cf the 
 axes a" B" from the angles of the wall end main arches. The wall arches then 
 entively disappear or intersect the rits-, 
 
 i 
 To avoid complex junction of the riks, all the axes might te drawn throug! 
 420 
 
 the intersection 4', treating wall arches as wall niches as in Fig. 199, fits, 
 
 nein and wall arches, thers with same radius have equal heights of spring7 
 ing, and can be detached by a single corbel at the angle. The arrangement 
 in Fig, 128 may be termed of the earlier, end that in Fig. 14e of the lat- 
 
 ter middle ages. . 
 All these exomples Lecome more complex, 1, according to radii of the archi 
 es; 2. according to difterent heights of ditferent skewrbacks with exactly 
 
 or ebproximately equal heights ct crowns eof the arches; %. aecording to var- 
 iety in the sections of the menlerss 4. eccording te the lay-cut on the slan, 
 and lastly, from combinations of these motives with each other and with ad- 
 dition of late Gothic fancies. In elevation, these imPost forms ore treat 
 ed like those for projecting angles, eccording to whether on Slen the main 
 arches or the rite projects mere or less from face of the wail. 
 
 It the crowns of the vauit are Lrought to egual heights, different heights 
 of springing generally result for ribs and main arches; in early Gothic and 
 in the transition, style, for exch impost a separate capital was erranged, 
 cut Later Gothic usually avoided Capitals; the uPper ted of imPost btlock was 
 asde the herizentsl jeint of the aLutment, and the block tebtween this and 
 
 the springing below wes divided into ons or sore horizental courses cf stone. 
 
 49, Late Gothic Complications, 
 Anong the sports of Lute Gothic, on which are frequently tased most pecul 
 
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 i RECTENG aCKER'G MEDIAEVAL ARCHITECTURE, 
 ier fcorus, is that arrangement of vaults, where instead of springing from 
 © cOuron point in the surface cf the wall, the rils stert from three Points, 
 intersect ing each other at some height above the springings. (Figs. 144, 142), 
 
 The ckligue view cf the interpenetration of the rits is as in Fig, 1#4; this 
 is a simPle gecactrical construction, Lut really eppears compliceted, it rich 
 sections of ribs affords oppurtunity tor peculiar interpenetrations of its 
 cifferent members. Similer problemas were not too hard tor the stone-cutter 
 to execute, and complexity in afPearance based on a simPle princiPle direct- 
 ly interested hia, end enticed the Late Gothic master into such fancies. an 
 interesting specimen of intersections of rits abcve impost is given Ly U Unge- 
 witter (p. 121) from the Catholic Church and the Church of 5, Mary et biar- 
 é; another is added from Regensburg in my 5eitrdge (Taf, £0, Figs. 12), 
 Inpests tor Piers set Viagonally. 
 
 wther idea of Late Gothic in treating imPosts of vaults is Lased on 
 Plers set diagcnelly opposite, whose surfaces and angles could te intex- 
 sected Ly rits and sections of the wain arches without capitals; if ribs 
 and srches were richly Profiled as weil es the piers, very fully developed 
 interpenetrations of sécticns were formed on the inPost tlocks. Intersec- 
 ticns ot flat surfaces, hollows, rounds, ete., with each other was no rarity 
 in the early middle ages, but only occurred where natural and unavoidatle; 
 cut Late Gothic sought to produce such interPenetreticns of forms to produce 
 original, though nct always testeful effects, 
 50, Forms of Inposts in sarly Middle AD eS, 
 
 Inpost Stones were in the eariy middle ages usually charscterized Ly their 
 torn or color; the simplest uode of accenting them was in mixed brick and 
 siche construetion, ty executing the keystones and imPost stones in cut Stone, 
 eenking remainder of the arches in trick.. 
 
 in cut stone, sixPle decorative motives for impost Llocks resulted because 
 in wany forms of sections of arches in Romanesque it was necessary, either 
 to transiorm the square aLacus inte coctaonel, not harmonizing with the style 
 st all, or to allew it tc project so tar, that the angles of the capital had 
 frothing te support (Fig, 145) and Locame superfluous) the first voussoir was 
 
 then rectangular in section end assumed its moulded form at some height a- 
 Love the springing, either on a simple inclined plane a b> (Fig. 142), 
 mouldings were returned horizontally et the sides of the arch (Fig. 147), 
 as in the Church at Montreal in France, (atout 1200) (V-l-buc, VIII-439) , 
 zlso in the Church of 5. Theodor et bawterg abcut 1200 (Beit. Taf, 54-Pig. 
 
 1); or any similar transitional form was added at the lower end of the mould- 
 ing, like that found in the Church at Montreal and in the cloister of the 
 ALLey at Heiligenkreut2 near Vienna about 1249 (Fig, 148) (beit. Tat, 64- 
 
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We REDTENBACHSR'S MEDIAEVAL ARCHITECTURE. | } 
 
 Fiz, €), The best Gothic made the ebacus polygonal and allowed the mould- 
 ings to spring directly from it; Late Gothic made it similar, or omitted 
 the capital entirely, the section of the arch springing directly from the 
 weil or pier, or was continued down to the base atove the floor, Garly 
 Gothic ecmetimes made imPost stones crnamental masterpieces, end aderned 
 them ty leaves, heads, or éven statues. Violet-le-luc gives (VIIE-442 6, 
 s) a series cf such imPost tlocks from French churches (See IV-149), and 
 Ungewitter (P. 121) cites a similar example from the Stifts Church at net- 
 ter. The motive merely results from an impost stone (Fig.: 149) having the 
 Plan dimensions e tf g h and the height f b, that insteed cf working out 
 the mouldings alone, foliage ornament or even a figure is cut cut of the 
 
 Nes to be remcved. 
 51, Profiles cf Ribs:: 
 
 To lighten to the utmost the entire structural system, the Gothic trans- 
 tormed the sections of rits end main arches of vaults, the angles being re- 
 placed ty rounds between hollows (Fig. 150 a), or by rounds before a reet~ 
 angular nucleus (t), later changed into ogees, to indicate their course al~ 
 ready in the section. Late Gothic frequently transformed rounds into ang- 
 ular or edged members, or omitted them. but the process of reducing the- 
 weight of the mediaeval system of construction proceeded very slowly and — 
 sradually and Passes through a series of intermediate stePs-. 
 
 Already in the Abbey Church at %. Denis and the ChaPter Hall at Vezelay 
 akout 114C, we find the earliest transformation of rectangular sections of 
 Romanesque arches and ribs; we find in 5 Denis sections cf main arches like 
 Fig, 150 a, and of ribs as in Fig. 150 b. The wall arches agree in seot- 
 ion with the main arches tut are less than half as wide. The forms at Veze- 
 lay are softer and more sm@othly treated, Ly smaller rounds combined with 
 hollows, and Ly ornamental nail-heads, as in Fig. 98, and by refining the 
 wouldings.. The secvions of wall arches are indeFendent of those of main 
 arches.. In the vaults of Notre Dame at Paris, the motive of section of 
 erch in Fig. 180 a is the same for ribs as well as archess wall arches are 
 like half ribs, which only show the reduced section of main arches. 
 
 Shortly ofter completion of the choir of Notre Dame, scft transitional 
 forms of secticns of main arches and of ribs were introduced after 1180 in 
 the choir of the Abbey at Vezelay (Fig.. 181), such as occur atout 1220 on 
 German monuments» The richer and later Gothic Preferred the roundel, al- 
 ready found in the section of main arches in Fig, 161 b, which assumed the 
 nost varied forms (Fig-. 152); small rounds and hollows increase in number, 
 the former teing almost entirely replaced by the latter, as in Fig.. 152 g, 
 Viollet-le-Duc thoroughly considered this Point in ViI-503 to 529, of his 
 
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 Viet. Raiss. de Tesh (Ungew. Fig, 92; beit.. Taf. £2, 64. )e 
 
 Simplification of the system cf construction was always joined with enm- 
 vichment of erchitectural forms, end we seé incressing variaticn in motives 
 cf the vaults, and in a Prefiiing of ribs and asain arches, while the 
 structural system itself becomes ncre concentruted and more simple. 
 
 Forne of Vaults ond their Plans. | 
 4s a casis of dimensions cf secticns of riits is the rule, thet ilke e 
 joaded Leam, these must have greater height than width, and must ie sut- 
 ficiently bread to afford sufficient suPbort for compartments, executed 
 Lrick, or rarely in cut stone; rits must support cn their tread tops ane 
 be inflexitl.« horizontally. 
 
 Depth of rib is seldom wore tlen twice its width, us susily somewhat less, 
 so that a square with an equileteral triangle drawn on its top determines 
 its hvight and width Height further dePends on sPan of vault and increas- 
 es approximately in the ratic of the bhi ef the span, since with the 
 
 ame thickness cf masonry of couPartments, weight cl compartments increas 
 ce in proportion te their surtace area; approximately, since for the atu 
 ~ of compartments over rics and earns é part cf their weight is te i 
 egucted. Dimensions of rils ere aise 
 
 « ig 
 
 ased on conditions of resistance 
 . the building material and on the vooewt ity of execution ci the riks. 
 
 ‘they sometimes have unusually great diwensions, teing 1.°7 tt. in height 
 and width fer spans of 29.4 to 4.5 ft. in the vaults of the Chenter Hall 
 of the Cathedral at Wentz and in the Sonastery at arnsturg CHaig. Jeo ie ie 
 series of sections. of ribs ab same scele as Figs, 181 and 162 a piven in 
 Fis, 164 » from tower of Cathedral at | el ae Pig. 154 b from Cath- 
 edral at Wetzler, and in Fig, 1°4 ¢ end d from cloister ct 5, Smeran at Fes- 
 
 snsiurg. The last three are not drawn to yeale. Ths rib Pigs, 124 b ecor- 
 respengs to the main AEORT 
 
 f bE, Capitals and Sases of SuPports. 
 4li forms of Gelling require subborte to receive the load and to trans- 
 mit Pressures to earth. Vertical Age are walls, piers end columns; 
 
 obligue supports for aonnainc thrusts are Luttresses. «ll architectural] 
 styles usuaily characterize ends of supports recelving loads by capitals, 
 
 and these transterring pressures to fcundations Ly beses, intermediate men 
 
 Lers inserting a broad cap or base Letween the load, subport, and feunda- 
 
 on, as well ag indicating its ftuneticn es a support. Compared with the 
 subpert, the load elways apPears bulky end massive, and an eniargement of 
 the support et its ends is aPprcpriate, as it appears pleasing; the load 
 must have.a firm bearing and gust aleo be distriLuted over a greater area 
 at the tlocr. For round columns, these capitals and tases are generally 
 
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 er  «prdaneget wort aladigas “agyal wid jrdddd-s dvd ais ted Ggoo 35 saxo? yin Lisoes 
 | iB . . yl feuen. edgaoasaar- wi iane eed”. MSS BS) fight: (95. s36T oghizisd ove 
 ah, pa hae mmbaeatwe? swaeei "aoa omanal | a olathe: * eonet: ssaiaees 
 
 - 5 / , 
 we % , y + c? Se . ‘ ell 7 ‘i beak: * Rien i ae 
 +) ree coup Sa rn iC ae Sd ee Pe ty “ 5 ut), ay, af. oe ae ee a gl Ss ” 
 
 : yee 
 
 eo ey Le ye - 
 
"4 REDTENBACHSR'S KEDIAGVaL ARChITACTURE. 
 transition forms, changing from the round column inte the square atecus and 
 plinth, and the capitel is always regarded and decorated os a recelving 
 and suPporting member, while the base is a member connecting the column 
 and the foundation. 
 Forms in Barly Christian art.’ 
 
 Barly Christian art emPloyed partiy cclumns, taken from Roman buildinge, 
 with Ionic, Corinthian and Composite capitals, Pertly its own colugns in 
 imitation of Romen forms. 4 new form of capital, the byzantine, first em 
 ployed in the great Aqueduct at Constantinople, and tasket-like forms cf 
 cupitals, were used in Garly Christian, with Ccrinthiun-like foliage capit- 
 als. when arches were set on columns in arly Christian, the interpolation, 
 of a portion of the architrave as an intermediate member or impost Llock Le- 
 tween Capital and arch, common in antique architecture, was very soon drep- 
 ped, and an imPest Llock was used like an inverted frustum cf a fyrauid, 
 its edges cccupied by bands of ornament, and surfaces decorated Ly foliage 
 ornaments, Christian symbols, etc. This intermediate memLer hed a two-fold 
 purpose; the load found a troader bearing and Ly the cepital could te trans- 
 uitted to very slender columns; secondly, the insufficient height cf col 
 unns taken from Roman buildings could te increased in a very simPle, buns 
 not beautiful way; columns cf unequal height could also be equalized. 
 
 knPost blocks ateve Capitals of Romanesque Columns, 
 
 Impost blocks were long retained in the Romanesque style, where required 
 to SUpport massive masonry arches over slender columns; thus in the coup- 
 led windews of Komanesgue towers and dwerf galieries, These inserted imbost 
 stones tock the most diverse forms; they were plain pyremidel blocks, as 
 in capitals above granite columns of the double Chapel of 6, Pantaleon in 
 Lower Austria, one only consisting of a cylinder decorated by a round-arch- 
 ed frieze (Fig, 166; Helfert, I11-14-5£); or in windows of towers they are 
 imPost stones with two inclined sides and vertical ends, with pertly mculd- 
 ed, partly corLelled front and rear faces (Fig, 158), 
 
 éntigue-like Capitals. 
 
 Columns and capitals were directly imported from Italy by Cherlemange ag 
 well as much later, and their forms were imitated; the Jonic form of capit- 
 ol very quickly disappeared entirely; found latest in the post-Carloving- 
 ian buildings at Suedlinburg. but angle volutes reappear in later Roman- 
 esque as coiled stems of plants and leaves, and a varied lonic capital may 
 be seen in some late Romanesque capitals with two entirely separate vclutes, 
 recalling forms of cepitals in 4sia Minor; for such capitals from Regensburg, 
 see Beitr&ge, Taf. ©¢, Figs, 1, ¢,¢,4,9. The earlier Romanesque usually 
 employed forms of capitals, directly imitated from Roman Corinthian and Com- 
 
- a 
 
 ‘7 '  Speoeh .sistided doold~inoge abetiek ton: Mend gata 00 Jatasiqeo atiaoy 
 
 , eet (sitoan? as caiman siete iloroa’ bree abasd earevwesa) ud dete. 
 | i) e Vibigwios to. | 
 
 owe. ‘eb tates ‘Ot Seuints now pine eiabiiene: ‘emiiteed sical ste ‘to sveese oAT 
 ey hebluen = ‘Ud betevoo bas © fat yD aeaved dgbw meet s as evpgensnod gl 
 ee sgit [2 as dowd? edt bas awit $8 Ieviedss9 ed2 a0 us ,aveade eupaeneson 
 ‘ ee Fy reget neve ibenietes 61 Iogetdas ed dove evede 2ahmlL oudabe¥). xuou 
 a: ‘Mdiw eiesideo soir no moos avon ds wiadeaien? edt to eenagosiaiagt - 
 at fine (200-11 oud=t-V) alow) ge dowd ode to eigsidso ao as ..ee1wsqiaoa 
 El caminiele issitdéo joold-ieoqné od? (atta IS ds isibed seo eft Yo dotog wA2 — 
 att arent tovanmeloo tot dh ,en0 Lemzon odd motd gntistird aot s ceded, 
 | fet btodIl grotiot) qacgad ai nebied ye dowd) wie to (96 ,53f . 
 pas (005-11 ‘oudt-v) eoeats ak niedegd Je Bobitaed orld to siete etiawo to 
 orl , (06! gee) {3 (SO42VK dre Melt) qo gout ab yooata® tx dowd? eds de 
 ies © tod. de wegod .2 to S4y70 edd ai ef ,wodso ogis eletiqao ioolJ-Jaoqui be 
 es: beau yllenois geoxe aew latique dog id=seo%ui oat. (%OS-TL. qudel-V) gaaz 
 a) s fuabedis0 ‘eid ta twewol 6 to aolttelisy tus. odd akes (cide? @3ei az . 
 | a bas (s6f gid) dors foes. i yadda ead ta moot @ al Risos ght) amis 
 a "ba gaadT plete! ip Aite’...° to aris 6d to egotdtud B Yo Yqonsd ais 
 s ye “s00s8 of ical Mastyaee Seer oF. ies set baagaer109 amor ine inay wed 10 eri’ 
 ays aa ee i“ naan rn re 3 » lie ; alton @ 'segduo. 
 
 os io . wid Sih sab waNe': & at ye A *pfentdsd oupeoteney ated sendoih 
 
 ; <ntsou xia ied ional used sotokt Md awode @f achindgeusaz0 1 limté 
 AS . adeodat. ne fain bent idmeo son isewod shed feidiatud? ed? to wrot ads ar yl 
 = Moi sex009b east fot oft gaiiisitee yliaeuge i his~ rollDOd avGqu xools 
 ee a) atid ‘yok ub ‘bas eupaenanor: to. bas edz dmeda. sewisn of gaibusoos betsorw 
 pegede oti howto lends s wow fitigqae Bled add to aeveel wis ,aots tenet 
 Sten mesaiton xd bearabs. Ulinvew | abud- -whilfowa .gaijoolotqg yl yore eatl 
 “at avi toe we90 pitoubotint:- vovgal to-efitus ov! Quiersg iwitel bad ear0t 
 my, ‘ext Ww. abuts fo Reread we beon lag i ihiseay eiav cevesi qn1o) welt evil 
 a _ goatteaga oGw Lerige ett tow. vid bag: .ehewins 4O fon Yo aotwiaotyweo em0g 
 nie. qignotia yl love. {otis supsensaoll ot to. evoeds efT beso fuoe 
 Ad e “tadiiine xbinedpott dotde ewe Eko bane abouox yd heli tosq ylivest #7. 
 on eda f° bad ‘étigtitoega ; j20f tooalhss eghyes otal wdg patlicoes efit) 
 Waa OF phe te SObLLY wudrei-soliory. oi bawet ois olesiqes 
 
 . + paltetihte’ een oieraicls to ‘eam LOO bal quo | lisda te alasiqas «ldudes 
 (Sat igi) enoga olaitese gort suo aemddoncs om ...o8¢ \eteHOd Io ewobs iw 
 ade 49 ewes? inevarre 6) etal \eletides ols neowded aoedd gaigoeanoo eft 
 ss phd to damstop’ to) ¢6" JOVORALL oud+E-V) aattacooed -gatmoeed oRia ,wnote 
 a nor pemrieue ceatbonil ‘pao edd ees eevee fg letbedte2 to autsoigas 
 
 hess 7 
 
75 REDTENBACKSR'S MEDIAEVAL ARCHITECTURE, 
 
 posite cepitals, tut also used and preferred impost-block caPitals, decor- 
 ated ty interwoven Lands and scrolls, foliage ornaments, and fancitul] forms 
 ct aninals. 
 
 The abecus of the Roman Corthian capital even continued to exist in ear- 
 ly Komanesque as a form with tosses (Fig. 157), and covered by a moulded 
 Romanesque abacus, as on the Cathedral at Spires, end the Church at 5.° Me- 
 noax (Vi-l-Due, II-483) | where even the astragal is retained; even later, 
 reuiniscences of the Corinthian abacus cccur on rich cePitals with figure 
 sculptures, a8 on caPitals of the Church at Deols (V-1-Duc, 11-492), and 
 the porch of the Cathedral at Dijon. The impost-block caPital sometimes 
 tekes 2 form differing from the normal one, as for columns of towers (Figs. 
 156, 159) of the Church at Leiden in hungary (Helfert, IJI-14, 18), columns 
 of centre aisle of the Besilica at Rosheim in Alsace (V-1+Duc, II-503), and 
 of the Church at Borzony in Hungary (Helfert, “VI-92, 2) (Fig, 160), Paint- 
 ed impost-Llock capitels also occur, as in the cryPt of S. Leger at Sois- 
 sons (V-l-Duc, II-507), The imPost-Llock capital was exceptionally used 
 in Late Gothic, as in the dwarf galleries of a tower cof the Cathedral at 
 sovms (Fig. 161), in a room cf the Abbey at Maultronn (Fig. 162), and on 
 the canopy of a buttress of the Church of 8 Veith at Hersfeld.: These and 
 the ebay variant forms correspond revaer to wood carving than ys stone- 
 cutter's work.. 
 
 Kiecher Late Komanesque CePitals, 
 
 Similar ornamentation is shown by richer Late Romanesque caPitals, most- 
 ly in the form of the Corinthian bell, sometimes combined with an, imPost- 
 Llock upPer Portion, and frequently exhiliting rich foliage decoration, not 
 treated according to nature, About the end cf Romanesque and during the 
 transitien, the leaves of the tell capital were transformed into shapes 
 like strongly projecting, swelling buds, usually adorned by northern plant 
 forms, and later passing into tufts of leaves, introducing our entire no- 
 tive flora, Corner leaves were usually replaced ty forms of birds or dre- 
 gons, caricatures of men or animals, and the entire capital wae sometimes 
 sculptured. The abacus cf the Romanesque caPital usually strongly projects 
 is heavily profiled by rounds and hollows, which frequently exhibit a bro-- 
 ‘file recalling the Doric capital. &xcellent specimens of late Komanesgue 
 
 capitals are found in Viollet-le-Duc. (11-482, et seo. ) | 
 
 Youble capitals of small coupled columns of cloisters, dwarf galleries, 
 windows of towers, etc., are sometimes cut from a single stone (Fig. 163), 
 the connecting Piece Letween the caPitals, left to prevent fracture cf the 
 stone, also Lecoming a decoration (V-l-Duc, [1-497), as on columns of the 
 triforium cf Cathedral at Langres. Among the nost beautifvel Corinthian fol- 
 
 wh 
 
 la 
 
7e RBEDTBENBACHER'S MEDIAEVAL ARCHITECTURE, 
 
 se capitals of the Romanesque are those of 5. madeleine at Chateaudun ( 
 
 V-i-Duc, 11508), and at Vezelay (V-1-Duc, Dise., Pl. 1, Fig, 24), 
 becoreted Shafts of Columns. 
 
 The antique entasis of the column, found in some early Romanesque tuild- 
 invs, later disappeared and ras only exceptionally retained in dwarf gal- 
 levies of choirs, as at Schwarz-Kheindorf, and for small columns dividing 
 ccupled windows cf towers.. Flutes of shafts of piers and columns were al- 
 so omitted) but they occur as imitations of antigue remains in France, as 
 in the vieinity of Autun, also on the Cathedrel at Bamberg.  opirally curv- 
 ed flutes like the forms cf late Foman cclumns are imitated in Romanesque 
 buildings, as on the Cathedral at Freising, and in the crypt of the Church 
 of S, Lebuinus at Deventer. The Romanesque style loved to decorete shafts 
 of columns by scale-like patterns or network, recalling fatrics cr chain- 
 neil, then by ornemental patterns derived from wood-carving, lastly, by in- 
 voven Lands und scrolls combined with forms of animals. Viollet-le-Duc 
 sives a series of such motives, (III-497), 
 
 cr 
 
 c 
 HO 
 = 
 
 Go 
 
 7 
 
 Knotted Coupled Columns. 
 
 A peculier invention of the Romanesque consists in columns found in many 
 Cerman Luildings, composed of four or more shafts, tied together in a knot 
 at onethalf cr one-third their height. Characteristic examPles of this are 
 the columns cf Jachin and boaz in the Cathedrals at Wurzburg and at bamber¢ 
 (Beit. Taf. 25, Figs, 5, €, 7, 8). Similar knots also occur in the sPokes 
 of the wheel window of the Cathedral at Mentz (Beit. Taf. 1, Figs. 1, 2). 
 
 atacuses of Romanesque Cepitals. 
 
 The abacuses of Romanesque caPitels are chiefly moulded, but not decorat- 
 ed. Profiles are usual in the Komanesque, partly like the antique, and com 
 osed cf rounds, hollows and fillets, but differ from thosé in Gothic. 2 
 
 creted atacuses are rarer; Vicllet-le-Luc gives some from central France 
 with sunken neilthead moulding (I-1), also Helfert, from Deutsch Altenburg 
 in hungery, with stepped Lattlement Patterns (Fig. 164), (V-28-9), and I 
 have odded two exemples with round-arch frieze from Frill near Regensburg, 
 
 beit.. Taf». 29, Pigs. &, 8), 
 53, Bell Capitels of Transition and Herly Gothic Styles. 
 
 The bell capital of the transition and early Gothic styles in simplest 
 form consists of a beli-shaped circular mass a (Fig. 125), connected by an 
 ustregal L with the shaft cr a round plier, projecting as far at top as ren 
 quired Ly the load supported, and ccvered Ly @ square abacus, whose corn- 
 ers project beyond the bell half the difference between its side and diag- 
 onal. If the abacus be so profiled that the cerners of its bottom are in- 
 seribedin the top of the tell, this then projects beyond the bottom of the 
 
 ap) = 
 
| vat (oat pre éobie et dae! megeony 
 oh ‘edt etenie0 ali yltel edt Yo qau 
 
 66. etn od Lliw Tied. oA? javeeo baid 
 ‘auanJa 9 0 eens ie eatin weeble wot e3f qaoler agit cuosd 
 wa j “tted ‘ent joono haoese gad Wt-ptiled edd to sotsedxe alt of 
 ow os babe.2i esl dor tiw ‘one Spatvaawl alt to conan: ods ad be 
 
 S's ane a anne yaemotau sabiian ait: ag howsie bas ‘hous 
 ait diW beacons ylesiane benitavy nods vovee! wt! .acwsyth 10 o3at 
 a ves teast e058 Se edt a5 it as belosiory dns steupe ef! to tetems 
 | mers att) madd apowted wegqe 9 Eled wid Yo eybs widl~deid ods des 
 2 Py e108; to aaottoutot wicupa 16% vew oda eaoo ybootls bed wivi~teui 
 vis" “wedd Gaunyrsl te latebt as? eae nk’ Cmiiwo ASSL wie to ebeosh dacs 
 the dos sebi-ne (84) BtheT) oatet=7) it ttgeo ono ab sbaer ys byos ty 
 19ig bawor sot b ueRGse bus beqgoteveb yliut juelsde® ge tewooriueD ante 
 , eae dt bavot dared ete jotelq Ched oatimdeit odd sucdeiw tod .atieds 
 : a -t2¥) siwd se) yes Pwo bes (ASSET egypt ge Y ets dwow? do) yoda ede do 
 a a. Sotoky O12 Bae “Shel betacu’ visontvaty” fo Be #Gno tolinga .y(odef (50d4I7 
 o Bite ao oo Joust) steam al 8 te town? odd at awo0 wiysiiod 
 | is Beet anaes i | “wines Agu to 
 bd he 7 at) ttson le Saas ee é ‘bevivoes (ilsiewoy saveel oil 
 ast) hae wothdenol © Wd Qe as , tame Vow whore a Avie bus ot) oF Debaataz 
 Tags jou bae (iit od) ae bebbs 27 baeG beet<Lieg nvutvs ¢ @ yiletdguo notes 
 ay Peles {lol wilf-deib ad@&$@ sbiu toro. add 2 ynsuenye shi ah 
 . | jana’ aantzewos est bobsiv {ao td SSe ‘evidos. bedtuel od? «(3461 
 ot sein’ ddtx 40 dstiobia ‘bev LD god Ppoace yesab Ylevit @enltewac visas 
 ie a setitas edd: got tesint dneniset? ae: ytelaey eljitevedxeut aw yatowdorg 9.207 
 Diy: a ft tht) nau oe bar tel boqole wan qilet wo (mega YEsanq ,oonols yl 
 “ght gues eh aie dinar Ries ONO og Manet 
 rene “igh nities et Bids pica bite Nok Meie414 Hi ewoela add ‘to dtgded oli 
 Te at eisipa wAd to. besdami Bunsda bavot of? jexenpe vie to vbie wif 4-8 bas 
 49 BSE .ait) bass footzawy © tviw eakged ayowle teonie evoede edt ots. 
 OY fidtvad sosatal € Aste si essa? ‘eale Odtdo? posi vac tegta ais plo \b 
 abos ea8 Bae agit) todstiwegad CA) qba 6 Adiw to. vig? basen 4-0 6 {4 
 gwis? wihtel ed? (5) apoo4 ban snantweranots dd peer’ aeldtosg dienes 
 one eee , ster Youbace oF sobteaie wad tot eliestua yLirioogas oe 
 t RNAS ma " ; ya aaiot orth 
 nel on wee penne aieds et ‘lige ‘wok odd «shetigao te gas i enn 
 Siow abuil gaedase Loves ibox oi) te oye byisoubo Uliavtigisw od2 beitetees — 
 at) lewrestugahe avvegi oe viaes. ‘Sager # bie beswoene yidots eieu 
 
 va) 
 oe 
 
 teh, Kan , 
 
7” REDTENBACKBR'S web aAcVaL aRCHITECTUKE, 
 avecus on its four sides (Pig, 188), but if the alsacus ¢circumscribes the 
 toy of the Lell, its corners then project Leyond that. In the rirst and 
 third cases, the tell will Le more heavily loaded Ly the angles of the a- 
 Leeus then elcne its four sides, where the Lottom cf the alacus is tangent 
 to the extericr of the bell; in the second case, the tell] will only be load- 
 ed Ly the angles of the atacus, and will net te Icaded at four other points. 
 
 The next idea was to support these projecting corners of the aLacus Ly 
 leoves, and already in Romanesque it was customary to support them Ly fol- 
 isge or figures. The leaves then remained | entirely enclosed within the fer- 
 imeter of the square and projected es tar es the alLacus itsell, cut Fermit- 
 ted the disk-like edge of the Lell to appear between then (Fig, 1¢7). These 
 jeatebudcs had already come into use tor squore projections of pliers in the 
 iast decade of the 12th century in the Gathderal at Langres; they were re- 
 paatels i heads on one capital (V-l-Duc, I1-498, 499), on idea rekeated on 
 the Cathédrel at netglear; fully developed tud capitals for round piers and 
 Bie an but without the disk-like iell plate, are first found in the choir 
 ot the aikey at Vesebey (V-l-Duc, T1-£24) end Notre tame at Faris Fn aia 
 T1-£02); Isetly, similor ones with dintinetly worked toll ana the richest 
 foliage occur in the Charen at &o Leu d'hsserent (V-1-Suc, T1-£04), at end 
 of 12th century. A 
 
 The leeves eonereliy received a soft outline teneath (Pig. 16 a), whier. 
 eAtended to the Lud with a stronger wovement, as 2t b.. Semetines in trens- 
 ition cupitels, » sunken nail-head tand is added to the rit, and eancther 
 frequently ornaments the lower side eéétee disk-like lel] plate (Fig, ay 
 lett)-. The leaf-bud mctive tock the most varicd foras, sometimes naturale 
 istic, souctines freely drawn, sowctines curved sidcewise cr with side les 
 ves, producing en iuexhauatitle variety in treatment, imitating, the entire 
 ly closes, Partly cpen, or fully developed leat end tlewer buds (Pst. 11, 
 Pigs. 14 te 24), 
 
 the height of the abscus in transition and sarly Gothic is iviween 1-< 
 d 1-4 the side of the square. the round avacus instesd of the squere is 
 
 vers. The stecus slmost always Legins with # vertical band (Fig, 16 c¢, 
 4, o); the rirer snd leter Gcethic slso treate it with a Fointea Lowtell ( 
 ¢), a 3-4 round (g), cr with a drip (h). Ungewitter (Figs. 268, S69) adds 
 ceouliar profiles trom Chalens-sur-#arne and Rouen (j), The latter foras 
 sre especially suivatle for the exterior, to conduct rain water away fron 
 the jeints. 
 
 For lebesr capitals, the tour angle Luds in their simfle torm no longer 
 satistied the artistically educeted eye of the mediaeval masters buds were 
 more richly executed end a second series of leaves was added (Big, 169), 
 
 ~ 
 
 — 
 
 fe, 
 
 DD. 
 
ora A a” Tarren, Pe Pie ee Vl 
 Aas tat) | rah rea 
 é ON ae: ie ene te 
 J " eh Oo i 4 
 
 a ra ’ ‘ ' 
 ‘ : ey - 7 ; 
 
 Aa fs ' 
 
 Ps 
 
 7) ’ i 
 
 #24 ‘ 7  _amm ok sed notion piteerse we enbbiiess: dis ys dada 
 eA? = .amant tol *haggienaly as: hedegtd oxen odd yaeqaiis ows To 
 
 Wenn 
 
 Tassels oe pereves. aire * yet satis yoldnielesg eiéw, suveel 10 aut 
 
 fe "gaiphs wa We Ldead? ALT .giD-alte broyil: Yovloug Ot (ies-aie to qou 
 By. wad: “aOR bxoRQUe, ead. Paine :ol sid kage age od (shone: pe Litory vhle i060 
 
 . oh. Geicll), gownter, mppiorte. « indtgro Os wiity’ ot a6, tisue odd Jo tsodus 
 4), “42¥09, Badigpwog sent ,letigss eda odeaias ol “Csabteaat'y wad .a 003 
 
 i . er 
 
 oe: a © tot luaws gis sntaa fost hts aye) Iniehens oft:-Xo ied. ‘Towed odt mort 
 
 o Balas, Bee de abedeosgtue. o4 | "on west ase ‘ot dye avonde etd to Adi josiviy 
 4 seid gia #8, pag. enroll. te: alet ideo gid not a6 ks 3 it) Tho Jeo ote 
 7 998 tae. ait “by, ‘iui iebau athaend| SOW: avrivebidy sovee! edt AObRT1 I gus 
 ye monk. fed tang! 2. fit ae ; ,~abiaeds “go ‘pail wie ited « Ay te ea £hae ally to 
 tae green ott rg aedaedan st te Agama wid at ‘Bigs nive we adie: Jp aude be 
 Prise wb SPS ght yet vate? HRS wd, gad” + £ bad ‘eat wort (ksi gate bed’ oa, 
 
 7 hig sniiiane. ste. S803 gh? IwELED, ehSnia: # di fied ls Jo pphe gos oi 
 
 wast kien. © mipsel scan bas, ae acaael $. dupiltie a9 Asin 2. gaat fio be 
 
 Ra tine 2. Re a She de Adah’ 5 livin ‘bedaiawd bare be 
 aS es TS eae “Senay tad- test aA fo genes AF 
 tiside one. _ wupseasaol: dishes dedte ofan: Vliet uk aveid bie ‘agtalie og awasd 
 
 ‘ae _ “hans: nat vision Ladchoe b fgaebarh. sity ede ai site | paae od obsaa’ st} yi 
 eet MK. fe 2a, oleae” ue 
 , aed ia aaaed 16  wboteteger “ad. 
 
 “dadsoren. sfitins dake. Sastirecan) nisbegae rts | vi istone ty: st gasivdojox* 
 
 Y 
 
 nwdaiaon avkts ler. Rat agi gan. wih bees hada tee ed ity sons ie igax Soortb ols 
 ob: POAC a cee ade wines asiwisi eae, s@oaad “bie ‘Wied iged Awod al. - sous 
 -;, BR. “pd. ab etal sete: -92..e awa gsishie that rag? ; At git) sqtiid ol 
 Bes: ols iecacian Aa ( eoleaet ess abt tes ST ee fs "ivaas: ott elec, Seeidenoe gsds 
 ate poi dove. toast os sink, n@ied dyad bere Ky laget: ‘Ress T is aaigot tedg0 
 a ‘hea Pfoue ee aaitee ti tig aie ‘aggol: vid: oe  eaiiga8 les Adin rm 
 
 + 
 ee Ase 
 
 fed -bhaoo, Hed os. to og Faber edd? ¢ ,00°E gi?) ifed ed? to e900} 
 edt yoda nwa son  aqhe Perrys et oe ¥io0 MS Buona wid gttoubet ud 
 
 aa gre lanl Le J odd ‘soubor. ot 0 sf ddygiv® : 5) aa git? ah Ot .evdanoe 43 oy 
 scones sah domae ; aged yer ie) wad ae ee (e088 siswe, twsideg 8 ee heqeila | 
 we Ss wa ay ix re wid 
 
 A ey Py exe gael, bedow hog’ “Bo tkGs. ‘gi Nae ainiaded wild wien ner ition 
 
 90 ad brea bovas etew, oaeti. Io eins? wet bas ‘ebied~teet wil nO ¥Ulioe red — 
 eet, renee spots t. is ‘See T9a ‘hoog. eae oa: (aubeds’ pa tu eblia wba eas -is6o. * 
 
 Sok jogs yesal% & dys bainoit ie Hakew adartisada “ial Whoo 10 astuedo © dro 
 bgt: Mow ext ght Bronk heed 1% (me odt nd bods t1é bid vs bew insides oat 
 
 dae GQon. gat 2 Sates ishigan ed2 to jeds-2§ Llew bb wad ei 30 avotoun sd 
 
78 KEDTENSACHER'S MEDIABVAL ARCHITECTURE, 
 
 which again terminated in Luds, or in allusion to many Flants with leaves 
 of two sheces, they were treated ss developed leat forms. The doutle ser- 
 ies of leaves were preferable, because they partly covered the tlank sur 
 face of the Leli. (Fig. 170). This surface of the bell cculd Le lessened 
 by reducing the bacus Ly a cove at its lower edge, not permitting the round 
 tcp of the tell to project ivyond this (Fig. 171), Finally, by adding a 
 specially profiled abacus, it was possitle to enlarge the support for the 
 inbost of the arch and te give to capital a stronger eftect (V-i-Duc, It 
 B04; &. Leu d'Ssserent). To animate the capital, it was sometines cover- 
 ec iy concave folds (Fig. 167, right), or to reduce the Lell-plate, it was 
 sheped as 6 pointed quatrefoil, as in the Celleyiate Church at Mantes.  ( 
 Fig. 171, right).. 
 : 
 
 rom the Lasal torm of the capital (Figs. 165, 1¢6) naturally resulted 2 
 
 combination, where the ebacus and its corners projected less, were placed 
 directly on the leaf-buds and the ends of these were curved inward to con- 
 cesl the underside cf the obecus, as on the rood screen et Fricdterg, The 
 projection of the sLacus might ble furtheraor te suppressed, if its angles 
 
 were cut off (Fig. 172), as on the capitals of Notre Dame at Paris (V-l- 
 Vue, 1i-510). The leaves themselves were deeply undercut to the surface 
 ef the bell, cr if the teli swelied out upwards, os in a caPital from 5, 
 blesius at MUhihausen and in the Shureh at Frankenterg, the leaves then pro- 
 jected slightly from the tell (Ungew. -196; Taf, 14, Fig. 948), | 
 
 The top edge of the bell is 8 simPie fillet (Fig, 173 a), with or with- 
 cut o chamter or cove L, sometimes with a round c, or a richer Profile d. 
 The astracel was a helf round in the earlier period (Fig. 172 e), @ point- 
 ed moulding f, with or without e curve g, and sometimes acre richly treat- 
 ed and furnished with a dvif h, i. 
 
 F4. bases of Romanesque Columns. 
 ba 
 
 ses of columns and Piers in Barly Christien and in Komanesque ere chiel- 
 ly the Attic Luses, though with progertions different fron those in anti- 
 gue bases. 
 
 Proportions of bases of Colunns. 
 
 Proportions are generaliy arranged in secordance with building material; 
 the nucteus of the base ua well es that of the capitel takes into account © 
 the direct resistance of the material, and the angiss its relative resist- 
 anes, In Leth capitals ond bases, the material tends tc Lreak along dot-- 
 ted lines (Fig. 174). The individual members alse alternate in form, 50 
 that sometimes merely the genere]l type of attic base remains. . 
 
 Cther forns of Lases recoll inverted capitals, but ere rare; such are shap- 
 ed with reference tc the lenie capital on the portal of the Church at Hoch- 
 
in a . @HOTOATIADIA LAVRATGaN oti Be ore, ae? 
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FE REDIENSACHHA'S NBBIAEVAL ARCHITECTURE, 
 elten on the frontier of Holland (Pig. 175); those imitated from the Cor- 
 inthien capital on the Church at Cusset (V-1-Duc, TI+12¢), and on the dwart 
 Jelleries of the tower over the western intersection of the Cathedral at 
 bentz. bases in tne form of an inverted impost~block capital ere cn the 
 bell tower of #breui] (V-l-Bue, I]-1%¢), differcnt forms of tases, allied 
 to the latter, may te regarded es varients of impost-block cafitals, and 
 shown Ly woulded piers of the orypt and dwarf galleries of the Cathedral 
 at Spires; varieties of this kind are represented in Geilhabvaud, IIT, pa, 
 44, en in-beitrise, Taf. 408: Figs 9, 
 
 vecoratien of Tcrus. 
 
 Tre torus of the tase of the column usually réeaains Plain; examples of 
 oinemented teruses on tases of colunsns are found, decorated by the motive 
 of round-arch-friese, in the Cathedrals at Menta (beit. Tat. 32, Fig, 1) 
 and at Geneva (Beit. Ter. 41, Fig. 4), decorated ty comiats in antique style, 
 on the Fortal of the Church of 5, dJacch at Remensburg (Beit. Tat. 40, Figs. 
 & 7), ty a vow of leaves, on the Portal of the Chureh of 5, Ulrich at Reg- 
 ensburg (Beit. Tat. 40, Fig. €1), ty flowers, on the AbLey Church at Veze- 
 lay (V-l-Duc, II-186), end by sculptured animals, at the seme Place (V-1- 
 
 ih 
 
 L 
 4 
 4 
 
 antique architects mode the lower torus of the attic base of semicireu- 
 lav section; mediaeval architecture gave it the shape corresponding to a 
 igaber lexding to the foundation, later period an inclined direction and 
 s gemimelliptical form (Fiz. 174), The lower torus usually occuPies one- 
 helt the height of the emtire base» Sxamples of profiles of Attic vases 
 ove given in Viclletele-Duc, I1-132 et seg., ond in beitraye, Taf. 29, Fig. 
 1, Tet, 40, Tig. + etc-; Tat, 41, Figs, 1,7. Profiles ct tases recalling 
 
 , ? 
 
 4 
 
 true Tonie tases, fluted in the same nianner, frequently occur in berry and 
 
 Kivernais, eceerdine to Vicllet-le-vuc (V-j-Cuc, 11-181, Fiz. 2), as in the 
 
 choir vighes of % etienne at Nevers; allied forms are also cn columns of 
 
 Jachin und Boaz inthe Cethedrel at Surgburg (Beit. Taf. 26, Pigs, 5, @)-. 
 Leases with Corner Leaves. 
 
 With squere Plinth Leneath the great torus ct the Lase under unegual load- 
 ing, there wus a danger of breaking off its corners, und it did net harmon- 
 izs With the soft forms of the Lase. Therefcre even in the 1£th century, 
 the angles were filled and strengthened ty ornaments, by corner leaves, heads, 
 eto. (Fig. 174, right). Seautiful examples of bases with corner leaves of 
 the 12th century from the choir aisle of the Church at Poissy are in Viol- 
 letcle-Luc, 11-184; trom the Cathearal et Langres, IG-127; trom Notre Lame 
 
 at Paris, 11-144; examples from German buildings, especially from Mentz 
 end Bechagach, ere in Beitrhge, Taf. 41, Figs. 2, 3, ©, Unfinished tases 
 
“Ye ew die anit ob 3 vteao"s poy ear jp as sucntenes Web waso0o isin 
 ma aa ‘sibs A % i ca aaah ery wees oonhS. .ghl th ar «ie s$tod) yiwdenae : 
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 OT a hy an i deoveed sonae) to eoasbiove — 
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 sy side is su9 edWo ‘aed? Am Od yore yi yewogald Salil au V-}: 
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 | ae anh sa. y “ Rye Bus ont. ide: ‘gindiel eit to isstog efi ay. 
 
 aa BAe ey pen at ist Fassokas wba to dean’, 
 
 a 
 
 a Sih cpaienete kove of i sliaaatl! todd at sound isquded. pa edt sabosd nlx 
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 one EDT G death auetd to easel im 
 
 Le ue i 
 
SO RELDTENBACHER'S MEDIABVAL ARCHITSCTURS, | 
 with corner leet remaining as a Loss, have been preserved in the #LbLey of 
 d4rnsturg. (Beit. Taf. 41, Fig. oe 
 
 BE, bases in Early Gothic end Transition Styles. 
 
 avoidance of Corner Leaves. 
 
 The simblest wy te avoid projecting angles of the plinth was to make its 
 upper port octagonal (Fig. 178) like bases cf choir aisie at Chartres ( 
 V-1-Cue, 11-146), and tases in 5, Smeran at Regensburg (Beit, Leaf. 40, Biss 
 19), er to make the Plinth cetagonal (Fig. 177), like bases in the Chureh 
 of Notre Dame wt Semur in Auxois (V-]-Duc, 11-147), This polygonal torm 
 ci base was always appropriele where a sharF right angle was exposed to inm 
 jury and clstructed passage. 
 
 another means of avoiding projecting Llinths was by wllowing the torus 
 tc project far beyond the side surfaces of the Plinth, as on the round Piers 
 of the Church of Notre Dame at Semur in Auxois (V-l-Zuc, I1-147), and on 
 Lases in the cloister of the Abbey at Heiligenkreutz (beit.. laf. 41, Fig. 
 
 7; Ungew. Figs. 408, 405 a), the angles being reduced Ly coves (Fig. 176 
 
 left); otherwise ty replacing the angles by reentrant angles (Fig, 178. right) 
 8 g , ; 
 
 or the entirely overhanging torus was supported Ly swall corkels (Pig. 179) 
 to ensuré it againet injury, os in the cloister of the Cathedral at Verdun 
 (V-1-Duc, II-162; Ungew., Figs. 410, 410a), These cuts out of the ongles 
 of plinths were also generally retained fer polygonal plinths. 
 
 Cortel supports of lower torus during Barly Gothic were scmétimes trans- 
 formed into very beautiful folisge ornements, either with a singie leat, 
 os in S, Thomas at Strasburg, or with a cluster of leaves, as at the Cath~ 
 edral at Regensburg (Ungew. tig. 410 b; Eeit. Tet. 4¢, Figs, @, 4, &. & pecm 
 uliar example trom Gelnhausen, Ungew. Fig, 411), The bases sometimes do 
 not stand en a plinth, tut on a@ pedestal of round or octagonul form, fron 
 which result cortelled transition forms, as in the Cathedral at RegensLurg 
 (Beit. Taf. 42, Figs. 1, 2). 4 transformation cf Buch a pedestal into a 
 croup of buttresses is found later on a column of the Chapter llell at #eul- 
 Lronn (Beite:. Tats, 42; Pig, <),. 
 
 Omission of Corner Leaves in Perfected Gothic. 
 
 Corner leaves went cut of use in riper Gethic) they are alse wanting in 
 Italian Renaissamce, tut are exceptionally employed in German henaissance 
 on the portal of the Rathaus at Freilerg-i-b, | 
 
 Eases of Uoutle Columns. . 
 
 bases of double columns are freguently with their Plinths cut trom a sin- 
 gle Llock; the part between bases is then retained to avoid fracture and 
 decorated, ws in the choir of the Cathedral at Lenerec (V-1-Due, II-128), 
 
 rt 
 
 5é, Forms of Piers in Romanesque: 
 
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 gig i Adin askune inane nc ators is bewveo orem peevente: to. ptsite 
 
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 ‘o2 “i bla vary burp: ght Lipo “eb ob ig le sotliend ast oui ald. y tea wat 1 aBHOk | 
 
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 2 
 
 RELTSNBACHSR'S BEDI AGVAL 4RCHITECTURGE, 
 Barly Christion Ferms of Piers. 
 4s long es men were limited to horizontal wooden dvilings or groin veuils 
 without rits for covering interiors, round columns cr square piers suftic— 
 ed for subports to transmit the iced of the ceiling to the ground. If int- 
 wricrs of churches were covered Ly eroin cr tunnei Vaults with transverse 
 stren.thening arches, it wes usual in Bariy Christian architecture to sup- 
 
 ve 
 
 re 
 
 ¥; 
 
 nd which Projected from the surteces cf the walls of the clearstery. The 
 clyarstory walls rested on longitudinal arches, whose sufFerts were likewise 
 + 
 
 rectangular, and which wers comtined with the former to term Piers ef cross- 
 
 form section (Fig. 180). 
 
 For wide spans, the transverse arches were reguired te te very etronz, 
 and in order that they wight net eppeer heavy, they were tormed in recteng- 
 ular offsets, to which sinilar projections of the pier corresponded (Fig, 
 181), Richly subdivided compound piers were thus produced, around which 
 were carried the profiles of the bases and of the abacus of the carcitel. 
 Since only half the width of the centre alsle was assigned to the side ais- 
 les cf vaulted. interiors, two syuare bays of the side aisle corresponding 
 to one square bay of the central aisle, there resulted next the centre seis- 
 lé a ceries of couples arches in fairs, supported by intermediate columns 
 or ghuller piers. co tar had wen Proeceeded in cerly Christien architecture. 
 The Romanesque omkloyed in its earliest period this arrengement cf piere un- 
 changed. Arcades of alternating biers and columns with combined arches ce- 
 curred first at ichternach, 98 an imitaticn of Roman arrangesents rectanz- 
 ular enclosures of lonzitudina] arches first eppeared at Hirschau. 
 
 In the Church of 5, Remy at Rheims, greups of round Piers were emplicyed 
 in the 10th century instead of pliers with rectanzuiar projections, indeed 
 with larger and suailer shafts (Vei-Duc, ¥II-164, 155), Round piers with 
 4 large and 4 small shatte are then found aout 1190 in the Church et Seint- 
 Aubin et Guerande, wlternating with round piers (V-l-L[ue, VII-157), 
 
 Al ternoting Piers and Columns in Lower sexcny.. 
 
 4 forn of pier other than that with ercss-ferm section resulted as fol- 
 lows. The Barly Christian basilica with wooden ceiling could generally te 
 furnished with rows of columns to receive longitudinal arches, wen not bem 
 ing required to preserve Roman scnunents, and roboed them of their columns. 
 No much columns were available in the north, and where men had not edvanc- 
 ed far enough in akild to cut stone columns for themselves, they must help 
 themselves as best they could, Cthe the Great had sent costly coluuns from 
 Italy for the Cathedrel at tadgeburg, commenced 965, Lut this wes an exceét- 
 ion. The expedient was adoPted tc support the clearctory walls of the nav- 
 
 5 0 
 crt these transverse arches by strong rectangular projections frem the Piers, 
 
sim 
 
 1% 4 
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 Ls 
 
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 Benes 
 
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 r 
 
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 eds eiitw ee 22838 Go@ be¥iooys wom atinde ‘baat ita. Aaa > 
 a et contananil pease. wit: DAVOS “bebay tke oets* vad gh) 
 aie. ink rk gigenamene® otk axed sligistosA 3 
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 $ to gouenpganod’ hi didi iow,,owy Dae, aexgeoet se layne soot wE: eaepane: ie 
 | beveminn xt pv bente tide ¢lao | sae Ree sails: ‘ode: to duowgoiey . - 
 xt gale td .avtede tod teup moet Bas. anni fo9 “ffad Fo waivthbs - 
 
 eee 
 
 mH SSE api) avoLfir bee soadon woven. 4 aicagienfinae Wi'veiyin ud. 
 
 aed + atl # oud. _ regal beep ehhh ul. -19gq80 } Mid wOlsd bow ate 
 Eble ptm ages id @bgb “beds “Ja beds 1ésen--g) 
 ey @fbbith sotednd aiid 30 hago » gk 
 
 Jv piles ao eupueamiel ai bumiedes Qtai eqew. walay foe 
 “one Ta aman vont ouce ak aged aad of eenenene awiq oft 
 
 bangs od ‘ ; ivr F i 
 
 re | 
 
eZ REDTENBACHLR'S MEDI SeVAL ARCAITECLURE, 
 es of churctes cn alternating masonry piers and reund columns, the latter 
 keing freqlently of wood. This use of alternating piers and columns then 
 long continued ofter columns were made cf stone. Columne could Le saved 
 py making Piers very large, es common in Thuringia and Saxony; two or three 
 columns could alse be set between each two pliers, anu arrangement also coum 
 nou. Basilicas with alternating vound and chamfered equare piers occurr- 
 ed in Early homanesque, es in the Church of Lenssle-Saulnior of the 12th 
 century: (V¥-1-Due, VII-158), These piers are square beneath the imfost.. 
 hound Piers with Mound Shafts. 
 
 This rectancular pier forms e ccounterport to the pier of cross-form sect- 
 icon. A third arrangement of the pier wes much used in Gcothiec, and like=- 
 Wise occurs already in Romanesque, the round pier with 4 smail round shefts, 
 in the Church at llbenstedt in Hesse. The round shafts here suPpert cush- 
 ion capitals, 
 
 57, Forns of Piers in Trensition Style. 
 f'yom the Lime that diegonal riks were introduced and vaults were encles- 
 ty wall arches, the motive for the perfected Ronanesque Pier was siven 
 (Fig, 182); rectangular or semicircular prejections from the pier were in- 
 
 & 
 ay 
 & 
 
 troduced Tor main arches, three-quarter columns for diagonal ribs, end rect- 
 enguiar projectiona for wali arches. The first semicircular Frojections 
 fron Fiers are found on the piere of “the central aisle ot the Abbey at VYese- 
 ley at the end of the 9 century (V-l-Duc, VII-159); fluted rectangular pro- 
 jections oceur in the Cathedral at sutun about 1140 (V-1-Due, VII-121), 
 
 Since the numerous rectangular projections appear monotcnous anda unguiet, 
 sll principel arches were soon supported by semicircular shafts attached 
 tic the pier. In the western part cf the Cathedral at Mentz, built middie 
 to end 12th century, this urrangement of the Piers is consistently carried 
 cut. 411 round shafts now received seperate capitals, while the abacus and 
 ihe Lose slsc extended around the rectangular portions. 
 
 Rectangular Piers in Saxony. 
 
 The rectangular pier of they Saxon Frovinces, like the square pier, was 
 enriched Ly rectangular recesses and projections in consequence of the de- 
 veloguent of the vaults, and act only chtained a wore animated section by 
 eddition of helt columns and three-quarter shafts, but also by replacing 
 the angles Ly combinations of coves, rounds and fillets (Fig, 1€2), Rounds 
 then ond below the capital in little cushion Capitais, but hollows ere usual- 
 ly decorated at their ends by ornaments. 
 
 Round Columns in Later Middle ages, 
 
 Columns were jong retained in Romanesque as intermediate suPperts between 
 
 the pliers corresponding to the bays in some Provinces cf Germany, but were 
 
1 A le Pe 68 
 pig Yd bigque (iotbng ‘rode f 
 Oe priest ginal | Pode to 
 Mies eH isdaeunite at ag Liew ee farts 
 ale ” awd bawoh otisod | 
 wn iat par ato tile ‘add + aehasets honor’. dsetiuge odd at jaa? . 
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 i edd Yo tipi att oe r ee bent ierwtt Bavoaaen: ini 
 poke 2 a Be j coe plied t 3 
 
 oa > bas bavor Cone tein dai Seno az pperiont ro ee “thaw of. 
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 Lat 
 
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 3 REDTENBACHZR'S MEDIABVAL ARCHITSCTURE, - 
 later entirely supplanted by piers, end then occurred as tell] and siender, 
 or shert and stumpy columns or projections of piers, and in awarf i 
 ies, as well as in ornamentel errangements.. 
 
 Gothic Round Viers. 
 
 But in the earliest French cathedrals, the thic« round pier is preferred; 
 continues in use in england, end in some countries using brick for building 
 aaterials, as in Holland and in northern bavaria, until the later period 
 ges. but the round Fier loses ail peculiarities Lorrowed 
 trow the Antigue, for it 
 ed. In the Barly Gcthic iid cathedrals the round Pier is woth used in 
 entire rows, #8 in the Cathedrals at Peris and Dijcn, as well es alternat- 
 ing with compound piers under hexapartite vaults. In OSutch churches with 
 round piers, the giers at the intersection usually take the form of quatq 
 
 vefoil in plen (Pig.: 184), while in French churches these generally charge 
 inte compound Piers, arranged acccrding te the forms of the imPests of the 
 arches. 
 
 Everything said in reference to the form of Pier, more or less applies 
 tc wall and eng]w piers, in case such exist. Both round and compound piers 
 
 completely omitted the peculiarities of the entigue column and pier, wits 
 sntasis and fluting, so that they are.no longer to be gegerded as individ- 
 usis with fixed proportions, | This certainly is an advance cf mediaeval ar- 
 ehiteeture beyond the antique, the medigevel pier may te edapted to any rat- 
 ios of magnitudes ¢f the chureh ot pleasure without reguiring to change Gi- 
 qwengions of the cepitals cr bases; or conversely, the capite] and tase may 
 ue modified in their proportions eccording tc the purpose to be served enc 
 to the masses to which they correspond, without the necessity ol changing 
 
 cf the widdle a 
 
 no entagis, and is neither diminished or flut- 
 
 ts 
 
 the diuwensions cf piers as well, 
 
 Round Piers elweys have round or polygonal capitals and bases; mein erch- 
 es and diegenal ribs, as well es wali-shafte of vaults cf the centre aisie 
 then spring frem the cupltals, tn the Cathedral et Chartres, rcund piers 
 with 4 attached shefts exceptionally alternate with octagonal peers, whose 
 sitoched shafts are likewise cetagonal. Rectanguler shafts attached to 
 round piers oceur in the Church at Voltshegen near Cassell. 
 
 cetached and Engeged Snafts, Band souldings. 
 
 at the Cathedral at Laon (akcut 1200), the round pier wes surrounded by 
 cherte, interrufted at the aiddie of their height by weulded tends, which 
 served to support beth the main arches and the wall-shafts cf the centre 
 aisle, The round nucleus of the Fier then received a nigh caPital and a high- 
 er base than the round shefts, whose capitals were cut from the same block 
 
 s the upper half cf the main cakital (V-l-Duc, VII-165, 168; 11-164), 
 
 owe 
 
ei pene 
 isa ie 
 
 on. of 26, atdgtod, stare Ttih asin siien butoorms dow’ ) 
 Si “gis .ni’ad tele bagon bodies dean atetg dager a0 184 
 ifraticren errentth ae iwtherdies® oda ai ESE suode ALEHIT owlt-¥ 
 a ogee Q7S8 ,OkaadI cud OV) anvtwh to Leaberdys? atts nt OFS ayoie bak 
 f apelin adi te sie aetq vit to aintiqgaedd vaniedd ts teubeddd. etd se° 
 ‘hg + ! brie bo veel tency acumen om sil me pee ihgted tsupe te ebom Jarit 
 aia cy, AMBE ALIN OfRIL jouG-t- 
 tn on 33" b iiada seasivvet ane: 10 bework, itim aatq bauos att 
 en, iw w bas ‘Liteasa as (loaa eo find @d. binos swig edi to ewgioun oft sed 
 th te de anv whols ‘bedton: lisse att. ysev oe tf) ded todor dnetotiib s 
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 ae JAgwouw PS i dagen. i4sgat Iguentw to atiste Oneot feds ,saolabase 
 en evel oitisasd ‘Staselor word fosdiwseiot te ,etele, 2011. ated. te) 
 a ‘eren ole Mtetem, Aove. exed” ioadgubace wott. yredaed to le abetted 
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 5 ae ne odd to bee ctamé@ to eolquexe lagigito ods most (3ar 
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 rs. hie, * novt euelivay Ylowsne oiwta sont an (anor tase is. “qt bok? ‘) gue meded- 
 a ‘gud jwaog it evite vooe) iota aved bas ,wel¥ to entes PV S JOU IIBH OD” " 
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 “a a > a Se waterloo. beabedsn® aiid me beouhousas. RoOw- ‘ad tgda ba yegaa 3 ‘metaye 
 a st $ se A clacgt sions nt. ‘segeatedia ‘viavsca wis to ‘bagd ahd wien (T8t 
 . ea Rana vn barges 18 ‘aeai seas’ at or Woo ; 
 - pyoubor da ew tadme gets pa ea wedis .voteie blo me of witshooch 
 a) yas snd, yd eddiionom 20 beg bay soc tele" ‘Revi oped adisda bogs 63 
 iy | i wadssag qieaga 4 pedasaanio aied “ekg add to evoksi 
 > et? ® rae sake’ do dome? este oft to etoly aa gabtateg: dawa Ye ors 
 ae towed off nd 88 we agod al vpsadeet ta ele 8 te derwuei> 
 
 As shi cay Se Se ee 
 . re LN a es 
 
 ; gave tl Youbool yl lagge: v4 bis ‘ofgow ayait a2 At iw BRON to §IBWOO | 
 
B4 RELTENBACKSR'S MEDIAEVAL cECHITSCTUEE. 
 Such groured capitals with difterent heights ot the separete capitals ap- 
 pear on round piers with engaged round shefts in the Cathedral at Faris ( 
 V-l-Duc, IT-516), atout 1620 in the Cathedral at auxerre (V-l-buc, [I-f1é), 
 and ebout 1240 in the Cathedral at Amiens (V-l-Cuc, TE-BeC, £21). In 1220 
 at the Cathedral at Rheims, the capitals of the pier anc of its shafts were 
 first mede of equal height, and in corse of round giers with 4 shafis (V- 
 l-Duc, IL-16; Vil- 138), 
 
 The round pier with round or pélygonal detached shafts wes so arranzed 
 thet the nucieus of the pier could te Lulit as smell] as possitie and with 
 a different material. It a very firm, easily worked stone was at hand, like 
 Rhenish graywacke slate, sone voloenic stenes of the “ifel Mts., or hard 
 andstene, then round shafts of unusual height might le wrought as monolitie 
 (at Ccbern from slate, at HeisterLach from volcanic besaltic lava, at the 
 Cathedral of bamberg from sandstone). “here such materisis wers Wanting, 
 the shafts were made of pieces bonded to the nucleus by moulded Lends (Fig. 
 185), from the criginal examples of & Hartin and ot the Cathedral at Lacon, 
 these arrangements were favorites in Germany fros 1200 to LESO in many 
 cathedrals end monastic buildings, as at Sadpeburg, bamLersz, Tetzler, and 
 
 —s 
 
 “oultronne. / 
 
 The through stone courses of the pier, cn which were worked the uculded 
 bands of the shafts, covered the lcwer, end supported the upPer Fieces of 
 the shafts (Pip. 188); af these were cut from stretified stone, this was 
 set on edge, like wooden posts. It is evidently very difficult te cur al} 
 pieces cf the shafts so accurately to the eae heights, thet the through 
 courses of stone with the rings would ei] be equally loaded, It even re- 
 Sulted from experience with ccupled columns, thet equal loading of both was 
 not ettainelLlo, almoet always one of the two being » sufport, while the cth- 
 er stood aS a merely passive plece cf decoration. The sefarate pieces of 
 the detached shafts are then lecsely set between joints, may sometimes te 
 taken out (Cloister at Meulbronn), are therefore entirely useless from a 
 constructive Point of view, and have merely 4 deccrstive purpose; but they 
 thereky make the thickness of the pler deceptive, and for this reason, the 
 system of engaged shofts was intreduced in the Cathedral 2t Rheims (Fig. 
 18”), where the bond of the masonry alternates in sech courses, and a through 
 course is sometimes srranged.. 
 
 accodding to an old custceu, after the last arrangement was tnisoduoad, 
 engaged shafts were even characturized as monoliths Ly Fainting, only tre 
 nucleus of the pier keing ornamented ty masonry goenss; Uncewitter actes 
 proors of such painting on piers of the Stifts Church at Wetter and of the 
 Church of 5, Elizateth eat Marturg. In toth examPles, as in the Church last 
 
(ae HOA wear 2 jauoa anavoan 38 
 ml ywwdtegos enw ai bawot axe moisounsenco be ane Jays. died ,betolinen 
 “ols tots to ohsa eyswia Jsoals ois atiede eaedd vo tysa Aetttsoors dataed® 
 
 “a | | T? , 19199 Iewdsn at Jief Ylison gud ‘sbeblts vi Jietigend * 
 
 * 
 
 ein Td Begatieg.a le tsps -werigo, to anavise cd 08 
 mae ile a lyse chived ote 780 nt eri 
 ea a oe yd evs ies 9180 sa ads pork Shai josiorg 28 Luynadow's Lia. 
 
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 ae. . : (GBR net : yt ledoge tb dee. Smpe @ ac 
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 fe etiede dtin dotdy (OM 4/1) benieddo. ei sonignp tis ae attoila dose 
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 oe bie 1. 
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 ee ae. 
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 Arie at 4 
 Pee H ~~ ” bi 
 
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SE REDIBNBACHER'S MEDIAEVAL ARCHITECTURES, 
 mentioned, teth systems cf conStructicn are found in use together. In 
 
 shenish transition stylé, these shafts are almost always meade of black slate, 
 
 frequently gilded, but mostly left in netural coler, er sometinus repl scm 
 ed ty eclumns of other weteriols painted black. 
 b&, Piers in Severe Gothic otyie. 
 
 Al] rectanguler projections trom the pier were reploced by rounds, and 
 the nucieus of the pier was made squere or round (fiz, 186), first in the 
 Cathedral at Rheims betwesn 1220 and 1240... Already in Fomenesgue, the 
 syuere plier with its projections had approximated the equere set diagenal- 
 iyj in Gothic, the entire Plan of the pier may now usueily be enclosed with- 
 in a square set diagonally (Fig, 168). 
 
 The motives of forme of piers are then as following: — 
 
 1, To the numter of ribs end main arches corresponds thet of shafts arm 
 ound the Pier, larger ones receiving arches and stalier ones ris. 
 
 2. The abacus of the capitals end the Plinth of the tases are shaFed in 
 accordance is the direction of main arches and ris 
 
 About 1280, the pier was no longer constructoa with the shafts as sepanin~ 
 ate pieces ean in the nucdcus of the Pier, but wers worked out of 
 the same piece with this: by the increased numker of the shafts, these not 
 only Lecane small, but very small intervals remained tetween then: the 
 sharp edges separating them fron the nucleus were hara to cut, the shaits 
 night sPring tinder their heavy joads, for their slight connection with the 
 nucleus of pier; therefore the sharp reentrant angles were first rounded 
 oft (Fig. 188) and luter replaced, beth for rcund as well as recessed 
 nucleuses, entirely ty hollows (Fig, 189), The piers in the Cathedral at 
 Strasburgh are indeed accerding to the old, and those in the Cathedral at 
 Freiburg are according to the new method.. 
 
 The capitals of riger Gothic are exclusively bell capitals with leaf-buds, 
 Further progress in the development of the form of the vier was made ty ch- 
 
 enging intervals tetween larger and smaller rounds into hollows. (Fig. 189), 
 
 The plinth of the base and the abacus of the capitel were ot polygonal fora 
 (Fig. 189). The attic base was compressed and made to project strongly, 
 as Lest suited the long shafts of the pier. The capitals with buds were 
 replaced by tel] capitals with o lightly attached row cf leaves, 
 
 The lete Romanesgue and transition styles had first produced a subdivis~ 
 ion of the pier in richer form by replecing rectanguler projections fro 
 the pier ky semicircular; Serly Gothic did this by rePlacing these Ly 
 round shafts outside the Pier. If rectangular projections be replaced by 
 round shafts, on arrangement is obtained (Fig.: 190), which with shefte of- 
 equal size, is emPloyed in the Vollegiate Church at Nantes. If longitud- 
 
 i ~ 
 
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& REDTENBACHER'S WEDIAEVAL ARCHITECTURE, 
 & 
 
 inal arches composed of © and transverse arches of © recta sngular project- 
 ions, then ky this Principle produces a pier surrounded by <¢ round shafte, 
 an arrangement common in the middle eges.. &que]l diaueters of shafts is ne 
 ither necessery nor desirable. In the first case (Fig, 190), a large sham 
 ft for the main arch is reflaced by a group of 2 rounds, the middie cne 
 corresponding to the wider Part of the erch should te wider than the rounds 
 for the side Portions (Fig+, 191), 
 
 It a S-aisled groin vaulted tasilica with an intersection (Fig, 192) 
 
 Cn 
 
 and two internally open western towers b b is to have ccmpound piers in a 
 consistent way, then a nave Pier & wouid receive a triple transverse arch 
 rext the centre aisle, and a single, or for Letter construction, e triple 
 one next the side aisle also; the longitudinal arches should te increased 
 
 on the side next the centre aisle by about the width of a single arch, since 
 they carry the clearstory wall; a simple wall-pier would sppear as at 35 
 
 but at the piers at the intersections and at the towers, 1, &, the longitud= 
 ine] and transverse erches under the towers must Le strengthened, they are 
 five-fold, and to them correspond the wall-pier 4 and the corner pier © at 
 the trensepts. On the Principle that heavier orches correspond to greater 
 spens end heavier loading, and strengthened piers to these arches, were 
 erranged the compound piers in several German Gothic cathedrals; each rect- 
 angular projection of the piers 1s replaced by e round. 
 
 $8, Piers, Capitals and bases iff Later Gothic. 
 
 Prefiles of arches and ribs, which .Jike piers in Romanesque and early Goth- 
 ic, were composed of rectangular projections with rounds and hollows, were 
 not only more smoothly treated in later Gothic by transformation of project- 
 ing angles into hollows, but were thereby simPlitied in light end shade to 
 produce a more striking effect. These moulded menmters forming trifly divid- 
 ed arches, earlier constructed of two courses of stones, were in later Goth- 
 ic combined into a common stronger protile of the arch by hollows. 
 
 Change in Form ot Abacus, 
 
 The square abacus for round Piers corresponded Ladly to rich forms of im- 
 posts, and was therefore scon replaced by the polygonal abacus of richer ef- 
 pearance; but for round piers (Fig, 193) of choir aisles this could neith- 
 er be regular nor with the Froper number of sides, tut only according to the 
 direction of ribs and arches. Hence it was preferred te surrcund the round 
 pier by small shafts (Fig. 164), each of which tore e separate caPital with 
 abacus, and to make this sometimes round, sometimes square or polygonal, the 
 tases corresponding to it as well. For compound piers, the astragal usual- 
 ly extends around the Pier, even across the hollows (Fig. 195); this is true 
 of the atecus. More rarely is the astregal omitted from the nucleus cf the 
 
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6" HEOTENBsCHER'S MEDIAEVAL ARCHITECTURE, 
 pier, 2s on the lower side of Fig. 184, only the abacus extending around 
 it, as in several churches in sestphalia. The abacus of the compeund pier 
 with hollows usually forms a common abacus, tut otherwise extends arcund 
 the entire outside secticn ct the Pier (Fig. 195). 
 
 Change in Ferm of Capitals, 
 
 The ¢ctazcnal and hexagonal abacus is net preferaile to the square, because 
 the great Frojecticn of the corners may be avoided with the strongly pro- 
 jecting isat-buds, Lut also for capitals of shafts attached to piers, they 
 are more easily suited to profiles of ribs and arches (Fig-. 198), especial- 
 ly if these are of irreguler form. Already in 122031240 at the erection 
 of the Cathedral at Rheims, polygonal alLucusss of capitals of shafts occur, 
 end in 1240 on the piers of the chcir aisle of the Cathedral at aAniens ( 
 V-i-Suc, TI-51€ to 21). Folygonal abacuses with freely projecting leaf- 
 Lude are found about 1220 in S, warting des-Champs in Paris (V-1-Duc, II- 
 522), These abacuses, arranged in accordance with profiles of the erches, 
 tren become regulerly starcshaped (Fig. 187), as on the abacus of a capit- 
 al with @ deves in the Chapter Hall] of the Monastery at Maulkbrenn. The 
 
 ar 
 
 epitels can only be decorated by leef-buds arranged at the angles cf the 
 sbscus (Fig. 188), or at the centres of its sides (Fig. 199); the former 
 
 cccurg in the Church of Notre UVame at Dijon, the latter is in the Cathed- 
 val at Strasburz;, Sound sbacuses, as in the Stifts Church at Wetter (Ungen. 
 Fig, £20), like those usually employed on the round mullions ot windew tra- 
 cery, ere commonly employed in fngiand and ere net rare in Dutch churches 
 with round piers. From the large diameter of the pier, the ebacus is gen- 
 erally a decagon or dodecagon in Plan. For the round abacus, as well -as 
 
 for rectangular projections from the pier, all transitions from one to the 
 other form disakPear, mentioned in art, 53. 
 
 The forms ct capitsls of later Gothic eduitted of wany diversities, ac- 
 cording to the form and arrangement of the abacus, The bell may remain cir- 
 cular with polygonal abecus, or it may Pass into the octagon at top (Fig, 
 200), aw in many Late Gothic capitals. Polygonal piers almcst always have 
 polygonal capitals, which way be set diagonally in reference to the piers. 
 The foliage ot the caPital was already transformed about 1240 into quite 
 aaturelly trested clusters of Jvaves in the 5. Chapelie in Paris, and these 
 also occur in place of buds, as if separately attached to the tell of the 
 capital (V-l-Duc, 11-508), These clusters of leaves and twigs are usual- 
 iy grouped in threes, the uPfermost loaf bending its tip downwards, and are 
 aften in two rows; magnificent examples from 1230 are in the choir of the 
 Cathedrel at Auxerre (V-1l-Duc, II-517) and in the Cathedral at Rheims (V= 
 \-Duc, II-518). To reveew the simPler or more richly adorned capitals of 
 
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g8 REDTENBACHER'S Mab] ABVAL ARCHITECTURE, 
 the test Gothic with their leaves and flowers, fruits, heads, etc., is sca- 
 reely possitle. Leaves are sometimes Lent sidewise, there is often only 
 a pair of leaves cn a common stem with flowers and fruits, and they then 
 surround the kell like a garland of loose leaves; 2 multitude of smaller 
 leaflets is then erranged, and soon merely a few large, much dissected 
 leeves, detailed Ly leaf+ribs, are applied around the bell. The later 
 Gothic enhances the relief effect of the leaves and makes their geometri- 
 cal torm more prominent.. 
 é0, Capitals and bases in Late Gothic. 
 
 Chenge in Profile. 
 
 Moulded members of later Gothic generally experience slight changes, which 
 influence the treatment of the pier. The many small rectangular project- 
 ions with unguist effect were replsced ty small rounds, which the hollows 
 easily unite, The larger rounds seem too flat at » great height end are 
 therefore made pointed, or bowtells are used instead, Like arches and rils, 
 piers were then generally changed by richer moulding with small rounds, hol- 
 lows, bowtells, and fillets, so that they ne longer have the effect of mo- 
 uldings, but os if the entire Pier were merely divided into nerrov strips. 
 This transtormation of the pier first cccurs in the Church ct ©. Uriain at 
 Troyes about 1290 KV-1-Duc, VIII-172); if the prefile of the Pier is entire- 
 lyidentical with that of the imposts, the cepitsl Lecomes unnecessary, and 
 ig merely retained as a reminiscence. |, 
 
 Intermediate are many torms of piers cf pertected Gothic, where the thin- 
 ner shafts supporting thicker Lowtells of vault rils cr arches ere slone 
 decorated ty capitals, as in the Church of ©. Katherine at Bepenheia. The 
 Gothic pier of Lest and of Late Gothic frequently produces the impression, 
 that men first made the Plan of the Fler rich and smooth, Lut paid too lit- 
 tle attention to effect of light and shade. by tco greet subdivision o1 
 the profile, which extends down to the base, these Fliers entirely lose cles- 
 tess ond proper effect. 
 
 OimPlification cf Fier... 
 
 The neture of Late Gcthie is Leased on a repltition end excess cf certain 
 forms of the style, os well as on a sinFlification ct its system. If the 
 pier is te te simplified, already in Late Romanesque and in Gothic the she 
 tts below the vault riks do not extend down to the Lase, tut sore formed as 
 short columns standing on corteéls, and the rits are also directly suPrort- 
 ed Ly cortels, comlined with the caPital of the pier, or sore erranged di- 
 rectly ebove this.. A very beautitul exauple cot corlelling-cut « grcouP of 
 shafts above the cefitel is given from Seaur-in-auxois (V-l-Duc, TI-61¢, 
 B14), 
 
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 08 suit) svoo « A eae J edd tO 8464 seWol [saouylog 26 ersioe aft 
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 P A i ede yoasu" ede 10 Javasserd. teloia e eovbarg oF (508. .ye7) ‘eantedtl. je Lewes 
 we mot lite tid. eand e beivpwt gliedaug tetg batiotaea oA? to » ie Lows 
 \ ede dose: ddim , 3h os. dovig od reft Sigta see J fgid ws 4adty ta ‘(oad ad¥ to 
 ova ‘ddgten Hitede bas. wie Lodn Avou- wo (seidaod H1u00 idtdiel odd to asaet woi 
 100° ot Ricrey ood “ad bivow: ‘diaily etd 26 eves Cie gnildved ewer vend ds SEA 
  aoete aterde, a todas wsioix » lo mobineent es Bottivany eiat Jbaoyas . 
 a an =(9 add" i: aolgtia odd “‘Ytiiused ‘Od baw joand wablne Ad o@ be) OY sé teve yor 
 ” , Ignogyicd icitag0 9 ‘go don @row eafedA ge fo-sbed ss orly-nl wowed ede. tak 
 at edgatla paw aeee Ro gaokieatotensyd etel.edt (48-12 jowd-i-¥) dsaitg 
 i My wit ates ody to. axe Site ‘eid ‘to. sngimtoi iis moxt Sodteoes oat femiven singow 
 mS dob odd ann don bhohed seody: turd aged wot alae by stupor @@tbde avovemuc 
 RI an ae Bh soe eed deena te weotd..aibl ,e6bitos4 
 aves iki ww aeged % eeittord. ye abbeeor Ul anis 
 oe en wollod oe ne toil dotgas inven as 
 
 SS a 
 mi, Bo ean) : ‘ ae = Selle > 
 
vow rvs 
 
 REDTONBACHBR'S baeblanVaL ARCHITECTUFS, 
 
 m 
 8) 
 
 & Second mode cf simplifying the pier consisted in so erranging the arch- 
 ve Supporting the meen that their profile at the springing was included 
 within the perimeler cf the pier, when this was round, square or polygen- 
 al (Fig. £01), Late Gethic ig very rich in such simPly treated fiers, cf- 
 ten with very complex imposts. Polygonal giers of Late Gothic sometimes 
 had concave surfeces: theae were helically twistea: their edges were replac- 
 i 
 LmroOsus. 
 
 pes 
 
 ed Ly rounds between hollows, e 
 Variations in Late Gothic I 
 
 Variutions of late Cothic imPests for simpler and richer forms of piers 
 chiefly follow the fellowing ideasi--1, the rits, or ©, the arches, or 8, 
 Loth together, rest on corbels placed above or Lelow the capital of the 
 pier, with or without short columns. 4. The same is true tor piers with- 
 out capitals, £&. The uotive changes when applied to hull or Lasilican de- 
 sicns, end with equal or different heights of imposts. 6, The same occurs 
 in combination with ribs and arches directly springing trom the pier. 7, 
 the notive veries in accordance with the arrangement of the vaults in Plen 
 ana the direction of their ribs, their intersections and cressings 
 
 34, Eases and Plinths in Pertected and Late Gothic. 
 
 Like the Komanesgue, the Early Cothicalways cut the Lase and its ies 
 plinth from a single block, differing from the Antique, which in large 
 Lases always separated the lower tcrus from the plinth ky 2 joint-. but 
 nediseval serchitecturs generally added, a slab or plinth to the base, to 
 raise it and to increase its total width; the plinth was either more or less 
 steeply beveled at top according to its Frojection, or was connected with 
 the square or polygonal lower part of the bese by a cove (Fig. 202), In- 
 stead of the Level or the cove, a new profile wes introduced in the Cath- 
 edral at Rheims (Fig, 203) to produce a richer treatment of the base; the 
 nucleus cf the comPound pier proferly required e base differing from those 
 of its smal] shoefts; a high tase might then be given to it, with which the 
 low tases of the latter could combine, or bouh nucleus and shafts might have 
 high bases, a mere beveling or cove on the plinth would be too plain to cor- 
 respond. This justified the insertion of a richer mesber.. To obtain sPace 
 tor seats, to reise the entire base, and to Leautify the angles of the pl- 
 inth, the tases in the Cathedral at Rheims were set on a common Polygonal 
 plinth (V-1-Due, 11-14¢), The lete transformations of Lases and plinths in 
 Gothie naturelly resulted from enrichment of the memLers of the Piers, The 
 numerous shafts reguired only low tases; but these could not have the rich 
 Profiles, like those of great piers. 
 
 SimPlification ot Prefiles of Bases, 
 In crowding together nouldings the hollow usually disapPears, and profile 
 
 as 
 
63 
 
 08 ..y28) = 
 
 ORL suods 
 
 pi sel eae eum ds dee wid ‘e-ank odd to @t0id wid nor OBE Jjudin bad 
 Sag ba acs ‘wade wort, sits ed {tise Bloc gids wad jaily wot baogmetic® a9 
 + fg 308 gi) dank lg odd to 219q tAW etd towlitety of?  wund ody dein 
 ates otis ae’, .teh08" att) bei ti lquée ee C4 DOS) ett) seed ony dzdw bovine 
 2 dea Lyme oo yee ‘auolvevonn i gaqdl .gea sa beleved ecw dni ta “fenegy (oq Ate Ls 
 aay atest 7y coml extol ai elogedo Atado edd at CfC1 bus SSE! noented be 
 bi ty ‘aolesiag ret ay) eadd ‘oft Jargttidaie to ebou dbavoes 4 f OSL—IT cane 
 sie G08 fgi9) auroyagwol a9 agdd bane , (do 808. .y27) woigs odd dant? 
 #2 agqiu oiT ‘aevos ‘bine, 4adeilit jafeved to soi Janliwoo ad ‘wdeils sates ia 
 ¥e ms bakes tie “TO asag s. Ho. 36. 23%) bas qeddeow ut beveas ass te aew end 
 wh ) #9 Seo iquos wees onedy ha (a “ 5. heatenassiagd 198. ieee wage to, oid 
 ae haus * “doddis aketoag. jan arng Si anal heve etdbees fc) ied $i olfdw 
 pe has of ‘ ; soi tation: _ edd nott git qqotb ited yd (to 
 : ze ioe ae (23th 6649. “te goned 
 eset <tc ieddie. gaat add en: osnk begnsdo ow-edteda ods +t] 
 t19 oben ei aur0d www ok edd ao (otel. 5808 ntF) Lleswod edd to ekitory ad J 
 ja Sade ndyet 1q fetbedes?. of ok Olguame-ms edtl yedgin , BOR, jg f%) 2s Luo 
 oe noisageind end” id. ytieuan: taddo@ea VASE wg Opis? -disd bes. bead 
 re { : ooa3 at" * Lernod ole to Slitorg odd oat svesed cedaen te%qu edi evor 
 ais miso & wiieéat ja ner Agtel 5 ~ghF) eand to alg addd 20 miot 2ov 
 pees eed aati tedwod wid 30 setlist edd OGRE Uyeda} (Safi joul<iHV) sangaaso 
 ea i ks Idee S did wort (dir) (stars 08, at) eiquexe vorluana: brute swe 
 ah zs Deimeted Rote isitw ancis Bawot add op eased » sevty yleren gic Janey] do 
 x S : pagAe | ws bend watt fhe gat, ee ty? sfied) flemwed edi = Leven: ae 
 ig cea iegael vis bauer .yiae 49. Cytol 80.92%) exodmom [lo bawom 
 x Brett ‘aaa wet lod went bas ones Seilewe andy andwugt” (dagie . 60S 
 ig teal Beier, § 2 ii Jv) satead ld -femege sod 
 ato eset Tsai ine 3 “es dita iq innoupeiny b a9 Joa od vent bases ed > 31 
 10 ,boteinwd yilers te (68, “etd OVEMIOD auaiicwor srg pens twa ads 
 ow abet. ied ‘peas’. dope to. a8 Ltt. 68 detidueot § -gatinie- we bavosonst 
 a i, - a donee owe a agaeld edd. ‘gine io, salodenw Js abideawe 6 ta dos 
 . 3 an Yor eH GYRO eas aided bag, (O08 ged) isnogsdoo ebam ai eto) 189; 
 - mgedivh “fa. ‘euideaue jo domumntd guage es ak 28 ,@bauer iiteve edn! 
 c too ddodste Ho Aatw snl ly dy aqxOd foncyeiog bus Savor siadatdnco ve 
 bg 2ad ii" Spoil Le 19 date shedetove eaiwvasiive asootasé uo 2veo 
 wiblvos duodie 0 ae aint @6¢ retahted webniven to 
 
 aie = 5 
 
 » 
 =< % 
 ; 
 
i) REDTENSACKGR'S MapIacVal ARCHITECTURE, 
 
 a (Fiz., 62) chenges by comPression to tb, 2 form already occurring in France 
 about 1280. first tound in Germeny ch & fertei ef the southern transept ot 
 the Cathedrel et Mentz, on the Cominican Church in Kepensturg ebour 172, 
 und ebout 1200 on the Piers of the nave of the Church at Neina To low base 
 es correspond low plinths, which could still Le cut rrem the sane clocs 
 
 with the bese. The profile ot the uPper part of the plinth (Fig. 204 a) 
 united with the base (Fig. 04 L) was simplified (Fig. 204c), sand the com 
 mon polygonal plinth wes Leveled at top. These inncvaticns were cospliet- 
 
 ed petween 1225 end 1520 in the choir chapels in Notre vame at Peris (V-]- 
 Dec, LI-180), A second node of simPlitying the Lose was Ly omission of 
 first the upPer (Fig. 206 a,b), and then the lower vorus (Fiz, SOF ¢), re- 
 lecing these by combination of Levels, fillets, and coves. The ufper te- 
 rus wes often removed by weather and frost, as cn cases of the ruined Ces- 
 le of Toutenkurg near Vollenhoven in Holland, where the ccuplete profile 
 . 205 e) may only be distinguished in an entirely protected lecation, 
 
 le it hes elsewhere even changed inte the profile without e round as av 
 
 tf, ty rain dropping from the higher stringcourse. 
 Eases of Cgze Ribs. 
 
 If the shefts are changed inte towtells, the tase either closely folicws 
 the profile of the Lowtell (Fig. 208, left) or the lewer torus is made cir- 
 cular (Fic, 208, right, like an example in the Cathedral at Regensburg at- 
 ter 1260, Beit. Tat. 40, Fig. 15), sco that usually by the insertion of 
 cove, its upker member Passes into the proriie of the bowtell,. In the old- 
 
 est form cf this plan of base (Fig. ©? left) from o, Nazaire at Cer- 
 cassonne (V-1-Duc, 11-158) Catout 1300) the fillet of the bewtel] hes its 
 own Plinth. Another sxample (Fig. 207, right) (1482) from the Cathedrail 
 at Regensburg merely gives a tase to the round alone, which dies against 
 the coves of the Lowtell (Boit. Tat. 41, Fig. 13). The base nay extend 
 around all members (Fig., 8, left) or only around the larger round (Fig.. 
 
 right), ignoring the smaller reund and the holiowé, 
 
 way: sgonal Plinths. 
 If the round tase be set on a polygonal piinth, as very common Late Goth- 
 ic, its surfaces sre sometinaes concave (Fig. 908), spirally twisted, or 
 ecorated by sinking». Beautiful examples of such bases are found in the 
 hurch of S. Eusebius at srneheim-. Not only the Plinth, tut sometimes the 
 jewer torus is made octagonal (Fig. 9), and this Leing composed of eight 
 ersecting rounds, as in the same Church of 5, Susecius at Arnheim. 
 y combining round and polygons] forms of plinth, with or without con- 
 cave, or surteces otherwise decorated, with or without interpenetrations 
 of rounds, plinths set diagonally, with or without mwouldings, varied chan- 
 
 a J 
 
2 hr 
 
 ‘ | | ‘Ln “asvaatass ¢ Wiivaig naan Pen. r@ 
 morig widaee vied teridaidoso. atid anoyylo4 Wieenotsiqnss) todJo eas edt 
 isjoomgaap bas isl leas Set eliottiseny: bans s. ‘to qaiviney aagtiig is asaud 
 
 a le? woghasied (pee ce SIP lags 40039 dws gnd ai ots: aul goad, a hi0H, 
 
 egiel ytlaaetqqwe ys piviaoti: iit. bas. ABAD US: ke ayiitorq: sabi dof) ied. 
 add qnibgolieve biter. ateiiit “ths? gel tod | yd weds gatoaaen: ‘el bre abauor 
 . oad penepmenenene' st atea ot pawollod to moitizegs? 7. beeweo. “64 antot 
 rbd ha We 48 ce i vane do to. bas wadsaite te: .eeasd te: ‘tg ifterd i vos £4 
 ou | } BOG Tle ana obi tod ede eddoi'y: xed: addin bud ve to cousd 
 ene: eo awob guibiostus 1914 vid to easdnom Ww Hod joo Iqh show us said. 
 
 raee edd. to ‘eode Jxoqui : od: palb come. pidstod ide Ret heb. ve guadd. ody? dems Ot: 
 in : XK letiiie- Meds: Simo. of 10. ween io Qe lbea ai bigre ‘oe "gety GAD 20 thed- 
 ie esi Sie t tt ib és Joa bas ausol saw PUB: ah, esas + te Siiene gna tas Be dows. - 
 ; teh al | j6ait- awooo. .setg. oy pT) anode as 30 tenes 16 dak eid od° galbicave. . 
 > Yddeagvib aid: tox. ad403.Je sord.endot ai: : GSE: Os: sage? “hoe aleqads Shoda’ ) 
 j pana goneningig 4 bovastiqns iisoasse th: bag. wire Lo. 49% ‘Ste 24. ewan, de. 
 ee ae ‘ttado ens ok. @38l ak- ae. bret Lot: Ls ed tuove t: 8 2ew- (ore agi). gpg hesoelen 
 Be: : oi Oe gael de aupsostt::: 8, yh 
 Bas, ede: to. diaoaenet: Sao eri ai baboted ot sis. a9 Lqaisxe - Jeo es: eit 
 r a ceeas?: Wobaiw odd eke: emt isoo seve eget yon dow. ‘nent -yofte wee? ies 
 7 5 (eWed vdf of bas sbmed {oil “ie “gusd Lobbeit da YoU eds. be iddeiole edd aé-ea- 
 | Tanke <-dagtstitb 38 Joa asaid- brojaet ies) adoliiy bingy. dest ion - aba: Jallee® 
 fies fsnoaylod edt bavo1s, Bbas tie. nets ynih fu on east SORMOD ae “Waddatod- ; 
 “tel iS pa ee —: ies giles eae lq bas bev two seed: bay. wbnw | ead ‘to. 
 Tee, ys oa amg. ndeed.. nok die earael4 
 Pod cciiee: pescen te baetent- © - esod  tekg bed dog yldeks. & Np of tin xe nh | 
 dh bebae tts.” eh anita edz: io aceiegorn fie Crom #0 . gota ‘yada aseod 
 F Agnasivagy 2. 6 efhbinl -adudebaad te. abit 22 “20 doautd eds te i8y 10d » s: 
 
 Eotebal odd e¥ods dio. baed. atedage odd. otedw tedden (er RE te? sdied 
 
 eee Sn ai 48 fqabedte9 to ateiq~{ Law. ee. wade . ai. veasd OMIM D9 & nso}. ag: bite 
 ee os ear Tenia alae 5) mi oi Pee Boece tt eget th ste? shed): 
 : op i EN is Bien, Wire cee Ac Taree E@ENIod: vad ad. Big dhged - 33 
 
 ‘iets pons. elbbia eiak. we “Gatielind ae (tivisps bedagroni. ‘tipo. edt. 
 oy, ie Siotezeda. isk ap littag: btind dam tena’ dad’ alive’: adt bed yl 
 huss Bay -sxss0ds £ "to todmiia-eit arte! wo tedd sa’ edgcudps. bis bel ital 
 
 sas ‘{paigdog? sbode iniakh aaeaiuod bie sfoesidess shouts s2 to def 
 ~biddue ai Bust “ibd vat lanigiwad.idod . te to° e905 ead 98 - bg lieoxe se 
 sb Lamatnent as Jeu @i obito® “Saba. ed lia Baidaee. iad. Ba 108 to. waked 
 
 4 wade anne -snatiniaithheadl aie! ‘Yo. pieenainwiee Social gaitsewo aiel 
 
 a 
 
 Popa a a 
 YAS Ss apere a. 
 
 ‘to notseoilildaie an Jaws. /Poishisd bas doeckes ied ai. webs 9, A eget | aK 
 
 “ qiagasoos amgoed yileatt 3i bas  Wedanarné GVLEzeoKe wiisoed. iosteni J cange d, ae 
 
$1 REDTENGACHEP'S bWeblAbVel aRCHITECTURS, 
 ters and other transitions of Folygons inte each other, Late Gothic pro- 
 duces an endless varicty of Lases, justifiectle in smalier and ornamental 
 
 works, xamples are in Ungewitter, Figs. 417 et seq; i age Taf. 40, 
 Figs. &, 9, glso in Kallenbach and Heideloff. Just as simPliticaticn of 
 Late Gothic profiles of erches and rits occurred Ly suppressing large 
 rounds end Le reFlecing them ty hollows and fillets, ak a Sacteats te the 
 forms was caused by repetition of hollcows, the same transformation took 
 Place in Profiles cf Lases, of plinths, and of stacuses. | 
 
 Bases of Varied heights for richky Late Gothic Piers. 
 
 But Ly multiplication of members of the Pier extending down to the 
 
 ases, these became excessive in number, and it finally -ecame necessary 
 to set the Lases at. ditferent heights, sobbRaike to importance of the mem- 
 Ler ef the pier, to avcid the medley of Lases, or to omit them entirely. 
 Such an arrangement of tases of different forms and set at different heights 
 according to the importance of the members of the pler, occurs first in the 
 choir chapels of 1225 to 1230 in Notre Dame at Paris; yet this diversity . 
 of bases is not yet clearly and distinctly expressed. a prominence of such 
 ‘diversities (Fig.: 210) was a favorite in Holland, as in 1269 in the choir 
 
 Ae 
 
 of S. Nicolaus at Kampen-. 
 
 The finest examples are to te found in the great transepts of the Church 
 at Bergen-op-doom. Arch mouldings even combine with the window tracery, 
 as in the cloister of the Abbey at Méddelburg in Holland, and to the kov- 
 tells, rounds, hollows, and fillets, correspond bases set at different 
 heights.’ A common dase moulding then extends around the Polygonal plinths 
 of the rounds and the curved and Plane plinths cf the hollows and fillets. 
 
 Plinths without bases. | 
 
 An exomPle of a richly moulded pier, where instead of members resting on 
 bases; they stop on Pyramidal projections from the plinth, is afforded by 
 a Portal of the Church of S, Martin at Landshut.. (middle of 15 century) ( 
 Beit. Taf. Fig. 12), another, where the members tend out above the Plinth 
 and so form a common base, is shown by wall-piers of Cathedral at Passau | 
 (belt. Tay. 41," Fig 11), 
 
 é2, Capitals in Late Gothic. | 
 
 The greatly increased activity in building in late middle ages natural- 
 ly had the result, that men must -uild quickly, and therefore required 
 skilled and accurate stone-cutters; the number of laborers increased and 
 that of trained architects and sculPtors diminished. Technical construct- 
 ion excelled at the cost of art, both in original invention and in subtil- 
 ities of form. 4s in treating vaults, Late Cothic is just as inexhaustib- 
 le in creating original arrangements of piers, caPitals and bases, and if 
 
 (- 
 
ha 
 wes yin pe 
 
 De aeree ny) ino -wmn exert wit. ‘Se’ iniiwe por (eeaena re dita lberys etd ai 
 ne ivihwveed Ytev yaem batsero. Live di ,ye000 bos watt ovee of bel 
 at — desottavvice s est yiiewad Jasasato, ‘sted? alediqeo Yo euiot List 
 | ait ohio yiasd to meiisqwian bavoe edd sort wi yiev ef bne \ tad 
 Be hoy, a i ge -isredeg, Mi Olddo? esed to aobtetngmatie of) 
 “tea ot cease sted bas ,ddyouwaeve at veveui eid to gaileboa-oat 
 
 hl J etd bae ,bedneose apihl to tnonovom y:s begs Lae Stew aeyo 
 in {leoes Vlevew yous teas bafasssiget Uldobuth: ‘Om zuveel to 2946 4 
 od ifsoer alesiqes edt Toogmdblig baw yaivotoo wd? 2insig be 
 
 boyd alae! 2 ee Lettgeo, ot to wait tei ode’ to ewed wl“ 
 
 a 
 
 re 4 1 
 é ‘ ‘ay ape an 
 9 be | - } 
 
 ae bees edd m01T ehod sient? 46 fLuoeg. begsne: (idets Aedto w1ew: alstiws 
 # hit tivo saredai bejnollqaoo bas . Jtgues- @tew Noys Joo tm o1supe eis ov ‘auete 
 anes me -eweynlad aeese doya to. seiida s aevey phat patie ybovoldme si ak BO 
 = fe aiiive MEW ils | Aat: (tT :At8 
 w bless pitted outs doidw obhted to anoltiaiupos ails aatoavonot 
 “ waee ainge @tebr? evil os ou tana® edd--o9 ghiniuder one, [lide Aisae 
 Paetts adcow saad. 3804 Joerg Istidons tol bemteter'eitew bas eau of 
 | — obiass nes el hivees — \ asemamae al named to seddt bol 
 
 ms ae 
 
 1) doe oe 
 ve we 
 
 \a i % si H a 3 ‘ Ale, 3 ay a We Ab AL Lean re eet fe eat 
 fold A ee ' ; . 
 SP ee " SG f A 
 
 | i “feyortes eiT. .gveaeoxe @aed, beouborg yljoubive bits: io tam at: 
 loi has". teef s- to made: bevaied eft yd beosigqet et bas atsegisaid - 
 A nk dove coeavd te hae to falsdideo’ edd nord bovsiao cools ai. 
 | met oat. 
 
 oH agnetor fle ,betiapes od -yuonooe i: ‘aeveel to WOT B tO ~Blomias- io. in 
 a ‘ ade nies <fethQeo ois. to fied ntel9 of? guivesl jbettino czls ; 
 
 hel bas: yeayer? bas “iselod te: wedouud? edd a yeanodash bas ROL BA. tes 
 oa joo? Je aetizontd to doit? oft ad, as. eared? witgyed edd Qo pelow 
 2 witeio fo edd aieo abled ais!d eaede Ao devised aemisonce cow. egsb tot’: sa 
 bawda. vaybilot: ed? “102 stutivadwice gh idoon 36 letbedts®. efx 
 
 Ds: eee Tay en i Lea at toed * 
 
ty 
 
 ra REVTENBACHER'S hebTAaVAL ARCHITECTURS, 
 
 in the Preduction of masses, the caPitals of the Piers were entirely oait- 
 ted to save time and money, it still created many very beautiful and skil- 
 tul forms cf capitals, Their crnament usually has a conventionel char- 
 acter, and is very far from the sound naturalism ot berly Gothic, like 
 
 the ornamentation ct Late Gothic in general. 
 
 The modeling of the leaves is overwrought, end their contours; the leaf- 
 eyes were enlarged, the mcvement of lines eccented, and the tending of 
 parts or leaves so directly represented, that they usuelly recall wither- 
 ed plants. The coloring and gilding cf the capitals recall] hammered work 
 in metal, and evidently produced these excesses. The estrazpal sometimes 
 disaPpears and is replaced by the twisted stem of e leaf, and the abacus 
 is also omitted from the caPitals of tracery, at Bvreux even in 1240 (V- 
 1-Die,, II-633), 
 
 The cove of the abacus of the capital is usually decorated ty heads, torms 
 of animels, or a row of leaves. If economy Le required, all foliage was 
 also omitted, leaving the Plain bell of the cePital, as in the Cathedrals 
 at Dijon and Nartonne, in the Churches at Colmar and Treysa, and in the ch- 
 urches of the begging Friars, as in the Church of Minorites at Cologne. 
 Foliage was sometimes Painted on these Plain tells, as in the Cloister ot 
 the Cathedral at Utrecht.. 4s a substitute for the foliaze, these simple tell 
 capitals were often richly shaped, peculiar transitions from the round nu- 
 Cleus to the square or octegon were sought, and complicated intersecting 
 forms were emPloyed; Ungewitter gives a series of such cases &Ungew-. p 211, 
 Aig; Lee. 15h 
 
 Renouncing the acquisitions of Gothic, which Italian Gothic could use with 
 small skill, and returning to the Antique, the Five Orders again Came in- 
 to use, and were retained for another great Aesa, whose works often excel- 
 led those of Roman architecture, and should te placed beside Creek archi- 
 tecture. 
 
fe is wit» be 
 
 ‘s - Lt a Ls Ge , 
 Rs deol Bl Wh nal 
 it 
 
 eye | a " . tint Tce a ie Eeiw lia lip Neate ay avagentaud S38 
 | Yel, rity ,abrandug ise ahi pre 3 baet-artosavoy edt sows qivve al 
 “4 sy Se A wd Kile inos chon ab sade  pekavtg, e1eteredd at Shodauov Jawvol 
 2 “a hosy BY fou ad, ® satheal: bas. - ltgeab .t02 69a a2 gatbaod 
 43 02 ei, idgtow veorlw aeem qreed 6. yd beaoqgo ed Jaa dau “id 
 | foneto twa vf Jaua toys: odd Ybeawwsieve ed tot bevon od tedtied suo. - 
 | bt iane sSeorls sees, = as nedavys od Jou Ysa (sivpana ‘add tans. «RROTs 
 en yaks WG res sdauwid bits gaibaol sort 
 die mee to, aiatoy anda) javiuas Bea Me neites eed bexevoa: Witedoik ve, 407) 
 Ae; e ded 168 53, oni. wien deet pedis bas dodo. eszevenss! floddw. de eliaw “aod ed 
 ee pont yd, wdob wd yea eid? _abamedtgneuse ed teen mag. newdeed 
 i a - ods Sifoubs2 ude tody gah liad ets ‘to 1oitedat’ ois. odd wigrhien 
 3 6 Wsde sahethsagt te apis ine , a aeine spHoaitse. seanoutsul ye %O 
 
 4 
 eh eer, 
 
 & | nr ak melee ase Solnnes >a edt dehiia! li platen 
 inn, odd. bebivth pioteo lia saeat soins yd Badpeiyion. Sew brie “gedd 
 exit he A Loe b¥tdabe. when: were dnen: isotdaew oat l beaseqge: Bag 290898 ‘Lao itaew 
 a _gnensa729, Oi. abe, sais ‘daedsa ag bas éXnsarisd, atk: “¢Ligkoegae qoupasasao’ 
 bee wi1ot atoletass ntodt:. nel: shh . ots gath-tuon ud ete ist: ‘dons abaya. ets bats 
 nie. qxferidus ‘got, eisizzowGy?’ Vino saw bas jeurgob-azea. af. bobtovs audd aew 
 ei eal elit bnod. haas to gattsiaba @isivaton. gach lind: %o% bos. ertiodae 
 ae ai lew pewerwrs od enoi? eo wing pelvorio ings Fa caeanitas dokud bas 
 
 aie add ‘te wey bs Aru Gdns! ae. 0 ey po Ns i ‘Jaa duds 
 Rox “guoitostorg to eke thai 185 ae. gonert-sb-oLal we bx aigoo Jatit 4i 
 nM sts Ramat 2 Sad Balvoetorg \ yLisis toast cok : ‘etodd bavcs Blasagibe usagi jo aiinn 
 a Bees ire rim aie oda prow | how “hobad giken gelidauog. ad. eas. ylteito 
 _ fi sptoubosdad wits. .eleysio ee bur biider ‘Biled.. weld founsed segage edd 
 ; Ke “a es bas. «wh kw ebsa awobaiw, . toankdy doug absa ps: blago ailew AROR dad 
 a Hastert bas aiisw eupeensna®” al. tetdgtl ed ewtons to: isctwixe atid 
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 ocak) gears: Set; nt Sao avitetostt *, oad, ef, *. TeMge ayleen, aie to 
 
 ES ae Reig bye its 
 
 oy % dauade pry iors te paren i. AE eri eaesd dui eft 
 ; et awgnigtevo giied dante ge.. ifwa: ‘edd galigens t6 dade shaw tod te, 
 syed so ‘ows ‘ond to gatot, feiher, teal ads. gaiges4 talia ,¢7oytwe.to.oatl oft 
 aed coe to ‘gis dant ieee, $6: Sh ibaietr meen # Boiss. ghee gitigeitge 
 
93 | REDEENB&CHER'S MEDIARVAL ARCHITECTURE, 
 SECTION 4, buttresses and Flying buttresses. 
 63, Buttresses in General. 
 
 Tn every erch the voussoirs tend to force each other outwards, and the 
 lowest voussoir is therefore pressed outwards horizontally ty a force, de- 
 Pending on span, form, depth, and loading cf the arch or vault. This 
 thrust must Le opposed Ly a heavy mess, whose weight is so great, that it 
 can neither be moved nor Le overturned; the arch must Le sufficiently 
 strong, thet the material may not be crushed by too great stress, resulting 
 from loading and thrust. 
 
 For an interior covered ky 39 series of groin veults, those points of ex- 
 terior wails at which transverse arches and ribs rest, where the greatest 
 pressures cecur, must be strengthened. This may te done by Frojecting the 
 wall-pier into the interior of the building, thereby reducing the sPace, 
 or by buttresses projecting externally. Sarly Christian architecture made 
 these additions for strengthening the walls like slightly projecting Fil- 
 asters around which the principle cornice was broken, or these ended beneath 
 that and were connected by arches. These Filasters divided the walls in 
 vebtical soaces and appeared like vertical members, were adopted by the’ 
 Romanesque, especially in Germany, and an attemPt was nade to ornament then 
 and the round-arch frieze by moulding the angles. Their tasteless form 7 
 was thus avoided in some degree, and was only epprepriate for entirely plein 
 exteriors and for building materials admitting of good bond like ruttle 
 and brick masonry. \Semicircular projections to strengthen walls were fre- 
 quently employed in French Romanesque churches, as in %. Remy at Kheims. 
 
 (10 century.) The strongly projecting Luttress was generally used as an 
 abutment at the end of the Romanesque and the beginning of the Sothiec style. 
 It first cecurred in Isle-de-France as an imitation of projections from 
 walls of Roman monuments found there. Internally projecting buttresses were 
 chiefly used in countries using brick work during the later middle ages, 
 
 the spaces Letween them being utilized as chapels, after introducing the 
 buttress, walls could te made much thinner, windows wade wider, and the en- 
 tire external architecture Le lighter... In Romanesgue, walls and Froject- 
 ions from piers inside tc recelve arches and ribs were s0 massive, that but 
 tresses could be omitted. among the oldest Luttresses in Germany are those 
 of the western tower of the Church at Hochelten on the Dutch frontier (Fig, 
 211). 
 
 The Luttress had primarily the functicn of receiving the thrust of vaults, 
 afterwards that of ensuring the wall against being overthrown Ly the wind. 
 The line of suPport, after Passing the last redial joint of the arch or the 
 springing joint, takes a direction tangent at the last point of the curve. 
 
HO TORTT AD! " piyac tas ctmpamananaan an ce 
 | meld ate oid: uae hay Yo: oxtnes® odd leotatse-, eioesietnt. gids eaeda 
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 ine atodoor xt nee whe 6 a fates »bELeB - ie, ae wily boo ed 
 ane ee eS iy | d ie ee drienol avon. 
 ~ pekp os * pénacniand pees ay % acide all “(ia ia 
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 3 ehh. du dnos Bod ape ubiowds 2». piler, ig neste te rate 1 “waded: ba au: 
 dete « sa eodoindd 9 ai aA. avobags ges beseuotzey a nevis agad oe: bate 
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 “tt ‘guaigengy. ity watt? ° pelts, — Ye. thes: “ead nas ide nd get BS, 
 Jilootsy bad de MBER RTL | sb p 
 tO de we “pomcinerds wid ng" is pia ee ld sabia edu: eww seis - ‘sida ow 
 , aang B30 - tad Tene es i9id Lur'208 ‘aieva witd: Agia bei fovanud wath Yors we  ¢tiaeie 34 
 gh BBR EE onde bell Avtudove Sf) eiowuset Js eaauies &..to dow 19.84). a0 0 
 a lod ase ded ehawor uw dwbivon aughe driv vane te ad those cate eenauiteud 
 ablts Yoo1 ALL sireddey ys bussrseeb , $607 buds 6 -S¥kl at dasw o das anol 
 
 mst saningaanl tent ad eee uae di Jeon (8SB0T , pul-t-¥) 
 
 tS oh 
 3 cr 
 
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o4 RECTOMS aChER'S MEDI ABVAL ARCHITECTURE, 
 
 where this intersects a vertical the centre of gravity of ti icaded cleer- 
 story wall (Fig. 212) ct the nave of a church, the thrustacoubines with the 
 weight G cf cleerstory wall in @ new resultant taking the direction 2 tb, 
 and which may not fall outside the cuilding, since overthrow, sliding or 
 crushing of the masonry would result. It will then te received Ly the 
 buttress and transmitted to the ground.. ince the line of support may not 
 too closely approach the outer liwit of ithe Luttreses, tc net expose tre 
 building material tc too great pressure, projecting causes are wk Prorriete. 
 It from ¢ a straight Jine o d ke drawn parallel to ak, such a buttress wo- 
 uld suffice to receive the line of support. Gut it the uPper horizontal 
 courses of the buttress are exFosed to horizontal sliding, the clearsvor: 
 wolls ere scarcely ensured egainst wind pressure. Sicdiaevel architecture 
 
 theretore diminished buttresses uPwards by offsets te load the buttrsss alcove 
 
 the acplicaticn of Lhe thrust snd to ensure clearstory walls against besi- 
 
 ing. Buttresses cf 11 century in Isle-de-France, ChamPagne, and burgundy, 
 
 hove usually two cr three offsets, are sloped at their uPper ends and resi 
 
 on a base with several projecting offsets. sSuttresses in Bormendy, as on 
 
 the fecade ef the Church of 8 Etienne at Caen, have no offsets and the 
 
 base has several offsets projecting only in front (V-l-luc, 1V-282). 
 Finnacles ot buttresses, 
 
 The weight cf clearstory wall end of the pinnacles of buttresses then di- 
 minishes the Projection of the Luttress, or increaswse the angle a Letwoer, 
 the line of -suppert within the buttress and a horizontal, according as this 
 weight ineresses, Gothic therefore introduced pinnacles, or finials, ec 
 heavy messes in form of small towers or canopies Over statues, Supported 
 iy columns, or entirely solid, ending in a spire decorated ty crockets and 
 cross-flowers. 
 
 Upper Tersinations of Barly French buttresses, 
 The clder French buttresses generally terminetc beneath the main cornice 
 
 end cither wereiy strengthen the wells of churches with herizentsl ceilings, © 
 
 ond are then even Perforated by windows, as in the Churches at o.° Laurent 
 rear Faleise and at tontgoroult ond Ecajeul near Mezidor (V-l-bue, l¥-28¢- 
 £87), or strengthen the ealis of vaulted churches. They ore sometines di- 
 rectly connected with the main cernice, against which they end vertically, 
 or their uPker wash otuts against the Projection of the cornice, ag at Kore 
 tgaroult, or they ure connected with the main cornice Ly small half colduane, 
 as on the Clurch cf 5. Etienne at Beauvois (12 century; V-l-Duc, IV-265), 
 buttresses also occur in France with edges mculded Ly rounds between hol- 
 lows and a wash is like.a shed roof, deccrated Ly patterns like roof tiles 
 (V-1-Duc, IV-283), as at 5. Evremont at Creille. Cx Barly Gothic Buildines 
 
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 ene Aah ae ee 
 vite be ay 
 
 ee muding, ‘(deueis ‘bas AR, a 8 qin: Jagex 7. ed) $60 te ae’ a¢ode sidd Yo. 
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 ‘eaos omen’ tahun, ven sent ge apne, $e; ARATAeQS awiis,: eanih tied. 
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 25 KEDIENGACHBR'S MEDIAEVAL ARCHITECTURE. 
 in Germany, the main cornice is sometimes bLrcoken earcund the tuttress, the 
 upper wash teing entirely omitted, os on the Lietfrauen Church at Treves, 
 or this abuts against the Perapet gallery cf the roof end therely ensures 
 this against falling. 
 Front Cffsets of buttresses. | 
 
 For normal buttresses in Gothic, the upper shaft is cf square section, 
 end the lower projects rather more than the diagonel of the square, the cri- 
 set of the buttress Leing Placed at akcut the height bt (Fig. ra 2 Re 
 line drawn through the Point c of the tase and Parsilel tone it should not 
 Le crossed by any other parts, or the line of support would otherwiseep- 
 proach too closely to the outside of the tuttress, and the tuilding mater- 
 ial would te subjected at that point te tco great pressure, 
 
 Whatever is taken away below t must be rePleced Ly heavier loading of the 
 wuttress or by increased projection at the bese c, in case its weight is 
 to be retained. If the buttress terminate beneath the Principle cornic., 
 this will of itself determine whether its uPper portion is to Le long or 
 short; if another memter be added avove the base, the lecation of the ear 
 moulding beneath the windows is the best place. This member may te treat- 
 ed as a were moulding rie 216, right), or may te connected with another... 
 offset (Fig. @1¢, left). For very tall buttresses, one or more intermed 
 
 iate offsets are inserted, whose distances from each other generally varyj:. 
 and arranged at Points where a horizontal appears desirable; tut it cfisets. . 
 
 in buttresses were avoided, where the architecture was itseli subdivided 
 ty horizontal members, not allowed to dominate the whole. buttresses with’ 
 numerous offsets or with horizontal breaks are found cn the oe ee in 
 Peris, on the Church at Vetheuil near Mantes (V-1-Duc, IV-2e¢, © 297) | 
 on many towers, as on the Church of S, Blisabeth at Marburg and on ee Love 
 er of the Cathedral at Freiburg. 
 
 Openings in buttresses. 
 
 Fig, e1£, right, shews that openings may be made through the buttress out- 
 side the line of Pressure of the arch without danger, and if here, an ideal 
 section of a church be assumed with two rows of windows alove each other, 
 openings may be made above the Lase at 4, and above the upper and lower carp 
 mouldings at B and ©.. Such openings were much used in Gothic as Passages, 
 and in connection with continuous galleries-. 
 
 64, Details of Buttresses.. 
 
 For the details of Luttresses, we shall first examine their wash, offsets, 
 mouldings, then openings through them, and lastdy their ubper terminations. 
 
 wash at Offsets of buttresses. 
 
 SimPle inclined buttresses with a wash of varied inclination at top, es * 
 
 (( 
 
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S¢é REDIENEACHER'S MaDIssVAL ARCHITsCTURE, 
 pecially appropriate for Luildings of utility, were seldom used in the mid- 
 dle ages, though found on the Chapter Hall of the Cathedral at went (Fig. 
 218). Bqually rare are vuttresses ending in very long and steep slopes 
 without a projecting wash, as on the choir of the Church at Pfaffenheim ( 
 Figs. 214, 215; Lubke - 407). buttresses with very long slopes ending in 
 a wash projecting at both front and sides are found in French narly Gethic 
 tuildings, as on the choir chapels of the Cathedral at Le mans (1220; V-i- 
 Luc, IV-298). 
 side Offets cf buttresses. 
 
 Side offsets were necessarily much smaller, as on the téautiful Luttress- 
 es of the Cathedral at Bonn (1821), connected with the cldest flying Lutt- 
 resses in Germany (Beit. TAf. 48, Fig.1.). 
 
 Profiles of Cffsets, Drips and Corbels. 
 
 The mouldings of tuttresses are arranged in sccordance with the develop- 
 ment of the style at that time, and with whether they are Lroken around the 
 buttress as continuations of the cap mouldings. The water drip cf the sia- 
 plest form is treated as in Fig. ¢16; example ais trom the Deutsches Chure 
 at wirzburg, b cecurs in the Church at hirgenach, and o is extensively em 
 ployed. Late Gothic usually curves the drip es at d. The water drip, sup- 
 ported by separate lower mouldings, occurs on the Church of &. Ulrich at 
 Regensburg as at e (Teplernent. lat. St Pager eee £1). 
 
 If cap mouldings are broken around buttresses with large offsets, their 
 wash is usually inclined at an angle of 45, while the wash of the offset 
 of the buttress is steeper as at f; the wash is then sometimes replaced 
 by mouldings, as on the Church of 5. Leonhard at Frankfurt-a-k, at 1 (beit. 
 Taf, 48, Fig. 11). A second example from the same church (beit. Taf. 27, 
 Fig. £2), in order to permit passage, shows the foot of the Lutiress limit- 
 ed and the moulding supported Ly cortels. txamples of limitation cf kut- 
 tresses are found on the Cathedral at Regenskurg (Beit. Taf. 27, Fig. 3), 
 to afford light to windows of choir chapels. buttresses projected from 
 the wall only at a consideratle height above the floor, to permit passage, 
 as on the Cathedrals at Maissen and at Passau, where they indeed lost their 
 purpose and were merely retained for consistency; they were then supported 
 ky flying buttresses abutting against the adjoining building, as on the 
 choir cf the Monastery at Lichtenthal near baden (Fig. 217). 
 
 The cap moulding was sometimes Lroken upwards on the face cf the buttress 
 to receive and enclose a tablet for sculpture, as cn the Cathedral at Gen- 
 eva (beit. Taf. 48, Fig. 9), and on the Church of 3. Loreng at Nuremberg 
 (Heit. Taf. 48F. 10). Variations of offsets of buttresses are shown in 
 
Tee te Lee yO le eid ed teat d (ory Se 
 ow. Bure es vr 
 
 7 J 
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o7, REDIENBACHER'S MEDIAnVAL ARCHITECTURE. 
 Figs. 218, 219. More complex forms occur on the Cathedral at Laon (Fig. 
 220). Late Gothic loved to enrich offsets of buttresses by parts set diag- 
 
 onally (Fig. 221), and the test period liked to load them with the orna- 
 mental features developed in the treatment of pinnacles. 
 Passages through Buttresses. 
 
 Passages at the height of the base are employed in the finest way on the 
 Cathedral at Regensburg. Openings at the level of the cap moulding are 
 sometimes arranged so that the passage is treated as merely provisional; 
 then corbels are tuilt in (Fig. 222), on which Leams may Le laid during 
 necessary repairs, as on the choir of the Church of 65. Burkhard at wurz- 
 
 urg (Beit. Taf. 59, Figs. 1, 2), or the buttresses are connected Ly a wall 
 up to the cap moulding (Fig. 823), on which may te laid planks, as on the 
 choir of the Church of Capuchins at Wiener-Neustadt. Yet passages are 
 usually produced by dropping back the wall (Fig. 224), as on the Church of 
 5S, Blisabeth at Marburg. 
 Apper Ends of Buttresses. 
 
 as for upper ends of buttresses, the simplest form is the shed roof, 
 where according to the slope, beds of the stones are horizontal (Figs. 226, 
 227) or are perpendicular to the slope (Fig. 225). For a slightly inclin- 
 ed wash, the jointing may be so arranged that its surface consists of a 
 stone slat (Fig. 228), construction not to be recommended, on account of 
 the penetration of water into the joints. 
 
 To project the side surfaces of the Luttress, the moulding of the drip 
 may likewise extend along the sides of the wash (Fig. 220). The drip may 
 also extend horizontally around the buttress (Pig. 220), so that the mould- 
 ing on the ends of the wash dies on the horizontal moulding. The combinat- 
 ion of this with earlier arrangements retains this form at angles and omits 
 the horizontal moulding at the sides of the buttress (Fig. 231). Horizont- 
 al and inclined mouldings may have different profiles, so that the former 
 may serve es a corbelling for the latter (Fig. 222). 
 
 The other mode of covering the buttress, most used in the middle ages, is 
 Ly a gable. (Pig. 228). Very old examples are found on the Cloister at Maul- 
 bronn about 1280 (Beit. Taf. 48, Fig. 2), and on the Church at &brach near 
 Bamberg. The acute angle of this gable was usually replaced by a round in 
 the earlier period, or in examples from Maulbronn and Ekrach by a Fleur-—de- 
 lis section (Fig. 234), whose width corresponds to that of the-prismatic 
 stone block. 
 
 If the shed roof be combined with the gable, a favorite form in Gothic is 
 produced (Figs. 286,286), where shed and gable may have the same or differ- 
 ent inclinations and corresponding heights; if their washes are moulded, 
 
tao Doron tues wiivooy 
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e& REDTENBACHER'S MaDIAnVAL ARCHITBOTURE. 
 
 eculiar acute intersections (Fig. 237) of the mouldings result, executed 
 in stone with difficulty and also look ugly. These may be avoided if the 
 stone joints below the wash are transferred upwards from a to b; tut the 
 wash with its cut-off angles would then look tadly. The interval a b is 
 then generally utilized in Early Gothic for a corner leaf-bud (Fig. 229 
 
 cr some othe sculpture, or a crocket in Late Gothic, against which the mould- 
 ings stop; by returning the moulding around it, the corner is also changed 
 into a corbel against which the mouldings abut (Fig. 240, left); these cor- 
 Lels may then te treated as a continucus molding, sometimes identical with 
 thet of the gable or shed roof, sometimes not so (Fig. 240, right). 
 
 The upper surface of the gable or shed root is generally plain in German 
 work, Lut in French is covered by a scale pattern, imitated from roof slates 
 or tiles (Fig. 241), and in English Luildings it is stepped with several 
 drops (Fig. £42), Viollet-le-Duc gives a collection of such scale patterns 
 (V-100 et seq). A connection of upper parts of two buttresses Ly an arch 
 fer supporting a tower is found in the Church of the Capuchins at wWiener- 
 Neustadt. . 
 
 Connection of Pinnacles with Gutter and kiain Cornice. 
 
 an iuportent part is played Ly pinnacles, if they are connected with gut-. 
 ters und outlet openings of the mein cornice. The discharge channel is 
 woct sinply connected with the Luttress ty a corbel, es on the Church of 
 S. Katharine at Oppenheim (Beit. Taf.“48, Fig. &), or this channel is sup- 
 crted above the wash on the buttress by a short plier, wider or narrower 
 han the channel itself, as on the Church at Wetter. If the spout be very 
 long for a strongly projecting buttress, it is also supported Ly a small 
 sepurate column set on the gablet of the buttress; thus at the Church of 
 3. Stefan and the destrcyed Liekfrauen Church at tentz (Ungew. Taf. 28, 
 
 Fig. 880 a) and on the Church at Cestrich in Rheingau (Beit. Tef. 43, Fig. 
 This column is also replaced ty a pinnacle, through which the channel 
 passes to lead the water to a special gargoyle, as on 0, benigne at Dijon 
 (Ungew. Taf. 28, Fig. @6C b). On Barly Gothic churches, the main cornice 
 freguently extends eround the buttress and forms a basin, which collects 
 the water and discharges it through a spout, as on the Liebfrauen Church 
 at Treves and on the Church of 5 flisabeth at Marburg. The basin is some- 
 times divided, and the water teing discharged through two gargoyles set | 
 diagonally, as on the 5. Chapelle in Paris, 
 
 é5, Pinnacles, General. 
 
 As loading masses, pinnacles occur early in the middle ages with the same 
 purpose as loads at the ends of pediments in all earlier architecturel per- 
 iods; among the coldest known are those of the Collegiate Church at Poissy 
 
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REDISNEACHER'S MEDIARVAL ARCHITECTURE, 
 
 (V-1-Duc, VII-177) (beg. of 12 century); also a very old example on the 
 towers of choir of Cathedral at wirzburg. The motive of the pinnacle is 
 always the tower, rising above an open or closed structure and it is devel- 
 oped more or less as a tower; thus on the Hall of the Synod at Sens (V- 
 1-Duc, VII-8184, Fig. 7 b; 1250), and the transept gakle turrets on Cath- 
 edral at Meissen (1266-1298; beit. Taf. 45, Figs. 1,2). as loading abut- 
 nents of the flying buttress, the pinnacles play apart still more import- 
 ant, than that of loading the buttress. 
 
 The simplest form of pinnacle is always a square or polygonal portion, 
 calied the body in the middle ages, ending Lelow with a horizontal cornice 
 with cr without gablets, and crowned by a slender spire, termed the final 
 in the middle ages. The body is always either a solid nucleus, plain or 
 
 s decorated by blind windows, or is perforated, so that the angles tecone 
 the supports of a canopy into which the upper parts of the open windows 
 
 tu @] 
 
 t- 
 
 are transformed. 
 
 The horizontal cornice is treated like a main cornice at reduced scale, 
 end is sometimes adorned by battlements, like the examples from Meissen 
 and sens. Gablets are imitated from gaties of towers with their window 
 openings, and spires are like those of towers. Gaklets and final are crown- 
 ed by buds with longer or shorter stalks, as in an example from Meissen, 
 
 For the ratios of height of final and of its subdivisions, definite rules 
 cannot be given, as these depend on individual cases. The required loading 
 generally fixes the height, and the ratio of the spire to the tody first 
 depends on the requirement, that the wind must not overthrow the pinnacle 
 under the wost unfavorable conditicns. 
 
 If the ratio of weights of body of pinnacle and of its spire be computed, 
 the weight of spire is to that of the body as 1: 3, for equal sreas cf base © 
 and heights, cr the volume of a pyramid te that of a prism having equal 
 sides and altitudes. If the spire must have the same weight as the body, 
 then must its altitude Le three times that of the cody. 
 
 Thus heavy pinnecles require a tall Lody, since its weight is but little 
 increased ty an increased height cf spire; light pinnacles serving for orn- 
 oment, may have relatively tall spires. For conditions of stability of 
 pinnacle against wind pressure, its loading first comes into consideration, 
 The pinnacle will ke more stable, the lower its centre of gravity, Lut the 
 lower the pinnacle, the greater must be its weight and area of tase. wind 
 cpressure may usually Le resisted ty cramps and joggles and may be neglect- 
 ed, 
 
 Construction of Pinnacles. 
 Proportions of details of the pinnacle partly result from its magnitude 
 
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 he 
 
100 REDTSNSACHER'S MEDI AnVAL ARCHITECTURE. 
 and partly from the heights cf courses of stone. If we assume a = 1.¢4 ft, 
 (Fig. 243), making the spire h' = 7 a and the body = & a, for courses of 
 stone 1.64 ft. high, we have 6.20 ft. height of body and 11.47 ft. height 
 of spire, with 5 courses in body and 7 in spire. But the upper part of 
 the pinnacle with the cross-flower are usually cut from a single block; 
 therefore 10 courses of stone at most will form the entire height of the 
 pinnacle up to the cross-flower, and this with necking and knok ere set 
 instead of the two upper courses. | 
 The top course will end in a point, which could not be cut and would look 
 bad; therefore a certain top width is always assigned to a spire, either 
 terminating in,horizontal plane or the spire ends in a blunt pyramid (Fig. 
 244): whose junction may be at the height a b. an absolute law in archi- 
 tecture requires the crowning of all free-ending architectural members; 
 the projection of the free-ending crown is fixed by the width of the Leody 
 of pinnacle. f#arly Gothic permitted the pinnacle tc end with a flower, 
 not wider than the topmost stone brick, and whose height with or without 
 necking and knob was fixed by two equilateral triangles, or better Ly two 
 squares on account of perspective fore-shortening, inscribed in the out- 
 line of the stone tlock. 3 
 For smaller finials, the entire spire and body ae en nena or each part 
 separately, was cut from a block cf svene; the projection of the crcss-flow- 
 er was then arranged according to the dimensions cf the Llock. Proportions 
 ‘requently vary; thus for the pinnacles cf the 5. Chapelle at Paris, the 
 height of the body cf the pinnacle equals its width a, that of the spire 
 is 4 a, making the total height with cross-flower 5 a, that of the cross- 
 flower alone teing a. For the pinnacles of the Church at Friedterg, h' is 
 
 5 a, or 4 a withcut cross-flower and necking. 
 
 “+ 
 b 
 
 , 
 he angles of the pyramid were already in early Gothic ornamented ty angls- 
 
 1 
 
 flowers or crockets, whose projection was again fixed Ly the tlocks from 
 which the separate stcnes of the pyramid were cut (Fig. 246, plan); te each 
 course of stone corresponds a crocket, and therefore the steeper the pyremid, 
 the less the crockets project, or the less steep, the more they project. 
 Gablets at base cf pyramid were first made equilateral, or with base equal 
 to altitude; later, they were usually higher, about the diagonal of square 
 of the base. They were likewise crowned by crockets, cross-flowers or knots, 
 and their total width fixed the projection of the cross-flower or spire. 
 
 Tf the pinnacle te narrower than the height of the course of stone, and if 
 
 4 b is the joint between spire and Lody, a lower point is taken as the low- 
 er end of the pyramid (Fig. 246), so that b & equals or is less than b c. 
 
 The gablet then projects about 1-¢ of the width a. The height of the gar- 
 
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Pitt 
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401 REDTENBACHGR'S NeDIAEVAL ARCHITECTURE, 
 let with cross-flower and knob will then equal twice the height of the e- 
 quilateral triangle with side a, or is equal to diagonal of square descrit- 
 ed on a; all these dimensions of pinnecles possess only relative value, 
 like the theories of Rorizer and Lacher, preserved from the middle ages. 
 Rules by Rorizer and Lacher. 
 
 The "Little Eook of the True Pinnacle” by Rorizer, Cathedral architect 
 at Eegensourg, is printed with Retchensperger's minor writings, and gives 
 the following rules. If abt be the width cf base of pinnacle, then dimens- 
 ions of all details of pinnacle are given Ly the quadrature (Fig. 247), 
 when within the square on ab is PH eee ve the diagonal square ed, and with- 
 quare with a side 1/2 abt, in this a square with side 1/2 
 
 tH 
 
 in this again a 
 ¢ d, etc. In the plan (Fig. 248), ¢ d is the width of the Lody of the pin- 
 nacle , 1-2 ab is that of the panel of Llind tracery. The prolongation 
 the side 1-2 at to the line c d fixes the total width of the tand c é, 
 
 and the prolongation of the side 1-¢ e d gives the width e f of the cove. 
 The diagonal e e of the corner band gives the width, and the basal square 
 ab gives. the projection of the crockets of the spire, as well as those 
 of the base and of the gablet. 
 ~ The heignt of the pinnacle including the base is 6 at, and that of the 
 spire is 7 ab. The width e f of the cove of the blind tracery is taken 
 on the width of the top end of the spire, and the héight of the gatlet is 
 ab. The gablet moulding is drawn parallel to its sides, and the width 
 of this again equals the breadth of the Land ce. by extending the inner 
 lines of the gablet, the points h i are found cn the lower width of the 
 patlet finial; this has the same height as the gatlet, and the dimensions 
 of its knob are fixed by the width c e of the angle tand of the pinnacle. 
 The height of the crockets equal their width, the lowest commences the spire 
 and receives the gablet moulding. The width of the cross-flower of the 7 
 spire (Fig. £50) is abt, its height with stem is 2 ab, witheut stem i/c 
 od. Its knoi rises about @ e+ ef above the upper end cf the stem, and 
 like the neek woulding, its height is 2/3 the height of the cross-flewer. 
 The totul width of the knob is 1/2 ab and that of the neck moulding is 
 cd. Six croekets are spaced between necking and base of spire 
 
 In Lacher's “Instruction”, likewise printed in Reichensperger’s minor 
 writings, & a each for body and spire of the pinnacle are termed "new pro- 
 portions", and 7 a leing alse recommended for tody and & at for spire. 
 all rules by Rorizer and Lacher are only suitalle for smal] purely orna- 
 mental works of Later Gothic, and must. first agree with the quality of stone. 
 The basis of the rules of Rorizer end Lacher is évident, if we remember 
 that all dimensions are so fixed, that spire es’ well as Lody of the pin- 
 
on , elgate’ 7 nox’ “que. my; “ao Pyne 
 
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102 REDTENSACHER'S MEDIAEVAL ARCHITECTURE 
 nacle can te cut from a single stone, that account ke Lanes of fore-snort- 
 ening and diagonal setting of the pinnacle, and that esthetic effect be 
 never forgotten. (Crockets and cross-flowers, Taf. 1, Figs. 1 to 18). Ear- 
 ly Gothic generally gave the cross-flower less width than the body of the 
 pinnacle,’ 
 
 6é, Details of Pinnacles. 
 
 For further details of treatment of pinnacles, stems and knobs of cross- 
 flowers and those of gablets are generally of octagonal shape, and the up- 
 per part of spire beneath neck moulding and above the last crocket is like- 
 wise octagonal (Fig. 250), or the entire angle of the spire is chamfered, 
 so that the crockets are not attached to a sharp angle, but to a plane. 
 
 & horizontal moulding is sometimes placed tetween Lody and spire, so that 
 the gaklets rest on it. 
 
 angles are very rarely without crockets, and this is only justifiacle 
 for very small pinnacles (S. Urbain at Troyes, 1290). Crockets are gener+ 
 ally spaced according to number of courses of stone, and are nore numer- 
 ous and set closer in Early, than in Later Gothic. Distance of topmost - 
 crocket from neck moulding usually equals the distances between other crock- 
 ets, but is rarely greater. A separate Land is sometimes arranged along 
 the engles of the spires of towers, as on many French churches; then the 
 surface of the spire of the pinnacle is decorated by scale patterns cr blind 
 tracery; these angle bands are then sometimes rounds terminating beneath 
 the neck moulding, giving oppurtunity to make this of quatrefoil forn. 
 
 Yhe first wxamples are afforde by the great Cathedralé at Rheims, which 
 also show an ottagonal spire surrounded Ly four smaller spires. Octagonal: 
 pinnacles are rare; regular or irregular hexzgonal pinnacles (Fig. 251) are 
 also rarely employed,. as on the Cathedral at Frankfurt-a-\k. everything said 
 of details of pinnacles also applies to richer Luttress gablets with crock- 
 ets and cross-flowers. 
 
 The surfaces of the body of the pinnacle are chiefly decorated by b1iHa 
 tracdry, which in richer forms those of large dimensions exhibits all the 
 characteristics, of window tracery; angles then usually have small columns 
 (Fig. 262) with separate capitals and bases, whith frequently support smell- 
 er angle pinnacles, these treated in accordance with rules already given, 
 and sometimes connected by tracery balustrades, as on the choir of Notre 
 Dame at Paris (120¢). If Luttresses are ornamented by open structures like 
 pinnacles, or pinnacles are treated like canopies over statues, the canop- 
 jes have vaults of any form derived from groin or star vault. 
 
 Reduction of Weight of Pinnacle. 
 The pinnacle is usually made lighter in the late middle ages Ly hcllow- 
 
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408 | WUDPENBACHER'S MEDIARVAL aRCHITECTURS 
 ing out Loth the bedy (Fig. e652, lef e) and spire of the pinnacle, or Jike 
 the pinnacles of the choir of the Cathedral at Regensburg, by partial per- 
 forabion ct the tlind tracery panel (Fig. 252, right; beit.tTaf. 45, Figs, 
 2 4), The late middie ages also curved the forms cf gatlets and of spire 
 of the ginnacle, a treatment depending on the development of the gable. 
 Curved Luttress gablets are found on the choir et Elrach (akout 1240). 
 Sonnection of Pinnacle with buttress end Main Cernice. 
 
 “we here triefly consider the connection of the cinnacle with the buttress, 
 
 It the pianecle has the seme thickness as the Luttress, it then rests di- 
 
 reetly on its wash with or without a Lase, or if this te at the height of 
 the main cornice, which is broken nd it, the pinnacle torms the pro- 
 
 ct 
 
 e rou 
 er continuation of the Lultress. fe the main cornice is connected with 
 
 4 
 
 arcede balustrades, the body of the pinnacie then has at least the height 
 
 v 
 of the balustrede, whose endings are worked on it (Fig. 2&4 a), or separ- 
 canels are inserted -tetween the pinnacles (Fig. £54 b). The pinnacle 
 sometimes stanas cutside the balustrade (Fig. 254 c); in all three cases 
 the horizontel mouldings of the Lalustrade stop against the Lody of the 
 cinnscie or are Lroken arcund it. ‘The height of the Lody cf the pinnacle 
 aLove the Lalustrade eyguals the side or diagonal of the basal square, or 
 sometimes the upper edge of the Lalustrade is taken as the Lottom line of 
 ithe Eling arches decorating the Lody cf the pinnacle If pinnacles oceur 
 in coxLinetion with gablets, as on portals, spires of towers, and purely 
 Crnawental works, its height must be ‘hade to accord with the height of the 
 eablet. Then for structural or esthetic reasons, this will te made high- 
 er, lower, or of the same height es the garlet. 
 f ts of the Luttress are usuelly decorated ty pinnacles, sometimes 
 sometimes diagonally. Especially fer richer angle bLuttress- 
 ic towers (Fis. 255), these developments of Einnacles are treat- 
 
 rh 
 —) 
 ~~ 
 
 ed in Sait nee with freely aspiring canopies, crriamental gargoyles, ccr- 
 sels for statues, sometimes with perforated, sonmetines with solid todies 
 of pinnacles, forming masterp#eces of stone-cutting, and such pinnacles 
 ere even developed in centralized arrengcement as detached works, such as 
 fountains, memorizl gillers, pyxes, etc. 
 
 é?, Flying buttress. 
 
 For churches with side aisles, as in Lasilicas with one or more aisles, 
 the line cf support of vault of centre aisle must either remain within the 
 cier supporting the clearstory wall, which therefore requires strengthen- 
 ing next the side aisles, or a flying buttrees must Le arranged at the point 
 
 (Fig. 262), at which the line of pressure cuts 2 vertical through the 
 centre of eee of clearstory wall, tc oppose the thrust of the vault 
 
 ra 
 
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164 RELTENBAQHER' MEDIAEVAL ARCHITECTURE. 
 of the esntre ecisle at the point » enother thrust, therety foroing the main 
 ling of support towards {he axsis of the pier, This flying buttress is 
 frequently concealed Leneath the roof (Fig, 263, left), tut usuelly appeare 
 ulove it os a free arehdteetural member treeted with al] Gothic charaetere 
 isties, serves tor stru¢tural purposes, and also to conduct rain water away 
 trom the roof of the middle eisle, The erch alucst always supports an in- 
 Glined strut, which supports the portion of the wall above the springing if 
 of the veult and is generally finished as a channel tor weter, Cnly ex- : 
 ceptionally, as on the Church cf &, dacch at Rothenkurg, are these arches 
 arcanged without inclined struts; the flying tuttress thensprings from the 
 ctearstory well like a great ray and descends as » powerful opeh down up- 
 on offset of the Luttress. 
 marliest lying buttresses in France and Germany. 
 
 The oldest flying buttresses on the exteriors of tuildings are those of 
 3. Eemy at Rheims, (second half of the 12 century) (V-l-Duc, I-é2), and 
 the oldest in Germany are those of the Cathedral at conn (about 1221). Thege C 
 correspond to the lecation at which the thrust made itself felt. The line 
 of pressure of the vault leaves the clearstory wall at a mathematical point 
 (Fiz. a 267), and it tends to push outwards the entire part ab of the 
 clearstcry wall up to the mid-height of the vault or if the weight of the 
 reof be too great, to bend it outwards. | 
 
 Fiying buttresses of French Cathedrals. 
 
 If a wooden timber te placed egainst the wall from a to b and this be 
 stayed against a sclid abutment by two wooden struts, the thrust between 
 a and b would be completely resisted. Translated into stone construction, 
 this protlem would be solved as in the choir of the Cathedral at Soisscns 
 in the beginning of the 1¢ century, where a pilaster projects from the wall 
 end two flying Luttresses abut against this, their other resting on a mas- 
 sive buttress (Fig. 257; V-l-Duc, 1-862). The flying buttress then resists 
 the thrust of the vault by the weight of its voussoirs, its coping loads 
 it, conducts away water, and forms a direct strut against the clearstory 
 wali, The skew-back against which the flying buttress rests, was in Early 
 Gothic supported Ly small columns, as in an example from Soissons. On the co 
 Cathedral at Amiens with the same arrangement, the coping of the upper fly- 
 ing buttress is formed as a water channel, and the same flying buttress 
 is decorated by ercckets. 
 
 In excepticnal cases, as on the Cathedral at Chertres with unusually thick 
 vaults (1.20 ft.) and heavy proportions, two flying buttresses are connect- 
 ed by radially set columns (Fig. 257, right), the upper flying buttress 
 merely serving to load the lower one (V-l-Duc, I-@5). The tendency of Goth 
 
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105 RGUTENLACKER'S warlagkVaL ARCHITECTURE. 
 ic to lessen weight in its entire system as inuch as possible ied to making 
 the flying buttress as light as possible; this was first done by not mak- 
 ing it a round arch Lut peinted. This lessened the load on the pier of 
 the mbddle aisle and also secured preater stability of the arch, since the 
 jine of support approximated more closely to the middle line of the point- 
 ed, than that of the round arch, and for equal spans the pointed earch had 
 2 smaller thrust, end its ccping sore strongly opposed as a strut the thrust 
 cf the vault of the centre aisle, tnan the pressure of the erch itself, 
 which merely supported this strut. 
 The dcuile flying Luttress now Lece 
 entirely free from the arch (Fig. 25€, left), ana they were connected Ly 
 en tracery; first in the Cathedral at Amiens skout 1280 (V-l-Buc, I-72). 
 is trecery supported the strut, but did not suffice as a loading, espec- 
 ially when the flying Luttresses of the choir had to oppose not only the 
 thrust of single, Lut of two ribs, besides that of the main arches, to neu- 
 tralize this thrust;therefore a strut was placed atove the arch and strong- 
 ly connected with it, sufficient for the requirements, and Ly open tracery: 
 Supporting a second lighter strut, especially serving as a water channel 
 (Pig. £58, right), as on the choir of the Church at fu and on the Cathedral 
 at Troyes, from 16 century (V-l-Duc, I-73, 77). | 
 as tuilding materials eaployed very.,hard stones, basalt, granite, and 
 hard limestone, so that struts and flying Luttresses could be made of the 
 
 me indispensaLle to maxe this strut 
 
 smaliest dimensions (V-i-Duc, I-75,72@; examples from Clermont Ferrand, Ner- 
 bonne, and from & Urbain at Troyes). 
 88. cetail Forms of Flying Buttresses. 
 Connection with Clearstory nalls. 
 
 as to details of forms of the flying buttress, since the thrust of the 
 vaults of the centre aisle enters the flying buttress et a (Fig. 289), the 
 pertion tetween. it and the strut may te perforated, as Ly cusped quatrefoils 
 on the Cathedrals at Freiburg and Strasturg. 
 
 baternel and sided Passages. 
 
 Since wali piers supporting the vaults and clearstory walls could Le par- 
 tislly relieved of their loads, an cpening could Le made through the pier 
 itself below the point a (Fig. 280), providing an internal passage around 
 the ¢hurch; this was rarely placed above the springing of the compartment 
 of the vault (Fig. 281), as in the Church at Harderwyck in Holland. The 
 flying buttress further rested directly against the clearstory wall or against 
 s pilaster, interrupted ty: a small column in early Gothic, es on the Cath- 
 edral at Feikurg (Ungew. Taf. 36, Fig. 728). Between this column and the 
 wall then was naturally an external passage around the church (Fig. 2@2), 
 
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106 RBEDTBNEACHSR'S MeDIa«nVal ARCHITECTURE, 
 i¢ the clearstory wall was set flush inside, as in many German and French 
 tmildings. With internal passages, these cccur on the outside (Fig, 2é2), 
 then omitted when the width of the windew is ecnsideraliy less than the 
 clear width between buttresses, ond then spanned Ly simple arches, as on 
 the Church ct 3. Ulrich at Regensburg (Fig. 2@8). 
 
 Bor churches whose windows cecupy nearly the entire width between the 
 Luttresses, the clearstcry walls may Le reduced to their least thickness 
 by intreducing clearstory windows, and their thickness at tog required fer 
 gutter and principal cornice will then te obtained ty cortelling (Fig. 224), 
 as on any churches in holland. 
 
 Channel for water. 
 
 as tor removal of water ty flying Luttresses, these sometimes suprort 
 et their upper ends short hollow columns as pipes, through which the water 
 runs from the gutter of main ccrnice to the channel of the flying buttress, 
 These pipes sometimes end in gargeyles, as on the Cethedrals at amiens and 
 at Strestur,; (V-1-bue, VI-24). The channel in the copine cf the fiyving 
 Luttress is open, rawely a closed tube, as on the Cathedral at Feiturs (Fig. 
 285). The latter is not advisatle cecause exusily gclogeed. Instead of 
 hollow columns to conduct water to the channels, open channels are prefer- 
 atle, as on the Cathedral at Regensburg, a seperate grooved piece is in- 
 serted tetween the gutter and the channe] of the flying buttress, as cn the 
 Sathedral at Auxerre ie Taf. 2¢, Figlevss; V-i-pue; Ivete 
 
 Channels of flying buttresses extend through the Luttresses cf the side 
 aisles and end in mn are or end at the back of the Luttress in two pipes 
 at rizht angles, and the water passes through these into the gutters cf the 
 side aisles, og on the Cathedral at Regensburg. The latter also retains 
 crockets even with channels, if they are divided or perfcrated at their 
 Lases, as on the Cathedral at Cologne. In French buiidings channels ere 
 
 mostly without crockets. Sections of flying Luttresses are rectangular 
 
 mn 
 
 or sometimes richly moulded on the lower side (Fig. €@2), os at Oppenheia 
 and Cologne, and on tower of Cathedral at Frankfurt-a-h (Fig. 287); on the 
 Chureh of 3. fusetius at Arnheim, the tucks cf the choir struts are of curv- 
 ed form (Fig. 288), and also the flying kuttresecs of the nave of the same- 
 Charch (Fig. 239), and the flying tuttresses of the choir of the Church 
 of & Nicolss at Kampen are strengthened on Lacks and sides by mouldings 
 (fig, 270). 
 A Projection at Top of Flying buttress. 
 
 The block against which the flying Luttress abuts in the earlier period 
 
 wikile still a quadrant, ended in a vertical joint (Fig. 271), or in an o- 
 
 EU Z): 
 
 tbligque joint for a pointed arch (Fig. 272); the moulding of the sides of 
 
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107 RECTBNBACHBR'S MavlagVaL ARCHITECTURE, 
 
 the flying Luttress stops against this (Fiz. €71) or returns vertically 
 
 downwards (Fig, £72), as on the Church of 5. Katharine at Oppenheim and 
 
 the Cathedral atl Cologne. These aLutment Llocks were sometimes in form 
 
 cf special canopies, as on the Cathedrals at Cologne and et beauvais (V- 
 
 l-Duc, IV-1€4). wall tuttresses against which flying buttresses ebut ( 
 
 or if these are wanting, the projections of the flying buttresses against 
 
 the clearstory walls) were usually loaded ty small tuttresses, around which 
 
 the main cornice was broken, and ended in pinnacles Letween Lalusirades. 
 Projection at base of Flying Suttress. 
 
 The Luttress projections of side aisles, against which abut flying but- 
 tresses, are heavy masses, against which the main cornice atuts cr is Lreken 
 around; a passage is usually formed through their lower ends, and they ter- 
 mintate at top in a shed-roof form, or have several otfsets with gatlets 
 or wash, with or without ornamental accescries,like the treatment of the 
 Luttress and of the pinnacie canopy. In older French cathedrals, the cor- 
 ing moulding cf the flying buttress sometines extends over the tuttress 
 and ends in a cross-flower, or gargoyle, if it has ea channel], as on the up- 
 per part of the Cathedral at &. Denis, built under St.. Louis {VY-l-iuc, i-22). 
 
 The heavier these buttress projections, the more in accoraance with the | 
 parallellogram of forces would the thrust of the flying Luttress, which 
 combined at a (Fig. 278) with its weight to torn oa babe incel gg forced 
 tewards the interior of the Lutiress, so that the projection of the akutment 
 would be lessened. This projection would be further reduced, if es in Fiz. 
 274° the centre of gravity cf the abutment were moved Lack by moving the 
 pinnacle towards the vertical axsis di the vault, us well as the intersec- 
 tion a of the line of support of the flying Lutress with the vertical axis 
 through the centre of gravity cf the buttress; if 4b ¢ Df te the buttress, 
 the line of support wouls intersect its vertical gravity axis at a and would 
 continue umWerds t; tut if the tuttress Le loaded ty the mass’ Db & FG, the. 
 line cf support intersects at a’ the common vertical giovity exis of the iy 
 buttress and pinnacle, and the line of support continues from a! in a more 
 nearly vertical direction a’ Lb’. 
 
 But the projection of the tuttress would Le least if the loeding mass 
 wore in part permitted to rest on the foot of the flying Luttress itself, 
 since the common centre cf gravity of the Luttress would most closely ap- 
 proach the vertical axis of the vault; this first cccurred on the Church 
 of Notre bame at Dijon (V-l-Duc, IV-18¢). The loading mass might then Le 
 moved so far towards the vertical axis cf the vault, that the common cen- 
 tre of aravity of the Luttress would lie over the foot of the flying but- 
 tress (Fig. 298), The common centre cf gravity a' cannot more nearly ep- 
 proach the axis of the vault, that the resultant cf the thrust and verti 
 
ae 
 
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JOR REDTENBACHER'S badl 
 
 + & H 
 gal pressure may not fall tco close te the intrades of the flying Luttress. 
 Kemoval of Water drom rect of side aisle. 
 
 The offsets of these loading sssses may occur akove openings for water, 
 The Lottom of this opening usually either forms the highest point of the 
 roct pe uetea the water keing conducted sek ana around the Luttress to a 
 oyle projecting therefros, or conversely, the lowest point of the cpen- 
 
 Beal's 
 re forms the lowést point ct the gutter, from which water flews tarough 
 
 the centre of the Luttress to a cgout.. 4 third ucde of remeving water is 
 ky gargoyles set in the angles between the walls cf the side aisle and the 
 
 Luttress. 
 
 The design of the roof of the side aisle likewise infiuences the form 
 cof the offsets of the Luttress end that of the fargcyie. | Insteec of maz- 
 
 ° > 1 . ) eae a a wea 4 ays . Pek /- Vas ‘ aes 
 ing these of shed roofs, they may te hip roets, saints be arranged as on 
 
 many Duteh churches, so that the riages ecinclues th the division inte 
 (Fi Z woen the windows of the LA aati’ may have any desired 
 
 height, extending down nearly te the gutter, the water being, them discharg- 
 
 ed through a spout at the middle cf each Ley. Gr the hip rects may cone 
 
 over the Lays (Pig. 277) the water passing direct to t 
 
 nels of slight inclination, the windows Leing intersected Ly the 1 
 
 tottow, or they are also hipped on the inner end on the line o bk (F 
 
 L}i. rs ? 
 
 sufficient light entering the window, or the window ney commence above the 
 
 roof cnly. : 
 Forms of aLutments. 
 
 Acecraing with their function as loading, the cffsuts of the -Luttress 
 ere generally wider than the flying buttress, so thot the flying buttress 
 (Pig. 279) finds recon Lehind this for itself and for the entire width et 
 its coping. If as ii some rutoh churches, a row of narrow chapels extends 
 around side sisles and choir, the bac waot the buttress offsets are made str- 
 
 v g 
 on,er and heavier by wings forming # cress-shaped plan (Fi,s. cc, £61), 
 a8 on the Church at Goess. If 2 pinnacle or eroup cf pinnacles load the 
 Luttress offset properly, it must te neved Lack as far as poesitle towards 
 the axis of the vault and be massively constructed; if it Le considered a4 
 decoration, this need not Le dens, as on the Cathedral at Strasburg; if 
 the pinnacles are treated as not very heavy masses, the gain cr less will 
 rot be large; pinnacles are usually set werely on the middle of the cuttress, 
 ss on the Cathedral st Chalons, but their position is determined more Ly 
 decorative than Ly structural reasons. 
 
 4 strengthening of oftsets cf the Luttress Ly wings set clliquely fre- 
 quently cccurs if choir chapels are inserted Letween the main buttresses 
 of the choir, so that the wings serve as extensicns of the walis cf the 
 
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10¢ REDTENKBACHER'S BEDTASVaL AKCHITECTURE, 
 
 chapels (Fig. 262, plan), as at Cologne and amiens. whith several side aisles 
 
 doukie tlying Luttresses become necessary, springing over side aisles cof 
 different or of equal heights. 
 "0, lying Euttresses of 5-aisled Churches. 
 
 4 ditferent form of flying Luttress with double Side aisles, is that, 
 where a common flying buttress spans Loth side aisles (Fig. <&3), as on 
 
 the Oathedral al Ulm and on Netre vame et Faris (V-l-Duc, I- Usually , 
 
 as on the Cathedral ot Leauvais (V-l-vuc, I-70), the intermediate plier forne 
 
 a mass of moderate section, loading the pier between the aisles, against 
 whieh atut the flying buttresses of the centre and side aieles (Fig. 264). 
 The outer flying tuttress is not set at the foot of the inner one, Lut at 
 he height ef the intersection of the line of pressure with the gravity 
 is of the intermediate pier. The outer flying Luttress is also usuaily 
 
 direction to the buttress of the cuter side aisle; the clearstory walis 
 © 
 
 sf the middle aisle way then be much stiffened by separating the inner arch 
 
 Fron the inclined strut by vertical supports, as in New 6. Feter's Church 
 at Stresturg. (Fig. 265). Triple flying Luttresces in comLinaticn with 
 great 
 
 the arrangement of tne side aisles were required on cathedrals c 
 ight, as on the { Cathedral at Bourges (Fig. 2£5¢; V-l-buc, 1-ie0 
 Substitute for buttress. - 
 
 The entire system of Luttres and flying buttress resylted from mediae- 
 ol] vaulted construction; it gives to the churches in Gothic their dis- 
 eave stamp; it was an expensive means tor fulfilling a purpose, which 
 could have been attained in cther ways; 1t almost concealed the true con- 
 
 struction cf the church in great cathedrals, as cn the Cathedral at Cologne. 
 
 For practical reasons and for economy Late Gothic reduced the buttress 
 to its minimum by moving it into the bee ate sc that the walls of the 
 side aisles might be pushed out as nearly to the face of the tuttress as 
 possible. This then produced a sevies of side chapels extending around 
 the church as a nucleus. The flying Luttress was concezled beneath the 
 
 roofs, or was niade of the simplest form possille, vaults were made as light 
 
 as possible tc lessen the thrust, and pliers were so large that the lins 
 cf pressure fell within them, anc on the Church of & mertin at Landshut 
 the wooden construction of the roof was arranged as to very heavily load 
 the clearstory walls of the middle aisle, thereby forcing the line of pres- 
 sure within the nucleus of the pier. 
 
 Italian Gothic reduced the Luttress to the nost scanty dimensions, and 
 with the exception of the Cathedral at fiilan, sought to entirely avoia the 
 flying buttress by the use of tie-rods Letween imposts of vaults, an ex 
 
 x 
 made a round or pointed arch, and ihe inclined top continues in an uncroken 
 
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116 REDIENBACHER'S MBCIAEVAL ARCKIT&CTURS. 
 
 pedient very offensive to the eye. The Italians were so accustomed to quit 
 and simple sutdivision of masses, that northern churches did not piease 
 then, 
 
 The Renaissance proceeded in the same manner, decorating all projections 
 from walls by pilasters; it preferred to connect internal Luttresses, sore 
 rarely external, ty semicircular niches, and thus treating the exterior 
 in an original way, and properly arranging the interior. That it imposed 
 on vaulted construction is an untrue characteristic Ly kk using the piles- 
 ter is to be pardoned, and also that it could not adopt the rude sarly Christ— 
 ian pilaster, expressing the nature of vaulted construction as a rilaster. 
 
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oECTICN 5, 
 71. General Remarks. 
 ky understanding the forms of ceiling, ws obtain insight into the forms 
 
 of clan. ‘The two Lasal motives of all arrangements cf pian are the longi- 
 tbdinal plan or rectangie, and the central errangement, which may be e cir- 
 cle, squsre, or reguler polygon. all plang ere produced ty sutdivision, 
 =f interior into parts, or Ly addition of farts to form 4 whole. If it’ 
 cxceuds a certain magnitude, an ollong roou must Le divided Ly supeerts 
 
 1 
 
 in accordencs with the form of its ceiling, mest slmpiy ty a row of cci- 
 
 uns or piers dividing the room into two equal or unequal ais sles, produc- 
 ing @ two-aisled intericr with aisles of equal or unequal height. Larger 
 
 intericrs would next be divided into three or mcre Beiieh which mi 
 cf equal height forming a hail design, or ahent Torm a basilican design, 
 
 ) 
 
 either having # higher middle aisle without side light -or one with clear- 
 atory windows. &xactly similer results occur in case of polygonal and cir- 
 culer Luildings; those with a central pier may Le deSignated as t 
 ed, those with one cirele of pliers around the centre as th 
 those with two circles of pliers as fiveeaisled buildings. Central tuilid- 
 ings with clearst ry windows may then be termed Lasilican, or these with- 
 out Clearstory Windows are one with a higher central aisle. 
 
 The other method, obtaining the a ef the plan by addition, produces 
 
 aN Sor ) ? 
 
 series of forms, ail used in mediseval architecture. From the simplest 
 c, the equilateral triangle, plahé (Pigs. 267, £S&)} may be produced 
 dition ef triangles, squares, or rectangles. From the square result 
 isha on APigs, 69,02 
 
 { 
 
 ygon as the basis, we may Cbtain central | wuildings with three 
 
 Ly 60) the varied form of Latin cross. Taking. the 
 
 or more aisles, which in comLination with the Latin cross were used in rich 
 Gothic buildings. 
 Princigle ef Choir-Gnding in large Gothic Churches. | 
 adready in carly Christian art are t three most important motives given 
 for coelysenal central buildings, wh 
 
 faa 
 
 hich find their highest development as 
 Forme of choir-endinzs in Gothic cat 
 
 hedrals. Thece are the motives from 
 Pitmarshein, from 3. Vitale at Ravenna, and trom six-la-Chagelle, Figs. 
 
 1, 2, 3% parallel polygons with trapezcidal Lays, as in the Church at Otte 
 wayeheim, paceliel polygens with square (trapezcidal) and trianguler bays, 
 
 us at Revenne, or leetly, like the mctive cf the Cathedral at six—ia-Chap- 
 elle, polygons with englew cpposite sides, with square and trisnguler bays, 
 
 « brief expreseicn is required to cheracterize for pelygonal choir-end- 
 ings their form and their connection with the nave. If the cheir ends with 
 2, 3, 4, 5, 2, 7, sides of the octagon, we shall speak of a 2/S; 2/6, 4/8, 
 
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Liz REDIGNEACHER'S HEDIAEVAL ARChIT&CTURE, 
 B/E, @/8, or 7/&, choir-ending, and in general we shall indicate Ly a frac- 
 tion m/n the ratio of the numter m of the sides used to the total numter 
 n of the nig of the polygon. 
 
 The Ravenna motive is most conmo oh; it is used in a series of French and 
 German cathedrals es the motive cf cheir-ending with different forms of 
 polygons; thus for the inner 5/S choir polygon of the Cathedrals at Halter- 
 
 a 
 
 stadt and at kilan, for a 6/10 choir in the Cathedrals of Madgeburg, MUn- 
 gier, Vezelay, and Leon in Spain, and for a 7/Je inner chcoir-ending in the 
 Cathedrals at Amiens, Cologne, and others, The Ottmarsheim motive is shown 
 
 A 
 
 Ly the Church of 8. Remy at Rheims (Lubke, 495); in a somewhat different 
 
 th 
 
 form in the choir of the Cathedral at Bourges, f-sisled with s 5/10 choir- 
 
 cnding, the squares cf the choir aisle being replaced Ly trapezoids (V-l- 
 bucTi-295). 
 
 The polygonal system of Aix-la-Chapelle finds frequent use as a motive 
 cf choir endings in Gothic, as for the inner 4/6 polygon in the Church of 
 
 heiligengeist at Landshut in Baveria, for the 5/&% polygonal choir in the 
 Abbey at Zwetl and in the Church of s, sebald et Nuremberg, then on the 
 choir of the Cathedral at Le Mans with its 7/14 choir-ending (V-l-Due, II- 
 cha), The same motive occurs in sonewhat unusual form in the choir of the 
 Chureh at Collin, which shows 4 sides of the cctagon internally, adjoined 
 by R trapezoids and a triangle, producing a pentagon, to which are added 
 cereilel trapezoids and triangles. If the Cttmarshein motive be varied 
 cy axianging equilatere] triangles on the sides of the polygon instead of 
 
 squeren, filling the vacancies by triengles, a form resulis (Fig. 291), 
 thet occurs in the G/& inner choir polygon in the choir cf the Cathedral 
 ci frelburg-i-baden, as well as in the inner choir eisles of Nctre Lane 
 ‘ie ond of the Liebfrauen Church at iiorms, 
 
 Ii alternating squares and triangles be arrenged around the polygon and 
 the vacancies be filled by triangles (Pig. 2@2), a form is produced, found 
 in the 2/8 choir polygon of the Frauen Church et Ingolstadt. A peculiar 
 
 arbangerent results from a series of hexagons in ea choir volygon (Fig. 292) 
 Rs o = JE oad ? 
 I 
 
 4 
 for the 6/8 choin ending of the Cathedral at Schwerin, for the ¢/¢c choir- 
 ending employed in ERG Church at Gieriksee in holland, and alwo fcr the 
 Church ot Dargun. fesides sixple oblong rooms, antiquity was acquainted 
 with nalis with two or wore aisles, simple circular and polygonsl Luildings, 
 circulab temples with severe] aisles, and also with great architectural 
 groups, composed of coumbdnations of the wost different rooms. 
 
 Latin and Greek Cress Plans. 
 
 warily Christian. architecture added to plans already known the Greek cross 
 and the Latin cress. It alec liked the polygonal building with one or more 
 
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 118 REDT BNBACHER'S “weudtvan ARCHITROTURE, « 
 visles, Tact aliy.phoeneee by division, gnly the (Cathedral at Alte 1 o-Chap- 
 elle being formed Ly addition. Plane with twe ai bles een to have teen 
 little used in fatly Chrietien ort. | 
 
 Cireular Luildings covered Ly a single veult. of noderate dine nsions are 
 very common in Remanesgue, and with polyseonail plans are not rare in Goth- 
 ic; polygonal structures covered by a vault of wider sp an occur. only in 
 & Gereon et Colcane, in the octagonal Karlshoter Church eat Prague, and 
 n the ig-sided Church at Ettal in Southern Eavaria; the partly erected 
 Church of sehdne Keria at Regehsturg was planned as a hexagonal, two-ais- 
 led Gothic central tuilding, and the Church of 35 Gertrude at vollgast was 
 built as o 1é-sided Gothie structure 
 he favorite mctive of the Greek cross in Barly Christian architecture 
 vas seldow employed in the Romanesque, and only in smaller structures; but 
 it became of importance in Romanesgue as a motive for the form of choir 
 in Rhenish churches, as in 5, Maria-im-Capitel and Great 5. Martin at Col- 
 
 + 
 
 ogne, in the Church at Klesterrath, end in the western choir of the Ceth- ‘G 
 eareal at Menty, alse in one Gothic Luilding, the Church of 6. Elisabeth at ; 
 
 dagburg. The Liebfrauen Church at Treves is a Gothic structure in fora 
 of a true Greek cross, an exception te the rule. Romanesgueé churches with 
 two alsles are very rare, but are more common in. Gothic. 
 The nost common form of plon in Romanesque and Cothic is that with one 
 or more aisles, arranged in form of the Latin cress; all concéivable var- 
 iations from this type of plan were executed, according to local conditicns 
 and to the avrangement of divine service. In arly Christian and homanes- 
 guu architecture, Lasilican plans were ususlly entirely free from 211 re+ CG 
 straint, so long as covered by wooden ceilings; Lut in Romanesyue the sy- 
 sten of the plsn was strictly limited by the introduction cf vaults; two 
 square bays cf the side aisle usually correspond to one square Lay of the 
 widdlée aisle; only rarely as in the aktey Churches st Leach and Heister- 
 h, ere the vaults of the cehtre aisle constructed over rectangular bays: 
 Gethic freed the plan from the vestrsint cf the square groin vault and cer- 
 mitted a freer movement without losing the severe unity of the system. Plans 
 in the Gothie style ere distiszuisned from those in Romanesque | uy a gener- 
 al reduction of uasses of all walls and fiers | (os 
 To mediaeval architecture the Reneissance aed tne organic development | 
 and Rarmony of the plans of its churches; ss already stated, it returned 
 tc Rowan forms of vaults, cut most completely deveicped the motives of the 
 cenirel building end of the pian with 2 or 4 apses received from mediae- 
 vol and Sarly Christian architecture. as for the pian of the church in 
 detail, its simplest form comprises the church ;roger and tne choir. be- 
 
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 i: Mabatedd-asiinios is eae aie ar tHe atu Bos 
 
 pe res “A . : ye 2 ; Ser Fe ee 
 Lt ; ; = oe ey > . : ' 
 
 Cee re te gies iat d Bc 3 fe Usk, 
 SETS? ae 1a cree We. — J ’ 4 ~ 
 
114 REDTENBACHBR'S MEDIABVAL ARCHITECTURE. 
 
 fore the nave is sometimes placed a vestiiule, and Letween it ana the choir 
 is e transverse aisle in larger plans. Interiors with one cr more aisles 
 are to Le vaulted in teth ecclesiastical and secular uighabablar dak and one 
 
 or more towers are usually added to churches. 
 
 we therefore treat the following points in detail:-- 1. Plans with one 
 aisle; &. Plans with two aisles; 2. Flens with three aisles; 4. tndings 
 or side aisles; 5. Plans with more than three aisles; ¢. Transepts; 7, Plans 
 ot choirs with choir aisles and a circle of chapels; €. Unusual and irreg- 
 ular choir-endings; 9. Plans of towers. 
 
 "2, Churches with Bingle Aisle. 
 
 The choir is the sgace in which the clergy remain during divine service, 
 anc the nave is that for the devout multitude. The choir may in its sin- 
 rlest form serve as a neve also, be built as 2 chapel adjoingng that, or 
 Le ehtirely omitted, the altar Leing placed in the church itself, The choir 
 would in all these cases Le changed intc a separate chapel. 
 
 Chapéls in general are Luildings already from the earliest Christian per- 
 iod kuilt in memory of saints, or they are connected with dwellings, cas- 
 ties, bishep's palaces, hospitals, bridges, ete.; there are domestic and 
 castieé chapels, palece and hospital chapels, or country and churchyard chap- 
 els, or they may be additions to churches and connected with them as parts 
 of churches; they are then not locsely joined to the church, Lut are includ- 
 ed therewith in the general plan; we likewise arrange them with nave and 
 choir in larger churches. | 
 
 Since the esthetic treatment of these simplest designs of churches and 
 shapels is entirely independent of the purposes served by them, we shall 
 consider them together. The simplest form of churches and chapels with a 
 single aisle is square or circular, as in many examples from Romanesque and 
 Gothic, Homanesque circular chapels are especially common in austria as 
 sepulehral chapels, in imitation of the Chapel of the Holy Sepulchre in Jer- 
 iselem, and repeatedly occur in Germany; Gothic esiployec Polygonal instead 
 of circuler chapels; triangular ones are rare, but occur at bruck-a-ur 
 snd in the neighkoring Breitenas; hexagonal ond octagonal are more common. 
 The eimplest mode of extending these chapels is by addition of one or more 
 apses, semicircular in Romanesque or polygonal in Gothic. an interesting 
 exanple of a Romanesque triangular chapel with semicircular apses is found 
 at Planes in Roussilon (V-l-Duc, II-442, 444). Square Romenesque chapels 
 with three cr four arses are the Chapel of 8. Croix at Montmajour near aAr- 
 lea with four (V-l-Duc, 1+445-447) , as well as the Chagel of &. George 
 (allerheiligen) at the Cathedral of Regenslurg with three apses, a square 
 room with four rectangular wings occurs at sSchwartz-Rheindort, 4A square 
 
 a 
 
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146 REDTENBACHER'S MEDI aBVAL ARCHITECTURE. 
 Gothic chapels with a 5/S apse are the Chapel of Regiswinden et Laufen on 
 the Neckar, the Chapel of 3. Barbera-in-walde near Dippoldisweide (beit, 
 Taf, Fig. 7); with two 5/& and two 3/8 polygons, the Castle Chapel at siar- 
 burg in Hesse, (Beit. Taf. 59, Fig. ¢}. 
 axamples of hexagonal chapels with apses are the City hospital Chapel 
 at Hof near Regensburg (Beit. Taf. Fé, Fig. 14), at avioth (V-l-fuc, II- 
 448- 450), and on a three-aisled plan, the Leautiful Castile Chapel cf co. 
 athies at Cobern on Moselle. The Fountain Chapel in the Cloister ot Meul- 
 A ide is $-sided, and octagonal chapels are common in Gothic; the Chapel 
 
 i. 
 
 at Laufen in the Salzkammergut is square below, 9-sided above, The Czs- 
 tie Chapel at Vianden is 10-siced; an 1l-cided Luiiding of the trensition 
 style is at Tuln, and le &-sided plans are not rare in Gethic. 
 
 4 further advance in treating centrally arrangea interiors is the arrange- 
 wont of four squares arcund a centre] pier, as in two beautiful domestic 
 hapels at Regensburg, one called "em Remling” (Beit. Taf. 50, Figs. 1, 
 
 }, the other in the Gasthot zuu-wels ssem-Hahne, also in the Hospitai Church 1 
 at Cues and in the Chapter Hell of the henastery at Bblerkach (Ungew, Figs. 
 7&, £76), In the two letter the interior is ccvered iy a star vaultd. 
 A still larger central chapel or church interior requires subdivision in- 
 to nine Lays with four piers, producing a Ceaisled room recalling a byz 
 tine pian, like the Castle Chapel at Conaustaut (Beit. Taf. £0, Fis: 2). 
 interior is extended on two opposite Sides Ly three semicircular opses with 
 hreeé niches on each. 
 
 The simplest room is produced by arranging two square vaults ceside seth - 
 other, es in the Romanesque Oratory of the apeot of oo. Galt at Me) oe, 
 then by arranging three vaults with cr without a choir apse, an arrenge- 
 nett usual in wany chapels and smaller churches in Remanesque and Cothic, 
 (Seit.Tat.49,£0,66). Two rectangular bays beside each other form the bas- 
 al motive ct the Castle Chapel] at Freivurg-a-U. If the cheir apse occupies 
 the entire width of the interior of the Church cr chapel, we then obtain 
 the next important form, that cf a Gothic chapel with single aisle, alse 
 of churches and choirs, whose Tinest example is the o.Chapelle at Paris, 
 
 Dimensions and Details of Flan of Choir. 
 
 Rules tor determining dimensions for such plans of choirs have Leen pre- 
 serveca from the later period and are interesting. If a ke the clear width 
 cf the choir, then 1/10 a is the thicsness of the wall as well as the thick- 
 nees of the Luttress. Its projection is 2/10 a, twice the thickness, or 
 this may be made equal te diagonal of a square with side 1/10 a. If the 
 Luttresses are omitted, assuming the test technical construction, the €x- 
 treme limit of permissitle thickness of the wall is 1/7 a; also diagonal 
 
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até REDTENBACHRR'S KEDLARVAL ARCKITECTURE, 
 of syuare with cide o is tc Le taken as the extreme height ct the spring- 
 ing of voull. Fer the ofelr poiyzon, bie span veult-rits equals the half 
 ciagone] of golygsea, and secording to the same rule, the prejection of choir 
 Lubtvess increases dn liag proportion, cince in: Pig. ea, ab DAL TS ues 
 cn 
 
 ancther rule for tie ppojection of. the buttress, valid in the middle anes, 
 in S0me measure corrects proportions vy the preceding rule, and is thet 
 cinbed cr reund earch te divided into three cquel parts a a, e agi '( 
 Fies, £96,262), and the projection o t be assigned te the tuttress. Fer 
 tie round erch, the projection of the Luttrese will then Le one-fourth, 
 
 aud ter the pointed arch, scmewhet acre then one-fifth the span. 
 
 ~ \ 
 
 Al] such rules give sufficient thickness for small Luildings; in lerg 
 structures like the % Chepelle at Furis, the projection of the Luttres 
 J 
 
 at the tlecr, together with the thickness cf the wall 
 
 sf the ciers, is clout oneethire the clear span ci the trensverse arch, 
 “Lout. Lwice the clear, width of the. roos ceing the Leight of the wewite, 
 Cirched} gregecting tLuttresses are advicable, since they net only increase 
 the effect of strength in the genera] appearence of the building, but iike- 
 wise perait slight vrcojections of wolle-piers into the interior, thereby 
 sce and stone-cutting. It will ie sefest to eccurately construct 
 the ling cf sugcort in the different cases, end then determine the depth: 
 
 of the buttress. ws 
 
 nindowe cecupu the «entire space Letveen the Luttresses. when designed tc 
 have rich stained -iess, as in acet. French Luildings, cr it is intended 
 
 t 
 
 lor either the surface cf tie windews or that cf the welis te decidedly 
 
 the sice of the goly,on cf the cholr is tak- 
 
 + 
 
 predominate, se shen onesthird 
 en oh es the width of the window. The width of the’ different divisions 
 ot the window vorics Letween £0 and © inches; windows ct the older Gothic 
 Ludidings genersily have broad glazed speces, which sexe the tracery sin- 
 cle end dupceing. The widdie window cf the choir is usually distinguishea 
 trom the cthere Ly teing wider or deccrutea Ly richer forms of tracery. 
 
 The interior aay te wade wider if the Luttresses pertially project in- 
 side (Fi, oj £87) phe v2lls then being soved begets 4 snaller external 
 rt etch cf the buttress then cccurs. walic may ie lighter, saving meq 
 tericl]l and work, if niches are formed in thea Lencath the windows, er cn 
 the extericr the windew plane is set in a recessed ciche, as in Figs. f52, 
 224, en expedient trequently enployed in Gothic. both methods ot reduc- 
 ing wall and enlarging interior gay be combined (Figs. 296, 209, 200, 201), 
 ss on the Church otf 3S. dohann et kaestricht, end these niches in the iater- 
 icr may also le transtcrued inte complete chapels with special windows, as 
 
 ex 
 
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ax ReDTBNBaCHhek'S KEDIse&VAL ARCHITSCTURE, 
 
 ch the Church of S. Katharine at Opcenneim. If we retain the principle 
 
 of errenping in the interior of the room as many small shafts as there 
 
 are rites or orches, in the simplest case (Fig. 202) only one shaft is re- 
 quired in each angle of the choir, with a greup ef shatts cr a larger shaft 
 in glace cf this, on the exterior of the choir. But since the Luttresses 
 e' a’ jie in the direction of the arches and not in that cf the rits, the 
 intervals Letween ae externel Luttresses would Le unegual, as well as those 
 Letween the internal shafts, so thot d' e' is greeter than e' d' and this 
 is sreater than a! c! on the exterior, if in the interior ac is made equal 
 to o d and to de’, then will tne single and grouped shafts have unequal 
 distances Letween each other, if the polygon be laid out with.,eometrica! 
 securacy. Then either windows or wells are unequal in width on the éxter- 
 ior , if the windows are set in the middie of the wall, or either unegual 
 window jemis cr unequal sides of the polygon result, if the forner are nade 
 vgual. The length of bay in the choir-ending éguals a side of the poly- 
 ¢en with reference to this relation; cut since the length of Lay for a con- 
 
 slant width of the aisle diminishes as the number cf sides cf the polygon 
 
 O 
 
 is increased, then to harmonize the dimensions, we have the choice of mak- 
 ing toe polygon irregular, of taking the length of Lay at pleasure, or of 
 making the choir polyzon of such a heii. that more than half the number 
 oi its sides are actually employed, thus erranging 4/5, E/38, 6/7, ete., 
 Gt BLY WORE T RIED, Sto. | Ds eidingee | 
 
 Since the buttresses of the choir heve to resist a smailer thrust then 
 the Luttresses of the nave, they may Le made lighter than the latter. But 
 in the leter middle ages the same dimensicns were assigned tc choir but- 
 tresses end neve buttresses; the former could then be enriched by pinnacles, 
 elLe., tG moke their masses appear lighter. 
 
 The length of bay for interior of the church is usually so taken that 
 ibe span a b of the aisle ¢quals diazonal of square cf length of the bay, 
 or eguels 1/2 ab, cor in any other advisable ratio, The thickness of well 
 aust increase in proportion to length of bay, to ensure bonaing with the 
 Luttwesses; in old buildings, this is from 1/6 to i/? the length of bay. 
 The numler of Lays depend in the desired extent of the interior, end to 
 chiain a richer appearance of the church, this would rether be increased 
 than diminished for a given length, ac that three or tour rectangular te ays 
 would alweys Le prefferred to two square ones, 
 
 Rectangular mending of Choir and Nave. 
 
 If a rectangular chureh cr choir tLe enclosed ky a wali, two Luttresses 
 will Le arranged at right angles at the angles (Fig. 802), or a single bLut- 
 tress be set cn the diagonal of a square (Fig. 804); the buttresses first 
 
AAV ENS SAHA ENS TORT art 
 
 ve ad yom ue (A ae Lisa edd % Aohdnnad save © mts 
 aves) priest @lMensads Jovsst biodts oy vig 
 
 J. m0. turig athodo.eds 30 klaw gntgologe aietesr ott us. 
 
 | we tewe? wsiditess to wot Jeno.) 
 
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116 PRDTENBACHER'S NEDIaARVaL ARCHITECTURE. 
 
 tcorm a continuation ef the wall (Fig. 20) or may be set tack trom the an- 
 gie to afford direct abutments for well-arches (Fig. 206 a) and to strength- 
 cn the western enclesing wall of the eheir, chureh, or chapel. 
 
 Location of Staircase Towers. 
 an apgrotriote expedient for strengthening the western wali is supplied 
 
 Ly staircase towers, required for access to the attic or to an organ gal- 
 lery. Taking one of the western beg with its Luttresses, the staircase 
 tower may stand in the angle a (Fig. 3 oh) formed Letween the buttress and 
 ine wall, on the axis of the cuttress at L, between the Luttresses at c, 
 
 or at the end of a Luttress set diag ‘onally at ad. which arrangement 1s pre- 
 terable depenas in wach case on suitability and taste. In many Austrian 
 Gethie churche 
 
 ern feeade. The arrengement at a may have the disadvantage, obviated | 
 
 that at b, that the window of the first Lay must Le nerrower than those 
 cf the other bays, or the first window may be Lut a half window, as on the 
 
 gs, two staircase towers are arranged to strengthen the west- 
 
 Cathedral at Cologne. 
 
 Connection of Choir end Nave. 
 He nave Le wider thah the choir, it ends with the "triumphal arch’ 
 (Fig, 202 b), whose symbolic meaning 18 that" it gives access to the place 
 where the triumch of Christ over death is celebrated". If we do not make 
 this the entire thickness of the wall, so that choir and nave are separated 
 by SE ge piers, sat wish to connéct together choir and nave (Fig. 207), 
 it would Le groper to introduce a rit at to cppese the one-sided pressure 
 
 of the choir rik col. The triumphal arch is either supported by piers Le= 
 
 neath it, or is simply treated up to the springing, wiere it is richly mouio- 
 
 and rests on corcels. 
 73. Churches with two Aisles. 
 
 Hirst the increase in spece requires two-eicied churches, and then too 
 creat width would Le os bad es too great length of an interior with a sin- 
 gle aisle. in two-aisled churches, the cheir-ending admits of a special 
 arrangement. In many ceses, especisily in two-sisied churches with wide 
 main end narrow side aisle, e choir-ending is pleced at each end of main 
 visle (Fig. ace), Ih two-aisled bullidings With aisles tf equal width, Lhes¢ 
 
 font gy 
 
 end in two choir polygons (Fig, 209 i “bed toe ve 67, Pal? 4).«8 in the Church 
 L~] 
 
 4 
 
 of 3. Sophia al rresden, ana the angle tetween the choirs mey then be Tili- 
 G Ly a staircase tower (Fig. 210), as in the bruder Chureh at Kampen in 
 Heine Ly o sacristy (Fig. 311), as in the Churen at Vollenhoven in fiel- 
 land, cr a vast choir polygon wsy Le inserted Letween then (Fig. 212), as 
 in the neiligenseist Church at Passau (seit. Taf. 67, Fig. ¢@); the two- | 
 sisied church may be changed inte cne with three aisles (Fig, 212) as in 
 
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119 REDISNDACKBE'S MapTabYAL ARChIirCTURe. 
 
 the Parisian Church at Enns; or one choirpolygon may te pleced at the cen- 
 tre of neve ond separated therefrom vy a triumphal eren as at Nemedy, or 
 the vaults cf the choir end nave unite, as at Bornhofen on the Rhine (Fig. 
 
 Three hexagonal chepels may Le introduced es extensions of the choir 
 (Fiz, 216), a twoeaisied interior with triangular groih vaults may vermi- 
 
 nate with two eides of the hexagon (Fig. S17), or a conmon halt hexagon 
 cr gHother colyyon way Le taken ex the choir-eneaing for teth apenas yee 
 242), The teo-aisled plan ends st the west with » »al], divided ty 6 Lut- 
 
 tress; this buttress is loaded Ly a weble tower or replaced by a stalrease 
 cower; the tocade has a commen or a douLle gatle; the roofs may be eith- 
 cr treated as @ single roof or as twe parallel roofs, te avoid toc preat 
 height of roof, then being separated trom each other (Fiz. 319), as on the 
 church at Vollenhofen, or Le connected together at the east end (Fig. 220}, 
 -on the Abbey Church at Kiddelturg in Holland. some of these neotives 
 
 of are -endings woy likewise ke empicyed for the western end, thus pro- 
 cutuliar foras of facades connected with a western tower. 
 
 7. Plans with Three Alsles. 
 
 two tays of the side aisle corresponding to each bay of the middle aisle; 
 the early transition and Gethic styles usually made the vaults cf the mid~ 
 Giu aisle hexapertite. This ratic of 1: ¢€ pf side to middle aisle is most 
 suiiteble if side ailses are arranged, since toth hexapartite and cblong 
 croin vaults with ratic 1: & correspond to the square groin vaults of the 
 side aisles (Fig. 52). Gothie architecture treed itself from the restric- 
 sions of the ratio 1: 2, and if we wish to fix 1: n at pleasure, as 1 
 square reot of £, so thet width of the gisle ¢quais diegenal of syuare of 
 length of Lay, retaining square Lays of side wisies ond g-aisled transepts, 
 
 wo should always obtain a regular plan (Fig. 221, lett), less severly re- 
 stricted then the former; Lut if we wish side pil vt alse to have ollong 
 vaults, a rectangular erca at cet g K(Fig. 321, right) would Le produc- 
 ed at the angles Letween the side aisles of nave and transegts, which might 
 tea perfect square ak dgcr a truncated one ao Lb c tf ¢. This also occurs 
 in plens with were than three eisies. This restriction may Le avoided Ly 
 making the bays sufficiently long and arvanging, square bays where side ais- 
 
 es of the neve oud transept intersect (Fig. 222). This preduces five kinds 
 
 4 
 4 
 
 ct tays, which is agein true of churches with more than three aisles. The 
 iength of Ley in churches with severel aisles is fixed ty the plan cf the 
 transepts, ond these relations also influence the width ot windows, etc, 
 
 The length of interior of e@ church with several eisles aiso depends on the 
 
 le S-aisled plon wes so arranged in Romanesgue that the bays were square, 
 
 aN, 
 
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 >) 
 
 RELDTENBACHER'S 
 
 and is usually fixed, 
 
 4 
 4 
 
 ¢ 
 
 reguircaents, so that 
 squares is approximately attained, 
 tavs being used. 
 phdi te of 
 
 had fixed on 
 
 than fever 
 
 rE, wide Aisles. 
 
 The Romenesque an apse as the ending 
 
 and of cach side aisle 
 
 les merely end square or apses are 
 
 -. ow aN . ’ ‘ 7 # et ee, Sr a : 4 Rete 
 ~% Peter et Strauving and other churches. The more 
 e square choir (Fig. 824), which the pri valet ap Se 
 
 and the middle sisle with 
 at Clherstenfeld (Luvie, 
 
 Cnmittea enas 
 
 ei Lincurgeach 
 
 WeLIMes 
 
 . aN 
 ana 
 
 Be 
 Sets mee 
 
 cce¢urred carly in France, and is that witli choir aisle; 
 arses, the side eisle continues oround the hain apse in 2 
 cuit (alse in &. fichael at Hildecheim), in southern Fr 
 
 ’ ‘ ae oe © nett . a Benet ae, ook EN hs os oe a ie AE 
 ually extendea Ly Ek a chapels, Parst found in 
 at Hildesheim. ancther motive for choir-ending 1s 
 the cheir ty three alah apsee, a5 ch 6. apostles at 
 of Cathedral at Rentz, end in tne Church st Klosterrath. 
 ‘ : Cpe Sis hl iia aye Ss RE in be. eal We eA tia 
 Lined with that er cneir aisle te vrodute the beauLrilus 
 
 53g Ae : 
 at Ae ] One, 
 
 ‘ f. 5 ay 18 Tee (ee is - ¥ ra 
 nor in Gothic, Lut was perfected Ly the Renaissance 
 at Rome as o quadranguler design with, choir aisles. 
 
 » 
 
 Gothic Choir-indings. 
 
 essentiel point in the Gothic choir-ending 1s 
 
 ygonal 
 
 ine 
 
 eempeiyeiud ar aese into a Body 
 
 connection with ee 
 
 5/t 
 
 cheiv-endias #26) with or wit! 
 
 Fis; obi i hang € of this motive witn * Laer 
 Or As, asgicius at Heweneeury (Pag. 228). " eetting 
 onelly, a new form results (Fig, 226), repeated four 
 the Lielfrauen Church at Trevee. 
 
 hear veriations increase, as polygons with differ 
 ape empicyeds The angles torted petween Luttresses 
 the codyone give oppurtunity for stalrcase towers, 
 eveided, PF as ot viesen Church at oust, the princip 
 as 3-4/5, £/2, E/7, or SF,” 7 ey 9/9, ete, choir-ending (Fig. 
 ulier plon of steirenss tower is i 
 Ghd seg ci 
 
 76. Transepte. 
 
 7 
 
 Ths £transverse eisie was originally 
 
 Ly smaller once as in the Gothic aiso; 
 claced side Ly side (Fig. 23), 
 
 net ca 
 
 cho1r, 
 the polygonal diagenaily. 
 
 heolakVaL akChITecTUke. 
 the form of Latin cress siz 
 the leneth predcminatiog, rather more 
 
 toth middle aisle 
 
 the side 
 
 ct 
 sLa- 
 as in 
 developed plan inserts 
 edjoins; this apse 
 
 the sauere choir (Fig. 
 
 third motive 
 instead of side 
 continuous cir- 
 nee buildings us- 
 
 « 404), 
 
 s 
 
 Gernany in 5. Godehera 
 
 produced by emlarping 
 
 Cologne, western choir 
 
 This idea is con- 
 of o. Karis 
 
 rther in France 
 the plan of 5. 
 
 piens 
 rried fu 
 
 in Peter 
 
 that it transforns the 
 preducins new arrange- 
 The common 
 
 rout the square choir 
 ehéiris 
 
 in the 
 side polygons diag- 
 times in 
 
 found Cnure 
 
 the plan of 
 
 ent numbers of sides 
 al the junctions cf 
 Lut may be entirely © 
 sal polygon te treated 
 
 war 
 eoevse 
 
 a PeCc= 
 
 i the Church cf Nagy Karoly in hungary 
 
 the special place fer the clergy 
 
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 i ae otdded) ak ini ye loy, Ylows 1 Bae lg fesqetzs “Sdtiedg ai a his Gigi vee 
 see sedtgden oS .& to dowsdd edd no Yetiupt ds. is ttedyad oy ne AOLoii te 
 Ki agsonsisort me ileaT a sie teerd Is Hotdd studqasyilio, eds best Wied ed 
 agen Ly he aT TT ero ‘So end al das iisaetige a2 aigeansi? 
 ead eleqed? “gowgald. bas weie da aod’ dit tw tb ord” ‘to.ensia |. 
 im foalveid- Ed ae, Le 8 we BEBESI Ae eien aeleis’ ‘atodo: Kogexd voli | 
 
121 RoDTENBACHER'S MecbIAgVAL ARChITECTURB. 
 
 end the choir consisted merely of the sanctuary or apse. The oldest Ro- 
 manesque building with a single transverse aisle, the Church of 5. Remy 
 
 at Rheims, (10 century), which retained the plan of 3. Paolo-f-l-lura at 
 Rome, introduced a new elenent, the three-aisled transepts and eastern chap- 
 eis (V-l-Duc, IX-£17). At the end of the 12 century this plan was chang- 
 ed, the choir aisle was arranged, and the clergy were restricted to the 
 intersection and choir, while the congregation were elso permitted to oc- 
 cupy the transepts. The choir aisle was now a necessity to connect the 
 transects Lehind the sanctuary, end the transepts were much extended, to 
 receive crowds of pilgrims collecting during the crusades, who desired to 
 see the relics of the saints then exhibited in the choir. Cathedrals found- 
 ed in the 12 century in Isle-de-France were chiefly arranged without a dis- 
 tinct trensverse aisle, and in central France Lut few cathedrals had the 
 erivilege of a plan with transepts. ven Notre Dame at Paris was original- 
 ly planned without transepts. Monastery churches almost always had trans- 
 epts in the early middle ages. In the later mediaeval period, transepts 
 were only arranged to increase the space. 
 
 The length of bay of nave was usually retained as length of Lay of trans- 
 épts. The intersection was marked Ly massive piers and was usually crown- 
 ed Ly a tower, or two towers in Rhenish cathedrals with double choirs and 
 some Saxon churches, one over the western and the other over the eastern 
 intersection. The width of transversé aisle is generally the same as that 
 of middle aisle of nave, though there are many variations from this rule. 
 The projectiong cf the transepts is same as the width of the nave, so that 
 they only project free beyond the side aisles in buildings with several 
 aisles, or is usually greater than the width cf the nave. The form of piers 
 in transepts is readily deduced from general principles given for arrange- 
 ment of piers. Two sets of transepts are rare, as at Heisterbach and Sal- 
 iskury. 
 
 Transepts either have a single aisle, even in great churches, as in the 
 b-aisled Notre Dame st Paris, and the 7-aisled Cathedral at Antwerp; seldom 
 have two aisles, as at the Cathedral at Strasburg, the Church of 5. Burk- 
 hardt at wurgzkurg, also in England, (Eeit.Taf.59,Pigs.1,2), Lut are com 
 monly three-aisled. They chiefly terminate with a straight facade, are 
 semicircular in Rhenish triapsel plans, or rarely polygonal in Gothic, as” 
 at Noyon, on the Cathedral at Tournay, on the Church of 5. Elisabethat at 
 warburg, and the yeiligenkreutz Church at Breslau. In Italian buildings, 
 transepts frequently end in one or more apses. 
 
 77, Plans ef Choirs with Choir Aisles and Chevet Chapels. 
 Earlier French choir aisles were extended by a series of distinct semi- 
 
vil ? 
 _ my he 
 1 Oa 
 Be 
 ae 
 
 i oe Fos Gy by 
 i 4 Re 
 Isto | satin 
 
 J 
 
 } Q woleie ee oitt, ab. nalegeda ts lubtts 
 
 io 
 
 6 Me Kd. peng saees beso 7 
 
 _ s19). oe ahodo ed? = .O8SL. bas OSL’ Adontes betoow™ .isvesad: bits, edtotin 
 
 ” sob aiods od bayors beddaiph vs. a lugede- seeds .Ro00, be Basi gl de ales 
 
 *aastonaitag 2. 20 down) odd al etunte pis elogato Me Iugntolave bas? is Jaga, 
 
 ay 
 
 Ee. aint: iekugoa, lise tne te phn 2\9 s ad slais Liss. wit. 
 ) tba to agbia. avid aAO3Zy L045 edt Io abenoys tb ad AO: toe od ak gt 
 
 a, “eat: bas. axaitto. odd fede yegrel vide wbLenes medtio at wince eibb ta ak Yo 
 «alg dase. yd : tied & 30. (388. yuri). xs Lugewih Bt ag lens’ 0 add io yd tant 
 
 ade to Rigael ed aout bas aaaks: aonk, grigotiis. oJ gubie ows bag ‘Hage log 
 ae ad beatol, ylisonid bas #9 Luin. bia ai aogyl: og Yeaak ody: Se aes @ Yes 
 “ atedio. add aed, awilesa otow noyylod fewsed.se ass t3 aebia: Md tet Le OVER 
 bag s0gtel eos an touber; {a5¢. “af 32. wad <td, Ady ied ord: nash weaaei base 
 “dud, begaerte,.o¢ 2 Bae: aleasio sevade-. 20:, euiaee sil loysdo selione wii 
 abd. Uilemetas bas RiLeqiesxe [supe bisa 212M 20 ay log: edd a9 gebie wild th 
 : groterads ab des, Bet Ag tnvaoyistis gd. «39 oe. std to ee io: Pt ot bowie 
 —edidluorttib ‘eaedT betoldas yilewew: add ef: ga aredio Ile of elie tie44 
 wild yatsoned: noktessd eld, mi te: <Teoggeate. gvbdiyeds > ghbhaemiieds eds. to 
 oe o ianandlgonet edd, ORY 
 Dre t todo AE NS SENS. got ay: oe a\s.. <2: viege sii ache goin, Bagh ‘wd 
 ode ba, ween cl bess Soya wota Boils al? : Cee | oa bots line, ed 
 
 aks a 
 
 i 
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 ee lore 
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 | Saf 
 
 fo ebrakdisgu.2 al ss, flew ac. .uglapey Bag | 
 a i ene sadegeds + paver ts’ settaq Sielquce w dl valiaos - 
 Bweeed | amearer vig Ak 948 Stages ba ay 
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 ‘ogss fast edt ,eyol at sbebivid. ed sved odd, ya ee wd (Lin. 9 hes ‘aed Rs 
 
 ak at besasanl » aysdg. eda bac waads. ‘ov. falls 164 eaten 4ounk aay Pr 
 sees wit Jo Je, aebie fappee: gost wiew oipile. ee watt at net A 
 
 Ey ee ae age ahs wht. ¥. pot edeae foe é OD ‘p2apen abistte ieee We 
 gq sated 46 einubedss. betoo lacy ets He: {isqad3 a'ybe.t? yiek. to. fagsds oad ie. 
 
 eoodd al, 40% feao3ytogq- at deaht vay dew (S) st) potleibaiten 
 
 %% seluotlo 5 Res beJowiioD 29snet, Or, hoa’ bddayy 603. eaate plegeda> ett i 
 pining goed to esnemeyns 11s “pf (ed. ees g aol teiv tb yd bedew yea sod cs 
 
 | “ae beaaaig ai Lleqedo dose etody antes te. ig thai 369 odd uk. 94 ele: eile” ¥ 
 yy padded oad ah ei tow tolaivib nomaod, ved gil. yodd” dud 5 J iia apres ido ms F 
 
 “ahaa oat ais pens. one bebasot ee ag v8 ‘a leaner at “apie 
 RS eae inadt ng bacco. ad’ vv tate 
 
 ase gh). tlusy elaine ebia’ be Faris <9 d008, bezuaent. ne Vdviodert . cba unt ek ae 
 ae eliperch pep pnt a oid stbalo, eh hd ‘bhows at tans Leak OP 
 
 X. oq. add to ‘to Suaiat keto, Sheds pie bose eebes, bs transmit ah 
 
1£e REDTBENBACHBR'G MaeplanVaL AFCKITECTURE, 
 circular chapels; in the choir aisles of the akley Churches cf &. Denis 
 and Vezelay, as well as in 5. Mertin-des-Champs at Paris, the chapels firs 
 combine in a complete series of chevet chapels, Lut remain semicircular. 
 The chapels are in the interior connected together Ly a passage. at S. 
 hartin-des-Champs, the middle Lay of the choir is wider than the others 
 and affords access to a separate chapel of the choir, imitated and calied 
 the Chapel of wary (Lady's Chapel) in the perfected Cathedrals at Rheius, 
 amiens, and Beauvais, erected tetween 1220 and 1270. The choir of 35. Ger- 
 main-des-Pres (1122) was the first in polygonal form. In these cathedrals, 
 the chapels were polygonal end no longer connected Ly a circular passage, 
 Lut seperated ty division walls. Peculiar arrangements of these chevet 
 chacels are in the Cathedral at Kheinms, where each chapel is planned for 
 
 en oblong vault; Lut they here have common division walls; in the Cathed- 
 tals at Le hans and Sees, these chapels are detached eround the choir aisle, 
 each with its separate walls. Finally, in the Cathedrals at Chartres, seg- 
 mental and semicirculer chapels alternate. In the Church of 5, Remy at 
 
 kKheims, the chapels are externally eae sap and internally join the choir 
 aisle in circular forn. 
 
 It the choir aisle te 2 &/S polygon of perfectly reguler form, and the 
 
 choir giers te set on the diagonals of the polygon, five sides of the in- 
 ner octagon will be egual; if the nave te divided in Lays, the last bay 
 of the middle aisle is sither considerably larger than the others and the 
 last Ley of the side aisles is irregular (Fig. 822); or a half bay must 
 
 be inserted, receiving an inserted acute-angled side aisle vault (Fig. 322). 
 ; sought to avoi id both ty joining the £/@ choir-ending directly to 
 
 the squere men es ef nave, drawing the diagonals of the polygon, omitt- 
 
 ing the inner son parallel] to these and the piers a inserted in Fig. 
 So, pen ines 284, there were three egual sides at of the inner choir 
 polygon and two sides Lt oc aiffering from these and from the length of the 
 Lay ¢ d. If the inner polygon was made regular and directly joined to the 
 nave, then two sides cf the external polygon were smaller than the others 
 and larger than the length of Lay (Fiz. 225), croducing three larger and 
 twc smaller chapels, oh eee of chevet chapels was to ke arranged. But 
 if the sides of the polygon were made equal externally and internally, this 
 returned to the case of Fig. ¢2c. The arrangement in Fig. 234 is therefore 
 preterable to ali others end is that usually employed. These difficulties 
 of the choir-ending cf the nave disappear, if in the fraction denoting the 
 numcer cf sides used and the tetal numler of the polygon, the denominator 
 be made twice the numerator, or 2/3, 4/€, 5/10, ¢/12, 7/14 choir-endings 
 Le employed (Fig. 226). The choir then directly joins the nave and the 
 
 “+ 
 w 
 
 r- 
 wd 
 
 NOS 
 
 wa 
 
ere Cho ee Si Pele ANG reser oa Ree air 
 iat aed aa oe Siw tee Ate aictepar e 
 ; : TehaaenOLy hae mar Dia ; ; Ssi 
 are 4 bby ie Se aan a) ; N Vonli- ou 
 ee ‘ Tevitoogeet ou: ‘near tos ale 40 esbis ésbhee bas istvedas 
 
 co: “ae 7 ‘Haaeq fins ‘atedto ad oldaretety es S ys vidizivib ton tosedaun 42 tw 
 
 a ‘Ylney eno gino an ovsa odd to ayed Wedd sevaersids yatyit dae Reteetl iu. 
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 5 J S*eyieda ent 503 @2 Towa esi Asiwoasty svaa att sesonab (a48 
 
 | ght mi. hall “ahi irl ay noivoutiames was tf iashive ae abd 193 92 54 
 arabe Vagal ' 122 Odd “Segee'ry ai: be (Pee 
 Ae fino gic ve eAs ae nogutee oid to > oabie: te sh. delgresations ets asetet oO? 
 
 ep 
 
 we 
 
 ee “4088 aed) wiars dioas one ‘at oop tae gnisg aerate bp Ssheiaiiag . Me 
 
 ae 
 
 ees ‘Wiiads ete U0 Ww otet antbae=tietl B\S s) adddo add ni aviy ‘ode ob 
 
 we bBbda. odd juosa 19 4h 49S viisolsseasite od Jaz “sodow es tevencss “yabdvey 
 & 5 oe to becoqao0 | @ivky stode Jivest semitones aiyits 0 ayy fog vd? to vile fo. 
 elt Gakseaira Je eighgh 32 /at bas wigalad is feabsdeS 313 wi am. ae tonto 
 
 dodo BF\" 96 ONG dadd of sfeqsds mieicss as to notsibbs: 
 ant LOINY 2\8 (Bedoqds dodwG segtel di (988 1427) Lewton a6 tidied od 
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 r 
 a 
 
 y teammates Jawl yoke eee si 4 S86 ~ SES: .2 yt ni Ale rer wor’ 
 ime “aah bos De@i=kis J¢ isubstive> eit to dodgy “Ot wiods waged to ovkdan witad 9 
 ae AL Gy 
 
 ee, | Ret aehisaeges te osavgnl gvly “eww ead yatecd Jo east wTson: te ged. pe 
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 Tad Rees ot Sdn bi 
 we i jec'g 
 
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 ves US 
 
 edt ve oa ame i me baat vin) eag> de1s3 edd al seas os wists 
 
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 rae 
 
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 age seg’ habia eae Bi Sud 505 .4fF od 4a antoyyloy ped, ots to eanit f 
 
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 ABBE .3f8) syst dase ai. atbis saene thie woved Lidw viaie atgde edi bar 
 
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 aN a ‘doa. PIesssnoM gid to tio. is oth val gkouing sow beg ec: 
 ue Pegs ams 5 Remarig. ¢licidos 
 
 bedivosal edd no Yo. pwlejusa af added ogy oy wand 42 te wiotia ‘he 
 
123 REDTENBACHER'S MEDIAEVAL aRCHITECTURE. | 
 internel and external sides of the polygon are respectively equal, Ratics 
 Math numerator not divisille ty 2 are preferatle tc others and permit the 
 
 dition of en eastern chapel, so that 5/10 cr 7/14 cheir-endings may then 
 Le taken as normal (fig. 237). In ieee butch churches, 5/3, £/10, 7/12, 
 choir-endings are most preferred. Since cheir j;olygons require seller 
 Luttresses and flying Luttresses than Lays of the nave, as only cone veult 
 rik abuts against the choir Luttress, in contrast with two ribs and a trane- 
 verse arch against those cf the nave, choir piers in choir eisles need net 
 Le as strong as piers of the middle aisle cf the nave. Siuce if 4 (Fig. 
 
 t 
 
 220) denotes the nave pier with its sheits « a, the shafts L & correspond 
 to the gier in the choir (a &/& phe ths aA es BANS» tut if the shafts sup- 
 vorbis tvonsverse arches must ke symmetrically erranzed about the niddde 
 
 ci side of the polyzen, there Semetimes result choir piers composed of two 
 
 circles, us in the Cathedral at Cologne and in OG: Gudule at brussels; the 
 reason for this is evident, if the construction Le assumed; for in Pig. 
 
 289, ed iis greeter than a bk. 
 To lessen the irregularity of sides of the polyzeon in the arra 
 
 WE. 
 
 $+° 
 ot 
 e 
 
 wees y 
 
 26H 
 S85 en intermediate pier wee inserted in &. Gudule at Erusse viel three 
 Kenbar artite groin veults Leing arranged in the cheir aisle (Fig. & 
 The chapels ere then omitted, couble chepels must be arranged, or as in 
 3. Remy at Pheins, in Notre Dase at Cholons, in the Cathedral at Auxerre, 
 end in the Church at 5. suentin, the chevet chapels may be separated frou 
 the choir aisle by a series of columns. (Fig. 241). ‘Tc avoid evils resuit- 
 
 ing from arrangements in Figs. eta - mei it wus singlest te exchange the 
 vchuery active of Cttmarsheim tor thet et tre Cathedrel at six-le-Chearelie, 
 a ‘ 
 
 os thet of Notre ceme at Paris, an ‘vanging instead of trapescical Lays 
 
 % 
 thoce alternately sgusre and toe or these exclusively triengular. 
 She west perfect expedieit tor evolcing the difticuities muntioned, end 
 which produce irregularities in the loading cf vaults, is thot te aake eil 
 
 ad 
 sices cf the three polygons a, i, c, Fig. G42, tut if the widdle polygon 
 i 
 
 cece ig esgumed Le Le regular, this indeed gives equal sides to the.otr 
 ers, Kut unegucl angles; then will cuter and Inner polysons Le irregular, 
 
 and the choir aisle will heve « different width in each Lay. (Bic. BAe) '* 
 li Lays ere te is of equal widths, then to adjust this in sexe deg cree, we 
 
 6 sides with eguel engles cf the polygons; according to thie very ine 
 certect princigle, the choir of the  kenastery Church at sltenberg was 
 actually plannes. | : 
 
 The choir piers of the choir cisle heve their centres on the cireunscrib- 
 wd circle of the inner polygon, if this Le regular, or on the ingcriLed 
 circle, so thet in the first case (Fig. 3462) the firet side AL of the 
 
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 xtiabeoen, <sedorutlo eee atl ebitana rods ot ae eyed ‘es Logas tad bas 
 
 + 
 
“+ REDTENBACHER'S MEDIAEVAL ARCKITECTURG. 
 polygon forms the extension of nue Side arch of the middie aisle, but in 
 the second is inclined slightly to the axis of the centre aisle (Fig. 344). 
 
 If the outer polygon te regular, then is the centre of the inscribed cir- 
 cle corresponding to the inner irregular polygon the sane as the centre 
 of the regular polygon; then ak = ad= 1/2 ac. (Figs. 245,246), 
 
 with radius A a transfer point a (Fig. 242) to u!, end likewise trans- 
 fer the pier from Lk to b'; this construction is the basis of the choir of 
 the Cathedral at Cologne, and of its erototypes also, the Cathedrals at 
 Beauvais end Amiens, as well as their imitations, especially of the Church 
 at Kampen, This construction of Fig. 248, like that of Fig. 384, has the 
 edvantage over the others, thet the point a is moved back towards the choir- 
 ending, thus cpposing to the 3, 5, or 7 choir rits 4.b, two ribs Ac of 
 greater span and exerting greater thrust. For the same reasons, the build- 
 er of the cathedrals with £/10 and 7/14 choir-endings placed the apex of 
 the choir vault, (Fig. 247) not on the line ab, that the choir ribs would 
 abut against the transverse arch a b, but to appreach in some degree the 
 centre of gravity S of the figure ab cd of the plan; even in plans like 
 Fig. 234, these circumstances were taken into. account, when the me 
 approached the centre of gravity of the bay of the choir vault (Fig. 
 
 full lines), both in French and. German buildings, in. ihe Gatheaeay iat | re 
 
 as well as in the Cathedral at Cologne. 
 
 The usual form of chevet chapels produces wege-shaped division walls, 
 which ect es buttresses of the vaults of the side aisles; in very large 
 churches .139e Luttrees masses are larger than necessary; they are then 
 turned outwards sof that the main piers of the chapels become free, as in 
 the Cathedrals eat Amiens and Eeauvais, or the interspece between the chap- 
 els is entirely opened and covered Ly a separate vault (Pig. 261). Thus 
 are the chapels of the Cathedrel at Coutances arranged. In the. Cathedral 
 at Le Mans the buttresses are entirely omitted, since the walls of the chap- 
 els afford sufficient abutment. Windows are opened in the walls between | 
 the chavels. Two flying buttresses result in Loth cases instead of 4 sin- 
 gle one. 
 
 If the division walls between chapels are strengthened and very stron 
 abutments are thus formed, the buttresses aré drawn in quite between the 
 $), as in the Cathedrals at Amiens, dlby, and Rheins. If 
 we use 4/8 cr 10 chapels, enclosures of sacderate size are formed between 
 them (Fig. 260), If the buttress te entirely drawn into the interior, this 
 is generally Letween rectangular chepels, as in a series of large churches 
 in Holland, as weli as in man} Eaverian churches with elterr ating square 
 wend triengular tays in the choir aisle. any Dutch churches, especially 
 
 chapels (Fig. 2 
 KK 
 
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 128 KEDTENBACHER'S MADIABVAL ARCHITACTURE. 
 those of the province of zealand, bontinue the rectangular chapels along 
 the side aisles; the same cecurs in Spanish cathedrals with polygonal chep- 
 els. The angles formed by juncticns of choir aisle and chevet chapels with 
 the extension of the choir cr with those of the transepts, are especial- . 
 ly suited for the arrangenent of staircase towers, which may Le placed at 
 other points of the choir. Plans of piers in the choir aisle naturally 
 result from a consideration of the plan cf the pier in generel, if we ad- 
 here to the law that to every ril corresponds a shaft, to every arch of 
 dcukle size e larger shaft, to every triple arch a group of shafts, otc. 
 Vall arches receive separate shafts. | 
 
 72, Unusual and Irregular Choir-andings. 
 
 The rectangular choir-ending, which the Cistercian order preferred for 
 its churches, was rarely justified in mediaeval cathedrals; it was too plain 
 for these great churches and only corresponded to the limited requirements 
 of monastic churches, Even in France, it was indeed seldom employed in 
 monastery churches, which preferred the choir aisle with chevet chapels; 
 only the mother Church at Citeaux and the Church of 5, Julien at Tours, 
 rebuilt in 12 century, are given Ly Viollet-le-Duc as monastery churches 
 with rectangular choirs (V-l-buc, I[-c71, 2 S). Of larger cathedrals, the 
 Cathedral at Laon, of smaller churches, that eat Dol in Brittany. In Ger- 
 many as well as in France, the rectangular choir occurs during the Gothic 
 period only in small churches alone, and then for sake of economy. among 
 english cathedrals, those at Durham and at saliskury end in rectangular 
 form, in Italy, the Cathedral at Sienna. 
 
 Viollet-le-Duc mentions two notable examples of cemtinations of rectangu- 
 ler choir-endings with apses; the Church at Taur in Toulouse from end of 14 
 century ends with two chceir polygons (Fig. 852) connected Ly a straight terin- 
 inal wall (V-l-Duc, I-9). The Church at Tour surrounds the polygon of the 
 side aisles by a choir aisle, Letween which the choir ends square (Bide wba; 
 V-i-Buc, I-8). The Church at 5. itienne at Beauvais adds a central choir 
 polygon to the rectangular choir-ending with cut-off corners, like the church 
 just mentioned (Fig. 354), and covers the inner side aisles by triangular 
 vaults, the outer ones by a transition with trapezoidal and triangular vauits 
 to the rectangular choir-ending (Ungew. Fig. 605). The Frauen Church at bruges 
 consists of a regular 5/8 choir with choir aisle, adjoined on the east Ly. 
 
 a 5/& chapel, also ty four irregular pentagonal chapels (Fig. 255), se 
 that the rectangular choir-ending is substantially repreduced here. The 
 2-aisled Church at Goes in Holland with a row of chapels along each side. 
 aisle is changed in the last tay into a f-aisled church, and the middle 
 aisle as well as the southern and northern paits of side aisles end in 5/10 
 
Av PRL Va dee id 
 
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 ues 
 
12g REVIBNEACKGR'S MebIanVal sARCRIT&CTURE, 
 
 cheirs (fig. 366). In the Church ct Harderwyck in Holland, an inner 7/12 
 eheir hes a 9/12 choir aisle (Fig, & producing two triangulor and & 
 entirely irreguler trapezciael Lays. The choir of ine Fanciscan Churen 
 
 st Saleturg exhiiits the rare arrongenent ct a triangular cheoir-ending with 
 
 F/E choir aisle, Fig. 366 gives a ucre suitekle sclutiou of the same pro- 
 tles. The Church at Brouwershafen in holland has distinct chepels, cocas- 
 iona found in Late Gothic. 
 
 ly 
 79. Plans of Towers. 
 
 Towers ore the parts most decidedly affecting the external appearance 
 of medizeval churches, end in carly Christian churches are slmost always 
 deteched, which was seldoa imitated in Keaanesque, es at the Churches at 
 Clermunster and of 5. ammeran at regensiurg. The Komanesgue anda efterwards 
 the Gothic always joined the towers to the church itself. bell end steir- 
 case towers were placea at the most important points of the pisn, the ang- 
 les cr the western and transept facades, or if the trensverse structure 
 did not form transepts but merely contained several stories, as cn the plan 
 of O. Gall and the eastern choir of the Cathedral at hents, as well as 3, 
 ichael at Hildeshein, they were pieced before the fecades ci the traris- 
 epis. Especially appropriate for towers are the angles Letween neve and 
 transepts, those cf nave and choir; we find such on the Cathedrals st Spires, 
 verme, bamberg, and Nauaburg. | 
 
 another mere suitable place for a tower was the intersection of 2 church 
 ef cross plan; such ary very common in Romanesque, with two towers on church- 
 es with doubles choirs, but they were rerely employed in Gethic; as cn Cath- 
 edrals at Laon, Geneva, Lausanne, Coutances, some English cathedrals, and 
 in Germany on the Cathedrals at Regensburg and Passau; ea spire was usual- 
 ly set in their place. a beli-turret or sniall tower sutficed for monastic 
 orders and their modest requirements, and was placed at the side of the 
 church cr as a gatlie tower. Towers ere seldow placed Leside the neve near- 
 er the choir, as on the Cathedral of & ctefan at Vienna. The usual pian 
 otf churches wes one or two western towers; rarer ers those with towers in 
 anzles of ¢hcir and transepts or nove, ae well as those with towers over 
 intersections, 
 
 Cn smaller churches, as on the Church at Oberstentfeld, the tower sone- 
 times stends on the choir square, adjoining which may Le an agse. estern 
 towers with a middle central tower are rerer, and are usually connected ky 
 a transverse struoture in the north German lowlands, Thuringia, lower Saxony, 
 and testphalia, but are also arranged as double towers in the brick archi- 
 tecture of north Germeny. Towers over intersections are relatively cheap- 
 est, only requiring sufficient intersecticn piers, developing an external 
 
bles #869 “yok saan edt had ope doemteot) 
 
 weeat. te AN beat eb Lema mot es bebayotiwe 
 
 phy . - a8 aterod 460, to eupasassoil, 
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127 REDIENDACHGR'S MEDI abVal alhCnHITeCTURe. 
 
 treatment only alcove the roofs; they were glready in sarly Gothic sometines 
 surrounded Ly four smaller wassive staircase towers, a wotive employed in 
 Komanesque on Great ©. Hartin at Cologne, recurring at bombers, and Nen- 
 burg, and after the model cf the Cathedrai at Leon, 
 
 & single western tower before the middle aisle hes yrett advantages ov- 
 er any other arrangement, rR ily the intersection tower; it forms a per- 
 fectly symmetrical cesizn, also preferellie econcmically, has spacicus 
 
 galleries and belfries witn poses width of middle disie, ispesing devei- 
 coment in height, and for unreliatle conditions fer foundations ss in hel- 
 
 land, has a greater assurance of stability 1 2 désign with two towers. 
 
 u 
 Ty conceals the middie aisle and makes so pleasing addition to the western 
 walls of side visles; its prominence is justified 4s the western termina- 
 tion of the sient aisle. It always Peirri)-0 to the vidth of the aid- 
 dle aisle and may be Luilt to project its entire depth Lefors the centre 
 aisle, or for economy, may be half or entirely included within 
 
 4 
 u 
 ure of the nave. In the first case it forms an open vestitule (Fi 
 
 bee OM ? 
 as on the Cathedrol at Freiburg, in the second, an extensicn of the int- 
 
 erior of the church to the west (Fig. 3¢1), and in the third, is a separ- 
 ste tower porch (Fig. 2¢2). The second and first cases sey Le sc cowbin- 
 
 ed, that the tower forms an open porch and also the first bay (Pig. 232) 
 open to the nave or separated Ly walls. an allied and more couplex plan 
 
 is shown by the Cathedral at Lausanne.” These woula Le the seme, if the 
 towers were placed tetore the transepts; the Geeta and most éconcmice] 
 arrangement would then te to flank the intersection Ly two helt projecting 
 towers (Fix. 284), whose pliers could alse Pee the intersection fiers. 
 
 The facade with two western towers before the side aisles is the most 
 pleasing arrangement, and therefore is the cne nost employed; it not only 
 has the advantage that the middle aisie may te clearly lnudiceted by a a 
 
 } 
 
 le facade, but sudo the towers may be inserted a perch, over this tei: 
 ae 
 
 2 gallery for the organ choir. The Romanesque elways preferred to bul 
 facades with two towers, at least in Gernany, whenever tne double choir 
 did not give a preference for the design with tour tevers. The Gownic cel- 
 éeLrated its highest triumph in the western facade with two towers. ‘Toney 
 either project their entire depth from the west facade (Fig. 228), or are 
 partly included (Fig. 866), the first case for econory less preferalle than 
 the second cr more coumen one and seldom used. - Yet at Friedlurg, the very 
 convenient porch and organ gallery are entirely omitted. The included tow- 
 ers sometimes have no porch, but extend the nave, as in the Cathedral at 
 Regensburg. The western towers mey have the same width as the gide ais- 
 les, or may be wider, as chiefly the case an French cathedrals; this in- 
 
he ah SoIOy gr ge pecenrstid ever wilt to sf asthik 
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 er 
 
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+0 EEDIBNEACHER'S BevlAkValL akOhITsCTURG. 
 German churches is usually not -rester than the gro- 
 
 i 
 
 oreesé in width larger Cer i 
 jection of the nave Luttresses (Fig. 227); the rorch is elsewhere made nai- 
 rower to afford space for the thick walls of the towers (Fiz. 286); in churer- 
 es with buttresses included. within them, Letween which is a series of clag- 
 els, the width of the tower is sade equal to that cf the chapels to,eti- 
 er with the width of the side aisle (Fi,. 248). 
 In F-aisled churches, the Cathedrals at Paris, Eesuveis, and Coloene, 
 the towers hove the total width cf Loth side aisles (Fig. 276), and the 
 interior is covered Ly an cctapartite groin vauit, or four -rein vaults 
 spring from a central pigr.In the 5-aisled Cathedrals at Troyes, and Tours, 
 the towers are narrower than the total width of toth side aisles (Fig. 
 271), end set dia,onally (Fig. 872), as on the Church of &. Quen at Rouen 
 and on the Church at Ingolstadt. (Beit. Taf.20,Figs. 1,2). In smaller church- 
 es, the tower frequently stands at the western end cof one side aisle, and 
 in churches with one aisle, before the western facade. (Fiz. #74). It is 
 then wider, of egual width, or narrcwer than the nave, sccording to require 
 ments, and in the last cases its side walls serve as buttresses for the 
 vaults of the church... an arran,ement preferred tor small churches is to 
 place one tower beside one of the side aisles near the west facade oi the 
 choir, heving an entrance, while the western facade remains without a por- 
 tal, or it is connected with the sacristy, or its licwer story is used as 
 2 courneil chamter, for archives, BE BOY) Very small towers ere gable towers 
 and are corbelled out in any manner. 
 - Towers generally contain stairways inside, increasing their stability; 
 smaller stairs are added to them as staircase towers or ascend in the thick- 
 ness of the wall; the staircase tcwers are then located to suit the choir 
 Gx at the centre of the side of the tower. The windim steirs are scnie- 
 tines plated in the intericr of the church, 
 
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 yh) sf ftom | jiotexeala Sid Jyougwe doiciw Reddag- botiibg © 19 
 
 ake (ats: 
 
 Ptlyatyge. nO ai Liaw oad #0 Bedowm Off eydeoet! ond 2lfuav’ snd od jy “Bis ) 
 Mine aunas (sti ite. Hitnaiiies Aa bY, s isnadiahe ital |e aioe 10 ‘dosido 
 i Det ee of Mn page ay ‘beitiaoaya sabe 
 as ‘igi: guide’ ie. dedi. guy ae ae hens: smote cd Rta “oo okftead, ad? 
 
 ee wild. sinite ABE: ahd) vais. die SRety, ddiu -asot ws 1 gabe ‘ods’ pevirbors 
 ; Peo: wiepad’ gut its gibbin ond 19900 of. Ahtogeerios' & lz is ebts eat 
 | sebiia odd Yo5-e oF gaidoogeaaaoo, Leia. pkg bat, ty eves aie sed Tay 
 adie to potteassy Ls al 59S atl? (S@eROE BuQOed ately ieda Lhox wesat wigis 
 is net agiik lise: fotaoe i 10d. dake opts pag’ OL. howaee ay ybeortle any aietg 
 
 5 steado’ bh anisqidd, add ad pati 3. 0924 a6... iloex ada to BBE ‘edd BD Ingy 
 
 nf 
 
 Je a 
 
 gt mms 
 
 gh EUG alien ead. begdtgvyi 2 eek igen: idl sort? yet eibbie gla 189 & ‘i 
 “epealgasedie) dagaadd wil iy ce; RY ore r 0) eee kab byig: 6S 8/38) Agee i 
 
 =i) vestt. eed oes Je. ates. Stk, oldugb .2idk + vdeo ~gudda ld de" ‘te: abé : 
 
 ar 
 
 Ob al Baokuosd audity he eto j-Lhew ssOGnbl tyes. betioav: om ‘Biely bg ade. de 1D | 
 
 (2 ae o Ldev Biol. Bai bs yee eas atin ots baa yearro% veothe. ‘a fas ; 
 
 oo 3 ae wher ‘pybisiede. “tadwetca, S02 MON OK, Jo dethpised “eit 7’ a Ie 
 
 .2iesoen igo, dpae t120 of oeeesd.wdnads bith worety a wg 
 
 oe 40) lish pda ad bens: 40 ‘tele » au ayobacn, LR TG! wie rego dye “Line” ccs oe 
 
 pasted), s1sidi0}. re fieraindl 80 ent Dies, Lethal .,ougetay} dite 5¥5d sa ds. 
 etedioe tae aiwobaibw edt ‘dtesued sue caucokigg eb: ggstady ‘a « Sisdw (a a8 -V 
 
 4 i 
 eo es +e eee > athorns: shee Barbone ey faddin, tt te 
 t 
 
 eds eenhin Oe Yo sites vase xselo, gvid pal ele ‘wulele biz’ ‘teh bifodi’ * 
 pwobiadw: Ynolerdele ‘oid. viglpr), iaiooe Dpaks. (how deu'l Leute: Hiei te cy Bie baa oi, 
 nediseu ibe ge ese L 6. depuporg. atid BRDS, tipatgur. Jetettd ‘een Me: babe ta’ ‘ig FY, 
 
 eisthoawai ‘bity ih baagai’ wt bluge. Bat laege. «ce ae 4au0eR Neds Bide. bybso! 
 beau oa, ate ikew “iwatbeangiat BAA Odses:.082 ota gakioo!l ‘tae Cicw 
 an tenner alls wot badotycesd yon 
 
 ay 
 
 } ee ad dubai daetsitiy Ad bm 7d ok Salons Osi yr tiegs bre asfats ante i re 
 ede Rael seagy ‘Ss ae seiide ane. “~ ciel Aide 2 Yt besols. bas sydaueg 6 
 
 ay a ec ons tak pabien tie “antag Sugbedhings «9 Biioo abs sia god 
 
 oe ’ 
 
 * yuan & ud ‘beoulgua, box ‘bys tino. theadags RE. tds. ehmibltos otddor yas BE. 
 | erat rei bebtod ts. zie ‘gelete wy he rice Weve B ied. tS SRE RID x4 eit 2 * wobndi: a 
 
 re 
 
 doa shop eedbin. oeds, Bi, yex94 1 ati. ynévognnod eli ye 9d) haw” ewada tn i 
 
129 REDIENBACKER'S MEDISeVAL sAKCHITARCTURG. 
 SUCTOIN @, INTBRENAL CONGTRUCTICN CF Mev aeVaL CHURCH. 
 G0. Intericr ef Nave. 
 
 The interior of the Romanesque end of the Gothic church is sencrally that 
 of the vaulted basilica. The unit of the NVA gir h eo. 1] section is: 3a vault- 
 ed aie. the piers at the sides of the i middle zisie kein: connected Ly round 
 cr poin 
 
 pointed arches, which support the clearstory wall (Fig. G7}. From the 
 Jape cf piers in vaulted tasilices, wall-piers of verious secticnhs ex- 
 tend up to the vaults and receive the arches cr the vaults on scaHaeh: 
 
 courses or capitels. In the Lasilica with horizeontel ceiling,: these wall- 
 
 lice with cLlong groin vault, as firet used at Vezelay avout 11, 
 ereduces the simpler form with piers wll alike (Fi ; 
 
 rere Peres ‘2 aS ° a mye . 7 ‘ 
 Fiz. 275), since one Lay 
 < ss : pes Py aes — £ by yc ‘ a | Agee A mys 2544 25 + aati 
 of the side aisls corresponds to one of the middle sisle, with square groin 
 
 i 
 vaults. two Lays of the sids aisle corresponding te one Lay or the mida 
 isl 
 
 v 
 \ : Sy ad eth a eS ~ ~ + esa Ve . ee . | A rhe ae ature pad ‘ oe Pa : , 
 So, interaucdi are pliers becouse necessary ¢: i eae ee ) . alternation of two 
 
 piers was already very common in basilicas with horizontal ceilings during 
 the early middle ages. From this xcivive was developed the dowille arrange. 
 
 oo a . 2 : ee aunt i re 2 “ er | FJ 7 + Xn as hs be . k fra te an, oe, 
 ke bays of the vault, as first found in the Churches at Echver- 
 ™~ 
 
 } end Kirsau (Fig. 
 
 ires, worms, and also with the hexapartite grein vaul 
 
 ar 
 a 
 vie, 
 
 i 
 nach, (F S72), then in the Hhenish Cathedrals at 
 Hentz, © I ! 
 edral at Linburg-a-L. This double arrangement of vault Lays first ccours 
 in France in the Cathedral at. Ree in a somewhat extended form cf the Lin 
 burg system ond thence passes to othe: French cathedral 
 
 In churches with a single aisic, each Lay oath, of cne veult supperi- 
 ed by wall-piers; one or more windows are thes cpened 16 the wall, or ag 
 in many Gothic buildings, this is entirely omitted and repl: sced by a ereat 
 window. Fine examples of Lay 
 at Fontevrault (V-l-tuc, I-17£). and the Cathedral at Foitiers (V-1l-Duc, 
 
 T¥- 255 where a passage is corbelled cut beneath the windows and suppori- 
 
 , 
 
 s over sinjle aisles are afforded Ly the Churci. 
 
 ed Ly a massive pointed arch. 
 
 Roofs of side aisles, slope from the clearstcry walls of the middle ais- 
 le and were almost exclusively shed roofs; therefore the clearstory ia 
 must Le placed atove their upper edge; this produced a large space Letween 
 the windows and the erches connecting the piers; if these arches were net 
 loaded more than necessary, cpenings could Le formed in the intermediate 
 well and looking into the attic, or this intermediate wall could te used 
 as a background for Llind areades, with suitable ecaces for mural vaintings; 
 both methods could be combined, a gallery extending arcund the church above 
 the side aisles and opening into the interior with sufficient width to form 
 a passege and closed by a thin wall next the attic, or the spece under the 
 
| tae 
 ie a " ers huudtasab: od ‘Shath TOO 
 By, 1830 to “pau it’ Hitt .owobiiw Aplin. é3ntie yo 
 a: ubtoeels od) oupenAE OT ese ad: Bedbt atten Bau iaetics 
 Wilner atew stetbue tds. te ade ue heldets © ‘dedi i JOO ai by 
 seg a vod. beware botinas: %. mes aubuoting, PAS at biniorty Klewa: @ dnie 
 es *udais Je Lexbad ted att, ad an Paloauds 9 Krsse~ 1001 paotbedy gid’ ytat 
 dee ae bus 303 hace SD’ wad aail aetotwdo detagdA Vase bas 
 cathe. #5, ig pat ie des bobs ey oh OSE wi met yb ana Q Lotbedited ‘oid... 
 werad abigin-{ len. oHO8 | at AQols: deaqat edt -eveds peas ah obi 
 baees Es ‘erat 7-aved wig. Pe ba liged MERA - as ig et bine cewobar Fy tootaipads ‘eds 
 “39 eutoue a8 oid, (rapgeRert ) aioe te faerie? on? ak .( ets PRY ‘Badlo-we: 
 ae Eas W214). * phe Dark deseo toanot ait ew obmiw: odt vsoloity seldia ifn 
 :  }efeds bia to ayind i235 sone edt as gailiet sas Shion te taroed igo. 
 
 r me A 
 
 z puBivin. wha os’ «88 4ig6 dé [3 sbedam-s i nl ASRS SAT Dm LAV (as Gk 
 sts ia 6" lati wo Ad kw: tote ip AUS tml 2 bebbs af sedais oBia. wild, Tax tals - 
 
 bed yt 
 
 yh’ ‘btenb ‘Fectiosxo eifs: ovat anche i Ytode tes Lo, eis: Sr qub : boasga_ silodymanads: 
 
 : ESD aside. do inthedta> ott mt: LBS 0 oddul 38. ath), yro lia 
 
 . pm (oar) HAO 28), feibaid ted de ‘Adie Boe tye thin ide de dia’ Ap idy A OBR 
 
 1 r spayiidy yt dis Maca Le vers yd beh tem ai so. $6 de sheds) giv. Bo: ov ite 
 
 gene er gntsd BEAL. evods: aole iz bie edt #7936. boyte wis ‘touet at. (aeifo§ 
 ro xdak J fusy. Oth ny: oe bb, Jeni t feds .\reley girinotins, 
 
 ae! i 
 
 CUPISTESS fe “vet ; 
 ~ 3 ede k=! 1508, Ags yaa +g, ahdo ds “ane *. Si4i i). i avniog ie e #8544, Le. bea 
 » aA tog gag a¥AGRteb Ai bores img. wivasily s pid. obvi, J tus: oe 2sisteapd ott 
 ‘iol hada al nergy Boat “yais! 00997 Ai asitovet, 6 osle oan With, okatia” 
 | ene. a6. Aare 1D edd aes Npdoedgnde 8 Adin ate be Shia. sat ywid: egnt ae 
 ise : aupemag ion: Bi aoanat ae ‘ain 22 boos Le Sige amy ito% eas 328 au lge {Lab rN 
 sa tat eentfenoa: an tys tr Sit) .Wrwiheo EF ois to aninniyos edd ‘int 
 
 Oey ey 1 ‘enor. sigolone * ’ Lh ned fl OF. gt iviss. Yigal jon “s aor Uy: 
 Rig ¥ | af i P8084 
 pen ah mete saps wae ae 4 BgeRat 9, faawasat ie eyOt of bay -delatse~ 
 
 * ie a as. 
 
 ae ws Oh ue a en. de, es. aptly lowtette ge. pak. 
 a {AR SEF eetayr 4 
 
 P beaters. {Edoies cod P3647 42 to wide 
 
 vat am oi peg Sonia wigd swobg ke Casagheptn that vy (fasupunt - 
 nen bake wit hroug ey vighud sae Toe ow. ¥t ‘au Eno te y2 pid Yess 
 ey ond to phlgnbyyeé ahs ae ‘hae, paibis sie paberetent ‘6 Jor joyee 
 
 a Ree 
 
 iat aiatis cage’ eae om. dail iY | wth is eked 
 
 baw. ‘ntvond is gleiaodtsd 
 
4 aN ie “ ~ ee . ‘ s > : 
 A REDTENBACHER'S wRDIABVAL ARCHITECTURE. 
 
 roof might Le developed into a a DEL There was a choice of celain walis, 
 coenings with windows, triforiums, or open galleries. These galleries and 
 triforiuns were liked in Late Romanesyue; the triforium was especially us- 
 
 * 
 
 ed in Gothic. ‘then ea greater nusber of attendants were required in a church 
 with a swell ground area, the trifcrium elsc extended hanagie ebove the gal- 
 
 7 
 
 lery. This produced teur-stery churches,as in the Cathedral at Linkurg 
 and many Rhenish churches, like the Chureh at beppard. 
 in the Cathedral at Mentz (1186-1160), the pier tetween two bays of the 
 
 . 
 
 cide aisie is coitinued akove its ‘apowl ticek to form wall-niches Lelow 
 
 ; 4 
 
 the clearsterr windows, and is then connected with the nave piers Ly round 
 arches (Pig. #79); in the Cathedre]l st forms (1172-1161) these arches over 
 wall niches enclose the windows, no longer combined in a grcup, as in the 
 Cathedral at wentz, Lut falling in the exes of the bays of elde aisle ( 
 Fig. 280; V-l-nue, Ik-246).. In the Cathedral at Spires, to the aividing 
 pier of the side aisles is added @ half rouna shaft with capital, a smail 
 indow being cpened eLove the clearstcry windows into the external dwarf 
 
 gallery (Fig. 281; Lubse, CG. a- 355). In the Cathedral at Limturg, (1212- 
 1260), which substahtially agrees with the Cathedral at Neyon (1150), the 
 
 three important changes; 
 
 motive of the Cathedral at Spires is modified 
 i above this being an in- 
 
 by 
 a gallery is tirst arranged stove the side aisle 
 
 _- . -¥ aan | “5 % a £4 er 5 o, 5 yy re 7" 
 ternal triforium gallery, then first’ is the hexapar 
 . 
 
 G 
 1) 
 
 t vault introduced 
 and ali arches are pointed (Fig. 882; Lubke, p-35&, 866, 29¢; V-i-buc, In-24 9). 
 
 The hexapartite vault was frequently imitated in Gerzany, especialiy on the 
 
 } 
 Shine, and was also a favorite in F 
 having side aisles with a single bay, as in the Church at Kesie. 
 
 Calleries and triforiums were already common in France in Konanesque; 
 in the Leginning of the 12 century, the trifcrium sconetines had another 
 purpose, not merely serving to lighten walls enclosing nner otf the side 
 aisles and to form an internal passage, Lut at the same tine also provid- 
 ing an external passage akcve then, as at Notre bame at Lijon (¥-l-Due, 
 IV-122,184,185), and at 5. Leu-d'-Ssserent (V-l-LDuc, Ik-261,£82), This 
 form of triforium was commonly retained in the larzer gathedrals and was 
 freguentiy imitated in Germany, windows Leing opened in the external wail 
 
 cf the triforium, if no roof was outside it. « peculiar kind of inner pas- 
 
 Sage, not a triforius, extending around at the springing of the vaults ana 
 behind the vault rits and wall arches, is found in the AbLey Church at oc. 
 
 Seine (V-l1-Duc, IX-201), Leginning of 12 century, and others occur in the 
 
 Cathedreis at Lincoln and tetzlar. The triforiunm is generally covered Ly 
 
 e stone slat as ceiling or e@ tunnel vault. Galleries are arranged te add 
 
 space and are rarer in Gothic, yet were used in the Cathedrais at Paris, 
 
 rance, teing used even in smaller buile- 
 
 i» 
 
a , 3 3 * ; i " j aay wie =: oo 2 ai ae - che 7 f: « 
 ‘ 7 Hi, ‘i oJ F a, - a ie i yepe take ts OG ee) Neg Ree a ie “ae hia a 
 REST ASRS aa fig riser Bee Th Sf 
 eae a eh ; om Pe Pasta A A ORL Rep RRS : 4 4! i \ 
 3 ke te Aerial. bi. getty “He aR owed A Se ste" gti bits “ansee to: 
 rt ay ae eae & iat vie 3 nigh “ 
 | epuestagies L290 sprtenratet dito’ cabana ied") qwikewats ge guises sus | 
 
 \ SE 
 
 es Gy ty any slic: = is iy: ¢ " ery ie : Be ‘ ede ‘es Se ‘fon y wee ee ee ¥ os. MIDE 2 
 oe ‘htut ‘wr03 jaw bap tak bad at vied imergze. 4 esi aal he B a Haddon? ad One's) oe 
 
 = eoera bas Cpaa: 49: Baad yd! biel Wesdben 304 7 apt mh E udp baooky biuow 
 oa botsbtancg ak op Sones Atuattis otk wovion Hi To shat. dite) ouiiws tse t 
 ah, sol ws “abe a, 3 Hel eye i wlt'y* tla’ wri b BHO soni to ee sts 
 
 aan ston Wade wel towgh abe hate: 3 awda: sdsdogeONd Aare 
 
 : Ses Bae ol is it PIGS 
 
 ae 1} aut ; 4 Berd: Hl \ LAM ‘ha wad gts : Sed a Oah- 
 
 ee a Atta: ‘odd ate o idee (obese dus loko” aT o ie 
 
 Ree? A v ae 1 ; ee eae ; yet Pie sigh it “ ate es 
 
 ie ig p ani iad ee Sea! Hie. ts ipaihted wrt set uP verona LW. eas. ia yet Liha Lee 
 | Appt id fe oii pei bale, Nvooauyas bi Seas ety’ Wh g toddiet 
 
 ; lenny so ‘at jpubtores! dia, {ted Jane od “oF y aao wort 
 
 wit vgeted WA 
 
 mete : ae 
 Sikt Yuet ak oe vt: roe out mabai Megs ty io. toed Soy Mv £ ati 4 Ypepes. ce bevoeil 
 ‘edule store To eigoy whi tah ONL dede: te pewter? “TI Jagttht 
 
 iyd 
 
 v= 
 
 a ’ Emil a ~ 
 Lion af 4 20 
 
 veo COE Olheys 
 
 Py, 
 oh tet ist 
 
 ak oe . : , me std aid 8 Ware bes 
 Hes 9 LaroT ae. Bb yah) dee F a bye aglaw ‘gue aed au drotins ii? »dueu eas 
 ra . SS. ay delete ips fs sheits: 4] tf f Wa wis wid nds Dae i, miedd 
 ue ete: iia ae wets  ° eaitood tel boteda~uvey 
 | ereths’ ‘dhe } HOR ak bea © ie id rf’ vt ieab say | f ake ma £2 St > bi ee eee jaya “oH yf 
 fens re “hh 6 ee Fay bth sig Oba 4 attgogad. VIav s Os vw fowl dows. eto Srl 
 
 eras nil yciod at, Wes 4 | Lod, wle ts. vidoes ‘— 7 {xe ¢ RE: le ea ued “J els tbe 
 Lien fide thaahe wild {WOOL t-evads 71 AMA wedaiived Achy (eievised se pas 
 fi eae ay nied iets, bie seus cf etd ie geattoss owt? at. bepivib. 3i etriood 
 ead ai6 ae. as LOR L%S s ates 6 “er bie-BAdSox b @i Aoddy | 
 
 @ 
 
 ee - ' ? ta ‘3 oe, P pee 4: pid £ 733 
 
 f lai + PEhBEs add to i inw Wi dag fs wae a 
 — vi ‘edi ston Bs fasta iO as ied, diets thib wuts, Adke engiees 
 Be elation advbte Aged @ BIB 34 gird isupe to e9ivie ‘sbie dyiw tads et taoe 
 pia te? exteto old peoriey a8 “tex ates? gute. on evtoo te cechipenuian ba! at 
 ne if eis £1): v8, betbed 300. ed ar Bits | a7 sivtt rebate (Ste tan. JB geeky St IGO 
  Piedo-edst af es- af As ante {fad eis appa eye ibe bd, ants, [6s WoT 
 adgnusdo- bes eet aot tpg eerticallle | bridg : - Sard g- atid  Liews ; é waIwdoeny Lo 
 vA an : a; Pee all me agetF Ssiilo i : | 
 
 “fea hsa98, os 07%; ote ia pe Wired 2 "add ‘1 aoapical wild" ‘aiubs saa x poeta eh 
 
 i * ish anotaifed'tt avodw pas! 686 sf we ‘Lise, pot awob ty Karts Ree Sheu dtae: Sve 
  aiapar’ too hate “Régie oa. aot odds sis ¥ ty hbuday 2s oO" S3nd penao, wh + ised zen 
 
 aials 
 
 eH SR EE ar 0" ghia Watt te oes Dh featass to. yee ‘Peamth- o “6 tae 
 i EG | totreddl od OE the ds re tie: pay ot 2 wit Id gad wits de: nowy ee ee 
 
 aig balay. elisubsrs. eats: ferns i ot, to Stdoss ious lea: WtKh ofl Konic 
 cl beunegath” ¢lotieas dant” Ne lee beivdoyizs: 5 as peano tects: i aw bre 
 
  waaldy - oodm tac ly benie te *o adoede ee 20 ye ketolons bas’ ei taw. dat Pregque 
 
 A i‘ it bd fae cone F er add. to beeithal wis. raat aie talon’ io ig gad 
 
 wv 
 
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 vb "hd » y Fe St * t 
 
) 
 
 121 REDTENEACHFR'S sEDTABVAL ARChITECTURR, 
 
 Goissons, and Alby, also in some German churches, uc in the Church of ¢, 
 Laurentius at ahrweiler., Sut vaulted creen esllericsa tre conwen in Rowane 
 esyue ag wel) as in Gothic. 
 
 To treat variations in internal eppearence ot the trifcrium sore fuil; 
 would exceed our limits. Ungewitter (Lehrbuch (p-493 et ceqg.) end Viel- 
 let-le-Lue (art. Triforium) cover the ground fully. It is considered 
 o paries of lew windows, ond thereftcre ell the chanses are meade, to Le ce 
 soricved in rebetion to the architecture of windows. It is ctten reduces 
 to simple arches without sukdivisicns, which cupport the masonry up te the 
 veginning of the windows, as in the Cathearal at rouen und the Chureh at 
 Sees in Holland, where in the first a seemental and in the latter «+ cusped 
 round arch extends from ome pier to ancther; the triforium is elsewhere 
 treated as merely the lower portion ci the windew tracery, a6 in mony Prenat. 
 and German ruildinge. If instead of shed roofs, 
 are used, the triforium becomes useless and is omitted, es at Toul, Oppei- 
 
 ei’ % 
 
 flat roofs of stone slabs 
 
 heim, and in the choir of the Cethedral at Freiturg-i-E. 
 Five-aisled Cathedcrais. 
 
 The game system applied to five-aisled cathedrals increased the entire 
 internal architecture to e very imposing ratio of height, as in the Cath- 
 edrals at Bourges (V-l-Due, Ik-e62) with a centre elsle 12L¢ ft. in heiyht, 
 
 snd at beauvais with keystones 161.5 ft. above floer; the internal archi- 
 tecture is divided in five stories, over the first side aisle being a tri- 
 forium, ateve which ig a second side visie with e triforium sgain inserted 
 in the clearstery wall ef the niddie aisle (V-l-fuc, 1-187). Five-aisied 
 designs with three different heights of aisies ore rare; the usual errange- 
 nent is that with side aisles of equal height and a high middle aisle, az 
 in the Cathedral at Cologne, the Cathedral at rFeris, the choirs of the 
 Cathedrals at Amiens, Chartres, Kheins,end in the Cathedral at Ulm, If 
 lew side aisles be added to the three-aisled hall church, as in the cheir 
 of the Church at Zwetl, this gives a third arrangement for 5-aislea churches. 
 Substitution of Stained Glass for falls. 
 
 The tendency to reduce the mosses cf the structural systex iat tc conplete. 
 
 substitution of great windows for wall surtsces, and whose dimensicns iad 
 
 ae 
 
 increzsed in consequence of @ growing prétorence tor stained glase cf rich 
 colors, The dimmed light of stained glass required windows to be as large 
 
 os possible, if the lighting was tc Le sufficient for the interior of the 
 church. The internsl architecture of the church thus gradually changed, 
 
 and was transformed inte a structural system, thet entirely dispensed with 
 supporting walls, and enclosed space ty sheets of stained glass, whose glenn- 
 ing play of color heightened the mystery of the interior. 
 
; : fant ee Hy ke Ni i ; care ; ne ohn a . 3 5 oo 
 
 ag i " ae eed Ps i prevent ae odd ‘edits wali odd x02 
 . “tne, Dive (rseaaded NOL oa ean etleg wt seed Hluev of} to: fhemisess ais’, 
 
 te io. bee. iigas yo bt (gto Sey St eds 39 off20h beqolever ad?+ pee a 
 
 a. a wie Preiel 2 i a @ etl tay. st béloviaey yderody bas "eSB yon | funy 
 as 4 i ae : Bie ty | - Ybshvou'sde 
 :. PA Omen ad t  @efoudS fies 
 
 ies en fied ee vata wid. to nibiiosie Seen to wot ivigaie « 
 
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 Ladys Adin ayteed Soiede-S wit noltese cago oft mont betettib yleowoe 
 i : “orn baw. olets sibhin able dice adadl ayis te Lie 30) gutsatuga to avitg ted 
 a “e y o4aia sysava: APR HT 6 09,5 sibetioT aBtindyesi yu nt ov jaolets obte 
 me % aarobit iw erowiuy (0 ebis oot vbudal gis Rlbei si hoidwidud $(G9¢ 4)" 
 re i anpu@T 26, 2ststet Laupe ded wi Shee Pelsta~ sit pvieaawvired his nee 
 ee ae AE 9d, wseet aaeye ase ls hae we gsoue 19 Vib eidewhieaeo bas efiuex “ 
 ‘Poe wot “euat.. wdiltisze te dot sPamee ag eyorpaneh .(bBE V oft) savme yas 
 old: pot yolsa (haat ayawie af avsets to St Jdeu thups Ylodsabxotias .emytagh 
 “eas alas siogi (da: ,aalale 68fe sly bette V6 -weorstus edd do dignete 
 
 mretiih bi congas tyviw Reto: is ifea 19 Hiive sd? ,atebq wit to enokiosa 
 aot): ee | hse OS -35 Yen Sdibiw Jae 
 1 bas. binge tones aedlearl ons ;bediednts avi Io Sawlavgegs is od salwO 
 os or egdougdo Le Yes iboa Ped Pica to stated “agatbissidxs been 
 ia i asw bau toed itods maps Fae to aide tty j is KJ etohgytas ail eiciodsyb 
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 ae te Hote ead luny fo: aniet Slade’, Mie, AR: 2 4a weinseh at as kion 
 . ye i egal ea wilt the yikdods , 40% bebuetic ere uwddinud 
 
 ee erate es diet iat 
 
 Varah ee fe MGSGAS to yokesial oi! .t5 
 
 rT 
 
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 paren ohne to ‘dads of @ilinia af stodo edt to etudossinoie lenwwlal edt 
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 ai sfbav to ‘#aye OF Ji,ted edt cedopeie weliows odg al: wo san “obo ati, |. 
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 jodadia Reg te nbory aid wiizled es 66 bemdas od eae: 16010 -ont wonky: 
 
tz REDTIENBACHSR'S HEDIABVAL ARCHITECTURE, 
 
 Prom the time that the ckleng ¢groind vault supplanted the square cne, 
 the treatment of the vault Leys in pairs was ne longer necessery end was 
 dropred. The developed Gothic of the le century treatea exch wey of the 
 vault separately ond therely perfected the entire system of internal con- 
 etruction, 
 
 Hell Churehes, 
 
 A Sinpler form of cross section of the interior, the hall cesien with 
 eisies of equal height, simplified the longitudinel seetion, which then 
 scarcely differed Trom the cress section, The @slsled design with euual 
 heights of springing tor ell aislgs leads with wide widdie aisle and nerrey. 
 side aisles; as in many westphalian tuildings, to a higher centre eisie ( 
 Fig. 268), but which is tedly lighted, since side ¢lesrstory windows are 
 wanting. Conversely, the G-aisled design with equal heights ef crowns ct 
 vaults and conasideratle differences in their cleer spans leads to an ar- 
 rangement (Fig. 384), dangerous in conditions of stalility. Thus for hall 
 ‘designs, ocproximately equal widths of aisles is always cesiralle; tor the 
 
 strength of the tuttress only affects the side aisles. by increasing the 
 sections of the rote the evils of hall churches with eisles of differ- 
 
 ent widths may Le compensated, 
 
 Owing to spaciousness of its churches, the Italian teneissance did net 
 need extracrdinery height cf northern mediaeval churches. To shoppe and 
 decorate the interiors Ly expedients of antique abchitecture was its pie- 
 blem, solved with the most delicate feeling for preporticn in tiasses as 
 woll as in details. by asain employing sluple forms of vaults, rich cprure 
 tunities were afferded for painting on the simple curteces. 
 
 61... othe Interdor ef. Chetry. 
 
 She cheir usually has the same height as the middle aisle, Lut in smwali- 
 er buildings is lower; if higher, it is almost alweys a aye addition to 
 gn older nave. In the smoller churches, its hei, ht to epea of vault is 
 from one and a hulf‘to two or even three times the clesr epan; if three 
 times the clear span be assumed es the height, this produces very slender 
 proportions, os adopted din great cathedrals; in the Cathedral’ at beauvais, 
 the helght ie nearly four times the clear spen. 
 
 The internal erchiteeture cf the choir is simillexr te that of the bays. 
 From a-kuse a wall, plain ov lighter Ly niches, extends up to the inner 
 gill ot the window; for a e¢hcir aisle, the internal walls with their tase 
 and the windows are naturslly woved outward, and if chevet chapels are ar- 
 ranged, their internal walls fora the enclosure of the interior, The Lase 
 of the choir is lewer than in the neve or ie entirely omitted, if the choir 
 is veined three or wore steps. In French and in some Gerwan btulidinges ( 
 
 AO. 
 
mS. a eh wi 
 
 ue 
 
 (a) . 
 
 & ak hel fo etd ey saa si i, edie «pisslest 
 ws 3 a yet Low [its wdt Yo voneteld vl 
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 io aie y vid ot «fue @edijowos 10 .ke 
 | Shh laditoederg. daket hie erat. fon! “B00D -LLie ats 
 | eee O14 asdoin Liew eqs saupasadaail Mk gasteeb tedok, a1” 
 
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 eo htha* ta: eibed de> ond ao on” “Akers wild ts 1OP@sad wtF ad boyatsrs 
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 on Bates, tsk: bist at: Balt aids ‘pola 436 afem edt dotiw Jesisss 
 pees: Die eee pepe iat “thao is ig oF avilage 9 ozin 
 
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 iy iag hal pine a sre ) 4 
 
 roe ge 
 
 ; en -% ih bas. aetky on fr ied ddd, wae al a8 “ytedota. Gavert=tied Ofnt be 
 
 ) ie Suisndtax 2 & Yo: ‘doiudy: ait 19 aldils - wioteow edd ao bac (563 (469 — 
 
12 KeDTeNBACHBR'S MerlacVab akCrTisOTbke. 
 
 Freiturg, Straskurg) the Lase in the choir is sonetines shaped zs a seat. 
 
 The distance of the sill moulding of the windows Trou floor must at least 
 Le more than the height cf a man, and 18 even incressea icy the iccetéon 
 
 ot church Hotes. s'8 well shafts extend down to the tloor end rest on tae 
 ss, or sometines only to the sill course and are received on corlels, wher 
 the sill does not have sufficient protection, 
 
 In richer designs in Bemanesque, the wall niches sre Sometines develop- 
 ed into half-round niches, as in the Cathedral at sgires end in & Paul 
 at. ‘crags, but. in richer buildings of transiticn and Gothic styles, as Loau- 
 titul areades with small COLUMNS, ae in the Gathearelisc at Eonlere anda otrac- 
 Lurg, in the & Chapelle at 
 terial passage, as in the Cathedral at Febiturs (Ungew. Fiv. €21), or ere 
 arranged on the interior of the choir, a8 on the Cathedral at basle. 
 
 as for windows, the urches spanning thea ere genérelly concentric with 
 the wall arches only when the window occuries the entire length of the cay. 
 If this te not the case, the windows are set uo: 2s Figh es possitie in or- 
 der to most fully utilize the light frem the clearstcry, Ghd the wail arch- 
 es are even set much higher than the longitudinal arches Se, ara ting the 
 main and side gisles, most strikingly in Notre Dane at Paris (V-l-puc, lI- 
 269, 280) ond on the western choir ct the Church of os. Katharine at Copen- 
 heim (Beit. Taf. 61, Fig. 12). The top of the window aay even extend above 
 the principal cornice, if tracery gebles ke arranged sLove tie windows 
 apainst which the main ctrnice abuts. what is said in regard to the choir 
 
 viso applies to the choir eisle, chapels, bays, and conversely, 
 
 Paris, etc.; they are then cenmnectec Ly an in- 
 
Nats & HOlToss 
 as, ee gy es at Hol joursaaod a aakeam ae 
 aa. yroduwent gas to wa * paseotbal douudo od to todwwixe wid nd Yad Aow% 
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 ie mgs HAS StNsouTs2 Agi gaoo pian Beer. «aw o1y eulaga's ban a abe. i032 
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 40 ghdbne ouedys IER Abtale atedsee ot dedw- hedenstnos . ! 109 Jnaodtia 
 “gucry elie Te ete “al septs Javeio bas oftde tholta dalegado apa BBO qa 
 west ots ti devas 4 j08. abi whe to saldoustaies, to Weseye oJ baw’ ayia be 
 | wired eup ine a* “Rot ows elas ed! Je Sunes. tise ‘ate ak bese iqnag “aaa ebz 
 oi? tesived sen] avo wd Beeldvayes! bite ayetreroe ids doide . tudved ens ‘nd 
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 sat beds (quae wtew hengiase agttbitud teak lags edd. tap . jaedowis edt 
 ‘oft si pevelgaoo Ine eten xo ,beduiag law, Sei eg2- ¥Eleuna aabaon 3 tiwvaen 
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 feds ao bos ‘footte MEGA? he arsine ts at? go. bowed ots aviorudo eonpaais 
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 ots: ‘WD bx does efastl: weed qe sata had ae ae ‘Weeding oa ad 
 
124 REDTENBACHBR'S hotTanVaL «RCH AITECTUE qe - 
 
 SECTION 7, SATERNAL ARCHITECTURE, 
 C2, External Construction in General. 
 mach bay on the exterior of the chureh indicates a iay of the interior; 
 istend of the triforium and gallery sre external pacsacées above ths reets 
 
 les, the whole being crowned by a prest roof, which mater- 
 
 islly contributes to the external efiect. Cutside the internal well piers 
 the vertical dividing members of the extericr, ie piiesters in Roman- 
 esgue, and in Gothicbuttresses and. flying vuttresses | very effectively eet 
 the extericr and the intericr oe prominent srehitectur al members, with 
 compact unity of the plen,. the general exterior ot the’ nedizevel church 
 forms a vich and herwenius group, and a hore complex. structure cen scearce= 
 ly Le found Lefore mediaeval architectite. The crocs torn if produced in 
 larger designs Ly the intersection of middle and trensv ere aisles, domi- 
 
 nates the entire Luilding, above which rise the great. masses ct thé tors. 
 nthedrale and churches with doutle choirs anc Tour towers, ugually with 
 two interseetion towers. as at cpires, Hentz, #orus, Leach, and Hilde bedi 
 represent one ct the. chief | lypes OL Ronstiesgue BrOUSS; a second typical 
 form of..extern ah design is. BEEN ji churches having weetert facades with 
 
 two to 
 
 intersection, like many Rhenisl. ‘Luildinge. The most complete example or 
 
 a rich catnearal. with, 81x. towers. and an intergection tower, is German, eas 
 the Cathedral: at Laon. in ‘Prance ,: 8iso ith ceven towers, wae never completed 
 
 s 
 
 wos, ti bidrd | in, the croc? cian with one massive vewor over the 
 
 To these greater works way be cae en infinite nusler of smaller build- 
 ings, which vary the. primary motive of Latin cress with its different cheis- 
 
 ¥ 
 
 endings in the most diverse ways - they extend the scope of medineval church 
 architecture, always within the arenes of strictly formulated laws. 
 
 The pich fore of western facade with one cr two towers, the porch, the 
 callery, the gable of the gidale aisle with the great rose windew and mag- 
 nificent portal, contrasted with the eastern choir with square ending or 
 
 Bp eee. srojecting chapels, choir aisle end chevet chapels; the richly groug- 
 od design and the system of construction of the nave, suggested in the face 
 nde and completed in the choir, assume at the intereecticn a unigue change 
 in the design, which characterizes end harmunizes the contrast Let ween the 
 nave and transepts. The Kenaissance was not fortunate in the exteriors of 
 its churches; only the smallest buildings designed were completed. The 
 western facades usually remain unfinished, or were cnly completed in the 
 Lute Renaissence, The essential points in the external treatment of Ken- 
 sissance churches. are tased on the grandeur of their effect and on their 
 antique subdivision and decoration, then on the reduction cf their root's 
 
 to the smallest possitle size, so that they have little effect, ond on the 
 
e- 
 
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135 REDIENBACHER'S MEDIABVAL ARCHITECTURE. 
 treatment of the facades as ornamenta] parts, which do not always indicate 
 the internal construction, a8 in mediaeval erchitectire, 
 
 82, External Construction in Detail. 
 
 Jowers and western Facade. 
 
 Komanesgue towers ere sometimes round, as on the Cathedral at worms and 
 the Church at Pfaffenschwabenheim, but are chiefly eyuare, as aise in Goth- 
 ic; entirely cctagonal towers are rare, but occur al Gelnhausen. The tow- 
 ers of the Pfarr Church at Stey are hexegconel, as well as those of the grea 
 
 r 
 
 « 
 
 Church ab Haag; a tower in Pressburg is heptagonai, and another on the Cap- 
 uchin Church at wiener-Neustadt 
 
 The oldest French Renaissance tower, at Perisueux, is entirely antique 
 in treatment; pilasters or round piers support antigque-lixe principal corn- 
 ices, and between the upper principal stories are inserted two lower ones, 
 the first having windows with streight lintel 
 - and third having round-erched windows with erchivolts, the uppermost hav- © 
 
 a 4 ‘ 
 S end zatle caps, the second 
 
 ing pointed arches with archivolts. On the square tower stends a snail 
 circuler temple, terminating in a dome like a pine cone, according to Vic- 
 lletele-Luc, this tower is of the first decade of the 11 century (V-l-Lue, 
 ‘I12-28¢), The tower of the Palece of Liocletian at Spalato contains a prin- 
 cipal motive of French Romanesque towers, the rich compound piers, the ccup- 
 led windows, and the treatment of wall arcedes; these towers rise in sev- 
 eral stories and diminish upwards ty bold offsets, their upper part fre- 
 quently changed inte octagonal form, and they are characterized by point- 
 
 ed gables, stone spires end luthern windows, Turrete are also found at 
 
 the base of the cetagonal part, The usually square and rarely round Fom- 
 anesyue towers in Germany consist of oa series cf stcries above each other, 
 whose walls are broken by Single or coupled windows; the sukdivisicn cf 
 
 the wall dis in Germany Ly pilasters,connected together by a round-arched 
 frieze beneath the telt-course. Towers of varly Komenesque churches were 
 sometimes staircase towers up the attic, rising in simple and untroken forn, 
 then ré¢eiving a-telfry with richer treatment; the lower apt, wes not 
 decorated or was merely broken Ly small windows to light the stairs; thus 
 on towers in Regensburg and on the western towers of the si at wurg- 
 
 burg, Romanesque towers were cither covered Ly stone spires or wooden roots, 
 
 and lead, shingles, tiles or slates, were enployed as the covering mater- 
 ial; according to the plan of tower, the spire was square, cyramidal or con- 
 ical, lozenge-shaped, as on many Rhenish tuildings with towers ending in 
 gables, and lastly, cetagonal pyramidal. a rare form of Romanesque tower 
 with internal dome or cloister vault, whieh sometimes appears on the exter- 
 ior, ocours in a group of middle Rhenish churches, the towers of the Chureh 
 
 “— 
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 ASS 
 
 Fa 
 
ee neds be “awLansysaud. 98, >/iomd edi. to. aaa ae tos Sg ia,” 
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 pt Rts Carian oh IR 8 tet 
 
 es _ panes +n AD bewod bas: atoos mnbwen, joneat, ‘30 @taonsio of? 
 | elt), avtoatl ,(2983e0e MrdeN) aaderga (408-17. re disaced?: 
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 Ag. 7eHOd- Aotsoenteiné. vid nk —— stioogad te ne beat daos: “yatob. be jG: 
 
 oe. odd font fey ‘aetyons evivepa rit nego Levels ated 24m Oren iury wkqgin Bite 
 
 ee oo gakops mont aaisvienesd wT wage. ads Jueqque ‘od AG26I90" itt oswif 
 
 i _ awobakw atydtos odd 7 mas PSE SSE Li .G-i-V) JoLttivonget de. “Hodedd Y eild 7 
 
 a: stad) Lotbed tuo avieaen vid. 302 Lebon ond. ai, towos sidt.. sot tee” stall. 
 : os _ aeyaisdo wlalipe wal TCL ne te Llom eee set DSS ehhnaG, bag sexome dn, bau. hr 
 
 a _ qavrkge ing gatnins ASLIONBS eVigsea “gadbbs 4ot Xpidudaugyo bebiod ts acide) 
 
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 ye 28, 4982 319) innoyssaey , COVED NORE EY aoe) WHO Js (388 o¥ fT) tsupa., 
 
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 toda. on. 9 ‘eno fu esewo! ofpoas ssaay, tat. bowteous ss piew, apy ole als 
 
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 i | atowtidg.t8. ty Yen GAs Yo Aolona yindevbortal ¢ eds nd: busier Verna 
 
 pout sapaacuee. ris ‘wads Host : untae iin: elute osdsad Ps oabees” ae 
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 ae alles: edd gabyals tot ultasg (Tal wookisaiae Re got nebgodad qliieg. etl 
 ag bean ‘Som t denon ‘igvode baooea’ «. Xs. bebspogue el “eEAT RaW bhiede ond. 40° 
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 cased. Yl Lenen te. iitindoser 243 Yo yal items id bas ysried a: “aah, Gov r99 | add 
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  bekeitaon gesogwy auelusy. ait soueuped inate Fhi8 Bh aletos Ystly 42° (bey 
 ih a oa eae Nai oad. ial —- te anne: fasnos tooi 
 
 Rik esa) xs 
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 is { # Pad Sale =! 8 “ F , - 
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 Sy 2704 eo =. BS hia 
 
 os * 
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 be Sales ON dh, ae a ese a a Ree He; eond> Haguat hay 
 ie i aE bts Wr) Raa > oh agkdeed. ey ‘ayenat ~: 
 
 isabadecd oid a0 2y (988 et) bsn0gs doo - to. CORSE EOS LIE Simin) es 
 aA ata S ads >: evidou- yasas ay wi? (898- oee ; var kak i ;oeSh a3eet) 198 ‘es is * 
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 odd ,(tos-111 winl=V) amiedsi ae apieoin a to dowd pid Bits ‘Leth’s *: 
 
a2 REDTENEACKER'S MEDIarVaL sROHITECTURE. 
 
 wt 
 
 + 
 
 cof 3. Paul at worms, of the Churches et Guntersiium and alsheim, the tow- 
 er at Dittelsheim, and the towers of the old Cathedral at wetziar. (Beit. 
 Taf. 80,, 2%, 82), 
 
 The i etna of French Romanesque towers, and found on the towers at s. 
 Leonerd (V-l-Duc, III-295), Uszerches (V-1-Duc, geoee208), Lincses (V-1-0, 
 
 111-298), and Isomes (V+1-5uc, I1I-216), first cecur in developed ana per- 
 fected fora, combined in an imposing proup, in the intersection tower cf 
 
 the Church at Vernouillet (V-i-0, Tl-223,224, 225; the iuthern windows 
 
 and angle turrets are here developed intc massive canopies to flank the 
 octagonal spire. This tower ie the wcdel for the massive cathedral tor- 
 ersat Chartres and Senlis, and for many smaller towers, the syuare chenges 
 into the cetason to support the spire, The transiticn from square to oc- 
 tagon offorded oppurtunity for adding wassive canopies ending in spires, 
 naturally made trianguler (Fig. 3€8), as at Senlis (beg. of 13 century), 
 
 or aquare ides 986) at Chertres (1140/1170), pentezonal (fig. 287) at 36. 
 Pere (V-i-b, III-&e¢; tea or octegonal <a 266), os on the Cathedral 
 
 at Laon, (1226-1225; V-l-u, I11- 287). The primary motive of the termina 
 tion of the Gcthic tower was Sy created. a4 turther development cccurred 
 Ly treating the octagonal portion of the tower as a oe story, this 
 being made teller than the lower square stories, as at Lacn and on the Cath- 
 edral and the Church of &. Nicaise at Rheias eran y IlI-291); the massive 
 ongle canopies were transformed into great angle towers in cne or two stor- 
 ies. 
 
 The motive of western facade with two towers for cathedr 
 haustively treated in the introductory sketeh of the history cf 
 
 ure. Its forms in detail will Le studied according to the crozress of the 
 different parts, 
 Towers in Gothic. 
 
 Towers in Gothic stvle essentially differ from those in Romanesque since 
 they do not merely consist of nearly similar stories placed alcove each oth- 
 er, but each story has its special purpose, Upon the tase rests a substruct~ 
 wre, partly intended fer an entrance hall, partly tor ringing the Lells , 
 or the stairway, This is succeeded Ly a in story, sometimes used as 
 gellery end organ loft, or sometimes for the clock. The thira story of- 
 ten serves as a belfry and the dwelling of the watchman; it usuelly term 
 inates with the transition from sguere to octagon, The belfry is sometimes 
 followed ky a fourth story enclosed Ly tracery, above which rises the spire; 
 thus on the Cathedrals at Fe@iburg and Strasburg. sither story may be omit- 
 ted, or they ¢erve in a different sequence the various Puro Ra mentioned. 
 
 Korizontel subdivisions of towers, from the nassive water table to tase 
 
| Sparta eatt te equoua ay. Lossnianbs @isitye-48% To avigns gil  ,aeloiriig 
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  ageettted baw etiney 4a ty bas shawloo 18010 t00 bai sea too, nésdee Vi oes 
 
127 BDTBNSSCHER'S MEDIAEVAL ARCKITECTURE. 
 cf the octagon, are Sib: of 2 subordinate nature; Lut the commencement 
 ot the octagon and the Lase ot the spire are seperated by bold herizontal 
 nasses, moulded members,balustrades of tracery, or a series of gatlets and 
 rinnacles. The angles of the square terminate in gercups of free pinnacles, 
 which load the angles and forces the thrust of the vault toward the axis 
 of the tower. Smaller towers vary the motive in varicus ways Ly omitting 
 some stories, by Simplifying the style, or Ly introduction of many origi- 
 nal ideas, not permissible in large Luildings. sen were least inclined 
 
 te secritice the octagonal stcry and the transiticn from the square to 
 the cctagon. 
 
 rven for square towers, always found in countries using Lrickwork, like 
 Lolland, the wooden scire was made octagonal on a sguare base, The stone 
 
 cire was closed at first, but with a general reduction of architectural 
 masses it was made open and consisted of the richest tracery, a mode cf 
 treatment scarcely found in France, tut not rare in Geraany and at its cli- 
 max in the towers of the Cathedral. at Cologne. 
 
 The treatment of Romanesgue towers in detail presents few special mot- 
 ives, pecullar tc Homanesau 
 
 veated with the usual forms cf church architecture. ‘shat applies to win- 
 
 e and not likewise emplicyed in Uethic, few not 
 
 Ve 
 
 dows, string-courses and cornices, columne and pisrs, veults and buttress-+ 
 6s, also applies tc Romanesque towers. but the towers in the Gothic ctyle 
 exhibit many peculiar mctives to them 
 &d. Forms of Towers in vetail. , 
 rroceweding to details of treatment of towers in Gothic, the forms of the 
 different stories and their connection with each other first come under 
 censideration. 
 wave of tiffersnt stories. 
 ory generolly serves as a vestilule, and its height is us- 
 
 ually eguel to that of the side aisles; hall churches are dividdd in twe 
 
 t 
 
 , 
 
 Church of Ss. lis 
 
 y 
 
 stories Ly a gallery, eas in beth at MarLlurg, and the 
 
 hie 
 height of the gallery fixes the height of the lowest story, The two low 
 est eric a together corrséepond to the height of the middle aisle or that 
 of principal gcruite; uo proportions naturally resuit from the commun- 
 caution of af} purts of the Luilding with each cther Ly galieries, passapg- 
 Bs, ete, The second story is generally on organ gallery and may be entire- 
 
 ly owitted, if the tower is entirely included within the tody of the church; 
 the gallery and trifcrium usually extend around the tcewer éxternslly or 
 
 internelly and acrcss the west facade, forming a proper expedient for con- 
 trasting the horizontal with the verticsilisnm of the architecture; Nctre 
 is and the Cathedrels at Rheias and atiens carry cut these ideas 
 
ae OK a neem ings vaR Tate Basan dua ee ae 
 aa) ray: Suieaie nes ene is eee ar niet: “bei Fed? “Seow Findbiiy" st th 
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138 REDTENBACHBSR'S MEDIAeVAL ARCHITECTURE. 
 in the grandest way. The upird story is treated as a belfry and must Le 
 highest from the ground, andathe tetter dispersion of sound on all sides, 
 it must rise high abeve the roof of the churen; if this roof te very high, 
 a story is usually inserted between the second and third to avoid excessive 
 height of the third story, and this may be made very low in proportion to 
 the others, as on Notre Dame at Paris, or it may attain a considerable height. 
 and even Leceme a third story, os on the Cathedrals at Cologne and at stres- 
 curg. 
 
 The windows correspond to the importance of the stories and are largest 
 in the belfry as openings for sound; in serly Gothic, they are treated ad 
 eroups of two or three windows with tracery in the test period of the style. 
 if a subordinate story is to ke separated from the belfry Ly a horizontal 
 wemser for the elock or for the dwelling of a watchman, es con the Cathedral 
 at Freiburg, this will only Le by a slight indication of the horizontal 
 on the exterior, and windows and tracery will extend through the entire 
 story, anh increase in number of stories of the tower would directly re- 
 
 sult from arrangement of galleries over side aisles, but one merely appar- 
 ent may be produced Ly horizontal nenters on the extericr, as on the low 
 
 er pert of the towers at harburg and Freiburg, partly to make the belfry 
 sppeay larger, partly to diminish the tower by destiny ty in the masonry. 
 
 Horizontal terminations of towers, as in many French and tnglish Suild- 
 ings, were not intended in larger buildings, but ere only found cn unfin- 
 ished towers. The top story terminates Luttresses in groups of pinnacles, 
 and alsothe angle turrets, one of which and sometimes all four, are stair- 
 case towers, aS on the Cathedral at Strasturg. If angle turrets are want- 
 ing, a single staircase is added to the tower, if ascent be not afforded 
 ty wooden stairs inside the tower. These stalreese towers may be errangese 
 as previously mentioned (Fig. 205), but ere joined to the sides of the tow- 
 er (Fig. G69), as in many Dutch towers, and end as required Ly esthetic 
 reusons in short er long spires, which increase the effect of the spire of 
 the tower, These small spires are of stone or of wood, same as the mein 
 spire of the tower. Windows are either spanned ty arches Leneath the main 
 cornite, er extend aleve the main cornice of the tower and then have gab-_ 
 les, interseeting the main cornice and joining with the galleries and ang- 
 le pinnacles to form the crown of the tower, Detulls of these gulles wild 
 Le desorited under the erchitesture cf windows. 
 
 Stone Spires, 
 
 4 stone spire may be produced ky triangular walls equal in number to its 
 sides, holding each other in equilibrium; if perforated, then are they many 
 strute connected at their ends and in equilitrium, The steeper the sides 
 
~ 
 e -% - 
 . a . e : . 4 
 ae at ‘ ; / . 
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1389 REDTENBACHER'S MEDIABVAL ARCHITECTURE, 
 
 of the spire the less their thrust. Tho spire may Le wore exaily overthrown 
 by the wind, the lighter its material tnd the larger the surface gresent- 
 
 ed to the wind. Thus stone are preferable te wooden spires, and perfor- 
 sted are better then solid spires, or perferated spires may te cerried high- 
 er than if golid, for eyual dimensions of Lese, Spires either stond with 
 sides parallel (Fig. 390) or diagonal (Fig. #91) to the sides of glen ot 
 ice story of tower; for sguare towers with octagonal spires there are the 
 
 seen employed normal forme (Figs, C92, 3¢2), and for octagonal towers 
 RO vr - 
 
 the arrangements as shown. (Figs. 904, G96). 
 
 For conics] spires and these of slightly curved, outline (Fig. 2388) joints 
 of the different courses ere generelly made normal (Trepta in stiesse; Un- 
 gew, Fig. 222), but fer straight spires they ere nage horizontal, so thet 
 the spire acts like a system of corlels; this construction 1s Seat ae 
 and admits ot more sinple jointing. The upper pert of the stcne spire Snas 
 in @ knob (Fig. 297), naturally wrought in one plece with the upper end 
 
 he spire, and in perfected Gothic it ils shape 24 like a cross-flower, 
 
 as for pinnacles, rarely as a stone cross or statues; if the spire Le very 
 
 large, its upper end is constructed of several courses of stone, 
 Spires for towers are modeis for spires of pinnacles, and what has been 
 
 said in regard the latter applies to the former; prench spires are usual- 
 ly ornamented ky tile-like patterns, but German spires are ehiefly plain; 
 angles of spires are usually decorated by erockets. On French cathedral tow 
 ars slit-like openings or holes are usually made in walls cf spires, while 
 on Germn towers these are entirely replaced pby tracery; forme of tracery 
 are then arranged that horizontel connections may bs supported at their 
 centres if required, and their heights may Le equal (Fig. 88), as cn the 
 Cathedral at Freiberg, or may diminish in proportion to the inclination of 
 surface of spire (Fig. 269), as on the Cathedral at Cologne, The tracery 
 is arranged to suit the construction of the spire, whether for octagonal 
 spires (Fig. 400, upper halt) each course Le composed of eight stone slabs 
 alternately bonded together, or for large spires esch course and side be 
 formed of several slats (Fig. 400, lower helf). Very large spires are best 
 constructed with eight ribs with radial joints arramied on plan (Fig. 401), 
 ageinst-which as set the slats, externally jointed normal to the surface, 
 internally towards the centre. By iron anchors or by projections cut on 
 the stones of the upper course to enter holes in the lower course, the sep- 
 arate rings of the spire are held together firmly, with other iron anchors, 
 cramps, and stone dwells. Angle crockets of the spire are wrought on the 
 different courses (Fig. 402) or as separate pieces inserted in openings. 
 Luthern windows in spires of the Letter period are rare, tut do occur, 
 
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140 REDTENEACHER'S KEDIABVAL ARCHITECTURE, 
 as on the Liebtrauen Churchs et orks; a verticel intermediate part with 
 Windows is sometimes at the middle part of the spire, made accessitle by 
 a staircase in the spire, and may Le corkelled out from the surface of the 
 spire. This intermediate story in the spire itself, is sometimes cn- 
 
 ly treated as a strongly projecting talcony, as on the Cathedral at stres 
 burg and ths Frauen Church at usslingen, 
 
 On the scire of the tewer of the Cathedral at Gtraslurg, the eight ribs 
 
 > 
 
 of the spire each sugport six small spires connected together, which give 
 aecess to the Laleony (V-1-5, V-429).. The eight rits of the spire can stiend 
 Separately and only require to be connected together at the apex, as prov- 
 
 ed ty the ugly but interesting spire of the Church oat Langendenziingen in 
 
 5 
 
 executed in stone. Instead ct angle crocaets, the late mediaeval period 
 
 schetines used tciled arches with tracery forms extending along the ang- 
 
 les of the spire, or replaced crockets Ly pinnacles, as on a staircase tow- 
 
 er on ths south side of the Cathedral at Strasburg 
 wodeden Spires. 
 
 wooden spires are given Ly wood constructicn, and 
 
 The proportions 
 12 y Similar to those of stone spires. If the 
 
 of 
 forms ars sub 
 tower be squares, th 
 
 we rH 
 pe 
 
 5 
 
 3 
 
 fay) 
 
 4 
 
 w 
 
 n @ 
 @ 
 
 br 
 
 rt 
 
 res are octagonal and change from the syuare at 
 
 ‘ &); the octagon may te set diagonally (Fig. 462 
 sides of the square (Fig, 404); if the square tower termi- 
 nates with patles, this naturally produces the two most commonly esployed 
 orms of octagonal roots comLined with vakles, as in Figs. 200, 291, 392, 
 292, In another form, the base of the spire is the intersection of the oct- 
 
 © 
 re 
 <S 
 ray 
 WwW 
 pay) 
 — 
 (nd 
 @D 
 ste 
 
 agonel pyramid by a broach, (Figs. 405, 408), and the spire may te flenked 
 Ly four smaller spires (Fig. 407); these smaller spires are usually treat- 
 ed as square (Fig. 408) or Aaah angle turrets, ccennected Ly a paluet- 
 rede and corkelled out like a corner tay. Octaconal towers terminate in 
 spires of the seme torm, arranged with or without gables. Luthern windows 
 are desirable fcr wooden spires for making repairs, and are placed at Lase 
 or apex of spire or between these points, For wooden spires, the const- 
 ruction further permits vertical intermediate stories with or without Lal- 
 cony and Lelustrades, vecoration of wooden spires by crockets and cross- 
 flowers, crosses, gargoyles, Lalustrades, etc, remains similar to that of 
 stone spires, but the decorations are made of lead cr copper. 4 most pec- 
 uliar tower is thet at Schwatz in the Tyrol (Fig. 410). 
 hoof Spirss. 
 
 Roof spires are small wooden gpxragzg towers under the same rules as wood~ 
 
 en spires; on them was lavished the feeling of the mediaeval architect for 
 
 the Bavarian highlands, a demonstration of the stalility of perforated spires 
 
 ( 
 
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 atlases eds ci at: Roisy Los ust ane Mie tad «gtd? tudabis J bes BUGBEgL ae 
 pees ae «Bet 26, %eT. died). Hon’ talk de Vaggodu .4 Yo foide earecmi eld. 1309. “ 
 
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| sor . ST ~ 
 ca 1 Rin DT ehbaCHerR' 3 MevlaaV AL ARCHITECTURE, 
 forn, and they are sometines developed inte architectural masterpieces, 
 
 as on Notre Dame at Peris and on the Cathedral at amiens (V-1-i, V-459, 
 Amt, \ 
 SIL pe 
 
 ransition from Square to Uctagon. 
 
 important characteristic of nediaeval bell-towers is the treatment 
 of transition from squere to octagcn. This transition is effected in the 
 i I 
 
 fe 
 
 ior of the tower in the most varied weys, and was alsc executed ty 
 different methods in Romanesque. Cortelling was simplest, as on the Cath 
 edral at wurgzlurg (Fig. 411; ¢eit. Taf.. cc, Fig. E), or the pendentive with. 
 a ourtial tunnel vault (Fig. 412), as on the Church at Nantau in France 
 (V-l-b, VII-110) and on the Liebfrauen Chureh at Oberwessel (Beit. Taf. 24 
 Fig. 1). aA peculiar cortelling 1s shown by the dome over the intersect- 
 ion of the Church at Monttron (Fig. 414; V-1i-u, IV-355) and also in the 
 pyrauidal corbelling of the Church at Loches, supported by a series of pro- 
 jecting courses, passing from square to octagon (V-1-D, Iv-26é), as well 
 
 as the tower of the Church of &. Burekhard at Surxburg (Fig. 418; Beit. 
 Taf, 38, Fig. €),. and that of the Liesfrauen Church at Wurzburg (beit. Taf. 
 Of Aw aor ate 
 
 4 form of transition from square to octagon is common in French Roman- 
 esque, that of the spherical vault (Fig. 415) divided into several annular 
 courses and connected with demical forms, and found on towers at aslshein, 
 Gunterstlum, and & Paul at worms (beit.Taf.cO,Piss, 236; Taf. 21, Pema 
 
 Transition from square to octagon may also Lez made concentric rings, each 
 forming a tunnel vault set diegonally, as on the tower of the Church of 
 Ss. Jodocus at Landshut (Fig. 416). 4 peculier sclution is in the vaults 
 over the intersection of 5. arbogest at Ruffach (Beit, Lat. sp,, pig. 7; Fig. 
 417), and in combination with spherical and conical vaults on the towers 
 of the Church of 5. Faul at Worms (beit. faf. SO, Fig. @; Taf.22, Fig.5), 
 also in a very ornemental manner over the intersection of the Church at 
 Gelnhausen, | } 
 
 The favorite transition from square tc octagon in German komanesque church- 
 es is that with spherical vaults (Fig. 418), employed in Cathedrals at Spires, 
 worms, end Mentz, A richer treatment was given to the transition from square 
 to octagon over intersections of Gothic cathedrals, unusually rich in the 
 Cathedral at HKerzogenbusch and in the Cathedral at hilan. The simpler tran- 
 sition from square to octagon cn the exterior hasé Leen mentioned in the 
 treatment of stone and wooden spires; stone spires generally require at 
 angles of the square base of the polygonal spire heavy masses, canopies, 
 pinnacles or angle turrets, and to be strengthenea at angles by buttress- 
 6s, developed into massive groups of pinnacles in large towers, as on the 
 
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 fs ye atdaadt to 
 
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 errr ni quoas we ti03 fous 39 aol gnexe Sasol tingées | yao t ait nei nd. 
 
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 ig facriasor wat OS eS Bett . isthe ged. stake ea} aiid be: ott ay Btoe. - 
 
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142 REDTENBACHAR'S WELT aEVAL ARCHITsCTURs. 
 
 thedral at Freiterg, tower of &. Stefan at Vienne, and on the Cathedral 
 at Frankfurt. 
 
 Primary forms of wooden spires may glso Le employed for stone spires, 
 changing the system of construction, thus small towers on the Cathedrals 
 
 > 
 
 ™ 
 
 at Strasvurg and Freiburg are treated in the same way es wooden spires. 
 (Ungew. Fiz.874). Fe 
 secon are produced ty arranging a short portion of the cctayonal part, de- 
 
 ~ 
 
 culiar and rich forms of transition from syuaere to cct- 
 
 veloped frou the square Lase (Fix. 419; Ungew. Pigs. &¢6, 822), and Ly the 
 ~rojection of a tower Lalcony beyond Lase of spire, then Le supported Ly 
 4<O; Un- 
 
 cew. Fig. 669). Tronsition from square te cetagon ie made wost complex Ly 
 
 insertion of cross-shaped intermediate ports (Fig. 421), as on the tower 
 
 smell cclumns standing on the edges and sides of the spire (Pig 
 
 ct the old Cathedrel ot Wetgzlar (Fig. 421), or of star-shaped uasses of 
 masonry (Pig. 422), as‘on the Cathedral at Freiburg. 
 Sf 8h. Portals, General. 
 
 Decrways of mediaeval churches are relatively emall, seldom higher than 
 11.4€ to 18.40 ft., just sufficient for passage ci processicns with can- 
 cpies, church Lanners, eto. The great thickness of walls in the iower 
 stories of churches and towers required the portal to Le widened extern- 
 ally, to wake entrance easier; if the wall was net thick enough for such 
 increased width, frequently demanded for esthetic reasons rather than fer 
 
 ouvenience, the portal must then Le treated as a vestibule, projecting from 
 the wall surface to suit the widening of the portal. according to the 
 thickness of wall and dimensions of the doors, the portal naturally became 
 more or less imposing. jamts and soffit were recessed in rectangular off+ 
 
 rr 
 
 sets, as in the example from mentz Cathedral, Figs. 422, 424, the reentrant 
 
 engles were filled Ly saall coluans, continued above their capitals as plain, 
 
 aoulded, or decorated rounds (Fig. 424). Convex engles of the recesses 
 remained or were cut off Ly mouldings, sc that a splayed and effectively 
 subdivided door jamb was finally produced. With the development of sculp- 
 ture, portale of prominent monuments were ornamented Ly the richest decor- 
 ations ond figures; magnificent examples cf such pertals occur in homan- 
 esque in the Schotten Church at Regensburg, the kcnastery at Heilskronn in- 
 Suveria, the Cathedral at bemierg, end the se-called Golden voorway at 
 Freiburg in Saxony. Larger portals are seldom spanned Ly arches without 
 a lintel, but a stone central wullion usually divides the cpening of the 
 doorway which is covered by 2 horizontal lintel, the load Leing carried 
 cy an arch enclosing the tympanun of the doorway or the transosi window, . 
 The Gothie retained the motive for treatment of the portal, given Ly HKom- 
 enesque, Lut changed the mouldings (Figs. 425,428), usually spanned the of- 
 
 * 
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143 REDUENEACHBE'S M&DIARVAL ANCrITECTURE. 
 ening ky a pointed arch, and employed for decorations its entire apparat- 
 us of tracery, pinnacles, gables, canopies, icliage and fisures. such was- 
 
 terpieces, as shown by Fig. 4£7 from honestery at Strach, are shown Ly near- 
 
 ly all larger cathedrals and churches, ‘Smaller doorways in Romanesque end 
 Gothic are merely spanned by one or more concentric arches and felsic HOSL 
 varied and picturesque forms, differing from the usual one (Fig. ¢ 
 edrel at Hentz; Fig, 426, City Gete at andernech. Figs. 426, 42 
 are et a scale of 1: 40). 
 
 The doorway is entirely independent in form from the rectangular leat 
 of the door and is generally covered Ly a horizontal lintel, whose span 
 nay Le reduced Ly corkels (Fig. 428); te prevent fracture, this is sone- 
 Limes very high, es on the Church at Montreal (Yonne), where it is 2.¢4 
 ft. high for clear span of 5.26 ft. (V-1-D, VII-412). If made of mater- 
 ial easily broken, like voleanic tufa, as in many Prench Romanesgue works 
 and Ehenish buildings in the transition style, like the Church et Sinzig 
 Seer it is made deeper at the centre and the load is car- 
 vied by two voussoirs of hard stone (Fig.4@9). It often forms a single 
 ciece with the ia ease: the doorway, as On the Church at hiederingel- 
 hein (Beit. Taf.7,Fig.2), as well as on that of ©. kartin at Colner. 
 
 For larger spans, the lintel of the doorway is constructed of numerous 
 stones with complex jointing, as on the portal of the Church at Viliers- 
 SePanl (V-1-D, VII-298). It relieved of lead as much as possible, by the 
 
 inpanun and by a transom window, ond by @ peculier arrangesent cr joint- 
 ne osbove it, as on the Cathedral at wetzlar (Beit. Tei. 10,Fig.é) and. on 
 the Perish Church at Steyr (Beit. Taf.11,Fiz.8), end also Ly discharging 
 arches. In Gothic the stepped recesses of the jambs of the doorway some- 
 times entirely disappear end are replaced Ly ho damks, tefore which 
 stand small columns supporting the recessed erche 
 
 Oppurtunity for ornawentation is offorded by the rouse of the arch and 
 its hollows; Romanesque portels employ geometrical forme es crnaments, re- 
 calling wood-carver's work, with running bands of leaves and stems, inter- 
 woven and combined with figures of animals; Gothic eiploys rows of grace- 
 ful naturalistic leaves, garlands of leaves, and « serics cf figures Le- 
 neath canopies. Tympenuss in Romanesque and Gothic were chiefly adorned 
 ty figures, frequently in several series, sometines covered by foliage, 
 
 rs 
 
 and treated in the most beautiful manner in Romenesque on 6S. liartin at Norms, 
 
 ang in Gothic on the Chureh of 8. slisaketh at kerturg, and the Cathedral 
 at Freiburg. A rare tympanum with centre occupied by a suspended keystone 
 on the Cathedral at Wwetzlear (Fig. 430; Ungew. Fig, 762). The Letter Goth- 
 frequently divides the tympanum into panels ty blind tracery, with or 
 
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 =, 
 
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144. REDE eNBACHER'S MatIacVAL ARCHITECTURE. 
 
 without figures. between the eclumns of the jamkts in richer designs were 
 interposed pedestals with figures, sometines larger then life ond cover- 
 
 ed ty canopies. Luxuriant Gothic also employed tlind tracery on portals, 
 wherever oppurtunity was found, The small columns of the portal stand on 
 low pedestals, Sometimes on a Common Lase in French cathedrals, ornament- 
 ed Ly patterns like fabrics, as on the Cathedral at amiens (Ungew. Fig. 793), 
 or ky draperies imitated in stone, eas on the Cathedrel at Rheims (Ungew, 
 
 ¥} 
 
 The treatment of smaller portels, of which a rich collection is found 
 in Villetrle-Duc (Arts. Porte, Porche) and in my Beitrdge, admits of very 
 varied forms, sinte the smaller span permits different treatment of lin- 
 tel of the doorway, not always required te ke straight but may ke arched, 
 so that meny forms Imay Le justifialle in smaller work, whose use must be 
 excluded from great compositions, that these may not assume a character 
 of littleness. ‘Simplified construction permits many solutions impossible 
 in great works. Thus over small doorways in ecclesiastical and secular 
 architecture, be lintel of the doorway.is sometimes cut as a pointed arch, 
 or ag twe coupled round arches, like a doorway in the Cathedral at Frei- . 
 cturg (beit.Taf.7,Fig.@), or as a trefoil arch, especially in transition 
 
 IP} 
 Gehe 
 
 . 
 
 Barly Gothic. Late Gothic and northern @arly Renaissance, which al- 
 
 weys employs as many Gethie as Renaissance forms, obtain richer forms of 
 lintel of the docrwey by combining straight and arched forms, around which 
 the mouldings of the jemks extend as an archivolt. 
 
 or small doors and docrways, the tympanum is entirely omitted, and accord- 
 ing te width cf doorway, strength of materials employed, and requirements 
 
 to Le fulfilled by the doorway, the lintel of the doorway is replaced Ly 
 
 on arch, which may take any possitle simple or compound form. The section 
 
 of the jamb is composed of rounds, hollows, fillets, ana chamfers; capit- 
 
 nlg at the impost are generally omitted, ana rounds usually have Lases and 
 vlinths like those ct piers, yet mouldings sore frequently stop on an in- 
 clined plane or terminete in a special ending cr return, a favorite idea 
 
 in Komanesgue, transition and ferly Cothic, and treated in the most varied 
 manner, like roots, Claws of anisols, wen The Gothic Renaissance usual- 
 
 ly shaped Behe endings as volutes with acanthus leaves, against which mould« 
 ings stop. } h i : 
 
 Ga, od Vee tte hs CAL fs Nar 3, ie 
 
 ~,\ gr, | 
 
 The western and the transept feeadés indi¢ated tie ‘cross section of the 
 
 , just as the exterior of the Lay is merely the converse of its in- 
 erior. The principel motives for treatment of the facade are given Ly stren- 
 sthing angles Ly Luttresses und their loads, by towers and treatment of the 
 
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44F REDT ENE ACHER'S hEDLABVAL ARCLITSCTURS, 
 
 portel, by horizontal galleries, and by arranging ordinary or wheel win- 
 dows. The gceble then terminates the melt oved. 1 usuelly requires windows 
 for light, either tall or wheel windows, or metimes square ones. 
 
 If no windows are in the gable, it will. Se made lighter Ly internal or 
 external recesses in the walls; tut if windows exist, these are small in 
 oroportion to those of middle and sids aisles, since little light is re- 
 quired in the attic and much in the nave. The roof gallery of middle ais- 
 ie is often retained at the base of gable, so that one can passe nearly 
 the churcr at the height. of main cornices. These are the governing ideas 
 for developing the facade. 
 
 If the gable Le supported by one or three great arches or has a great 
 window, os on the Cathedral at Liuburg-a-L or Notre Dame at Paris, 1t re- 
 cuires loads cn its ends, which may Le small towers, but do not need to 
 extend to the ground; the eallery passages then extend through the small 
 angte towers. The gellery is often placed in the thickness ef the wall, 
 so thet the gatle is merely enclosed by a thin wall next the attic, but 
 its front surface being divided into open ercades covered Ly stone slats 
 cr tunnel vaults, changed into tracery in Gothic; exancples of these are 
 on the Cethedrale at Limburg and Wetzglar, or in Gothic on the Church of 
 3. Katherine at Oppenheim and the Cathedral at Regensburg. The recesses 
 in the gable wall were usually repleced ty semicircular niches in Rhenish 
 Romanesque Luildings, or by niches with statues in French buildings. They. 
 are rer repaint by tracery ih Gothic. 
 
 ie gable wall of a church has a simple coping cornice; step pped or Lat- 
 sedated gables are rarely arranged instead, Lut correspond Letter to sec- 
 ular erchitetture. The epex of the gatle is generally crowned Ly a cross 
 or flower, rarely by a statue or group of figures, in Gothic style chiet- 
 ly Ly a cross-flower, If height of gable be less than its width, as usual 
 in Romanesque, its coping usually remains plain; Lut as Soom as in Gothic 
 it Lecomes equilateral or its height equals a@& or exceeds its width, esth- 
 etic needs require it to have orockets, also employed on lower gables of 
 richer Gothic tuildings, but repleced in the richest by foiled arches, pin- 
 necles or statues. 
 
 The use of gables over portals is natural, to protect decorations of the 
 portal from rein Ly roofs, or to ufford proteotion frow rain to persons ke- 
 neath them; the last leads to projecting the roors of the portal more and 
 more from the plene cf the wall, scmetines extending Letween the buttress- 
 6S, sometimes treated es a separete porch, jater is cenoved from shed roofs 
 kehind the cables by gargoyles, frequently employed as favorite decorations 
 where thegautili ty is entirely lost. Removel of weight from the portal then 
 
 TT 
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1438 PEDTENBACHER'S MEDIARVAL aRCHITSCTURE. 
 
 led to the perforatapn of gables and their ornamentation by stetues or tracer 
 ery; the necessity of a passage above the portal and behind the gakles, 
 
 and accessibility of all points, which would suffer injury from weather 
 
 and reguire repairs, led to passages behind gatles, which then lost their 
 utility and becene merely decorative. Cathedrels at Amiens, Rheims, and 
 Strasturg, afford magnificent exasples of such portals with ornamental 
 gatles. Gables were retained as ornamental, even if galleries of commun- 
 ication Lehind then were omitted; ornementai gables were indispensable to 
 richer treatment in cerfected and later Gothic, also universally as mere- 
 
 ly ornamental, like the pinnacles, Luttresses, tracery, and other access- 
 ories of the perfected style. This is true of architectural forms, crlg- 
 inally structural and serving useful purposes, like columns and piers, vaults, 
 etc., employed in the late mediaeval pericd as purely ornamental and for 
 
 all conegivatle decorative works. 
 
 Gatles berrow from the western and transept gables their details, orn- 
 ementel pinnacles, cross-flowers and crockets, recesses in wells, windows 
 cr wheel windows, niches with statues, foiled arches, and the like. Por- 
 ches are to Le considered as veulted rooms, whose exteriors have the entire 
 decoration of the portal; they are generally rectangular, rarely triang- 
 uler, ss on the Cathedrals st Regensturg end arfurt, and are also sometimes 
 hexegonal or cctagonal. They are further single or arranged in pairs, like 
 the teautiful porch of S Urbain at Troyes (V-1-Duc, VII-201), or are first 
 developed into a group of three vaults on the Church of 5. Niceise at Rheims, 
 They are generally one story high with roof and balustrade, are covered by 
 a terrace, cr are sometimes in twe stories. 
 
 87, architecture of windows. 
 
 The mediaevel architecture of windows results from the use of two nmetives, 
 Lorrowed trom Roman end from Early Christian architecture; the window was 
 either regarded as an opening in the wall surroundec Ly a strong archivolt; 
 the straight lintel, round, or pointed arch spanning the opening, togeth- 
 er with the window jamLs, scon developed a splay to edmit the most light 
 cossible, or into rectangular recesses towarcs the centre of the wall, just 
 as on the portals; the reentrant engles of the recesses were filled Ly rounds, 
 angles were sometimes moulded, and imposts were deccrated Ly smaller capit- 
 alge and the lower ends Ly bases and plinths. The general transformation 
 of mouldings inte softer forms, already treated in the forms of piers and 
 rits, was cerried cut with the development cf the vaults in Gothic also 
 cn portals and windows, as for all other moulded members of the tuilding. 
 
 windows in Barly Christian were filled Ly perforated markle slats, whose 
 transparency somewhat increased the dim lighting of the interior. after 
 
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a? REDTENBACHKGR'S MeDIAEVAL ARCHITECTURES. 
 the rediscovery of glass staining, already known in antiquity, first em- 
 nloyed in the middle ages in the Monastery at Tegensee, then in the Cath- 
 edral at Augsburg, windows were generally filled with glass, 
 
 Windows in Romanesque are round-arched almost without exception; those 
 in transition style frequently have trefoil arches, and those in Gothic 
 are preferelly pointed. Square windows are very rare in HKomanesque; even 
 very small windows have lintels cut out in semicircular form. In trans- 
 ition or ferly Gothic, ornawental Llina erches ere usually worked on the 
 lintel in form of a half gquatrefoil or incomplete trefoil (Fig. 421), es- 
 vecielly on secular and monastic Luildings, as on the Church of 5. hatthizs 
 at Treves; in forly Gothic, these forms usually change into cusped point- 
 ed arches, Lete Gothic extended its repertory of forms as much as possi- 
 the Romanesque nearly sonepolized the reund arch, it was not excluded from 
 
 Gothie style, but in earliest Gothic was in use together with the point- 
 ed arch, Late Gothic more frequently used it for the same reason as the 
 straipht lintel and often avoided the pointed orch entirely, or assigned 
 to it enly a subordinate importance, as on many Belgien and buteh build- 
 ings. 
 
 The pointed arch belongs to the Gcethic, and was never employed in Romen- 
 esque style for decoration. The transition style, especially the Rnenish, 
 tends to use unusual ferms of windows, which may Le regarded es variations 
 of trefoil torms or half wheel windows; examples are from the Cathedrals 
 at Treves (Fig. 431 a) and at Namburg (b), from the Church at Gladbach (c), 
 and from Neuse (d), 
 
 E&. window Tracery. 
 
 As windows in Gothic teccme larger, they reguired division into parts 
 seldom exceeding 3.26 ft. in width, but chiefly a little more cr less then 
 1,24 ft. They were divided Ly vertical stons mullions, mouided like jaubs 
 at top connected with the jaml zouldings Ly arohes (Figs. 482 a, 482 tb), 
 “his gave the primary idea of window tracery, later s¢ important in Gothic, 
 sven employed os a were decoration for surfaces, The rounds ea (Fig. 432 ¢) 
 the mullion and jamb, during the entire Lest geriod of Gothic, had cape. 
 
 itals and bases, decorated in accordance with the treatment of the piers, 
 a these were only omitted in the late mediaeval period, 
 
 “he Gothic in England liked the Tudor areh (Fig.488 a), also found in 
 beluium and Helland, rarely the pointed erch with 4 centres, (Fig. 432 b), 
 but the ovel arch is common in the two last countrics, (Fig. 40e ), even 
 
 in early Gothic it is very rare in Germany, as well os the segmental and 
 the elliptical arch, Late Gothic added to these forms broken and unbroken 
 
 ble, and first generully employed the straight lintel for windows. although 
 Ne 
 
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f ? ee i Aah “awantean Stemmyaignesa Ber 
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 pa: | ony hwo ‘ea ols eervhviag ak “yori ks She nab 
 
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146 REDTSNBACHBR'S MEDIAEVAL ARCHITECTURE. 
 
 reourved arches (Fig.482 d,e, f, ¢, h, i), and in Saxony and the adjacent 
 crovinces of north Germany, the so-called curtain-window arch, composed 
 
 of three, four or more circular ares convex towards the opening. (Fig. 4682 
 kh, 4h). 
 
 Cne motive for filling the window without lerze sheets of glass, inter- 
 mediate Letween Barly Christian windows filled with marble slals perfcreted 
 Ly round openings and Gothic tracery windows, was very seldom employed in 
 the middle ages; we find this motive in a window lattice cf stone repre- 
 senting interlaced circles, on the Church at Fendoux (V-1-D, V-271), of 
 very moderate size, 0,89 ft. wide ond eLout twice as high, arly Gothic 
 employed this motive with stained glass, Loth inserting perforated stone 
 slals in the principal divisions and openings of window arches and also 
 filling the window with a network of stone instead of tracery forms, as 
 on the Church of S/ Kartin at Hallerstadt. (Fig.4@4; beit. Taf. 16, Figs. 7,€). 
 
 window jambs are usually moulded and without ornament; carly Gothic and 
 transition styles sometimes decorate them Ly leaf-Luds and tlower-tuds, 
 which in perfected Gothic were only added to the discharging orch of the 
 window (Examples from windows cit towers of Cathedral at LimlLurg-a-L; beit. 
 Tat.1&,Fig.2, as well as windows of Castle of s. Ulrich near Rappoltsweil- 
 er, beit. Tat.14,Fig. 1). | | 
 
 Coupled windows were sometimes accefited in Romanesque by a rectangular 
 enclosure, es on the Castle of kitlnzenburg (Beit.Taf.218,Fig.3), and on a 
 cloister window of the Church at aschaffenturg (beit.Tat.12,Fig.4). The 
 enclosing moulding was enriched Ly ornamental forms in the first example, 
 and may Le interrupted at the middle of the pair of windows Ly a sémicir- 
 cular discharging arch, as on towers of Catholic Church at Niederingelheim. 
 (Fig. 485; Beit. Taf.1¢,Fig.&). In early Gothic, triple windows ere sometimes 
 
 conuined ih ony group under an enelosing arch, ss on the windows of the Hall 
 
 of the Castle of MUnzenturg (peit. Taf. 14,Fig.3). 
 
 ood mouldings over windows were seldom used in Romanesque, tut do cecur, 
 og on Cathedral at Spires (Beit. Taf.18,Figs.1,1 8). In early French Goth- 
 ic, they are usually in the form of a moulded aveh, which projects from 
 the face of the wall and encloses the window, On many Barly Gothie hous- 
 és in kegensburg are horizontal hood nouldings and those forming low gat- 
 les, in some cases decorated Ly creckets ond a geble flower (Leit. Taf, 18, 
 Fig, 14), Late Gothic frequently employed hood mouldings for rectangular 
 windows of secular architecture, broken in rectanguler form arcund the corn- 
 ers of the windows and extending along the wall keside the window, The win- 
 dow sill either is straight, in connection with a drip moulding or contin- 
 ous string-course, or it may te a simple splay, on which frequently rest 
 
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14% REDTENBACHBR'S MEDI ABVAL ARCHITECTURE. 
 
 corbele in secular windows to recéive flower pots, etc. In church windows, 
 as in arts. @2 and @4, the spley is usually combined with the wash of the 
 string-course which carries the water diip. 
 
 The earliest window tracery originated in a natural way Ly placing a point- 
 ed arch over a pair of smal] windows and inserting a circle inside it; if 
 Unis circle be composed of smell stones (Fig. 48), as in windows of the 
 Cathedral at Soissons (beginning of 18 century), the spaces cetween the 
 ends of the arches must be filled with masonry; Lut if constructed of few 
 stones, as in windows of tower of the Cathedral at Limburg (Fig. 427; 1226), 
 these spaces could be left open. The circle was in the first case suidivid- 
 ed by six foils (Figs. 4$¢,43@) inserted in the circle by tongue and groove 
 (Fig.489, and held together Ly an iron ring, to produce smaller spaces for 
 stainéd glass (V-1-D, V-377; in the second cese, a perforated stone slab 
 wes inserted in a circle (beit.Taf.18,Fig.2). The first method by filling 
 the circle with foils composed of several pieces continued as the usual 
 one in France, and is found in fully developed window tracery in Germany 
 about 1250 in the Cathedral at Freiturg; the cusps of the foils were thén 
 perforated, first in the choir of the Cathedral at Rheims. The second neth- 
 od was developed on the Cathedrals at Wetzlar and Naumburg, which retained 
 the filling of the window circles Ly perforated slabs. . The model for this 
 
 method was doubtless afforded Ly the Cathedral at. Chartres, whose windows 
 already exhibited at the beginning of the 12 century the original motive 
 cf large rosettes constructed of perforated stone slats. 
 
 The attempt to combine the circle inserted within the pointed arch with 
 the small window arches may be ébest followed on the Cathedral at Wetzlar_ 
 and other German buildings. About 1226 this was attempted in the windows. 
 of the choir of the Church at Wetzler, the upper part of the circle being 
 entirely free trom the principal arch, kut its lower part was combined with 
 the pointed arches of the divisions of the window end received a common 
 jointing (Pig. 440). The windows of the Cathedfald.at Rheims had already. 
 teen so construeted about 1218, tut those of Wetzlar retained the local tra-. 
 dition ef filling the circle with a perforated stone slak, and triple window 
 tracery was even produded, the tywpahum of the arch being composed of three 
 circles filled ty three perforated stone slats (ceit,Taf.18,;Fig.5). 4 furth- 
 er adwance in developing window tracery consisted in combining the upper 
 part of the circle with the enolosing arch, This was peculiar to windows 
 of Barly Gothic tulldings, like the LieLfrauen Church at Treves, the Church 
 of 5S, Blisabeth at karburg, and the choir of the Church at Hirzenach, so 
 that the circle was also jointed with the tracery in the tympanum of the 
 window, but the rounds of the window jamts did not unite with the rounds 
 
eat iy: M, ¥ O° 
 
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 £. .Pion-son. 10S coking ry bemio? -bné- 
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 hae ae yeodors heugergob 16 .ivonel ,ieqeteliogs ows asdi‘e boliiog $xz. t3 
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 ae, 
 
150 REDTBNEACHER'S MEDIAEVAL ARCHITECTURE. 
 of the circle but ran past them (Fig.441; Beit. Taf.18,Fig.1). First at 
 tho Cathedral of Amiens (about 1225) all rounds in window tracery united 
 and formed a uniform net-work. This perfected tracery was then introduc- 
 into Germany. The round of the window mullion was rarely treated as 
 a free column connected to the jamts as well as the mullions (Fig. 441 a), 
 sn the choir of the Church at Hirzenach (Beit. Taf.18,Fig.1). 
 ne pointed arch has very singular geometrical peculiarities, which re- 
 guire consideration in tracery; the simplest construction of tracery, wheth- 
 er in two or more divisions, is where cone commences at the springing and 
 drawe the small pointed arches on the base line cf the main pointed arch, 
 rill 1g space between them and the principal arch ty a circle (Fig. 
 442), It is clear that the size cf the inserted circle depends on wheth- 
 inted arches are eg jailateral, lancet, or depressed arches, 1.¢., 
 Ky. ied, the centres of the arches lie within or without their spans and 
 on their bases. Other methods for geometrical construction of tracery are 
 based on enlarging the enclosed circle in comparison with the other open- 
 ings in the tracery. This produces two Springings, a and b (Fig. 442). 
 
 @ 
 © 
 ee 
 dong 
 
 Different modes of construction are then possitle, as if the circle is 
 made tangent tc the pointed arch and to its base (Fig. 444), or if a square 
 te described on the clear span of the main arch and arcs be described from 
 its upper corners with its side, the circle being made tangent to this arc- 
 square (Fig. 445); lastly, by describing a complete arc-triangle to enclose 
 the circle (Fig. 448). 
 
 “Inetead of the circle, and preferred Ly riper Gothic, the trefoil, quatre- 
 foil (Pies. 447, 448), cingfoil, sexfoil, etc., may Le introduced; the 
 best Gothic generally enclosed these foils ty circles (Fig. 448), and like 
 more developed early Gothic, added foils to pointed arches of the second 
 rank (Pigs. 447,448), the cusps. another form of tracery was created in 
 Gothic ky replacing the circle ty an are-square (Fig. 449) or an arc-trian- 
 gle (Fig.450), which in wider windows or in those with numerous divisions 
 was soon filled by circles and foils, permitting the most varied combinat- 
 ions. 
 
 window Tracery in Late Gothic. 
 
 Late Gothic increased its repertory ot form Ly partially dropping foils 
 snd their connection with pointed arches. In tracery injurea Ly accidents 
 or bed construction, the entire system remains in place, although pieces 
 neve fallen (as a in Fig. 461).. New forms result and sre reproduced as 
 leasing. 
 ancether change in forms of tracery occurs before 128€ on the Minorites 
 suarch at Cologne and soon afterwards on a side chapel of the Cathedral 
 
 C? 
 rar 
 
“ 
 
‘ 
 
 t 
 
 181 REDTENEACHGR'S MEDIAEVAL ARCHITECTURE. 
 
 at Mentz, and consists in recurvi tg foils to make them more acute, just 
 
 98 rounds of horizontal mouldings are changed inte egee roundele (Fig. 462). 
 Cn a comtinaticn of beth forms cf foils, and on the predominance cf sith- 
 er one or the other, is based the infinite variety in Late Gothie tracery. 
 Forms like a in Fig. 451 are termed vesicas and Lecome in Late Gothic the 
 single determining element of the treatment of trecery. From these are 
 derived new and peculiar forms (Fig.452) in eccordance with the same prir- 
 ciple, that subordinate pointed arches of second and third rank are no long- 
 er the chief idea, tut. comtinaticn of all forms of arches and cofitinual 
 change of curvature. Latest Gothic uses the most diverse expedients to _ 
 obtain picturesque effects, subject to ne principle and wore interest ao 
 than beeutiful,therefore tiore instructive as to “how it should not Le done". 
 
 A magnificent example of a windew, almost entirely consisting cf point- 
 ed arches and guatrefoils with doubled fciled arches, is found in the Chep- 
 el of $ Victor, Cathedral at Mentz, (1279). Prominent examples of win- 
 dows with tracery, fcile enclosed Ly circles, are found on the &. Chapelle 
 at Paris (V-l-b, V-387), the Cathedral at Amiens (V-1-0, V-290), the Cath- 
 edral et Cologne, and the Church of S.Katharine at Copenheia (keit. Taf. 
 20,Fig.14). The foiled arches or cusps appear first on the S. Chapelle 
 at Paris in 1280, then (1240-1246) on the choir chapels of the Cathedral 
 at Amiens, and afterwards in Germany, 
 
 The erc-triangles and are-squeres seem rere in France; they perheps first 
 cecur in Germany on the west window of the Minorites Church at Colas 
 (dedicated 1230), assuming that the date of consecration to coincide with, 
 the construction of the tracery. Fare examples, ioth foils and circles 
 inserted between aro-triangles and arc-sqguares, are found in the ruined 
 Liebfraven Church, (Beit. Taf.21,Fig.2), (akout 1 
 of 5. Stefan (1312), at Mentz. (Beit. Tef.21, Fig. 1 
 A Rich exomples of subdivision of traceries with from £ to 12 divisio ong, 
 together with motives of their decoration Ly foils and cusps, way Le tou 
 in beitr8ge, Taf. 124.4. Normal arrongenents may Le classified whether the 
 pointed archie have one or more heights of springing, the tracery has sn 
 even or wneven number of divisions, tracery forms extend little or tiuch 
 Lelow springing of principal arch, and whether these Le arranged central- 
 ly or non-centrally. Abnormal tracery cannot be referred to eny uctive 
 and curprises forms produced by virtucsos in stone-cutting striving fer 
 originality. 3 
 
 £0, Details of Tracery. 
 
 AS tracery became richer in Gothic, sections of the mullions were nore 
 
 richly treated, so that a common profile corresponds to each group of larger 
 
 1 
 
 311), and tn the Church 
 
 & 
 i 
 
 Q 
 
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152 REDTENBDACHER'S MEDIAEVAL ARCHITECTURE. 
 arches; thus the primary arch, the principal arch with its two dividing 
 arches and the main circle, (Figs. 454, 466) have the complete profile of 
 the smaller mullion Lb, and the cusp has the profile ¢«. With the changes 
 of mouldings during the Gothic style, there occurs a chance in the profile 
 cf the mwullion, so that the more costly round, produced siowly, was replac- 
 ed by other mouldings (Fig. 461), or entirely omitted, to reduce the rro- 
 file to its simplest possitle form Ly avoiding fillets, as in Fig. 4é0. 
 Profiles of earlier tracery are simple and plainly treated, and correspond 
 nearly te a doubied equilateral triengle, since to resiet wind pressure 
 against the glass window, the tracing must have 2 greater depth than width; 
 angles of eguilsteral triangles are removed te form chamfers of width about 
 equal to the side surfece of the profile, or 1/2, 1/2, or 1/4 the width 
 of mullion. The groove for inserting the glass is formed in various ways 
 (Pigs. 468,457,468), according to the adjustment of the glass, enclosed by 
 a netal frame. In the first case (Fig.489), the metal frame is slid into 
 the groove at a extenaing to L, and is then teved to the right to entire« 
 ly close the opening, the joints Leing filled with cement thet will harden, 
 
 If rounds te on the pretile, the entire profile is frequently inseribed 
 within two squares described on the common base of two equilateral trian-— 
 gles (Figs, 460,471), whose opexes form the centres of the rounds, tangent 
 to the squares, ee on the Cathedrel at’ Mentz. wtimensions cf profiles of 
 arches of second and third rank, as well as those of their mullions, then 
 diminish by decrees and in earliest Gothic, so that in accordance with the 
 filling of the openings ky foils, each of these inposes its dinensions and 
 form upon the dimensions of the profile (Figs. /4@2,483),°ason the Cath- 
 adral at Amiens (V-1-D,VI-824,223), and on the onastery Church at Haina 
 (Ungew, 188), or so that each successive step of the arch or foil has the 
 same profile (Figs. 460,431); this is both the case in the buildings of 
 the entire best Gothic and in its last period. In ¢ the cldest tracery, 
 the cement is ohiefly on the exterior, that the wind may press the glass 
 against the tracery. The profiles of the tracery then usually differ ex- 
 ternvlly and internally (Fig.4@4), a2 on a wheal window of the Chapel of 
 Se Michael in the Monastery at cbrach, The best Gothic sometimes made the 
 profiles different outside and inside (Fig. 486), as on the choir at Maul- 
 bronn, If tracery wes not intended fer glazing, as on the western sides 
 cf cloisters protected from weather, as at Maulbronn, or in galleries and 
 purely ornamental warks, the groove was naturally omitted. 
 
 On the geometrical arrangement of foils and foiled arches, | S well as 
 on the hardness of the cuilding material, depends the fora of ,cusps, These 
 
 Py 
 
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163 REDTENBACHSR'S MEDIABVAL ARCHITECTURE. 
 
 were earliest so treated in foils, that a broad space was left between the 
 small inner circles, to receive an iron ring inserted in a groove (Figs. 
 438,462). Cusps of smal] pointed arches were Lased on the equilateral tri- 
 angle, so that their apexes were also points in the circular are (Fig. 46é). 
 Cusps of foils as on portals of Cathedral at Amiens, and on windows of &. 
 Chapelle, were decorated Ly beautiful clusters of leaves or lilies, as at 
 Cologne, Meniz, Oppenheim (beit.Taf.20,Figs. 16,1¢,17). 
 
 The riper Gothic formed the cusps of foils on the same principle of con- 
 struction as that of the smaller arches of windows, so that they were pro- 
 duced by intersecting circles (Figs. 487,485,439); they all ended in points 
 sore or less sharp, the more blunt, the mce circles composed the foil, 
 thus less acute in the polyfoil than in the trefcil or quatrefoil. Later 
 Gothic then combined the advantages of early and Lest Gothic, giving its 
 cusps sufficient width at their ends, preferable to sharp cusps for exe- 
 cution in soft stone, constructing all arches on the same principle and 
 giving to each renk of arches the same section. (Fig.470). Clusters of 
 leaves, lilies, and ornaments were then generally omitted. Cusps were then 
 simply sc truncated, that a line joining the certres of two adjacent cir- 
 culer arches limited their projection (Fig.471). The coves of the susp _ 
 then intersect in a line ab (Figs.471,472). This sharp edge at is some- 
 times replaced by a surface (Fig. 472) passing through points ac co (Fig. . 
 471), or the edge ty the chamfer d d (Pig, 474). Another favorite cusp in 
 Late Gothic is thut cut off rectangular at the point (Fig.476); a smail square . 
 is then placed tefore the point b, which the circular arc of the foil inter-~ 
 seots in c' c' (Bigs. 475,476). Dotted lines in Fig. 47é indicete the form 
 of cusps on the foils of the flying buttresses of the Church of &, barbara 
 at Kuttenberg in Bohemia. ey te 
 
 Points ¢' c' may also be connected with the point of the cusp by surf ace 
 
 es, so thet the rectangular cusp appears more acute on the front in perspec- 
 tive (fig. 477), Later Gothic developed the cusp decoretively; an example 
 from the window of a dwelling in Tours (Fig.478) has the square fillets 
 cf the moulding intersect; others are found on the chancel of the Cathed- 
 ral of S&S. Stefan at Vienna, on gables of the Tower at Frankfurt-a-k, on 
 
 a portal of the Church at Goss in Stieirmark, etc. The width of the trun- 
 Gated cusps depends entirely on the material; generally made as small as 
 oOssible, end on the Cathedral at yjentz in hard red sandstone, it is not 
 over 1/16 inch wide. | 
 
 tf in restorations a strong material is to be replaced by weaker and the 
 cusps cannot be wade es small as before, we should not depart from its sy- 
 stem of construction and truncate the cusps on the triangle a’ &! o! in- 
 
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154 REDTENBACHER'S MeDIAZVAL ARCHITECTURE. 
 stead of on the former triangle ak oc (Fig.479}, but must make the circles 
 somewhat smaller than before, (Fig.47¢,right) a point to Le carefully re- 
 memrered, since the treatment of the cusp is of decisive importance to a 
 knowledge of the relations of different monuments. A second and neglect- 
 ed point is that centres of cusps off simple pointed arches are always lo- 
 cated on diagonals of the equilateral triangle (Fig.470) and not con the 
 Lase of the triangle. 
 $0, dJcinting of Tracery. 
 
 sn important point in window tracery is the jointing of the separate stones. 
 & general law is that the principal arch must elways remain in equilibrium | 
 and all its joints must te drawn radially. It is advisabie for the joint- 
 ing to be made normal to the circles of the foils (Fig.470). For economy, 
 make the fewest points possible within the limits of the material, since 
 each separate piece of the tracery is cut from a rectangular ashlar, and 
 many joints require many eshlars. It if necessary to finish the clcsing 
 stone of the tracery after the others have teen set, since with best ihtena 
 ticn and most careful work, eblsolutely accurate fitting of the tracery to 
 the enclosing arch is scarcely to be attained. The stone-cutter cuts straight 
 joints more easily than curved cnes; he will more conveniently sake jointe 
 as on the left half of Fig. 480, then as on the right side cf the arc-tri- 
 angie. If these rules are obeyed, practice will make it éasy to devise u 
 Suitable jointing. The early and the-best Cothic always designed tracery 
 with reference to jointing; later and latext Gothic frequently sinned against 
 all laws; its virtuosity could make possitle the apparently impossible, ev- 
 en at the cost of the rational. 
 
 Designing of a normal tracery proceeds by first drawing centre lines cf 
 the rounds or of the centre profile in general (Fig.470); in good tracery 
 the law applies, that the pointed arch sheuld net te made more acute than 
 the equilateral ere-triangle. Then the width of the section is laid off fro 
 ihe centre line. If the tracery be further subdivided, the centre lines cf 
 the sections of second rank are drawn in the saue manner and are again en- 
 closed by the width of section of the second rank; the same process is re- 
 peated with tracery still further subdivided. The ares of the cusps are 
 then drawn, their centre lines laid off, and their width given. Lastly, the 
 
 tracery lines are filled in, or the actual lines on the elevation ac- 
 
 cording to the profiles, where it is to be remembered, that one should al- 
 ways preeeed from the inside to the outside, drawing the cusps first, then 
 the smaller and later the larger arches. 
 
 For the esthetic effect of tracery, it is to be rememlLered, that earlier 
 Gothic properly laid no special stress on uniformity of height of ell sprinz- 
 
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ibe REVTBNEACHER'S MEDIABVAL AKCHITECTURE, 
 ing points, Lut merely endeavered to have the foils produce the greet- 
 est effect possitle, and in rich polypartite tracery to accent the centre 
 apex of the are-triangle Ly the arrangement of the filling forms, f&arlier 
 tracery is effective ty its grand and piain treatment. The filling forms 
 efford a means of making the upper pert of the window as large as desir- 
 ed Ly lowering the soringing points of their pointed arches, and to obtain 
 suitable spaces for stained glass, 
 $1, wheel und Rose windows 
 
 >A most prominent peculiarity of mediseval architecture ie the wheel or 
 cge window, chiefly used for lighting middle and traneverse aisles, ar- 
 ronged in gables to light the attic; like window tracery, it is construct- 
 ed and deccrated on two principles; either a combination of stone slabs 
 perforated by geometrically arranged openings (Fics. 481,452), as on the 
 Cethedralsat Chartres, Eauberg, and Lausenne, Monastery at Sbrach (Fig. 
 461), Cathedral at Limburg-a-L (Fig.4&2), or it is constructed like trac- 
 ery with small columns or mullions radiating from a hub (Figs, 486,487), 
 the radials being connected by simple arches in Howanesque (Fig. 487), or 
 
 by tracery in Gothic (Fig.486). These rose windows indicate the entire 
 
 history of mediaeval erchitecture in their mouldings and their forms of 
 arches and ornaments. In French, German and Italian cathedrals, a rose 
 window frequently occupies the entire width of the centre aisle and is the 
 most important decorative part of the’ entire architectural systen. 
 
 The cldest ross windows in France were these of the former triforium in 
 Rotre Lame at Paris (1108-1170; Vn1 a. VilI-41); they are to be termed en- 
 tirely Gothic, while jn Germany before 1250 wheel windows remained Roman- 
 e8que; afterwards we find an early Gothic rose window in the Church of &. 
 Ulrich at Regensburg (Beit. Taf.2,Fig.3),almost identical in form with that 
 executed tefore 1220 for the west facade of the Cathedral at Mantes; the 
 magnificent rose window in the south transept of Notre Dame at Paris was 
 completed about the sane tine, (1257; V-1-D,VITI-51), exhibits the Gothic 
 style at its highest point, and was first imitated in Germany nore thon 
 20 years later in the equally magnificent rese windew of the west facade 
 of Strastiurg Cathedral. From this is derived the Lesutiful rose window 
 at “weissenburg in Alsace (Fig. 486), fven German Romanesque wheel windows 
 are already rilled with nerforated slabs of stone (Fig. 461), Sometimes treat- 
 ed ornamentaily, as in several Thuringian churckes (heit, Taf. 2,Figs. 32,4, 
 E,¢), or they were ectual wheels with spokes reploced by columns connect- 
 ed by round arches outside and abutting against a huk at the centre; thus 
 the beautiful whee] windows on the Cathedrals at Yerms (Fig. 467) and Nentz 
 
 (Beit, Taf. 1,Fig. i), and on the transept of the Cathedral at Freiturg (beit. 
 
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168 REDTENBACHER'S MEDIAEVAL ARCHITECTURE, 
 Taf.2,Fig.1); in the transition end in early Gothic, the rose window some- 
 times consists only of a series of foiled arches connected ty an iron cross, 
 as on the eastern transepts of the Cathedral at Mentz (Beit. Tef.1,Fig. 3), 
 the Church of & Paul at worms (Beit, Tat.3,Fig.1), and on S. Michael's Chap- 
 el in the Monastery et Ebrach (Pigs. 4&2,484); sometimes conposed of a ser= 
 ies of tangent arches grouped around a central circle (Fig.4&2), as on the 
 Cathedral at Limburg-a-L. In the first case, such rese windows are to Le 
 regarded as great polyfoils whose motive may vary in them, a series of con- 
 centric polyfoils being arranged (Fig. 4&4), os on the Church at Montreal 
 (V-1-D, VIII-8@6), or it may be combined with circles, trefoils, or quetre- 
 foils, ke composed of stone slabs, as at Chartres, Bamterg, Lausanne, and 
 Gelnhausen (Fig,481), then permitting the moulding of the enclosing archi- 
 volt to take the form of the foil (Fig.485), es on the Church at Foyat and 
 on 6, Stephen at Vienna. 
 
 From combination of foils and radial divisions result al] variations ex 
 ecuted in French cathedrals and German buildings. Two arrangements cf rad- 
 ial divisions are in use, one with connecting arches turned towards the 
 centre, the other having them turned towards the circumference cf the cir- 
 cle; about 1800 appear first on & Nicaise at Kheims connecting arches alt- 
 ernately tarned inward and outward, with a tendency to ebligue position 
 or a rotation of the rose window about its centre. This afforded the pri- 
 nary vesica pattern, common in France and rarer in Germany; which fixed the 
 nature of the so-called flamboyant late French Gothic, ahd was first used 
 in the rose window of the S.Chapelle in the iScentury, Small openings were 
 sometimes closed by a perforated slab of stone (Fig. 4&8),as at Hassfurth. 
 The late mediaeval period in Germany generally divided rose windows into 
 foils, sometimes combined with vesica forms, sometimes with segmental arch- 
 es, which mntersect complete circles or foils (A rich collection of rose 
 windows is found in beitrage,Taf.1 to 4; Vel-i, art. Rose; Ungew. ). 
 
 92, Window Gables. 
 
 The perfected Gothic often placed gables above windows, whieh may have 
 originally had the purpose of loading wall arches cf the vault and of en- 
 suring its epex against movement Ly the thrust of the vaults, but was pre- 
 ferably employed later for its ornamental effect, These gables were dec- _ 
 orated by ornamental mctives like the great gables of the church, ty cross- 
 flowers, crockets, by figures and tracery, were perforated or solid, or 
 flanked by pinnacles. They usually interseot the main cornice and are con- 
 tined with it in various ways. | 
 
 In art. Gable, Viollet-le-Duc ascribes the origin of the gable to a tra- 
 
 dition, which stated a liking for the temporary wooden soofs placed 
 
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 167 “RELTENBACHER'3 MEDLAgVAL ARCHITECTURE. 
 over completed vaults, while the upper walls of the church remsined unfin- 
 ished for lack of money, and that similar roofs were constructed of stone; 
 this conflicts with his explanation of the window gatle as loading wali 
 arches, given in art. Construction, Fierre de Montereau first employed 
 these gaLels in 124 on the &. Chapelle. The true explanation cf the win- 
 dow gatle is perhaps that it was introduced to make the apex of the win- 
 dow as high as possible, regardless of the main cornice. The windew erch 
 might then extend to the main cornice or even above it, and the gatle was 
 built in front of the main cornice and partly concealed it, producing a 
 general form, satisfactory both structurelly and estheticaliy. The point- 
 ed window erch or wall arch was loaded by it at its crown, and the line 
 of pressure was forced towerds the vertical axis of the buttress by increas- 
 ing the vertical load, the balustrades of the gelleries were firmly fixed 
 and their length diminished; for esthetic reasons a large mass over the 
 window arch. was only desirable, when it distinctly asserts the general ver- 
 tical tendency of the building. The gables of portals nad the same curpose 
 as those of windows; they were employed as comuon ornamental perts where- 
 ver they had a purpose. Their construction and connection with the main 
 cornice and galleries admits innumerayie solutions, ell returning to the 
 primary idea, that they are thin wails’ of stone, to ke connected es streng- 
 ly as possible with the wall vy bond stones, balustrades cf galleries, ete 
 93. Cornices, Belts, and String-courses. 
 
 The horizontal bands in Romanesque and the Gothic, bese-courses, main 
 
 cornices and string-courses, annular wouldings, astrasals and base moulc- 
 
 (ri) 
 
 . 
 
 ings, sections of archivolte of windows and dcorways, guble-copings of page 
 tresses and flying buttresses, pinnacles and canopies, etc., are suLjeet. ~ 5° 
 to the same changes, through which the style passed... 4s a primery lew for. 
 the entire treatment cf horizontal bands in the middle ages, their forme. 
 and proportions depend on the purpose they serve,on the material in which. 
 they are executed, and on their position with reference to. the observer, 
 
 The material fixes the absclute sizes of mouldings; the nopmal height 
 of course of the stone limits the greatest height of the member or of its 
 
 subdivisions, the strength of the material decides its projection and as. 
 the minimum limit of delicacy of its forme, end the lighting and the: poe- 
 &tion of. the menter with reference to the eye influences these proportions, — 
 
 Belt courses in the early middle ages are vased on late Roman buildings, 
 those of Barly Gothic are partially based on Christian buildings in Pal- 
 6stine end Syria, seen by crusaders, Perfected Gothic treed itself fron 
 all histerical traditions in its treatment. of belt. cour ces, : 
 
 The peculiarity of narueey.al. forms of cornices and’ belts ipa preference... 
 
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lng RELTENBACHER'S MEDIABVAL ARCHITECTURE. 
 
 for rounds and hollows, connected Ly and with fillets. belt courses are 
 regarded as stronger or weaker separating or connecting memters, a free 
 
 or restricted ending, as enciosure of a nucleus or the tordering of an op- 
 ening. Like all good architecture, the chief stress in moulded members 
 
 in the middle ages was laid upon energy of effect of ferm and good harnony 
 ft proportions... 
 
 base-Courses. 
 
 The tase of the Luilding is a footing crojecting from face of the well 
 and composed cf one or more courses of stone, with the idea of extending 
 the base of the Luilding and placing it on the foundation, of raising the 
 structure above the ground, and of visibly separating it from the ground 
 ty a powerful horizontal member. The projecticn cf each course of the base 
 is made by a fillet (Fig.46@ a), a squere or steeper wash (b,c), a quar- 
 ter round (d), a cove (e), a round and cove (#), or an inverted cornice 
 wenber (g).° The top of the Lase generally indicates the top of the inter- 
 nal flcor. For richer bases in Romanesque and Gothic, the Lase at ends 
 
 at top with group of mouldings derived from the profile of the Attic base, 
 as on the Cathedral at Eambers (Fig.480), which in the development of the 
 style ty transforming, increasing, or cornecting the memters, suffers the 
 changes treated in arts. 54 and cl, an example veing given in Fig. 492 from 
 the Cathedral at Straskurg. Differing from the forn ef the iase in the 
 interior of the building, for that on the exterior the hollow between tor- 
 uses of the Attic-like base in geod examples is mude low at kettom for the 
 water to readily run off, ag on the Cathedral at keissen (Fig.493). A sel- 
 ection of characteristic forms of base courses of different periods is 
 given in Beitregs, Taf.37,Figs. 1 to 12. (Ungew. 14 ete. Fig. él1,etc.). 
 
 Among the finest profiles of Lase-courses in Romanesgue are those of the 
 Church of Neumunster at nurgzburg (Fig.494). bese-courses ave almost invar- 
 datly plain, though sometiues decorated by a lozence ornement, as on the 
 former Fish Gate at hentz (Beit. Tat.37,Fig.10). If crypt windows are ar- 
 ranged in choirs and do not extend above the base-course, as on the east 
 choir of mMentz Cathedral, this is Lroken around the window, es on the Cath-. 
 edrals at Banberg (Fig.491) and irfurth, (beit.faf.4,Fig.17), and on the wag- 
 dalen Chapel in the Cathedral at Meissen, 
 
 Moin Cornices. 
 
 Principal cornices serve for various purposes. They terninate the tuild- 
 ing at top, crown it, protect the masonry from rain water, and carry a g¢ut- 
 ter for removing rain water, usually being in Gothic combined with balus- 
 trades.. All these require a strong projection of the main cornice. é&xped- 
 ients employed by the Romanesque for obtaining 2 streng brojection of the 
 
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LEG REVTENBACHER'S MEDIAEVAL aRCHITECTURE. ; 
 upper course were in Francé projecting the cornice slah on ecrtels, In Ger- 
 many the richly profiled cornice was combined with. the round-arch frieze. 
 
 French Gothic sought a wide prejecticn with less height of main cornice 
 ty strongly projecting the mouldings,or fer greater heights of main corn- 
 ice consisting of two or uore courses, cy introducing large hcllows, dec- 
 orated Ly foliage, heads and ty continuous crnamental friezes. Cerbel corn- 
 ces are often founc in Germany, directiy cowposed efter French models, 
 as on the Abbeys at Maulbronn (Fig.498) and Ebrach (Pigs. 49,497), and the 
 Cathedral at Eemberg. 
 
 The Komanesgue composes the profile of its main cornice with guarter rounds, 
 rounds, hollows, and fillets, like Fig. 4S€ from the Wonastery at Forach. 
 The holicw is here subordinate in comparison with main cornices in Gothic. 
 Rounds and hcllows are somelimes decorated ty leaves, like the principal 
 cornices of the Templar's Church at Eacharach end the Church of 3. Peter 
 ut Straubing (beit.Taf.c@,Fig.1,7), or by lozenges and other specific Ner- 
 man forms derived frow wood carving. Recurved leaf patterns like Dorie 
 cymatiums are rare, as on the Neumunster Church et wwralurg (Beit. Taf. 38, 
 FL,3). with the develcepment in Germany, the round-arch apes changes into 
 
 ~- 
 
 the trefoil-arch friezs and in iate Gothic inte the pointed-arch frieze 
 with tracery forms, as on the cues Church at bayréuth (Fig. 499) and on 
 the tower of the Liebfrauen Church et Bamterg, where main cornices are like 
 
 lace edgings. The round-arch btbped of Romanesque buildings are not 
 moulded, but are Lordered by e moulding composed of round and cove, and 
 
 e frequently detorated by ornamental panels, as on the Cathedral at Bam- 
 erg and others. (Beit. Taf. 88,Figs,&, 10,11). 
 Principal cornices of Gothic Ludldings in Germany and France chiefly ter- 
 minate at top with a water-drip, which nay take the forms shown in Pig. 
 c1l8 a, L, c or e, as on the Cathedral at Regensburg (Fig.£0C), Rounds grad- 
 ually suffer the changes deseribed fcr profiles of rits, us shown ty Fig. 
 fO1 from the Chureh of S. Katherine at Oppenheia, 
 
 balustredes in Romanesque Ooneist of suwall coluuns with round arc 
 and have in the transition style trefoil and pointed arches, Lut assume 
 in Gothic the forma of tracery, which gradually change ecoording to the 
 development of trecery, from severe through stiff to sportive end fanci- eo 
 ful, as shown by Fig. 502 from the Cathedral at Regensburg, Pig, 502 fron. 
 o Peter at HeldellLerg, Fig. 504 frem the Chureh ef & Valentine at Kidrich 
 in Riedngau, Fig. SOE fvom S, Martin at Landshut, and Pig. 608 from the 
 Cathedral at Regensburg. The front of the gutter is generally decorated 
 ty the water-drip moulding, If baluetrades exist, the channels lie between 
 thea and are not visible. | : Pi 
 
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1é0 REDTENBACHGR'S KseDLA&VaAL ARCHITROTURS, 
 Belt Courses. 
 
 belt courses in Romunesque are chiefly slaks with the lower edge Level- 
 ed, or with ea cove, quarter-round, or three-guorter rouna Letwoen hollows 
 K(Fig.507 a, b, o, d, e). Richer string-courses are composed of mouldings 
 as elements, shown by forms a, lL, ¢, (Fig.60@) from the Sewer at _unters- 
 blum, or take the form of inverted "ttic base (Fig.—C9). Gethic introduc- 
 es almost invariably the water-drip, as recognized in Fig.¢i¢ a, b, oc, d, 
 es. Forms also occur in early Gothic like Fig. 616 a from Heistertach, b 
 from Hirzenbach, ¢ from the Church of 5S. Nicolai at Frankfurt-a-#, and a 
 fron the Dominican Cloister at wurgburg, 
 
 Annular souldings. 
 
 Examples of annular wouldings are Fig. £11 from Templar's Church at Bach- 
 
 arach, Fig. 512 from Hirzenach, Fig. 612 from the Cathedral at Strasburg. 
 Profiles of window archivolts. 
 
 Archivolts enclosing windows consist of parts containing the groove for 
 inserting tracery panels (the profile of the mullion in tracery) and these 
 corresponding te the thickness of the wall, in Romanesque usualiy a sim- 
 nie splay (Fig.514 a), kut in Gothic generally a great cavetto t, which 
 in the test period was sometimes decorated Ly continucus ornament. The 
 
 outer margin of the cavetto or splay is frequently bordered Ly 2 separate 
 moulding, which in Romanesque is composed of rounds, holiows and fillets, 
 and in Gothic, of kowteils and similar forms. 
 Profiles of @opings. 
 
 Profiles of copings of flying buttresses have. already teen studied, and _ 
 of the rate hoods over windows and doorways, with those of gables and wine 
 dow gables, which in their prefiles follow those of main cornices and string 
 courses. They generally heve @ strong projection as members to protect the 
 covered parts from rain water, with water-drips and lerge cavettes teneath 
 \in Gothic. Fig. 516 is an exemple of early Gothio heod noul ding from the 
 Gathedral at Regensburg, Fig. 813 in Romanesque from the Cathedral at ents, 
 Fig. 619 in Late Gothic from the Cuthedral at Frankfurt-a-n, and Figs. 516, 
 fe, are two profiles of copings trom window gables of All saint's Chapel 
 ‘in the Cathedrel at kentz, and from the Cathedral ut kegenskurg. 
 
 ' Hordzcnteul Members of Various kinds, 
 
 ‘Here is to be considered a series of horizontal members, partly resenbl- 
 ing’ string-courses, partly annular mouldings, First are the profiles of 
 hoxigontal stone beams, os in dwarf galleries of. Romanesque churches, like 
 Fig. 620 trom the east choir of the Cathedral at Mentz, and Fig. 521 fron 
 thé western tower of the Cathedral at iiorms. Then are profiles of cortels 
 snp loyed in diverse ways. Fig. 522 is a Gothic corbel on. Strasburg Cathe 
 
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1@1 REDTSNBACEBEK'S MEDlanVaL ARCHITSCIURE, 
 
 edral, Figs. 622 and 824 are Romanesque corbels teneath round-arch friez- 
 es of Churches at Pfaffenschwatenheim and Léaach, Fis. 5268 is a Gothic cor- 
 tel profile from Cathedral at hegensburg. 
 
 Allied to cortels are terminal mouldings in Gothic, which extend around 
 free ends of stair steps, like fig. 62¢ from the Cathedral at Mentz, end 
 Fig. 627 trom the Church of S.Katharine at Oppenheim, alsothe protile of 
 hend rail of talustrade of a stairway in the late Gethic chancel of the 
 Cathedral of 3. Stephen in Vienna (Tig.feS). Further, profiles of Romen- 
 esgue impost weeps of arches; Fig. 5¢9 is from portal of tower of Cbhermun- 
 ster Church at Regensturg , Pip, 660 is from Ircn Gate at Mentz, Fig. 521 @ 
 
 s from Templar's Church at Bacharach, Pig. 501 1 is from Church at soos 
 burg in Bavaria, Fig. 532 is from nave desi et Cathedral at worus, the 
 profile of @ pier cap from the Church of G. Nicolai at Cippoldiswalde ( 
 Fig. 623) in transition style, and Fig. 5244 is a ee ciers in 
 side aisles of Cathedral at Mentz, all these . 
 a Land, or rarely with a quarter round (Fig, 586), like the string—course 
 on Iron Gate at henta. é 
 
 Profiles cf neckings of cross-@lowers are in eerly Gethic mostly towtéll 
 profiles (Figs.638,627), sometines curved on plan (Fig,640), or cut out 
 (Fig.529), also rarely in foil forn (Fig. £88) as at Cologne. Late Goth- 
 ic usually gave the necking of cross-flowers the profile of the water-drip. 
 
 In earlier and in later Gothic capitels cecur, not crnamented and mere- 
 ly consisting ef mouldings, Such moulded capitals take the form of the bell 
 Capital, like Fig. 541 from Cathedral at Regensbut'g, Pigs B42 from pulpit 
 stairs in Cathedral at Mentz. Similar examples ae from Church of & Bark- 
 hard at jitlrzburs (Figs.543,644), which have te extend the entire thickness 
 of the wall from the small regular piers, and show the profile of the ab- 
 acus projecting more in front (Fig.&44) than at sides (Pig. 843). 
 
 94, Crnamentation of Romanesque «architecture, 
 
 The character of the forms of Romanesque ornamentation way te briefly char- 
 acterized, that if follows Jate Roman and tarly Christian motives derived 
 therBfrom; that the decoration employs ancient Germanic. elements, trangs- 
 ferred to architecture from clothing, ornaments, vessels, implements, sand 
 wood-carving. Peculiar ornamental interwoven plant forws eceur, wixed with 
 dragons, men, and animals (TarvayF ig. BB; si CuniLert, Cologne), and inter- 
 woven bends, such as cecasicnally are tound in miniature paintings of manu- 
 scripts of the Carlovingian pericd ana of the early Romanesgue, elso with 
 antique reminiscences, which only coupletely died out during the devel op- 
 ment of Gothic. The Romanesque style borrowed trom clothing and armor forms 
 of net-work, chain, scale, aiid textile patterns, interwoven banda and cords 
 
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Moers 
 
 1é2 FEDTSBNBESCHER'S merlabVaL ARCHITECTURE. 
 with very realistic treatment; from wood-carving the repitition ef purely 
 metric forms, rounds in zisag form, chess-toard patterns (Taf.4); it 
 
 Leon 
 liked froms resembling ornementation Ly pearls and precious stones (Figs. 
 bei 164,167). aA peculiar decoration is the so-called cloud ornament, 
 
 already found in the Romanesque on the Cathedrai at auiun, and sometines 
 in Gothic in a changed fern, especioliv in sculptures of tympanums ef scor- 
 ways. 
 
 $6, Ornamentation in Transiticn style and in Gothic architecture. 
 
 The naturally treated plant-foras of our northern flera were adopted in 
 the transition style, and leter controlled the ornamentation cf Gethic. 
 
 This plant ornandentation was executed in the test period and even in jate 
 Gothic with extraordinary grace and delicacy, with cold treatment in re- 
 lief, as shown in cross-flowers and crockets ee: 1), foliage friczes and 
 corLels,capitals and keystones of vaults (Tat.2,3), recalling hammered met- 
 al work by its treatwent; in polychromatic interiors, the realistic foliage 
 is usually gilded, its background Leing strongly colored (Ungew. Taf, 43; 
 V-1-b, arts. Sculpyure, Flore, Peinture, ete. ). 
 
 Oppurtaunity for such Grnamentation is chiefly afforded Ly capitals of 
 columns and piers, cortels, cross-flowers and crockets of pinnacles and 
 gables, contihucus or inclined fri¢ezes, and cavsitos, and suspended parts 
 ending in flowers, jixe foiled arches of windows and pertais end cuspe of 
 early Gothic polyfoils. The ornamental elements are separately arranged 
 in a series or are erouped, kodels for naturalistic plent forms are taken 
 from our wild plants:-- ivy, maple, grapevine, anemone, parsley, wild grape, 
 aristolochia, s3ssrum, and others, Karely are foreign plants found, such 
 as the acanthue on a’ keystone of the Church of &. Ulrich at Regensturg ( 
 Taf, 0,Fig.28),. and also a fanciful arum on the choir stells of the Monas— 
 tery of Sehulpfeorta es aay 
 
 Conclusion. 
 
 In medigeveal architecture the oxternal appearance is eliways tased on con- 
 struction, and this is its advantage over other architectural styles, which 
 take into account merely esthetic and symlolic requirements. but the con- 
 struction is often defective ; what is gained ty perfecting the construct-_ 
 ion is usually lust Ly the use cf substitutes. The best constructors in 
 the middie ages were empirics, who knew well how to improve their system 
 of construction, where they must give ana t zke, always deceiving themsel- 
 ves in the. quantity. assuming that a loading of the aasses was anywhere 
 desiraLle, zs on the tuttress, the loading was generally either made too. 
 small or toc great. To ensure the great cathedrals éguinst wind pressure, 
 doubled flying buttresses were employed Leside each otter, or even tripled | 
 
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 1é2 REDTBENSACKER'S MeLIapVaL ARCHITECTURE. 
 
 tlying buttresses abcve each other, enclosing the Luilding like a scaffeld- 
 ing and appearing to crush it. To support the vaults, they introduced the 
 cier with free small shafts, which had neo loads. 
 
 Defects in construction thus retained the same or similar evils, te those 
 for which the Antique and Renaissance were reproached, especially that struct- 
 ural parts were employed where they could, or were reguired to fulfil neo 
 structural purpose, but the idea of making construction the Leginning point 
 of decoration was thoroughly fruitful, though structursl perts should not 
 themselves te used as ornaments, as late Gothic did in its purely ornament- 
 el works. If new paths are ever laid out in architecture, this will be 
 largely due to mediaeval architecture, without a thorough study of this, 
 we lack a scale with which the Antigue and Renaissance shoulé be measured. 
 lt is to Le hoped thet the time is not too far distant, when the pedase;— 
 ical value of the study of mediaeval architecture may te generally recos- 
 nized, and may this Look contribute thereto according to its worth. 
 
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