S. Marco, 4, 27, 212, 242 sq., 249.
Verdier, cited, 161, 184.
Vergato, 86.
Verneilh, cited, 248.
Verona, 71, 133, 270, 279, 284.
Vevey, English church, 30.
Vézelay, 35.
Vienna, 48, 322.
Vienne, 212.
village churches, 22;
French, 131, 143, 145;
English, 257.
Viollet-le-Duc, cited, 144, 150, 156, 162, 173, 184, 211, 215, 231.
Viterbo, 94.
Vitoria, 43, 44.
Volvic, 231.
Vosges, 36.
Wales, 1.
Wallenstadt, lake of, 36.
Wantage, 7.
Warfield, 265.
Webbe, the elder, 13.
Webbe, Philip, 21.
Wellington, Duke of, 41.
Wells, 128.
Wensley, 274.
Westminster Abbey, 27, 32, 58, 204, 244, 255, 258, 318.
West of England, 4.
wheel of Fortune, 153.
Wilars de Honecort, 184.
Wilberforce, Samuel, 13.
Wimbourne, 279.
Winchester, 5, 9, 12, 55;
font, 160.
Worcester, 2.
Wordsworth, 4.
workmen, mediaeval:
masons, 240;
sculptor, Gaulfredus, 220, another (Robert), 234;
architects, Pierre de Montéreau, 58, 156;
Robert de Coucy, 58, 184;
metal-workers, 274, Hans Apengeter, 277, John and Nicholas of
Bingen, 222;
silversmith, 225, François Gimbert, 234;
glass painter, Dominic Livi, 276.
Worms, 249, 321, 322.
Wurtzburg, 33.
York, 27, 32, 55.
Yorkshire, 4, 128.
Ypres, 303 sq., 311.
Zamora, 44, 46.
Zaragoza, 44, 46,
_v._ Saragossa.
Zinzig, 323.
Zurich, lake of, 36.
FOOTNOTES
[1] Since these words were written that country has seen another
harvest time; the fields have been ploughed with the trenches of armies
and harrowed by the bomb and bullet: Street’s record of what men saw
fifty years ago has grown precious for us who shall never see it more.
[2] Your man of genius has run ahead of fashion by forty years. This
description reads like the account of a house finished last week
somewhere up the River or on the Main Line.
[3] Note from the sketch-book: Tournus has a fine Romanesque church
with one complete and one unfinished steeple at the west end and
another complete steeple on the north side in about the position (I
think) of a transept. These two steeples have two arcaded stages of
about equal height above the roof and are finished with square tiled
spires in a very characteristic manner. (These square spires seem to
be of very frequent occurrence in this district.) Just in front of the
church are two round towers which seem to form a gateway and the space
between the western steeples of the church is finished horizontally
with a crenelated parapet on a machicoulis--the battlements pierced
with openings of this kind ✠--the whole looks as though done with a
view to defence.
[4] General de Boigne, d. 1830.--G. G. K.
[5] These must be those now given to Cavallini and his school; and
Street’s taste comes out right where knowledge was a-wanting.--G. G. K.
[6] If Street did not know the name, how should the editor?--G. G. K.
[7] This will be Messer Cino--of Dante and Mr. Hewlett.--G. G. K.
[8] Eastern? queries Street in pencil.
[9] Attributed to Jacopo della Quercia; it is not hard to divine why,
when Donatello had failed to satisfy, Jacopo should offend.--G. G. K.
[10] Qy.: S. Vincent?--G. G. K.
[11] The same ornamentation appears in the doorways opening out of the
Great Cloister at Las Huelgas (province of Burgos, Spain).--G. G. K.
[12] The plan of six-foot cubicles, open above, with separate windows
but a single lofty roof, carried on immense stone arches spanning the
vast hall, is that of the great dormitory at the Cistercian abbey of
Poblet, in Cataluña.--G. G. K.
[13] Our ancient sculpture is therefore of inexpressible value to
us; and it is to be hoped that we shall hear less and less of that
destructive and dangerous process called “restoration” in connection
with it. The _Guardian_ lately contained a paragraph stating that
a London carver is employed on the restoration of the ancient
figure-sculpture at Lincoln. I shudder to think of the havoc which (if
I may judge of him by the former performances of his class) he must be
making. If the Dean and Chapter of Lincoln possessed a picture by an
old master, would they employ a painter to touch up the noses and put
in new heads where the old painting was defective? Assuredly not. And
can they not feel that any sculpture is just as much a work of art,
owing all its interest to the genius of the artist, as any painting can
be, and as far beyond restoration therefore?
[14] I am, of course, aware that some of these churches are not
locally situated within the Île de France, and one of them--Rouen
Cathedral--might have been expected to be purely Norman in its
character. To my mind, however, it represents a fusion between the
Norman and the real French style, affected, moreover, at first to some
extent by Italian influences. And Rouen, as well as most of these
churches, was comprised within the _Domaine Royale_ before the death of
Philip Augustus.
[15] The plan of an aisle or “procession-path” without chapels is, in
execution, the only form of apse, the effect of which is decidedly
inferior to our English square ends. It is on the exterior that its
deformity is most conspicuous.
[16] The chapels round the apse of Senlis Cathedral form an
intermediate link between the two plans at S. Leu. They form exactly
half a circle on plan, and have only two bays, one of which is lighted
with a window. Externally they have stone roofs, finishing under the
triforium windows. These two churches should be studied and compared
together.
[17] No one who visits S. Leu should omit to go also to Senlis. He will
find a tower and spire of unusual--if not unique--beauty and elegance.
There are two fine desecrated churches, and other remains which, with
the charming cathedral, make a _tout ensemble_ not easily forgotten. It
is a walk of about six miles only from S. Leu--passing by Chantilly.
[18] I copied the following from the “Tariff” of the seats in S.
Étienne:--
“Une stalle haute par année, 8 fr.
Une stalle basse par année, 5 fr.
Les deux premiers bancs à chaque côté du chœur, 8 fr.
Les deux centres bancs derrière l’autel, 7 fr. 50 c.”
[19] See the Illustration of a Wheel of Fortune in _Les Arts
Somptuaires_, Vol. II., taken from a MS. in the _Bibl. Imp._, No. 6877.
[20] This work recalls to mind the work of the same character at
Glastonbury.
[21] It is sometimes called also the “_Sainte Chapelle_” of S. Germer:
I know not, however, on what grounds. M. Viollet-le-Duc does not
mention it in his list of S. Chapelles.
[22] There is some reason for believing that the Lady-chapel of S.
Germain-des-Prés was groined with sexpartite vaulting: if so, it
differed from the other chapels in this respect.
[23] P. 365.
[24] These groined triforia are called tribunes by the French
antiquaries. At Montierender, where both occur, the upper stage is more
than usually similar to our English triforia; and in all these cases
it would perhaps be best to accept the French terminology as being
substantially correct. The tribune is, in fact, a second stage of the
aisle.
[25] The abbey church of Longpont was dedicated in A.D. 1227, in
the presence of S. Louis. Its value as a dated example is therefore
considerable, independent of its high architectural interest.
[26] _Dictionnaire_, Vol. II. p. 309.
[27] The arrangement of these gables recalls to mind the very similar
arrangement at Salisbury and Lincoln.
[28] The autumn of 1860. The original paper, which has undergone
considerable revision since it was read on 7th January, 1861,
will be found in the First Series of _Transactions_, 1860–61, pp.
97–119.--A. E. S.
[29] I give an extract from “La Estoire de Seint Edward le Rei,” MS.
Bibl., Publ. Cambridge. Ee iii. 59:
“Seint Pere, du ciel claver,
Va sa iglise dedier,
Des angeles mut grant partie
Li funt servise e grant aie.
Li angele chantent au servise,
La nuit quant dedient l’iglise
Tant ja du ciel luur
Ke vis est au peschur,
Ke li solailz e la lune
Lur clarté tute i preste e dune.”
This is the rubric descriptive of the illustration, whilst in the poem
itself is the following passage:
“E cist si tost cum arive
Entrez est en sun muster;
Li airs devint lusanz e clers,
N’out en muster tenegre ne umbre;
Atant des angres grant numbre,
Ki s’en venent a sum servise
A dedier cele iglise.
Tant ja partut odur,
Ke vis est a cel pescur
Ke li solailz la lune
Sa clarté tute preste u dune
Angles pu cel avaler
Regarde e puis remunter;
Teu joie a, ke li est vis
Ke raviz est en Parais,
Pur l’avisium k’apert.”
[30] _L’Auvergne au Moyen Age_, by M. Dominique Branche.
Clermont-Ferrand, 1842.
[31] The steps are arranged in successive groups of eleven, with
platforms between them.
[32] As evidence of the popularity of Notre Dame du Puy this may
suffice:--in Amiens cathedral, until A.D. 1820, there existed a
series of pictures given by the “Confrèrie de Notre Dame du Puy.” A
similar confrèrie existed at Limoges.--G. E. S. There is an image and
a devotion of N. D. du Puy at Estella in Navarre, carried thither by
French pilgrims.--G. G. K.
[33] The passage to the right is evidently modern, that to the left
looks as though it were ancient, but a protest against the removal of
some ancient work, in the course of constructing it, which I have found
in the _Bulletin Monumental_ [A. de Caumont], seems to show that it is
not so.
[34] S. Martin d’Ainay, at Lyon, is a parallel triapsidal church, with
a central dome, and a western tower of unusual and picturesque outline,
adorned largely with inlaid tiles and bricks.
[35] At present the exterior of the lantern is covered with a domical
roof; but an illustration that I have seen shows it finished with a
low-pitched tile roof, and without any of the inlaid mosaic which is
now upon it.
[36] The division of the building into work done at various epochs is
beyond question, though there may be some question as to the date I
assign.
[37] Mérimée, _Notes d’un Voyage en Auvergne_, p. 226.
[38] See Viollet-le-Duc (_Dictionnaire_, art. “_Clocher_,” pp. 312–18)
for a reference to this influence of the Rhine churches.
[39] M. Viollet-le-Duc considers the earliest part of the cloister to
date from the tenth century; M. Mérimée thinks the eleventh century
more likely.
[40] The _Maîtrise_ was, I believe, the school attached to the
cathedral.
[41] Mérimée, _Notes d’un Voyage en Auvergne_, p. 232.
[42] It is very difficult to understand precisely where these hangings
were found. M. Aymard, a distinguished antiquary at Le Puy, in the
_Album Photographique d’Archéologie Religieuse_, speaks of the painting
on the wall of the _Salle des États_, and then, in another place, says
that the tapestries given by Jean de Bourbon served to decorate the
_Salle des États_ of Velay, and after the regrettable destruction of
that hall the remains of them were preserved part in the cathedral and
part in the museum. Possibly he refers to the removal of the floor
below the _Salle des États_, for the hall itself has not been destroyed.
[43] M. Mallay, of Clermont, says that the mosaic work of the church of
Notre-Dame-du-Port, Clermont, was all set in red mortar originally.
[44] See further observations on this subject, page 223.
[45] The predecessor in the See, Stephen II., uncle of Bishop Peter I.,
was buried at Lavoulte-Chilhac.
[46] A diploma of A.D. 1146 is dated from the “Ville d’Anis” (i.e.
Le Puy) and fixes the date at which this “cité” received the name of
“ville.”
[47] See M. Aymard’s _Album Photographique d’Archéologie Religieuse_,
and a communication from the same gentleman in the _Bulletin Archéol._
vol. ii. p. 645. M. Aymard mentions one other example, a diptych,
figured in Montfaucon (_L’Antiquité Expliquée_) vol. iii. p. 89, which
dates from about A.D. 900. The hand at Le Puy is larger than life,
and has a double nimbus round it, the inner yellow, the outer dark
red; the hand is white and the ground within the nimbus dark blue. The
Secretary of the Comité Historique des Arts et Monuments considers that
this representation of the Greek mode of giving the benediction makes
it certain that the work at Le Puy is Byzantine in its origin. But one
may, I think, be allowed to doubt whether this conclusion is to be
absolutely depended on.
[48] M. Aymard. See footnote on preceding page.
[49] The spire-lights in the cathedral steeple are very similar, and
the same form is seen in the steeple of the church of S. Marie des
Chases, in Auvergne.
[50] Also the octagonal church, surrounded by an octagonal cloister,
of the Templars at Eunate in Navarre, and the church of Vera Cruz at
Segovia.--G. G. K.
[51] The elevation of one bay of the nave of this church is almost
exactly the same as that of S. Petronio, Bologna, though of course
on a very reduced scale. The plan is Italian also, the nave
groining-compartments being square, whilst those of the aisles are
very oblong; the contrary arrangement is, as I need hardly say, almost
invariable in northern Gothic plans.
[52] The cathedral of Clermont-Ferrand, a fine fourteenth-century
church, is said to have been originally on the same plan as
Notre-Dame-du-Port; excavations have proved this to have been the case.
The present cathedral is almost precisely similar in plan to those of
Narbonne and Limoges (see Viollet-le-Duc, _Dictionnaire_), and is said
to have been commenced in A.D. 1248 by Bishop Hugues de la Tour.
[53] I give a list of some of the churches which either belong to
or illustrate the Auvergnat type, with their dates, as nearly as I
can ascertain them:--Conques, completed by A.D. 1060. S. Étienne,
Nevers, commenced A.D. 1063, consecrated A.D. 1097. S. Eutrope,
Saintes, consecrated in A.D. 1096. S. Genés, A.D. 1016-A.D. 1120. S.
Front, Périgueux, A.D. 984 to A.D. 1047. Angoulême, A.D. 1109–1136.
Fontevrault, A.D. 1100. S. Hilaire, Poitiers, A.D. 1049; Moustier-neuf,
ditto, A.D. 1069–1096; S. Radegonde, ditto, A.D. 1099. Riom (S.
Amable), A.D. 1077–1120. S. Sernin, Toulouse, _circa_ A.D. 1150. Cluny,
commenced A.D. 1089; consecrated A.D. 1131. Dorat (Hte. Vienne) and
Bénévent (Creuse), _circa_ A.D. 1150–1200. S. Germain-des-Prés, Paris,
consecrated A.D. 1163. Le-Moûtier (suburb of Thiers), A.D. 1016. S.
Saturnin, Volvic, Issoire, S. Nectaire, N.-D.-du-Port, Clermont,
_circa_ A.D. 1080–1160. Brioude, _circa_ A.D. 1200. Orcival.
[54] St. Gregory of Tours (Hist. Francorum) says that in A.D. 440 a
church was erected in Clermont by the Bishop Namacius, 150 feet in
length, 60 feet wide, 50 feet high from the seat of the bishop to the
vault; a circular gallery surrounded the choir, and on each side were
two aisles elegantly constructed. The church was in the form of a
cross, had 42 windows, 70 columns, and 8 doors.--_L’Auvergne au Moyen
Age._
[55] S. Hilaire at Poitiers and Angoulême cathedral have only four
chapels.
[56] At Mozat is a magnificent shrine of copper, enamelled, and at S.
Nectaire a variety of precious relics, crosses, reliquaries, and the
like, of which M. Mérimée has given a list.
[57] See M. Mallay’s _Essai sur les Églises Romanes et
Romano-Byzantines du département du Puy-de-Dôme_. Moulins, 1838.
[58] St. Mark’s, Venice, was commenced in A.D. 977.
[59] Plans (to a uniform scale) of S. Mark’s Venice, and of S. Front,
Périgueux, are given in _Transactions_, Vol. IV. n.s. Illustn. xxviii.,
pp. 172–173.
[60] Mr. Fergusson gives a section of a church at Granson on the Lake
of Neufchâtel, in which the aisles and nave are roofed in the same way
as at Conques and in the Auvergne churches. He says that the date of
this church is the end of the eighth or beginning of the ninth century,
but I do not know what his authority for this very early date is.
[61] The Abbaye-aux-Hommes, Caen, has its aisles roofed with transverse
barrel-vaults.
[62] I ought to mention that this dome and the western part of S.
Julien at Brioude are much older than the choir, to which I have before
referred in speaking of the date of the church.
[63] This qualification is necessary, for the curious evidence which M.
Verneilh has given of the existence in the tenth century of a Venetian
colony at Limoges would be enough to make it probable that, though S.
Front is the earliest complete example extant of a French domed church,
others may have been built before it and that some of those which M.
Verneilh supposes to have been derived from S. Front may really have
been derived more directly from the East.
[64] There is no end to the diversity of the countries in which they
are found. In the cathedral at Worms there are squinches formed by
semi-domes. In S. Nicodime at Athens they are identical with those of
S. Étienne at Nevers, and the same form is repeated in the domical
vault of the steeple at Auxerre cathedral. At Notre-Dame-du-Port,
Clermont, the dome is circular, but the squinches below are octagonal
in plan, and the circle (which is not, however, a true circle) is set
upon the octagon.
[65] This statement must of course be made with caution, inasmuch as
the invariable whitewashing of the interior makes it very difficult to
say what was the exact nature of the decorations with which they were
adorned.
[66] The subject of this paper, the probable identity of the architect
of S. Mary’s with that of Westminster, interested Street greatly,
and he refers to it often. The careful description of conscientious
restoration has an interest for us as well. I have therefore reprinted
the greater part of it without troubling the reader by indicating the
trifling omissions.
[67] Will of John Bokeland, p. 10.
[68] One of these windows is still left in the south wall of the
chancel.
[69] It appears from a note by Mr. Heathcote, a former Rector, in the
parish book, that the church and chancel were ceiled in the year 1777.
This is the only note in these books which refers to the building, if I
except an entry in regard to the erection of a western gallery, which
has been removed in the course of restoring the church. The old parish
books are all destroyed, and no record exists earlier than the end of
the last century.
[70] “Less usual,” but not unique. The church at East Barnet afforded
another example of the same mode of spending money in the palmy days of
ample church-rates and irresponsible church-wardens.
[71] John Bokeland, in his will, talks of the chancel door: I believe
he means the door in the Rood-screen, from the nave into the chancel.
[72] The central shaft and part of the internal tracery of this window
are destroyed, and we have been unable yet to restore them.
[73] I see no evidence of the existence of a clerestory; and the
columns are so delicate that I think it is impossible that it can ever
have been intended to erect one.
[74] I cannot express my vexation at finding that in spite of my
earnest injunctions to the workmen to be careful, this painted cross
was destroyed. It is often absolutely impossible for an architect to
stop wilful destruction of this kind. I have sometimes thought that it
might be a good plan to draw up a contract for church restorations,
inflicting a heavy fine on the contractor for any such destruction of
any old feature.
[75] See particularly papers by me on _Some Churches in Kent,
Surrey, and Sussex_, in the _Ecclesiologist_ of 1850, and _On the
Middle-Pointed Churches of Cornwall_, in the _Transactions_ of the
Exeter Architectural Society, vol. iv.
[76] There are one or two points which appear to me to make it possible
that the sculpture of foliage was not done at Stone, but wrought
elsewhere and sent there to be fixed. The northernmost spandrel in the
east wall should be examined with a view to this point.
[77] I need not say, to those who know the north of Germany, that the
arrangement of this church is, after all, only an exaggeration of a
not uncommon plan. The cathedrals at Hildesheim and Naumburg, the
Liebfrauen-Kirche at Halberstadt, and many others, have crypts, whose
floor is but little lower than the floor of the church, whilst the
floors of their choirs are raised immensely, and so shut in with solid
stone screens and parcloses, that little can be seen of them from the
naves. The crypt at Wimborne Minster is a rare instance of the same
kind of thing in England; but this is a middle-pointed contrivance for
_creating_ a crypt in a first-pointed church, which was never intended
to have anything of the kind.
[78] It is owing to this arrangement of the nave, and the consequent
uselessness of the aisles, that several of the old altars still remain,
one in each bay, against the north aisle wall, and one or two against
the south aisle wall.
[79] I have given a drawing of these candlesticks for the _Instrumenta
Ecclesiastica_. They are not movable candlesticks, but regular fixtures
to the pavement, and made in some kind of white metal.
[80] I have given a drawing of this vat in the _Instrumenta
Ecclesiastica_.
[81] It must be understood that these are not the original curtains;
but that the Lutherans have here preserved an old arrangement is very
evident.
[82] On the south side of this steeple still hang the iron cages in
which John of Leyden and his confrères were suspended before their
execution.
[83] This paper was read before the Oxford Architectural Society, in
1857.--G. G. K.
[84] Street was not yet familiar with the Spanish churches, in which it
is the dominant native form. Cf. _Gothic Architecture in Spain_, new
edition, I, 58.--G. G. K.
Transcriber’s Notes
Punctuation and spelling were made consistent when a predominant
preference was found in this book; otherwise they were not changed.
Inconsistencies between the Index and the text it referenced were
resolved by changing the Index to match the text.
Simple typographical errors were corrected; occasional unbalanced
quotation marks retained.
Ambiguous hyphens at the ends of lines were retained; occurrences of
inconsistent hyphenation have not been changed.
Index not checked for proper alphabetization or correct page references.
In Footnote 3, the symbol following “openings of this kind” is a
Maltese Cross.