File:Gothic architecture in France, England, and Italy (1915) (14758755836).jpg

Identifier: gothicarchitectu01jackuoft (find matches)
Title: Gothic architecture in France, England, and Italy
Year: 1915 (1910s)
Authors: Jackson, Thomas Graham, Sir, 1835-1924
Subjects: Architecture, Gothic
Publisher: Cambridge, University Press
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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with angelic sculpture in the spandrels. And nowhere do we find wall-arcading to surpass that which runs round the lower part of the walls, with its marble shafts and graceful carving. The pro- The proportions of the bays at Amiens and West- por ion minster are very similar. Dividing the height as in former cases into 32 parts we get this result :— Amiens WestminsterArcade 16 16 Triforium 4f 5^ Clerestory n£ iof 32 32 In both the arcade takes half the height, but at Westminster the triforium is inscribed in a square, while that at Amiens is wider than it is high. The width of the bay at Westminster is 5J parts, at Amiens a little more. The In one more point of importance it is probable that French influence showed itself. Westminster contains Beginning either the first, or at all events almost the first, examples tracery in England of perfected bar-tracery. The windows are simple in the presbytery and apse where the work began, but by the time the transepts were reached, some seven
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ch. xvi) WESTMINSTER ABBEY 275 or eight years later, the elaborate tracery of the greatrose windows showed that the masons had nothing moreto learn in that class of work. The Ste Chapelle whichwas rising at the same time as Westminster has traceriedwindows completely developed, some of which seem tohave set the pattern for windows at Westminster1. ButI defer the subject of tracery to another chapter. With these points the resemblance to French work Englishends. The Purbeck columns, with their detached marblecolonnettes, and the round moulded capitals are all purelyEnglish ; so is the vaulting, which is quadripartite withthe ashlar of the panels filled in English fashion, andbanded with stones of two colours; so are the acutearches of the main arcade, which are struck with a radiustwice the length of their span; so is the carving, for theFrench artist whose touch Sir Gilbert Scott thoughthe detected in some of the capitals of the wall-arcade isthe exception which proves the rule. This

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