Page:Charles Moore--Development and Character of Gothic Architecture.djvu/350

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326
INDEX

Mondjelia, basilica, monolithic arches, 6.

Morienval, abbey church, the Gothic principle first imperfectly exhibited here, 33; vaulting of the apsidal aisle, 33, 34 (cut), 35 (cut); tower roofs, 113 (cut); string on the buttresses, 215 (cut); rib section, 218 (cut), 219 (cut).

Mouldings, profiles of, in Romanesque and Gothic buildings, 26, 200-246.

Arch. See Arch mouldings.
Base. See Bases.
Hood. See Hood mouldings.
Of mullions. See Mullions.
Rib. See Ribs.
String. See String-courses.

Mullions, Gothic, 222 (cut).


Nature, influence of, on Gothic foliate capitals, 270; tendency to over-naturalism, 274; direct imitation of marks the decline of Gothic sculpture, 278; why it is not allowable, 281.

Naves of English and French cathedrals compared as to length and height, 168.

Netley Abbey, pier arches, 149.

Nevers, cathedral, sculpture, 280.

Church of St. Stephen, 195.

NewShoreham, church of St. Mary, vaulting system and interior, 141; arch mouldings, 237.

Niccola Pisano, 293; pulpit of the baptistery of Pisa, 294; the classic element predominates in his work, 295.

Niches for sculpture not employed in early Gothic, 254.

Nogens-les-Vierges, church, string-courses, 214 (cut).

Norman architecture persisted in England, after Gothic had developed in France, 128; its influence on the early English architecture, 134; great length of the churches, 167; character of the English influence on, 312; the French influence upon, 312.

Norman conquest, influence of, on English architecture, 311.

Norwich, cathedral, piers, 42; nave, its length, 168.

Noyer, Geoffrey de, architect of Lincoln Cathedral, 134.

Noyon, its commune, 49.

Cathedral, resemblance to Senlis, 49; incongruity between vaults and piers, 54; compared with the cath. of Limburg on the Lahn, 173;—apse, 92, 93 (cut);—apsidal chapels, 101;—arcades, 50;—buttresses, 50, of the nave, 81 (cut);—capitals of the choir, 268 (cut), 269; clerestory, 87;—nave, 50;—painting in the transept, 298;—piers, of the choir, 49, 63;—of the nave, 50; string-course, 278 (cut);—transept, 102;—triforium, 87;—vaults of choir and transept, 38, of the choir, 49, of the nave, 50, longitudinal arch, in the choir, 68, vaulting of the apse, 93 (cut); windows, 85.


Offset arch, 6. Ornamental design, ancient principles of, 23. See also Decorative art.

Orvieto, cathedral, want of Gothic character, 186; fa9ade, 189; sculptured reliefs, 294; Giovanni Pisano, 296.

Ouestreham, church, vaults, 51.


Pagan and Christian art compared as to motive, 264.

Painting in Gothic buildings, 298-300; its limitations, 21; less general than in other buildings, 298; in the absence of uninjured examples, its character must be determined from illuminated manuscripts, 298; conventional and decorative, 299; made no progress in connection with Gothic architecture, 300; its place supplied by stained glass, 300; painting in other countries essentially the same in character during I2th and 13th cents., 305.

Italian, 305-309; the early work (Cimabue and Giotto), superior to the French in technical points, alone, 306; the wall painting of the ch. of St. Francis of Assisi, 306, 308; the monumental purpose of art constantly before the mind of the painter, 306, 308; decoration his main object, but pictorial design always united with it, 306; Viollet-le-Duc on the supposed antagonism between pictorial and decorative art, 307; the two really in part dependent the one on the other, 307; the progress in Italian art an advance in truth of rendering, not in design, 308; extent to which pictorial treatment can be carried in monumental design, 308; mediaeval painting has been judged too much as an independent art, instead of in connection with architecture, 309.

Paris cathedral, the old work still intact to a great degree, 52; length of the nave, 168;—abacus and the members supported by it in choir and nave, 61-66 (cuts), 206, abaci of the canopies of the buttresses of the façade compared with those of the triforium, 204, abaci of the triforium