Denis, west portals and north transept, 251, 252 (cut), tympanums of the west portals, 255;—cath. of Senlis, 25, lintel, 256 (cut);—the ch. of Vézelay, 249. See also Gothic sculpture.
- English, 284-292; rare in the 12th cent., 284; early examples of figure sculpture, 284; 13th cent, figure sculpture of Wells, 284; its want of relation to the structure of the building, 285; more naturalistic but less true to nature than the French, 286; want of delicacy and refinement, 287; the angel choir of Lincoln, and other figure sculptures, 287; foliate sculpture, 288; its artificial conventionality, 289; foliate sculpture of Bishop Hugh's choir and transept in Lincoln, 289; much expression of natural beauty in spite of artificial peculiarities, 290 (cut); sculpture of the nave inferior, 290 (cut); Anglo-Norman and French characteristics combined in the foliate sculpture of Wells, 292; the imaginary and grotesque less common than in France, 292; sculpture almost wanting in many important buildings, 292.
- German, 292-293; general absence of figure sculpture, 292; late Gothic influence, 293; foliate sculpture illustrated by Cologne, 293.
- Greek, its likeness to nature, 22; compared with French Gothic, 22, 25, 259, 263, 278; its influence on Gothic, 23, 24; its influence on Italian work, 295.
- Italian, 293-297; its revival subsequent to the development of the Gothic school in France, 247, 263; the production of individual sculptors, not of a school or guild, 294; want of connection with architecture, 294; mingling of Gothic and Roman elements, 294; the classic elements in the sculptures of Pisa compared with those in French Gothic sculpture, 295; the other Pisan sculptors, 296; the isolated statues and busts of the Renaissance, 296; foliate sculpture imitated from the Gothic, 296.
- Romanesque, its ornamental forms derived from Roman and Byzantine work, 267; its types of ornament for capitals, 268.
- Spanish, copied from French models, 297.
- See also Capitals; Gothic sculpture.
Senlis, cathedral, the interior Gothic, the exterior Romanesque, 48;—abaci, 206, of the triforium, 221 (cut);—aisle vaults, 47;—apse, 92;—apsidal chapels, 101;—bases of the nave, 210 (cut), 211;—buttresses, 48;—capitals of the choir, Gothic in form, Romanesque in ornament, 201, 203 (cut), of the triforium of the nave, 270 (cut); façade, 106, 107 (cut);—impost, 221 (cut);—piers and shafts, adaptation to the vaulting, 43-47 (cuts);—rib sections, 219 (cut), in apsidal chapels, 220;—sculpture, 25, of the lintel, 256 (cut);—spire, 115, 116 (cut);—string-course of the choir, 214 (cut) 215;—triforium arches, 44;—early vaults east of the transept, 38;—those of the aisle, 47;—windows, 85.
- Church of St. Aignan, abacus, 207 (cut).
- Church of St. Frambourg, clereslory opening, 69.
Sens, cathedral, piers and vaulting shafts, 59, 130; source of its style, 60; transept, 102.
Shaft, volume reduced in Gothic architecture, 18.
Sharpe, his Seven Periods of Church-Architecture, 4.
Siena, cathedral, want of Gothic character, 186; façade 189, 190 (cut); east end, 191.
Soissons, cathedral, bases in the choir, 212, 213 (cut);—buttresses of the choir, 82;—clerestory of the choir, 88; piers of the choir, 66-67 (cut):—transept, 102.
Southwell minster, abacus, 224;—arch mouldings, 236 (cut); capitals, 231;—sculpture in north transept, 289 (cut), of the chapter-house, 290.
Spain, its condition in the Middle Ages unfavourable to the development of the fine arts, 314.
Spalato, palace of Diocletian, capital, 200 (cut).
Spanish pointed architecture, 194-199; still Romanesque in structure at beginning of 13th cent., 194; characteristics, 194; smaller buildings with barrel vaults, 195; similarity to certain French styles, 195; brought in by the Cistercian monks, 195; never Gothic in principle, 196; in the second quarter of 13th cent, the complete Gothic of France taken as a model, 196-199; Street's theory that the churches were built by Frenchmen, 196; influence of climate on style, 198; profiles mainly Gothic, 246; not an original style, 314.
Spanish profiles, 246.
Speyer, cathedral, a Romanesque building, 170; its vaults, 170; nave, 171 (cut).
