[2] Ruskin, Sesame and Lilies.
[3] Louis Gonse, L’art gothique (Paris, Quantin, 1891); Camille Enlart, Manuel d’archéologie française (Paris, A. Picard et Fils, 1902), 2 vols., 8vo; ibid., Monuments religieux de l’architecture romane et de la transition dans la région picarde (Paris, A. Picard et Fils, 1895), folio; E. Lefèvre-Pontalis, L’architecture religieuse dans l’ancien diocèse de Soissons au XIe et au XIIe siècle (Paris, Plon, 1894-97), 2 vols., folio; Arthur Kingsley Porter, Medieval Architecture, Its Origins and Development (New York and London, 1909), 2 vols.; C. H. Moore, Development and Character of Gothic Architecture (New York, Macmillan, 1904); Anthyme Saint-Paul, “La transition,” in Revue de l’art chrétien, 1895-96, vols. 44, 45, and 1912-13, pp. 206, 263; R. de Lasteyrie, L’architecture religieux en France à l’époque romane (Paris, 1912), chap. x; ibid., in Revue de l’art chrétien, 1902, vol. 45, p. 213, his answer to Mr. Bilson, and Mr. Bilson’s reply; Louis Régnier, “Les origines de l’architecture gothique,” in Mém. de la Soc. hist. et archéol. de Pontoise, vol. 16; John Bilson, “The Beginnings of Gothic Architecture,” in Journal of the Royal Institute of British Architects, 3d series, 1898-99, vol. 6, pp. 289, 322, 345; p. 259 (answer to M. de Lasteyrie); vol. 9, p. 350; Mr. Bilson’s papers were given in part in Revue de l’art chrétien, 1901, vol. 44, pp. 369, 462; F. M. Simpson, A History of Architectural Development (London, 1909).
[4] “Gothic architecture did not arise from a reaction against the principles of Romanesque: on the contrary, it is the natural development of those principles, the logical consequence of the germ idea of the Romanesque builders, which was to protect the naves of their churches by vaults of stone.”—R. de Lasteyrie.
[5] Any raised balcony, or gallery, in a church is called a tribune. The term will be used here mainly for the deep gallery over side aisles. The making of tribunes was brought about by the custom, in early Christendom, of separating the ages and sexes; in primitive days the kiss of peace used to be given among the congregation.
[6] Transept, or across inclosure, from trans, across, and sepire, to inclose.
[7] Guillaume Durandus, Rationale Divinorum Officiorum, translated as The Symbolism of Churches and Church Ornaments by Neale and Webb of the Camden Society (Leeds, T. W. Green, 1843).
[8] The barrel vault (a half cylinder) was known to the Egyptians and Assyrians. Rome used it extensively, also the groin vault (made of two intersecting half cylinders).
[9] “There are few things more interesting, more instructive, or more beautiful in human history than the spectacle of those early cowled builders struggling against all difficulties and disadvantages, and laying the foundations of a new art which was, in the stronger hands of their lay successors, to culminate in the marvels of Chartres and Amiens.”—Charles Herbert Moore, Development and Character of Gothic Architecture (New York, Macmillan, 1904).
[10] Let us run briefly over the French Romanesque schools to gain an idea of the monk builder’s activities.
Normandy displayed a powerful regional genius, and carried through her Romanesque churches with native thoroughness. Her school was formulated early. By 1040 Jumièges abbey church was begun, and within thirty years the two abbeys of Caen were building. Norman Romanesque used the alternate system of piers, a central lantern tower, cubic capitals, and a geometric sculpture. Their architects were inclined to be overcautious; up to the advent of Gothic they often covered the middle nave with a timber roof, though they vaulted the side aisles with stone.