[14] From a careful examination of the old capitals removed from the church of St. Frond during the “Restoration,” I observe that they are scarcely so distinct in their Byzantine character as those later specimens which I have been speaking of. This makes me suspect that throughout the twelfth century actually Byzantine carvers were employed in France. Without this I cannot account for the continuance of the Byzantine feeling in all its purity for so long a time. (G. G. S.)
Fig. 28.—Capitals from the north-west Portal, Lincoln Cathedral.
[15] We find the Byzantine feeling every here and there strongly developed in our own transitional examples. I will mention as an instance the north-west portal of Lincoln Cathedral, where it is beautifully exhibited. ([Fig. 28]). (G. G. S.)
[16] See page [93], [Fig. 38].
[17] The same construction appears to have also existed both at Tewkesbury and at Pershore. (G. G. S.)
[18] See page [85], [Fig. 27].
[19] 1858.
[20] It is curious to observe precisely the same art as in the eastern part of Nôtre Dame exhibited in the tiny, but exquisite choir, close by, of St. Julien le Pauvre.[21] Another small but highly valuable example is the beautiful ruined church of St. Evremont at Creil. An example of this style, which I have not seen much noticed in books, is the cathedral at Geneva. I am unacquainted with its history, but should suppose that a considerable interval occurred between its lower and upper stages, the latter being of perfected Early Pointed, while the former is as admirable a transitional work as I have anywhere met with. It partakes in some parts of that classic tendency which is displayed in the earlier parts of the cathedral at Lyons.