Part 27

I have here a large collection (which should have been larger had I had time to select all the examples which I have scattered through my sketch-books) of German window traceries, which will enable you to judge whether I am too severe in my opinion of their demerits. And you may observe, by the way, that whilst in the earlier styles we have very many points for consideration in studying the characteristics of the style, in this work there is a sacrifice of almost everything else to the desire to introduce in every direction specimens of new and ingenious combinations of tracery. The windows at Paderborn are some of the finest and purest examples of early tracery. They are genuine and noble examples, and quite free from any tinge of the faults of later examples, and worthy of comparison with the best of our own early traceries. The mouldings of these windows are simple, but composed mainly of a succession of bold rolls, and so entirely free from any _lininess_. In the cupola of S. Gereon at Cologne, and a little later in its sacristy are also some good early traceries, whilst most of the windows at Marburg are also examples of the same character. So too are the traceries in one of the Brunswick west fronts, and in the apse of the church of S. Giles in the same city. From these look to the windows of S. Mary, Lemgo, and you have the commencement of the new style, though these are fine windows, boldly and simply conceived and carried out. Next to these come the marvellous series of traceries in Minden cathedral; a series, I suppose, quite unmatched for variety, and indeed, I must own, for a certain grandeur of effect, by those in any church in Europe. You will be struck, I think, by the curious desire for variety of arrangement which these traceries evidence. They are a series of aisle windows, placed side by side in a cathedral church of very modest pretensions. S. Martin in the same town has a great variety of traceries of a later type--good examples of the kind of tracery which henceforward is to be found for a long time predominant throughout nearly the whole of Germany, in which, whilst one admires and wonders at the ingenuity which has devised so many combinations of spherical triangles and circles, one is tempted to think that the men who excelled in this sort of work would have been admirably fitted for designing children’s toys and puzzles, but had much better have been kept away from church windows. Among the other sketches of traceries, those from Ratisbon are of the best kind, whilst those from the cloister at Constance (essentially German work) are almost as interesting as the Paderborn examples in their ingenious variety of form. They show too, occasionally, a tendency to ogee lines in the tracery, which leads me to say a few words on the curious fact, that whereas in England the ogee line was always seen in the later middle-pointed work, this was by no means the case in Germany. The tracery in the staircase to the Rathhaus at Ratisbon, though of late date, is noticeable for the almost entire absence of any but pure geometrical figures, but then these are thrown about in a confused and irregular manner, and are entirely wanting in due subordination of parts. When, however, the ogee line does show itself in German work, it is always a certain evidence of debasement.

But to leave the question of traceries and to justify my denial of the virtues of German pointed architecture, let me ask you to compare the effect of French and German work side by side in some of these most valuable evidences of facts which photography so liberally affords us. You have here side by side a west door from Amiens and from Cologne; and again here, some door-jamb sculpture from Amiens between similar works from Strasburg. Now striking as these German examples are, do you not see how entirely the Germans sacrifice all nobility and simplicity of expression, all that we call repose, to the vain desire to arrest attention by some tricky arrangement of a drapery and some quaint speckiness or lininess of detail?

The German love of tracery is evidenced by the fondness for such spires as that of Freiburg, which, striking as it is, is not altogether a legitimate kind of thing, and is certainly inferior in its effect to the much simpler spires of which we are so justly proud.

I can only say a few words as to the plans of German complete Gothic, and this only to repeat what I have before said as to the extent to which they contrived to build on the same plans as in earlier days. The parallel and transverse triapsidal plans were as popular in Germany in the fourteenth and fifteenth centuries as they were in the twelfth and thirteenth, of which the little chapel in the castle at Marburg is a curious example. It is apsidal at the east and west ends, and the bay between has the window-splay so contrived as to make another apse north and south. It was in detail more than in plan that the later architects developed.

But I feel that time will not allow me to go into the features of the style with more minuteness, or to do more than direct your attention to the strange eccentricity which characterizes the last phase of German Gothic, of which the design for the spire of Ulm (never carried out) is one of the most curious examples. In the short time that still remains to me, I would rather prefer to call your attention to the local peculiarities which you will meet with in different districts of this great country--a part of my subject which would, if I had time for it, be of more value perhaps to those who are going to explore German churches for themselves than any other.

I have said so much about the churches of Cologne and the Rhine, that I need say no more than that they are very much a class by themselves. You have there the best specimens of early churches; whilst in Cologne cathedral, in Altenberg abbey, in the church of the Minorites at Cologne--an admirable example--in the very interesting church at Oberwesel, and in S. Werner at Bacharach, a church at Andernach, and Frankfort cathedral, you have a series of examples within a short distance of each other of the best complete German Gothic.

Then leaving this district and going in a north-easterly direction, you will find a series of towns full of local peculiarities, quite unlike those of the Rhine:--Münster, for instance, with its churches of great height and without distinction between nave and aisles; or Soest, where the beautiful Wiesen-Kirche affords one of the finest evidences of what Germans could do in their palmiest days: whilst in the other churches in the same little known city you would see examples of Romanesque of the most grand kind in the remarkable steeple of the cathedral, and of a very curious kind in the low groined entrances which support a continuation of the triforia round the west end of the naves. In towns like these, and Paderborn, Lemgo, Herford, Minden, and Hildesheim, you will find a rich store of architectural matter; and then if you will venture so far, you will find at Lüneburg, and Lübeck, and Ratzeburg, abundant examples (as I have once before explained in this room) of the German mode of building in brick developed in a group of churches quite unlike any others in Germany, and most interesting in every point of view. Then again there are those curious churches at Brunswick and Halberstadt, Magdeburg and Burg, whose west fronts, contrived apparently solely for the sake of obtaining space for the display of immense window traceries, are so completely local and so thoroughly, I suppose I may say, an invention! Here too you will see the churches almost invariably with gabled aisles,--sometimes, as in the cathedral at Lemgo, so gabled at the sides that one doubts which is the side and which the end, and sometimes, as in a church at Brunswick, filled with tracery and panelling of extreme beauty. Then again at Halberstadt, Erfurt, Naumburg, and Marburg, you may see some of the most excellent work in all Germany of the best period. And if you go further south, to where Nuremberg takes you back in almost all externals to the sixteenth century, or where Ratisbon to the thirteenth, you will find yourselves again in the neighbourhood of brick churches, at Landshut and Munich: and lastly at Freiburg you may see one of the very best of German churches, eclipsed though it undoubtedly is by the unequalled (in Germany) nave of the thoroughly German cathedral of Strasburg.

I can but give you a hurried list of names, but not without a warm recommendation to you to go and see for yourselves how very much is to be learnt in all these churches, not only in architectural matters, but even much more in ecclesiological. Germany is the one part of Europe in which the furniture of the Middle Ages still remains. There where in Protestant Nuremberg every altar still stands with its white cloth, and candles, and crucifix; where the great rood still hangs aloft in the churches; where in one church, as at Brandenburg, one may see some thirty or forty mediaeval vestments still hanging untouched in their old presses; where you may see screens of every date, from early Romanesque to the latest pointed; where coronae, and all kinds of metal furniture and ancient work of a date far earlier than any other country in Europe can show are still preserved; where, as in the choirs of Halberstadt and Hildesheim, the old illuminated office books still rest upon the old choir desk; where hangings of quaint and gorgeous patterns still hang round the choirs, and where triptychs and carved retables are so common that one forgets to take note of them;--there it is, I say, that you must go if you would wish to study and to understand fully the ecclesiology of the Middle Ages. It is indeed a country full of the most wonderful interest to the ecclesiologist in all ways, and I am anxious to say that though I have been asked by your committee to give a second paper on Italian architecture, I feel very strongly that I should be doing their work much better by telling you somewhat of all those things to which I have just referred. In the first place, I have said my say on Italy, and have nothing new to tell you; and secondly, I have been obliged to avoid saying one word either on the furniture or glass of German churches, or on the domestic architecture in which the country is so rich,--and on all these points I should be only too glad at some future day to give you some notes of what I have seen.

INDEX

Abbeville, 33.

Abbot Odalric of Conques, 242.

Abbot Peter de Wesencourt of S. Germer, 156.

_Abécédaire_, 155, 158, 220.

acanthus, 95.

Aesthetic Movement, 13, 32.

Agnolino of Orvieto, 94.

Ainay, church of, 35, 39, 207, 228, 247; _v._ Lyon.

Aix-la-Chapelle, 302, 307, 322.

_Album Photographique de l’Archéologie Réligeuse_, 215, 223, 224.

Alcalá, 43.

Alençon, 33.

All Saints, Clifton, 30.

Alps, 36, 49, 65, 89.

Altamira, Rafael, 48.

Altenberg, 321, 327.

Amalfi, 51, 53.

American attitude, 32, 33.

Amiens, 16, 32, 33, 129, 131, 151, 158, 163, 195, 206, 318, 321, 326.

Ancona, 50.

Andalusia, 42.

Andernach, 175, 323, 324, 327.

Angelico, Fra, 8, 9, 52.

Angers, 134.

Angevine type, 45, 128.

Angoulême, 231, 236.

Anjou, 128, 129.

_Antiquité Expliquée, L’_, 223.

Apengeter, Hans, of Lübeck, 277.

Apennines, 76, 82, 86.

apsidal choirs, 19, 89, 137, 176, 320, 325.

Aragon, kings of, 42.

Arbellot, Abbé, cited, 211.

_Archæologia Cantiana_, 255.

Archbishop Maurice of Rouen, 133, 135.

architect, the same, at Ainay and Le Puy, 207 sqq.; Bayeux and Norrey, 123; Châlons-sur-Marne and Rouen, 193; Orcival and Issoire and Brioude, 240; Rouen and Genoa, 133; S. Germer and Paris, 156; S. Mary Stone, and Westminster, 255, 264, 267; Soissons and Noyon, 165.

architects, mediaeval, 23, 32, 73, 131, 136, 149, 151, 293, 296, 297.

architects, modern, 21, 26, 28, 40, 41, 54, 57, 100, 294, 303.

architecture, the experience, 28, 29; growth slow, 318; regular, 40; height first requisite, 18, 142; mouldings the test, 99; sculpture, 99, 264.

_Architecture Civile et Domestique_, 161, 184.

Arezzo, 76, 80.

Arles, 128.

Arnold, Matthew, 8, 49.

_Arts Somptuaires, Les_, 153.

Arundel church, 158, 265.

Assisi, 51, 76, 77 sqq., 224.

Asti, 51, 65.

Astorga, 44.

Asturias, 42.

Athens, 249.

Auvergne, dates, 241; type, 39, 201, 211, 231 sqq., 238, 244.

_Auvergne au Moyen Age, L’_, 205, 232.

Auxerre, 34, 35, 249.

Avranche, 124.

Avila, 44, 45, 46.

Aymard, M., cited, 215, 223, 224, 225, 226, 230.

Bacharach, 320, 327.

Baedecker, 37.

Bamberg, 175, 318, 321.

baptistery, 210, 272; at Cremona, 272; Pisa, 66, 272; Pistoja, 84; Siena, 72.

Barcelona, 38, 43, 44.

Bardonnecchia, 90.

Barnstaple, 4.

Basle, 277.

Bayeux, 43, 122, 163.

Bayonne, 43, 44.

Beauvais, cathedral, 16, 17, 33, 131, 144, 150 sqq.; S. Étienne, 152 sq.; bishop’s palace, 153; Bishop F. de la Rochefoucauld, 152.

Belgian towns, 34, 48, 303–307.

Bell Scott, William, 57.

Benavente, 40, 44.

Bénévent, 231.

Benevento, 50.

Bergamo, 309, 317.

Berlin, 48, 290.

Bernese Oberland, 39, 48.

Bertaux, Émile, 51.

Bideford, 4.

Bingen, John and Nicholas of, 222.

Biscay, Bay of, 42.

Biscovey, 6.

Bishop Arnaud of Périgueux, 211.

Bishop Burchard von Serken of Lübeck, 273.

Bishop Evodius of Le Puy, 203.

Bishop F. de la Rochefoucauld of Beauvais, 152.

Bishop Garnier of Laon, 181.

Bishop Gerald of Poitiers, 211.

Bishop Gerold of Oldenburg, 272.

Bishop Guy II of Le Puy, 228.

Bishop Henry of Lübeck, 272.

Bishop Henry Bockholt of Lübeck, 278.

Bishop Hughes de la Tour of Clermont, 231.

Bishop Jean de Bourbon of Le Puy, 214, 215.

Bishop Johan von Mull of Lübeck, 273.

Bishop Namacius of Clermont, 232.

Bishop Peter of Le Puy, 220.

Bishop Stephen II of Le Puy, 220.

Bishop Théodulf of Orleans, 224.

Bishop of Beauvais, 161.

Bishop of Gibraltar, 96.

Bishop of Oxford, 7, 23.

_Boletin de la Sociedad Castellana de Excursiones_, 47.

Bologna, 86; S. Petronio, 86 sq., 230; S. Francesco, 87.

Bonn, 320, 323.

Bonport, 138.

Boppart, 323.

Botticelli, 29.

Bourges, cathedral, 137, 163, 176, 201, 212, 244; S. Pierre, 244.

Bourgtheroulde, 118.

Boyce, George, 57.

Branche, Dominique, cited, 205, 232.

Brandenburg, 285, 328.

brasses, 6, 38, 274.

Brenner, 51.

Bretteville l’Orgueilleuse, 120.

Breuzeville, 131.

brick building, 30, 37, 38, 46, 72, 86, 270, 284, 285, 286, 328.

_Brick and Marble in the Middle Ages_, 21, 27, 32, 34, 36, 46, 49 sq., 88.

Brioude, 39, 201, 212, 215, 231, 234, 235, 237, 238, 240, 247.

Bristol cathedral, 27, 30.

Brown, Madox, 57.

Browning, Robert, 2, 52.

Brunswick, 274, 283, 321, 326, 328.

Buckinghamshire, 25.

_Bulletin Archéologique_, 223.

_Bulletin de la Société Archéologique et Historique du Limousin_, 211.

_Bulletin Monumental_, 207, 220, 230.

Burg, 327.

Burgos, 43, 44, 118.

Burgundian March, 34; style, 128.

Burne-Jones, Edward, 13–18, 33, 57.

Burne-Jones, Lady, 14, 17.

Butler, Dr., 7.

Butterfield, 15, 28.

Byzantine influences, 84, 132, 135, 194, 202, 243, 245.

Caen, 33, 119 sqq.; Abbaye aux Hommes, 246; S. Pierre, 119, 120, 121.

Calvados, 16.

Cambridgeshire, 5.

campanile at Assisi, 80; Bologna, 87; Erfurt, 294; Florence, 82; Lucca, 70; Pistoja, 83; Siena, 72; Siena cathedral, 73; Susa, 64; Verona, 72.

Carlisle, 54, 55.

carvers, 132, 135, 168, 300–01.

carvings, 186, 199, 303, 313, 317.

Castile, 42.

Castilian, 47.

Catalonia, 30, 45, 47.

Caudebec, 16.

Caumont, de, cited, _Abécédaire_, 155, 158, 220; _Bulletin Monumental_, 207.

Cavallini, 78.

Chaise-Dieu, La, 251.

Châlons-sur-Marne, Notre Dame, 134, 175, 188, 190; cathedral, 190, 194; S. Alpin, 195; the curé, 144, 191.

Chalvour, 171.

Chamallières, 220.

Chambéry, 50, 63, 89.

Champagne, style, 188.

Champagne, village on the Oise, 144–5.

Champenois, M., 191.

Chantilly, 100, 149.

Chartres, cathedral, 16, 19, 29, 33, 52, 114, 129, 130, 134, 163, 176, 185, 195, 212, 244.

Les Chases, S. Marie, 205, 227.

Chauriat, 231.

Chichester, 5, 281.

Chinon, 220.

_Christian Year, The_, 20, 31.

Church of England, 1, 11, 21.

Church of Rome, 11, 21.

_Churches in Kent, Surrey, and Sussex, Some_, 268.

_Churches in Northern Germany_, 270.

_Churches of Lübeck, The_, 270.

_Churches of Velay, The_, 39, 201.

Cimabue, 78, 79.

Cino da Pistoja, 83.

Clermont-Ferrand, 39, 128, 201; cathedral, 231, 251; Notre-Dame-du-Port, 212, 217, 231, 233–242 _passim_, 245, 249; Bishop Hughes de la Tour, 231; Bishop Namacius, 232.

Clifford, W. K., 49.

Clovelly, 5.

Cluny, 45, 231.

Coblentz, 175, 323.

Cock, Reimar, 278.

Cologne, 34, 151, 308, sqq., 319, 322, 327; cathedral, 173, 197 sqq., 316, 321, 326, 327; SS. Apostles, 320; S. Cunibert, 309, 311, 318, 323; S. Gereon, 308, 318 sq., 323, 324, 325; S. Martin, 309, 323; S. Mary in the Capitol, 309; others, 322.

Como, lake of, 36.

Compiègne, 159; S. Antoine, 160; cloister, 159; Hôtel-Dieu, 161; Hôtel de Ville, 161.

Compostela, Santiago de, 43, 44, 45.

Compton, near Guildford, 278.

Conques, 231, 242, 245; Abbot Odalric, 242.

Constance, 33, 294, 326; lake of, 36.

Constantinople, 30; Crimean Memorial, 22; S. Sophia, 243, 245; SS. Sergius and Bacchus, 247.

Corneto, 94.

Cornwall, 6, 79, 128, 268.

Cortona, 75.

Coruña, La, 44.

Coucy-le-Château, 162, 171.

de Coucy, Robert, 58, 184, 188.

Coudray, 158.

Courtrai, 303, 305 sqq.

Coutances, 124, 163.

Cram, R. A., cited, 28.

Cremona, 38, 272, 284.

Crépy, 107.

Crimean Memorial, 22, 30.

Cuddesden, 7, 21, 22.

Cuenca, 42.

Culoz, 62, 89.

Dalmatia, 32.

Dance of Death, 277.

Dante, 3, 83.

Devonshire, 128.

_Dictionnaire de l’Architecture_, 174, 212, 231.

Didron, cited, 229, 233.

Dijon, 34, 88, 277.

_Divine Comedy_, 3.

domestic architecture, 105, 106, 107, 110, 119, 124, 138, 158, 170, 183; Romanesque, 124, 153, 228; Gothic, 92, 96, 139, 153, 167, 170, 181, 186, 190, 230; north German, 281, 283, 294, 308, 310; _v._ also Gothic, domestic.

Donatello, 52, 87.

Dorat, 231.

Douce, Francis, cited, 277.

Dresden, 48.

Dublin, 27.

Duguesclin, 230.

Durham, 5.

East Grinstead, 22.

East Meon, 160.

Eastern influence, 212, 220, 223, 243, 247; course along the Rhone, 247; _v._ also Byzantine.

_Ecclesiologist, The_, 32, 37, 38, 127, 268.

Edinburgh, 54.

Egypt, 58.

Elizabeth of Hungary, S., 295.

embroidery and vestments, 6, 8, 152, 220, 280, 306, 328–9.

Emperor of the French restoring, 143, 145.

Empoli, 91.

Engadine, 48.

England, 3, 10, 32, 42, 55.

English, 1, 10, 11, 21, 32, 45, 54; influence, 128, 130, 136; stone, 30; work, 122.

Enlart, Camille, 41.

Ennezat, 230, 238.

entasis at Pisa, 67; at Le Puy, 213.

Erfurt, 292, 328; architects, 293; Barfüsser-Kirche, 292; cathedral, 293; Prediger-Kirche, 294; Stadt-Kirche, 292; S. Severus, 294; others, 295.

_Erfurt and Marburg_, 292.

de la Escosura, Patricio, 46.

_España Artistica y Monumental_, 46.

_Essai sur les Églises Romanes et Romano-Byzantines du département du Puy-de-Dôme_, 241.

_Estoire de S. Eduard le Rey_, 204.

Estella, 206.

Estremadura, 42.

Étampes, 244.

Eunate, 229.

Evreux, cathedral, 116; S. Taurin, 116.

Exeter, 4, 12.

Fergusson, J., cited, 245.

Fiesole, 82.

Florence, 51, 52, 82, 83, 276; Or S. Michele, 52, 83; S. Miniato, 84.

Foggia, 50.

Fontevrault, 231.

Fonthill, 151.

fonts, 84, 161, 274, 276, 277, 281, 310.

Ford, Richard, 41.

fortified churches, 215.

Fountains Abbey, 32, 279.

France, 3, 30; landscape and architecture, 88; Spain’s debt to, 47; Italy’s, 51; _v._ also Gothic, French, and painting, early French.

Francia, 52.

Francis of Assisi, S., 76.

Franco-Prussian war, 21, 48, 120.

Frankfort, 33, 324, 327.

Freiburg, 33, 328.

French towns, 33, 34, 39, 131; cathedrals, 163.

Furka pass, 36.

Galicia, 40, 42.

Gassiecourt, 142.

Gaulfredus, 220.

Gelnhausen, 318, 323.

Geneva, 89.

Genoa, 65, 67, 76, 90, 91, 133 sq., 200, 220; English church, 30, 90.

German Gothic, 174, 175, 190, 192, 196, 199, 200, 283, 326; influence, 128, 174, 182, 192, sqq., 195, 196; _v._ also Gothic, German; Painting, early German.

_German Pointed Architecture_, 317.

Germer, S., legend, 158.

Gerona, 43.

Gimbert, François, 225.

Giotto, 52, 78, 83, 274.

Giulianuova, 51.

glass, early, 79, 94, 101, 109, 116, 139, 142, 152, 180, 195, 196, 251, 276, 291, 293, 294, 298, 300, 309, 314, 315, 329.

Glastonbury, 154.

Gloucester, 55.

Gothic, 46, 176; revival of, 1, 13, 28, 31, 248; study of, 6, 37, 244; lectures on, 27, 201, 317; power of, 3, 4, 23, 55; modern, 8, 13, 22, 54, 55.

Gothic, domestic, 139, 183, 283, 303; at Aix, 308; at Beauvais, 153; in Belgium, 303 sqq.; at Erfurt, 294; at Genoa, 91; at Laon, 112; at Lisieux, 119; at Meaux, 115; at Montferrand, 251; at Münster, 310; at Pisa, 68; at Le Puy, 230; at Rheims, 190; at Siena, 68, 72; at Trèves, 197; at Ypres, 305.

Gothic, English, 3, 21, 130, 131, 160, 255, 320, 324; styles, 45, 128; comparison with, 122, 128, 129, 159, 165.

Gothic, French, 18, 21, 30, 32, 45, 47, 51, 79, 127, 176, 192, 244; styles, 39, 40, 128, 167, 231 sqq.; sources, 202, 244; in Italy, 77–8.

Gothic, German, 32, 174, 190, 195 sq., 200, 270 sqq., 289, 292, 304, 317, 319, 323; influence of, 128, 174, 175, 182, 194, 195; judgement on, 196, 199, 200, 317, 319.

Gothic, Italian, 30, 32, 51, 66, 70, 72, 78, 91, 207, 309, 320; influence of, 131, 133, 175; characteristic plan, 207, 309; Lombard, 32, 275, 322.

Gothic, Savoyard, 63, 65.

Gothic, Spanish, 32, 37, 39, 40, 43, 46 sqq., 320; in Catalonia, 38, 45.

Government restoring, 143, 145, 312, 316.

Granson, on Lake of Neufchâtel, 245.

Grauenfels, 36.

Greece, 32.

Gregorian music, 18, 119.

Gregory of Tours, cited, 232.

Grisons, the, 36.

groining, 74, 130, 222.

ground-plans, 130, 136, 195, 205, 207, 229, 230, 244, 309, 317, 319, 327.

Guadalajara, 44.

_Guardian, The_, 129.

Guercino, 52.

Guido da Como, 84.

Halberstadt, 278, 288, 301, 328.

Hamburg, 33.

Hambye, 124.

Hanover, 48.

Havre, 16.

Heidelberg, 33.

height an element of Gothic, 18, 142, 150, 197.

_Heir of Redclyffe, The_, 13.

Henry the Lion, 272.

Herford, 328.

Hesse, Synsingus, 283.

Hewlett, Maurice, 45, 83.

Higham Ferrers, 281.

Hildesheim, 274, 278, 321, 328.

_Histoire de l’Église Angélique de Notre Dame du Puy_, 228.

_Historia de la Arquitectura Española Cristiana_, 41.

Holland, Jessie, (Mrs. G. E. Street), 10, 53, 57, 88.

Holmbury S. Mary, 28, 30, 55.

Homer, 3.

Howells, William Dean, 49.

Hucher, M., cited, 220.

Hueffer, Ford Madox, 57.

Huelgas, Las, 45, 118.

Huesca, 44.

Hunt, Holman, 46, 57.

Hutton, Edward, 45, 49.

Huxley, Thomas, 23.

Huy, 307.

Iffley, 32.

Île-de-France, 45, 128, 194, 317.

_Iliad_, 3.

Inchbold, J. W., 57.

_Inland Voyage, An_, 39.

l’Isle Adam, 144.

Issoire, 201, 217, 231, 233, 235, 236, 237, 238, 240.

Italian influence, 131, 133, 175, 230; arcades, 310; gables, 273; workman, 276.

Italy, 22, 34, 38, 48, 49, 50, 51, 65, 80, 89, 176.

Jaca, 42.

Jean and Nicholas of Bingen, 222.

Jervaulx, 5.

Joanna the Mad, 46.

Keats, John, 2.

Keble, John, 13, 31.

Kent, 255, 260, 268.

Kneller, Sir Godfrey, 281.

Laach, 197, 320, 321.

Lagny, 113.

Lake Country, 5.

Landshut, 322, 328.

Lanercost, 20, 52, 142.

Lampérez y Romea, Vicente, 40 sqq., 48.

Laon, 38, 108 sqq., 129, 131, 162, 163, 172 sqq., 186, 188; S. Martin, 112, 172, 182; Templars’ church, 183, 229; Bishop Garnier, 181.

Latin-Byzantine style, 42.

Lausanne, Anglican church, 30.

Lavoulte-Chilhac, 220.