— Abbaye-aux- Dames at Caen, 13, 14 (cut), 17, 153;—Abbaye-aux-Hommes at Caen, 104, 105 (cut);—cath. of Chartres, 82, 83;—ch. of St. Martin at Laon, 77 (cut);—cath. of Noyon, 50, 81 (cut);—cath. of Paris, 53, 112;—ch. of St. Germain des Prés at Paris, 80, 82;—cath. of Reims, apse, 83 (cut), 84;—ch. of St. Remi at Reims, 79, 82;—ch. of St. Leu d'Esserent, 78-80 (cuts);—cath. of Senlis, 48, 106;—cath. of Soissons, choir, 82.
- Flying, become an external feature, 17; rudimentary form, 12; the earliest instance in England, 133.
- English, earliest instance of the flying buttress, 133; never structurally complete and well adjusted, 157;—of Chichester cath., 133—Durham cath., 14, 17;—Lincoln cath., choir, 136 (cut), nave, 146 (cut), presbytery, 156 (cut); Salisbury cath., 150;—Wells cath., 150.
- German; none in the cath. of Bamburg, 172;—the Breslau Kreuzkirche, 176;—Cologne cath., 176;—cath. of Limburg, 174;—cath. of Magdeburg, 173.
- Italian; of the ch. of S. Petronio in Bologna, 188; cath. of Florence, 187, 188;—ch. of Sta. Croce of Florence, 186;—ch. of Sta. Maria Novella of Florence, 183 (cut), 184.
- Roman, 10.
- Romanesque, n (cut), 12 (cut).
- Spanish; absence in Spanish pointed buildings in the early I3th cent., 196; of the cath. of Burgos, 197 (cut).
Byland, abbey church, Early English in form, but Romanesque in principle, 14; pier arches, 149.
Byzantine art, its influence traced in the sculptures of St. Trophime at Aries, 251 (cut).
Byzantine illuminations, exhibit much grace and expression, 248 (cut); influence on Early French sculpture, 249.
Caen, Abbaye-aux-Dames, its structure compared with Wells cath., 152;—capitals, 269 (cut); clerestory, 140 (cut);—vaulting system and buttresses, 13, 14 (cut), 17, 152 (cut);—vaults, 51.
Caen, Abbaye-aux-Hommes, source of its style, 9;—façade, 104, 105 (cut);—piers, 40, 42 (cut);—vaults and buttresses, 12, 13 (cut), 39.
Canterbury, cathedral, its choir the source of the Early English style, 130; the work of William of Sens and of English William, 131; its influence traced in Lincoln cath., 134, 137, 139;—abaci, 131; capitals of vaulting shafts, 139 (cut);—clerestory, 130;—glass, 309;—piers of the choir, 130, at transept crossing, 138 (cut);—tower, 165;—triforium, 130; —vaults and vaulting shafts of the choir, 129-131 (cut);—vaulting shafts at transept crossing, 138 (cut).
Capitals, 200-210; beauty resulting from functional form, 25; sense of function and beauty in their profiles, 26.
- Gothic, 200-210; distinguished from Roman, 200; function, 201; development into a more spreading form, 201; proportioned to the diameter of the shaft, 201; the thickness of the abacus proportioned to the spread of the capital, 202; Viollet-le-Duc's theory in regard to this, 203; the abacus, bell, and astragal of one piece, 206; profiles, 206 (cuts); influence of the Corinthian order upon, 208; crockets, 208-210; modifications during the 131th cent, the result of changes in the arch mouldings, 208; adjusted to the character of the ribs, 55, 221; influence of nature traced in the development of the leafage, 270; exemplified in the triforium of the nave of Paris, 273; naturalism carried almost too far in the chapel of the catechists, 274 (cut).
- Of the cath. of Amiens, chapel of the choir, 209 (cut), 210. 279; Autun, nave, 268; Abbaye-aux-Dames at Caen, 269 (cut); Laon, triforium, 203, 206 (cut), 276; Noyon, choir, 268 (cut), 269; Paris, vaulting shafts of choir and nave, 55-57 (cuts), westernmost pier of nave, 65-66 (cut), piers, 202, triforium of the choir, 202, 204 (cut), 270, triforium of the nave, 202, 205 (cut), 271, 272 (cut), chapel of the catechists, 274 (cut);—Reims, 74;—ch. of St. Denis, choir, 37;—ch. of St. Leu d'Esserent, nave, 72;—Senlis, choir, 201, 203 (cut);—triforium of the nave, 270 (cut);—ch. of St. Aignan in Senlis, 207 (cut);—ch. of Vézelay (porch), 268.
- Moulded, 231, 292.
- English, 224-232, 289-292; the abacus round, 224; admirable character of many of the earliest English capitals, 224; evidences of French influence, 226; crockets become heavy and
