Mediaeval art from the peace of the church to the eve of the Renaissance 312-1350 / by W.R. Lethaby.

  • Lethaby, W. R. (William Richard), 1857-1931.
Date:
1904
Catalogue details

Licence: In copyright

Credit: Mediaeval art from the peace of the church to the eve of the Renaissance 312-1350 / by W.R. Lethaby. Source: Wellcome Collection.

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    Mauriac, Church of, 130 Merimte, Prosper, 142 Merrell, Dr., 62 3Ieuug-s, Church of, 150 Micliletlmaite, 83 ]\nian, San Lorenzo, 31; Clmrchof the Apostles, 86; St. Satyrus, 90 ; Sant’ Ambrogio, 108, 109, ‘^iio Millet, 69, 116 IMotlena, pillar of crypt, *113 JSlomrnert, 21 Monasteries, St. Catherine, Sinai, 60 ; White and Ked Monasteries, Egypt, 61 ; St. Gall, 124; Cluuy, 130 ISIonkwearmouth, Church of, 121 Monograms, 44,54, *55, 57> 64,73^ 79^95 Monolithic Columns, 182 Mons, Church at, 166 Monte, Robert cle, 199 Morienval, Church at, 154 Moore, Prof. 137, I57«, 201 Mosaic, Minerva Medica, Lome, ii ; St. Peter’s, Rome, 18 ; Sta, Sabina, Komc, 20 ; St.a. Constantia, Rome, 22, seq.; Sta. Pudentia, Rome, 24 ; Holy Apostles, Constantinople, 48; Salo- nica, 50, 71; Ravenna, 51, seq.) Parenzo, 57; Bethlehem, 59; Sinai, 60; Jerusalem, 66; St. Luke’s, Phocis, 69 ; Daphne, 69 ; Sta. Sophia, Const., 70 ; Sta. Sophia Salonica, 71; “Parcel-mosaic,” 72, 104; Yatopedi, 79 ; Byzantine mosaics inRome, 64 ; St. PraWde, Rome, 64 ; Torcello, 93 ; St. Mark’s, Venice, 95; Baptistery, Florence, 100; Sicilj', 117; Aachen, 123 ; Orvieto, 290 Mouldings, Byzantine, 96; Gothic. ^186, '*’187 Murano, 87, 96, 97 Nantes, roof of church at, 120 Naumberg, towers of church at, 275 Neuss, St. Quirinus at, 128 Niccolo Pisano, 279 Nicomedia, Church at, 16 Norman School, 5, no, 131; influence of, 151 ; mouldings, *187 Norrey, Church at, 182, 186 North Africa, 32, 90 Norwich, Cathedral of, 133 Noyon, Cathedi*al of, early Gothic type, 148; triforium gallery, 151, 171; construction, 163 ; mouldings, 186, *187; description of, 192, seq. Nyssa, St. Gregory’s Church at, *85, ‘86 Ogival style ; progressive stages of. Transitional ogival. Pointed ogival. Counter-arched ogival, and Complete ogival, 140. {See Vaults) Opus Alexandrinum, 114, 115, 116 Orcagna, 287 Orleansville, basilica at, 16 Orvieto, Cathedral of, 287, seq. Ostiensi, Leone, 64 Othonian Art, 124, 125, 128 Otranto, Church at, 117 Ourscamp, Abbey of, 159, *172 Oviedo, Church at, 129 Padua, Town Hall of, 291 n ; Arena Chapel, 293 Painting, Byzantine, 49 ; San Clemente, Rome, 63, 64; San Piero a Grado, 103; Early Romanesque, 121; Ger- man, 128; French, *234, 236, seq., 243 ; Italian Gothic at Assisi, 278 ; at Pisa, 280; at Siena, 290, seq. ; Byzantine influence on, 292 Palaces, Romau-Byzantiue, 61, 62, 68 ; Florentine, 296 Palmyra, 10, 15, 62 Parenzo, capitals at, 39, seq.; descrip- tion of, 56 ; disposition of, 99 Paris, Basilica of St. Peter and St. Paul, 120; Notre Dame, triforium gallery, 151; plan, 163, *2CO, Appen- dix ti'); rose window, *175; outer aisle roof, 182 ijnbe, 183; west front, 184; portal front, 185 ; description of, 199, seq.) sculptures of, 225, 226 ; colour, 232; choir screen, 235; masons of, 250seq.) St. Germain des Pres, fly- ing buttresses, 159; tower, 164; mason ot 251; Saiute Chapelle, construction, 161; window tracery and glass, 174, 180; altar canopy, 183: view of, *202; mason of, 251; St. Martin des Champs, vaulting, *170; St. Jaques aux Pelerius, statues of, 255 Parma, Baptistery of, loi; Cathedral of, 103 Paul the Silentiary, 44, 46, 49 Pavements, 36, *37, 72,102,114. 116 Pavia, San Michele, 108 Perigeux, St. Front, 129 Perigord, School of, 129 Perrot and Cliipiez, 62