173. St. Germer. Interior 176. Plan of Noyon. (From Dehio) 178. St. Quiriace of Provins. Choir. (From Gurlitt) 179. Sens. Interior 180. Noyon. Interior 181. System of Senlis 182. Notre Dame of Châlons-sur-Marne. Interior 183. St. Remi of Reims. Interior of Chevet Section of Nave, Rhuis. (Redrawn from Lefèvre-Pontalis). Rib Vault at Béthisy-St.-Pierre Narthex of St. Leu d'Esserent. Plan of Morienval . 165. Diagram of Rib Vault on a Curved Oblong Plan 166. Plan of Pontoise. (From Lefèvre-Pontalis) 167. Diagram. Broken Rib Vaults. 169. Plan (restored) of St. Denis. (From Dehio) 170. Bury. Interior 171. Ribbed Half-Dome of Vauxrezis. (Redrawn from Lefèvre-Pontalis) 172. Lobed Half-Dome of St. Martin-des-Champs, Paris 174. Plan of Auvers. (From Arch. de la Com. des Mon. Hist.) 175. Diagram of Chevet Vaults 177. Section of St. Germer 12 56 56 65 66 66 68 70 71 72 74 74 74 76 78 78 80 81 82 83 84 84 86 88 90 90 92 184. Flying Buttresses at Domont. (From Arch. de la Com. des Mon. Hist.) 185. St. Germain-des-Prés, Paris. Exterior 205. Arched Corbel-Tables of Dravegny and St. Étienne of Longmont 206. Apse of Chelles. (From Lefèvre-Pontalis) 207. Capital of South Transept of Soissons 208. Capitals of Ambulatory, Morienval 209. Capitals of Nave, Bury . 210. Capital of Arcading of Lady Chapel, Noyon 211. Capital in Nave, Noyon. 212. Capital of Triforium String-Course, North Transept of Soissons 213. St. Etienne of Beauvais. North Transept End . 116 . 118 118 120 214. Stained Glass Window of Bourges. (From Martin et Cahier) 132 215. West Portal of Chartres. 134 216. Villard de Honnecourt's Design for the Cathedral of Cambrai. (From Lassus) 140 227. Diagram. Piers of Laon, Paris (6th and 7th bays, Beauvais) 228. Soissons. Nave 270 270 264. Stained Glass Windows of the Ste. Chapelle of Bourges, now in the Crypt of the 288. Stained Glass of the late XVI century, Bourges Cathedral. (From Méloizes) 289. Choir Screen of Amiens 388 388 MEDIEVAL ARCHITECTURE CHAPTER VII ROMANESQUE ARCHITECTURE OF THE ILE DE FRANCE HISTORICAL conditions of the Ile de France in the XI cen tury were in sharp contrast to those of Normandy, where the concentrated monarchy and the reformed church proved so favorable to the development of architecture at the same period. In the royal domain, the XI century was the age of feudalism, a time when the powerlessness of the Capetian monarch reduced the land to practical anarchy. It was above all the age of the degradation of the Church. Yet the historian, who possesses the great advantage of knowing what was to come after, can easily see that this age was all the while paving the way for the great economic advances of the XII century, and amid the darkness, he is consequently able to trace occasional flashes of the coming light. Architecture, however, reflected only the darkness; light was still in the future tense, and the material development of art is always influenced by the present or even by the past, rather than by the future. The XI century was, then, in general, an age of lawless feudalism. The Capetian king, sitting on his hollow throne, offered a strange spectacle of mingled misery and grandeur. The impotent monarch, notwithstanding the pomp of his title and the prestige of his office, was totally unable to cope with the lawless feudal lords who ran riot in the land. Fearless of the king's authority these barons pillaged and burnt at will, and racked the land with all the horrors of petty warfare. The very excess of this feudal tyranny and oppression, however, at last roused the indignation of the people, and thus was kindled that spark of popular loyalty and democracy, which in the XII |