History of mediæval art . ms, and Senlis. In theCathedral of Paris the chapels were originally separated on accountof the double passage, as in the Cathedral of Bourges, a later im-itation, and occasionally they were omitted, with the exception of asingle apse in the main axis, as in Sens and Langres. The transept in St. Denis, Rheims, and Noyon {Fig. 297) hadremained close to the end of the choir, improving but little upon 488 GOTHIC ARCHITECTURE. the design of the earlier models. The end walls were of the mostvarious arrangement, appearing as grand apses in Noyon, after themanner of the befo
History of mediæval art . ms, and Senlis. In theCathedral of Paris the chapels were originally separated on accountof the double passage, as in the Cathedral of Bourges, a later im-itation, and occasionally they were omitted, with the exception of asingle apse in the main axis, as in Sens and Langres. The transept in St. Denis, Rheims, and Noyon {Fig. 297) hadremained close to the end of the choir, improving but little upon 488 GOTHIC ARCHITECTURE. the design of the earlier models. The end walls were of the mostvarious arrangement, appearing as grand apses in Noyon, after themanner of the before-mentioned Cathedral of Tournay, which hadbeen influenced by the plan common in Cologne. Subsequentlythe transept was gradually moved towards the west, until it oc-cupied about the middle of the building. It remained one-aisled,projecting little beyond the body of the church, and consequentlyof but slight importance. The Cathedral of Laon is exceptional inthis respect, the transept not only being of the same plan as the.
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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
