History of mediæval art . Fig. 140.—Capitals from Hamersleben and Alpirsbach. manic column the Corinthian model was assimilated in character tothe Doric, in the same way as in the Tuscan order the Doric stylehad approached the Ionic. This normal form of the capital served as the basis for the mostvaried modifications. There were many stages in the developmentof the shape from a cube, as well as in the combination of severalchapiters to a single capital, which latter appears as the forerunner ofthe terminations above the bundles of shafts common in the Gothicstyle. The sculptured decorations of
History of mediæval art . Fig. 140.—Capitals from Hamersleben and Alpirsbach. manic column the Corinthian model was assimilated in character tothe Doric, in the same way as in the Tuscan order the Doric stylehad approached the Ionic. This normal form of the capital served as the basis for the mostvaried modifications. There were many stages in the developmentof the shape from a cube, as well as in the combination of severalchapiters to a single capital, which latter appears as the forerunner ofthe terminations above the bundles of shafts common in the Gothicstyle. The sculptured decorations of the four upright surfaces, orof the entire capital, resulted in a great variety of forms even inone and the same building. There was no attempt to observe thestrict uniformity of type maintained in the antique styles, the deco-rations being entirely independent, and determined only by the in- GERMANY. 26l dividual imagination of the designer,—a continual change being, infact, the most imperative principle. In a great
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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
