History of mediæval art . Fig. 297.—Cathedral ofNoyon. Fig. 298.—Notre-Dameof Paris. Fig. 299.—Cathedral ofSens. three-aisled body of the church, but being provided with towers atthe corners and projecting chapels upon the eastern side. Thesechapels, which had become necessary through the omission of theradial apses from the end of the church, appear elsewhere only inthe Cathedral of Sens, which had originally but one chapel in thechoir, and was, in the transept, of a peculiar formation, with an un-symmetrical side aisle upon the east. In the formation of the nave some evidences of indecision
History of mediæval art . Fig. 297.—Cathedral ofNoyon. Fig. 298.—Notre-Dameof Paris. Fig. 299.—Cathedral ofSens. three-aisled body of the church, but being provided with towers atthe corners and projecting chapels upon the eastern side. Thesechapels, which had become necessary through the omission of theradial apses from the end of the church, appear elsewhere only inthe Cathedral of Sens, which had originally but one chapel in thechoir, and was, in the transept, of a peculiar formation, with an un-symmetrical side aisle upon the east. In the formation of the nave some evidences of indecision arerecognizable ; these are to be ascribed to the tendency of the earlier FRANCE. 489 Gothic architects to employ columns in place of the piers, which hadbeen customary during the Romanic epoch. When supports ofround plan had been introduced into Romanic buildings, they hadproved advantageous for the extension of the space but not for thedesign of the elevations; thus the alternations of columns and piershad been gr
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