History of mediæval art . as rarely used, cramped the developmentof the body of the church, greatly curtailing the height of the sideaisles, and crowding the triforium and the clerestory windows. Bygiving up the galleries the aisles assumed their due height, andspace remained above them in the nave for a more ample triforiumand for larger clerestory windows. Conformably to the Gothic system of memberment, the windowsof the clerestory, which had previously been almost entirely withoutornament, were provided with traceries. At first, as in the Cathe-dral of Bourges {Fig. 314), a number of adjoin
History of mediæval art . as rarely used, cramped the developmentof the body of the church, greatly curtailing the height of the sideaisles, and crowding the triforium and the clerestory windows. Bygiving up the galleries the aisles assumed their due height, andspace remained above them in the nave for a more ample triforiumand for larger clerestory windows. Conformably to the Gothic system of memberment, the windowsof the clerestory, which had previously been almost entirely withoutornament, were provided with traceries. At first, as in the Cathe-dral of Bourges {Fig. 314), a number of adjoining openings were con-nected by a single archivolt, in the tympanon of which was pierced FRANCE. 507 a small rose-window. This was afterwards enlarged as much as thespace would permit, while the remaining corners of the wall were socut out that only a framework of tracery remained, and the verticalsupports between the windows were reduced to mullions. This ad-vance seems to have been first made in the Cathedral of -»-M- JfMtf. Fig. 314.—System of the Cathedral ofBourges. Fig. 315.—System ofthe Cathedral ofAmiens. JfHtr. Ut I -I i t—fHto Fig. 316.—System of theNave of the AbbeyChurch of St. Denis. Finally the same system was duplicated in each group: four point-ed-arched windows, three rose-windows, the corresponding openingsin the corners being so combined in one compartment that no un-membered surface of the clerestory wall remained. This was thecase Cathedral of Amiens {Fig. 315) and the Abbey Churchof St. Denis {Fig. 316). The pointed arches of the windows were 508 GOTHIC ARCHITECTURE. decorated with cusps, as in the Sainte Chapelle. The design ofthe traceries thus resulting could not be improved upon by thesuper-elaboration of the geometrical lines in the later struct-ures. The success attained by this arrangement of the windows, bytheir effective traceries, and especially by their magnificent stainedglass, led to a further development of the trifo
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