History of mediæval art . n epoch {Fig. 203). The detailsof this building are so classic that it might be ascribed to earlyChristian ages were it not for the insufficient entablature of theexterior pilasters. The interior of the apse of St. Quenin in Vaisonand that of Saintes Maries (Bouches du Rhone) are of somewhat FRANCE. 339 taller proportions; in other churches, such as that of St. Ruf nearAvignon, and that of Cavaillon (Vaucluse), the arcades of the apseare provided with window-like apertures. Still others display morepeculiarly Romanic forms: a kind of corbel-table being employed inthe
History of mediæval art . n epoch {Fig. 203). The detailsof this building are so classic that it might be ascribed to earlyChristian ages were it not for the insufficient entablature of theexterior pilasters. The interior of the apse of St. Quenin in Vaisonand that of Saintes Maries (Bouches du Rhone) are of somewhat FRANCE. 339 taller proportions; in other churches, such as that of St. Ruf nearAvignon, and that of Cavaillon (Vaucluse), the arcades of the apseare provided with window-like apertures. Still others display morepeculiarly Romanic forms: a kind of corbel-table being employed inthe Church of St. Peter at Maguelonne (H6rault), while the detailsof the church at Le Thor are characteristic of a later period. Thearchitectural members are usually imitated from Corinthian forms,these appearing not only in the columns and pilasters, but in thecornices composed of egg and dart mouldings, of modillions, and ofLesbian cymas carved with foliage. The same retention of classic traditions characterizes the portal,. wm&ito6.«- ,.. „ -.„.,.,. ...;..«.-^.::i„: ;....„„..; -*. ...>;.. ,„,:,.,.,., „..„^„:, ,,. ,. Fig. 203.—Exterior View and Section of the Apse of St. Jean-de-Moustier. upon which was concentrated all the decoration of the facade. Animitation of the Roman aedicula long continued in vogue, the en-tablature above the engaged columns being abbreviated and thepitch of the gable greatly increased. Round arches were intro-duced above the gable or beneath the entablature, as, for instance,in the Church of St. Gabriel near Tarascon, in Notre-Dame-des-Doms at Avignon, and the Church of Le Thor; occasionally theengaged columns are themselves connected by arches. These un-certain attempts of the earliest period gradually resulted in thedevelopment of the magnificent types of the twelfth century, suchas the portal of the Church of St. Gilles (Gard), begun in 1116, or 340 ARCHITECTURE OF THE ROMANIC EPOCH. that of St. Trophime in Aries {Fig. 204
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