. Architecture, classic and early Christian . ferred to the companion volume of this series.* France exhibits more than one variety of Romanesque ;for not only, as remarked in the chapter on Byzantine Art,is the influence of Greek or Venetian artists traceable inthe buildings of certain districts, especially Perigueux, butit is clear that in others the existence of fine examplesof Roman architecture (Fig. 168) affected the design ofbuildings down to and during the eleventh century. Thisinfluence may, for example, be detected in the use, in thechurches at Autun, Valence, and Avignon, of cajsita
. Architecture, classic and early Christian . ferred to the companion volume of this series.* France exhibits more than one variety of Romanesque ;for not only, as remarked in the chapter on Byzantine Art,is the influence of Greek or Venetian artists traceable inthe buildings of certain districts, especially Perigueux, butit is clear that in others the existence of fine examplesof Roman architecture (Fig. 168) affected the design ofbuildings down to and during the eleventh century. Thisinfluence may, for example, be detected in the use, in thechurches at Autun, Valence, and Avignon, of cajsitals,pilasters, and other features closely resembling classicoriginals, and in the employment through a great part ofCentral and Xorthern France of vaulted roofs. A specially French feature is the chevet, a group of * Gothic aud Renaissance Architecture, chap. vii. nOMAXKSQUE. npsidal chapels wliich were built round the apse itself,and which combined with it to make of tlie east end of agreat cathedral a singidaily rich and ornate Fig. lOS.—Vaclts of the txcavati d PiiniAN Baths, tub MUSEE DE CLUNY, PaRIS. This feature, originating in Eomanesqiie churches, wasretained in France through the Avhole of the Gothicperiod, and a good example of it may be seen in the largeRomanesque church of St. Sernin at Toulouse, which weillustrate (Fig. 169). The transepts were usually well Q 2
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