History of mediæval art . eing chiefly the Church of St. Elisabeth at Marburg, as there was noclerestory, the windows were disposed in the high side aisles, abovethe lower apertures customary in the basilical arrangement. Thedouble row of windows thus resulting gave upon the exterior theeffect of the long-abandoned gallery {Fig. 353). The incongruityof this soon became evident, and an attempt was made to avoidthe disadvantages by combining the two stories of windows intoone. The consequent height and narrowness of the openings was GERMANY. 557 relieved by the introduction of a tra
History of mediæval art . eing chiefly the Church of St. Elisabeth at Marburg, as there was noclerestory, the windows were disposed in the high side aisles, abovethe lower apertures customary in the basilical arrangement. Thedouble row of windows thus resulting gave upon the exterior theeffect of the long-abandoned gallery {Fig. 353). The incongruityof this soon became evident, and an attempt was made to avoidthe disadvantages by combining the two stories of windows intoone. The consequent height and narrowness of the openings was GERMANY. 557 relieved by the introduction of a transom - like frieze of tracery,which divided the window into two parts {Fig. 354). Subsequentlythe very loftiness of these undivided windows was felt to be in har-mony with the tall and slender pillars of the equal-aisled church,and to correspond with the general vertical tendencies of the de-sign. The horizontal division was therefore omitted, and the mul-lions continued without interruption along the whole length, to the.
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