. Rambles in the Pyrenees and the adjacent districts, Gascony, Pays de Foix [and] Roussillon . neither S. Foy, Conques, norS. lago. Compostella, have) are due to him. Abovethe dark vaulted passage round the apse, which haseleventh-century characteristics, brick is substitutedfor cut stone ; this means a rebuilding of the apse abovethe piers. As the nave goes west the caps becomepoorer, as do the windows externally, indicating thescattering of the resources which had been concen-trated upon one object. In the transepts is a mostprecious collection of capitals ; they were probablyfinished by 112
. Rambles in the Pyrenees and the adjacent districts, Gascony, Pays de Foix [and] Roussillon . neither S. Foy, Conques, norS. lago. Compostella, have) are due to him. Abovethe dark vaulted passage round the apse, which haseleventh-century characteristics, brick is substitutedfor cut stone ; this means a rebuilding of the apse abovethe piers. As the nave goes west the caps becomepoorer, as do the windows externally, indicating thescattering of the resources which had been concen-trated upon one object. In the transepts is a mostprecious collection of capitals ; they were probablyfinished by 1125 or 1130, though many of them showthe preparation for the addition of further ornamentaldetail. They total nearly 500. The style of thecarving of these caps confirms the approximate dategiven by the texts. The apse up to the vaulted gallery PROGRESS OF THE BUILDING 373 and the transepts up to the galleries were built between1076 and 1096 ; the nave and aisles from the transeptto the porch, and the square towers of the facade alsoup to the galleries, from 1096 to 1118 ; the galleries, the. 1 \i/^\ CAPITALS IN TRIFORIUM, S. SERNIN, TOULOUSE. sculpture of the transepts and the eastward arcades ofthe galleries above the aisles, the doors, the upperwalls, and the vaults, from about 1120 to the end ofthe twelfth century. The caps of the apse and of the 374 TOULOUSE aisles have the same character of imitation of theCorinthian ; those of the galleries, cut with greaterart, also show the influence of Oriental imported with figure subjects are very inferior to thosefrom the cloisters of S. Etienne and La Dauradepreserved in the museum, which goes to prove theirgreater antiquity. The caps of the engaged columnsin the aisles as far as the end near the bases of the towersresemble those in the apse based on Corinthian. Thereare also figure subjects : in the apse, Daniel in the LionsDen ; in the north transept, Jacob and Laban, andChrist between SS. Peter and Thomas ; in the so
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Keywords: ., bookcentury1900, bookdecad, booksubjectarchitecture, bookyear1912
