History of mediæval art . Fig. 326.—System of the Choir of theCathedral of Canterbury. Fig. 327.—System of the Nave ofthe Cathedral of Salisbury. the trefoil arch being adopted, or the intersecting arches of the Nor-man style being resolved into two arcades on different planes. Theclerestory wall was generally opened by three pointed windows, thatin the middle being of greater height. Traceries first appear inWestminster Abbey, where the French arrangement of the windowswas imitated. The tracery was almost exclusively restricted, evenat a later date, to the end walls of the choir and transepts
History of mediæval art . Fig. 326.—System of the Choir of theCathedral of Canterbury. Fig. 327.—System of the Nave ofthe Cathedral of Salisbury. the trefoil arch being adopted, or the intersecting arches of the Nor-man style being resolved into two arcades on different planes. Theclerestory wall was generally opened by three pointed windows, thatin the middle being of greater height. Traceries first appear inWestminster Abbey, where the French arrangement of the windowswas imitated. The tracery was almost exclusively restricted, evenat a later date, to the end walls of the choir and transepts and to 526 THE EXTENSION OF GOTHIC ARCHITECTURE. the western facade, in which latter fivefold pointed windows, occa-sionally in two stories, had previously existed. At the close of theperiod, mullions were introduced in all the windows, generally offorms entirely different from those of France. A decided prefer-ence was shown for intersecting arches, such as had been so prom-inent in the architecture of the Normans.
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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
