History of mediæval art . Fig. 295.—System of the Cathe-dral of Autun. Fig. 296.—System of the Portico of theAbbey Church of Vezelay. spects equally by Burgundy and Normandy. The south of theprovince was naturally more inclined to follow the artistic methodsof Burgundy, as in the Convent Church of Preuilly, while, in thenorth, Norman models were imitated, as is evident in St. Pereat Chartres. Paris itself took a middle course, exemplified inSt. Martin-des-Champs, and evidently endeavored to profit by allthe traditions within the reach of the advancing capital. LikeCharlemagne, the abbot Suger
History of mediæval art . Fig. 295.—System of the Cathe-dral of Autun. Fig. 296.—System of the Portico of theAbbey Church of Vezelay. spects equally by Burgundy and Normandy. The south of theprovince was naturally more inclined to follow the artistic methodsof Burgundy, as in the Convent Church of Preuilly, while, in thenorth, Norman models were imitated, as is evident in St. Pereat Chartres. Paris itself took a middle course, exemplified inSt. Martin-des-Champs, and evidently endeavored to profit by allthe traditions within the reach of the advancing capital. LikeCharlemagne, the abbot Suger adopted methods of construction FRANCE. 485 from all those countries with which he entertained relations, evenemploying ancient Roman materials. He continued the buildingof the old Abbey Church of St. Denis, completing its facade in structure had been designed under the influence of St. Etienneat Caen, and was of the transitional style, the form of the pointedarches of the lateral portals next to the round-a
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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
