Identifier: byzantineromanes02jackuoft (find matches)
Title: Byzantine and Romanesque architecture
Year: 1913 (1910s)
Authors: Jackson, Thomas Graham, Sir, 1835-1924
Subjects: Architecture, Byzantine Architecture, Romanesque
Publisher: Cambridge, University Press
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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. Andrew at Cologne, mingled with other carvingwhich approaches the standard of French work. It is acurious jumble of archaic and progressive art, in whichthe architecture remains stubbornly Romanesque, butadmits decorative features of the new style which hadbeen developed across the frontier in France, and inEngland. In the earlier churches the aisles were vaulted, but a Vaultingvault over the nave, though perhaps intended, was not buttressesachieved till a later date. They are all vaulted now, andit is remarkable that they stand perfectly well withoutflying buttresses. The vault of the nave at Laach indeedis tied in with iron from side to side, but I have noticedno sign of weakness elsewhere. France when flyingbuttresses came into fashion ran riot, and could not maketoo much of them ; and Cologne Cathedral, imitating and 26 GERMAN ROMANESQUE (ch. xviii Flying overdoiiig the imitation, is smothered in flying buttresses buttresses beyond all reasonable limit. In England and Italy they
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^ofrjoart^651 door % Fig- 74- were never fashionable, and when there were any theywere if possible hidden under the aisle roofs as they are CH. xviii) GERMAN ROMANESQUE 27 at Winchester. But many of our great vaulted churches Flyinghave none. Gloucester has but two on the south side ofthe nave and they are hidden under the aisle roof:Worcester has some placed irregularly where the con-struction seems to need support; and there are none at allat Tewkesbury. It is doubtful whether we should have admired the Muralgreat German churches in their original paint as much as p^*^we do now. Most of those in Cologne have been paintedlately or are being painted now, and the result isdetestable. Moreover the windows have been filled withcoloured glass, thus mixing up two inconsistent modes ofdecoration. Colour by reflexion in mural painting iskilled by the overpowering brilliancy of colour transmittedthrough stained glass. As a rule you cannot even see it.None of the Byzantine churches which have

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