" " " WESTMINSTER ABBEY 28 TAILPIECE.--NORMAN CAPITALS 44 HEADPIECE.--SCULPTURED ORNAMENT FROM WESTMINSTER ABBEY 45 TAILPIECE.--MISERERE SEAT FROM WELLS CATHEDRAL 68 HEADPIECE.--STAINED GLASS FROM CHARTRES CATHEDRAL 69 TAILPIECE.--MISERERE SEAT FROM WELLS CATHEDRAL 92 " ORNAMENT FROM RHEIMS CATHEDRAL 153 HEADPIECE.--RENAISSANCE ORNAMENT FROM A FRIEZE 154 " FROM A TERRA-COTTA FRIEZE AT LODI 165 TAILPIECE.--FROM A DOOR IN SANTA MARIA, VENICE 192 HEADPIECE.--ORNAMENT BY GIULIO ROMANO 193 " FROM A FRIEZE AT VENICE 235 THE END-PAPERS ARE FROM A TAPESTRY IN HARDWICK HALL. [Illustration: _The Lily of Florence._] [Illustration: {CRÊTE FROM NOTRE DAME, PARIS.}] GOTHIC ARCHITECTURE. CHAPTER I. INTRODUCTION. The architecture generally known as Gothic, but often described as Christian Pointed, prevailed throughout Europe to the exclusion of every rival for upwards of three centuries; and it is to be met with, more or less, during two others. Speaking broadly, it may be said that its origin took place in the twelfth century, that the thirteenth was the period of its development, the fourteenth that of its perfection, and the fifteenth that of its decline; while many examples of its employment occur in the sixteenth. In the following chapters the principal changes in the features of buildings which occurred during the progress of the style in England will be described. Subsequently, the manner in which the different stages of development were reached in different countries will be given; for architecture passed through very nearly the same phases in all European nations, though not quite simultaneously. It must be understood that through the whole Gothic period, growth or at least change was going on; the transitions from one stage to another were only periods of more rapid change than usual. The whole process may be illustrated by the progress of a language. If, for instance, we compare round-arched architecture in the eleventh century to the Anglo-Saxon form of speech of the time of Alfred the Great, and the architecture of the twelfth century to the English of Chaucer, that of the thirteenth will correspond to the richer language of Shakespeare, that of the fourteenth to the highly polished language of Addison and Pope, and that of the fifteenth to the English of our own day. We can thus obtain an apt parallel to the gradual change and growth which went on in architecture; and we shall find that the oneness of the language in the former case, and of the architecture in the latter, was maintained throughout.