Note 20 — LECTURE III. The Transition.

It is curious to observe precisely the same art as in the eastern part of Nôtre Dame exhibited in the tiny, but exquisite choir, close by, of St. Julien le Pauvre.[21] Another small but highly valuable example is the beautiful ruined church of St. Evremont at Creil. An example of this style, which I have not seen much noticed in books, is the cathedral at Geneva. I am unacquainted with its history, but should suppose that a considerable interval occurred between its lower and upper stages, the latter being of perfected Early Pointed, while the former is as admirable a transitional work as I have anywhere met with. It partakes in some parts of that classic tendency which is displayed in the earlier parts of the cathedral at Lyons.

To follow out the subject through the South of France would not only be useless in illustrating the English transition, but would, compressed into the smallest space, be a subject for an entire lecture. I cannot, however, abstain from just alluding to the noble manner in which the style adapts itself to Domed architecture at Angoulême and throughout its neighbourhood, and to the Quasi-domed architecture at Le Puy. The latter has been illustrated in an excellent paper by Mr. Street, read before the Institute of British Architects. The southern form of the transition must have been nobly exemplified by the church of St. Gilles near Nismes, before that charming church became ruined in the religious wars of the sixteenth century. The entire plan of the church still remains intelligible, as does most of the superstructure; and it is difficult to imagine anything more noble. The three western portals are better known, and are truly magnificent. Parallel to them are the western portal and the cloister of St. Trophimus[22] at Arles. The church at St. Gilles retains the date of its commencement, 1116, which, however, seems too early for its architecture. (G. G. S. 1878.)