CORONA.
Gothic The Gothic style of archi tecture is frequently termed pointed or ogival, on account of its pointed or ogive arches. (See ARCHITECTURE). In the 12th century this style is in its transitional stage and, therefore, we find moldings, capitals and column shafts in Romanesque decoration. The ground-plans become more and more complex, with numer ous excrescences in the interiors, buttresses, flying buttresses, etc. A great change in the treatment of architectural ornament in this style is noticeable. Oriental plant life, chiefly acanthus, that prevailed during the Byzantine and Romanesque periods, now gives place to motifs taken from the European vegetable kingdom, and conventionalization of such forms; we now see ivy-leaves, oak-leaves, roses, willows, leaves of the water lily, straw berry plant, ranunculus leaves, and the rounded leaves of the trefoil, conventional violets. Crockets break the continuity of lines on angles or edges, sometimes these crockets terminate in human forms or the heads of animals. uRoseo windows take the place of the former ((wheel° windows, and their open spaces are enclosed in cusps or in trilobate piercing. The human form, facial expression and drapery, by tbe 13th century, takes on softer and more nat ural depiction. Generally carved out of the architectural stone itself, very salient parts (such as forearms, etc.) are frequently done separately and attached and fastened by iron cramps. Statues are usually placed in re cesses (niches) and are supported on consoles (cul-de-lampes) an architecturally designed canopy projects over the head; the combina tion is termed a "tabernacle.' The stone-carv ing of this period discards former simplicity and becomes very rich and complex. A favo rite subject for treatment is the "Tree of Jesse" in which by means of the different branches of a tree the descent is portrayed of Christ from the House of David, son of Jesse; this subject is found in numerous cathedrals in stone or stained glass windows. The single dove formerly representing the Holy Spirit is now sometimes pictured multiplied as several (usu ally seven) birds framing or surrounding the image of Christ; the Holy Spirit even takes on human form at times in this period. Of the three archangels (Michael, Gabriel and Raphael), Saint Michael figures most fre quently, often combating the Devil, but in pic tures of the Last Judgment (so often repeated in the tympana of 13th century churches) he is always presented in the act of weighing souls. Another favorite subject is the repre sentation of the synagogue in the form of a woman and the triumphant Christian religion as a crowned person receiving the blood of Christ in a chalice. Other chosen subjects are: The Four Rivers of Paradise (four overflowing urns); the four Evangelists; the four great prophets; the 12 minor prophets; the Sibyls; the 12 Apostles with their appropriate symbols; the virtues and vices; the zodiacal signs (repre senting agricultural work of the seasons), etc. In the 14th century the quatrefoil becomes a predominating ornament; while the former plant life motifs are continued the wild vine leaf is added. From the 14th century the Holy Virgin is pictured standing with the child in her arms, whereas before she was usually seated, the child resting in her lap. In the 15th century sculptured work becomes more pretentious as to pose and drapery but shows °dryness° in execution. The °Father
Eternal° is frequent, clothed in the costume of the Pope and wearing his tiara. He holds a large crucifix before him, a dove appearing between the head of the Father and summit of the cross — evidently symbolic of the Trinity. Baptismal fonts assume, for the most part, four pillars as corners, in the 14th century, and, whereas in the 13th and 14th centuries those of octagonal exterior had round interiors, they are in the 15th century given octagonal interiors conforming to the outside form. The fonts of the 15th and 16th century have the basin com posed of two parts, one only to hold water; the custom of infant submersion was no longer practised, so the child, placed in the empty sec tion, was sprinkled with water from the other. Some fonts of this period have a form some what resembling a great chalice, the exterior of the basin flares out upward into octagonal cup shape, an octagonal short length of shaft beneath supports the basin on a flaring base. One of these, in Basel Cathedral, is elaborately carved; eight panels disclose biblical subjects in relief, with a border above of foliage, the shaft is pierced with octagons, the base has Gothic mullioned traceries and eight reclining human figures at the corners. Saint Sebald's church, Nuremberg, has a beautifully deco rated font of circular form, the member serv ing as shaft or support having the full-length figures of the four Evangelists standing equi distant, their feet supported by the base. Some fonts have conical highly decorative covers. Some time after the 14th century jube screens appear in churches, highly decorative barriers separating the nave from the choir and slip porting the rood-loft or gallery. One of the most magnificent is that at Alby, constructed of white stone; other noted ones are at Fol goat, Brou, Troyes and other French churches. Some are constructed of carved wood. Until the 15th century but few pulpits are met with, such as those of Strassburg and Freiburg; those of Saint Lo and Vitre (France) are outside the church for outdoor exercises. They have very elaborately carved canopies in architectural de sign. Among the most prominent of the inte rior fittings of the church are the stalls.* They are generally of intricately carved wood-work, and served as seats for the members of the choir. They are separated by arms, and the seats are constructed so as to be turned up during that part of the ceremonies in which the celebrants are in standing posture. Beneath the seat is a flat-topped projection which, when the seat is upturned, serves as a slight rest dur ing prolonged standing. These console-shaped rests are termed umisencordes,° and had, gener ally, carved work of the most grotesque char acter. The backs of the stalls reached high up, to keep off draughts, and were also treated architecturally and had beautiful canopies or hoods. Examples of great beauty exist at Amiens, Saint Martin-den-Bois, Rouen. For some unknown reason, both the monks and lay woodcarvers allowed themselves much license in depicting grotesque figures, both human and animal, in uncouth postures, little appropriate to the solemn ceremonial occasions for which they served. Another important piece of church furniture, usually of carved wood, was the lec tern or reading desk. It generally took the form of an eagle whose spread wings acted as support for the book.