Question: Who is a projecting Lady Chapel dedicated to?

Answer: the Virgin Mary

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. <hl> It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary . <hl> In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to <hl> the Virgin Mary <hl>. In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.

It is often square ended or has a projecting Lady Chapel, dedicated to <hl> the Virgin Mary <hl> .


Question: What shape does the eastern end often exhibit in France?

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.

Answer: polygonal

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. <hl> In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". <hl> While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France the eastern end is often <hl> polygonal <hl> and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.


Question: What is the ring of chapels found in the eastern end of French chapels known as?

Answer: chevet

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. <hl> In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a " chevet ". <hl> While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "<hl> chevet <hl>". While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.

In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a " <hl> chevet <hl> ".


Question: In Italy, the eastern projection beyond the transept often contains what?

Answer: the sanctuary

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". <hl> While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary , as at Florence Cathedral. <hl>

The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing <hl> the sanctuary <hl>, as at Florence Cathedral.

While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing <hl> the sanctuary <hl> , as at Florence Cathedral.


Question: The use of the pointed arch for bringing transverse vaults to the same height diagonal ones, is in disagreement with what theory?

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.

Answer: the diffusionist theory

<hl> Contrary to the diffusionist theory , it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. <hl> This latter occurs at Durham Cathedral in the nave aisles in 1093. Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.

Contrary to <hl> the diffusionist theory <hl>, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.

Contrary to <hl> the diffusionist theory <hl> , it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults.


Question: At which cathedral is the pointed arch used to match the heights of transverse and diagonal vaults?

Answer: Durham Cathedral

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. <hl> This latter occurs at Durham Cathedral in the nave aisles in 1093. <hl> Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at <hl> Durham Cathedral <hl> in the nave aisles in 1093. Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.


Question: In what type of decorative blind arcading are pointed arches common?

Answer: Romanesque

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. <hl> Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design. <hl>

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. Pointed arches also occur extensively in <hl> Romanesque <hl> decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.


Question: When semicircular arches overlap each other, what type of design is accidentally created?

Answer: points

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. <hl> Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design. <hl>

Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the <hl> points <hl> are accidental to the design.


Question: Which type of vault can be used for rectangular and trapezoidal shaped roofs?

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise vaults much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.

Answer: The Gothic vault

<hl> The Gothic vault , unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. <hl> The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise vaults much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.

<hl> The Gothic vault <hl>, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise vaults much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.

<hl> The Gothic vault <hl> , unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids.


Question: What structural benefit is offered by the Gothic vault?

Answer: channels the weight onto the bearing piers or columns at a steep angle

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. <hl> The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle . <hl> This enabled architects to raise vaults much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch <hl> channels the weight onto the bearing piers or columns at a steep angle <hl>. This enabled architects to raise vaults much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.

The other structural advantage is that the pointed arch <hl> channels the weight onto the bearing piers or columns at a steep angle <hl> .


Question: What can architects raise much higher using the Gothic versus the Romanesque variety?

Answer: vaults

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. <hl> This enabled architects to raise vaults much higher than was possible in Romanesque architecture. <hl> While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise <hl> vaults <hl> much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.


Question: What type of visual character is achieved by using the pointed arch?

Answer: more vertical visual character

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise vaults much higher than was possible in Romanesque architecture. <hl> While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque. <hl>

The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise vaults much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and <hl> more vertical visual character <hl> than Romanesque.


Question: What is one feature of both large and small Gothic churches?

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

Answer: towers

<hl> Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. <hl> In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

Externally, <hl> towers <hl> and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).


Question: What is another feature of both large and small Gothic churches?

Answer: spires

<hl> Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. <hl> In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

Externally, towers and <hl> spires <hl> are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).


Question: How many towers are typical on the front of Gothic churches in France and Spain?

Answer: two towers

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. <hl> In France and Spain, two towers on the front is the norm. <hl> In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, <hl> two towers <hl> on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).


Question: In what country is the tower often found detached from the main building?

Answer: Italy

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. <hl> In Italy , the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. <hl> In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In <hl> Italy <hl>, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

In <hl> Italy <hl> , the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure.


Question: How many towers are found at the Salisbury Chapel?

Answer: just one tower

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. <hl> Smaller churches usually have just one tower , but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft). <hl>

Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have <hl> just one tower <hl>, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

Smaller churches usually have <hl> just one tower <hl> , but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).


Question: What enhances the vertical look of the exterior of Gothic construction?

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

Answer: the towers and spires

<hl> On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. <hl> The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

On the exterior, the verticality is emphasised in a major way by <hl> the towers and spires <hl> and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.


Question: What is one design element of Gothic construction that is often terminated by small pinnacles?

Answer: The roofline

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. <hl> The roofline , gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration. <hl>

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. <hl> The roofline <hl>, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

<hl> The roofline <hl> , gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.


Question: What is another design element of Gothic construction that is often terminated by small pinnacles?

Answer: gable ends

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. <hl> The roofline, gable ends , buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration. <hl>

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, <hl> gable ends <hl>, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

The roofline, <hl> gable ends <hl> , buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.


Question: Which cathedral demonstrates a drastic example of termination with small pinnacles?

Answer: Milan Cathedral

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. <hl> The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration. <hl>

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, <hl> Milan Cathedral <hl> being an extreme example in the use of this form of decoration.


Question: What other part of Gothic buildings are often found terminated with small pinnacles?

Answer: buttresses

<hl> On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses , by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. <hl> The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical <hl> buttresses <hl>, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical <hl> buttresses <hl> , by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated.


Question: What is often found sweeping unbroken from floor to ceiling on the interior of Gothic buildings?

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.

Answer: attached shafts

<hl> On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. <hl> The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.

On the interior of the building <hl> attached shafts <hl> often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.


Question: Where are the verticals found repeated in the interior of Gothic buildings?

Answer: the treatment of the windows and wall surfaces

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. <hl> The verticals are generally repeated in the treatment of the windows and wall surfaces . <hl> In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in <hl> the treatment of the windows and wall surfaces <hl>. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.

The verticals are generally repeated in <hl> the treatment of the windows and wall surfaces <hl> .


Question: What sort of feature is created by the use of vertical elements in gallery and window tracery?

Answer: a strongly unifying feature

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. <hl> In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure. <hl>

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates <hl> a strongly unifying feature <hl> that counteracts the horizontal divisions of the interior structure.


Question: What does the use of vertical elements help to counteract?

Answer: horizontal divisions of the interior structure

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. <hl> In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure . <hl>

On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the <hl> horizontal divisions of the interior structure <hl>.

In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the <hl> horizontal divisions of the interior structure <hl> .


Question: Who encouraged cathedral architects to allow as much light as possible into the building?

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

Answer: the Abbot Suger

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. <hl> To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger , encouraged architects remodeling the building to make the interior as bright as possible. <hl>

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, <hl> the Abbot Suger <hl>, encouraged architects remodeling the building to make the interior as bright as possible.

To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, <hl> the Abbot Suger <hl> , encouraged architects remodeling the building to make the interior as bright as possible.


Question: Who held the belief that all light, including light reflected from walls and surfaces was divine?

Answer: Pseudo-Dionysius

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. <hl> Much of this belief was based on the writings of Pseudo-Dionysius , a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. <hl> Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of <hl> Pseudo-Dionysius <hl>, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

Much of this belief was based on the writings of <hl> Pseudo-Dionysius <hl> , a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France.


Question: What sort of light has always been characteristic of Gothic cathedrals?

Answer: Expansive interior light

<hl> Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. <hl> The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

<hl> Expansive interior light <hl> has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.


Question: What book became popular with monks in France and had an effect on how light was used in cathedrals?

Answer: The Celestial Hierarchy

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. <hl> Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, The Celestial Hierarchy , was popular among monks in France. <hl> Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, <hl> The Celestial Hierarchy <hl>, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, <hl> The Celestial Hierarchy <hl> , was popular among monks in France.


Question: Whose writings led to the clerical belief in the divinity of light?

Answer: Pseudo-Dionysius

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. <hl> Much of this belief was based on the writings of Pseudo-Dionysius , a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. <hl> Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of <hl> Pseudo-Dionysius <hl>, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

Much of this belief was based on the writings of <hl> Pseudo-Dionysius <hl> , a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France.


Question: What size of window is found above the main portal at York Minster?

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.

Answer: a large window

<hl> Above the main portal there is generally a large window , like that at York Minster, or a group of windows such as those at Ripon Cathedral. <hl> In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.

Above the main portal there is generally <hl> a large window <hl>, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.

Above the main portal there is generally <hl> a large window <hl> , like that at York Minster, or a group of windows such as those at Ripon Cathedral.


Question: What type of window is often found above the main portal at cathedrals in France such as the Reims Cathedral?

Answer: a rose window

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. <hl> In France there is generally a rose window like that at Reims Cathedral. <hl> Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally <hl> a rose window <hl> like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.


Question: Where are rose windows never found in the facades of cathedrals?

Answer: any English Cathedrals

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. <hl> Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals . <hl> The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of <hl> any English Cathedrals <hl>. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.

Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of <hl> any English Cathedrals <hl> .


Question: What portion of Gothic buildings are usually richly decorated with arcading or sculpture?

Answer: The gable

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. <hl> The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral. <hl>

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. <hl> The gable <hl> is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.


Question: Which Italian cathedral displays polychrome marble and mosaic on the gable?

Answer: Orvieto Cathedral

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. <hl> The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral . <hl>

Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at <hl> Orvieto Cathedral <hl>.

The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at <hl> Orvieto Cathedral <hl> .


Question: What is the distinguiushing visual design feature of French cathedrals?

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

Answer: their impression of verticality

<hl> The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality . <hl> Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and <hl> their impression of verticality <hl>. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and <hl> their impression of verticality <hl> .


Question: How many portals are typically found on the west front of French cathedrals?

Answer: three portals

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. <hl> The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. <hl> Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having <hl> three portals <hl> surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.


Question: How many towers are typically found on the west front of French cathedrals?

Answer: two large towers

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. <hl> The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers . <hl> Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and <hl> two large towers <hl>. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

The west fronts are highly consistent, having three portals surmounted by a rose window, and <hl> two large towers <hl> .


Question: What shape does the east end of French chapels typically have?

Answer: The east end is polygonal

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. <hl> The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. <hl> In the south of France, many of the major churches are without transepts and some are without aisles.

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. <hl> The east end is polygonal <hl> with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.


Question: What do many major churches in Southern France often lack?

Answer: transepts

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. <hl> They are compact, with slight or no projection of the transepts and subsidiary chapels. <hl> The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the <hl> transepts <hl> and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.


Question: What is the unique design feature of English cathedrals?

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

Answer: their extreme length

<hl> The distinctive characteristic of English cathedrals is their extreme length , and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. <hl> Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

The distinctive characteristic of English cathedrals is <hl> their extreme length <hl>, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

The distinctive characteristic of English cathedrals is <hl> their extreme length <hl> , and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines.


Question: What type of transepts do English cathedrals often feature?

Answer: double transepts

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. <hl> Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. <hl> In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with <hl> double transepts <hl> projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.


Question: What size of window is typically featured on the west end of English cathedrals?

Answer: very large

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. <hl> The West window is very large and never a rose, which are reserved for the transept gables. <hl> The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is <hl> very large <hl> and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.


Question: Where are rose windows used on English cathedrals?

Answer: the transept gables

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. <hl> The West window is very large and never a rose, which are reserved for the transept gables . <hl> The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for <hl> the transept gables <hl>. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

The West window is very large and never a rose, which are reserved for <hl> the transept gables <hl> .


Question: On English cathedrals, where is a tower almost always found?

Answer: at the crossing

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. <hl> There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. <hl> The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower <hl> at the crossing <hl> and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.


Question: In Germany, Poland and Austria Romanesque architecture is defined by its massive size and what other design element?

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Answer: modular nature

<hl> Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature . <hl> This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and <hl> modular nature <hl>. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and <hl> modular nature <hl> .


Question: What design style does Romanesque architecture in Germany, Poland, and Austria normally follow?

Answer: the French formula

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. <hl> The west front generally follows the French formula , but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. <hl> Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows <hl> the French formula <hl>, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

The west front generally follows <hl> the French formula <hl> , but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature.


Question: What does the eastern end of German Romanesque cathedrals typically emulate?

Answer: follows the French form

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. <hl> The west front generally follows the French form ula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. <hl> Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally <hl> follows the French form <hl>ula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

The west front generally <hl> follows the French form <hl> ula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature.


Question: What is the distinguishing design element in German Gothic cathedrals?

Answer: their breadth and openness

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. <hl> The distinctive character of the interior of German Gothic cathedrals is their breadth and openness . <hl> This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is <hl> their breadth and openness <hl>. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

The distinctive character of the interior of German Gothic cathedrals is <hl> their breadth and openness <hl> .


Question: What are hall churches in German cathedrals known as?

Answer: Hallenkirchen

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. <hl> There are also many hall churches ( Hallenkirchen ) without clerestory windows. <hl>

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (<hl> Hallenkirchen <hl>) without clerestory windows.

There are also many hall churches ( <hl> Hallenkirchen <hl> ) without clerestory windows.