THE illustrations have been chosen to cover the whole field of Gothic architecture, with some emphasis on regions relatively little known, and on the later period of national styles. No attempt has been made to indicate recent destruction or damage to monuments.
The maps and endpapers show all places of importance mentioned in the text. The plans are on a uniform scale of 1:2000 (20 metres to 1 cm.; 500 feet to 3 inches); plans of all the English cathedrals to this scale will be found in Sir Banister Fletcher's History of Architecture. The sections are on a uniform scale of 1:800 (8 metres to 1 cm.; 200 feet to 3 inches). The endpapers show known travels by Gothic artists and especially by architects. Only long and significant journeys have been included.
The frontispiece is unique as a detailed portrayal of the technical processes of building by one of the greatest Gothic artists.
Fig. 9 shows the political and administrative divisions of central Europe in the fifteenth century, as they affected regional schools of Gothic. The north German plain was dominated by the Hansa cities, as was the domain of the Teutonic Order. Silesia, with its capital Breslau, was artistically linked to Bohemia and Poland.
Figs. 10 and 11 are the earliest known Gothic working drawings, but they show the technique of draughtsmanship already highly developed. In both cases the drawings were used as a basis for improvements in design, as other versions of the same or slightly later date exist.
Fig. 12 shows the roofs east of the north transept and south of the chevet, respectively, of Limoges Cathedral; from Annales Archéologiques, VI, 1847, at p. 139.
Fig. 14 is from the original in the Archives Départementales du Puy-de-Dôme, Arm. 18, sac B, cote 29. The size of the drawing is 1.40 m. x 0.68 m., and the scale is about 1/30 of the actual building.
Fig. 33 shows only the movements of a few outstanding architects of the period 1350-1420. Another important link was that between the royal craftsmen of Westminster and those in Chester and North Wales.
Figs. 54-57 show the structural solution of the northern cathedrals; compare Fig. 119 for the Catalan solution, and Fig. 232 for the hall-church.
Fig. 99 is from Matthew Paris: Lives of the Offas, British Museum Cotton M.S. Nero D.1, f.23 v. Note especially the distinction in dress between the master, speaking with the King, and holding square and compasses, and the working hewers, setters and labourers.
Fig. 105 is from George Godwin: Churches of London, 1839.
Fig. 119 shows the Catalan type of section with low clerestory and high aisle, buttressed by an outer range of cellular chapels. This forms a compromise between the northern scheme shown in Figs. 54-57, and the hall-church of Fig. 232.
Fig. 146 shows the quite exceptional character of the plan of Batalha. The nave is of equal overall dimensions to that of Canterbury Cathedral, begun ten years earlier; the open space of the eastern octagon equals that of Ely; the linking vestibule to the octagon reflects the English retrochoirs; the octagon within a square of the south-western Founder's Chapel is based on the plan of the Chapter- House and Cloister of Old St. Paul's in London.
Fig. 180 is a typical example of the two-aisled plan of friary church with a central range of columns, derived from ultimately secular originals.