TRACERY

in architecture, bars, or ribs, used decoratively in windows or other openings; the term also applies to similar forms used in relief as wall decoration (sometimes called blind tracery), and hence, figuratively, to any intricate line pattern. The term is applicable to the system of window decoration developed in Europe during the Gothic period as well as to the pierced marble screens common in Mughal India and the pierced cement windows of Persia, Turkey, and Egypt. European tracery probably originated in Byzantine work, in which pierced marble screens and groups of two or three narrow, arched windows were placed close together under a single, large arch. After the Romanesque period, during which the tympanum (section of wall between the tops of the smaller arches and the great arch over the whole group) was pierced for decorative effect, tracery flourished. In plate tracery, found in early French and English Gothic work, the tympanum is pierced with a single circular or four-lobed opening. Later, the number and complexity of the piercings was increased, adding size and beauty to the entire unit. The climax of plate tracery appears in the magnificent windows of Chartres cathedral (12th century) and in the rose window (q.v.) at Lincoln cathedral (c. 1225), known as the Dean's eye. After 1220 English designers began to conceive of the tympanum as a series of openings separated only by thin, stone, upright bars (bar tracery). In France a developed type of bar tracery with cusped circles (having pointed bars of stone projecting in toward the centre of the circle) was executed in the apse chapels of Reims cathedral (prior to 1230). From about 1240 on, bar tracery became common, and it quickly exhibited increased lightness and complexity. In contrast to earlier tracery, which had moldings of only one size, French Rayonnant tracery used two molding types, differing according to the size of the mullions, or ribs. Notable examples of French Rayonnant tracery can be seen in rose windows such as those of Notre-Dame de Paris (c. 1270). By the late 14th century in England, the Perpendicular style, which was based on a striving for verticality, replaced the flowing lines of curvilinear tracery with mullions that were straight and unbroken from bottom to top. At intervals they were connected by horizontal bars running across the windows. The climax of the Perpendicular style in tracery was reached in windows such as those of the King's College Chapel at Cambridge (14461515). Twentieth-century tracery has introduced modern materials, which are freely combined with more traditional forms, and new tracery techniques have been devised, such as precast cement tiles pierced in geometric patterns, glazed, and built up into large windows, as in Notre-Dame at Le Raincy, Fr. (192223), by Auguste Perret. In Islamic architecture tracery was generally constructed by filling the window area with a pierced sheet of cement and inserting pieces of coloured glass into the openings, a technique that yielded windows of jewel-like intensity and brilliance. Typical designs consisted of floral and leaf shapes that were arranged to give a sense of flow and growth. Fine examples are the jewelled windows in the 17th-century Mosque of Sleyman, Constantinople (modern Istanbul). In the great Mughal palaces and tombs, large, pointed arch openings are filled with sheets of white marble pierced in elaborate patterns. The most delicate example of this tracery is the sarcophagi screen in the 17th-century Taj Mahal (q.v.), at Agra, India.