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Title: The Seven Periods of English Architecture
Defined and Illustrated
Author: Edmund Sharpe
Illustrator: T. Austin
Release Date: February 14, 2012 [EBook #38879]
Language: English
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THE
SEVEN PERIODS
OF
ENGLISH ARCHITECTURE.
THE
SEVEN PERIODS
OF
ENGLISH ARCHITECTURE
DEFINED AND ILLUSTRATED.
BY
EDMUND SHARPE, M.A.,
ARCHITECT.
_TWENTY STEEL ENGRAVINGS AND WOODCUTS._
THIRD EDITION.
[Illustration]
E. & F. N. SPON, 125, STRAND, LONDON.
NEW YORK: 12, CORTLANDT STREET.
1888.
PREFACE.
"We have been so long accustomed to speak of our National Architecture
in the terms, and according to the classification bequeathed to us by
Mr. Rickman, and those terms and that classification are so well
understood and have been so universally adopted, that any proposal to
supersede the one, or to modify the other, requires somewhat more than
a mere apology. To disturb a Nomenclature of long standing, to set
aside terms in familiar use, and to set up others in their place which
are strange, and therefore at first unintelligible, involves an
interruption of that facility with which we are accustomed to
communicate with one another on any given subject, that is only to be
justified by reasons of a cogent and satisfactory nature.
"The sufficiency of Mr. Rickman's Nomenclature and Divisions, and their
suitableness at the time and for the purpose for which they were made,
are best evidenced by the fact that, although the attempts to supersede
them have been both numerous and persevering, they have remained for
nearly half a century the principal guide to the Architectural Student;
and Mr. Rickman's 'Attempt to discriminate the Styles of Architecture
in England,' is still the Text-book from which the greater part of the
popular works of the present day have been compiled.
"In referring, however, to these attempts to supersede Mr. Rickman's
system, it is proper to remark that one observation applies to the
whole of them;--although they propose to change the Nomenclature of his
different styles, or to subdivide them, his main division of English
Architecture into four great Periods or Styles, is adopted by all, and
still remains undisturbed. No point, therefore, has been hitherto
proposed to be gained by these alterations, beyond a change of name;
and this may be taken as a sufficient reason why none of these attempts
have been successful: men are not willing to unlearn a term with which
they are familiar, however inappropriate, in order to learn another,
which, after all, means the same thing.
"Although, however, Mr. Rickman's simple division of Church
Architecture into four Periods, or Styles, may perhaps have been the
one best suited to his time, and to the elementary state of the
knowledge of the subject possessed by the best informed Archæologists
of his day, it may with propriety be questioned how far such a division
is suited to the exigencies of writers of the present day, or to the
present advanced tastes of knowledge on the subject.
"Simplicity was doubtless the object Mr. Rickman had in view in his
division of English Architecture into four Styles only. This is a
recommendation, however, which can hardly be said to hold good at the
present day: it behoves us to consider well, perhaps more especially at
the present moment, whether Mr. Rickman's system fulfils all the
conditions essential to one calculated for popular and universal use;
and whether we should therefore seek to confirm and to perpetuate it,
or whether the time has not arrived for the adoption of a more detailed
and accurate division of the long and noble series of buildings which
contain the History of our National Architecture from the Heptarchy to
the Reformation."[A]
No one can enter into an inquiry of this kind without eventually coming
to the conclusion that there are two large classes of Buildings
containing distinctive marks of peculiarity of character, which find no
place in Mr. Rickman's system, but which nevertheless, from the number
and importance of their examples, are pre-eminently entitled to
separate classification. These two classes are those to which the
buildings enumerated at pp. 24, and 31, 32 respectively belong, and
which cannot, without circumlocution, be described in any of the terms
prescribed by Mr. Rickman.
As regards the earlier of these two classes, the extent to which these
distinctive peculiarities of detail exist, will perhaps at first
scarcely be credited, and proofs of a much more extensive and
satisfactory character than are contained in the following pages, or
could be looked for in an elementary work of this nature, will probably
be required before its title to separate classification will be
universally conceded.
As regards the later of these classes, the same difficulty does not
exist. Mr. Rickman divided the whole of the buildings of Pointed
Architecture into three Styles or Classes, which he denominated "Early
English," "Decorated," "Perpendicular." The titles of the two last he
professed to derive from the character of their windows, conceiving, no
doubt justly, that no part of a Gothic building exhibits peculiarities
of Style in so prominent and characteristic a manner as its windows. In
strict accordance with this rule, which may be assumed to be a correct
and valuable one, it has already been shown,[B] that had Mr. Rickman
gone a step further and classed the whole of the buildings of Pointed
Architecture according to the forms of their Windows under _four_
heads, instead of _three_, he would have obtained a classification
equally simple, but more intelligible and convenient; he would have
obviated much that is confused and indefinite, and therefore perplexing
to the Architectural Student, in his description of buildings which
belong to the class to which we are now referring, and would have
enabled us to compare the buildings of our own Country with those of
corresponding character, and nearly contemporaneous date on the
Continent, in a manner that would have established an analogy between
them, which, according to the present classification, has no apparent
existence.
The inability to describe, or speak of any of the buildings belonging
to either of these two classes, including some of the finest in the
kingdom, otherwise than as examples of an intermediate and anomalous
character, exhibiting the peculiarities partly of one style and partly
of another, but belonging specifically to neither, must be admitted to
be a serious defect in all hitherto recognised systems of Architectural
Nomenclature; and there are probably few Architecturalists who have not
frequently felt the inconvenience arising from the want of more
explicit and definite terms than at present exist, by means of which
to describe the buildings of these two classes.
It is to remedy these defects, and to provide for this want, that the
following division of the History of our National Architecture into
Seven Periods instead of Four, is now formally proposed, under the
belief that some such Division as this, by whatever terms it may be
characterised, will sooner or later force itself into universal
adoption. With respect to the terms themselves it would be unreasonable
to expect the same unanimity; the following considerations, however,
would seem to bring their selection within narrow limits. It would
appear, in the first place, unadvisable to designate any of the later
Periods, except the last, by any of the terms hitherto in use, as
tending probably to confusion and misapprehension, from the difficulty
of limiting their signification to the extent proposed in the minds of
those who have been accustomed to use them in a more ample sense: and
to retain the last, if the others be abandoned, and a more appropriate
or analogous term can be found, appears to be still less desirable.
At the same time it is much to be desired that the terms we use should
be not altogether strange, and, if possible, self-explanatory. These
two conditions are such as to render it difficult to find terms such as
to be in all respects perfectly satisfactory; and perhaps no system of
Nomenclature could be found so perfect as to be entirely free from
objection.
The reasons which have caused the adoption of the terms made use of in
the following system, are fully given in their proper place, and it
only remains for the Author to notice that the terms "Curvilinear" and
"Rectilinear" were first proposed by a writer in the "British Critic,"
some years ago, as a substitute for Mr. Rickman's terms "Decorated" and
"Perpendicular;" and in a sense, therefore, as regards the former of
these terms, essentially different from that in which it is here
proposed to be applied. The rest must be more or less familiar to all
who have been of late engaged in the study.
The Author desires to take this opportunity of acknowledging his
obligations to Mr. T. Austin, by whom all the subjects, with one
exception, have been measured and drawn from the buildings themselves;
as well as to Mr. G. B. Smith, by whom the whole have been engraved on
steel, for the accuracy and appearance of the principal illustrations.
FOOTNOTES:
[Footnote A: The preceding paragraphs, distinguished by inverted
commas, formed part of the introduction to a Paper "On the Geometrical
Period of English Church Architecture," read by the Author at the
Lincoln meeting of the Archæological Institute in July 1848.]
[Footnote B: "Treatise on the Rise and Progress of Window Tracery," by
E. Sharpe, M.A. Van Voorst, London.]
CONTENTS.
PAGE
CHAPTER I.
INTRODUCTION 1
CHAPTER II.
CLASSIFICATION 3
CHAPTER III.
COMPARTMENTS 13
CHAPTER IV.
SAXON PERIOD 15
CHAPTER V.
NORMAN PERIOD 17
CHAPTER VI.
TRANSITIONAL PERIOD 21
CHAPTER VII.
LANCET PERIOD 25
CHAPTER VIII.
GEOMETRICAL PERIOD 29
CHAPTER IX.
CURVILINEAR PERIOD 33
CHAPTER X.
RECTILINEAR PERIOD 37
LIST OF PLATES.
NORMAN PERIOD.
_Exterior_ ELY CATHEDRAL Nave.
_Interior_ " " "
_Exterior_ PETERBOROUGH CATHEDRAL Choir.
_Interior_ " " "
TRANSITIONAL PERIOD.
_Exterior_ RIPON CATHEDRAL Choir.
_Interior_ " " "
LANCET PERIOD.
_Exterior_ ELY CATHEDRAL Presbytery.
_Interior_ " " "
_Exterior_ LINCOLN CATHEDRAL Nave.
_Interior_ " " "
_Exterior_ " " Choir.
_Interior_ " " "
GEOMETRICAL PERIOD.
_Exterior_ LINCOLN CATHEDRAL Presbytery.
_Interior_ " " "
_Exterior_ LICHFIELD CATHEDRAL Nave.
_Interior_ " " "
CURVILINEAR PERIOD.
_Exterior_ ELY CATHEDRAL Choir.
_Interior_ " " "
RECTILINEAR PERIOD.
_Exterior_ WINCHESTER CATHEDRAL Nave.
_Interior_ " " "
THE SEVEN PERIODS
OF
ENGLISH ARCHITECTURE.
CHAPTER I.
INTRODUCTION.
To present at a single glance a comprehensive view of the History of
English Church Architecture from the Heptarchy to the Reformation, and
to do this in a manner, which, without taxing too seriously the memory
of the student, may enable him to fix in his mind the limits, and the
general outline of the inquiry he is about to enter upon, is the object
of the present treatise.
Instead therefore of entering, as is usual in elementary works of this
nature, into a detailed account of all the parts of an Ecclesiastical
structure, a certain portion only of such a building has for this
purpose been selected, and so exhibited in the garb in which it
appeared at successive intervals of time, as to present to the reader a
means of comparison that will enable him readily to apprehend the
gradual change of form through which it passed from the Eleventh to the
Sixteenth Centuries, and at once to recognise the leading
characteristics of the several Periods into which it is here proposed
to divide the History of our National Architecture. Having thus fixed
these leading characteristics in his mind, he will then be in a
condition to follow us hereafter, if he pleases, into the detail of the
whole subject, and to become familiar with those niceties of
distinction, the detection of which--escaping, as they do, the eye of
the general observer--contributes so materially to the enjoyment of the
study, and a perfect acquaintance with which is so absolutely essential
to a correct understanding of the true History of the Art.
That this mode of approaching the study of this subject is a convenient
one, will probably be admitted by those who may remember the
difficulties they encountered, in their early attempts to acquire a
general conception of the scheme of the History of Church Architecture,
as given in most of the manuals now in use; and the complexity of
detail in which they found themselves immediately involved on the very
threshold of their inquiry.
It has been the practice in most elementary works on Church
Architecture to derive the illustrations of the subject, indifferently
from the smaller and the larger buildings of the Kingdom; and by
implication to assign an equal authority to both. It will be readily
admitted, however, that the History of an Art is to be gathered from
its principal Monuments, and not from those the design or execution of
which may have been entrusted to other than the ablest masters of the
Period: in the choice, therefore, of the examples which have been
selected to illustrate the series of changes which are described in the
following pages, reference has been made principally to the great
Cathedral, Abbey, and Collegiate Churches of the Kingdom, and
occasionally only to some of the larger Parish Churches whose size or
importance would seem to bring them under the above denomination.
CHAPTER II.
CLASSIFICATION.
Church Architecture in England, from its earliest existence down to the
Sixteenth Century, was in a state of constant progress, or transition,
and this progress appears to have been carried on, with certain
exceptions in different parts of the country, very nearly
simultaneously. It follows from this circumstance, first, That it is
impossible to divide our National Architecture correctly into any
number of distinct _Orders_ or _Styles_; and secondly, That any
Division of its History into a given number of _Periods_, must
necessarily be an arbitrary one. It is nevertheless absolutely
essential for the purpose of conveniently describing the long series of
noble monuments which remain to us, that we should adopt some system of
chronological arrangement, which may enable us to group, and to
classify them in a distinct and intelligible manner: and although no
broad lines of demarcation in this connected series are discernible--so
gradual was the change--yet so rapid and so complete was it also, that
a period of fifty years did not elapse without a material alteration in
the form and fashion of every detail of a building.
Now it will be readily conceived that, even in the midst of this
continual change, certain favourite forms would remain in use longer
than others; and that this circumstance may possibly afford us the
opportunity of which we are in search; and enable us in the adoption
of any such arbitrary Division so to define and to characterise the
Architecture of its different Periods, as to render this Historical
Survey and our future descriptions sufficiently intelligible.
One principal Division of Church Architecture has been recognised and
adopted by all who have studied and written on the subject; that,
namely, which separates Ecclesiastical Buildings into two classes, in
the first or earlier of which the _circular arch_ was exclusively
employed; and in the second or later, the _pointed arch_ alone was
used. To the former of these two Classes, the term ROMANESQUE has been
given, and to the latter, the term GOTHIC.
This division is so simple, and at the same time so strongly marked,
that without entering into a discussion as to the value or propriety of
the terms themselves, and contenting ourselves with the fact that they
are already in general use, we can have little hesitation in adopting
this primary division as the groundwork of our system.
At the same time, it is manifest, that, for purposes of description, it
is not sufficiently minute; and that a further subdivision is
necessary: it is also clear, that it excludes a large class of
buildings that were erected during the period which intervened between
the first appearance of the pointed arch, and the final disappearance
of the circular arch.
As regards the buildings of the Romanesque Period, no subdivision of
them can be more satisfactory than that which has already been for some
time in use, and which divides them into those which were built before
and after the Conquest, and designates them accordingly SAXON and
NORMAN.
As regards the buildings of that Intermediate Period just mentioned, to
none can the term TRANSITIONAL so aptly be applied as to those erected
under influences created by that remarkable contest between two great
antagonistic principles, which, after having been carried on for a
period of nearly fifty years, terminated in a complete revolution in
the style of building at the end of the Twelfth Century.
Lastly, as regards the Gothic Period, no subdivision of it appears to
be so natural and convenient, as that which is suggested by the four
principal changes of form through which the Window passed from the
Thirteenth to the Fifteenth Centuries.
These changes have been fully illustrated by the author in a former
work,[C] and will be therefore only briefly recapitulated here.
For half a century or more, after the disappearance of the circular
arch, the window appeared under a form, which from its general
resemblance to a _lancet_, in its length, breadth, and principal
proportions, rather than from any uniform acuteness in the shape of its
head, led to the universal application of that term to all the windows
of this Period. This observation applies equally to the window whether
used singly, or in groups of two, three, five, or seven; and equally
also to the later as to the earlier examples of this Period.
[Illustration: TEMPLE CHURCH.]
It is proposed therefore to denominate this the LANCET PERIOD of Gothic
Architecture.
Towards the close of this Period the practice of combining a plurality
of Lancets, under one arch, or hood-moulding--and of piercing the solid
spaces that intervened between the heads of these lancets and the
underside of this arch in various ornamental ways, became common; by
the adoption of which, a group of several lancets was converted into a
single window of several lights. Out of this practice arose a novel and
beautiful discovery; this was the invention of _Tracery_.
[Illustration: CROFT.]
For nearly three-quarters of a century after its introduction the
Tracery of windows contained forms in which that simplest of all
Geometrical figures, the _Circle_, was principally conspicuous: and
although, in the latter part of this Period, the Circle does not obtain
the same prominent place, in the centre of the window-head, and as the
principal feature of the design, that is generally allotted to it in
the earlier examples, yet the important part that it bears in the
construction of the design of even the whole of these later examples,
fully justifies the application of the term, already pretty generally
in use, to this class of windows; and entitles us to call this Period
after that figure, and "par excellence," the GEOMETRICAL PERIOD.
[Illustration: HOWDEN.]
At the close of this Period a feature began to make its way into the
subordinate parts of the tracery, which had already shown itself for
some time previously in the mouldings, and which eventually exercised a
most important influence on the Architecture of the next half-century.
This feature is the curve which mathematicians call the _curve of
contra-flexure_, and which is known amongst architecturalists as the
_Ogee_.
[Illustration: WILSFORD.]
The flowing nature of this curve imparted to the Tracery a grace and an
ease which the rigid outline of the Circle denied it: and affords us a
strong point of contrast whereby to distinguish the Architecture of the
two Periods. The sinuosity of form which characterises the tracery,
pervades also the mouldings, the carved work, and all the details of
this Period, and enables us to designate it appropriately as the
CURVILINEAR PERIOD.
[Illustration: WINCHESTER.]
In the latter part of this Period, a horizontal bar, or _transom_, as
it is called, was occasionally used in the lower part of the window.
Whether this bar was introduced for the purpose of strengthening the
mullions, or for the sake of proportion, it speedily grew into frequent
use. At the same time also vertical lines presented themselves
occasionally in the Tracery; a new principle, in fact, had made its
appearance, which rapidly overran not only the windows, but the
doorways, the arcades, and every part of the building. The straight
line, when once introduced, quickly superseded the curved line; square
panels covered the walls; angularity of form pervaded even the
mouldings and minor details, and to the round finish, the square edge
was preferred.
This, the last of the four Periods of Gothic Architecture which
extended over a term of nearly two Centuries, we propose accordingly to
call the RECTILINEAR PERIOD.
The History of our National Architecture will thus be divided into
Seven Periods, the order and duration of which are as follows:--
ROMANESQUE.
A.D. A.D. YEARS.
I. SAXON PERIOD from ---- to 1066, prevailed --
II. NORMAN PERIOD " 1066 " 1145, " 79
III. TRANSITIONAL PERIOD " 1145 " 1190, " 45
GOTHIC.
IV. LANCET PERIOD " 1190 " 1245, " 55
V. GEOMETRICAL PERIOD " 1245 " 1315, " 70
VI. CURVILINEAR PERIOD " 1315 " 1360, " 45
VII. RECTILINEAR PERIOD " 1360 " 1550, " 190
[Illustration: INTERIOR COMPARTMENT.]
CLERE-STORY.
27 Boss.
26 Vaulting Ribs (Transverse).
25 do. (Longitudinal).
24 Vault.
23 Sill of C. Window.
22 Mullion of do.
21 Tracery of do.
20 Arch-mouldings of C. Arch.
19 Bases of Jamb of do.
18 Capitals of do.
17 Jamb-mouldings of do.
16 Clere-story String.
BLIND-STORY.
(Triforium.)
15 Capitals of Vaulting Shaft.
14 Tracery of Triforium.
13 Triforium-Arch.
12 Bases of T. Piers.
11 Capitals of do.
10 Pier of T. (Secondary).
9 do. (Primary).
8 Triforium String.
GROUND-STORY.
7 Corbel.
6 Vaulting-Shaft.
5 Pier-Arch.
4 do. Band.
3 do. Base.
2 do. Capital.
1 Pier.
[Illustration: EXTERIOR COMPARTMENT.]
CLERE-STORY.
28 Parapet.
27 Cornice.
26 Clere-story Buttress.
25 Flying Buttress.
24 Tracery of C. Window.
23 Window Arch.
22 Mullions of C. Window.
21 Sill of do.
20 Jambs of do.
19 Weather Table.
AISLE COMPARTMENT.
18 Aisle Roof.
17 Capping to Buttress.
16 Parapet.
15 Cornice.
14 Gurgoyle.
13 Canopied Set-off.
12 Plain Set-off.
11 Tracery.
10 Window Arch.
9 Mullion.
8 Sill.
7 Bases of Window Shafts.
6 Capitals of do.
5 Jambs.
4 Canopied Niche.
3 String-Course.
2 Buttress.
1 Base-Course.
FOOTNOTES:
[Footnote C: "Treatise on the Rise and Progress of Window Tracery." Van
Voorst, London.]
CHAPTER III.
EXTERIOR AND INTERIOR COMPARTMENTS.
The most perfect type of a church built in England, during the best
ages of Church Architecture, may be said to contain the following
essentials:--
1. The Ground Plan is after the form of the Latin Cross, and
is divisible _longitudinally_ into three portions; namely,
THE CHOIR,
THE TRANSEPTS,
THE NAVE.
2. The Choir and the Nave, and occasionally the Transepts,
are divided, by means of columns and arches, _transversely_
into three portions, consisting of the
CENTRE AISLE,
NORTH AISLE,
SOUTH AISLE.
3. The MAIN WALL of each of the first-mentioned separate
portions of the building is divisible, in the interior
_vertically_ into three portions, or Stories, consisting of
THE GROUND-STORY,
THE TRIFORIUM OR BLIND-STORY,
THE CLERE-STORY.
Now on viewing any of these Main Walls of a building, whether on the
inside, or the outside, it will be at once seen that they consist, in
their entire length, of a series of single and separate portions, or
_Compartments_, tied together, and connected by the horizontal lines,
or String courses, which traverse them from end to end; and that each
of these single Compartments embodies within itself the spirit of the
whole design, and may be said to represent, individually, the MAIN IDEA
of the Building.
It is this portion of such a building then--a single Compartment of the
Exterior and Interior of the Main Walls of the Choir or Nave, and its
adjacent Aisle--that we have selected for the purpose of instituting
that comparison which will enable us to fix and define the
characteristics of the Seven Periods of English Architecture.
Neglecting, therefore, for the present, the Gable Ends, the Towers and
Turrets, the Porches, the Doorways, the Chapels, the Cloisters, and all
the other adjuncts of an Ecclesiastical Building, and bestowing our
entire attention upon these Exterior and Interior Compartments, we will
proceed at once to a comparison of their several parts, and consider in
order the mode of treatment they received at the hands of the builders,
of each of these Seven Periods, commencing with the earliest and
descending to the latest.
CHAPTER IV.
THE SAXON PERIOD.
A.D. ---- TO A.D. 1066.
Inasmuch as there does not remain to us a single Exterior or Interior
Compartment in any Cathedral or Conventual Church of genuine Saxon
Architecture, the comparative illustration of this Period is rendered
impossible.
A few Piers and Arches exist indeed, in all probability, in the
Churches of BRIXWORTH in Northamptonshire, St. Michael's at ST. ALBANS,
and REPTON in Derbyshire; but they differ considerably in their
character from one another, and as widely probably in their date. We
have also a few Chancel and Tower arches left, which appear to belong
to this Period; as well as some singular and interesting Towers, a few
Doorways and Windows, and some considerable portions of masonry.
Altogether, however, these remains are not such as to enable us to
define, with any degree of certainty, the nature and character of the
_Main Walls_ of a Saxon Cathedral, and are, therefore, not available
for our present purpose.
BUILDINGS
OF
THE SAXON PERIOD.
BRIXWORTH All Saints' Church Nave, Tower.
REPTON St. Wistan's Church Crypt, Chancel.
BARNACK St. John's Church Tower.
BARTON St. Peter's Church Tower.
EARL'S BARTON All Saints' Church Tower.
WHITTINGHAM St. Bartholomew's Church Tower and Pier-arch.
CAMBRIDGE St. Benet's Church Tower.
SOMPTING Parish Church Tower.
DEERHURST Holy Trinity Church Tower.
CORHAMPTON Parish Church Nave.
STANTON LACY St. Peter's Church Nave.
ST. ALBANS St. Michael's Church Nave.
STOW St. Mary's Church Transepts.
WORTH Parish Church Nave, Chancel.
WING All Saints' Church Chancel.
CHAPTER V.
NORMAN PERIOD.
PRINCIPAL CHARACTERISTIC.
THE UNIVERSAL USE OF THE CIRCULAR ARCH IN EVERY PART OF A BUILDING
THROUGHOUT THE WHOLE PERIOD.
_Exterior Compartment._
The walls of a Norman building are usually strong and massive, and
built of small stones. They have a plain BASE-COURSE, of little
projection, and are generally finished above with a CORBEL-TABLE,
consisting sometimes of a series of small arches, on rude heads, and
sometimes of a projecting horizontal table resting on a series of
rudely sculptured blocks. Upon this Corbel-table is a plain PARAPET and
COPING where these are left, which is rarely the case.
The compartments are divided by a shallow BUTTRESS or PILASTER STRIP.
The WINDOWS are low and broad, and have usually a single shaft set in
an angular recess, carrying a cubical capital and a single roll.
The STRING-COURSES, when not plain, have frequently indented ornaments
of different kinds--such as the _billet_, the _saw-tooth_, the _star_,
and the _chevron_.
The CLERE-STORY WINDOWS, in the larger and richer buildings, are
usually placed in an arcade, consisting of three or more arches, of
which the centre one, filled by the window, is the largest.
_Interior Compartment._
The proportions of the interior are invariably heavy and massive.
The PIERS consist either of a stout cylindrical column, or of a
rectangular mass, having semicircular shafts attached to its different
faces. They are sometimes, when circular, scored and ornamented with
zig-zag, spiral, and other mouldings.
The CAPITALS are formed of a cubical block, rounded off on the lower
side from the square to the circle, and are ordinarily of a heavy
cumbrous character, and sometimes ornamented with rude sculpture of
leaves and animals, carved in slight relief on the surface of the
block.
The PIER-ARCHES, in early examples, are perfectly plain, and square
edged, without mouldings or ornament; but more frequently they carry
one or more heavy rolls on the angle of each order of the arch; and are
often ornamented richly with concentric rows of chevron, billet, and
other Norman ornaments.
The VAULTING or ROOF-SHAFT is usually a semicircular shaft rising from
the floor--on the face of every alternate Pier--to the springing of the
vault or roof.
In the earlier buildings the TRIFORIUM is generally occupied by one
large arch, of somewhat less span and height than the pier-arch: but in
the later examples, this arch is generally subdivided into two, and
later still, into four small arches, carried on single shafts; the
capitals, arch-mouldings, and other details, being all on a smaller
scale, but of similar character, to those of the Ground-story.
In most Norman buildings of large size, the Triforium forms a very
important part of the design of the Interior.
The CLERE-STORY in nearly all large buildings carries a gallery made in
the thickness of the wall, which passes between the Clere-story Window
and the inner face of the _Main Wall_. This inner face is accordingly
carried on one or more arches. In Norman buildings, this Clere-story
arcade usually consists of three arches, of which the middle one is the
largest, and corresponds with the window. In some examples, this middle
arch is stilted above the others, by being lifted on a second small
shaft on each side, standing on the lower one which carries the side
arches.
In almost all buildings of importance, an ARCADE is carried along the
walls of the Church below the side-aisle windows. In Norman buildings
this usually consists of a series of single or intersecting circular
arches, resting on small cushion capitals on single shafts.
The side-aisles are usually covered with a plain circular quadripartite
VAULT, having sometimes a diagonal rib, as well as a transverse band,
moulded with single roll mouldings.
PRINCIPAL BUILDINGS
OF
THE NORMAN PERIOD.
TOWER OF LONDON White Chapel.
ST. ALBANS Abbey Church Transepts, Nave.
ROCHESTER Cathedral Church Nave.
WINCHESTER Cathedral Church Transepts.
HEREFORD Cathedral Church Nave.
ELY Cathedral Church Transepts.
LINCOLN Cathedral Church West End.
CARLISLE Cathedral Church Nave.
SELBY Abbey Church Transepts, Nave.
GLOUCESTER Cathedral Church Nave.
CHICHESTER Cathedral Church Nave.
WALTHAM Abbey Church Choir.
SOUTHWELL Abbey Church Transepts, Nave.
DURHAM Cathedral Church Choir.
CHRISTCHURCH Priory Church Transepts, Nave.
NORWICH Cathedral Church Choir.
TEWKESBURY Abbey Church Nave.
DURHAM Cathedral Church Nave.
LINDISFARNE Abbey Church Transepts, Nave.
ROMSEY Abbey Church Choir, Transepts.
WINCHESTER Cathedral Church Tower, Transepts.
ELY Cathedral Church Nave.
PETERBOROUGH Cathedral Church Choir.
NORWICH Cathedral Church Nave.
CASTLE ACRE Priory Church Nave.
CHAPTER VI.
TRANSITIONAL PERIOD.
PRINCIPAL CHARACTERISTIC.
THE CONTEMPORANEOUS USE, IN THE SAME BUILDING, OF CIRCULAR AND POINTED
ARCHES.
_Exterior Compartment._
On the outside the usual prevalence of the circular arch in the WINDOWS
and DOORWAYS, gives still a Norman character to the building; but the
BASE-COURSE and BUTTRESSES begin to show greater projection, and the
walls are lightened in proportion.
The invariable Billet moulding disappears from the STRING-COURSES.
The WINDOWS are more elongated in form, and have lighter shafts.
The circular CORBEL-TABLE gives place to a regularly moulded CORNICE,
carried on a series of blocks of uniform profile; and a sloped COPING
covers the PARAPET.
In some of the latest examples indeed, the BUTTRESSES have SET-OFFS,
and, rising above the parapet, have also a pyramidal Capping.
An increasing lightness of proportion is perceptible in all parts of
the buildings of this Period.
_Interior Compartment._
Except in the earliest examples of this Period, the heavy cylindrical
column disappears; and the PIER consists of a lighter mass of
semicircular shafts, and square edges; occasionally also, a shaft
having a pear-shaped section is substituted for the semicircular shaft.
The CAPITALS consist still of a square block, moulded down to the
circular form below; with this difference, however, that the lower part
of the capital is hollowed down to the circle, instead of being left as
in the Norman Period, full and round; the latter showing a _convex_,
and the former a _concave_ profile. Both the larger and the smaller
Capitals have also very frequently an ornament peculiar to the Period,
which consists of a small volute, forming the curled end of a plain
leaf, which enfolds the bell of the Capital. This volute may be looked
upon as one of the most characteristic features of the Period. The
abacus of the capital is invariably square in plan, and has its upper
edge (except in a few of the latest examples) also square in section.
In the later buildings of the Period, foliage, exhibiting considerable
freedom of design, is occasionally to be seen.
The _Pointed Arch_ first made its appearance in the Transitional
Period; in the earlier buildings it is used in the _Arches of
Construction_ only, or those constituting the framework of the
building, such as the Pier-arches and the Arches of the Vaulting, and
of the Crossing; whilst the Circular Arch is used in the _Arches of
Decoration_ only, or those which may be said to constitute the
panel-work, such as the windows, the arcades, the doorways, and such
like. In the later buildings of the Period, however, the Pointed Arch
is frequently found in some of the smaller arches also.
The PIER-ARCHES, therefore, are almost invariably pointed, in the
earlier examples obtusely, and in the later examples often acutely; the
mouldings, which have become much lighter, are few and plain; carrying
usually a roll, or a pear-shaped moulding, at the angle of each order
of the arch: they frequently have no HOOD-MOULDING. All the usual rich
ornaments of the Norman Style disappear, but the Chevron occurs
occasionally, and another ornamental moulding somewhat resembling it,
but peculiar to this Period, is frequently seen.
The STRING-COURSES do not usually carry any ornament, and have commonly
a simple section peculiar to the Period.
The VAULTING or ROOF-SHAFT has usually a pear-shaped section.
The TRIFORIUM-ARCADE has usually Circular Arches, but in the later
examples the two forms of arch are frequently intermixed. The Shafts
are of a much lighter character, and carry arches of simple mouldings.
The Pointed Arch, if found anywhere in the arches of Decoration, is
generally to be seen in the CLERE-STORY, the highest part of the
building, and consequently the latest in point of construction.
Plain pointed quadripartite VAULTING not unfrequently covers the
side-aisles, and sometimes the centre-aisle.
The contrast presented by the discriminate use of the two forms of arch
before mentioned, is sometimes strikingly exhibited in the side-aisles,
where it is by no means uncommon to find a large plain circular window
placed immediately under an acutely pointed wall rib, forming part of
the contemporaneous pointed VAULTING of the side-aisle.
PRINCIPAL BUILDINGS
OF
THE TRANSITIONAL PERIOD.
MALMESBURY Abbey Church Nave.
NORTHAMPTON St. Sepulchre's Church Nave.
FOUNTAINS Abbey Church Transepts, Nave.
KIRKSTALL Abbey Church Choir, Transepts, Nave.
BUILDWAS Abbey Church Choir, Transepts, Nave.
KELSO Abbey Church West Transept.
ELY Cathedral Church West Transept.
PETERBOROUGH Cathedral Church West Transept.
ST. CROSS Abbey Church Choir, Transepts.
FURNESS Abbey Church Transepts, Nave.
LONDON Temple Church Nave.
RIPON Cathedral Church Choir, Transepts, Nave.
BRINKBURN Cathedral Church Choir, Transepts, Nave.
LLANTHONY Abbey Church Choir, Nave.
OXFORD Cathedral Church Choir, Transepts, Nave.
DURHAM Cathedral Church Galilee.
ROCHE Abbey Church Choir, Transepts, Nave.
NEW SHOREHAM Abbey Church Choir, Transepts.
SELBY Abbey Church Nave.
BYLAND Abbey Church Choir, Transepts, Nave.
JEDBURGH Abbey Church Nave.
HARTLEPOOL Parish Church Chancel, Nave.
GLASTONBURY Abbey Church Choir, Transepts, Nave.
GLASTONBURY Abbey Church St. Joseph's Chapel.
CANTERBURY Cathedral Church Choir.
CANTERBURY Cathedral Church Trinity Chapel, Becket's crown.
CHICHESTER Cathedral Church Choir, North Chapel.
WELLS Cathedral Church Transepts, Nave.
CHAPTER VII.
LANCET PERIOD.
PRINCIPAL CHARACTERISTIC.
THE LANCET WINDOW USED SINGLY, IN COUPLETS AND TRIPLETS, AND ARRANGED
IN GROUPS OF FOUR, FIVE, AND SEVEN.
_Exterior Compartment._
The BUTTRESSES have considerable projection, are divided into stages,
and have usually a plain pyramidal capping, and sometimes a plain
pinnacle.
The BASE-COURSE Has also more projection and importance, and its upper
members are frequently moulded.
FLYING-BUTTRESSES often span the roof of the side-aisle to support the
main vaulting.
The WINDOWS in the earliest examples stand alone as single windows;
they are also sometimes placed singly in a continuous arcade; later
still in triplets under one arch, the centre one being the tallest, and
in some instances two lancets are coupled under one arch,--the spandrel
between them being frequently pierced with a quatrefoil, or other
opening.
The PARAPET has occasionally sunk ornaments upon it, and is carried by
a cornice having a few deep mouldings, with a flower, or other ornament
at intervals, or by a trefoiled Corbel-table, or by a series of
blocks.
_Interior Compartment._
The PIERS consist most commonly of a cluster of shafts, disposed in a
circular form. These shafts sometimes stand entirely free, and surround
a large circular or octagonal column, and are banded in the middle.
The CAPITALS have sometimes one or two rows of stiff projecting leaves,
of a bulbous form, which appear to grow out of the neck of the capital,
and sometimes a single or double series of minute deeply cut mouldings;
the square form of capital, both in the plan and in the upper edge of
the abacus, entirely disappears.
The BASES consist almost invariably of a deep small hollow, set between
two rounds, standing on a square-edged plinth; and greatly resemble the
ordinary Attic base.
The PIER-ARCHES usually show three orders, of small deeply cut
mouldings of alternate rounds and hollows, the number and depth of
which give an exceedingly rich and characteristic appearance to all the
arches of this Period. The peculiar ornament called the _dog-tooth_,
which is formed by hollowing out the sides of a series of contiguous
pyramids notched out of an angular projection, occurs constantly in the
arch-mouldings, as well as in almost every other part of buildings
where an opportunity of carving it presents itself.
The HOOD-MOULDING, resting on small and elegant heads or bosses, is an
almost invariable accompaniment of arches of every description.
The VAULTING-SHAFT sometimes rises from the floor in front of the
principal Pier,--but more usually from a corbel-shaft, resting on a
large ornamental corbel, placed immediately over the pier; it consists
generally of a triple cluster of small elegant shafts, with hollows
between them.
The TRIFORIUM-ARCH generally covers two smaller arches; but
occasionally, a pair of principal Triforium-arches cover two pair of
subordinate arches, which are sometimes plain, and sometimes trefoiled;
the spandrel wall above them being ornamented with foliage, or a sunk
trefoil, and sometimes pierced through with a quatrefoil or other
opening. Sometimes, indeed, one large primary arch covers two secondary
arches, which again contain two small tertiary arches; thus fully
developing the principle of subordination in this part of the building.
The principal TRIFORIUM-PIERS generally exhibit a row of light shafts
on the face of a solid pier, carrying arch-mouldings of three orders,
and separated sometimes by a line of dog-tooth moulding, or stiff
foliage.
The _secondary piers_ are usually single, double, or triple detached
shafts, carrying the smaller arches.
Where the Triforium contains three orders of piers, the _tertiary pier_
consists of a single shaft only, carrying the third order of
arch-mouldings.
The VAULTING-SHAFT usually terminates in an elegant capital, just below
the Clerestory-string, the mouldings of which form in that case the
impost mouldings of the capital. The ARCADE generally corresponds with
the windows, and consists either of a row of continuous arches, of
equal height, or, as is commonly the case, of three tall arches carried
on a triple shaft, of which the centre one is the loftiest: the
mouldings and ornaments being similar to those of the rest of the
building.
The VAULTING is generally simple, and acute, and usually of the
quadripartite or sexpartite form.
The AISLE-ARCADE consists generally of a series of plain, or
trefoil-headed arches on single shafts, carrying the usual mouldings
and ornaments.
PRINCIPAL BUILDINGS
OF
THE LANCET PERIOD.
LINCOLN Cathedral Church Choir.
WORCESTER Cathedral Church Choir.
WINCHESTER Cathedral Church Lady Chapel.
FOUNTAINS Abbey Church Choir, East Transept.
WHITBY Abbey Church Choir.
YORK Cathedral Church N. and S. Transepts.
BOLTON Abbey Church Nave.
BEVERLEY Minster Choir, Transepts.
LINCOLN Cathedral Church Nave.
LICHFIELD Cathedral Church Chapter House.
WELLS Cathedral Church West Front.
PETERBOROUGH Cathedral Church West Front.
SOUTHWELL Collegiate Church Choir.
OXFORD Cathedral Church Chapter House.
HEREFORD Cathedral Church Lady Chapel.
LANERCOST Abbey Church Nave.
DURHAM Cathedral Church East Transept.
RIEVAULX Abbey Church Choir.
LONDON Temple Church Choir.
SALISBURY Cathedral Church Choir.
WORCESTER Cathedral Church Presbytery.
WHITBY Abbey Church N. Transept.
ELY Cathedral Church Presbytery.
CHAPTER VIII.
GEOMETRICAL PERIOD.
PRINCIPAL CHARACTERISTIC.
SIMPLE GEOMETRICAL TRACERY IN THE HEADS OF THE WINDOWS, IN PANELS AND
IN ARCADES.
_Exterior Compartment._
The BUTTRESSES have frequently set-offs, and canopies attached to their
faces, carrying often a series of CROCKETS: these in the earlier
examples are plain, stiff, and curled; but the later ones are formed by
a gracefully disposed leaf. Towards the end of the Period, the
buttresses became very bulky and massive, and carried little or no
ornaments.
The PINNACLES have often the same ornament, and are crowned with
finials composed of a bunch of foliage.
The CORNICE often carries a large ornamental leaf in its hollow, and
the projecting Corbel-table is no longer seen.
The earlier WINDOWS exhibit tracery which consists almost exclusively
of plain foliated circles; but in the later examples other simple
geometrical forms were employed. The heads of the window lights,
occasionally plain, were more frequently, even in the earlier examples,
and invariably in the later ones, cusped or foliated.
The CLERE-STORY usually contains a single window, or at most a pair,
containing tracery similar to that of the side-aisle windows, and the
Clere-story arcade altogether disappears.
The CORNICE is usually similar to that of the side-aisles.
_Interior Compartment._
The PIERS have occasionally, in the earlier examples, detached shafts;
but they more usually consist of a solid mass of engaged shafts,
separated by hollow mouldings, and disposed on the plan of a spherical
triangle.
The BASES consist generally of a triple roll, standing on the usual
plinth; and the CAPITALS carry foliage disposed much more freely and
gracefully than in the preceding Period, and frequently of exquisite
design.
The PIER-ARCHES have usually mouldings in three orders of very elegant
profile, not so deeply cut, however, as in the Lancet Period: the
favourite dog-tooth is nowhere seen, but late in the period a
substitute for it was found in the ornament called the _Ball-flower_.
All BOSSES, FIGURES, and SCULPTURES of every kind are carved in the
very best manner; and all STRING-COURSES and HOOD-MOULDINGS are moulded
with the greatest care and elegance; indeed the art of carving in stone
may be said to have attained its greatest perfection during this
Period.
The TRIFORIUM in the earlier examples commonly contains a pair of
double arches, carrying circular tracery in their heads: in the later
examples, it becomes greatly reduced in size and prominence, and is
made entirely subordinate to the Clere-story; and consists often of a
low foliated arcade, or a band of plain tracery.
The inner arcade of the CLERE-STORY altogether disappears, and in its
place is sometimes found a plane of Geometrical Tracery, corresponding
with that of the window; but more commonly a single arch spans the
entire compartment; and sometimes the gallery is dispensed with
altogether.
The AISLE-ARCADE is often very elegant; the arches are usually
foliated, and covered with a straight-sided canopy. Occasionally this
arcade consists of a series of beautiful panels containing geometrical
tracery, with mouldings of a very minute and elegant character.
Both the centre and side-aisles are generally covered with VAULTING of
simple form, having characteristic bosses and rib-mouldings.
PRINCIPAL BUILDINGS
OF
THE GEOMETRICAL PERIOD.
WESTMINSTER Abbey Church Choir, Transepts.
WESTMINSTER Abbey Church Chapter House.
SALISBURY Cathedral Church Chapter House.
HOWDEN Collegiate Church Transepts.
ELY Cathedral Church South Transept, Chapel.
HEREFORD Cathedral Church North Transept.
LINCOLN Cathedral Church Presbytery.
GRANTHAM Parish Church North Aisle.
CHICHESTER Cathedral Church Nave, North Aisle.
ST. ALBANS Abbey Church Choir.
TINTERN Abbey Church Choir, Transepts.
LICHFIELD Cathedral Church Nave.
NEWSTEAD Abbey Church West End.
YORK, ST. MARY'S Abbey Church Nave.
EXETER Cathedral Church Lady Chapel.
RIPON Cathedral Church East End.
CHICHESTER Cathedral Church Lady Chapel.
EXETER Cathedral Church Choir.
MERTON COLLEGE Chapel Choir.
YORK Cathedral Church Chapter House.
SOUTHWELL Collegiate Church Chapter House.
TEMPLE BALSALL Collegiate Church Chancel.
HOWDEN Collegiate Church Nave.
GUISBOROUGH Priory Church Choir.
YORK Cathedral Church Nave.
WELLS Cathedral Church Chapter House.
ST. AUGUSTINE'S Abbey Gateway.
CHAPTER IX.
CURVILINEAR PERIOD.
PRINCIPAL CHARACTERISTIC.
FLOWING TRACERY IN THE WINDOWS, AND THE PREVALENCE OF THE OGEE CURVE IN
ALL THE DETAILS.
_Exterior Compartment._
As the Circle characterises the previous Period, so the Ogee marks the
present Period. It is found not only in the principal outline of the
tracery, but also in its smaller subdivisions; not only in the profiles
of the mouldings, but also in the contour of the foliage and carved
work.
The WINDOWS are the most important features in the Churches of this
Period. In the more important buildings they are frequently of great
size and elaborate design, and in the smaller buildings, the rest of
the work seems often to have been impoverished for the sake of the
Windows.
The infinite variety of design that is contained in the Tracery of this
Period is very remarkable, and distinguishes its Architecture, in a
manner not to be mistaken, from that of other nations during the same
Period.
The BASE-COURSE carries a series of mouldings in which the Ogee profile
is almost invariably found. The STRING-COURSES, HOOD-MOULDINGS, and
SET-OFFS exhibit it also.
The BUTTRESSES are usually divided into a greater number of equal
stages; their canopies, and those of their pinnacles, are invariably
richly crocketed, and have usually the Ogee form instead of the
straight pedimental finish.
The CORNICE carries usually a row of large square pateras of foliage,
in a shallow hollow, and is often surmounted with a battlement, or a
parapet pierced or panelled with a flowing trefoil or a quatrefoil.
The BALL-FLOWER which appeared at the end of the previous Period,
became a favourite ornament for a short time in the commencement of
this Period.
_Interior Compartment._
The PIERS are usually disposed in plan in the form of a diamond; and
consist generally of four shafts with intervening hollows. The BASES
and CAPITALS are not unfrequently octagonal in form; and the foliage of
the latter consists of crumpled leaves, not growing out of the neck of
the capital, as in the earlier Periods, but apparently attached to it,
or bound round it.
The mouldings of the PIER-ARCHES are fewer in number; they are
shallower than those of the preceding Period, and often contain the
double Ogee; the walls being thinner, the arches frequently carry, in
this Period, as well as in the following one, only two orders of
mouldings instead of three. The small square patera, consisting of four
leaves, is a common ornament of the Period, and all the foliage is
formed of peculiar crumpled leaves, which are easily distinguished from
those of the preceding Period.
It is not uncommon in this Period to find the arch mouldings continued,
without the intervention of impost or capital, down to the ground; or,
inversely, the mouldings of the piers carried uninterruptedly upwards
through the arch. This is the case as well in the arches of the
Ground-story, as in the windows and doorways.
The TRIFORIUM rarely occurs in its full proportions, and in such cases
exhibits the usual window tracery of the Period: it oftener consists of
a panel enclosed within the prolonged jambs of the Clere-story window,
and is sometimes reduced to a row of quatrefoils.
The CLERE-STORY has its inner arch sometimes foliated, but oftener the
window is flush with the face of the inner wall, and the gallery is
omitted.
The VAULTING exhibits much more intricacy; and a variety of ribs
generally intersect the surface of the different cells.
The AISLE-ARCADE is not often seen.
PRINCIPAL BUILDINGS
OF
THE CURVILINEAR PERIOD.
HOWDEN Collegiate Church Choir.
ELY Cathedral Church Lantern.
ELY Cathedral Church Choir.
ELY Cathedral Church Crauden's Chapel.
ELY Cathedral Church Trinity Chapel.
HINGHAM St. Andrew's Church Nave.
HECKINGTON St. Andrew's Church Chancel, Transepts, Nave.
HAWTON All Saints' Church Chancel.
EWERBY St. Andrew's Church Chancel, Nave.
SLEAFORD St. Giles' Church Nave.
CHESTER Cathedral Church South Transept.
COVENTRY St. John's Hospital Chapel.
CARLISLE Cathedral Church Choir (part).
NEWARK St. Mary's Church South Aisle.
BEVERLEY St. Mary's Church North Aisle of Choir.
SELBY Abbey Church Choir (part).
WALSINGHAM Abbey Church Choir.
CHESTER Cathedral Church South Transept.
NANTWICH St. Mary's Church Chancel.
MELROSE Abbey Church Nave, Transept.
BOLTON Abbey Church Choir.
BOSTON St. Botolph's Church Nave.
LICHFIELD Cathedral Church Choir.
WELLS Cathedral Church Choir, Lady Chapel.
BURY ST. EDMUND'S Abbey Gateway.
HULL Holy Trinity Church Chancel.
CHAPTER X.
RECTILINEAR PERIOD.
PRINCIPAL CHARACTERISTIC.
THE PREVALENCE OF STRAIGHT LINES, BOTH HORIZONTAL AND VERTICAL, IN THE
TRACERY OF WINDOWS, IN PANELS AND ARCADES.
_Exterior Compartment._
The WALLS and BUTTRESSES of this Period present great contrasts, being
generally perfectly plain, but occasionally, in the richer buildings,
completely covered with rectangular panelling.
The BASE-COURSE is often deep, rises in several stages, and contains a
few large bold mouldings.
The mullions of the WINDOWS almost invariably rise vertically through
the Tracery, and are often crossed at right angles by other straight
lines, as well in the lower part of the Window as in the Tracery
itself.
These _Transoms_ in some of the larger East and West Windows, occurring
at equal intervals, divide the entire design into a series of
rectangular compartments, and give to the whole the appearance of a
huge gridiron. They are sometimes ornamented with a small battlemented
moulding.
The CLERE-STORY WINDOWS, as well as the side windows, where the aisle
walls are low, are often square-headed.
The CORNICE generally carries a large shallow hollow, filled at
intervals with a square flat leaf, and grotesque sculptures.
_Gurgoyles_, formed usually of the head and shoulders of some monster,
and projecting from the cornice, for the purpose of carrying the water
from the gutters clear of the walls, which occur in the former Period,
are now universal.
The PARAPETS are frequently ornamented richly, with rectangular
foliated panelling, and covered with a BATTLEMENT. Both are sometimes
pierced instead of being panelled.
_Interior Compartment._
The PIERS are usually tall and light, and consist generally, as in the
preceding Period, of four shafts with intervening hollows, which latter
are continued uninterruptedly round the Pier-arch.
Frequently the entire Pier is moulded without shafts, and the whole of
the mouldings are carried round the Pier-arch.
The Pier is frequently so disposed that its transverse section is
greater than its longitudinal section, or, in other words, it is
thicker from North to South than it is from East to West.
The CAPITALS are usually octagonal, but sometimes circular. Foliage is
much more rarely seen in their hollows, and they contain plain
mouldings of a more angular character generally than in the preceding
Period. They are also taller, in comparison, to their diameter. They
have sometimes a battlement moulding on their upper edge, which is in
other cases often square.
The BASES are generally tall, narrow, and polygonal, and often of
several stages.
In the PIER-ARCHES occasionally a form occurs for the first time, which
is seen in no other Period. This is the _four-centered_ arch, so called
from the circumstance of its being drawn from four different centres:
its use, however, in _arches of construction_, except in the Vaulting,
is by no means so common as in _arches of decoration_, where it
continually appears. It is often enclosed in doorways, under a square
head. The mouldings of Pier-arches, Window-arches, and all others are
usually plain, broad, and shallow; the double Ogee occurs continually,
as well as a large shallow hollow, drawn from three centres, between a
few small filleted members. Few Arches carry more than two orders.
In the STRING-COURSES, CORNICES, and other hollow mouldings, flat
square leaves at intervals, continuous training foliage, and the
vine-leaf and grapes, frequently occur; but the relief is usually not
considerable, and the amount of undercutting in foliage exhibited in
the two previous Periods is never seen. The Tudor Rose and the Tudor
Flower are frequent ornaments of this Period.
The TRIFORIUM is rarely seen, and in its place the Clere-story Window
is often carried down in blank panelling to the passage or
String-course over the Pier-arches. It is sometimes, however,
represented by a band of panelling or pierced work.
The CLERE-STORY attains considerable height and importance in this
Period; the effect of which, in large buildings, is increased by the
suppression of the Triforium, and the substitution in its place of the
apparent continuation downwards of the Clere-story. In many buildings
the Clere-story windows are in pairs, and so numerous that all blank
wall entirely disappears; and the effect of the mass of light thus
poured down into the Church is very striking and characteristic.
The VAULTING becomes much more complicated and enriched in this Period.
Diverging ribs having bosses and shields at their points of
intersection, cover the surface of the Vault: the plans of these
vaultings are very various: some are called _Fan-tracery_ vaults, and
others _Stellar_ vaults, terms which explain themselves.
Open wooden roofs of elaborate construction, and large span, become
common in this Period. They spring frequently from Corbel shafts,
resting on figures in the Clere-story wall; and have rich cornices of
mouldings and carved work, traceried spandrels, figures of angels, and
richly moulded beams. The AISLE-ARCADE is not often found, but its
place is sometimes supplied by the rectangular surface panelling, so
characteristic of the Period, which in some of the richer buildings
literally covers the whole of the walls, leaving no blank or unoccupied
space.
PRINCIPAL BUILDINGS
OF
THE RECTILINEAR PERIOD.
YORK Cathedral Church Choir.
WINCHESTER Cathedral Church Nave.
CANTERBURY Cathedral Church Transepts.
CANTERBURY Cathedral Church Nave.
YORK Cathedral Church West Towers.
WELLS Cathedral Church Central Tower.
BEVERLEY Minster West Front.
BRIDLINGTON Priory Church West Front.
HOWDEN Collegiate Church Chapter House.
CAMBRIDGE St. Mary's Church Nave.
LONG MELFORD Holy Trinity Church Chancel, Nave.
SAFFRON WALDEN St. Mary's Church Chancel, Nave.
LAVENHAM St. Peter and
St. Paul's Church Nave.
DONCASTER St. George's Church Chancel, Nave.
BURY ST. EDMUND'S St. James' Church Chancel, Nave.
ROTHERHAM All Saints' Church Nave, Transepts.
HULL Holy Trinity Church Nave.
WINDSOR St. George's Chapel Chancel, Nave.
MANCHESTER Cathedral Church Choir, Nave.
TAUNTON St. Mary's Church Nave, Tower.
GLOUCESTER Cathedral Church Choir.
CAMBRIDGE King's College Chapel.
WARWICK St. Mary's Church Beauchamp Chapel.
WESTMINSTER Cathedral Church Henry Seventh's Chapel.
BATH Abbey Church Choir, Transepts, Nave.
THE SEVEN PERIODS
OF
ENGLISH ARCHITECTURE.
ROMANESQUE.
A.D. A.D. YEARS.
I. SAXON PERIOD from ---- to 1066, prevailed --
II. NORMAN PERIOD " 1066 " 1145, " 79
III. TRANSITIONAL PERIOD " 1145 " 1190, " 45
GOTHIC.
IV. LANCET PERIOD " 1190 " 1245, " 55
V. GEOMETRICAL PERIOD " 1245 " 1315, " 70
VI. CURVILINEAR PERIOD " 1315 " 1360, " 45
VII. RECTILINEAR PERIOD " 1360 " 1550, " 190
LONDON:
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,
STAMFORD STREET AND CHARING CROSS.
[Illustration: NORMAN
Exterior ELY CATHEDRAL. Nave]
[Illustration: NORMAN
Interior ELY CATHEDRAL. Nave]
[Illustration: NORMAN
Exterior PETERBOROUGH CATHEDRAL. Choir]
[Illustration: NORMAN
Interior PETERBOROUGH CATHEDRAL. Choir]
[Illustration: TRANSITIONAL
Exterior RIPON CATHEDRAL. Choir]
[Illustration: TRANSITIONAL
Interior RIPON CATHEDRAL. Choir]
[Illustration: LANCET
Exterior ELY CATHEDRAL. Presbytery]
[Illustration: LANCET.
Interior ELY CATHEDRAL. Presbytery]
[Illustration: LANCET
Exterior LINCOLN CATHEDRAL. Nave]
[Illustration: LANCET
Interior LINCOLN CATHEDRAL. Nave]
[Illustration: LANCET
Exterior LINCOLN CATHEDRAL. Choir]
[Illustration: LANCET
Interior LINCOLN CATHEDRAL. Choir]
[Illustration: GEOMETRICAL
Exterior LINCOLN CATHEDRAL. Presbytery]
[Illustration: GEOMETRICAL
Interior LINCOLN CATHEDRAL. Presbytery]
[Illustration: GEOMETRICAL
Exterior LICHFIELD CATHEDRAL. Nave]
[Illustration: GEOMETRICAL
Interior LICHFIELD CATHEDRAL. Nave]
[Illustration: CURVILINEAR
Exterior ELY CATHEDRAL. Choir]
[Illustration: CURVILINEAR
Interior ELY CATHEDRAL. Choir]
[Illustration: RECTILINEAR
Exterior WINCHESTER CATHEDRAL. Nave]
[Illustration: RECTILINEAR
Interior WINCHESTER CATHEDRAL. Nave]
A SELECTION
FROM
E. & F. N. SPON'S CATALOGUE OF BOOKS.
_A HANDBOOK OF FORMULÆ, TABLES, AND MEMORANDA_,
For Architectural Surveyors and others engaged in Building. By J. T.
HURST, C.E. Fourteenth Edition. Royal 32mo, roan, 5_s._
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Formulae and Tables for the Strength of Materials, Roofs,
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a description of Materials and Analyses of Prices for
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The Practice of Builders' Measurement.
Mensuration and the Division of Land.
Tables of the Weights of Iron and other Building Materials.
Constants of Labour.
Valuation of Property.
Summary of the Practice in Dilapidations.
Scale of Professional Charges for Architects and Surveyors.
Tables of English and French Weights and Measures.
_TOWN AND COUNTRY MANSIONS AND SUBURBAN HOUSES_,
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_Illustrated by 30 plates_, containing Plans, Elevations, Perspectives,
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Glasgow Municipal Buildings, &c. Imperial 4to, handsomely bound in
cloth, 1_l._ 11_s._ 6_d._
_ELEMENTARY PRINCIPLES OF CARPENTRY._
By THOMAS TREDGOLD. Revised from the original edition, and partly
rewritten, by JOHN THOMAS HURST. Contained in 517 pages of letterpress,
and _illustrated with 48 plates and 150 wood engravings_. Fifth
Edition. Crown 8vo, handsomely bound in cloth, 12_s._ 6_d._
_DOMESTIC ELECTRICITY FOR AMATEURS_:
Translated from the French of E. HOSPITALIER, Editor of
'l'Electricien,' with additions, by C. J. WHARTON, Assoc. Soc. Tel.
Engineers. _Numerous illustrations._ Demy 8vo, cloth, 9_s._
CONTENTS:
1. Production of the Electric Current--2. Electric Bells--3.
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Clocks--6. Electric Lighters--7. Domestic Electric
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Electric Motors--10. Electrical Locomotion--11. Electrotyping,
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_SPONS' HOUSEHOLD MANUAL_:
A Treasury of Domestic Receipts and Guide for Home Management. Demy
8vo, cloth, containing 900 pages and 150 _illustrations_, 7_s._ 6_d._
PRINCIPAL CONTENTS:
_The Dwelling_--Site, Construction, Arrangement, Water
Supply, Sanitation, Ventilation, Warming, Lighting,
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Larder_--Storing and Preserving. _The Dairy_--Milk, Butter,
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Cordials, Liqueurs, Wines, &c. _The Pantry_--Ovens, Bread,
Cakes, &c. _The Kitchen_--Ranges, Processes of Cookery,
Recipes for Soups, Fish, Meat, Game, Poultry, Puddings,
Vegetables, Salads, Eggs, Cheese, Ices, Confectionery, and
Foreign Dishes. _The Housewife's Room_--Testing Food,
Cleaning, Marketing. _The Dining Room_--Laying and Waiting
at Table, Bills of Fare. _The Drawing Room_--Etiquette,
Dancing, Theatricals, Games, Puzzles, &c. _The Bedroom. The
Dressing Room. The Nursery. The Sickroom_--Nurses and
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Playground. The Workroom. The Library. The Workshop. The
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Law._
Crown 8vo, cloth, with Illustrations, Price 5s.
_WORKSHOP RECEIPTS_,
FOR THE USE OF
MANUFACTURERS, MECHANICS, AND SCIENTIFIC AMATEURS.
BY ERNEST SPON.
CONTENTS:
Bookbinding--Bronzes--Candles--Cement--Cleaning--Concretes--
Dyeing--Electro-Metallurgy--Enamels--Engraving--Etching--Firework
Making--Freezing--Fulminates--Furniture Creams, Oils, Polishes,
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like substances--Varnishes--Veneering--Whitewashing, &c., &c.
Crown 8vo, cloth, 5s.
_WORKSHOP RECEIPTS_
(Second Series).
BY ROBERT HALDANE.
Devoted mainly to subjects connected with Chemical Manufactures. An
entirely New Volume. Uniform in Size, Style, and Type with the Original
'Workshop Receipts.'
CONTENTS:
Acidimetry and Alkalimetry--Albumen--Alcohol--Alkaloids--Baking
Powders--Bitters--Bleaching--Boiler Incrustations--Cements and
Lutes--Cleansing--Confectionery--Copying--Disinfectants--Dyeing--
Staining and Colouring--Essences--Extracts--Fireproofing--Gelatine
--Glue and Size--Glycerine--Gut--Hydrogen Peroxide--Inks--Iodine
--Iodoform--Isinglass--Ivory Substitutes--Leather--Luminous
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Pigments--Paint and Painting--Potassium--Oxalate--Preserving.
Crown 8vo, cloth, 5s.
_WORKSHOP RECEIPTS_
(Third Series).
BY C. G. WARNFORD LOCK, F.L.S.
Devoted mainly to Electrical and Metallurgical subjects.
CONTENTS:
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Cadmium--Cæsium--Calcium--Cerrium--Chromium--Cobalt--Copper--
Didymium--Electrics (including alarms, batteries, bells,
carbons, coils [induction, intensity, and resistance],
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motors, phonographs, photophones, storing, telephones)--Enamels
and Glazes--Erbium--Gallium--Glass--Gold--Indium--Iridium--
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Crown 8vo, cloth, 5s.
_WORKSHOP RECEIPTS_
(Fourth Series).
BY C. G. WARNFORD LOCK, F.L.S.
Devoted mainly to Handicrafts and Mechanical subjects.
_250 Illustrations, with complete Index and a general Index to the
Four Series._
CONTENTS:
_Waterproofing_: rubber goods, cuprammonium processes,
miscellaneous preparations--_Packing and Storing_ articles
of delicate odour or colour, of a deliquescent character,
liable to ignition, apt to suffer from insects or damp, or
easily broken--_Embalming and Preserving_ anatomical
specimens--_Leather Polishes_--_Cooling Air and Water_,
producing low temperatures, making ice, cooling syrups and
solutions, and separating salts from liquors by refrigeration
--_Pumps and Syphons_, embracing every useful contrivance for
raising and supplying water on a moderate scale, and moving
corrosive, tenacious, and other liquids--_Desiccating_:
air-and water-ovens, and other appliances for drying natural
and artificial products--_Distilling_: water, tinctures,
extracts, pharmaceutical preparations, essences, perfumes, and
alcoholic liquids--_Emulsifying_ as required by pharmacists
and photographers--_Evaporating_: saline and other solutions,
and liquids demanding special precautions--_Filtering_: water,
and solutions of various kinds--_Percolating and Macerating_--
_Electrotyping_--_Stereotyping_ by both plaster and paper
processes--_Bookbinding_ in all its details--_Straw Plaiting_
and the fabrication of baskets, matting, &c.--_Musical
Instruments_: the preservation, tuning, and repair of pianos,
harmoniums, musical instruments, &c.--_Clock and Watch Mending_:
adapted for intelligent amateurs--_Photography_: recent
development in rapid processes, handy apparatus, numerous recipes
for sensitizing and developing solutions, and applications to
modern illustrative purposes.
E. & F. N. SPON, 125, Strand, London.
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