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+The Project Gutenberg EBook of The Seven Periods of English Architecture, by 
+Edmund Sharpe
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+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
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SEVEN PERIODS OF ENGLISH ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+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 Arch�ologists
+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 Arch�ological 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 FORMUL�, TABLES, AND MEMORANDA_,
+
+For Architectural Surveyors and others engaged in Building. By J. T.
+HURST, C.E. Fourteenth Edition. Royal 32mo, roan, 5_s._
+
+CONTAINING:
+
+     Formulae and Tables for the Strength of Materials, Roofs,
+     Water Supply, Drainage, Gas, and other matters useful to
+     Architects and Builders.
+
+     Information connected with Sanitary Engineering.
+
+     Memoranda on the several trades used in Building, including
+     a description of Materials and Analyses of Prices for
+     Builders' work.
+
+     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_,
+
+With Notes on the Sanitary and Artistic Construction of Houses.
+_Illustrated by 30 plates_, containing Plans, Elevations, Perspectives,
+and Interior Views of Executed Works in the Queen Anne, Classic, Old
+English, Adam's, Jacobean, Louis XVI., and other Styles. By WILLIAM
+YOUNG, Architect, Author, of 'Picturesque Architectural Studies,'
+'Spons' Architects' and Builders' Pocket-Book,' Architect of the
+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.
+     Automatic Alarms--4. Domestic Telephones--5. Electric
+     Clocks--6. Electric Lighters--7. Domestic Electric
+     Lighting--8. Domestic Application of the Electric Light--9.
+     Electric Motors--10. Electrical Locomotion--11. Electrotyping,
+     Plating, and Gilding--12. Electric Recreations--13. Various
+     Applications--Workshop of the Electrician.
+
+
+_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,
+     Furnishing, Decorating, Bells, Thieves, Fire. _The
+     Larder_--Storing and Preserving. _The Dairy_--Milk, Butter,
+     Cheese. _The Cellar_--A�rated drinks, Beer, Bitters,
+     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
+     Nursing, Home Remedies, Common Complaints, Accidents,
+     Poisons, &c. _The Bathroom. The Laundry. The Schoolroom. The
+     Playground. The Workroom. The Library. The Workshop. The
+     Farmyard_--Horse, Cow, Pig, Poultry. _The Garden. Household
+     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,
+     Lacquers, and Pastes--Gilding--Glass Cutting--Glass Making--
+     Graining--Gums--Horn Working--India-rubber--Ink--Japans
+     --Lacquers--Marble Working--Matches--Mortars--Paper Hanging--
+     Painting in Oils--Photography--Polishes--Pottery--Silvering--
+     Soap--Solders--Taxidermy--Treating Horn, Mother-o'-Pearl, and
+     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
+     Bodies--Magnesia--Matches--Paper--Parchment--Perchloric Acid--
+     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:
+
+     Alloys--Aluminium--Antimony--Barium--Beryllium--Bismuth--
+     Cadmium--C�sium--Calcium--Cerrium--Chromium--Cobalt--Copper--
+     Didymium--Electrics (including alarms, batteries, bells,
+     carbons, coils [induction, intensity, and resistance],
+     dynamo-electric machines, fire risks, measuring, microphones,
+     motors, phonographs, photophones, storing, telephones)--Enamels
+     and Glazes--Erbium--Gallium--Glass--Gold--Indium--Iridium--
+     Iron--Lacquers--Lanthanum--Lead--Lithium--Lubricants--Magnesium--
+     Manganese--Mercury--Mica--Molybdenum--Nickel--Nisbium--Osmium--
+     Palladium--Platinum--Potassium--Rhodium--Rubidium--Ruthenium--
+     Silenium--Silver--Slag--Sodium--Strontium--Tantalum--Terbium--
+     Thallium--Thorium--Tin--Titanium--Tungsten--Uranium--Vanadium--
+     Yttrium--Zinc--Zirconium.
+
+
+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.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Seven Periods of English
+Architecture, by Edmund Sharpe
+
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+
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+      The Project Gutenberg eBook of The Seven Periods of English Architecture, by Edmund Sharpe.
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+<pre>
+
+The Project Gutenberg EBook of The Seven Periods of English Architecture, by 
+Edmund Sharpe
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+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
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SEVEN PERIODS OF ENGLISH ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+<h1>
+<small>THE</small><br />
+
+SEVEN PERIODS<br />
+
+<small>OF</small><br />
+
+<big><span class="smcap">English Architecture</span>.</big>
+</h1>
+<hr class="chap" />
+
+
+
+<h1>
+<small>THE</small><br />
+
+SEVEN PERIODS<br />
+
+<small>OF</small><br />
+
+<big><span class="smcap">English Architecture</span>.</big><br /><br />
+
+DEFINED AND ILLUSTRATED.<br /><br /></h1>
+
+<p class="title"><small>BY</small><br /><br />
+EDMUND SHARPE, M.A.,<br />
+<small>ARCHITECT.</small><br />
+<br />
+<small><i>TWENTY STEEL ENGRAVINGS AND WOODCUTS.</i></small><br />
+<br />
+THIRD EDITION.</p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/i_004.jpg" width="100" height="121" alt=""/>
+</div>
+
+
+<p class="title">E. &amp; F. N. SPON, 125, STRAND, LONDON.<br />
+<small>NEW YORK: 12, CORTLANDT STREET.</small><br />
+1888.<br />
+</p>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+
+<p>"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.</p>
+
+<p>"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.</p>
+
+<p>"In referring, however, to these attempts to supersede Mr.<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> Rickman's
+system, it is proper to remark that one observation applies to the
+whole of them;&mdash;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.</p>
+
+<p>"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 Arch�ologists
+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.</p>
+
+<p>"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<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span>
+contain the History of our National Architecture from the Heptarchy to
+the Reformation."<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a></p>
+
+<p>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. <a href="#Page_24">24</a>, and <a href="#Page_31">31</a>, <a href="#Page_32">32</a> respectively belong, and
+which cannot, without circumlocution, be described in any of the terms
+prescribed by Mr. Rickman.</p>
+
+<p>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.</p>
+
+<p>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<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> 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,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> 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 <i>four</i>
+heads, instead of <i>three</i>, 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.</p>
+
+<p>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<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span> exist, by means of which
+to describe the buildings of these two classes.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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<span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span> 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.</p>
+
+<p>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.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></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 Arch�ological Institute in July 1848.</p></div>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> "Treatise on the Rise and Progress of Window Tracery," by
+E. Sharpe, M.A. Van Voorst, London.</p></div></div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+
+
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="toc" width="40%">
+<tr><td align="right" colspan="3"><small>PAGE</small></td></tr>
+<tr><td align="center" colspan="3">CHAPTER I.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Introduction</span></td><td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER II.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Classification</span></td><td align="right"><a href="#Page_3">3</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER III.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Compartments</span></td><td align="right"><a href="#Page_13">13</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER IV.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Saxon Period</span></td><td align="right"><a href="#Page_15">15</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER V.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Norman Period</span></td><td align="right"><a href="#Page_17">17</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER VI.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Transitional Period</span></td><td align="right"><a href="#Page_21">21</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER VII.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Lancet Period</span></td><td align="right"><a href="#Page_25">25</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER VIII.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Geometrical Period</span></td><td align="right"><a href="#Page_29">29</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER IX.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Curvilinear Period</span></td><td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="center" colspan="3">CHAPTER X.</td></tr>
+<tr><td align="left" colspan="2"><span class="smcap">Rectilinear Period</span></td><td align="right"><a href="#Page_37">37</a></td></tr>
+</table></div>
+<hr class="chap" />
+
+
+
+<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p>
+<h2><a name="LIST_OF_PLATES" id="LIST_OF_PLATES"></a>LIST OF PLATES.</h2>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="lop">
+<tr><th align="center" colspan="3">NORMAN PERIOD.</th></tr>
+<tr><td align="left"><i><a href="#ex_ely_nave">Exterior</a></i></td><td align="center"><span class="smcap">Ely Cathedral</span></td><td align="center">Nave.</td></tr>
+<tr><td align="left"><i><a href="#int_ely_nave">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><td align="left"><i><a href="#ex_peterborough_choir">Exterior</a></i></td><td align="center"><span class="smcap">Peterborough Cathedral</span></td><td align="center">Choir.</td></tr>
+<tr><td align="left"><i><a href="#int_peterborough_choir">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><th align="center" colspan="3">TRANSITIONAL PERIOD.</th></tr>
+<tr><td align="left"><i><a href="#ex_ripon_choir">Exterior</a></i></td><td align="center"><span class="smcap">Ripon Cathedral</span></td><td align="center">Choir.</td></tr>
+<tr><td align="left"><i><a href="#int_ripon_choir">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><th align="center" colspan="3">LANCET PERIOD.</th></tr>
+<tr><td align="left"><i><a href="#ex_ely_presbytery">Exterior</a></i></td><td align="center"><span class="smcap">Ely Cathedral</span></td><td align="center">Presbytery.</td></tr>
+<tr><td align="left"><i><a href="#int_ely_presbytery">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><td align="left"><i><a href="#ex_lincoln_nave">Exterior</a></i></td><td align="center"><span class="smcap">Lincoln Cathedral</span></td><td align="center">Nave.</td></tr>
+<tr><td align="left"><i><a href="#int_lincoln_nave">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><td align="left"><i><a href="#ex_lincoln_choir">Exterior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">Choir.</td></tr>
+<tr><td align="left"><i><a href="#int_lincoln_choir">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><th align="center" colspan="3">GEOMETRICAL PERIOD.</th></tr>
+<tr><td align="left"><i><a href="#ex_lincoln_presbytery">Exterior</a></i></td><td align="center"><span class="smcap">Lincoln Cathedral</span></td><td align="center">Presbytery.</td></tr>
+<tr><td align="left"><i><a href="#int_lincoln_presbytery">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><td align="left"><i><a href="#ex_lichfield_nave">Exterior</a></i></td><td align="center"><span class="smcap">Lichfield Cathedral</span></td><td align="center">Nave.</td></tr>
+<tr><td align="left"><i><a href="#int_lichfield_nave">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><th align="center" colspan="3">CURVILINEAR PERIOD.</th></tr>
+<tr><td align="left"><i><a href="#ex_ely_choir">Exterior</a></i></td><td align="center"><span class="smcap">Ely Cathedral</span></td><td align="center">Choir.</td></tr>
+<tr><td align="left"><i><a href="#int_ely_choir">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+<tr><th align="center" colspan="3">RECTILINEAR PERIOD.</th></tr>
+<tr><td align="left"><i><a href="#ex_winchester_nave">Exterior</a></i></td><td align="center"><span class="smcap">Winchester Cathedral</span></td><td align="center">Nave.</td></tr>
+<tr><td align="left"><i><a href="#int_winchester_nave">Interior</a></i></td><td align="center">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"</td><td align="center">"</td></tr>
+</table></div>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2><a name="THE_SEVEN_PERIODS_OF_ENGLISH_ARCHITECTURE" id="THE_SEVEN_PERIODS_OF_ENGLISH_ARCHITECTURE"></a>
+THE SEVEN PERIODS<br />
+<small>OF</small><br />
+ENGLISH ARCHITECTURE.</h2>
+<hr class="r5" />
+
+
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<br /><br />
+
+INTRODUCTION.</h2>
+
+
+<p>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.</p>
+
+<p>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<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> subject, and to become familiar with those niceties of
+distinction, the detection of which&mdash;escaping, as they do, the eye of
+the general observer&mdash;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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.<br /><br />
+
+CLASSIFICATION.</h2>
+
+
+<p>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 <i>Orders</i> or <i>Styles</i>; and secondly, That any
+Division of its History into a given number of <i>Periods</i>, 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&mdash;so
+gradual was the change&mdash;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.</p>
+
+<p>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<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> 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.</p>
+
+<p>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 <i>circular arch</i> was exclusively
+employed; and in the second or later, the <i>pointed arch</i> alone was
+used. To the former of these two Classes, the term <span class="smcap">Romanesque</span> has been
+given, and to the latter, the term <span class="smcap">Gothic</span>.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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 <span class="smcap">Saxon</span> and
+<span class="smcap">Norman</span>.</p>
+
+<p>As regards the buildings of that Intermediate Period just mentioned, to
+none can the term <span class="smcap">Transitional</span> so aptly be applied as to those erected
+under influences created by that<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> 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.</p>
+
+<p>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.</p>
+
+<p>These changes have been fully illustrated by the author in a former
+work,<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> and will be therefore only briefly recapitulated here.</p>
+
+<p>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 <i>lancet</i>, 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.</p>
+
+<div class="figcenter" style="width: 489px;">
+<a name="temple_church" id="temple_church"></a>
+<img src="images/i_020.jpg" width="489" height="400" alt="TEMPLE CHURCH." title="TEMPLE CHURCH." />
+<span class="caption">TEMPLE CHURCH.</span>
+</div>
+
+<p>It is proposed therefore to denominate this the <small>LANCET PERIOD</small> of Gothic
+Architecture.</p>
+
+<p>Towards the close of this Period the practice of combining a<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> plurality
+of Lancets, under one arch, or hood-moulding&mdash;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 <i>Tracery</i>.</p>
+
+<div class="figcenter" style="width: 461px;">
+<a name="croft" id="croft"></a>
+<img src="images/i_021.jpg" width="461" height="400" alt="CROFT." title="CROFT." />
+<span class="caption">CROFT.</span>
+</div>
+
+<p>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 <i>Circle</i>, 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 <small>GEOMETRICAL PERIOD</small>.</p>
+
+<div class="figcenter" style="width: 432px;">
+<img src="images/i_021b.jpg" width="432" height="400" alt="HOWDEN." title="HOWDEN." />
+<span class="caption">HOWDEN.</span>
+</div>
+
+<p>At the close of this Period a feature began to make its way into the
+subordinate parts of the tracery, which had already<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> 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.</p>
+
+<p>This feature is the curve which mathematicians call the <i>curve of
+contra-flexure</i>, and which is known amongst architecturalists as the
+<i>Ogee</i>.</p>
+
+<div class="figcenter" style="width: 449px;">
+<a name="wilsford" id="wilsford"></a>
+<img src="images/i_022a.jpg" width="449" height="400" alt="WILSFORD." title="WILSFORD." />
+<span class="caption">WILSFORD.</span>
+</div>
+
+<p>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
+<small>CURVILINEAR PERIOD</small>.</p>
+
+<div class="figcenter" style="width: 462px;">
+<a name="winchester" id="winchester"></a>
+<img src="images/i_022b.jpg" width="462" height="400" alt="WINCHESTER." title="WINCHESTER." />
+<span class="caption">WINCHESTER.</span>
+</div>
+
+<p>In the latter part of this Period, a horizontal bar, or <i>transom</i>, 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,<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> 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.</p>
+
+<p>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 <small>RECTILINEAR PERIOD</small>.</p>
+
+<p>The History of our National Architecture will thus be divided into
+Seven Periods, the order and duration of which are as follows:&mdash;</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="periods">
+<tr><th align="center" colspan="8">ROMANESQUE.</th></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td><td align="center">A.D.</td><td>&nbsp;</td><td align="center">A.D.</td><td>&nbsp;</td><td align="center">YEARS.</td></tr>
+<tr><td align="right">I.</td><td align="left"><span class="smcap">Saxon Period</span></td><td align="center">from</td><td align="center">&mdash;&mdash;</td><td align="center">to</td><td align="center">1066,</td><td align="center">prevailed</td><td align="center">&mdash;</td></tr>
+<tr><td align="right">II.</td><td align="left"><span class="smcap">Norman Period</span></td><td align="center">"</td><td align="center">1066</td><td align="center">"</td><td align="center">1145,</td><td align="center">"</td><td align="center">79</td></tr>
+<tr><td align="right">III.</td><td align="left"><span class="smcap">Transitional Period</span></td><td align="center">"</td><td align="center">1145</td><td align="center">"</td><td align="center">1190,</td><td align="center">"</td><td align="center">45</td></tr>
+<tr><th align="center" colspan="8">GOTHIC.</th></tr>
+<tr><td align="right">IV.</td><td align="left"><span class="smcap">Lancet Period</span></td><td align="center">"</td><td align="center">1190</td><td align="center">"</td><td align="center">1245,</td><td align="center">"</td><td align="center">55</td></tr>
+<tr><td align="right">V.</td><td align="left"><span class="smcap">Geometrical Period</span></td><td align="center">"</td><td align="center">1245</td><td align="center">"</td><td align="center">1315,</td><td align="center">"</td><td align="center">70</td></tr>
+<tr><td align="right">VI.</td><td align="left"><span class="smcap">Curvilinear Period</span></td><td align="center">"</td><td align="center">1315</td><td align="center">"</td><td align="center">1360,</td><td align="center">"</td><td align="center">45</td></tr>
+<tr><td align="right">VII.</td><td align="left"><span class="smcap">Rectilinear Period</span></td><td align="center">"</td><td align="center">1360</td><td align="center">"</td><td align="center">1550,</td><td align="center">"</td><td align="center">190</td></tr>
+</table></div>
+<hr class="tb" />
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+
+<div class="figleft" style="width: 204px;">
+<a name="interior_comp" id="interior_comp"></a>
+<a href="images/i_024.jpg">
+<img src="images/i_024t.jpg" width="204" height="600" alt="INTERIOR COMPARTMENT." title="INTERIOR COMPARTMENT." />
+</a><span class="caption">INTERIOR COMPARTMENT.</span>
+</div>
+
+<p><b>CLERE-STORY.</b></p>
+
+<p>
+27 Boss.<br />
+26 Vaulting Ribs (Transverse).<br />
+25 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;do.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(Longitudinal).<br />
+24 Vault.<br />
+23 Sill of C. Window.<br />
+22 Mullion of&nbsp;&nbsp;   do.<br />
+21 Tracery of&nbsp;&nbsp;   do.<br />
+20 Arch-mouldings of C. Arch.<br />
+19 Bases of Jamb of&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;     do.<br />
+18 Capitals of&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      do.<br />
+17 Jamb-mouldings of&nbsp;&nbsp;&nbsp;&nbsp;    do.<br />
+16 Clere-story String.<br />
+</p>
+
+
+<p><b>BLIND-STORY.</b><br />
+
+(Triforium.)</p>
+
+<p>
+15 Capitals of Vaulting Shaft.<br />
+14 Tracery of Triforium.<br />
+13 Triforium-Arch.<br />
+12 Bases of T. Piers.<br />
+11 Capitals of &nbsp;&nbsp;do.<br />
+10 Pier of T. (Secondary).<br />
+&nbsp;&nbsp;9&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;do.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;      (Primary).<br />
+&nbsp;&nbsp;8 Triforium String.<br />
+</p>
+
+
+<p><b>GROUND-STORY.</b></p>
+
+<p>
+7 Corbel.<br />
+6 Vaulting-Shaft.<br />
+5 Pier-Arch.<br />
+4 &nbsp;do.&nbsp; Band.<br />
+3  &nbsp;do.&nbsp; Base.<br />
+2   &nbsp;do.&nbsp; Capital.<br />
+1 Pier.<br />
+</p>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+
+<div class="figleft" style="width: 200px;">
+<a name="exterior_comp" id="exterior_comp"></a>
+<a href="images/i_026.jpg">
+<img src="images/i_026t.jpg" width="200" height="600" alt="EXTERIOR COMPARTMENT." title="EXTERIOR COMPARTMENT." />
+</a><span class="caption">EXTERIOR COMPARTMENT.</span>
+</div>
+
+<p><b>CLERE-STORY.</b></p>
+
+<p>
+28 Parapet.<br />
+27 Cornice.<br />
+26 Clere-story Buttress.<br />
+25 Flying Buttress.<br />
+24 Tracery of C. Window.<br />
+23 Window Arch.<br />
+22 Mullions of C. Window.<br />
+21 Sill of  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;do.<br />
+20 Jambs of&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  do.<br />
+19 Weather Table.<br />
+</p>
+
+
+<p><b>AISLE COMPARTMENT.</b></p>
+
+<p>
+18 Aisle Roof.<br />
+17 Capping to Buttress.<br />
+16 Parapet.<br />
+15 Cornice.<br />
+14 Gurgoyle.<br />
+13 Canopied Set-off.<br />
+12 Plain Set-off.<br />
+11 Tracery.<br />
+10 Window Arch.<br />
+9 Mullion.<br />
+8 Sill.<br />
+7 Bases of Window Shafts.<br />
+6 Capitals of &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;do.<br />
+5 Jambs.<br />
+4 Canopied Niche.<br />
+3 String-Course.<br />
+2 Buttress.<br />
+1 Base-Course.<br />
+</p>
+<hr class="tb" />
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> "Treatise on the Rise and Progress of Window Tracery." Van
+Voorst, London.</p></div></div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.<br /><br />
+
+EXTERIOR AND INTERIOR COMPARTMENTS.</h2>
+
+
+<p>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:&mdash;</p>
+
+<p>1. The Ground Plan is after the form of the Latin Cross, and is
+divisible <i>longitudinally</i> into three portions; namely,</p>
+
+<ul>
+<li><span class="smcap">The Choir</span>,</li>
+<li><span class="smcap">The Transepts</span>,</li>
+<li><span class="smcap">The Nave</span>.</li>
+</ul>
+
+<p>2. The Choir and the Nave, and occasionally the Transepts, are divided,
+by means of columns and arches, <i>transversely</i> into three portions,
+consisting of the</p>
+
+<ul>
+<li><span class="smcap">Centre Aisle</span>,</li>
+<li><span class="smcap">North Aisle</span>,</li>
+<li><span class="smcap">South Aisle</span>.</li>
+</ul>
+
+<p>3. The <span class="smcap">Main Wall</span> of each of the first-mentioned separate portions of
+the building is divisible, in the interior <i>vertically</i> into three
+portions, or Stories, consisting of</p>
+
+
+<ul>
+<li><span class="smcap">The Ground-story</span>,</li>
+<li><span class="smcap">The Triforium or Blind-story</span>,</li>
+<li><span class="smcap">The Clere-story</span>.</li>
+</ul>
+
+
+<p>Now on viewing any of these Main Walls of a building, whether on the
+inside, or the outside, it will be at once seen<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> that they consist, in
+their entire length, of a series of single and separate portions, or
+<i>Compartments</i>, 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 <small>MAIN IDEA</small>
+of the Building.</p>
+
+<p>It is this portion of such a building then&mdash;a single Compartment of the
+Exterior and Interior of the Main Walls of the Choir or Nave, and its
+adjacent Aisle&mdash;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.</p>
+
+<p>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.</p>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.<br /><br />
+
+THE SAXON PERIOD.</h2>
+<hr class="r5" />
+
+<p class="center"><b>A.D. &mdash;&mdash; TO A.D. 1066.</b></p>
+
+
+<p>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.</p>
+
+<p>A few Piers and Arches exist indeed, in all probability, in the
+Churches of <span class="smcap">Brixworth</span> in Northamptonshire, St. Michael's at <span class="smcap">St. Albans</span>,
+and <span class="smcap">Repton</span> 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
+<i>Main Walls</i> of a Saxon Cathedral, and are, therefore, not available
+for our present purpose.</p>
+
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+<h3>BUILDINGS<br />
+
+<small>OF</small><br />
+
+THE SAXON PERIOD.</h3>
+<hr class="r5" />
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="saxon">
+<tr><td align="left"><span class="smcap">Brixworth</span></td><td align="left">All Saints' Church</td><td align="left">Nave, Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Repton</span></td><td align="left">St. Wistan's Church</td><td align="left">Crypt, Chancel.</td></tr>
+<tr><td align="left"><span class="smcap">Barnack</span></td><td align="left">St. John's Church</td><td align="left">Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Barton</span></td><td align="left">St. Peter's Church</td><td align="left">Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Earl's Barton</span></td><td align="left">All Saints' Church</td><td align="left">Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Whittingham</span></td><td align="left">St. Bartholomew's Church</td><td align="left">Tower and Pier-arch.</td></tr>
+<tr><td align="left"><span class="smcap">Cambridge</span></td><td align="left">St. Benet's Church</td><td align="left">Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Sompting</span></td><td align="left">Parish Church</td><td align="left">Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Deerhurst</span></td><td align="left">Holy Trinity Church</td><td align="left">Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Corhampton</span></td><td align="left">Parish Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Stanton Lacy</span></td><td align="left">St. Peter's Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">St. Albans</span></td><td align="left">St. Michael's Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Stow</span></td><td align="left">St. Mary's Church</td><td align="left">Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Worth</span></td><td align="left">Parish Church</td><td align="left">Nave, Chancel.</td></tr>
+<tr><td align="left"><span class="smcap">Wing</span></td><td align="left">All Saints' Church</td><td align="left">Chancel.</td></tr>
+</table></div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.<br /><br />
+
+NORMAN PERIOD.</h2>
+<hr class="r5" />
+
+<h3>PRINCIPAL CHARACTERISTIC.</h3>
+
+<p class="center">THE UNIVERSAL USE OF THE CIRCULAR ARCH IN EVERY PART OF A BUILDING
+THROUGHOUT THE WHOLE PERIOD.</p>
+
+
+<h4><i>Exterior Compartment.</i></h4>
+
+<p>The walls of a Norman building are usually strong and massive, and
+built of small stones. They have a plain <span class="smcap">Base-course</span>, of little
+projection, and are generally finished above with a <span class="smcap">Corbel-table</span>,
+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 <small>PARAPET</small> and
+<small>COPING</small> where these are left, which is rarely the case.</p>
+
+<p>The compartments are divided by a shallow <span class="smcap">Buttress</span> or <span class="smcap">Pilaster Strip</span>.</p>
+
+<p>The <span class="smcap">Windows</span> are low and broad, and have usually a single shaft set in
+an angular recess, carrying a cubical capital and a single roll.</p>
+
+<p>The <span class="smcap">String-courses</span>, when not plain, have frequently indented ornaments
+of different kinds&mdash;such as the <i>billet</i>, the <i>saw-tooth</i>, the <i>star</i>,
+and the <i>chevron</i>.</p>
+
+<p>The <span class="smcap">Clere-story Windows</span>, 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.</p>
+
+<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p>
+<h4><i>Interior Compartment.</i></h4>
+
+<p>The proportions of the interior are invariably heavy and massive.</p>
+
+<p>The <span class="smcap">Piers</span> 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.</p>
+
+<p>The <span class="smcap">Capitals</span> 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.</p>
+
+<p>The <span class="smcap">Pier-arches</span>, 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.</p>
+
+<p>The <span class="smcap">Vaulting</span> or <span class="smcap">Roof-shaft</span> is usually a semicircular shaft rising from
+the floor&mdash;on the face of every alternate Pier&mdash;to the springing of the
+vault or roof.</p>
+
+<p>In the earlier buildings the <span class="smcap">Triforium</span> 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.</p>
+
+<p>In most Norman buildings of large size, the Triforium forms a very
+important part of the design of the Interior.</p>
+
+<p>The <span class="smcap">Clere-story</span> in nearly all large buildings carries a gallery made in
+the thickness of the wall, which passes between the<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> Clere-story Window
+and the inner face of the <i>Main Wall</i>. 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.</p>
+
+<p>In almost all buildings of importance, an <span class="smcap">Arcade</span> 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.</p>
+
+<p>The side-aisles are usually covered with a plain circular quadripartite
+<span class="smcap">Vault</span>, having sometimes a diagonal rib, as well as a transverse band,
+moulded with single roll mouldings.</p>
+
+<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
+<h3>PRINCIPAL BUILDINGS<br />
+
+<small>OF</small><br />
+
+THE NORMAN PERIOD.</h3>
+<hr class="r5" />
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="norman">
+<tr><td align="left"><span class="smcap">Tower of London</span></td><td align="left">White Chapel.</td><td align="left">&nbsp;</td></tr>
+<tr><td align="left"><span class="smcap">St. Albans</span></td><td align="left">Abbey Church</td><td align="left">Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Rochester</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Winchester</span></td><td align="left">Cathedral Church</td><td align="left">Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Hereford</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Lincoln</span></td><td align="left">Cathedral Church</td><td align="left">West End.</td></tr>
+<tr><td align="left"><span class="smcap">Carlisle</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Selby</span></td><td align="left">Abbey Church</td><td align="left">Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Gloucester</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Chichester</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Waltham</span></td><td align="left">Abbey Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Southwell</span></td><td align="left">Abbey Church</td><td align="left">Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Durham</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Christchurch</span></td><td align="left">Priory Church</td><td align="left">Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Norwich</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Tewkesbury</span></td><td align="left">Abbey Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Durham</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Lindisfarne</span></td><td align="left">Abbey Church</td><td align="left">Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Romsey</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Winchester</span></td><td align="left">Cathedral Church</td><td align="left">Tower, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Peterborough</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Norwich</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Castle Acre</span></td><td align="left">Priory Church</td><td align="left">Nave.</td></tr>
+</table></div>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.<br /><br />
+
+TRANSITIONAL PERIOD.</h2>
+<hr class="r5" />
+
+<h3>PRINCIPAL CHARACTERISTIC.</h3>
+
+<p class="center">THE CONTEMPORANEOUS USE, IN THE SAME BUILDING, OF CIRCULAR AND POINTED
+ARCHES.</p>
+
+
+<h4><i>Exterior Compartment.</i></h4>
+
+<p>On the outside the usual prevalence of the circular arch in the <span class="smcap">Windows</span>
+and <span class="smcap">Doorways</span>, gives still a Norman character to the building; but the
+<span class="smcap">Base-course</span> and <span class="smcap">Buttresses</span> begin to show greater projection, and the
+walls are lightened in proportion.</p>
+
+<p>The invariable Billet moulding disappears from the <span class="smcap">String-courses</span>.</p>
+
+<p>The <span class="smcap">Windows</span> are more elongated in form, and have lighter shafts.</p>
+
+<p>The circular <span class="smcap">Corbel-table</span> gives place to a regularly moulded <span class="smcap">Cornice</span>,
+carried on a series of blocks of uniform profile; and a sloped <span class="smcap">Coping</span>
+covers the <span class="smcap">Parapet</span>.</p>
+
+<p>In some of the latest examples indeed, the <span class="smcap">Buttresses</span> have <span class="smcap">Set-offs</span>,
+and, rising above the parapet, have also a pyramidal Capping.</p>
+
+<p>An increasing lightness of proportion is perceptible in all parts of
+the buildings of this Period.</p>
+
+<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
+<h4><i>Interior Compartment.</i></h4>
+
+<p>Except in the earliest examples of this Period, the heavy cylindrical
+column disappears; and the <span class="smcap">Pier</span> 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.</p>
+
+<p>The <span class="smcap">Capitals</span> 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 <i>convex</i>,
+and the former a <i>concave</i> 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.</p>
+
+<p>In the later buildings of the Period, foliage, exhibiting considerable
+freedom of design, is occasionally to be seen.</p>
+
+<p>The <i>Pointed Arch</i> first made its appearance in the Transitional
+Period; in the earlier buildings it is used in the <i>Arches of
+Construction</i> 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 <i>Arches of
+Decoration</i> 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.</p>
+
+<p>The <span class="smcap">Pier-arches</span>, therefore, are almost invariably pointed, in<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> 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 <span class="smcap">Hood-moulding</span>. 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.</p>
+
+<p>The <span class="smcap">String-courses</span> do not usually carry any ornament, and have commonly
+a simple section peculiar to the Period.</p>
+
+<p>The <span class="smcap">Vaulting</span> or <span class="smcap">Roof-shaft</span> has usually a pear-shaped section.</p>
+
+<p>The <span class="smcap">Triforium-arcade</span> 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.</p>
+
+<p>The Pointed Arch, if found anywhere in the arches of Decoration, is
+generally to be seen in the <span class="smcap">Clere-story</span>, the highest part of the
+building, and consequently the latest in point of construction.</p>
+
+<p>Plain pointed quadripartite <span class="smcap">Vaulting</span> not unfrequently covers the
+side-aisles, and sometimes the centre-aisle.</p>
+
+<p>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 <span class="smcap">Vaulting</span> of the side-aisle.</p>
+
+<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
+<h3>PRINCIPAL BUILDINGS<br />
+
+<small>OF</small><br />
+
+THE TRANSITIONAL PERIOD.</h3>
+<hr class="r5" />
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="transitional">
+<tr><td align="left"><span class="smcap">Malmesbury</span></td><td align="left">Abbey Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Northampton</span></td><td align="left">St. Sepulchre's</td><td align="left">Church Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Fountains</span></td><td align="left">Abbey Church</td><td align="left">Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Kirkstall</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Buildwas</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Kelso</span></td><td align="left">Abbey Church</td><td align="left">West Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">West Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Peterborough</span></td><td align="left">Cathedral Church</td><td align="left">West Transept.</td></tr>
+<tr><td align="left"><span class="smcap">St. Cross</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Furness</span></td><td align="left">Abbey Church</td><td align="left">Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">London</span></td><td align="left">Temple Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Ripon</span></td><td align="left">Cathedral Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Brinkburn</span></td><td align="left">Cathedral Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Llanthony</span></td><td align="left">Abbey Church</td><td align="left">Choir, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Oxford</span></td><td align="left">Cathedral Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Durham</span></td><td align="left">Cathedral Church</td><td align="left">Galilee.</td></tr>
+<tr><td align="left"><span class="smcap">Roche</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">New Shoreham</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Selby</span></td><td align="left">Abbey Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Byland</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Jedburgh</span></td><td align="left">Abbey Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Hartlepool</span></td><td align="left">Parish Church</td><td align="left">Chancel, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Glastonbury</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Glastonbury</span></td><td align="left">Abbey Church</td><td align="left">St. Joseph's Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Canterbury</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Canterbury</span></td><td align="left">Cathedral Church</td><td align="left">Trinity Chapel, Becket's crown.</td></tr>
+<tr><td align="left"><span class="smcap">Chichester</span></td><td align="left">Cathedral Church</td><td align="left">Choir, North Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Wells</span></td><td align="left">Cathedral Church</td><td align="left">Transepts, Nave.</td></tr>
+</table></div>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.<br /><br />
+
+LANCET PERIOD.</h2>
+<hr class="r5" />
+
+<h3>PRINCIPAL CHARACTERISTIC.</h3>
+
+<p class="center">THE LANCET WINDOW USED SINGLY, IN COUPLETS AND TRIPLETS, AND ARRANGED
+IN GROUPS OF FOUR, FIVE, AND SEVEN.</p>
+
+
+<h4><i>Exterior Compartment.</i></h4>
+
+<p>The <span class="smcap">Buttresses</span> have considerable projection, are divided into stages,
+and have usually a plain pyramidal capping, and sometimes a plain
+pinnacle.</p>
+
+<p>The <span class="smcap">Base-course</span> Has also more projection and importance, and its upper
+members are frequently moulded.</p>
+
+<p><span class="smcap">Flying-buttresses</span> often span the roof of the side-aisle to support the
+main vaulting.</p>
+
+<p>The <span class="smcap">Windows</span> 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,&mdash;the spandrel
+between them being frequently pierced with a quatrefoil, or other
+opening.</p>
+
+<p>The <span class="smcap">Parapet</span> 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.</p>
+
+<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+<h4><i>Interior Compartment.</i></h4>
+
+<p>The <span class="smcap">Piers</span> 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.</p>
+
+<p>The <span class="smcap">Capitals</span> 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.</p>
+
+<p>The <span class="smcap">Bases</span> 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.</p>
+
+<p>The <span class="smcap">Pier-arches</span> 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 <i>dog-tooth</i>,
+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.</p>
+
+<p>The <span class="smcap">Hood-moulding</span>, resting on small and elegant heads or bosses, is an
+almost invariable accompaniment of arches of every description.</p>
+
+<p>The <span class="smcap">Vaulting-shaft</span> sometimes rises from the floor in front of the
+principal Pier,&mdash;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.</p><p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<p>The <span class="smcap">Triforium-arch</span> 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.</p>
+
+<p>The principal <span class="smcap">Triforium-piers</span> 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.</p>
+
+<p>The <i>secondary piers</i> are usually single, double, or triple detached
+shafts, carrying the smaller arches.</p>
+
+<p>Where the Triforium contains three orders of piers, the <i>tertiary pier</i>
+consists of a single shaft only, carrying the third order of
+arch-mouldings.</p>
+
+<p>The <span class="smcap">Vaulting-shaft</span> 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 <span class="smcap">Arcade</span> 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.</p>
+
+<p>The <span class="smcap">Vaulting</span> is generally simple, and acute, and usually of the
+quadripartite or sexpartite form.</p>
+
+<p>The <span class="smcap">Aisle-arcade</span> consists generally of a series of plain, or
+trefoil-headed arches on single shafts, carrying the usual mouldings
+and ornaments.</p>
+
+<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+<h3>PRINCIPAL BUILDINGS<br />
+
+<small>OF</small><br />
+
+THE LANCET PERIOD.</h3>
+
+<hr class="r5" />
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="lancet">
+<tr><td align="left"><span class="smcap">Lincoln</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Worcester</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Winchester</span></td><td align="left">Cathedral Church</td><td align="left">Lady Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Fountains</span></td><td align="left">Abbey Church</td><td align="left">Choir, East Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Whitby</span></td><td align="left">Abbey Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">York</span></td><td align="left">Cathedral Church</td><td align="left">N. and S. Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Bolton</span></td><td align="left">Abbey Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Beverley</span></td><td align="left">Minster</td><td align="left">Choir, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Lincoln</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Lichfield</span></td><td align="left">Cathedral Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">Wells</span></td><td align="left">Cathedral Church</td><td align="left">West Front.</td></tr>
+<tr><td align="left"><span class="smcap">Peterborough</span></td><td align="left">Cathedral Church</td><td align="left">West Front.</td></tr>
+<tr><td align="left"><span class="smcap">Southwell</span></td><td align="left">Collegiate Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Oxford</span></td><td align="left">Cathedral Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">Hereford</span></td><td align="left">Cathedral Church</td><td align="left">Lady Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Lanercost</span></td><td align="left">Abbey Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Durham</span></td><td align="left">Cathedral Church</td><td align="left">East Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Rievaulx</span></td><td align="left">Abbey Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">London</span></td><td align="left">Temple Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Salisbury</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Worcester</span></td><td align="left">Cathedral Church</td><td align="left">Presbytery.</td></tr>
+<tr><td align="left"><span class="smcap">Whitby</span></td><td align="left">Abbey Church</td><td align="left">N. Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">Presbytery.</td></tr>
+</table></div>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.<br /><br />
+
+GEOMETRICAL PERIOD.</h2>
+<hr class="r5" />
+
+<h3>PRINCIPAL CHARACTERISTIC</h3>
+
+<p class="center">SIMPLE GEOMETRICAL TRACERY IN THE HEADS OF THE WINDOWS, IN PANELS AND
+IN ARCADES.</p>
+
+
+<h4><i>Exterior Compartment.</i></h4>
+
+<p>The <span class="smcap">Buttresses</span> have frequently set-offs, and canopies attached to their
+faces, carrying often a series of <span class="smcap">Crockets</span>: 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.</p>
+
+<p>The <span class="smcap">Pinnacles</span> have often the same ornament, and are crowned with
+finials composed of a bunch of foliage.</p>
+
+<p>The <span class="smcap">Cornice</span> often carries a large ornamental leaf in its hollow, and
+the projecting Corbel-table is no longer seen.</p>
+
+<p>The earlier <span class="smcap">Windows</span> 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.</p>
+
+<p>The <span class="smcap">Clere-story</span> 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.</p>
+
+<p>The <span class="smcap">Cornice</span> is usually similar to that of the side-aisles.</p>
+
+<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+<h4><i>Interior Compartment.</i></h4>
+
+<p>The <span class="smcap">Piers</span> 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.</p>
+
+<p>The <span class="smcap">Bases</span> consist generally of a triple roll, standing on the usual
+plinth; and the <span class="smcap">Capitals</span> carry foliage disposed much more freely and
+gracefully than in the preceding Period, and frequently of exquisite
+design.</p>
+
+<p>The <span class="smcap">Pier-arches</span> 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 <i>Ball-flower</i>.</p>
+
+<p>All <span class="smcap">Bosses</span>, <span class="smcap">Figures</span>, and <span class="smcap">Sculptures</span> of every kind are carved in the
+very best manner; and all <span class="smcap">String-courses</span> and <span class="smcap">Hood-mouldings</span> 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.</p>
+
+<p>The <span class="smcap">Triforium</span> 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.</p>
+
+<p>The inner arcade of the <span class="smcap">Clere-story</span> 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.</p>
+
+<p>The <span class="smcap">Aisle-arcade</span> is often very elegant; the arches are<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> 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.</p>
+
+<p>Both the centre and side-aisles are generally covered with <span class="smcap">Vaulting</span> of
+simple form, having characteristic bosses and rib-mouldings.</p>
+
+
+<h3>PRINCIPAL BUILDINGS<br />
+
+<small>OF</small><br />
+
+THE GEOMETRICAL PERIOD.</h3>
+<hr class="r5" />
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="geometrical">
+<tr><td align="left"><span class="smcap">Westminster</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Westminster</span></td><td align="left">Abbey Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">Salisbury</span></td><td align="left">Cathedral Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">Howden</span></td><td align="left">Collegiate Church</td><td align="left">Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">South Transept, Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Hereford</span></td><td align="left">Cathedral Church</td><td align="left">North Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Lincoln</span></td><td align="left">Cathedral Church</td><td align="left">Presbytery.</td></tr>
+<tr><td align="left"><span class="smcap">Grantham</span></td><td align="left">Parish Church</td><td align="left">North Aisle.</td></tr>
+<tr><td align="left"><span class="smcap">Chichester</span></td><td align="left">Cathedral Church</td><td align="left">Nave, North Aisle.</td></tr>
+<tr><td align="left"><span class="smcap">St. Albans</span></td><td align="left">Abbey Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Tintern</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Lichfield</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Newstead</span></td><td align="left">Abbey Church</td><td align="left">West End.</td></tr>
+<tr><td align="left"><span class="smcap">York, St. Mary's</span></td><td align="left">Abbey Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span><span class="smcap">Exeter</span></td><td align="left">Cathedral Church</td><td align="left">Lady Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Ripon</span></td><td align="left">Cathedral Church</td><td align="left">East End.</td></tr>
+<tr><td align="left"><span class="smcap">Chichester</span></td><td align="left">Cathedral Church</td><td align="left">Lady Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Exeter</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Merton College</span></td><td align="left">Chapel</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">York</span></td><td align="left">Cathedral Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">Southwell</span></td><td align="left">Collegiate Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">Temple Balsall</span></td><td align="left">Collegiate Church</td><td align="left">Chancel.</td></tr>
+<tr><td align="left"><span class="smcap">Howden</span></td><td align="left">Collegiate Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Guisborough</span></td><td align="left">Priory Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">York</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Wells</span></td><td align="left">Cathedral Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">St. Augustine's</span></td><td align="left">Abbey</td><td align="left">Gateway.</td></tr>
+</table></div>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.<br /><br />
+
+CURVILINEAR PERIOD.</h2>
+<hr class="r5" />
+
+<h3>PRINCIPAL CHARACTERISTIC.</h3>
+
+<p class="center">FLOWING TRACERY IN THE WINDOWS, AND THE PREVALENCE OF THE OGEE CURVE IN
+ALL THE DETAILS.</p>
+
+
+<h4><i>Exterior Compartment.</i></h4>
+
+<p>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.</p>
+
+<p>The <span class="smcap">Windows</span> 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.</p>
+
+<p>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.</p>
+
+<p>The <span class="smcap">Base-course</span> carries a series of mouldings in which the Ogee profile
+is almost invariably found. The <span class="smcap">String-courses</span>, <span class="smcap">Hood-mouldings</span>, and
+<span class="smcap">Set-offs</span> exhibit it also.</p>
+
+<p>The <span class="smcap">Buttresses</span> are usually divided into a greater number of equal
+stages; their canopies, and those of their pinnacles, are<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> invariably
+richly crocketed, and have usually the Ogee form instead of the
+straight pedimental finish.</p>
+
+<p>The <span class="smcap">Cornice</span> 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.</p>
+
+<p>The <span class="smcap">Ball-flower</span> which appeared at the end of the previous Period,
+became a favourite ornament for a short time in the commencement of
+this Period.</p>
+
+
+<h4><i>Interior Compartment.</i></h4>
+
+<p>The <span class="smcap">Piers</span> are usually disposed in plan in the form of a diamond; and
+consist generally of four shafts with intervening hollows. The <span class="smcap">Bases</span>
+and <span class="smcap">Capitals</span> 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.</p>
+
+<p>The mouldings of the <span class="smcap">Pier-arches</span> 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.</p>
+
+<p>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<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> well in the arches of the
+Ground-story, as in the windows and doorways.</p>
+
+<p>The <span class="smcap">Triforium</span> 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.</p>
+
+<p>The <span class="smcap">Clere-story</span> has its inner arch sometimes foliated, but oftener the
+window is flush with the face of the inner wall, and the gallery is
+omitted.</p>
+
+<p>The <span class="smcap">Vaulting</span> exhibits much more intricacy; and a variety of ribs
+generally intersect the surface of the different cells.</p>
+
+<p>The <span class="smcap">Aisle-arcade</span> is not often seen.</p>
+
+
+<h3>PRINCIPAL BUILDINGS<br />
+
+<small>OF</small><br />
+
+THE CURVILINEAR PERIOD.</h3>
+<hr class="r5" />
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="curvilinear">
+<tr><td align="left"><span class="smcap">Howden</span></td><td align="left">Collegiate Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">Lantern.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">Crauden's Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Ely</span></td><td align="left">Cathedral Church</td><td align="left">Trinity Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Hingham</span></td><td align="left">St. Andrew's Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Heckington</span></td><td align="left">St. Andrew's Church</td><td align="left">Chancel, Transepts, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Hawton</span></td><td align="left">All Saints' Church</td><td align="left">Chancel.</td></tr>
+<tr><td align="left"><span class="smcap">Ewerby</span></td><td align="left">St. Andrew's Church</td><td align="left">Chancel, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Sleaford</span></td><td align="left">St. Giles' Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span><span class="smcap">Chester</span></td><td align="left">Cathedral Church</td><td align="left">South Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Coventry</span></td><td align="left">St. John's Hospital</td><td align="left">Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Carlisle</span></td><td align="left">Cathedral Church</td><td align="left">Choir (part).</td></tr>
+<tr><td align="left"><span class="smcap">Newark</span></td><td align="left">St. Mary's Church</td><td align="left">South Aisle.</td></tr>
+<tr><td align="left"><span class="smcap">Beverley</span></td><td align="left">St. Mary's Church</td><td align="left">North Aisle of Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Selby</span></td><td align="left">Abbey Church</td><td align="left">Choir (part).</td></tr>
+<tr><td align="left"><span class="smcap">Walsingham</span></td><td align="left">Abbey Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Chester</span></td><td align="left">Cathedral Church</td><td align="left">South Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Nantwich</span></td><td align="left">St. Mary's Church</td><td align="left">Chancel.</td></tr>
+<tr><td align="left"><span class="smcap">Melrose</span></td><td align="left">Abbey Church</td><td align="left">Nave, Transept.</td></tr>
+<tr><td align="left"><span class="smcap">Bolton</span></td><td align="left">Abbey Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Boston</span></td><td align="left">St. Botolph's Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Lichfield</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Wells</span></td><td align="left">Cathedral Church</td><td align="left">Choir, Lady Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Bury St. Edmund's</span></td><td align="left">Abbey</td><td align="left">Gateway.</td></tr>
+<tr><td align="left"><span class="smcap">Hull</span></td><td align="left">Holy Trinity Church</td><td align="left">Chancel.</td></tr>
+</table></div>
+<hr class="chap" />
+
+
+<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.<br /><br />
+
+RECTILINEAR PERIOD.</h2>
+<hr class="r5" />
+
+<h3>PRINCIPAL CHARACTERISTIC.</h3>
+
+<p class="center">THE PREVALENCE OF STRAIGHT LINKS, BOTH HORIZONTAL AND VERTICAL, IN THE
+TRACERY OF WINDOWS, IN PANELS AND ARCADES.</p>
+
+
+<h4><i>Exterior Compartment.</i></h4>
+
+<p>The <span class="smcap">Walls</span> and <span class="smcap">Buttresses</span> of this Period present great contrasts, being
+generally perfectly plain, but occasionally, in the richer buildings,
+completely covered with rectangular panelling.</p>
+
+<p>The <span class="smcap">Base-course</span> is often deep, rises in several stages, and contains a
+few large bold mouldings.</p>
+
+<p>The mullions of the <span class="smcap">Windows</span> 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.</p>
+
+<p>These <i>Transoms</i> 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.</p>
+
+<p>The <span class="smcap">Clere-story Windows</span>, as well as the side windows, where the aisle
+walls are low, are often square-headed.</p>
+
+<p>The <span class="smcap">Cornice</span> generally carries a large shallow hollow, filled at
+intervals with a square flat leaf, and grotesque sculptures.
+<i>Gurgoyles</i>, formed usually of the head and shoulders of some monster,
+and projecting from the cornice, for the purpose of<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> carrying the water
+from the gutters clear of the walls, which occur in the former Period,
+are now universal.</p>
+
+<p>The <span class="smcap">Parapets</span> are frequently ornamented richly, with rectangular
+foliated panelling, and covered with a <span class="smcap">Battlement</span>. Both are sometimes
+pierced instead of being panelled.</p>
+
+
+<h4><i>Interior Compartment.</i></h4>
+
+<p>The <span class="smcap">Piers</span> 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.</p>
+
+<p>Frequently the entire Pier is moulded without shafts, and the whole of
+the mouldings are carried round the Pier-arch.</p>
+
+<p>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.</p>
+
+<p>The <span class="smcap">Capitals</span> 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.</p>
+
+<p>The <span class="smcap">Bases</span> are generally tall, narrow, and polygonal, and often of
+several stages.</p>
+
+<p>In the <span class="smcap">Pier-arches</span> occasionally a form occurs for the first time, which
+is seen in no other Period. This is the <i>four-centered</i> arch, so called
+from the circumstance of its being drawn from four different centres:
+its use, however, in <i>arches of construction</i>, except in the Vaulting,
+is by no means so common as in <i>arches of decoration</i>, where it
+continually appears. It is often enclosed in doorways, under a square
+head. The mouldings of Pier-arches,<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> 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.</p>
+
+<p>In the <span class="smcap">String-courses</span>, <span class="smcap">Cornices</span>, 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.</p>
+
+<p>The <span class="smcap">Triforium</span> 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.</p>
+
+<p>The <span class="smcap">Clere-story</span> 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.</p>
+
+<p>The <span class="smcap">Vaulting</span> 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 <i>Fan-tracery</i> vaults, and
+others <i>Stellar</i> vaults, terms which explain themselves.</p>
+
+<p>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<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> have rich cornices of
+mouldings and carved work, traceried spandrels, figures of angels, and
+richly moulded beams. The <span class="smcap">Aisle-arcade</span> 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.</p>
+
+
+<h3>PRINCIPAL BUILDINGS<br />
+
+<small>OF</small><br />
+
+THE RECTILINEAR PERIOD.</h3>
+<hr class="r5" />
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="rectilinear">
+<tr><td align="left"><span class="smcap">York</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Winchester</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Canterbury</span></td><td align="left">Cathedral Church</td><td align="left">Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Canterbury</span></td><td align="left">Cathedral Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">York</span></td><td align="left">Cathedral Church</td><td align="left">West Towers.</td></tr>
+<tr><td align="left"><span class="smcap">Wells</span></td><td align="left">Cathedral Church</td><td align="left">Central Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Beverley</span></td><td align="left">Minster</td><td align="left">West Front.</td></tr>
+<tr><td align="left"><span class="smcap">Bridlington</span></td><td align="left">Priory Church</td><td align="left">West Front.</td></tr>
+<tr><td align="left"><span class="smcap">Howden</span></td><td align="left">Collegiate Church</td><td align="left">Chapter House.</td></tr>
+<tr><td align="left"><span class="smcap">Cambridge</span></td><td align="left">St. Mary's Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Long Melford</span></td><td align="left">Holy Trinity Church</td><td align="left">Chancel, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Saffron Walden</span></td><td align="left">St. Mary's Church</td><td align="left">Chancel, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Lavenham</span></td><td align="left">St. Peter and St. Paul's Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Doncaster</span></td><td align="left">St. George's Church</td><td align="left">Chancel, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Bury St. Edmund's</span></td><td align="left">St. James' Church</td><td align="left">Chancel, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Rotherham</span></td><td align="left">All Saints' Church</td><td align="left">Nave, Transepts.</td></tr>
+<tr><td align="left"><span class="smcap">Hull</span></td><td align="left">Holy Trinity Church</td><td align="left">Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Windsor</span></td><td align="left">St. George's Chapel</td><td align="left">Chancel, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Manchester</span></td><td align="left">Cathedral Church</td><td align="left">Choir, Nave.</td></tr>
+<tr><td align="left"><span class="smcap">Taunton</span></td><td align="left">St. Mary's Church</td><td align="left">Nave, Tower.</td></tr>
+<tr><td align="left"><span class="smcap">Gloucester</span></td><td align="left">Cathedral Church</td><td align="left">Choir.</td></tr>
+<tr><td align="left"><span class="smcap">Cambridge</span></td><td align="left">King's College</td><td align="left">Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Warwick</span></td><td align="left">St. Mary's Church</td><td align="left">Beauchamp Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Westminster</span></td><td align="left">Cathedral Church</td><td align="left">Henry Seventh's Chapel.</td></tr>
+<tr><td align="left"><span class="smcap">Bath</span></td><td align="left">Abbey Church</td><td align="left">Choir, Transepts, Nave.</td></tr>
+</table></div>
+<hr class="chap" />
+
+
+
+<h2><a name="THE_SEVEN_PERIODS" id="THE_SEVEN_PERIODS"></a>THE SEVEN PERIODS<br /><br />
+
+<small>OF</small><br /><br />
+
+ENGLISH ARCHITECTURE.</h2>
+<hr class="r5" />
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="sevenperiods">
+<tr><th align="center" colspan="8">ROMANESQUE.</th></tr>
+<tr><td>&nbsp;</td><td>&nbsp;</td><td>&nbsp;</td><td align="center">A.D.</td><td>&nbsp;</td><td align="center">A.D.</td><td>&nbsp;</td><td align="center">YEARS.</td></tr>
+<tr><td align="right">I.</td><td align="left"><span class="smcap">Saxon Period</span></td><td align="center">from</td><td align="center">&mdash;&mdash;</td><td align="center">to</td><td align="center">1066,</td><td align="center">prevailed</td><td align="center">&mdash;</td></tr>
+<tr><td align="right">II.</td><td align="left"><span class="smcap">Norman Period</span></td><td align="center">"</td><td align="center">1066</td><td align="center">"</td><td align="center">1145,</td><td align="center">"</td><td align="center">79</td></tr>
+<tr><td align="right">III.</td><td align="left"><span class="smcap">Transitional Period</span></td><td align="center">"</td><td align="center">1145</td><td align="center">"</td><td align="center">1190,</td><td align="center">"</td><td align="center">45</td></tr>
+<tr><th align="center" colspan="8">GOTHIC.</th></tr>
+<tr><td align="right">IV.</td><td align="left"><span class="smcap">Lancet Period</span></td><td align="center">"</td><td align="center">1190</td><td align="center">"</td><td align="center">1245,</td><td align="center">"</td><td align="center">55</td></tr>
+<tr><td align="right">V.</td><td align="left"><span class="smcap">Geometrical Period</span></td><td align="center">"</td><td align="center">1245</td><td align="center">"</td><td align="center">1315,</td><td align="center">"</td><td align="center">70</td></tr>
+<tr><td align="right">VI.</td><td align="left"><span class="smcap">Curvilinear Period</span></td><td align="center">"</td><td align="center">1315</td><td align="center">"</td><td align="center">1360,</td><td align="center">"</td><td align="center">45</td></tr>
+<tr><td align="right">VII.</td><td align="left"><span class="smcap">Rectilinear Period</span></td><td align="center">"</td><td align="center">1360</td><td align="center">"</td><td align="center">1550,</td><td align="center">"</td><td align="center">190</td></tr>
+</table></div>
+<hr class="tb" />
+
+<p class="center">
+<small>LONDON:<br />
+<br />
+PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,<br />
+STAMFORD STREET AND CHARING CROSS.<br /></small>
+</p>
+<hr class="tb" />
+
+<h3>NORMAN.</h3>
+<div class="figcenter" style="width: 267px;">
+<a name="ex_ely_nave" id="ex_ely_nave"></a>
+<a href="images/i_061.jpg">
+<img src="images/i_061t.jpg" width="267" height="600" alt="Exterior ELY CATHEDRAL. Nave" title="Exterior ELY CATHEDRAL. Nave"/>
+</a><span class="caption">Exterior ELY CATHEDRAL. Nave</span>
+</div>
+<hr class="tb" />
+
+<h3>NORMAN.</h3>
+<div class="figcenter" style="width: 269px;">
+<a name="int_ely_nave" id="int_ely_nave"></a>
+<a href="images/i_064.jpg">
+<img src="images/i_064t.jpg" width="269" height="600" alt="Interior ELY CATHEDRAL. Nave" title="Interior ELY CATHEDRAL. Nave"/>
+</a><span class="caption">Interior ELY CATHEDRAL. Nave</span>
+</div>
+<hr class="tb" />
+
+
+<h3>NORMAN.</h3>
+<div class="figcenter" style="width: 293px;">
+<a name="ex_peterborough_choir" id="ex_peterborough_choir"></a>
+<a href="images/i_067.jpg">
+<img src="images/i_067t.jpg" width="293" height="600" alt="Exterior PETERBOROUGH CATHEDRAL Choir" title="Exterior PETERBOROUGH CATHEDRAL Choir"/>
+</a><span class="caption">Exterior PETERBOROUGH CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>NORMAN.</h3>
+<div class="figcenter" style="width: 293px;">
+<a name="int_peterborough_choir" id="int_peterborough_choir"></a>
+<a href="images/i_070.jpg">
+<img src="images/i_070t.jpg" width="293" height="600" alt="Interior PETERBOROUGH CATHEDRAL. Choir" title="Interior PETERBOROUGH CATHEDRAL. Choir"/>
+</a><span class="caption">Interior PETERBOROUGH CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>TRANSITIONAL.</h3>
+<div class="figcenter" style="width: 287px;">
+<a name="ex_ripon_choir" id="ex_ripon_choir"></a>
+<a href="images/i_073.jpg">
+<img src="images/i_073t.jpg" width="287" height="600" alt="Exterior RIPON CATHEDRAL. Choir" title="Exterior RIPON CATHEDRAL. Choir"/>
+</a><span class="caption">Exterior RIPON CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>TRANSITIONAL.</h3>
+<div class="figcenter" style="width: 288px;">
+<a name="int_ripon_choir" id="int_ripon_choir"></a>
+<a href="images/i_076.jpg">
+<img src="images/i_076t.jpg" width="288" height="600" alt="Interior RIPON CATHEDRAL. Choir" title="Interior RIPON CATHEDRAL. Choir"/>
+</a><span class="caption">Interior RIPON CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>LANCET.</h3>
+<div class="figcenter" style="width: 246px;">
+<a name="ex_ely_presbytery" id="ex_ely_presbytery"></a>
+<a href="images/i_079.jpg">
+<img src="images/i_079t.jpg" width="246" height="600" alt="Exterior ELY CATHEDRAL. Presbytery" title="Exterior ELY CATHEDRAL. Presbytery"/>
+</a><span class="caption">Exterior ELY CATHEDRAL. Presbytery</span>
+</div>
+<hr class="tb" />
+
+
+<h3>LANCET.</h3>
+<div class="figcenter" style="width: 240px;">
+<a name="int_ely_presbytery" id="int_ely_presbytery"></a>
+<a href="images/i_082.jpg">
+<img src="images/i_082t.jpg" width="240" height="600" alt="Interior ELY CATHEDRAL. Presbytery" title="Interior ELY CATHEDRAL. Presbytery"/>
+</a><span class="caption">Interior ELY CATHEDRAL. Presbytery</span>
+</div>
+<hr class="tb" />
+
+
+<h3>LANCET.</h3>
+<div class="figcenter" style="width: 371px;">
+<a name="ex_lincoln_nave" id="ex_lincoln_nave"></a>
+<a href="images/i_085.jpg">
+<img src="images/i_085t.jpg" width="371" height="600" alt="Exterior LINCOLN CATHEDRAL. Nave" title="Exterior LINCOLN CATHEDRAL. Nave"/>
+</a><span class="caption">Exterior LINCOLN CATHEDRAL. Nave</span>
+</div>
+<hr class="tb" />
+
+
+<h3>LANCET.</h3>
+<div class="figcenter" style="width: 367px;">
+<a name="int_lincoln_nave" id="int_lincoln_nave"></a>
+<a href="images/i_088.jpg">
+<img src="images/i_088t.jpg" width="367" height="600" alt="Interior LINCOLN CATHEDRAL. Nave" title="Interior LINCOLN CATHEDRAL. Nave"/>
+</a><span class="caption">Interior LINCOLN CATHEDRAL. Nave</span>
+</div>
+<hr class="tb" />
+
+
+<h3>LANCET.</h3>
+<div class="figcenter" style="width: 339px;">
+<a name="ex_lincoln_choir" id="ex_lincoln_choir"></a>
+<a href="images/i_091.jpg">
+<img src="images/i_091t.jpg" width="339" height="600" alt="Exterior LINCOLN CATHEDRAL. Choir" title="Exterior LINCOLN CATHEDRAL. Choir"/>
+</a><span class="caption">Exterior LINCOLN CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>LANCET.</h3>
+<div class="figcenter" style="width: 332px;">
+<a name="int_lincoln_choir" id="int_lincoln_choir"></a>
+<a href="images/i_094.jpg">
+<img src="images/i_094t.jpg" width="332" height="600" alt="Interior LINCOLN CATHEDRAL. Choir" title="Interior LINCOLN CATHEDRAL. Choir"/>
+</a><span class="caption">Interior LINCOLN CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>GEOMETRICAL.</h3>
+<div class="figcenter" style="width: 364px;">
+<a name="ex_lincoln_presbytery" id="ex_lincoln_presbytery"></a>
+<a href="images/i_097.jpg">
+<img src="images/i_097t.jpg" width="364" height="600" alt="Exterior LINCOLN CATHEDRAL. Presbytery" title="Exterior LINCOLN CATHEDRAL. Presbytery"/>
+</a><span class="caption">Exterior LINCOLN CATHEDRAL. Presbytery</span>
+</div>
+<hr class="tb" />
+
+
+<h3>GEOMETRICAL.</h3>
+<div class="figcenter" style="width: 366px;">
+<a name="int_lincoln_presbytery" id="int_lincoln_presbytery"></a>
+<a href="images/i_100.jpg">
+<img src="images/i_100t.jpg" width="366" height="600" alt="Interior LINCOLN CATHEDRAL. Presbytery" title="Interior LINCOLN CATHEDRAL. Presbytery"/>
+</a><span class="caption">Interior LINCOLN CATHEDRAL. Presbytery</span>
+</div>
+<hr class="tb" />
+
+
+<h3>GEOMETRICAL.</h3>
+<div class="figcenter" style="width: 333px;">
+<a name="ex_lichfield_nave" id="ex_lichfield_nave"></a>
+<a href="images/i_103.jpg">
+<img src="images/i_103t.jpg" width="333" height="600" alt="Exterior LICHFIELD CATHEDRAL. Nave" title="Exterior LICHFIELD CATHEDRAL. Nave"/>
+</a><span class="caption">Exterior LICHFIELD CATHEDRAL. Nave</span>
+</div>
+<hr class="tb" />
+
+
+<h3>GEOMETRICAL.</h3>
+<div class="figcenter" style="width: 331px;">
+<a name="int_lichfield_nave" id="int_lichfield_nave"></a>
+<a href="images/i_106.jpg">
+<img src="images/i_106t.jpg" width="331" height="600" alt="Interior LICHFIELD CATHEDRAL. Nave" title="Interior LICHFIELD CATHEDRAL. Nave"/>
+</a><span class="caption">Interior LICHFIELD CATHEDRAL. Nave</span>
+</div>
+<hr class="tb" />
+
+
+<h3>CURVILINEAR.</h3>
+<div class="figcenter" style="width: 299px;">
+<a name="ex_ely_choir" id="ex_ely_choir"></a>
+<a href="images/i_111.jpg">
+<img src="images/i_111t.jpg" width="299" height="600" alt="Exterior ELY CATHEDRAL. Choir" title="Exterior ELY CATHEDRAL. Choir"/>
+</a><span class="caption">Exterior ELY CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>CURVILINEAR.</h3>
+<div class="figcenter" style="width: 297px;">
+<a name="int_ely_choir" id="int_ely_choir"></a>
+<a href="images/i_112.jpg">
+<img src="images/i_112t.jpg" width="297" height="600" alt="Interior ELY CATHEDRAL. Choir" title="Interior ELY CATHEDRAL. Choir"/>
+</a><span class="caption">Interior ELY CATHEDRAL. Choir</span>
+</div>
+<hr class="tb" />
+
+
+<h3>RECTILINEAR.</h3>
+<div class="figcenter" style="width: 360px;">
+<a name="ex_winchester_nave" id="ex_winchester_nave"></a>
+<a href="images/i_115.jpg">
+<img src="images/i_115t.jpg" width="360" height="600" alt="Exterior WINCHESTER CATHEDRAL. Nave" title="Exterior WINCHESTER CATHEDRAL. Nave"/>
+</a><span class="caption">Exterior WINCHESTER CATHEDRAL. Nave</span>
+</div>
+<hr class="tb" />
+
+
+<h3>RECTILINEAR.</h3>
+<div class="figcenter" style="width: 366px;">
+<a name="int_winchester_nave" id="int_winchester_nave"></a>
+<a href="images/i_118.jpg">
+<img src="images/i_118t.jpg" width="366" height="600" alt="Interior WINCHESTER CATHEDRAL. Nave" title="Interior WINCHESTER CATHEDRAL. Nave"/>
+</a><span class="caption">Interior WINCHESTER CATHEDRAL. Nave</span>
+</div>
+<hr class="full" />
+
+
+
+<h2>A SELECTION<br /><br />
+
+<small>FROM</small><br /><br />
+
+E. &amp; F. N. SPON'S CATALOGUE OF BOOKS.</h2>
+
+
+<h3><i>A HANDBOOK OF FORMUL�, TABLES, AND MEMORANDA</i>,</h3>
+
+<p>For Architectural Surveyors and others engaged in Building. By <span class="smcap">J. T.
+Hurst</span>, C.E. Fourteenth Edition. Royal 32mo, roan, 5<i>s.</i></p>
+
+<p class="center"><small>CONTAINING:</small></p>
+
+<div class="blockquot"><p>Formulae and Tables for the Strength of Materials, Roofs,
+Water Supply, Drainage, Gas, and other matters useful to
+Architects and Builders.</p>
+
+<p>Information connected with Sanitary Engineering.</p>
+
+<p>Memoranda on the several trades used in Building, including
+a description of Materials and Analyses of Prices for
+Builders' work.</p>
+
+<p>The Practice of Builders' Measurement.</p>
+
+<p>Mensuration and the Division of Land.</p>
+
+<p>Tables of the Weights of Iron and other Building Materials.</p>
+
+<p>Constants of Labour.</p>
+
+<p>Valuation of Property.</p>
+
+<p>Summary of the Practice in Dilapidations.</p>
+
+<p>Scale of Professional Charges for Architects and Surveyors.</p>
+
+<p>Tables of English and French Weights and Measures.</p></div>
+
+<hr class="tb" />
+<h3><i>TOWN AND COUNTRY MANSIONS AND SUBURBAN HOUSES</i>,</h3>
+
+<p>With Notes on the Sanitary and Artistic Construction of Houses.
+<i>Illustrated by 30 plates</i>, containing Plans, Elevations, Perspectives,
+and Interior Views of Executed Works in the Queen Anne, Classic, Old
+English, Adam's, Jacobean, Louis XVI., and other Styles. By <span class="smcap">William
+Young</span>, Architect, Author, of 'Picturesque Architectural Studies,'
+'Spons' Architects' and Builders' Pocket-Book,' Architect of the
+Glasgow Municipal Buildings, &amp;c. Imperial 4to, handsomely bound in
+cloth, 1<i>l.</i> 11<i>s.</i> 6<i>d.</i></p>
+<hr class="tb" />
+
+<h3><i>ELEMENTARY PRINCIPLES OF CARPENTRY.</i></h3>
+
+<p>By <span class="smcap">Thomas Tredgold</span>. Revised from the original edition, and partly
+rewritten, by <span class="smcap">John Thomas Hurst</span>. Contained in 517 pages of letterpress,
+and <i>illustrated with 48 plates and 150 wood engravings</i>. Fifth
+Edition. Crown 8vo, handsomely bound in cloth, 12<i>s.</i> 6<i>d.</i></p>
+<hr class="tb" />
+
+<h3><i>DOMESTIC ELECTRICITY FOR AMATEURS</i>:</h3>
+
+<p>Translated from the French of <span class="smcap">E. Hospitalier</span>, Editor of
+'l'Electricien,' with additions, by <span class="smcap">C. J. Wharton</span>, Assoc. Soc. Tel.
+Engineers. <i>Numerous illustrations.</i> Demy 8vo, cloth, 9<i>s.</i></p>
+
+<p class="center"><span class="smcap">Contents</span>:</p>
+
+<div class="blockquot"><p>1. Production of the Electric Current&mdash;2. Electric Bells&mdash;3.
+Automatic Alarms&mdash;4. Domestic Telephones&mdash;5. Electric
+Clocks&mdash;6. Electric Lighters&mdash;7. Domestic Electric
+Lighting&mdash;8. Domestic Application of the Electric Light&mdash;9.
+Electric Motors&mdash;10. Electrical Locomotion&mdash;11.
+Electrotyping, Plating, and Gilding&mdash;12. Electric
+Recreations&mdash;13. Various Applications&mdash;Workshop of the
+Electrician.</p></div>
+<hr class="tb" />
+
+<h3><i>SPONS' HOUSEHOLD MANUAL</i>:</h3>
+
+<p>A Treasury of Domestic Receipts and Guide for Home Management. Demy
+8vo, cloth, containing 900 pages and 150 <i>illustrations</i>, 7<i>s.</i> 6<i>d.</i></p>
+
+<p class="center"><span class="smcap">Principal Contents</span>:</p>
+
+<div class="blockquot"><p><i>The Dwelling</i>&mdash;Site, Construction, Arrangement, Water
+Supply, Sanitation, Ventilation, Warming, Lighting,
+Furnishing, Decorating, Bells, Thieves, Fire. <i>The
+Larder</i>&mdash;Storing and Preserving. <i>The Dairy</i>&mdash;Milk, Butter,
+Cheese. <i>The Cellar</i>&mdash;A�rated drinks, Beer, Bitters,
+Cordials, Liqueurs, Wines, &amp;c. <i>The Pantry</i>&mdash;Ovens, Bread,
+Cakes, &amp;c. <i>The Kitchen</i>&mdash;Ranges, Processes of Cookery,
+Recipes for Soups, Fish, Meat, Game, Poultry, Puddings,
+Vegetables, Salads, Eggs, Cheese, Ices, Confectionery, and
+Foreign Dishes. <i>The Housewife's Room</i>&mdash;Testing Food,
+Cleaning, Marketing. <i>The Dining Room</i>&mdash;Laying and Waiting
+at Table, Bills of Fare. <i>The Drawing Room</i>&mdash;Etiquette,
+Dancing, Theatricals, Games, Puzzles, &amp;c. <i>The Bedroom. The
+Dressing Room. The Nursery. The Sickroom</i>&mdash;Nurses and
+Nursing, Home Remedies, Common Complaints, Accidents,
+Poisons, &amp;c. <i>The Bathroom. The Laundry. The Schoolroom. The
+Playground. The Workroom. The Library. The Workshop. The
+Farmyard</i>&mdash;Horse, Cow, Pig, Poultry. <i>The Garden. Household
+Law.</i></p></div>
+<hr class="tb" />
+
+<p class="center">Crown 8vo, cloth, with Illustrations, Price 5s.</p>
+
+<h3><i>WORKSHOP RECEIPTS</i>,</h3>
+
+<p class="title"><small>FOR THE USE OF</small><br /><br />
+
+MANUFACTURERS, MECHANICS, AND SCIENTIFIC AMATEURS.</p>
+
+<p class="center"><span class="smcap">By ERNEST SPON.</span></p>
+
+<p class="center"><span class="smcap">Contents</span>:</p>
+
+<div class="blockquot"><p>Bookbinding&mdash;Bronzes&mdash;Candles&mdash;Cement&mdash;Cleaning&mdash;Concretes&mdash;Dyeing&mdash;Electro-Metallurgy&mdash;Enamels&mdash;Engraving&mdash;Etching&mdash;Firework
+Making&mdash;Freezing&mdash;Fulminates&mdash;Furniture Creams, Oils,
+Polishes, Lacquers, and Pastes&mdash;Gilding&mdash;Glass
+Cutting&mdash;Glass Making&mdash;Graining&mdash;Gums&mdash;Horn
+Working&mdash;India-rubber&mdash;Ink&mdash;Japans&mdash;Lacquers&mdash;Marble
+Working&mdash;Matches&mdash;Mortars&mdash;Paper Hanging&mdash;Painting in
+Oils&mdash;Photography&mdash;Polishes&mdash;Pottery&mdash;Silvering&mdash;Soap&mdash;Solders&mdash;Taxidermy&mdash;Treating
+Horn, Mother-o'-Pearl, and like
+substances&mdash;Varnishes&mdash;Veneering&mdash;Whitewashing, &amp;c., &amp;c.</p></div>
+<hr class="tb" />
+
+<p class="center">Crown 8vo, cloth, 5s.</p>
+
+<h3><i>WORKSHOP RECEIPTS</i><br />
+
+<small>(Second Series).</small></h3>
+
+<p class="center"><span class="smcap">By ROBERT HALDANE.</span></p>
+
+<p>Devoted mainly to subjects connected with Chemical Manufactures. An
+entirely New Volume. Uniform in Size, Style, and Type with the Original
+'Workshop Receipts.'</p>
+
+<p class="center"><span class="smcap">Contents</span>:</p>
+
+<div class="blockquot"><p>Acidimetry and
+Alkalimetry&mdash;Albumen&mdash;Alcohol&mdash;Alkaloids&mdash;Baking
+Powders&mdash;Bitters&mdash;Bleaching&mdash;Boiler Incrustations&mdash;Cements
+and
+Lutes&mdash;Cleansing&mdash;Confectionery&mdash;Copying&mdash;Disinfectants&mdash;Dyeing&mdash;Staining
+and
+Colouring&mdash;Essences&mdash;Extracts&mdash;Fireproofing&mdash;Gelatine&mdash;Glue
+and Size&mdash;Glycerine&mdash;Gut&mdash;Hydrogen
+Peroxide&mdash;Inks&mdash;Iodine&mdash;Iodoform&mdash;Isinglass&mdash;Ivory
+Substitutes&mdash;Leather&mdash;Luminous
+Bodies&mdash;Magnesia&mdash;Matches&mdash;Paper&mdash;Parchment&mdash;Perchloric
+Acid&mdash;Pigments&mdash;Paint and
+Painting&mdash;Potassium&mdash;Oxalate&mdash;Preserving.</p></div>
+<hr class="tb" />
+
+<p class="center">Crown 8vo, cloth, 5s.</p>
+
+<h3><i>WORKSHOP RECEIPTS</i><br />
+
+<small>(Third Series).</small></h3>
+
+<p class="center"><span class="smcap">By C. G. WARNFORD LOCK, F.L.S.</span></p>
+
+<p class="center">Devoted mainly to Electrical and Metallurgical subjects.</p>
+
+<p class="center"><span class="smcap">Contents</span>:</p>
+
+<div class="blockquot"><p>Alloys&mdash;Aluminium&mdash;Antimony&mdash;Barium&mdash;Beryllium&mdash;Bismuth&mdash;Cadmium&mdash;C�sium&mdash;Calcium&mdash;Cerrium&mdash;Chromium&mdash;Cobalt&mdash;Copper&mdash;Didymium&mdash;Electrics
+(including alarms, batteries, bells, carbons, coils
+[induction, intensity, and resistance], dynamo-electric
+machines, fire risks, measuring, microphones, motors,
+phonographs, photophones, storing, telephones)&mdash;Enamels and
+Glazes&mdash;Erbium&mdash;Gallium&mdash;Glass&mdash;Gold&mdash;Indium&mdash;Iridium&mdash;Iron&mdash;Lacquers&mdash;Lanthanum&mdash;Lead&mdash;Lithium&mdash;Lubricants&mdash;Magnesium&mdash;Manganese&mdash;Mercury&mdash;Mica&mdash;Molybdenum&mdash;Nickel&mdash;Nisbium&mdash;Osmium&mdash;Palladium&mdash;Platinum&mdash;Potassium&mdash;Rhodium&mdash;Rubidium&mdash;Ruthenium&mdash;Silenium&mdash;Silver&mdash;Slag&mdash;Sodium&mdash;Strontium&mdash;Tantalum&mdash;Terbium&mdash;Thallium&mdash;Thorium&mdash;Tin&mdash;Titanium&mdash;Tungsten&mdash;Uranium&mdash;Vanadium&mdash;Yttrium&mdash;Zinc&mdash;Zirconium.</p></div>
+<hr class="tb" />
+
+<p class="center">Crown 8vo, cloth, 5s.</p>
+
+<h3><i>WORKSHOP RECEIPTS</i><br />
+
+<small>(Fourth Series).</small></h3>
+
+<p class="center"><span class="smcap">By C. G. WARNFORD LOCK, F.L.S.</span></p>
+
+<p class="center">Devoted mainly to Handicrafts and Mechanical subjects.</p>
+
+<p class="center"><i>250 Illustrations, with complete Index and a general Index to the Four
+Series.</i></p>
+
+<p class="center"><span class="smcap">Contents</span>:</p>
+
+<div class="blockquot"><p><i>Waterproofing</i>: rubber goods, cuprammonium processes,
+miscellaneous preparations&mdash;<i>Packing and Storing</i> articles
+of delicate odour or colour, of a deliquescent character,
+liable to ignition, apt to suffer from insects or damp, or
+easily broken&mdash;<i>Embalming and Preserving</i> anatomical
+specimens&mdash;<i>Leather Polishes</i>&mdash;<i>Cooling Air and Water</i>,
+producing low temperatures, making ice, cooling syrups and
+solutions, and separating salts from liquors by
+refrigeration&mdash;<i>Pumps and Syphons</i>, embracing every useful
+contrivance for raising and supplying water on a moderate
+scale, and moving corrosive, tenacious, and other
+liquids&mdash;<i>Desiccating</i>: air-and water-ovens, and other
+appliances for drying natural and artificial
+products&mdash;<i>Distilling</i>: water, tinctures, extracts,
+pharmaceutical preparations, essences, perfumes, and
+alcoholic liquids&mdash;<i>Emulsifying</i> as required by pharmacists
+and photographers&mdash;<i>Evaporating</i>: saline and other
+solutions, and liquids demanding special
+precautions&mdash;<i>Filtering</i>: water, and solutions of various
+kinds&mdash;<i>Percolating and
+Macerating</i>&mdash;<i>Electrotyping</i>&mdash;<i>Stereotyping</i> by both plaster
+and paper processes&mdash;<i>Bookbinding</i> in all its
+details&mdash;<i>Straw Plaiting</i> and the fabrication of baskets,
+matting, &amp;c.&mdash;<i>Musical Instruments</i>: the preservation,
+tuning, and repair of pianos, harmoniums, musical
+instruments, &amp;c.&mdash;<i>Clock and Watch Mending</i>: adapted for
+intelligent amateurs&mdash;<i>Photography</i>: recent development in
+rapid processes, handy apparatus, numerous recipes for
+sensitizing and developing solutions, and applications to
+modern illustrative purposes.</p></div>
+<hr class="tb" />
+
+<p class="center"><b>E. &amp; F. N. SPON, 125, Strand, London.</b></p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Seven Periods of English
+Architecture, by Edmund Sharpe
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE SEVEN PERIODS OF ENGLISH ***
+
+***** This file should be named 38879-h.htm or 38879-h.zip *****
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+</body>
+</html>
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+The Project Gutenberg EBook of The Seven Periods of English Architecture, by
+Edmund Sharpe
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+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
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SEVEN PERIODS OF ENGLISH ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+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 Archaeologists
+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 Archaeological 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 FORMULAE, TABLES, AND MEMORANDA_,
+
+For Architectural Surveyors and others engaged in Building. By J. T.
+HURST, C.E. Fourteenth Edition. Royal 32mo, roan, 5_s._
+
+CONTAINING:
+
+     Formulae and Tables for the Strength of Materials, Roofs,
+     Water Supply, Drainage, Gas, and other matters useful to
+     Architects and Builders.
+
+     Information connected with Sanitary Engineering.
+
+     Memoranda on the several trades used in Building, including
+     a description of Materials and Analyses of Prices for
+     Builders' work.
+
+     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_,
+
+With Notes on the Sanitary and Artistic Construction of Houses.
+_Illustrated by 30 plates_, containing Plans, Elevations, Perspectives,
+and Interior Views of Executed Works in the Queen Anne, Classic, Old
+English, Adam's, Jacobean, Louis XVI., and other Styles. By WILLIAM
+YOUNG, Architect, Author, of 'Picturesque Architectural Studies,'
+'Spons' Architects' and Builders' Pocket-Book,' Architect of the
+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.
+     Automatic Alarms--4. Domestic Telephones--5. Electric
+     Clocks--6. Electric Lighters--7. Domestic Electric
+     Lighting--8. Domestic Application of the Electric Light--9.
+     Electric Motors--10. Electrical Locomotion--11. Electrotyping,
+     Plating, and Gilding--12. Electric Recreations--13. Various
+     Applications--Workshop of the Electrician.
+
+
+_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,
+     Furnishing, Decorating, Bells, Thieves, Fire. _The
+     Larder_--Storing and Preserving. _The Dairy_--Milk, Butter,
+     Cheese. _The Cellar_--Aerated drinks, Beer, Bitters,
+     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
+     Nursing, Home Remedies, Common Complaints, Accidents,
+     Poisons, &c. _The Bathroom. The Laundry. The Schoolroom. The
+     Playground. The Workroom. The Library. The Workshop. The
+     Farmyard_--Horse, Cow, Pig, Poultry. _The Garden. Household
+     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,
+     Lacquers, and Pastes--Gilding--Glass Cutting--Glass Making--
+     Graining--Gums--Horn Working--India-rubber--Ink--Japans
+     --Lacquers--Marble Working--Matches--Mortars--Paper Hanging--
+     Painting in Oils--Photography--Polishes--Pottery--Silvering--
+     Soap--Solders--Taxidermy--Treating Horn, Mother-o'-Pearl, and
+     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
+     Bodies--Magnesia--Matches--Paper--Parchment--Perchloric Acid--
+     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:
+
+     Alloys--Aluminium--Antimony--Barium--Beryllium--Bismuth--
+     Cadmium--Caesium--Calcium--Cerrium--Chromium--Cobalt--Copper--
+     Didymium--Electrics (including alarms, batteries, bells,
+     carbons, coils [induction, intensity, and resistance],
+     dynamo-electric machines, fire risks, measuring, microphones,
+     motors, phonographs, photophones, storing, telephones)--Enamels
+     and Glazes--Erbium--Gallium--Glass--Gold--Indium--Iridium--
+     Iron--Lacquers--Lanthanum--Lead--Lithium--Lubricants--Magnesium--
+     Manganese--Mercury--Mica--Molybdenum--Nickel--Nisbium--Osmium--
+     Palladium--Platinum--Potassium--Rhodium--Rubidium--Ruthenium--
+     Silenium--Silver--Slag--Sodium--Strontium--Tantalum--Terbium--
+     Thallium--Thorium--Tin--Titanium--Tungsten--Uranium--Vanadium--
+     Yttrium--Zinc--Zirconium.
+
+
+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.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Seven Periods of English
+Architecture, by Edmund Sharpe
+
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+
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