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diff --git a/38879-8.txt b/38879-8.txt new file mode 100644 index 0000000..1329199 --- /dev/null +++ b/38879-8.txt @@ -0,0 +1,2300 @@ +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 Archæologists +of his day, it may with propriety be questioned how far such a division +is suited to the exigencies of writers of the present day, or to the +present advanced tastes of knowledge on the subject. + +"Simplicity was doubtless the object Mr. Rickman had in view in his +division of English Architecture into four Styles only. This is a +recommendation, however, which can hardly be said to hold good at the +present day: it behoves us to consider well, perhaps more especially at +the present moment, whether Mr. Rickman's system fulfils all the +conditions essential to one calculated for popular and universal use; +and whether we should therefore seek to confirm and to perpetuate it, +or whether the time has not arrived for the adoption of a more detailed +and accurate division of the long and noble series of buildings which +contain the History of our National Architecture from the Heptarchy to +the Reformation."[A] + +No one can enter into an inquiry of this kind without eventually coming +to the conclusion that there are two large classes of Buildings +containing distinctive marks of peculiarity of character, which find no +place in Mr. Rickman's system, but which nevertheless, from the number +and importance of their examples, are pre-eminently entitled to +separate classification. These two classes are those to which the +buildings enumerated at pp. 24, and 31, 32 respectively belong, and +which cannot, without circumlocution, be described in any of the terms +prescribed by Mr. Rickman. + +As regards the earlier of these two classes, the extent to which these +distinctive peculiarities of detail exist, will perhaps at first +scarcely be credited, and proofs of a much more extensive and +satisfactory character than are contained in the following pages, or +could be looked for in an elementary work of this nature, will probably +be required before its title to separate classification will be +universally conceded. + +As regards the later of these classes, the same difficulty does not +exist. Mr. Rickman divided the whole of the buildings of Pointed +Architecture into three Styles or Classes, which he denominated "Early +English," "Decorated," "Perpendicular." The titles of the two last he +professed to derive from the character of their windows, conceiving, no +doubt justly, that no part of a Gothic building exhibits peculiarities +of Style in so prominent and characteristic a manner as its windows. In +strict accordance with this rule, which may be assumed to be a correct +and valuable one, it has already been shown,[B] that had Mr. Rickman +gone a step further and classed the whole of the buildings of Pointed +Architecture according to the forms of their Windows under _four_ +heads, instead of _three_, he would have obtained a classification +equally simple, but more intelligible and convenient; he would have +obviated much that is confused and indefinite, and therefore perplexing +to the Architectural Student, in his description of buildings which +belong to the class to which we are now referring, and would have +enabled us to compare the buildings of our own Country with those of +corresponding character, and nearly contemporaneous date on the +Continent, in a manner that would have established an analogy between +them, which, according to the present classification, has no apparent +existence. + +The inability to describe, or speak of any of the buildings belonging +to either of these two classes, including some of the finest in the +kingdom, otherwise than as examples of an intermediate and anomalous +character, exhibiting the peculiarities partly of one style and partly +of another, but belonging specifically to neither, must be admitted to +be a serious defect in all hitherto recognised systems of Architectural +Nomenclature; and there are probably few Architecturalists who have not +frequently felt the inconvenience arising from the want of more +explicit and definite terms than at present exist, by means of which +to describe the buildings of these two classes. + +It is to remedy these defects, and to provide for this want, that the +following division of the History of our National Architecture into +Seven Periods instead of Four, is now formally proposed, under the +belief that some such Division as this, by whatever terms it may be +characterised, will sooner or later force itself into universal +adoption. With respect to the terms themselves it would be unreasonable +to expect the same unanimity; the following considerations, however, +would seem to bring their selection within narrow limits. It would +appear, in the first place, unadvisable to designate any of the later +Periods, except the last, by any of the terms hitherto in use, as +tending probably to confusion and misapprehension, from the difficulty +of limiting their signification to the extent proposed in the minds of +those who have been accustomed to use them in a more ample sense: and +to retain the last, if the others be abandoned, and a more appropriate +or analogous term can be found, appears to be still less desirable. + +At the same time it is much to be desired that the terms we use should +be not altogether strange, and, if possible, self-explanatory. These +two conditions are such as to render it difficult to find terms such as +to be in all respects perfectly satisfactory; and perhaps no system of +Nomenclature could be found so perfect as to be entirely free from +objection. + +The reasons which have caused the adoption of the terms made use of in +the following system, are fully given in their proper place, and it +only remains for the Author to notice that the terms "Curvilinear" and +"Rectilinear" were first proposed by a writer in the "British Critic," +some years ago, as a substitute for Mr. Rickman's terms "Decorated" and +"Perpendicular;" and in a sense, therefore, as regards the former of +these terms, essentially different from that in which it is here +proposed to be applied. The rest must be more or less familiar to all +who have been of late engaged in the study. + +The Author desires to take this opportunity of acknowledging his +obligations to Mr. T. Austin, by whom all the subjects, with one +exception, have been measured and drawn from the buildings themselves; +as well as to Mr. G. B. Smith, by whom the whole have been engraved on +steel, for the accuracy and appearance of the principal illustrations. + +FOOTNOTES: + +[Footnote A: The preceding paragraphs, distinguished by inverted +commas, formed part of the introduction to a Paper "On the Geometrical +Period of English Church Architecture," read by the Author at the +Lincoln meeting of the Archæological Institute in July 1848.] + +[Footnote B: "Treatise on the Rise and Progress of Window Tracery," by +E. Sharpe, M.A. Van Voorst, London.] + + + + +CONTENTS. + + + PAGE + CHAPTER I. + +INTRODUCTION 1 + + + CHAPTER II. + +CLASSIFICATION 3 + + + CHAPTER III. + +COMPARTMENTS 13 + + + CHAPTER IV. + +SAXON PERIOD 15 + + + CHAPTER V. + +NORMAN PERIOD 17 + + + CHAPTER VI. + +TRANSITIONAL PERIOD 21 + + + CHAPTER VII. + +LANCET PERIOD 25 + + + CHAPTER VIII. + +GEOMETRICAL PERIOD 29 + + + CHAPTER IX. + +CURVILINEAR PERIOD 33 + + + CHAPTER X. + +RECTILINEAR PERIOD 37 + + + + +LIST OF PLATES. + + +NORMAN PERIOD. + +_Exterior_ ELY CATHEDRAL Nave. + +_Interior_ " " " + +_Exterior_ PETERBOROUGH CATHEDRAL Choir. + +_Interior_ " " " + + +TRANSITIONAL PERIOD. + +_Exterior_ RIPON CATHEDRAL Choir. + +_Interior_ " " " + + +LANCET PERIOD. + +_Exterior_ ELY CATHEDRAL Presbytery. + +_Interior_ " " " + +_Exterior_ LINCOLN CATHEDRAL Nave. + +_Interior_ " " " + +_Exterior_ " " Choir. + +_Interior_ " " " + + +GEOMETRICAL PERIOD. + +_Exterior_ LINCOLN CATHEDRAL Presbytery. + +_Interior_ " " " + +_Exterior_ LICHFIELD CATHEDRAL Nave. + +_Interior_ " " " + + +CURVILINEAR PERIOD. + +_Exterior_ ELY CATHEDRAL Choir. + +_Interior_ " " " + + +RECTILINEAR PERIOD. + +_Exterior_ WINCHESTER CATHEDRAL Nave. + +_Interior_ " " " + + + + +THE SEVEN PERIODS +OF +ENGLISH ARCHITECTURE. + + + + +CHAPTER I. + +INTRODUCTION. + + +To present at a single glance a comprehensive view of the History of +English Church Architecture from the Heptarchy to the Reformation, and +to do this in a manner, which, without taxing too seriously the memory +of the student, may enable him to fix in his mind the limits, and the +general outline of the inquiry he is about to enter upon, is the object +of the present treatise. + +Instead therefore of entering, as is usual in elementary works of this +nature, into a detailed account of all the parts of an Ecclesiastical +structure, a certain portion only of such a building has for this +purpose been selected, and so exhibited in the garb in which it +appeared at successive intervals of time, as to present to the reader a +means of comparison that will enable him readily to apprehend the +gradual change of form through which it passed from the Eleventh to the +Sixteenth Centuries, and at once to recognise the leading +characteristics of the several Periods into which it is here proposed +to divide the History of our National Architecture. Having thus fixed +these leading characteristics in his mind, he will then be in a +condition to follow us hereafter, if he pleases, into the detail of the +whole subject, and to become familiar with those niceties of +distinction, the detection of which--escaping, as they do, the eye of +the general observer--contributes so materially to the enjoyment of the +study, and a perfect acquaintance with which is so absolutely essential +to a correct understanding of the true History of the Art. + +That this mode of approaching the study of this subject is a convenient +one, will probably be admitted by those who may remember the +difficulties they encountered, in their early attempts to acquire a +general conception of the scheme of the History of Church Architecture, +as given in most of the manuals now in use; and the complexity of +detail in which they found themselves immediately involved on the very +threshold of their inquiry. + +It has been the practice in most elementary works on Church +Architecture to derive the illustrations of the subject, indifferently +from the smaller and the larger buildings of the Kingdom; and by +implication to assign an equal authority to both. It will be readily +admitted, however, that the History of an Art is to be gathered from +its principal Monuments, and not from those the design or execution of +which may have been entrusted to other than the ablest masters of the +Period: in the choice, therefore, of the examples which have been +selected to illustrate the series of changes which are described in the +following pages, reference has been made principally to the great +Cathedral, Abbey, and Collegiate Churches of the Kingdom, and +occasionally only to some of the larger Parish Churches whose size or +importance would seem to bring them under the above denomination. + + + + +CHAPTER II. + +CLASSIFICATION. + + +Church Architecture in England, from its earliest existence down to the +Sixteenth Century, was in a state of constant progress, or transition, +and this progress appears to have been carried on, with certain +exceptions in different parts of the country, very nearly +simultaneously. It follows from this circumstance, first, That it is +impossible to divide our National Architecture correctly into any +number of distinct _Orders_ or _Styles_; and secondly, That any +Division of its History into a given number of _Periods_, must +necessarily be an arbitrary one. It is nevertheless absolutely +essential for the purpose of conveniently describing the long series of +noble monuments which remain to us, that we should adopt some system of +chronological arrangement, which may enable us to group, and to +classify them in a distinct and intelligible manner: and although no +broad lines of demarcation in this connected series are discernible--so +gradual was the change--yet so rapid and so complete was it also, that +a period of fifty years did not elapse without a material alteration in +the form and fashion of every detail of a building. + +Now it will be readily conceived that, even in the midst of this +continual change, certain favourite forms would remain in use longer +than others; and that this circumstance may possibly afford us the +opportunity of which we are in search; and enable us in the adoption +of any such arbitrary Division so to define and to characterise the +Architecture of its different Periods, as to render this Historical +Survey and our future descriptions sufficiently intelligible. + +One principal Division of Church Architecture has been recognised and +adopted by all who have studied and written on the subject; that, +namely, which separates Ecclesiastical Buildings into two classes, in +the first or earlier of which the _circular arch_ was exclusively +employed; and in the second or later, the _pointed arch_ alone was +used. To the former of these two Classes, the term ROMANESQUE has been +given, and to the latter, the term GOTHIC. + +This division is so simple, and at the same time so strongly marked, +that without entering into a discussion as to the value or propriety of +the terms themselves, and contenting ourselves with the fact that they +are already in general use, we can have little hesitation in adopting +this primary division as the groundwork of our system. + +At the same time, it is manifest, that, for purposes of description, it +is not sufficiently minute; and that a further subdivision is +necessary: it is also clear, that it excludes a large class of +buildings that were erected during the period which intervened between +the first appearance of the pointed arch, and the final disappearance +of the circular arch. + +As regards the buildings of the Romanesque Period, no subdivision of +them can be more satisfactory than that which has already been for some +time in use, and which divides them into those which were built before +and after the Conquest, and designates them accordingly SAXON and +NORMAN. + +As regards the buildings of that Intermediate Period just mentioned, to +none can the term TRANSITIONAL so aptly be applied as to those erected +under influences created by that remarkable contest between two great +antagonistic principles, which, after having been carried on for a +period of nearly fifty years, terminated in a complete revolution in +the style of building at the end of the Twelfth Century. + +Lastly, as regards the Gothic Period, no subdivision of it appears to +be so natural and convenient, as that which is suggested by the four +principal changes of form through which the Window passed from the +Thirteenth to the Fifteenth Centuries. + +These changes have been fully illustrated by the author in a former +work,[C] and will be therefore only briefly recapitulated here. + +For half a century or more, after the disappearance of the circular +arch, the window appeared under a form, which from its general +resemblance to a _lancet_, in its length, breadth, and principal +proportions, rather than from any uniform acuteness in the shape of its +head, led to the universal application of that term to all the windows +of this Period. This observation applies equally to the window whether +used singly, or in groups of two, three, five, or seven; and equally +also to the later as to the earlier examples of this Period. + +[Illustration: TEMPLE CHURCH.] + +It is proposed therefore to denominate this the LANCET PERIOD of Gothic +Architecture. + +Towards the close of this Period the practice of combining a plurality +of Lancets, under one arch, or hood-moulding--and of piercing the solid +spaces that intervened between the heads of these lancets and the +underside of this arch in various ornamental ways, became common; by +the adoption of which, a group of several lancets was converted into a +single window of several lights. Out of this practice arose a novel and +beautiful discovery; this was the invention of _Tracery_. + +[Illustration: CROFT.] + +For nearly three-quarters of a century after its introduction the +Tracery of windows contained forms in which that simplest of all +Geometrical figures, the _Circle_, was principally conspicuous: and +although, in the latter part of this Period, the Circle does not obtain +the same prominent place, in the centre of the window-head, and as the +principal feature of the design, that is generally allotted to it in +the earlier examples, yet the important part that it bears in the +construction of the design of even the whole of these later examples, +fully justifies the application of the term, already pretty generally +in use, to this class of windows; and entitles us to call this Period +after that figure, and "par excellence," the GEOMETRICAL PERIOD. + +[Illustration: HOWDEN.] + +At the close of this Period a feature began to make its way into the +subordinate parts of the tracery, which had already shown itself for +some time previously in the mouldings, and which eventually exercised a +most important influence on the Architecture of the next half-century. + +This feature is the curve which mathematicians call the _curve of +contra-flexure_, and which is known amongst architecturalists as the +_Ogee_. + +[Illustration: WILSFORD.] + +The flowing nature of this curve imparted to the Tracery a grace and an +ease which the rigid outline of the Circle denied it: and affords us a +strong point of contrast whereby to distinguish the Architecture of the +two Periods. The sinuosity of form which characterises the tracery, +pervades also the mouldings, the carved work, and all the details of +this Period, and enables us to designate it appropriately as the +CURVILINEAR PERIOD. + +[Illustration: WINCHESTER.] + +In the latter part of this Period, a horizontal bar, or _transom_, as +it is called, was occasionally used in the lower part of the window. +Whether this bar was introduced for the purpose of strengthening the +mullions, or for the sake of proportion, it speedily grew into frequent +use. At the same time also vertical lines presented themselves +occasionally in the Tracery; a new principle, in fact, had made its +appearance, which rapidly overran not only the windows, but the +doorways, the arcades, and every part of the building. The straight +line, when once introduced, quickly superseded the curved line; square +panels covered the walls; angularity of form pervaded even the +mouldings and minor details, and to the round finish, the square edge +was preferred. + +This, the last of the four Periods of Gothic Architecture which +extended over a term of nearly two Centuries, we propose accordingly to +call the RECTILINEAR PERIOD. + +The History of our National Architecture will thus be divided into +Seven Periods, the order and duration of which are as follows:-- + + ROMANESQUE. + + A.D. A.D. YEARS. + + I. SAXON PERIOD from ---- to 1066, prevailed -- + + II. NORMAN PERIOD " 1066 " 1145, " 79 + +III. TRANSITIONAL PERIOD " 1145 " 1190, " 45 + + + GOTHIC. + + IV. LANCET PERIOD " 1190 " 1245, " 55 + + V. GEOMETRICAL PERIOD " 1245 " 1315, " 70 + + VI. CURVILINEAR PERIOD " 1315 " 1360, " 45 + +VII. RECTILINEAR PERIOD " 1360 " 1550, " 190 + + +[Illustration: INTERIOR COMPARTMENT.] + +CLERE-STORY. + +27 Boss. +26 Vaulting Ribs (Transverse). +25 do. (Longitudinal). +24 Vault. +23 Sill of C. Window. +22 Mullion of do. +21 Tracery of do. +20 Arch-mouldings of C. Arch. +19 Bases of Jamb of do. +18 Capitals of do. +17 Jamb-mouldings of do. +16 Clere-story String. + + +BLIND-STORY. +(Triforium.) + +15 Capitals of Vaulting Shaft. +14 Tracery of Triforium. +13 Triforium-Arch. +12 Bases of T. Piers. +11 Capitals of do. +10 Pier of T. (Secondary). + 9 do. (Primary). + 8 Triforium String. + + +GROUND-STORY. + +7 Corbel. +6 Vaulting-Shaft. +5 Pier-Arch. +4 do. Band. +3 do. Base. +2 do. Capital. +1 Pier. + + +[Illustration: EXTERIOR COMPARTMENT.] + +CLERE-STORY. + +28 Parapet. +27 Cornice. +26 Clere-story Buttress. +25 Flying Buttress. +24 Tracery of C. Window. +23 Window Arch. +22 Mullions of C. Window. +21 Sill of do. +20 Jambs of do. +19 Weather Table. + + +AISLE COMPARTMENT. + +18 Aisle Roof. +17 Capping to Buttress. +16 Parapet. +15 Cornice. +14 Gurgoyle. +13 Canopied Set-off. +12 Plain Set-off. +11 Tracery. +10 Window Arch. + 9 Mullion. + 8 Sill. + 7 Bases of Window Shafts. + 6 Capitals of do. + 5 Jambs. + 4 Canopied Niche. + 3 String-Course. + 2 Buttress. + 1 Base-Course. + + +FOOTNOTES: + +[Footnote C: "Treatise on the Rise and Progress of Window Tracery." Van +Voorst, London.] + + + + +CHAPTER III. + +EXTERIOR AND INTERIOR COMPARTMENTS. + + +The most perfect type of a church built in England, during the best +ages of Church Architecture, may be said to contain the following +essentials:-- + + 1. The Ground Plan is after the form of the Latin Cross, and + is divisible _longitudinally_ into three portions; namely, + + THE CHOIR, + THE TRANSEPTS, + THE NAVE. + + 2. The Choir and the Nave, and occasionally the Transepts, + are divided, by means of columns and arches, _transversely_ + into three portions, consisting of the + + CENTRE AISLE, + NORTH AISLE, + SOUTH AISLE. + + 3. The MAIN WALL of each of the first-mentioned separate + portions of the building is divisible, in the interior + _vertically_ into three portions, or Stories, consisting of + + THE GROUND-STORY, + THE TRIFORIUM OR BLIND-STORY, + THE CLERE-STORY. + +Now on viewing any of these Main Walls of a building, whether on the +inside, or the outside, it will be at once seen that they consist, in +their entire length, of a series of single and separate portions, or +_Compartments_, tied together, and connected by the horizontal lines, +or String courses, which traverse them from end to end; and that each +of these single Compartments embodies within itself the spirit of the +whole design, and may be said to represent, individually, the MAIN IDEA +of the Building. + +It is this portion of such a building then--a single Compartment of the +Exterior and Interior of the Main Walls of the Choir or Nave, and its +adjacent Aisle--that we have selected for the purpose of instituting +that comparison which will enable us to fix and define the +characteristics of the Seven Periods of English Architecture. + +Neglecting, therefore, for the present, the Gable Ends, the Towers and +Turrets, the Porches, the Doorways, the Chapels, the Cloisters, and all +the other adjuncts of an Ecclesiastical Building, and bestowing our +entire attention upon these Exterior and Interior Compartments, we will +proceed at once to a comparison of their several parts, and consider in +order the mode of treatment they received at the hands of the builders, +of each of these Seven Periods, commencing with the earliest and +descending to the latest. + + + + +CHAPTER IV. + +THE SAXON PERIOD. + +A.D. ---- TO A.D. 1066. + + +Inasmuch as there does not remain to us a single Exterior or Interior +Compartment in any Cathedral or Conventual Church of genuine Saxon +Architecture, the comparative illustration of this Period is rendered +impossible. + +A few Piers and Arches exist indeed, in all probability, in the +Churches of BRIXWORTH in Northamptonshire, St. Michael's at ST. ALBANS, +and REPTON in Derbyshire; but they differ considerably in their +character from one another, and as widely probably in their date. We +have also a few Chancel and Tower arches left, which appear to belong +to this Period; as well as some singular and interesting Towers, a few +Doorways and Windows, and some considerable portions of masonry. +Altogether, however, these remains are not such as to enable us to +define, with any degree of certainty, the nature and character of the +_Main Walls_ of a Saxon Cathedral, and are, therefore, not available +for our present purpose. + + +BUILDINGS + +OF + +THE SAXON PERIOD. + +BRIXWORTH All Saints' Church Nave, Tower. +REPTON St. Wistan's Church Crypt, Chancel. +BARNACK St. John's Church Tower. +BARTON St. Peter's Church Tower. +EARL'S BARTON All Saints' Church Tower. +WHITTINGHAM St. Bartholomew's Church Tower and Pier-arch. +CAMBRIDGE St. Benet's Church Tower. +SOMPTING Parish Church Tower. +DEERHURST Holy Trinity Church Tower. +CORHAMPTON Parish Church Nave. +STANTON LACY St. Peter's Church Nave. +ST. ALBANS St. Michael's Church Nave. +STOW St. Mary's Church Transepts. +WORTH Parish Church Nave, Chancel. +WING All Saints' Church Chancel. + + + + +CHAPTER V. + +NORMAN PERIOD. + + +PRINCIPAL CHARACTERISTIC. + +THE UNIVERSAL USE OF THE CIRCULAR ARCH IN EVERY PART OF A BUILDING +THROUGHOUT THE WHOLE PERIOD. + + +_Exterior Compartment._ + +The walls of a Norman building are usually strong and massive, and +built of small stones. They have a plain BASE-COURSE, of little +projection, and are generally finished above with a CORBEL-TABLE, +consisting sometimes of a series of small arches, on rude heads, and +sometimes of a projecting horizontal table resting on a series of +rudely sculptured blocks. Upon this Corbel-table is a plain PARAPET and +COPING where these are left, which is rarely the case. + +The compartments are divided by a shallow BUTTRESS or PILASTER STRIP. + +The WINDOWS are low and broad, and have usually a single shaft set in +an angular recess, carrying a cubical capital and a single roll. + +The STRING-COURSES, when not plain, have frequently indented ornaments +of different kinds--such as the _billet_, the _saw-tooth_, the _star_, +and the _chevron_. + +The CLERE-STORY WINDOWS, in the larger and richer buildings, are +usually placed in an arcade, consisting of three or more arches, of +which the centre one, filled by the window, is the largest. + + +_Interior Compartment._ + +The proportions of the interior are invariably heavy and massive. + +The PIERS consist either of a stout cylindrical column, or of a +rectangular mass, having semicircular shafts attached to its different +faces. They are sometimes, when circular, scored and ornamented with +zig-zag, spiral, and other mouldings. + +The CAPITALS are formed of a cubical block, rounded off on the lower +side from the square to the circle, and are ordinarily of a heavy +cumbrous character, and sometimes ornamented with rude sculpture of +leaves and animals, carved in slight relief on the surface of the +block. + +The PIER-ARCHES, in early examples, are perfectly plain, and square +edged, without mouldings or ornament; but more frequently they carry +one or more heavy rolls on the angle of each order of the arch; and are +often ornamented richly with concentric rows of chevron, billet, and +other Norman ornaments. + +The VAULTING or ROOF-SHAFT is usually a semicircular shaft rising from +the floor--on the face of every alternate Pier--to the springing of the +vault or roof. + +In the earlier buildings the TRIFORIUM is generally occupied by one +large arch, of somewhat less span and height than the pier-arch: but in +the later examples, this arch is generally subdivided into two, and +later still, into four small arches, carried on single shafts; the +capitals, arch-mouldings, and other details, being all on a smaller +scale, but of similar character, to those of the Ground-story. + +In most Norman buildings of large size, the Triforium forms a very +important part of the design of the Interior. + +The CLERE-STORY in nearly all large buildings carries a gallery made in +the thickness of the wall, which passes between the Clere-story Window +and the inner face of the _Main Wall_. This inner face is accordingly +carried on one or more arches. In Norman buildings, this Clere-story +arcade usually consists of three arches, of which the middle one is the +largest, and corresponds with the window. In some examples, this middle +arch is stilted above the others, by being lifted on a second small +shaft on each side, standing on the lower one which carries the side +arches. + +In almost all buildings of importance, an ARCADE is carried along the +walls of the Church below the side-aisle windows. In Norman buildings +this usually consists of a series of single or intersecting circular +arches, resting on small cushion capitals on single shafts. + +The side-aisles are usually covered with a plain circular quadripartite +VAULT, having sometimes a diagonal rib, as well as a transverse band, +moulded with single roll mouldings. + + +PRINCIPAL BUILDINGS + +OF + +THE NORMAN PERIOD. + +TOWER OF LONDON White Chapel. +ST. ALBANS Abbey Church Transepts, Nave. +ROCHESTER Cathedral Church Nave. +WINCHESTER Cathedral Church Transepts. +HEREFORD Cathedral Church Nave. +ELY Cathedral Church Transepts. +LINCOLN Cathedral Church West End. +CARLISLE Cathedral Church Nave. +SELBY Abbey Church Transepts, Nave. +GLOUCESTER Cathedral Church Nave. +CHICHESTER Cathedral Church Nave. +WALTHAM Abbey Church Choir. +SOUTHWELL Abbey Church Transepts, Nave. +DURHAM Cathedral Church Choir. +CHRISTCHURCH Priory Church Transepts, Nave. +NORWICH Cathedral Church Choir. +TEWKESBURY Abbey Church Nave. +DURHAM Cathedral Church Nave. +LINDISFARNE Abbey Church Transepts, Nave. +ROMSEY Abbey Church Choir, Transepts. +WINCHESTER Cathedral Church Tower, Transepts. +ELY Cathedral Church Nave. +PETERBOROUGH Cathedral Church Choir. +NORWICH Cathedral Church Nave. +CASTLE ACRE Priory Church Nave. + + + + +CHAPTER VI. + +TRANSITIONAL PERIOD. + + +PRINCIPAL CHARACTERISTIC. + +THE CONTEMPORANEOUS USE, IN THE SAME BUILDING, OF CIRCULAR AND POINTED +ARCHES. + + +_Exterior Compartment._ + +On the outside the usual prevalence of the circular arch in the WINDOWS +and DOORWAYS, gives still a Norman character to the building; but the +BASE-COURSE and BUTTRESSES begin to show greater projection, and the +walls are lightened in proportion. + +The invariable Billet moulding disappears from the STRING-COURSES. + +The WINDOWS are more elongated in form, and have lighter shafts. + +The circular CORBEL-TABLE gives place to a regularly moulded CORNICE, +carried on a series of blocks of uniform profile; and a sloped COPING +covers the PARAPET. + +In some of the latest examples indeed, the BUTTRESSES have SET-OFFS, +and, rising above the parapet, have also a pyramidal Capping. + +An increasing lightness of proportion is perceptible in all parts of +the buildings of this Period. + + +_Interior Compartment._ + +Except in the earliest examples of this Period, the heavy cylindrical +column disappears; and the PIER consists of a lighter mass of +semicircular shafts, and square edges; occasionally also, a shaft +having a pear-shaped section is substituted for the semicircular shaft. + +The CAPITALS consist still of a square block, moulded down to the +circular form below; with this difference, however, that the lower part +of the capital is hollowed down to the circle, instead of being left as +in the Norman Period, full and round; the latter showing a _convex_, +and the former a _concave_ profile. Both the larger and the smaller +Capitals have also very frequently an ornament peculiar to the Period, +which consists of a small volute, forming the curled end of a plain +leaf, which enfolds the bell of the Capital. This volute may be looked +upon as one of the most characteristic features of the Period. The +abacus of the capital is invariably square in plan, and has its upper +edge (except in a few of the latest examples) also square in section. + +In the later buildings of the Period, foliage, exhibiting considerable +freedom of design, is occasionally to be seen. + +The _Pointed Arch_ first made its appearance in the Transitional +Period; in the earlier buildings it is used in the _Arches of +Construction_ only, or those constituting the framework of the +building, such as the Pier-arches and the Arches of the Vaulting, and +of the Crossing; whilst the Circular Arch is used in the _Arches of +Decoration_ only, or those which may be said to constitute the +panel-work, such as the windows, the arcades, the doorways, and such +like. In the later buildings of the Period, however, the Pointed Arch +is frequently found in some of the smaller arches also. + +The PIER-ARCHES, therefore, are almost invariably pointed, in the +earlier examples obtusely, and in the later examples often acutely; the +mouldings, which have become much lighter, are few and plain; carrying +usually a roll, or a pear-shaped moulding, at the angle of each order +of the arch: they frequently have no HOOD-MOULDING. All the usual rich +ornaments of the Norman Style disappear, but the Chevron occurs +occasionally, and another ornamental moulding somewhat resembling it, +but peculiar to this Period, is frequently seen. + +The STRING-COURSES do not usually carry any ornament, and have commonly +a simple section peculiar to the Period. + +The VAULTING or ROOF-SHAFT has usually a pear-shaped section. + +The TRIFORIUM-ARCADE has usually Circular Arches, but in the later +examples the two forms of arch are frequently intermixed. The Shafts +are of a much lighter character, and carry arches of simple mouldings. + +The Pointed Arch, if found anywhere in the arches of Decoration, is +generally to be seen in the CLERE-STORY, the highest part of the +building, and consequently the latest in point of construction. + +Plain pointed quadripartite VAULTING not unfrequently covers the +side-aisles, and sometimes the centre-aisle. + +The contrast presented by the discriminate use of the two forms of arch +before mentioned, is sometimes strikingly exhibited in the side-aisles, +where it is by no means uncommon to find a large plain circular window +placed immediately under an acutely pointed wall rib, forming part of +the contemporaneous pointed VAULTING of the side-aisle. + + +PRINCIPAL BUILDINGS + +OF + +THE TRANSITIONAL PERIOD. + +MALMESBURY Abbey Church Nave. +NORTHAMPTON St. Sepulchre's Church Nave. +FOUNTAINS Abbey Church Transepts, Nave. +KIRKSTALL Abbey Church Choir, Transepts, Nave. +BUILDWAS Abbey Church Choir, Transepts, Nave. +KELSO Abbey Church West Transept. +ELY Cathedral Church West Transept. +PETERBOROUGH Cathedral Church West Transept. +ST. CROSS Abbey Church Choir, Transepts. +FURNESS Abbey Church Transepts, Nave. +LONDON Temple Church Nave. +RIPON Cathedral Church Choir, Transepts, Nave. +BRINKBURN Cathedral Church Choir, Transepts, Nave. +LLANTHONY Abbey Church Choir, Nave. +OXFORD Cathedral Church Choir, Transepts, Nave. +DURHAM Cathedral Church Galilee. +ROCHE Abbey Church Choir, Transepts, Nave. +NEW SHOREHAM Abbey Church Choir, Transepts. +SELBY Abbey Church Nave. +BYLAND Abbey Church Choir, Transepts, Nave. +JEDBURGH Abbey Church Nave. +HARTLEPOOL Parish Church Chancel, Nave. +GLASTONBURY Abbey Church Choir, Transepts, Nave. +GLASTONBURY Abbey Church St. Joseph's Chapel. +CANTERBURY Cathedral Church Choir. +CANTERBURY Cathedral Church Trinity Chapel, Becket's crown. +CHICHESTER Cathedral Church Choir, North Chapel. +WELLS Cathedral Church Transepts, Nave. + + + + +CHAPTER VII. + +LANCET PERIOD. + + +PRINCIPAL CHARACTERISTIC. + +THE LANCET WINDOW USED SINGLY, IN COUPLETS AND TRIPLETS, AND ARRANGED +IN GROUPS OF FOUR, FIVE, AND SEVEN. + + +_Exterior Compartment._ + +The BUTTRESSES have considerable projection, are divided into stages, +and have usually a plain pyramidal capping, and sometimes a plain +pinnacle. + +The BASE-COURSE Has also more projection and importance, and its upper +members are frequently moulded. + +FLYING-BUTTRESSES often span the roof of the side-aisle to support the +main vaulting. + +The WINDOWS in the earliest examples stand alone as single windows; +they are also sometimes placed singly in a continuous arcade; later +still in triplets under one arch, the centre one being the tallest, and +in some instances two lancets are coupled under one arch,--the spandrel +between them being frequently pierced with a quatrefoil, or other +opening. + +The PARAPET has occasionally sunk ornaments upon it, and is carried by +a cornice having a few deep mouldings, with a flower, or other ornament +at intervals, or by a trefoiled Corbel-table, or by a series of +blocks. + + +_Interior Compartment._ + +The PIERS consist most commonly of a cluster of shafts, disposed in a +circular form. These shafts sometimes stand entirely free, and surround +a large circular or octagonal column, and are banded in the middle. + +The CAPITALS have sometimes one or two rows of stiff projecting leaves, +of a bulbous form, which appear to grow out of the neck of the capital, +and sometimes a single or double series of minute deeply cut mouldings; +the square form of capital, both in the plan and in the upper edge of +the abacus, entirely disappears. + +The BASES consist almost invariably of a deep small hollow, set between +two rounds, standing on a square-edged plinth; and greatly resemble the +ordinary Attic base. + +The PIER-ARCHES usually show three orders, of small deeply cut +mouldings of alternate rounds and hollows, the number and depth of +which give an exceedingly rich and characteristic appearance to all the +arches of this Period. The peculiar ornament called the _dog-tooth_, +which is formed by hollowing out the sides of a series of contiguous +pyramids notched out of an angular projection, occurs constantly in the +arch-mouldings, as well as in almost every other part of buildings +where an opportunity of carving it presents itself. + +The HOOD-MOULDING, resting on small and elegant heads or bosses, is an +almost invariable accompaniment of arches of every description. + +The VAULTING-SHAFT sometimes rises from the floor in front of the +principal Pier,--but more usually from a corbel-shaft, resting on a +large ornamental corbel, placed immediately over the pier; it consists +generally of a triple cluster of small elegant shafts, with hollows +between them. + +The TRIFORIUM-ARCH generally covers two smaller arches; but +occasionally, a pair of principal Triforium-arches cover two pair of +subordinate arches, which are sometimes plain, and sometimes trefoiled; +the spandrel wall above them being ornamented with foliage, or a sunk +trefoil, and sometimes pierced through with a quatrefoil or other +opening. Sometimes, indeed, one large primary arch covers two secondary +arches, which again contain two small tertiary arches; thus fully +developing the principle of subordination in this part of the building. + +The principal TRIFORIUM-PIERS generally exhibit a row of light shafts +on the face of a solid pier, carrying arch-mouldings of three orders, +and separated sometimes by a line of dog-tooth moulding, or stiff +foliage. + +The _secondary piers_ are usually single, double, or triple detached +shafts, carrying the smaller arches. + +Where the Triforium contains three orders of piers, the _tertiary pier_ +consists of a single shaft only, carrying the third order of +arch-mouldings. + +The VAULTING-SHAFT usually terminates in an elegant capital, just below +the Clerestory-string, the mouldings of which form in that case the +impost mouldings of the capital. The ARCADE generally corresponds with +the windows, and consists either of a row of continuous arches, of +equal height, or, as is commonly the case, of three tall arches carried +on a triple shaft, of which the centre one is the loftiest: the +mouldings and ornaments being similar to those of the rest of the +building. + +The VAULTING is generally simple, and acute, and usually of the +quadripartite or sexpartite form. + +The AISLE-ARCADE consists generally of a series of plain, or +trefoil-headed arches on single shafts, carrying the usual mouldings +and ornaments. + + +PRINCIPAL BUILDINGS + +OF + +THE LANCET PERIOD. + +LINCOLN Cathedral Church Choir. +WORCESTER Cathedral Church Choir. +WINCHESTER Cathedral Church Lady Chapel. +FOUNTAINS Abbey Church Choir, East Transept. +WHITBY Abbey Church Choir. +YORK Cathedral Church N. and S. Transepts. +BOLTON Abbey Church Nave. +BEVERLEY Minster Choir, Transepts. +LINCOLN Cathedral Church Nave. +LICHFIELD Cathedral Church Chapter House. +WELLS Cathedral Church West Front. +PETERBOROUGH Cathedral Church West Front. +SOUTHWELL Collegiate Church Choir. +OXFORD Cathedral Church Chapter House. +HEREFORD Cathedral Church Lady Chapel. +LANERCOST Abbey Church Nave. +DURHAM Cathedral Church East Transept. +RIEVAULX Abbey Church Choir. +LONDON Temple Church Choir. +SALISBURY Cathedral Church Choir. +WORCESTER Cathedral Church Presbytery. +WHITBY Abbey Church N. Transept. +ELY Cathedral Church Presbytery. + + + + +CHAPTER VIII. + +GEOMETRICAL PERIOD. + + +PRINCIPAL CHARACTERISTIC. + +SIMPLE GEOMETRICAL TRACERY IN THE HEADS OF THE WINDOWS, IN PANELS AND +IN ARCADES. + + +_Exterior Compartment._ + +The BUTTRESSES have frequently set-offs, and canopies attached to their +faces, carrying often a series of CROCKETS: these in the earlier +examples are plain, stiff, and curled; but the later ones are formed by +a gracefully disposed leaf. Towards the end of the Period, the +buttresses became very bulky and massive, and carried little or no +ornaments. + +The PINNACLES have often the same ornament, and are crowned with +finials composed of a bunch of foliage. + +The CORNICE often carries a large ornamental leaf in its hollow, and +the projecting Corbel-table is no longer seen. + +The earlier WINDOWS exhibit tracery which consists almost exclusively +of plain foliated circles; but in the later examples other simple +geometrical forms were employed. The heads of the window lights, +occasionally plain, were more frequently, even in the earlier examples, +and invariably in the later ones, cusped or foliated. + +The CLERE-STORY usually contains a single window, or at most a pair, +containing tracery similar to that of the side-aisle windows, and the +Clere-story arcade altogether disappears. + +The CORNICE is usually similar to that of the side-aisles. + + +_Interior Compartment._ + +The PIERS have occasionally, in the earlier examples, detached shafts; +but they more usually consist of a solid mass of engaged shafts, +separated by hollow mouldings, and disposed on the plan of a spherical +triangle. + +The BASES consist generally of a triple roll, standing on the usual +plinth; and the CAPITALS carry foliage disposed much more freely and +gracefully than in the preceding Period, and frequently of exquisite +design. + +The PIER-ARCHES have usually mouldings in three orders of very elegant +profile, not so deeply cut, however, as in the Lancet Period: the +favourite dog-tooth is nowhere seen, but late in the period a +substitute for it was found in the ornament called the _Ball-flower_. + +All BOSSES, FIGURES, and SCULPTURES of every kind are carved in the +very best manner; and all STRING-COURSES and HOOD-MOULDINGS are moulded +with the greatest care and elegance; indeed the art of carving in stone +may be said to have attained its greatest perfection during this +Period. + +The TRIFORIUM in the earlier examples commonly contains a pair of +double arches, carrying circular tracery in their heads: in the later +examples, it becomes greatly reduced in size and prominence, and is +made entirely subordinate to the Clere-story; and consists often of a +low foliated arcade, or a band of plain tracery. + +The inner arcade of the CLERE-STORY altogether disappears, and in its +place is sometimes found a plane of Geometrical Tracery, corresponding +with that of the window; but more commonly a single arch spans the +entire compartment; and sometimes the gallery is dispensed with +altogether. + +The AISLE-ARCADE is often very elegant; the arches are usually +foliated, and covered with a straight-sided canopy. Occasionally this +arcade consists of a series of beautiful panels containing geometrical +tracery, with mouldings of a very minute and elegant character. + +Both the centre and side-aisles are generally covered with VAULTING of +simple form, having characteristic bosses and rib-mouldings. + + +PRINCIPAL BUILDINGS + +OF + +THE GEOMETRICAL PERIOD. + +WESTMINSTER Abbey Church Choir, Transepts. +WESTMINSTER Abbey Church Chapter House. +SALISBURY Cathedral Church Chapter House. +HOWDEN Collegiate Church Transepts. +ELY Cathedral Church South Transept, Chapel. +HEREFORD Cathedral Church North Transept. +LINCOLN Cathedral Church Presbytery. +GRANTHAM Parish Church North Aisle. +CHICHESTER Cathedral Church Nave, North Aisle. +ST. ALBANS Abbey Church Choir. +TINTERN Abbey Church Choir, Transepts. +LICHFIELD Cathedral Church Nave. +NEWSTEAD Abbey Church West End. +YORK, ST. MARY'S Abbey Church Nave. +EXETER Cathedral Church Lady Chapel. +RIPON Cathedral Church East End. +CHICHESTER Cathedral Church Lady Chapel. +EXETER Cathedral Church Choir. +MERTON COLLEGE Chapel Choir. +YORK Cathedral Church Chapter House. +SOUTHWELL Collegiate Church Chapter House. +TEMPLE BALSALL Collegiate Church Chancel. +HOWDEN Collegiate Church Nave. +GUISBOROUGH Priory Church Choir. +YORK Cathedral Church Nave. +WELLS Cathedral Church Chapter House. +ST. AUGUSTINE'S Abbey Gateway. + + + + +CHAPTER IX. + +CURVILINEAR PERIOD. + + +PRINCIPAL CHARACTERISTIC. + +FLOWING TRACERY IN THE WINDOWS, AND THE PREVALENCE OF THE OGEE CURVE IN +ALL THE DETAILS. + + +_Exterior Compartment._ + +As the Circle characterises the previous Period, so the Ogee marks the +present Period. It is found not only in the principal outline of the +tracery, but also in its smaller subdivisions; not only in the profiles +of the mouldings, but also in the contour of the foliage and carved +work. + +The WINDOWS are the most important features in the Churches of this +Period. In the more important buildings they are frequently of great +size and elaborate design, and in the smaller buildings, the rest of +the work seems often to have been impoverished for the sake of the +Windows. + +The infinite variety of design that is contained in the Tracery of this +Period is very remarkable, and distinguishes its Architecture, in a +manner not to be mistaken, from that of other nations during the same +Period. + +The BASE-COURSE carries a series of mouldings in which the Ogee profile +is almost invariably found. The STRING-COURSES, HOOD-MOULDINGS, and +SET-OFFS exhibit it also. + +The BUTTRESSES are usually divided into a greater number of equal +stages; their canopies, and those of their pinnacles, are invariably +richly crocketed, and have usually the Ogee form instead of the +straight pedimental finish. + +The CORNICE carries usually a row of large square pateras of foliage, +in a shallow hollow, and is often surmounted with a battlement, or a +parapet pierced or panelled with a flowing trefoil or a quatrefoil. + +The BALL-FLOWER which appeared at the end of the previous Period, +became a favourite ornament for a short time in the commencement of +this Period. + + +_Interior Compartment._ + +The PIERS are usually disposed in plan in the form of a diamond; and +consist generally of four shafts with intervening hollows. The BASES +and CAPITALS are not unfrequently octagonal in form; and the foliage of +the latter consists of crumpled leaves, not growing out of the neck of +the capital, as in the earlier Periods, but apparently attached to it, +or bound round it. + +The mouldings of the PIER-ARCHES are fewer in number; they are +shallower than those of the preceding Period, and often contain the +double Ogee; the walls being thinner, the arches frequently carry, in +this Period, as well as in the following one, only two orders of +mouldings instead of three. The small square patera, consisting of four +leaves, is a common ornament of the Period, and all the foliage is +formed of peculiar crumpled leaves, which are easily distinguished from +those of the preceding Period. + +It is not uncommon in this Period to find the arch mouldings continued, +without the intervention of impost or capital, down to the ground; or, +inversely, the mouldings of the piers carried uninterruptedly upwards +through the arch. This is the case as well in the arches of the +Ground-story, as in the windows and doorways. + +The TRIFORIUM rarely occurs in its full proportions, and in such cases +exhibits the usual window tracery of the Period: it oftener consists of +a panel enclosed within the prolonged jambs of the Clere-story window, +and is sometimes reduced to a row of quatrefoils. + +The CLERE-STORY has its inner arch sometimes foliated, but oftener the +window is flush with the face of the inner wall, and the gallery is +omitted. + +The VAULTING exhibits much more intricacy; and a variety of ribs +generally intersect the surface of the different cells. + +The AISLE-ARCADE is not often seen. + + +PRINCIPAL BUILDINGS + +OF + +THE CURVILINEAR PERIOD. + +HOWDEN Collegiate Church Choir. +ELY Cathedral Church Lantern. +ELY Cathedral Church Choir. +ELY Cathedral Church Crauden's Chapel. +ELY Cathedral Church Trinity Chapel. +HINGHAM St. Andrew's Church Nave. +HECKINGTON St. Andrew's Church Chancel, Transepts, Nave. +HAWTON All Saints' Church Chancel. +EWERBY St. Andrew's Church Chancel, Nave. +SLEAFORD St. Giles' Church Nave. +CHESTER Cathedral Church South Transept. +COVENTRY St. John's Hospital Chapel. +CARLISLE Cathedral Church Choir (part). +NEWARK St. Mary's Church South Aisle. +BEVERLEY St. Mary's Church North Aisle of Choir. +SELBY Abbey Church Choir (part). +WALSINGHAM Abbey Church Choir. +CHESTER Cathedral Church South Transept. +NANTWICH St. Mary's Church Chancel. +MELROSE Abbey Church Nave, Transept. +BOLTON Abbey Church Choir. +BOSTON St. Botolph's Church Nave. +LICHFIELD Cathedral Church Choir. +WELLS Cathedral Church Choir, Lady Chapel. +BURY ST. EDMUND'S Abbey Gateway. +HULL Holy Trinity Church Chancel. + + + + +CHAPTER X. + +RECTILINEAR PERIOD. + + +PRINCIPAL CHARACTERISTIC. + +THE PREVALENCE OF STRAIGHT LINES, BOTH HORIZONTAL AND VERTICAL, IN THE +TRACERY OF WINDOWS, IN PANELS AND ARCADES. + + +_Exterior Compartment._ + +The WALLS and BUTTRESSES of this Period present great contrasts, being +generally perfectly plain, but occasionally, in the richer buildings, +completely covered with rectangular panelling. + +The BASE-COURSE is often deep, rises in several stages, and contains a +few large bold mouldings. + +The mullions of the WINDOWS almost invariably rise vertically through +the Tracery, and are often crossed at right angles by other straight +lines, as well in the lower part of the Window as in the Tracery +itself. + +These _Transoms_ in some of the larger East and West Windows, occurring +at equal intervals, divide the entire design into a series of +rectangular compartments, and give to the whole the appearance of a +huge gridiron. They are sometimes ornamented with a small battlemented +moulding. + +The CLERE-STORY WINDOWS, as well as the side windows, where the aisle +walls are low, are often square-headed. + +The CORNICE generally carries a large shallow hollow, filled at +intervals with a square flat leaf, and grotesque sculptures. +_Gurgoyles_, formed usually of the head and shoulders of some monster, +and projecting from the cornice, for the purpose of carrying the water +from the gutters clear of the walls, which occur in the former Period, +are now universal. + +The PARAPETS are frequently ornamented richly, with rectangular +foliated panelling, and covered with a BATTLEMENT. Both are sometimes +pierced instead of being panelled. + + +_Interior Compartment._ + +The PIERS are usually tall and light, and consist generally, as in the +preceding Period, of four shafts with intervening hollows, which latter +are continued uninterruptedly round the Pier-arch. + +Frequently the entire Pier is moulded without shafts, and the whole of +the mouldings are carried round the Pier-arch. + +The Pier is frequently so disposed that its transverse section is +greater than its longitudinal section, or, in other words, it is +thicker from North to South than it is from East to West. + +The CAPITALS are usually octagonal, but sometimes circular. Foliage is +much more rarely seen in their hollows, and they contain plain +mouldings of a more angular character generally than in the preceding +Period. They are also taller, in comparison, to their diameter. They +have sometimes a battlement moulding on their upper edge, which is in +other cases often square. + +The BASES are generally tall, narrow, and polygonal, and often of +several stages. + +In the PIER-ARCHES occasionally a form occurs for the first time, which +is seen in no other Period. This is the _four-centered_ arch, so called +from the circumstance of its being drawn from four different centres: +its use, however, in _arches of construction_, except in the Vaulting, +is by no means so common as in _arches of decoration_, where it +continually appears. It is often enclosed in doorways, under a square +head. The mouldings of Pier-arches, Window-arches, and all others are +usually plain, broad, and shallow; the double Ogee occurs continually, +as well as a large shallow hollow, drawn from three centres, between a +few small filleted members. Few Arches carry more than two orders. + +In the STRING-COURSES, CORNICES, and other hollow mouldings, flat +square leaves at intervals, continuous training foliage, and the +vine-leaf and grapes, frequently occur; but the relief is usually not +considerable, and the amount of undercutting in foliage exhibited in +the two previous Periods is never seen. The Tudor Rose and the Tudor +Flower are frequent ornaments of this Period. + +The TRIFORIUM is rarely seen, and in its place the Clere-story Window +is often carried down in blank panelling to the passage or +String-course over the Pier-arches. It is sometimes, however, +represented by a band of panelling or pierced work. + +The CLERE-STORY attains considerable height and importance in this +Period; the effect of which, in large buildings, is increased by the +suppression of the Triforium, and the substitution in its place of the +apparent continuation downwards of the Clere-story. In many buildings +the Clere-story windows are in pairs, and so numerous that all blank +wall entirely disappears; and the effect of the mass of light thus +poured down into the Church is very striking and characteristic. + +The VAULTING becomes much more complicated and enriched in this Period. +Diverging ribs having bosses and shields at their points of +intersection, cover the surface of the Vault: the plans of these +vaultings are very various: some are called _Fan-tracery_ vaults, and +others _Stellar_ vaults, terms which explain themselves. + +Open wooden roofs of elaborate construction, and large span, become +common in this Period. They spring frequently from Corbel shafts, +resting on figures in the Clere-story wall; and have rich cornices of +mouldings and carved work, traceried spandrels, figures of angels, and +richly moulded beams. The AISLE-ARCADE is not often found, but its +place is sometimes supplied by the rectangular surface panelling, so +characteristic of the Period, which in some of the richer buildings +literally covers the whole of the walls, leaving no blank or unoccupied +space. + + +PRINCIPAL BUILDINGS + +OF + +THE RECTILINEAR PERIOD. + +YORK Cathedral Church Choir. +WINCHESTER Cathedral Church Nave. +CANTERBURY Cathedral Church Transepts. +CANTERBURY Cathedral Church Nave. +YORK Cathedral Church West Towers. +WELLS Cathedral Church Central Tower. +BEVERLEY Minster West Front. +BRIDLINGTON Priory Church West Front. +HOWDEN Collegiate Church Chapter House. +CAMBRIDGE St. Mary's Church Nave. +LONG MELFORD Holy Trinity Church Chancel, Nave. +SAFFRON WALDEN St. Mary's Church Chancel, Nave. +LAVENHAM St. Peter and + St. Paul's Church Nave. +DONCASTER St. George's Church Chancel, Nave. +BURY ST. EDMUND'S St. James' Church Chancel, Nave. +ROTHERHAM All Saints' Church Nave, Transepts. +HULL Holy Trinity Church Nave. +WINDSOR St. George's Chapel Chancel, Nave. +MANCHESTER Cathedral Church Choir, Nave. +TAUNTON St. Mary's Church Nave, Tower. +GLOUCESTER Cathedral Church Choir. +CAMBRIDGE King's College Chapel. +WARWICK St. Mary's Church Beauchamp Chapel. +WESTMINSTER Cathedral Church Henry Seventh's Chapel. +BATH Abbey Church Choir, Transepts, Nave. + + + + +THE SEVEN PERIODS + +OF + +ENGLISH ARCHITECTURE. + + + ROMANESQUE. + + A.D. A.D. YEARS. + + I. SAXON PERIOD from ---- to 1066, prevailed -- + + II. NORMAN PERIOD " 1066 " 1145, " 79 + +III. TRANSITIONAL PERIOD " 1145 " 1190, " 45 + + + GOTHIC. + + IV. LANCET PERIOD " 1190 " 1245, " 55 + + V. GEOMETRICAL PERIOD " 1245 " 1315, " 70 + + VI. CURVILINEAR PERIOD " 1315 " 1360, " 45 + +VII. RECTILINEAR PERIOD " 1360 " 1550, " 190 + + +LONDON: + +PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, +STAMFORD STREET AND CHARING CROSS. + +[Illustration: NORMAN + +Exterior ELY CATHEDRAL. Nave] + +[Illustration: NORMAN + +Interior ELY CATHEDRAL. Nave] + +[Illustration: NORMAN + +Exterior PETERBOROUGH CATHEDRAL. Choir] + +[Illustration: NORMAN + +Interior PETERBOROUGH CATHEDRAL. Choir] + +[Illustration: TRANSITIONAL + +Exterior RIPON CATHEDRAL. Choir] + +[Illustration: TRANSITIONAL + +Interior RIPON CATHEDRAL. Choir] + +[Illustration: LANCET + +Exterior ELY CATHEDRAL. Presbytery] + +[Illustration: LANCET. + +Interior ELY CATHEDRAL. Presbytery] + +[Illustration: LANCET + +Exterior LINCOLN CATHEDRAL. Nave] + +[Illustration: LANCET + +Interior LINCOLN CATHEDRAL. Nave] + +[Illustration: LANCET + +Exterior LINCOLN CATHEDRAL. Choir] + +[Illustration: LANCET + +Interior LINCOLN CATHEDRAL. Choir] + +[Illustration: GEOMETRICAL + +Exterior LINCOLN CATHEDRAL. Presbytery] + +[Illustration: GEOMETRICAL + +Interior LINCOLN CATHEDRAL. Presbytery] + +[Illustration: GEOMETRICAL + +Exterior LICHFIELD CATHEDRAL. Nave] + +[Illustration: GEOMETRICAL + +Interior LICHFIELD CATHEDRAL. Nave] + +[Illustration: CURVILINEAR + +Exterior ELY CATHEDRAL. Choir] + +[Illustration: CURVILINEAR + +Interior ELY CATHEDRAL. Choir] + +[Illustration: RECTILINEAR + +Exterior WINCHESTER CATHEDRAL. Nave] + +[Illustration: RECTILINEAR + +Interior WINCHESTER CATHEDRAL. Nave] + + + + +A SELECTION + +FROM + +E. & F. N. SPON'S CATALOGUE OF BOOKS. + + +_A HANDBOOK OF FORMULÆ, TABLES, AND MEMORANDA_, + +For Architectural Surveyors and others engaged in Building. By J. T. +HURST, C.E. Fourteenth Edition. Royal 32mo, roan, 5_s._ + +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_--Aërated 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--Cæsium--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 + +*** END OF THIS PROJECT GUTENBERG EBOOK THE SEVEN PERIODS OF ENGLISH *** + +***** This file should be named 38879-8.txt or 38879-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/8/8/7/38879/ + +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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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