lUr, IKKT. Digitized by the Internet Archive in 2010 with funding from Research Library, The Getty Research Institute http://www.archive.org/details/stylesofarchitecOOrick jftii eilui ia.<^i/w/u/6 ARCHITECTURE ENGLAND. a Jlbtti^ &y Ka.D»«mua aL(!!)TUi©IET©2S" ■ U.JE 35)AI... 1 iiUislwdV JH.farka-. O^; AN ATTEMPT TO DISCRIMINATE THE tpUs of arct)itectuif IN ENGLAND, FROM THF. CONQUEST TO THE REFORMATION: WITH A SKETCH OF THE GRECIAN AND ROMAN ORDERS; NOTICES OF NUMEROUS BRITISH EDIFICES; AND SOME REMARKS ON THE ARCHITECTURE OF A PART OF FRANCE. BY THE LATE THOMAS RICKMAN, F. S. A. FIFTH EDITION. WITH VKRT CONSIDERABLE ADDITIONS, AND NEW PI.ATE3. LONDON, JOHN HENRY PARKER. 377, STRAND ; AND BROAD STREET, OXFORD. MDCCCXLVIII. oxford: PRINTKD BY 1. SHltlMPTON. ADVERTISEMENT. The practical value of this work has now been so long established, and is so well known, that it is only necessary to mention the alterations which have been made in the present edition. The text of Mr. Rickman's last edition has been scru- pulously preserved, the additional matter being inserted between brackets, or as foot notes. Several years having elapsed since the last edition was published, and those years having been remarkable for a very great and rapid exten- sion of the study of Gothic Architecture, it might be ex- pected that great changes would have been required in this work, which was the first systematic treatise on the sub- ject in any language, and formed the original basis and ground of the study. But notwithstanding the numerous works which have appeared within the last five or six years, it is surprising to observe how very little real infor- mation has been added to that which Mr. Rickman col- lected and digested. The general accuracy of his obser- vations, and the acuteness with which he made use of the facts he had collected, are really quite wonderful, con- sidering that he was the fii'st to examine the ground, and may be said to have invented a new science. , VI ADVERTISEMENT. It would have been easy to have enlarged every chap- ter of his work, but this would have added more to the bulk than to the value, the real difficulty was to compress and digest the multitude of instances, to take a general and comprehensive view, without being deterred by a few exceptions. The Editor of the present edition felt that what the work really required to make it more intelligible to the public, was a better set of engravings of the objects described ; an acciu'ate drawing of the object is worth more than a whole chapter of description. He has accordingly turned his attention chiefly to this point. In the present edition the illustrations are entirely taken from old examples, while in the previous editions they were chiefly from Mr. Rickman's own designs. By far the greater part are from original drawings made expressly for the work by Mr. Mackenzie and Mr. Orlando Jewitt, whose accuracy cannot be too highly praised. A portion of them have been borrowed from other works when any could be found that exactly suited the purpose. To have attempted to give the whole from original soiu-ces, where so large a number was required, would have greatly increased the price of the book, without any equivalent advantage. The Appendix to the former editions contained short notes of a number of churches in different counties ; this part of the work was found to require a thorough revision, in some cases from imperfect information originally, in others from subsequent changes. The manuscript notes of Mr. Rickman himself and those of many others who have kindly assisted in the work, are in the hands of the ADVERTISEMENT. Vll Editor and preparing for publication. They are altogether so numerous and important that he has considered it best to make them into a separate work on " The Ecclesiastical and Architectural Topography of England," which he pur- poses to publish in separate counties, of which Bedford- shire is ready for the press, and many others are in a state of forwardness. The plan which he has adopted is that of arranging the churches in Deaneries, by which those in each neighbom-hood can be most conveniently classed together. Some notice will be given of every church, distinguishing those most worthy of attention; the remains of the Monasteries, Castles, and Houses of the Middle Ages will, as far as possible, be noticed under the head of the parishes in which they are situated, or to which they are proximate. Such a work must obviously be one of great laboiu- and difficulty, and requiring the assistance of many hands, he will therefore be obliged by receiving communications from any parties who have been in the habit of taking arcliitectural notes. TuKL, OxFOKD, March 18, 1848. PREFACE. An outline of the present essay was written by the Author for Smith's " Panorama of Science and Art," and published in that work many years ago, but having been frequently requested to enlarge and republish it, he has performed that task, and has subjoined a copious list of buildings for the student's instruction. The object of the present pubhcation has been to furnish, at a price which shall not present an obstacle to extensive circulation, such a view of the principles of architecture, more particularly that of the British Isles, as may not only be placed with advantage in the hands of the rising generation, but also afford the guardians of ecclesiastical edifices such clear discriminative remarks on the buildings now existing, as may enable them to judge vnth consider- able accuracy of the restorations necessary to be made in those venerable edifices that are under their peculiar care ; and also, by leading them to the study of such as still remain in a perfect state, to render them more capable of deciding on the various designs for churches in imitation of the English styles, which may be presented to their choice. b X PREFACE. As a text-book for the architectural student, Uttle need be said of this pubUcation. The want of such a work, particularly as it respects the English styles, is generally acknowledged ; and it has been the aim of the Author, by a constant reference to buildings, to instil the principles of practice rather than mere theoretical knowledge. This essay is by no means intended to supersede that more detailed view of English architecture which the sub- ject merits and requires : an undertaking of this nature must necessarily be expensive, from the requisite number of plates, without which it is impossible to give a full view of this interesting subject ; but if his life be preserved, and time and opportunity be afiforded him, the author may per- haps again intrude himself on the pubhc, with a more com- prehensive view of Gothic architecture in Europe. If he be not so permitted, it is a satisfaction to him to know that he will now leave behind those fully capable of inves- tigating a subject which will richly reward the philosophic investigator. ADVERTISEMENT TO THE FOURTH EDITION. THE Author of this work cannot, in justice to his feelings, appear a fourth time before the public, without gratefully acknow- ledging the very flattering communications he has received from several eminent Prelates, and from various other distinguished personages, both of the clergy and laity, in approbation of the plan he has pursued ; and he indulges the hope, that under the present circumstances the elucidation which he has attempted, of the real principles and essential differences of the styles of ancient English architecture, will derive an increasing degree of interest. By these principles the Author has been enabled to adapt the beautiful details and decorations of ancient work to modern pur- poses, both ecclesiastical and domestic. How he has succeeded, an examination of the edifices committed to his charge for design and execution, may best speak. Among many of the former may be enumerated — The new court of St. .John's college, Cambridge. The restoration of Rose castle, Cumberland, the palace of the bishop of Carlisle. Oulton church and parsonage, near Leeds, founded and endowed by the late John Blayds, Esq. Hampton Lucy church, near Stratford-upon-Avon, Warwickshire. The new church, in the parish of St. Philip and St. Jacob, Bristol. The churches of St. George, Birmingham, St. George, Chorley, and St. George, Barnsley. The churches of Mellor, Over Darwen, Lower Darwen, and Tockholes, in the parish of Blackburn. The churches of St. Peter and St. Paul, Preston. Two churches in the city of Carlisle. Xll ADVERTISEMENT TO THE FOURTH EDITION. St, David's church, in the city of Glasgow. St. Matthew's church, Kingsdown, Bristol. St. Jude's chiu-ch, Liverpool. The church of Lower Hardress, near Canterbury. The new church, added to the ancient steeple of the Grey Friars, Coventry. The new belfry and spire to the church of Saffron Walden, Essex. The church at Whittle-le-Woods, in the parish of Leyland, Lancashire. The church of Ombcrsley, Worcestershire. The Roman Catholic chapel at Redditch. The chapel and asylum for the Blind, Bristol, The Church at Stretton on Dunsmoor, Warwickshire. The Church at Loughborough, Leicestershire. As applied to private residences and domestic purposes, the following, amongst others, will suffice : — Matfen, Northumberland, the seat of Sir Edward Blackett, Baronet. The Grove, near Dumfries, the seat of Wellwood Maxwell, Esq. Brunstock, near Carlisle, the seat of George Saul, Esq. Burfield Lodge, near Bristol, the seat of Edward Bowles Fripp, Esq. Tettenhall Wood, Staffordshire, the seat of Miss Ilinckes. The residences of Colin Campbell and George Smith, Esqrs., Liverpool. In addition may be mentioned, monuments erected in the follow- ing churches : — In Everton church, near Liverpool. Three in the parish chui-ch of Preston. In the parish church of Warrington. Gloucester cathedral. Diurham cathedral. Buckden church, Huntingdonshire. King's Norton, Worcestershire. Hampton Lucy church, Warwickshire, &c. &c. CONTENTS. INTRODUCTORY REMARKS """^I GRECIAN ARCHITECTURE TUSCAN ORDER 16 DORIC 19 IONIC 27 CORINTHIAN 33 COMPOSITE 39 DESCRIPTION OF THE PLATES OF GRECIAN ARCHITECTURE xv ENGLISH ARCHITECTURE 45 THE FIRST, OR NORMAN STYLE gy THE SECOND, OR EARLY ENGLISH THE THIRD, OR DECORATED ENGLISH THE FOURTH, OR PERPENDICULAR MISCELLANEOUS REMARKS ON BUILDINGS OF ENGLISH ARCHITEC- TURE, AND A COMPARISON OF THE PRINCIPLES OF GRECIAN AND ENGLISH ARCHITECTURE 234 CHRONOLOGICAL TABLE p. 239, and App. p. Ixiii DESCRIPTION OF THE PLATES OF ENGLISH ARCHITECTURE xvi APPENDIX. ON SAXON ARCHITECTURE i ON THE ARCHITECTURE OP A PART OF FRANCE xiii INDEX OF BUILDINGS ixv 86 136 193 DESCRIPTION OF THE ENGRAVINGS. Those marked • are engraved on steel, as separate plates, the others are engraved on wood, and inserted in the text. GRECIAN AND EOMAN. A Corinthian modillon, from the palace of Dioclesian, with a mould- ing cut in zigzag ...... 4 A pedestal, shewing its divisions of surbase, dado, and base . 9 The Tuscan Order without a pedestal, having all its parts and their members divided, with the names . . . .11 A portion of an arch, with an architrave springing from an impost 12 A Corinthian modillion — a truss — dentils . . . ih. A pilaster placed against the end of a wall, forming one of the antee ....... 13 Specimens of a cabled and a fluted column . . . ib. Three varieties of rustic work . . . . .14 Grecian mouldings, the ovolo, cavetto, and torus — a fillet . ib. The apophyges — astragal — bead — cyma recta — cyma reversa — scotia ....... 15 The quirked ogee — reedings . . . • .16 Grecian Doric — from the temple of Theseus, Athens — temple of Apollo at Delos . . . . • .21 Roman Doric — from the theatre of Marcellus at Rome • ib. Modern Doric — from a design of Mr. Rickraan . • ib. Modern Ionic capital from Palladio . • .27 Grecian Ionic, from the Erectheum at Athens — Temple on the Ilissus .....•• 29 Roman Ionic, from the aqueduct of Hadrian at Athens — Temple of Fortuna Virilis, Rome . . • • . ib. Corinthian— from the arch of Hadrian, Athens — temple of Vesta, Tivoli — temple of Jupiter Olympius, Athens . . 37 Composite — from the arch of Septimus Severus, Rome . ib. XVI DESCRIPTION OF THE ENGRAVINGS. ENGLISH ARCHITECTURE. *Plan of "Wells Cathedral, shewing all the parts of a church, with the usual additional buildings. The cross lines represent the groinings of the vault, which in plans of English buildings are usually laid down as seen looking upwards. The more important and distinct parts are named upon the plan. The nave, with its north and south aisles — the central tower, north and south tran- septs — the choir, with its north and south aisle — the presbytery — the Lady-chapel — the chapter-house — the cloisters — the minor parts by letters. A, principal west door, or chief entrance ; B B, western side doors ; C C, west towers ; D Z>, doors from the cloisters ; E, north porch ; F F, west aisles of transepts ; G G, east aisles of tran- septs ; H, vestibule of chapter-house; //, eastern transepts; K, high altar ; L, altar of Lady-chapel ; MM MM, chapels ; NN, monumental chapels; 0, rood-screen, or organ-screen; P, registry or library. The other monastic buildings generally had communi- cations with the cloisters. The small circles in several of the piers and walls are staircases : the steps could not be shewn on so small a scale. The organ-screen and enclosure of the choir are of a lighter tint than the walls, to shew that they are not continued to the top of the arches. Against this enclosure are placed the stalls. The place of the bishop's throne varies, but is generally on the south side, at the east end of the stalls, and the pulpit nearly opposite . 47 Diagrams of the forms of arches, semicircular — segmental — horse-shoe — pointed — drop — lancet . . . . .50 mixed — Tudor — ogee . . . .51 a spandrel — cusps or foils .... ib. THE NORMAN STYLE. *East front of St. Cross church, near Winchester ; a good specimen of Norman composition, shewing the arrangement of windows, buttresses, and corner turrets, and the round air-holes for ventilating the roof. The transepts and central tower are indicated in the back ground 57 DESCRIPTION OF THE ENGRAVINGS. XVll Norman Doors — West doorway of Iffley church, Oxfordshire ; one of the richest of its class; very deeply recessed, and ornamented with a succession of zigzags and beak-head ornaments ; the dripstone is also enriched with the signs of the zodiac, and some other emblematical figures in a series of medallions ; on each side of the doorway are sunk panels, a common feature of this style. A slight indication may also be observed of the circular window over the door, and in the centre of the west front ; this was a common feature in the Norman style, and was called the " Oculus,'" or eye of the building . 57 Part of the south doorway of the same church, shewing the capitals enriched with sculpture, a portion of the shafts and jamb, and arch mouldings, ornamented with zigzags, roses, square flowers, and small grotesque figures; on one of the capitals is the Sagittarius or Centaur, which has been sometimes considered as a badge of King Stephen, but without any good authority . . . .59 Norman Windows — Circular window, St. James's, Bristol ; a remark- abl)' perfect specimen, the openings of which approach very nearly to the tracery of subsequent styles, but the mouldings are good Norman, consisting merely of plain rounds, or boutells, and the usual zig- zag ....... 60 Castle Rising church, Norfolk; a very fine example of rich late Norman work, ornamented with twisted shafts, and a kind of lozenge, forming a connecting link between the zigzag and the tooth ornament of the next style . . . . . . .61 Malmsbury abbey church, Wilts; a good plain window, with shafts having the common caps and bases .... ih. South window, Iffley, without shafts, but with zigzags continued down the jambs, and a characteristic dripstone . . . ib. Norman Arches — *Waltham Abbey, south side of choir; this com- partment is a good example of the arrangement of a Norman interior; besides the lower arches, frequently called the pier arches, it shews also the arches of the triforium and of the clerestory windows, all or- namented with the characteristic zigzag and fillet mouldings ; the plans of the piers, and sections or profiles of the arches, are also c XVm DESCRIPTION OF THE ENGRAVINGS. shewn ; there is a passage in the thickness of the wall of the clerestory (or clear-story) as well as in the triforium or blind-story . 63 Palace, Westminster, one of the arches in the palace of William Rufug, now concealed by later work, but which was uncovered a few years ago during some repairs, when an opportunity was afforded to Mr. Mackenzie to make sketches and measurements of this part of the original work ; it will be obsers^ed that the capitals are sculptured with foliage and figures, which was not commonly the case at so early a period ; the arch is not recessed .... ib. Lindisfarne Priory, a fine Norman arch, doubly recessed, and well moulded ; the piers are of two kinds ; one recessed like the arch, and having shafts attached, with the common cushion capitals ; the other round, massive, and ornamented with chevrons, as is the case with one of those at Waltham Abbey, shewn in the plate. The same feature occurs in Durham cathedral, and many other fine Norman build- ings ....... tb. Malmsbury abbey and Kirkstall priory ; both good specimens of the transition from the Norman style to the Early English, in its early stage; the arches are j)ointed, but retain all the massive character of pui-e Norman work ; in both the arches are recessed and well moulded ; one has the plain round piers, the other the clustered ; or more pro- perly has shafts attached to a square pier ; the capitals of both are nearly of the same scalloped character ; the bases of Kirkstall are later than those of Malmsbury, and approach very nearly to the Early English base ; all have the square plinth under them, which is usual in this style ...... ib. NoHMAN Piers — Gloucester cathedral ; the plain round pier, with a round capital simply moulded, and an octagonal plinth under the base moulding ; the dripstone, or hood-mould of the arch, is ornamented with the billet ; this example is pure Norman, but not very early in the style ....... 64 Lady-chapel, Oxford cathedral ; the common square pier with small shafts set in square recesses, or nooks at the angles ; another shaft is attached to one side ; the foliage of the capitals and the mouldings of the bases mark this as quite late in the style, and somewhat of tran- sition character . . . . . . ib. DESCRIPTION OF THE ENGRAVINGS. XIX Nave, Oxford cathedral : an octagonal pier, the capital enriched with foliage, under a square abacus ; the mouldings of the arches, and the corbel of the vaulting shaft, are shewn above the capital ; attached to the sides of the shaft, arc corbels which carry sub-arches, an unusual arrangement, which has a singular effect, as if the work belonged to two different periods, which is not however the case. A nearly similar arrangement occurs at Fountain's Abbey, Yorkshire, and Romsey abbey, Hants. All of these belong to the period of transition 65 Winchester cathedral, north transept ; a massive square pier, with large shafts in recesses at the angles, and other large shafts attached to the faces, one carrying the sub-arch, and another the vaulting shaft, rising from the ground, and not from a corbel, as at Oxford . ib. St. Alban's abbey ; the massive square pier quite plain, with treble recesses at the angles, but without shafts, and an impost moulding only in place of a capital ; this is very early in the style . tb. St. Peter's, Northampton ; a very rich and late example of the square pier with shafts attached ; the capitals sculptured in rude imitation of the Roman Composite order ; one of the shafts is ornamented with a band, which is not very common in Norman work, but is occasionally met with, and not always in very late work ; for instance they occur in the chapel in the White Tower, London, although similar shafts are much more common in Early English work ; another shaft is enriched with spiral fluting ; the number of mouldings in the bases is an indi- cation of a late date, and the thickness of the abacus sometimes con- sidered to mark an early one, is not a safe guide . . ib. Norman Tablets — Two corbel tables, from Iffley church, Oxfordshire; the first, from the nave over the south door, shews two of the corbels carved, while the rest are plain; it is evident that the carving was executed after the work was erected, and it was probably intended that all should be carved, but time or money was wanting ; such in- stances are not uncommon : the second, from the tower ; the corbels here are plain, and the intervals are alternately roimd-headed, and pointed with straight sides . . . . .66 Norman Buttresses — Two from Iffley ; one the plain flat pilaster but- tress, the other the square buttress, with shafts in recesses at the XX DESCRIPTION 01' THE ENGRAVINGS, angles ; this buttress continued to be used in the Early English style ....... 67 Fountain's Abbey ; the flat buttress, with a further projection attached to the lower part of it ; this is a semi-hexagon, and resembles a second buttress in front of the other, the top of it being bevelled off like the capping at the top of a tall buttress .... ib. St. Peter's, Northampton ; a very singular triple round buttress, sup- posed to be nearly unique ; it is very late in the style ; the Norman part only is here given ; the upper part, though made to correspond with the Norman, is Perpendicular work . . . ib. Dripstone termination, Shorehara, Sussex ; consisting of characteristic late Norman foliage . . . . .68 Norman Niches — Leigh, Worcestershire ; a good plain Norman niche, or sunk panel, with the figure perfect representing Christ . ib. Norman Orxamenis — Staircase, Canterbury ; part of the arcade enriched with various ornamental mouldings ; the star, the indented or saw-tooth, the zigzag, with the points filled up with the trefoil leaf; the capitals are also ornamented ; the section of the arch is given more at large, to shew more clearly the manner in which the ornament is applied ....... 69 Malmsbury abbey ; a good bold specimen of the zigzag ornament ib. Two varieties of the beak-head ornament from the west door, Ifiley 70 Malmsbury abbey ; the usual moulding of the scjuare abacus of the Norman capital, which is also frequently used as a string . ib. Several varieties of Norman ornamented mouldings — 1. New Shoreham ; a dripstone or hood-mould ornamented with foliage. 2. Barfreston ; a string with the embattled fret. 3. Durham; a dripstone, with foliage and medallions. 4. Barfreston; a string, with zigzags en- riched with pellet, and the saw-tooth ornament. 5. St. Ethelreds, Norwich ; the nail-head, and engrailed ornaments. 6. Durham ; abacus and string, ornamented with foliage of Greek character. 7. New Shoreham; an enriched variety of the zigzag. 8. Romsey; the star. 9. Colchester castle ; two varieties of scallop mouldings. 10. Malmsbury; the rounded billet . . . .71 DESCRIPTION Ol' THE ENGRAVINGS. XXI Tyinpaiuiin of a doorway, Briiisop church, Herefordshne ; oniamt-nted with sculpture, representing St, Michael slaying the dragon, with small figures round the arch ; a patera from Malmsbury abbey ; two gable crosses from Ottery, Somerset, and St. Germain's, Corn- wall ....... 72 Pillar from the crypt of Canterbury cathedral, ornamented with fluting of different kinds, and the capital witli sculpture, which has been com- menced and never finished, shewing clearly that it was executed after the capital was fixed in its place, and may have been a considerable time afterwards ...... 73 Pillar from Shobdon church, Herefordshire ; ornamented with very remarkable sculpture ; some similar examples occur in the same neighbourhood ; it bears some resemblance to the work on the crosses called Runic, but there is ground for believing that many of these were executed at least as late as the twelfth century, and there is no reason to suppose this pillar earlier than that period . ib. The number of Norman ornaments is almost endless, but these will suffice to give a tolerable idea of them. NoKMAN CapitaIiS — Durham castle ; ornamented with Ionic volutes, between which is a stag at bay ; the abacus is moulded in a manner not very usual in this style, the lower part being a torus instead of the usual hollow chamfer . , . . . 74 Wootton, Gloucestershire; the foliage of this capital, especially that under the abacus, partakes very much of the Greek character 75 Winchester cathedral, north transept ; a plain cushion capital, with the abacus most common in this style ; the same moulding is often found as a string, especially under the windows in the interior ib. Stourbridge, Cambridgeshire ; the scallop capital, very common in this style, with the usual abacus . . . . ib. Canterbury cathedral, choir ; the foliage of this is quite of Corinthian character; the abacus however is good Norman, though late in the style ....... ib. Durham cathedral, Galilee; quite a transition specimen, approaching near to the Early English . . . . . tb. XXU DESCRIPTION OF THE E^GKAVliNGS. Norman Bases — St. Cross, Hampshire ; shewing the foot ornament at the angle of the plinth, a frequent feature of this style, continued also in the next ...... 75 Iffley, Oxfordshire ; shewing the most usual Norman bases, late in the style ....... ib. Norman Turrets — Bredon, Worcestershire ; a small square tuiTet, with pyramidal capping, and with shafts inserted in small recesses at the angles, and divided into stages by strings . . 77 Bishop's Cleeve, Gloucestershire, near Cheltenham ; a remarkably good Norman pinnacle, the sides panelled, with an arcade of singular form ; the strings or tablets ornamented with the billet, the capping tall and pyramidal, like a small square spire . . . ib. Iffley, Oxfordshire ; the top of a stair turret, the sides fluted with small shafts between the larger ones, the top roofed with ashlar masonry ....... ib. Christ Church, Hampshire ; a rich turret ornamented with arcades and a reticulated pattern ; the upper part is covered in by stone capping, with a small corbel-table under it . . . . ib. Norman Groined Roof — Peterborough cathedral, shews the usual vaulting in the latter part of this style, with arch ribs and groin ribs ; in one bay there is a boss at the crossing or intersection of the ribs, in the other there is none . . . .79 Norman Fronts — St. Mary's church in the castle, Porchester, Hamp- shire, the west front ; a good example of a small Norman west front, having an enriched doorway below, and a triplet above, the whole flanked by two of the usual flat buttresses . . .80 Norman Porch — *Southwell minster, north side ; a remarkably fine example, the exterior ornamented with corbel-tables on each side, and rich strings; the outer doorway recessed and moulded, with two shafts rather massive and very characteristic ; over this three small windows, enriched with zigzags and shafts, and the dripstones also enriched with zigzags, and having for their terminations a peculiar sort of dragon's head, which occurs in manj' rich examples of this style; the DESCRIPTION OF THE ENGRAVINGS. XXIII turrets at the angles are restorations; the interior of this porch shews the intersecting arcades, and the very rich inner doorways six times recessed, with five shafts in the jambs ; the arches are ornamented with a variety of patterns, the inner one having the zigzags continued to the ground . . . , . .81 NoRMAX Fonts — Ancaster, Lincohishire ; a cylindrical font, with an intersecting arcade ; fonts similar to this are very common in this style ....... 82 Chaddesley Corbett, Worcestershire ; a cup-shaped font, with the inter- laced ornament called Runic, which was certainly in frequent use in the twelfth century, however much earlier it may have been used ib. Belton, Lincolnshire ; an octagonal font, the bowl standing on detached shafts, and ornamented with sunk panels, or niches in each face, with figures in them ; such figures are usually meant for the Apostles or the Evangelists ; in this instance the meaning of the figures is not clear, and the costume is remarkable . . . ib. Ashby Folville, Leicestershire ; a square font, standing on detached shafts, two of which are also square ; one side is ornamented with an arcade of shallow panelling, another with the interlaced and bead ornaments ....... ib. Norman Staircase — Canterbury ; a very remarkable example, believed to be unique ; it led to the Strangers' Hall, now destroyed, and is situated just within the gate of the close ; the exterior ornament is given at p. 69 . . . . . .84 Transition from Norman to Early English — *West end of Ketton Church, Rutlandshire, drawn by R. C. Hussey, Esq., (whose name is accidentally omitted by the engraver,) is a beautiful example of the transition, the doorway itself being round-headed, while the blank arches on each side are pointed ; it combines the zigzag and cat's-head with the tooth ornament, which occurs both in the dripstone and the jambs of the round-headed arch, while the pointed ones are ornamented with the zigzag ; the shafts are banded, and have caps of the elongated form generally found in Early English work, while the abacus mouldings and the foliage are late Norman. The great XXIV DESCRIPTION OF THK ENGRAVINGS. variety of ways in wliicli this transition was developed is one of tlie most remarkable and interesting features in the history of archi- tecture ....... 85 THE EARLY ENGLISH STYLE. Eakly I^Nni.isn Doors — Faringdon, Berkshire: an early example, retaining the Norman abacus moulding and the round arch, but the other mouldings are purely of this style, and semicircular arches to doorways are by no means uncommon in good Early English work ; the form of the arch was at all periods dictated chiefly by convenience, and is not to be too much relied on as a guide to style ; the iron-work on this door and on that at Uffington is very good and characteristic ; rich iron-work on doors is more common in this style than in aiij' other ....... 87 St. Cross, Hampshire ; a double door under a pointed arch, with tlie tooth ornament, and a good dripstone or hood-mould ; the doors themselves have trefoil heads, and there is an open quatrefoil in the tympan ; the small scale on which this beautiful doorway is engraved prevents justice being done to it ; all the details are excellent . ih. Uffington, Berkshire; a fine specimen of the most usual form of Early English doors; the arch is riclily moulded, and the shafts have fine capitals and bases; the square form of the abacus and the peculiar capitals give it an early character .... Ih. Great Milton, Oxfordshire ; a remarkably rich and deeply recessed dooi'- way, with a fine suite of mouldings, and five sliafts on each side, with capitals richly ornamented with foliage . . . ib. Winchester cathedral; a good trefoil-headed doorwaj', forming part of an arcade, and opening to a small spiral staircase ; it has fine bold mouldings, both to the arch and to the caps and bases of the shafts; the dripstone is terminated by richlj' scul])tured bosses, used as cor- bels; on eacli side of the arch in the spandrel is a trefoil panel, a favourite ornament of the style . . . .88 Base of shaft of south door, Stanwick, Northamptonshire, shewing the characteristic moulding which holds water in the deep hollow; it also DESCRIPTION OF THE ENGRAVINGS. XXV shews two different examples of the ornaments used to stojj chamfers or hollow mouldings in this style . . . .89 Open foliage, from the tomb of Archbishop Walter Gray, in York minster ; a very good and characteristic ornament of this style ; it is a round moulding, which runs round the base of the tomb, and is supported by a kind of crocket, formed of trefoil leaves ; the spaces between being pierced . . . . . ib. A small doorway in the choir-screen of Lincoln cathedral, forming part of an arcade ; it is richly moulded, and has triple shafts with caps of elegant foliage, and well-moulded bases . . .90 *West doorway of Higham Ferrars church, Northamptonshire ; a re- markably fine double door, under a shallow porch, the outer arch of which is richly moulded, and has shafts with very good capitals ; the space between the outer and inner arch is ornamented with an arcade, and sculptured, and the ceiling between the ribs diapered, (see p. Ill;) the doors have segmental arches, richly ornamented with foliage, and figures which continue also down the jambs ; the shaft, which divides the doors, supports a pedestal, on which has stood a figure, now removed ; the upper part of the space which was over the head of the figure is diapered ; on each side of this the tympan is filled with circular sculptured medallions, representing the principal events recorded in the New Testament, the spaces between being filled with foliage ; the part of the porch above the arch is not original ; on the north side is a singular trefoiled niche, with a canopy projecting at the upper part . . . .90 Early English Windows — Polebrook, Northamptonshire ; a fine triple lancet, with good mouldings and attached shafts banded . 91 Barton Stacey, Hampshire ; a small two-light window, with an opei quatrefoil in the head . . . . .92 *West window of Raunds church, Northamptonshire, (re stored) ; a very rich window of two lights, which are simple lancets externally, but in the interior they are splayed out to wider arches, with trefoil heads, richly ornamented with foliage, and in the space formed by a bold moulding springing from the point of each arch, and meeting in a pointed arch, is introduced a sunk circular quatrefoil panel, with d XXVi DESCRIPTION OF THE ENGRAVINGS. the points of the cusps ornamented with foliage ; (the lower part of this beautiful window is concealed by a Perpendicular vault, which is omitted in the drawing) . .... 92 Romsey abbey ; a single-light window, rather wider than usual in the style ; it has good mouldings and shafts . . ,93 Stanwick, Northamptonshire ; another single ligh t, or lancet-shaped window, very narrow, and splayed in a remarkable manner through the thick wall of the tower to the inner arch ; the tower is octagonal, and the inner arch being wider than one of the sides, the angles are corbelled to allow space for it ; this inner arch is of good pro- portions, and has two shafts on each side ; both in this and the pre- ceding it may be noticed that the capitals on one side are ornamented with foliage, on the other are moulded only ; this is not very unusual in good Gothic work of this style .... ib. Breadsall, Derbyshire ; in the tower, a two-light window not glazed ; the lights simple lancets, separated by a bold shaft, with well-moulded cap; the outer arch, which is common to both, has a dripstone en- riched with the tooth ornament .... ib. Oundle, Northamptonshire ; a winflow of five lancet lights, the centre the highest, with a common dripstone over all, uniting them as one window ....... ib. Window of tower, Ringstead, Northamptonshire ; a long narrow light, which would be called a lancet, but that it has a square head, over which is a pointed arch trefoiled and enriched with foliage ; square - headed windows may be found in all the styles, and are more common even in the Early English than is generally supposed, especially the side windows of chancels in small plain churches . . 94 Peterborough cathedral; a circular wheel window, much enriched; the outer moulding is engrailed; the shafts or spokea have the tooth ornament down the sides, and the trefoil ends of the lights have elegant foliage introduced in the mouldings ; the central small circle is also ornamented with foliage and a trefoil of open work . 95 Strixton, Northamptonshire ; a small sexfoil gable window, simple and bold but very good ...... ib. Hargrave, Northamptonshire; a small quatrefoil clerestory window, of similar character ...... ib. DESCRIPTION OF THE ENGRAVINGS. XXVII York cathedral, transept ; a fine specimen of the usual Early English lancet window, richly ornamented, as used in large buildings . 96 Westminster a bbey ; a sort of clerestory window, in the form of a spherical triangle, with a foliated circle introduced in it . ib. Early English Arches — Triforium arcade, north transept, West- minster abbey ; a range of \ ery light and elegant small arches tre- foiled, with a cinquefoil in the head, the points of the cusps flowered ; the outer arch is ornamented with foliage, and the surface of the wall is cove red with diaper ; this triforium has a double plane of decora- tion, one on each side of the thickness of the wall, as is clearly shewn in the engraving ; this is not an uncommon feature in this style, and is found in the other styles also, in rich buildings . . 97 Trifo rium arcade, Beverley minster ; a series of trefoil arches, with clustered shafts and rich mouldings, behind which is a lower range of obtusely pointed arches, with quatrefoils in the spandrels ; these two arcades, one behind the other, may also be considered as belong- ing to two distinct planes of decoration . . .98 Woodford, Northamptonshire; two of the nave arches; one complete on its two clustered pillars, the other resting on one side on a corbel ....... 99 North transept, Westminster abbey ; a richly moulded arch on circu- lar pillars, with small shafts attached to it by bands, having moulded caps and bases ; the surface of the wall in the spandrels is covered with diaper ....... ih. Arches of triforium, north transept, York cathedral; very rich Avork, with a fine suite of mouldings enriched with the tooth ornament on clustered pill ars, Avith fine caps of stiff"-leaf foliage ; the figure corbel used as a termination to the dripstones is remarkaby prominent. The smaller shafts are, as is usual in this style, in rich work, Purbeck marble ...... . ib. Early English Piers, sections of — North transept, Westminster abbey ; a round pier, with four detached shafts . . 1 00 Beverley minster, transept; a clustered pillar; some of the shafts round, others of the form of a spherical triangle . . ib. XXVm DESCRIPTION OF THE ENGRAVINGS . Lincoln cathedral, choir ; a diamond-shaped pier, with detached shafts ....... 101 Westminster abbey, choir ; a round pier, with shafts alternately de- tached, and attached . . . . . . ib. Selby, Yorkshire ; a clustered pier, the shafts formed of two ogees meeting in a point, except the vaulting shaft, which is detached, round, and triple ...... ib. St. John's, Cirencester, nave ; a clustered pier, the shafts projecting with considerable boldness, and having smaller shafts in the hollows between ....... ib. Netley Abbey, Hampshire ; a plain but very good pier, with shafts attached, and hollow chamfers between ; the cap and base moulded . . . . . . .102 Westminster abbey, north transept; one of the pillars of the arch, p. 99, more at large, see section, p. 100 . . . ib. Beverley minster ; a simple and bold clustered pillar, with good mould- ings to the caps and bases . . . . . tb. Lincoln cathedral ; a perspective drawing, shewing the general effect of the pillar of which the section is given in the previous page ib. Whitby abbey, Yorkshire, and Netley abbey, Hampshire ; vaulting shafts ....... 103 Early English Capitals — Stanwick, Northamptonshire ; a well- moulded capital, rather late in the style, and shorter than usual, but with the deep undercutting . . . . .104 Westminster abbey ; north aisle of choir, another moulded cap, rather similar to the last, but with the elongated neck forming a reversed bell, generally found in this style ; attached to it is the corbel sup- porting the dripstone ..... **• Lincoln cathedral ; a very elegant capital, with foliage, shewing very clearly the stiff upright stem springing from the neck moulding, and from which the leaves gradually expand ; from the character of these stems this kind of foliage is often called the stiff-leaf, to distinguish it from the crumpled leaf generally belonging to the Decorated style ....... a. DESCRIPTION OF THE ENGRAVINGS. XXIX Lincoln cathedral, north transept ; a very elegant capital, also orna- mented with the stiff-leaf foliage ; it will be observed that the stiff stems are not inconsistent with considerable freedom in the fo- liage . . . . . . ,105 Komsey abbey, north transept ; a veiy rich capital ; the engraving shews also a portion of the arch enriched with three rows of the tooth ornament, and an elegant dripstone termination of foliage ib. Tomb of Archbishop Walter Gray, York ; a fine capital with good mouldings, and with birds introduced among the foliage. The tomb from which this is taken is a very fine example of the style, and is worthy of very careful study .... ib. York cathedral, north transept ; a very fine and characteristic capital of a clustered pillar, with good mouldings and rich foliage . ib. Early English Bases — Beverley minster; a very simple base, con- sisting of two rounds with a deep hollow between ; the pillar is clustered, and the base mouldings follow its outline, but the plinth is octagonal, and is also ornamented with two round mouldings, above a plain set-off . . . . .106 Lincoln cathedral; a kind of double base, one over the other, each with its own set of mouldings, and both with the plinth following the outline of the pillar . . . . ib. Selby, Yorkshire ; in this base, which is later, there is no hollow, and the plinth is divided into separate octagons to each shaft, while the base mouldings form a series of half rounds, and do not follow the outline either of the shafts or of their plinths . . ib. Eablt English Buttresses — Ensham, Oxon ; the simplest buttress of the style, consisting merely of a square projection dying into the wall above ; the string under the window is continued round the buttress . . . . . . .107 Whitby, Yorkshire ; a characteristic buttress, terminated by a gablet standing free above the parapet ; the angles are chamfered off ib. Westminster abbey ; this fine buttress reaches the whole height of the building, ^ and supports a series of half arches springing over the cloister and aisle ; it has four set-offs, and is finished by a plain pin- XXX DESCRIPTION OF THE ENGRAVINGS. nacle ; another pinnacle is carried upon the outerwall of the aisle, and serves by its weight to give additional strength, to resist the thrust of the vault ...... 108 Eaely English Tablets — Cornice, York ; well moulded and filled with foliage . . . . . .109 Corbel-table of tower, Stanwick, Northamptonshire ; a good bold corbel-table, consisting of a series of small trefoil arches carried on masks, a name given to a peculiar corbel because the shadow of it is the same as that fi-om a head ; it has been sometimes called a buckle, because some specunens resemble the tongue of a buckle, but there are many varieties, and in many this resemblance is lost, while the shadow is always nearly the same ; these corbels are very common, and peculiar to this style and the early part of the next . ib. Swaton, Lincolnshire ; dripstone termination of foliage . . ib. Eaklt English Mouldings — Gateway, Trinity priory, York ; a series of shallow hollows, very unusual in this style, with the tooth ornament in a deep hollow under the dripstone, which is good and characteristic . . . . . .110 Arch of the nave, Milton, Oxfordshire ; bold rounds and deep hollows, the usual character of the style .... ib. Basement, Salisbury; a series of plain set-offs, with a bold round moulding above and below . . . . . ib. Section of arches, west doorway, and shallow porch, Raunds, North- amptonshire ; a very fine suite of mouldings, a series of deep hollows, and bold rounds filleted . . . . .111 Section of arch of west doorway and shallow porch, Higham Ferrars, Northamptonshire ; shewing also the diaper upon the soffit, (see p. 90) ib. Arch of the north doorway, Milton, Oxfordshire ; and of door, Wood- ford, Northamptonshire ; both fine suites of mouldings, shewing the usual character of this style . . . . . ib. Early English Niches — Stanwick, Northamptonshire ; a canopy over a seat, but it is still a niche, with a trefoil head, the points of DESCRIPTION OF THE ENGRAVINGS. XXXI the cusps foliated ; the label exhibits the serrated moulding, which if divided into petals would be the tooth ornament' . . 112 Niche in the west front of Peterborough cathedral ; forming one of an arcade, or series of shallow niches, with a good trefoil arch and shafts with elegant caps of foliage . . . . ib. Piscina, Polebroke, Northamptonshire ; a double niche with good shafts, and a quatrefoil in the head, or spandrel, between the arches . . . . . . .113 A series of niches, or an arcade resting upon the bench-table on the north side of the chancel of Denford church, Northamptonshire ib. Early English Oknaments — Arch mouldings filled with the tooth ornament, and dripstone termination of a piscina in the north tran- sept of York cathedral, shewing two varieties, the larger one lying over a hollow moulding, and being under-cut, which is the usual situation, the lesser one rising from a plain surface, which is not so common . . . . . .114 Six varieties of diaper ornament from Westminster abbey, Higham Ferrars, Selby, and Lincoln . . . . .115 Enriched corbel-table over an altar in the ruins of Notley abbey , Buckinghamshire ; the corbels themselves are formed of rich foliage, and the dripstones, the bosses between, and the cornice moulding, are all ornamented in a similar manner . . . .116 Panel, Raunds chm-ch, Northamptonshire ; a sunk trefoil, ornamented with foliage ; these occur in the spandrels of an arcade on the tower, and are some of them filled with sculptures . . . ib. Spandrel from the tomb of Archbishop Walter Gray, York ; ornamented with foliage . . . . . . . ib. Four varieties of foliage from the cloisters, Westminster, and Romsey abbey church . . . . . .117 Crockets, from the tomb of Archbishop Gray ; gable crosses, Morton and Little Ponton, Lincolnshire . . . .118 Early English Steeples — *Tower and Spire, Polebroke, Northamp- tonshire ; a good specimen of a plain tower and broach-spire, vn\h squinches and spire-lights . . . . .11.9 XXXll DESCRIPTION OF THE ENGRAVINGS. Peterborough cathedral, turret-pinnacle ; with small spire . 1 19 *Tower and spire of St. Mary's church, Stamford, with details ; the tower is a fine and rich example of Early English work ; the spire is later, and is early Decorated .... 120 Eakly English Battlements — Parapet, Lincoln cathedral ; the ornament is singular, and has a good deal of Norman character ib. Early English Roofs — Boss and ribs of vault, north aisle of nave, Lincoln cathedral ; a beautiful specimen of the foliage of this style applied to a boss ...... 121 Upmarden, Sussex ; wall-plate and tie-beam of a timber roof . 1 22 Llan-Tysilio, Anglesey ; collar, principals, and wall-plate of timbei roof; in both these examples the wall-plate has the nail-head orna- ment. Open timber roofs of this stjle are very rare, and though many portions of such roofs are found, no perfect specimen is known ....... ib. Wooden groined roof or ceiling, Warmington, Northamptonshire ; in imitation of stone groining ; other instances of this kind are found, but this is a remarkably fine example . . . .123 Eably English Fronts — Strixton, Northamptonshii-e ; east front, a small and simple building, but very elegant and well proportioned ; it shews the corner buttresses; a good small plain triplet with the string under it, which is continued round the buttresses ; above is an open quatrefoil, and three others not pierced, but used as sunk panels ....... 124 ♦Beverley minster, north transept ; a very fine and lofty elevation ; it shews the angle turrets, with their pinnacles, and at the angles of the aisles are good buttresses, with the gabled terminations and with shafts ; the ends of the aisles have each a single lancet window, with an early quatrefoil opening to give air to the roof; in the centre is a double door with a round arch, on each side of which is a pointed recess, or sunk panel ; over these is a bold string, on which rest bases of the shafts, and the sill of a magnificent triplet of three lancet wuidows of equal height; over this is another smaller and shorter triplet, resting on a string, the centre light the highest, as DESCRIPTION OF THE ENORAYINGS. XXXIU is commonly the case ; on each of the external sides is a narrow sunk lancet panel ; over these lights are four small sunk quatrefoils, then another string, and over that a wheel window, with again small sunk lancet-shaped panels on each side; over these another string, and in the gable another window in the form of the Vesica Piscis ; the gable, which as usual in this style is very acute, is terminated by an ornamental cross ....•• 125 Acton Burnel, Shropshire ; east front of the church, having a large double window of four lights, with trefoil heads, under a common arch with a large plain circle in the head, and smaller ones in the heads of the sub-arches ; there is a bold string under the window, continued round the buttresses at the angles, which are bold and good, without set-offs : the lower parts spread out in a singular and unusual manner ...... 126 Eakly English Pokch —Woodford, Northamptonshire ; the outer doorway is well moulded, the dripstone terminated by masks, the shafts in the jambs have moulded capitals and bands ; the inner door- May has a trefoil head with a semicircular arch over it, richly moulded and ornamented ; over this is a pointed arched canopy, with sunk panels in the tympan or space between these arch mould- ings ....... 128 Eakly English Fonts — Wellow, Somersetshire ; a very singular font, the basin or bowl being of a sexfoil shape, but otherwise quite plain ; the lower part well moulded, and carried upon a stem of the same form, with shafts attached . . . .129 Barrow, Leicestershire ; a circular font, the bowl ornamented with sculpture, and small arches, with fleur-de-lis and foliage ; early in the style ; the stem has shafts attached, with moulded capitals remarkable for having one string of moulding introduced in the centre of the bells of the capitals, and the tooth ornament into the hollows between the shafts, and on the edge of the base or step . . ih. Twyford, Leicestershire ; a square font of plain character, with the tooth ornament up the angles, and a sunk panel in one face . ih. Hexham, Northumberland ; a round font, the bowl plain, carried on a hexagonal stem and detached shafts, which rest upon a plain round plinth ; the stem has the tooth ornament cut very boldly up the angles ....... ib. XXXIV DESCRIPTION OF THE ENGRAVINGS. St. George's, Canterbury ; a veiy singular font; the bowl plain, octa- gonal, carried on a central stem, which is round, with cap and base mouldings, and eight detached shafts not at the angles, but in the middle of each face, and which are not as usual placed under the bowl, but are attached to the face, the bowl therefore only resting on half their thickness ; these shafts have well-moulded capitals and bases . . . . . . .129 Barnack, Northamptonshire ; another remarkable font ; the bowl itself is round, ornamented with bosses and foliage, but the mouldings at the top and bottom are octagonal ; this bowl is carried on an octagonal central stem, with a detached arcade of small trefoil arches under it, while the plinth on which these rest is square, with a round projec- tion on one side for the priest to stand on . . . ib. *lvvRLT English Staircase — Beverley minster; a very light and elegant arcade of trefoil arches, enriched with the tooth ornament ; the shafts remarkably slender, with caps of stiff-leaf foliage ; this arcade follows the steps, ascending on one side, carried over a small doorway, and descending on the other side ; tliis staircase formerly led from the choir to the chapter-house .... 130 The Transition from the Early English to the Decorated Style — *Queen Eleanor's Cross, Northampton ; the general charac- ter of this cross partakes much more of the later than the earlier style, but it may fairly be classed as a Transition building, though it shews that the Decorated style was then nearly established . 132 Compartment of the cloisters, "Westminster ; consisting of a blank win- dow or panelling of that form ; the common arch is equilateral, and quite Early English in its detail ; the sub-arches are of the trefoil form, and of the same character ; the tracery consists of three bold trefoils, and although such tracery is not quite consistent with the definition of the Early English style, it belongs in date rather to that than to the Decorated . . . . .133 Cusp from Raunds church, Northamptonshire, shewing the manner in which the earliest cusps were formed, which was not used after the change of style was established . . . .134 Windows from Raunds fluircli, Northamptonshire, and Acton Burnel, UESCKIPTION OF THE KNGRAVINCIS. XXXV Shropsliire ; these are of the same character as the compai tinent of the cloisters at Westminster, and the same remarks apply to them ........ 135 Irthlingborough, Northamptonshire ; five lancet lights under one arch ; this would be an Early English window, but that the spandrels are pierced, which gives it a later character . . ib. THE DECORATED ENGLISH STYLE. Decorated English Doors — Kislingbury, Northamptonshire ; nortli door of church, (blocked up,) and door frona chancel to vestry ; the first of these doorways is enriched with the four-leaved flower, which forms one of the characteristic marks of this style ; the other has two enriched mouldings, one with foliage the other with flowers, connected by stems ; the dripstones of both these doorways are terminated by heads, one of a king and queen, the other of a king and bishop ; in both cases the mouldings are continuous to the ground without shafts ....... 137 North Mimms, Herefordshire ; this example has a good suite of arch mouldings, enriched with the four-leaved flower in the hollows and between the shafts ; these have the usual bases and capitals orna- mented with foliage . . . . .138 Bainpton, Oxfordshire, west door; this has a fine suite of mouhlings continuous to the ground, with the ball-flower and square-leaved flower in the hollows ; the doors have the original iron-work ; it has no dripstone, being under a porch . . . .139 Mackworth, Derbyshire ; this has a single row of ball-flowers very boldly cut, and a good plain dripstone .... ib. Cloisters, Norwich ; a remarkable doorway, the jambs quite plain, merely chamfered ; the arch is cinquefoiled, and the foliations double feathered, with an ogee canopy enriched with crockets and a good finial ....... ih. Christ Church, York ; a plain doorway, with niches on each side ; these have trefoil heads, with pyramidal canopies enriched with crockets and finials . . . .140 XXXVl DESCRIPTION OF THE ENGRAVINGS. Little Addington. Northamptonshire ; this has the remains of small figures in a hollow moulding, buttresses with pinnacles, and a canopy with crockets and finials . . . . .141 Aynho. Northamptonshire ; this has a fine suite of mouldings continuous, and a canopy ; the hollow moulding under the label is enriched with open tracery, or panel work . . . . . ib. Decorated Exglish Windows — Little Addington. Northampton- shire ; the head of a two-light window, affording a good example of the early kind of traceiy called geometrical, and shewing the manner in which the cusps were brought out from the soffit . 142 York, passage leading to the chapter-house ; the heads of two windows, one of four lights the other of five, aflfording very good examples of geometrical tracery ; one is very remarkable for the triangular heads to the lower lights, for the running through of the centre mullion, and the irregularity of the tracery . . . 143 Chai'tham, Kent; a very remarkable and peculiar window, the tracery of which has a kind of German character about it . . ib. Meopham, Kent; another example of the same early character as Little Addington, with trefoil heads to the lights, trefoils and ciiiquefoil in the head ....... 144 Chaddesden, Derbyshire ; another singular example, the tracery of which resembles that of the Churches of Brittany . . ib. Leominster, Herefordshire ; a veiy ricli example, with circles in the head filled up with tracery and foliation ; the whole enriched with a profusion of the ball-flower ornament. This kind of window is in some degree a provincialism ; it occurs in Gloucester cathedral, and in many other churches in that part of the country . . ib. Dorchester, Oxfordshire ; a good specimen of a style of window which is not uncommon in early Decorated work of the time of Edward the First ; it is of three lights with trefoiled arches, and in the head is a circle filled with tracery . . . . . ib. Northmoor, Oxfordshire ; the east window of three lights with trefoil heads, the centre the highest ; over each of the side lights is a plain circle in the head ; this window is early in the style, and partakes a good deal of Early English character . . .145 DESCRIPTION OF THE ENGRAVINGS. XXXVll Northmoor, Oxfordshire ; one of the side windows of the nave, of two lights with trefoil arches and the head left open ; the inner arch or hood is carried on two corbel shafts, with foliage capitals, and sup- ported by heads . . . . . .145 Piddington, Oxfordshire ; a three-light window ; the centre the highest, with trefoiled heads; the spandrels left open, the mullions have capi- tals, or more cori'ectly have shafts with capitals attached to them in the interior ; the hood has a trefoil head, the cusps pierced with trefoils, and is carried on sliafts attached to the inner angles of the splay ib. Bampton, Oxfordshire ; a window of similar character to the last, but plainer, the lights have trefoil heads carried up into the common arch without any openings in the spandrels, the inner arch or hood is cinquefoiled ; windows of this character are common in the northern part of Oxfordshire, and may be considered as a provincialism . ib. Amport, Plampshire ; the head of a window to shew the mode of form- ing the tracery; it may be considered as transitional from geometrical to flowing, having a circle in the head, but with tracery within the circle of flowing character ; the centre light has a round arch with double foliation, the side lights are trefoiled, and have open trefoils above them . . . .146 Little Addington, Northamptonshire ; the head of a two-light window of the most common form of flowing tracery ; the cusps of this are of the common form, and difier from those given on p. 142 . ib. Eling, Hampshire ; another form of tracery, very elegant, and not very uncommon . . . • . . .147 St. Mary's, Beverley ; another variety of flowing tracery, more com- plicated than the last ; it has a well-moulded arch with two attached shafts in each jamb, and a dripstone terminated by heads . ib. Beverley minster ; a rich specimen of flowing tracery approaching to Flamboyant, the arch mouldings are bold and good, and it has three shafts in each jamb with caps ornamented with foliage . ib. Irthlingborough, Northamptonshire ; another fine example with tracery approaching to Flamboyant, the arch mouldings are continued down the jambs, and it has a good dripstone terminated by heads . ib. Dorchester, Oxfordshire, a square-headed window with flowing tracery ; such windows are far from uncommon in this style, and may be found XXXVlll DESCRIPTION 01- THE EN (.HAVINGS. in most parts of the country, though more common in some districts than in others, as in Leicestershire and Northamptonshire . 148 Over, Cambridgeshire, a window with a segmental head and flowing tracery ; this also is not an uncommon form in good Decorated work ....... ib. The Jesse window. Dorchester, Oxfordshire, a very rich and fine example of the attempt to represent the tree of Jesse in a window, partly in sculptured figures and partly in the painted glass ; similar windows occur at York, and in several other places, but few if any are so fine as this; it is rather late in the style .149 St. Mary's, Cheltenham, a circular window filled with fine flowing tracery, of the character often called a " Catherine Wheel" . 150 Ferington, St. John's, Norfolk, a small circular window with early tracery ....... ib. Stratford on Avon, a small circular window in the tower, with wheel tracery ; the lights are finished by ogees cinquefoiled . ib. Great Milton, Oxfordshire, a clerestory window consisting of a small circular opening with a quatrefoil ; it occurs in good Decorated work, otherwise the same form might be Early English ■ .151 Cranford St. Andrew, and Barton Segrave, Northamptonshire ; these two clerestory windows are so exactly alike, that the two drawings might pass for the exterior and interior of the same window, which consists of a spherical triangle trefoiled, with a bold simple mouldiiig on the exterior, and a finial of foliage ; the interior is splayed to a much wider opening, so contrived as to throw the light down into the church, a common an-angement in early clerestory windows . ib. Belfry and Gable Windows — Aynho, Northamptonshire, has tra- cery of rich flowing character, but the head and centre are solid, and the two side lights only are pierced ; in the centre a niche is intro- duced, shewing that the arrangement is original . .152 Irthlingborough, Northamptonshire ; in this instance the two lights form in fact separate windows, with a niche introduced in the pier between them ....... ib. Great Addington, Northamptonshire, a diamond-shaped window with late flowinsr tracery and heads at the angles . . ib. DESCRIPTION OF THK ENGRAVINGS, XXXIX Albeibury, Shropshire ; this gable window, which is in the form of a spherical triangle with early tracery, belongs to the class of air-holes in towers, and in gables, to give air to the roofs . .153 Maison de Dieu, Dover, another of the same class, with still earlier tracery ....... ib. Bolton abbey, Yorkshire, a square-headed window with Flamboyant tracery ....... ib. Spire-light, Irchester, Northamptonshire, with pyramidal head, crockets, and finial, the two lights trefoiled with a quatrefoil in the head 154 Staircase-light, St. Mary's, Beverley, with Flamboyant tracery . ib. Decorated English Arches — Ely cathedral, a very rich specimen with an enriched variety of the four-leaved flower introduced in the outer mouldings ; sunk foliated panels are introduced in the span- drels, and the corbels of the vaulting shafts are particularly fine, the dripstones are tei'minated by figures, the capitals are round, well moulded with flowers introduced in the neck, and belong to each shaft separately not continuous for the whole pier, indeed this seems to be studiously avoided by making the intermediate shafts higher than the others ; the bases are somewhat stilted on octagonal plinths ....... 155 Selby abbey church, Yorkshire, another very fine example ; the arch has a splendid suite of mouldings, the capitals have the crumpled foliage, each shaft has a separate octagonal abacus, but as these touch the effect is almost the same as a continuous capital ; between the springing of the arches are rich canopies with corbels under them forming niches, open at the sides, but as the figures are destroyed they do not at first sight convey the idea of their use . ib. *St. Mary's, Beverley, a plainer but very fine arch, the shafts have fillets running up them, and well-moulded caps and bases ; the manner in which the arch-mouldings die into the piers should be noticed as a common characteristic of the style ; in the spandrels are sunk panels, enriched with double foliation; the niche between the arches is very light and elegant, with a corbel of foliage, buttressets, and small pin- nacles, crockets and finial ; through the arch is seen the entrance to a chapel with open stone screen-work like the tracery of a window ; xl DESCRIPTION OF THE ENGRAVINGS. the vaulted roof of the arch with some stalls and a stall-desk are also visible . . . . . . .156 Guisborough, Yorkshire, triforiiini arcade, of trefoil arches, with a band of quatrefoil panels above . . . . . ih. Beverley minster, arcade of panelling, the arches are ogees trefoiled, with fine crockets and finials, the capitals are enriched with elegant foliage, and the bases well moulded .... ib. Decokated English Pieks — Vaulting-shafts, Exeter cathedral, and Dorchester, Oxfordshire ; the one from Exeter rises from the capitals of pillars of the nave, the corbels on which they rest are mostly orna- mented with figures, but some have only foliage, and others rise from niches ; that of Dorchester has a head with foliage, the stalks of which are brought out of the mouth, as if the ends were being bit, a very favourite device in this style. It runs from an angle of the church over a door, and has more the character of a corbel-shaft . 157 Exeter cathedral, nave pier, diamond shaped, surrounded by shafts with finely moulded caps and bases . . . .158 Guisborough, Yorkshire, a clustered pier with foliaged caps . ib. Long Compton, Warwickshire ; the plain octagonal pier with moulded cap and base, which is very common in country churches of this and other styles, and can only be distinguished by its mouldings ib. Silk Willoughby, Lincolnshire ; section of a pier, consisting of four shafts of the ogee form, with fillets . . . . .159 Little Addington, Northamptonshire ; section of a clustered pier, the shafts alternately large and small, with fillets ; an early example ib. Finedon, Northamptonshire ; sections of two clustered piers of different plans ; one is of four round shafts quirked to a i-ounded hollow between ; the other is of six shafts, three large towards the nave, and three small towards the aisle ; they are all separated by deep hollows, with fillets ...... ib. Dorchester, Oxfordshire; plans of two clustered piers, with the bases ....... tb. Decorated English Capitals — York cathedral ; a rich specimen of DESCRIPTION OF THE ENGRAVINGS. xU the crumpled foliage, with octagonal abacus to each shaft, and round neck mouldings, but the foliage is continuous . . 160 Cloisters, Norwich; a well-moulded capital, without foliage . ib. Doi'chester, Oxfordshire ; a fine example of free and bold foliage ib. Beverley minster ; the capital of a shaft of the arcade, with elegant foliage . . . . . . . ib. Finedon, Northamptonshire; another rich example of crumpled foliage, with a head introduced biting the stalks ; the angel corbel carries another arch, known as a straining arch . . . ib. York cathedral, or minster ; a specimen of very bold foliage ; this is not uncommon on the capitals of small shafts . . . ib. Decorated English Buttresses — *Merton College Chapel, Oxford ; a fine range of buttresses with pediraented heads and set-ofis, and panels in the face ; the other features of the building are also shewn in this view ; the gurgoyles and cornice, and the range of windows, with a variety of tracery, are all very good, and present one of the best specimens of geometrical Decorated ; the ante-chapel, or transept, and the tower, which are also shewn, ai-e Perpendicular work . . . . . . .161 Bridlington, Yorkshire ; a good buttress, with a crocketed canopy ; the angles are chamfered off, and have ornamented chamfer termina- tions .--..,. ib. BeauUeu, Hampshire ; a plain but good buttress, the top dying into the wall, the angles chamfered off, with good though simple termina- tions ....... ib. Over, Cambridgeshire ; a good specimen, with the pedimented head, basement mouldings, and a set-off; the upper part only is chamfered ; the introduction of an animal on the canopy is not unusual in this style ....... 162 Great Milton, Oxfordshire ; this specimen has a niche in the face, with ogee canopy, crockets, and finial and pinnacles : such examples are common in rich buildings of this style . . . ib, DECORATED English Tablets — Cornice, Souldera, Oxfordshire; a kind of corbel-table, the corbels being alternately heads and ball- / Xlii DESCRIPTION OF THE ENGRAVINGS. flowers ; the heads have some of them a good deal of the Norman character about them ..... 163 Cornice, Irchester, Northamptonshire; a hollow moulding, with a run- ning stem ; the four-leaved flower and heads at intervals ; this is the cornice of the tower ..... ib. Cornice, Merton college chapel ; a fine suite of mouldings, with orna- ments in the hollow, alternately foliage and heads ; of these there are a great variety, and they are valuable as examples of costume of the period ; of those shewn, two appear to be Edward I. and Queen Eleanor ....... ib. Cornice, Queen's Cross. Northampton ; with two varieties of foliage ; the oak is very characteristic of this period . . ib. Strings, Dorchester, Oxfordshire ; the scroll and fillet, and the hollow mouldings . . . . . . .164 Dripstone termination, Brandon, Sufiblk ; a common kind of return ib. Basement mouldings, Ewerby, Lincolnshire ; a good and characteristic suite ....... ib. Decorated English Niches — *West front of gatehouse, Thornton abbey, Lincolnshire ; this building is of Transition character; the east front (p. 192) has more of Perpendicular character, but on this side the arrangement and character of the niches is Decorated . 165 Niche, Piddington, Oxfordshire ; a very rich specimen, with shafts having foliated capitals, and a trefoiled canopy ; it is situated on the north side of the altar, in the usual place of the Easter sepulchre, and from the small figures of angels in the canopy, adoring some object which lias disappeared, it may probably have been used to deposit the Host during the Easter ceremonies . . . ib. A double niche, with two water drains or piscinas, Peterborough cathe- dral ; this is of early character, with trefoil sub-arches, and open tre- foils in the head, and clustered shafts ; a very elegant specimen ib. A triangular niche and piscina, North Moreton, Berkshire ; a rich and good example, with the ball-flower ornament under the dripstone ; niches of this form across an angle are not very common ; there is a very fine one at Cheltenham ; some others have been noticed in Suffolk and in Bedfordshire . . . . .166 DESCRIPTION OF THE ENGRAVINGS. xHii Sedilia and piscina, Dorchester, Oxfordshire ; these niches have Hue pyramidal canopies ; the small openings or windows at the back are very remarkable, and believed to be unique] . .167 Sedilia and piscina, Grafton Underwood, Northamptonshire; these niches have ogee heads cinquefoiled, with a square head over, com- mon to all . . . . . . . ib. Wooden screen, St. John's, Winchester ; Decorated wood-work is not very common ; this is a good plain specimen ; there are some very elaborate stone screens of this style filled with niches . 168 Decokaxed English Ornaments — the four-leaved flower and the ball-flower, both veiy characteristic ornaments of this style . 169 Mouldings of arches, Finedon, Northamptonshire ; shewing the scroll and flllet, hollows, and sunk chamfers, with fillets . . ib. Bray, Berkshire ; shewing the mode in which the arch is re- cessed, with the angles cut off" into a quarter round moulding and fillets, the projecting dripstone having the usual scroll moulding, often called the roll moulding; but as that name is also applied to the plain round it seems better to call this the scroll . 170 Dorchester, Oxfordshire ; interior and exterior of window, south aisle ....... ib. of a pier arch, Great Addington, Northamptonshire ; of rather early character, the mouldings being very deeply cut, though the forms are the same as have been before mentioned . . ib. Dorchester, Oxfordshire ; window, north aisle, exterior ; this is of earlier character than the last, being geometrical . . ib. of the chancel-arch, Raunds, Northamptonshire; with a bold dripstone of the usual form, and shallow hollows enriched with ball flowers; these mouldings are remarkably bold and distinct . 171 of the Jesse window, Dorchester, Oxfordshire ; the dripstone is enriched with foliage, and the hollows with two rows of ball flowers ....... ib. of a window arch, St. Augustine's gateway, Canterbuiy; en- riched with a variety of the four-leaved flower . . ib. Xliv DESCRIPTION OF THE ENGRAVINGS. Mouldings of the wall-plate, Beckley, Oxfordshire ; two rounds with fillets separated by deep hollows; these mouldings are remarkably bold and good ...... 171 of a window jamb, Kingsthorpe, Northamptonshire ; with ogees, hollows and fillets, the chamfer enriched with a large four-leaved flower ....... ib. of the cornice and arch of a wooden screen, Dorchester, Oxford- shire ; shewing, in addition to the usual mouldings, the battlement, and the double foliation of the arch .... ib. Diaper work, eight varieties from Geddington cross, Northampton- shire ....... 172 ■ other examples, two from Lincoln cathedral, the choir screen, St. Alban's abbey, Westminster abbey, and Canterbury cathe- dral ........ 173 Crockets, three from Winchester cathedral, an arcade at the back of the original reredos of the altar, Kidlington, Oxfordshire, Exeter cathedral, Beverley minster . . . .174 Foliage, Winchester, as above, and Debenham, Suffblk . 175 Decorated English Steeples — Bloxham church, Oxfordshire, with details ; a rich and fine example, both of a tower and a spire of this style ; the doorway, windows, cornice and parapet, and pinnacles are all good and characteristic ..... 176 Decorated Exglish Battlements — Great Addington, Northamp- tonshire; this parapet has a small battlement upon it, such as is often found in this style ; the front is ornamented with a series of sunk quatrefoils, &c. ...... 177 Dorchester, Oxfordshire ; a plain parapet, with the ball-flower and leaf- ornament in the cornice . . . . , to. Decorated English Roofs — Boss and ribs in the cloisters, Norwich ; the sculpture on this boss is very remarkable, representing a procession of priests at the consecration of a church ; unfortunately most of the figures have had the heads destroyed ; the series of bosses in these cloisters is very fine, and deserves careful study . . 178 DESCRIPTION OF THE ENGRAVINGS. xlv "\\'illing]iam, Cambridgeshire ; a stone roof of the original vestry on the north side of the chancel . . . . .179 Polebrook, Northamptonshire, open timber roof of the chancel ; a rather plain but good example of a roof of low pitch, with a tie-beam and king-post, and braces, and the principals cut into a kind of foli- ation ....... 180 Raunds, Northamptonshire, open timber roof of the nave; this is also of low pitch, and rather plain, except that the spandrels formed by the braces and tie-beams are filled with rich open-work . . ib. Bradenstoke prioiy, commonly called Clack abbey, Wiltshire ; this fine open timber roof of the ancient refectory now forms part of a farm-house, and is in a state of much neglect and decay ; it is of high pitch, without a tie-beam, but with two collars, and a regular wooden arch connecting the lower collar witli the wall-plates ; this arch is ornamented with the ball-flower; above this is a king-post with braces, branching out from its capital ; this latter part of the arrangement is a common feature in Decorated timber roofs . 181 Decokated English Feonts — *Howden church, Yorkshire, the west front ; a splendid composition, Avith bold and characteristic buttresses and pinnacles, a good west doorway with panelling on each side of it, a fine window of four lights with geometrical tracery, and a crocketed canopy with niches over it ; the gable, which is well proportioned, is also crocketed, and terminated by an elegant cross . .183 Lichfield cathedral, the west front ; another very rich and sumptuous example, perhaps the best we have remaining, having the two spires perfect ; the whole front is covered with panelling and niches, some of which retain their images ; the doorways and windows are very fine 184 Chapel at Houghton in the Dale, Norfolk ; a small and late, but very good specimen ; the square-headed niches on each side of the door, and the square tops to the corner buttresses, give rather a Per- pendicular look to it, and the window is of late character, but the niches on each side and above it, and the other details, mark it as good Decorated work ; this elegant little building is now used as a barn ...... frontispiece xlvi DESCRIPTION OF THE ENGRAVINGS. Decorated English Porches — *Finedon. Northamptonshire; a good example of a plain porch of this style, with a room over it, (commonly but erroneously called a parvise,) a stair turret in the angle, and a battlement : the tower and spire shewn in this view are also good specimens of this style ; the window at the end of the south tran- sept shews the elegant form and peculiar tracery of the windows of this fine church; they do not appear to have ever had any cusps 185 Merrow, Surrey ; a plain stone porch, with good barge-boards doubly feathered .... . . 186 Over, Cambridgeshire ; a remarkably fine and elegant porch, early in the style, with rich clusters of shafts at the outer angles, terminating in pinnacles ; the capitals of these shafts are beautifully sculptured with the heads of animals, and a rich ball-flower runs under the cornice ; it has a well-moulded doorway, and two unglazed windows on each side of two lights cinquefoiled, with quatrefoils in the head ; also a good cornice and battlement . . ib. Rushden, Northamptonshire ; a shallow porch over the west door, in- ti'oduced between the buttresses of the tower, with which the canopy over the outer doorway is connected in a singular manner . 187 Ilorsemonden, Kent ; a timber porch, with good barge-boards . ib. Decorated English Fonts — Shiplake, Oxfordshire; an octagonal, cup-shaped font ; the sides of the basin ornamented with ogee arches, springing from corbels at the sides ; a plain stem, with moulded base ........ 188 Bloxham, Oxfordshire; an octagonal font, without shaft, with buttresses at the angles, and tracery on each face . . . ib. Cotterstock, Northamptonshire ; an octagonal, cup-shaped font, covered with panelling both round the basin and the stem . . ib. St. Peter's, Northampton ; an octagonal font, without shafts, having buttresses and pinnacles at the angles, between which are panels of window tracery under a straight-sided canopy, having dockets and finials, the space between being filled with foliage ; this ought rather to be considered a Transition font, as the tracery is of Perpendicular character, though the general form and appearance of the font is Decorated ....... i5. DESCRIPTION OF THE ENGRAVINGS. xlvii Decorated Buildings — ^'Interior of the chancel, Trinity church, Hull ; the arches are fine, and the east window is a fine example of flowing tracery, but the transoms give it the appearance of late date . . . . . . . . 1 89 The Transition from the Decorated to the Perpendicuear Style — Windows, Thornton abbey, Lincolnshire ; with nearly flat segmental head, and tracery of mixed character . .190 Sandford, Oxfordshire ; the mixture of Perpendicular is shewn in the carrying through to the head the two mullions, and by the two small transoms . . . . . . . ib. York cathedral ; south aisle of choir, a rich example, with mixed tracery, ogee canopy, having crockets and finial ; the upright lines carried through the otherwise flowing tracery, make this a good ex- ample of Transition . . . . . ib. Clerestory of the presbytery, a fine rich example, with short transoms introduced in the head ; this example is farther advanced than the last, and is almost Perpendicular; but there is still sufiicient Deco- rated character remaining in the tracery to shew it Transition ib. Tliornton abbey, Lincolnshire, oriel window in the east front of the gatehouse ; an early example of this kind of window, which is usually found only in Perpendicular work, and this may be referred to that style, but very early in it, and retains some features of Decorated work ....... 191 King's Sutton, Northamptonshire ; a good specimen of this Transition ; the form is quite Perpendicular, but the mouldings are as distinctly Decorated ; the dripstone has the ball-flower and four-leaved flower under it . . . . . . . ib. *Thomton abbey, east side of gateway ; this side partakes more of Per- pendicular character ; the battlements are destroyed, but enough re- mained to enable Mr. Mackenzie to supply them, as shewn by the faint outline . . . , .192 THE PERPENDICULAR STYLK Perpendicular English Doors— Spandrel of a small doorway, Christ Church, Oxford, built by Wolsey, ornamented with foliage, a scroll, and the arms of the archiepiscopal see of York . 193 xlviii DESCRIPTION OF THK ENGRAVINGS. Warktoii, Northumptonsliire, west door ; with square dripstone, and a band of quatrelbils over it ; the dripstone is terminated by heads, and the spandrels are filled up with quatrefoils and roses ; a band of quatrefoils also runs on the base moulding . . .194 St. John's college, Oxford, entrance gateway ; described at p. 196 . ib. Kenton, Devonshire ; a very rich doorway to the porch ; another similar to it is shewn within ; the jambs are ornamented with square flowers in a hollow moulding ; the dripstone is terminated by good heads, having the appearance of portraits. The ornament in the head of the outer door is very characteristic of Perpendicular in this part of the country . . . . . .195 Oxford, Christ Church hall staircase; part of Wolsey's work, situated on the top of the staircase, leading down to the kitchen ; it forms a sort of shallow porch, with a battlement over . ,195 Westminster abbey ; a small doorway, with ogee canopy, having good crockets and finial, and terminated by heads . .196 Lincoln cathedral ; a small plain doorway, with four-centred arches, and dripstone with plain returns .... ib. *Howden, Yorkshire, entrance to the chapter house, (restored ;) this is one of the richest Perpendicular doorways we have remaining ; it has small shafts in the jambs, with square flowers between, an ogee arch with hanging foliations under it, crockets and finial, and small figures standing on corbels on the haunches ; thei'e is also a double plane of foliation, the inner one a repetition of the outer ; on each side are tall niches, (or tabernacles, the figures destroyed.) with verj' fine canopies of tabernacle work . . . . *196 Perpexdicular English Windoavs — York cathedral, clerestory of the choir ; early in the style . . . . 1 98 Beauchamp chapel, Warwick ; a good example, surrounded by panel- ling; the parapet above is ornamented with a row of quatrefoils ib. Westminster abbey ; clerestory of Henry VII. 's chapel . . ib. Kidlington, Oxfordshire, east side of north transept ; this window has had an altar under it, of which the niches, brackets, and piscina remain . . . .199 DESCRIPTION OF THE ENGRAVINGS. xlix Rushden, Northamptonshire ; this has a very depressed arch, but with a good crocketed canopy : it has a battlemented transom : all the muUions are carried through to the head . . . 1 99 Minster Lovell, Oxfordshire ; a plain specimen, without a drip- stone ....... '^• Peependicui-ar English Arches — *Ruined chapel on the south side of the church of St. Lawrence, Evesham ; a fom--centred arch, with panelled soffit and jambs. " The design of this plate (which formed the frontispiece to the last edition) is to shew as much of late Perpen- dicular work as can well be comprised in one plate. The chapel is drawn precisely in the state in which it was when the drawing was taken by the late Mr. Hutchinson, except that in the plate, the font, which was thrown down and mutilated, has been set up in what evi- dently was its original situation. The view shews the arch of en- trance, which once had a beautiful screen, and some good Perpen- dicular windows and niches ; but the most beautiful feature is the very fine groined roof with a pendant. This roof is very clear and good in its details, and is one of the most beautiful specimens of small fan-tracery roofing with a pendant in the kingdom." . 201 Winchester cathedral ; a compartment shewing one of the arches of the nave, with the space over it, filled up with panelling, and a small window, the spandrels of the arch are also panelled ; the piers are very massive, being in fact the original Norman piers, with Perpen- dicular shafts cut upon the actual surface of the Norman stone- work in some instances, in others, cased with Perpendicular work, at L some of the Norman woik remains visible . . . 203 Canterbury cathedral ; a similar compartment for the sake of com- parison, (by a mistake of the printer the names of these two woodcuts are reversed) ...... ib. Perpendicular English Piers — Totness, Devonshire ; Rushden, Northamptonshire ; St. Andrew's, Plymouth ; Plymstock, Devon- shire ....... 205 Perpendicular English Buttresses — Kenton, Devonshire ; a plain buttress, with two set-ofis, and a pinnacle . . . 206 9 1 DESCRIPTION OF THE ENGRAVINGS. South More ton, Berkshire ; a plain buttress, with a sunk panel in the face of the lower stage ..... 206 Winchester cathedral ; a range of buttresses and windows, at the west end of the north aisle, shewing the variations between the work of Bishop Edington, in the bay nearest the west end, and that of Wyke- ham, in the other two ; the earlier buttress, with its crocketed canopy, partakes more of the Decorated character ; the later ones are decided and good Perpendicular ..... 207 Westminster, Henry VII. 's chapel ; buttress of stall-work . 208 Perpendicular English Tablets — Cornice of oak screen, Rush- den, Northamptonshire, enriched with the vine-leaf and bunches of grapes ; a very common mode of ornamenting wood-work, especially in late examples of the times of Henry VII. and VIII. ; the pendant ornament underneath is less common . . . 209 Cornice, Kenton, Devonshire ; the profile or section of this cornice is very characteristic ; the square leaves with which the shallow hollow is partially filled up are also very common ornaments in this style ....... ib. Dripstone, with its termhiation, Tackley, Oxfordshire . .210 String, Oundle, Northamptonshire ; with drip, hollow, and bead ib. Basement, Bolton abbey, Yorkshire ; having two courses of strings or tablets, and a plinth . . . . . ib. Perpendicular English Niches — *Arch and Screens, Rushden, Northamptonshire; the arch is called the Bocher's arch from the person who built it, as shewn by an inscription, and is across the south aisle, parallel with the chancel-arch ; the other screen is across the entrance to the south transept, they are both fine and rich speci- mens . . . . . . .211 Niches with the figures perfect, one from the tower of St. Mary Mag- dalen church, Oxford, the other from the tower of the church, Cerne Abbas, Dorsetshire ; this has a tall canopy, and the figure is sup- ported by a I'ich bracket . . .212 Perpendicular English Ornaments — Panelling, Yelvertoft, Northamptonshire ; a very rich specimen, the lowest band consists DESCRIPTION OF THE ENGllAYINCiS. 11 of circles filled with tracery of Flamboyant character ; the next two are bands of quatrefoils with shields, the upper one is a continuous flowing pattern ; all these are continued round the buttresses, the upper parts of which are also covered with panelling up to the first set-off". This rich piece of work belonged to a chantry chapel, the rest of the church being plain . . . .213 Panelling of flint and stone, St. Mary Coslaney, Norfolk . 214 TiJBOR FLOWER, Henry VIl.'s chapel, Westminster . . 215 Angel-bbacket, from ditto ..... 216 Crockets, Solihull, Warwickshire, wood, and Lavenham, Suffolk, stone ....... ib. Heads of a king and a bishop, used as dripstone terminations, ante- chapel, Merton college, Oxford .... ib. Capitals, Kenton, Devonshii-e ; continuous and enriched with foliage. There is a peculiarity in the Devonshire capitals, which is, that the abacus falls back, and the foliage projects beyond it ; the general plan of the abacus is a square with the angles cut off", or what is called a canted square . . . . .217 Stoke-in-Teignhead, Devonshire ; enriched with angels, and figures in niches, but without abacus .... ib. Perpenbicular English Steeples — Tower of St. Mary's, Taunton, Somersetshire ; one of the richest and most celebrated examples in the kingdom ; it has corner buttresses not placed diagonally, of four stages, terminated by light and elegant pinnacles against the face of the belfry story ; the west door is of the usual character, with a square dripstone over it, the spandrels filled with ornaments ; there is a stoup by the side of the door against the north buttress, and niches by the side of the large west window, which also has pinna- cles ; the stories of the tower are divided by bands of quatrefoils, the upper windows are coupled and have canopies, the belfry story is panelled; the parapet is pierced and has a pierced battlement, lii DESCRIPTION or THE ENGRAVINGS. with large pinnacles at the angles, and smaller ones intermediate ; the cornice has projecting gurgoyles, and the larger pinnacles have small detached ones at the angles resting on the gurgoyles, and very light, these are sometimes called winged pinnacles ; they are very characteristic of late rich work . . . .219 For this engraving the work is indebted to the liberality of the Rev. Dr. Cottle, vicar of the parish. Tower-light, or air-hole, Cromer, Norfolk ; the tower-lights in Norfolk are very various, frequently very rich, and the tracery in many in- stances partakes much of a Decorated character . . 220 *To"WER AND Spike — Kingsthorpe, Northamptonshire ; a good speci- men of Perpendicular work throughout, and all of one period ; the buttresses clasp the angles, and are of two stages, with good base- ment mouldings, and set-offs ; they reach only to the floor of the belfry, which is a common arrangement ; the west doorway is well moulded, and the dripstones both of this and the windows are continued hori- zontally as strings ; the belfry windows are tall and rather narrow, of two lights only ; the cornice has bold plain mouldings, the parapet has a battlement, the spire is octagonal and has good spire lights, and a finial of foliage ; it is early in the style . . . ib. Spires are less common in Perpendicular work, than in the two pre- vious styles, partly because they were more frequently built of wood, and partly that rich towers without spires were frequently used ; but there are many fine Perpendicular spires remaining. Pekpendicular English Battlements — Merton college tower, Oxford ; a pierced parapet and battlement, with the cornice orna- mented with projecting heads and a band of quatrefoils under it 221 Parapet, Cromer, Norfolk, a singular example, ornamented with sunk panels ; the crests of the battlements, instead of being square, as usual, are double pointed, and furnished with a kind of trefoil ; the cornice is ornamented with flowers, and it is carried on a corbel -table, which is very unusual in this style . . . ib. Battlements, Bishopstone, Wiltshire, St. Michael's, York, St. George's chapel, Windsor ...... 222 Perpendicular English Roofs — "^'Wymondham, Norfolk; a very rich specimen, the pair of principals are formed into trefoil arches by DESCRIPTION OF THE ENGRAVINGS. Jill carved collars, and two braces to the hammer-beams, which are orna- mented with angels ; at the intersection of the principals and tlie purlins are elegant carved bosses .... 223 Trunch, Norfolk, another verj' fine specimen, the trefoil arch is here brought out more decidedly, and the spandrels formed by the curved braces, and the hammer-beams are filled up with very rich open tracery ; the pendants, or vaulting shafts, as they are called, but which would here be more correctly called roof-shafts, are carried on richly carved corbels between the clerestory windows . . . ib. Rushden, Northamptonshire, north aisle, a nearly flat panelled ceiling, with the tie-beams and cornice richly carved ; this style of roof or ceiling is very common, though not often so rich as in this ex- ample ....... 224 *St. Peter's, Mancroft, Norwich, another of the rich timber roofs which abound in the eastern parts of England ; this is distinguished from the previous examples by having what are called Welsh vaults over the clerestory windows, and the cornice brouj ht out in front of them, not resting on the top of the wall as usual ; the roof-shafts in this in- stance are carried down to the ground , . . 225 Boss and springing of a fan tracery vault, in the bay window of Christ Church Hall, Oxford . . . . .225 Fan tracery vault and pendant, Christ Church cathedral, Oxford 226 *Divinity School, Oxford ; richly groined stone roof or vault, with pendants .... ... *227 Perpendicular English Porches — *St. Mary's, Beverley, York- shire ; this porch has corner buttresses, set square, of two stages, with good basement mouldings, and moulded set-ofis ; the pinnacles spring from the lower set-ofi", and are carried through the upper one, and above the parapet, where they are ornamented with crockets and finials; the doorway has shafts in the jambs, with flowers and heads in the hollows between, continued also in the arch ; it has a very rich canopy of the ogee form, with double foliation of hanging tracery under it, crockets and finial, and pinnacles, with buttresses on each side, between which and the larger buttresses are niches for statues, with rich brackets and canopies ; the cornice and battlement are comparatively plain, but well moulded . . . *230 liv DESCRIPTION OF THE ENGRAVINGS. Perpendicuar English Fonts — Wymonrlham, Norfolk ; an octago- nal, cup-shaped font ; the sides of the bowl ornamented by sunk panels, with the emblems of the four Evangelists, and angels bearing shields with the emblems of the Trinity and Passion ; the bowl is connected with the stem by a rich cornice, filled with angels with outspread wings ; under this cornice-moulding is a small battlement; and under this, large square flowers in a shallow hollow moulding ; round the stem are mutilated figures ; this font is raised on three plain steps ...... . 232 East Dereham, Norfolk ; a very tall font, much enriched with sculp- ture ; the bowl is octagonal, and each side is ornamented with a niche, enclosing a small group of sculpture ; these represent the seven sacra- ments of the Roman Church, and the Trinity ; the cornice is filled with angels, and round the stem are figures of saints, standing on pedestals under canopies formed into niches by the moulding at the angles ; it stands on two steps ; the upper step is panelled, and there is a stone for the priest to stand upon to reach into the font ; this is a very common type for fonts in Norfolk .... 233 *Worsted church, Norfolk, font and western galler}"- ; the font is of the usual form, but is enriched with panelling only ; it stands on three steps, the two upper ones panelled ; and it has a rich ■wooden cover of tabernacle work. The western gallery across the tower-arch is a very rich example of the same character as the roodloft across the chancel-arch, having a richly panelled front, a cornice, and wooden gi'oining under it, with an open screen ; this arrangement of a gallery across the tower-arch is common in Norfolk ; sometimes it is of stone, with a groined vault under it : being introduced over the west door, and below the sill of the west window, it does not impede any thing, and the tower-arch being generally very lofty, it is rather an improve- ment to the effect than otherwise ; this screen and gallery are richly painted and gilt, and it has an inscription stating the date Sec. of its erection ; the figures on the lower panels are modern, and are coj^ied from those of Sir Joshua Reynolds, in New College . . ib. APPENDIX. Supposed Saxon — Doorway in tower, Barton-on-Humber Balustre ..... Tower, Whittingham, Northumberland Doorway, Laughton-en-le-Morthen, Yorkshire . Tower, Barton-on-the-Humber, Lincolnshire . Arch in tower, Barnack, Northamptonshii'e Door, Brigstock, Northamptonshire Window in tower. Earl's Barton, Northamptonshire Tower, Earl's Barton .... Tower, Clapham, Bedfordshire Tower and window, St. Benet's, Cambridge Tower, St. Michael's, Oxford . Gable end and masonry. North Burcorabe, Wiltshire Arch in the wall of Britford church, Wiltshire Long and short masonry Tower-arch and details, Sompting, Sussex Windows and details of tower, Sompting String, Sompting General view of the tower, Sompting . Details from Anglo-Saxon MSS. Rag- work and rubble-work Section of the tower, Deerhurst, Gloucestershir Doorways and window in the tower, Deerhurst View and details, Corhampton, Hampshire Tower, Northleigh, Oxfordshire View of Stanton Lacy church, Shropshire Tower and windows, St. Mary Bishophill junior, York Tower and arch, Dunham Magna, Norfolk Paoe vii viii ix X xii xiv XV xix XX xxi xxii xxiii xxiv XXV xxvi xxvii XX viii xxix ib. xxxi xxxii XXXV xxxvi xxxvii xxxviii ih. xxxix xl Ivi APPENDIX. Page Akchitectttre of a part of France — Spire, St. Peter's, Caen li Window, Bayeux cathedral . . . . liv Flamboyant windows, Harfleur, St. Germains, Pont Au- demer ,.,... lix Porch, Harfleur, shewing the usual form of Flamboyant doorways ...... Ix ^ u attempt, The science of Architecture may be considered, in its most extended application, to comprehend building of every kind : but at present we must consider it in one much more restricted ; according to which, Architecture may be said to treat of the planning and erection of edifices, Avliich are com- posed and embellished after two principal modes, 1st, the Antique, or Grecian and Roman, 2nd, the English or Gothic. We shall treat of these modes in distinct dissertations, because their principles are completely distinct, and indeed mostly form direct contrasts. But before we proceed to treat of them, it will be proper to make a few remarks on the distinction between mere house-building, and that high character of composition in the Grecian and Roman orders, which is properly styled Architecture ; for though we have now many nobly architectiu-al houses, we are much in danger of having om* public edifices debased, by a conside- ration of what is convenient as a house ; rather than what is correct as an architectm'al design. In order properly to examine this subject, we must con- sider a little, what are the buildings regarded as our models for working the orders, and in what climate, for what pm-poses, and under what circumstances they were erected. This may, perhaps, lead to some conclusions, which may serve to distinguish that description of work, which, how- ever rich or costly, is still mere house-building, in point of its composition. B 2 INTRODUCTORY REMARKS. It is acknowledged, on all hands, that our best models, in the three juieient unmixed orders — the Doric, Ionic, and Corinthian, are the remains of Grecian temples. Most of them were erected in a climate, in which a covering from rain was by no means necessaiy, and we shall find this cir- cumstance veiy influential ; for as the space within the walls was always partially, and often wholly open, aj)ertm-es in those walls for light were not required; and we find, also, in Grecian structm'es, very few, sometimes only one door. The purpose for which these buildings were erected, was the occasional reception of a large body of people, and not the settled residence of any. But, perhaps, the circumstances under which they were erected, have had more influence on the rules which have been handed do\Aai to us, as necessary to be observed in composing architectm'al designs, than either the climate or then" use. It is now pretty generally agreed, that the Greeks did not use the arch, at least in the exterior of their public buildings, till it was introduced by the Romans. Here then we see at once a limitation of the intercolumniation, which must be restrained by the necessity of finding stones of sufficient length to form the architrave. Hence the smaller comparative intercolunmiations of the Grecian buildings, and the constant use of columns; and hence the propriety of avoiding arches, in compositions of the pm'cr Grecian orders. The Romans introduced the arch very extensively, into buildings of almost every description, and made several alterations in the mode of working the orders they found in Greece, to which they added one order by mixing the Corinthian and Ionic, and another by stripping the Doric of its ornaments. Tlieu* climate, also, was so far different as to require more general roofing, but still from the greater necessity of providing a screen from the heat of the sun, than ai)ertm'es to admit the light, it does not appear that INTRODUCTORY REMARKS. 6 large windows were in general use, and hence an important difference in modern work. Although, by roofs and arches, much more approximated to modern necessities than the Grecian models, still those of Rome which can be regarded as models of composition, are temples, or other public edifices, and not domestic buildings, which whenever they have been found, appear unadapted to modern wants, and therefore unfit for imitation. In a few words we may sum up the grand distinctions between mere building and architectural design: the former looks for convenience, and though it will doubtless often use architectm'al ornaments, and presers^e theii* proportions, when used as smaller parts, yet the general proportion may vary very widely from the orders, and yet be pleasing, and perhaps not incorrect ; but all this is modern building, and not architecture in its restricted sense ; in this the columns are essential parts, and to them and their proportions all other arrangements must be made subservient ; and here we may seek, with care and minuteness, amongst the many remains yet left in various parts, (and of which the best are familiar to most architectural students, from valuable delineations by those who have accm:'ately examined them,) for models, and in selecting and adopting these, the taste and abilities of the architect have ample space. As an introduction to the dissertations, it may not be amiss to take a hasty sketch of the progress of Architecture in England. Of the British architecture, before the arrival of the Romans in the island, we have no clear account ; but it is not likely it differed much from the ordinary modes of un- civilized nations ; the hut of wood with a variety of cover- ings, and sometimes the cavities of the rock, were doubtless the domestic habitations of the aboriginal Britons; and their stupendous public edifices, such as Stonchenge and 4 . INTROUUCTOllY REMARKS. others, still remain to us. The arrival of the Romans was a new era ; they introduced, at least in some degree, their own architectm'e, of which a variety of specimens have been found ; some few still remain, of which, perhaps, the gate of Lincoln is the only one retaining its original use. Although some fine specimens of workmanship have been dug up in parts, yet by far the greatest part of the Roman work was rude, and by no means comparable \nth the antiquities of Greece and Italy, though executed by the Romans. The age of purity, in the Roman architectm'e, reaches down to several of the first emperors, but very early Avith a degree of purity of composition, there was such a profusion of orna- ment made use of, as soon led the way to something like debasement of composition. The palace of Dioclesian, at Spalatro, has descended to us sufficiently perfect to enable us to judge of the style of both composition and ornamental details; and the date of this may be considered from A.D. 290 to BOO ; and Constantine, who died in A.D. 337, erected the church of St. Paul, without the walls of Rome *, which, in fact, in its composition, resembles a Norman build- ing, and it is curious to observe that the ornament after- wards used so profusely in Norman work, is used in the buildings of Dioclesian, whose Corinthian modillions arc capped with a moulding cut in zigzag, and which only wants the enlargement of the mouldmg to become a real Norman ornament. When the Romans left the island, it was most likely that the attemjits of the Britons were still more rude, and endeavouring to imitate, but not executing • It was be. Dentils are ornaments used in the bed- mould of cornices ; they are parts of a small flat face, wdiich is cut perpendicularly, and small mtcr\als left between each. s It would be more correct to say, horizontal under surfaces; it is applied placed upright against a wall. to the under side of tiie architrave of '' Soffit IS a very fjeneral term for an entablature. GRECIAN ARCHITECTURE. 13 pq :rl_ A flat column is called a pilaster; and those ^ which are used with columns, and have a differ- ent capital, are called antce. (-) A small height of panelling above the cor- nice, is called an attic ; and in these panels, and sometimes in other parts, are introduced small pillars, swelling tOAvards the bottom, called Ijalus- tres, and a series of them a balustrade. The triangidar portion over a series of colmnns is called 2i. pediment, and the plain space bounded by the horizontal and sloping cornices, the tt/mpantfm ; this is often orna- mented with figiu'es or other work in relief. Pedestals and attics are far from settled as to their pro- portions, or the mode of their execution, depending almost entirely on cii'cumstances connected with the particular design, rather than the order they are used with. However, for pedestals, about one fifth of the whole height, including pedestal and entablature, is a good proportion, though it may be often necessary to alter it from local cu'cumstances. In general an order looks much better, executed without pedestals. Columns are sometimes orna- mented by channels, which are called flutes^. These channels are sometimes partly filled by a lesser round moulding; this is called cahliug the flutes. Ionic, tLirctheum ' Pilasters are usually attached to a wall, and in general project but slightly from it. '' In the Doric order twenty flutes are used on the eolunin, and tliey are worked without fillets be- tween them. In _ the Ionic, Coriii ./ ^ - ■ » ^. v^ thian, and Compo- site orders twenty- four flutes are used.-^^^^ with small fillets be- tween. The Tuscan is the only order in which the columns are never fluted. 14 GRECIAN ARCHITECTURE. If the joints of the masonry are channelled, the work is called rustic, which is often , used as a basement for an -^'^ order. JL For the better understanding the description to be given of the orders, it A^-ill be proper first to notice the mouldings which, by different combinations, form theu' parts. The most simple mouldings are, 1st, The ovolo, or quarter round. 2nd, The cavetto, or hol- low. 3rd, The torus, or round. From the composition of these are formed divers others, and from the arrangement of them, with plain flat spaces between, are formed cornices and other ornaments. A large fiat space is called a corona, if in the cornice ; a face or fascia in the architrave ; and .. the frieze itself is only a fiat P ^^ space'. A small flat face is called ^fitlet, and is interposed between mouldings to divide them. (See p. 11.) ' The frieze is not invariahhj flat. GRECIAN ARCHITECTURE, 15 A fillet is, in the bases of columns and some other parts, joined to a face, or to the colunm itself, by a small hol- low, then called apophyges. The torus, when very small, becomes an astragal, which projects ; or a head, which does not project. Compound mouldings are, the cyma recta, which has the hollow uppermost and pro- jecting. The cyma reversa, or ogee, which has the round upper- most and projecting. -^ The scotia, which is formed of two hollows™, one over the other, and of different centres. In the Roman works, the mouldings are generally worked of equal projection to the height, and not bolder than the above regular forms ; but the Grecian mouldings are often bolder, and worked with a small return, technically called a quirk, and these are of various proportions. Two hollows contrasted. 16 GRECIAN ARCHITECTURE. The Ogee and ovolo are most generally used with qiiirks. Several beads placed to- li gethcr, or sunk in a flat face, ^ are called reedinp. J" All these mouldings, except the fillet, may be occasionally carved, and they are then called enriched moiddings. From these few simple forms (by adding astragals and fillets, and combining differently ornamented mouldings, faces, and soffits) are all the cornices, panels, and other parts formed, and the modern compositions in joiners, plas- terers, and masons' work, are very numerous, and too well known to need describing. There are several terms api)lied to large buildings, which it is proper also to explain. A series of columns of considerable length, is called a colonnade. A series of columns at the end of a building, or projecting from the side of a building, is called a portico. A portico is called tetra style, if of four columns ; liexa style, if of six ; octo style, if of eight. TUSCAN ORDER. Though this is not, perhaps, the most ancient of the orders, yet, from its plainness and simplicity, it is usually first noticed. Its origin is evidently Italian, for the Grecian work, however plain, has still some of the distinctive marks of massive Doric, whilst the Tuscan always bears clear marks of its analogy to the Roman Doric. TUSCAN ORDER. 17 The pedestal, when used, is very plain, but the eokimn is more often set on a })lain square block plinth, which suits the character of the order better than the higher pedestal. This block projects about half the height of the plinth of the base beyond its face. The column, including the base and capital, is about seven diameters high. The column, in the Roman orders, is sometimes only diminished the upper two-thirds of its height. This diminution is bounded by a curved line, which is variously determined, but does not differ much from what an even spring would assume, if one part of it were bomid, in the direction of the axis of the shaft, to the cylindrical third, and then, by pressure at the top only, brought to the diminishing point. The Grecian columns are mostly diminished from the bottom, and conically. The quantity of diminution varies from one-sixth to one- fom'th of the diameter just above the base. The Tuscan base is half a diameter in height, and consists of a plain torus with a lillet and apophyges, which last is part of the shaft, and not of the base, as indeed all apophygae are considered to be, and also all the astragals underneath the capitals, as well as the upper fillet of the base in all the richer orders, and in masonry shoidd be executed on the shaft stones. The capital of the Tuscan order is (exclusive of the astragal) half a diameter in height, and consists of a neck on which is an ovolo and fillet, joined to the neck by an apophyges, and over the ovolo a square tile, which is ornamented by a projecting fillet. The shaft is never fluted, but many architects have given to this order, and some have even added to the richer orders, large square blocks, as parts of the shaft, which are called rustications, and are sometimes roughened. The Tuscan entablature should be quite plain, having D 18 TUSCAN ORDER. neither mutiiles nor modillions. The architrave has one or sometimes two faces, and a fillet ; the frieze quite plain, and the cornice consisting of a cyma recta for cymatiura, and the corona with a fillet, and a small channel for drip in the soffit. The bedmould should consist of an ovolo, fillet, and cavetto. This Tuscan is that of Palladio ; (see page 11.) some other Italian architects have varied in parts, and some have given a sort of block modillions like those used in Covent Garden chiu'ch, but these are of wood, and ought not to be imitated in stone. This order is little used, and will most likely, in future, be still less so, as the massive Grecian Doric is an order equally manageable, and far more elegant. Having explained the parts of one order, it will be necessary to make a few remarks, which could not so well be previously introduced. If pilasters and columns are used together, and they are of the same character, and not antae, the pilasters should be diminished hke the columns ; but where pilasters are used alone, they may be undiminished. The fillet and moulding under the cjanatium, which, in rich orders, is often an ogee, is part of the corona, and as such is continued over the corona in the horizontal line of pediments, where the cymatium is omitted ; and is also continued with the corona in interior work, where the cymatium is often with propriety omitted. In pediments, whose cornices contain mutules, modil- lions, or dentils, those in the raking cornice must be placed perpendicularly over those in the horizontal cornice, and their sides must be perpendicular, though theii" under parts have the rake of the cornice. DORIC ORDER. 19 DORIC ORDER. The ancient Grecian Doric appears to have been an order of peculiar grandeur ; simple and bold, its ornaments were the remains of parts of real utility, and perhaps originally it was worked with no moulding but the cymatium, to cover the ends of the tiles, its triglyphs being the ends of the beams, and its mutules those of the rafters. In after times, its proportions were made rather less massive, and its mouldings and ornaments, though not numerous, were very beautiful. The Romans considerably altered this order, and by the regulations they introduced, rendered it peculiarly difficult to execute on large buildings. As the examples of the two countries are very different, we shall treat of them separately, and therefore first of the Grecian Doric. The columns of this order were, in Greece, generally placed on the floor, without pedestal and without base ; the capital, which occupied a height of about half a diame- ter, had no astragal, but a few plain fillets, with channels between them, under the ovolo, and a small channel below the fillets. The ovolo is generally flat, and of great projec- tion, with a quu'k or return. On this was laid the abacus, which was only a plain tile, without fillet or ornament ". In the division of the entablature, the architrave and frieze have each more than a thud in height, and the cornice less. The architrave has only a plain broad fillet °, under which are placed the drops or guttae, which appear to hang from the triglyphs p. ° The abacus is worked on the same v They are not attached to the taenia, stone with the rest of the capital, and is but to a small intervening fillet on the not separate from it. underside of it. " The taenia, along the top. 20 DORIC ORDER. The triglypli, in Greece, appears to have been generally placed at the angle '>, thus bringing the interior edge of the triglypli nearly over the centre of the angidar colnmn. The metope, or space between the triglyphs, was nearly the sqnare of the height of the frieze, and a mntnle was placed not only over each triglypli, but also over each metope. The cornice of this order, in Greece, consisted of a plain face, under the mutule, which was measured as part of the frieze, and then the mutule, which projected sloping forward under the corona, so that the bottom of the mutule in front was considerably lower than at the back. Over the corona was commonly a small ovolo and fillet, and then a larger ovolo and fillet for the cymatium ; and below the corona a fillet about equal in height to the mutule. The ornaments of this order, in Greece, Avere, 1st, the flutings of the column, which are peculiar to the order, and are twenty in number, shallow, and not with fillets between them, but sharp edges. These flutes are much less than a semi-circle, and should be elliptic. 2nd, At the corner', in the space formed in the soffit of the corona, by the interval between the two angular niu- tules, was sometimes placed a flower, and the cymatium of the cornice had often lions' heads , which appear to have been real spouts. 3rd, In addition to the drops under the triglyph, the miitules also had several rows of drops of the same shape and size'. This order appears in general to have been worked very massive ; the best examples are from five to six diameters high, which is lower than the Italians usually worked the 1 When a building forms an angle. ' The tympanum of the pediment and ' Of a buildiiit;. the metopes of the frieze were often oma- s Projecting from it at intervals. mented with sculpture in relief. GRECIAN DORIC IBiiiilBl' liilBiiil.™«y Temple of Theseus, Athens ROMAN DORIC. Temple of Apollo at Del( MODERN DORIC. Theatre of Marcellus Rome. 22 DORIC ORDER. Tuscan ; but this gave peculiar grandeur to the temples in which it is thus employed. Our present authorities for the Grecian orders are scat- tered through a variety of very expensive works, and in them presented in very irregular succession, whether we regard their supposed dates, their purity, or their orders; and it would be a valuable present to the architectiu'al student, if the good authorities of each order were col- lected, figured, and some account given of theii* variations. With respect to the Doric order, this has been ably done in a treatise by Edmund Aikin ", from which we shall take the liberty of extracting a few remarks. " On viewing and comparing the examples of the Doric order, the first emotion will probably be surprise, at be- holding the different proportions, — a diversity so great, that scarcely any two instances appear which do not materially differ in the relative size of their parts, both in general and in detail, and presenting differences which cannot be reconciled upon any system of calculation, whether the diameter or the height of the column, or the general height of the order be taken as the element of proportion. At the same time, they all resemble one another in certain characteristic marks, which denote the order; the differences are not generic, but specific, and leave unimpaired those plain and obvious marks, which enable us to circumscribe the genuine Doric order within a simple and easy definition. " Interesting would be the investigation, could we trace the history of the Doric order in its monuments, and mark what progressive improvements it may have received in the course of time; but of the monuments of antiquity few, comparatively, have survived the injuries of time, and the more speedy and effectual destruction of violence ; and of " Essay on the Doric Order of Architecture. Folio. Lond. 1810. DORIC ORDER. 23 tliese still fewer retain either inscriptions, or, in the records of history, the elates of their erection." The examples of Grecian Doric, of which we have accounts and figures, that may be depended on, are : The temple of Minerva at Athens, called the Parthenon. The temple of Theseus, at Athens. The Propylsea, at Athens. The temple of Minerva, at Sunium. The portico of the Agora, at Athens. A temple at Corinth. The temple of Jupiter Nemaeus, between Argos and Corinth. The temple of Apollo, at Delos. The portico of Philip, at Delos. The temple of Jupiter Panhellenius, in iEgina. The temple of jMinerva, at Syracuse. The temple of Juno Lucina, at Agrigentum. The temple of Concord, at Agrigentum. The temple of Jupiter, at Selinus. A smaller temple, at Selinus. A temple at ^gesta. Three temples at Paestum. Our limits will not permit us to enter minutely into the question, which of these examples might be now considered as the most valuable for imitation ; but one circumstance it is requisite to notice, which is, that in the Athenian ex- amples, and many of the others, the architrave projects over the top of the shaft, so as to be nearly perpendicular to the front of the bottom of the shaft, an arrangement never seen at Rome, but which contributes much to the boldness of the Grecian temples : and it is curious to observe, that in the temple of Apollo at Delos, of Concord at Agrigentum, and the temple of JEgesta, this projection is very small, compared with that of the other examples ; 24 DORIC ORDER. and that in tlie portico of Philip, at Delos, and all the temples at Paestum, there is no projection, but the face of the architrave is set over the diminished part of the shaft, the same as in Roman examples. Two of the temples at Paestum have capitals, with some trivial additions about the neck, and such a great projection of the echinus and abacus, as well as some appearances in the entablatm-e, that take very much from theii' beauty. The other temple at Pajstum has (excepting the projec- tion above spoken of) all the characters of the Grecian examples. On the whole, the temples of Minerva and Theseus at Athens, and Minerva at Sunium, appear those examples which deserve the most attentive consideration, as well from the general beauty of the composition, as the excel- lence of the details and execution. But in this order, as well as in architecture generally, the duty of the architect is not to be a servile copyist of any example, however fine, but by seizing the principles and spirit of the age of his best models, to form such a composition as, by its fitness for the pm'pose to which it is applied, shoidd appear that edifice which, for a similar pm'pose, the great architects, whose works he seeks rather to renew than imitate, would have erected. Roman Doric. This differs from the Grecian in several important par- ticulars, which w^ill appear from the following rules ; from the strictness of which follows that extreme difficulty of execution which has been so often complained of in this order : 1 st, the triglyphs must be precisely over the centre of the columns ; 2nd, the metopes must be exact squares ; 3rd, the mutules also must be exact squares. As, therefore, the intcrcolunmiation must be of a certain DORIC ORDER. 25 number of triglyplis, it will be easily conceived how diffi- cult it will be, in large buildings, where a triglyph is several feet, to accommodate this order to the internal arrange- ments. The Roman Doric is sometimes set on a plinth, and sometimes on a pedestal, which should be of few and plain mouldings. The bases usually employed, are either the attic base of a plinth, lower torus, scotia, and upper torus, with fillets between them, or the proper base of one torus and an astragal ; or, in some instances, of a plinth and simple fillet. The shaft'', including the base and capital, each of which is half a diameter, is generally eight diame- ters high, and is fluted like the Grecian. The capital has an astragal and neck under the ovolo, which has sometimes three small fillets projecting over each other^, and some- times another astragal and fillet The ovolo should be a true quarter round. The abacus has a small ogee and fillet on its upper edge. The architrave has less height than the Grecian, being only two-thirds of the frieze, which is equal in height to the cornice. In a few instances the architrave has two faces, but mostly only one. The frieze has nothing peculiar to this mode ; if plain, its metopes being, as before observed, square. The cornice differs much from the Grecian, having its soffit flat, and the mutules square, with a square interval between them. The Grecian drops in the mutules gene- rally appear in front, below the mutides ; but the Roman do not, and are sometimes omitted ; the drops also are of a different shape, being more complete cones. The cymatium is often a cavetto, and sometimes a cyma recta, with an ogee under it. The mutules have a small ogee, which runs round them, and also round the face they " Tlie column. ^ These fillets are placed under the ovolo, above the neck. E 26 DORIC ORDER. are formed of^; and under the miitules are an ovolo and small fillet, and the flat fillet which runs round the top of the triglyphs here belongs to the cornice, and not, as in the Grecian, to the frieze. The Roman Doric is susceptible of much ornament, for in addition to the flutes, the giittac of the triglyphs, and the roses in the soffit of the corona, the neck of the capital has sometimes eight flowers or husks placed round it, the ovolo cai*ved, and the metopes in the frieze filled with alternate ox-skulls and patera?, or other ornaments. In interior decorations, sometimes one or two of the mouldings of the cornice are enriched ; but with all this ornament, the Roman Doric is far inferior, in real beauty, to the Grecian. The Doric we have now described, and its rules, should rather be considered Italian than Roman ; for it is in fact the Doric w^orked by modern Italian architects, rather than the Doric of ancient Rome, of which we have only one example, which is far from giving such a Doric as above described. This example is the theatre of jMarcellus, which has den- tils in the cornice, and of which the corona was so decayed even near 150 years back, as to give no trace of any thing but an indication of a mutule, wdiich appears a little like a Grecian mutule. This theatre is considered to have been erected by Augustus, and it appears most probable that the portico of the Agora, at Athens, was erected about the same time ; if so, it becomes a cm'ious question, how and why the order should be so altered in Rome. The first order of the Coliseum is a much later work, and is extremely poor in its combinations, but has a capital very nuich like the theatre of Marcellus, and its cornice has an uncut dentil face. ^ The face from which they project. IONIC ORDER. As the Greeks and Romans differed much in their modes of working the Doric Order, so there was considerable dif- ference in their execution of the Ionic, though by no means so great as in the former. The distinguishing feature of this order is the capital, which has fom- spiral projections called volutes. These, in Greece, were placed flat on the front and back of the colinnn, leaving the two sides of a difierent character, and forming a balustre ; but this at the external angle pro- ducing a disagreeable effect, an angular volute was some- times placed there, shewing two volutes, one flat the other angular, to each exterior face, and a balustre to each inte- rior; but this not forming a good combination, a capital was invented with four angular volutes, and the abacus with its sides hollowed out. This is called the modern Ionic capital. In the ancient, the list or spiral line of the volute runs along the face of the abacus, straight under the ogee ; but in the mo- dern, this list springs from be- hind the ovolo, and in the hol- low of the abacus, which is an ovolo, fillet, and cavetto, is gene- rally placed a flower. The abacus of the ancient capital has only a small ogee for its mouldins:. I.Iodem Ionic, Palladi' There are examples at Athens of an astragal to the 28 IONIC ORDER. ancient Ionic capital below the volutes, leaving a neck wliicli is adorned with carvings, hut these examples are rare. The Tonic shaft, including the base, which is half a diameter, and the capital to the bottom of the volute gene- rally a little more, is about nine diameters high. The pedestal is a little taller, and more ornamented than the Doric. The bases used to this order are very various ; some of the Grecian examples are of one torus and two scotiae, with astragals and fillets ; others of two large tori and a scotia of small projection ; but the attic base is very often used, and with an astragal added above the upper torus, makes a beautiful and appropriate base for the Ionic. The cornices of this order may be divided into three divisions; 1st, the plain Grecian cornice; 2nd, the dentil cornice ; 3rd, the modillion cornice. In the first, the architrave is of one or two faces ; the frieze plain, and the cornice composed of a corona Avith a deep soffit", and the bed-mould moulding hidden by the dri[) of the soffit, or coming very little below it. The cymatium generally a cyma recta, and ogee under it. The second has generally two faces in the architrave, and the cornice, which is rather more than one-third of the height of the entablature, has a corona with a cyma recta and ogee for cymatium, and for bed-mould a dentil face between an ovolo and ogee. The soffit of the corona is sometimes ornamented. The third, or modillion entablature, has the same archi- trave, frieze, and cymatium of its cornice as the last, Init under the soffit of the corona are placed modillions, which are plain, and surrounded by a small ogee ; one must be placed over the centre of each column, and one being close to the return ^, makes a square panel in the soffit at the ° Deeply sunk. •> At an angle of a building;. GRECIAN IONIC iJ.^D.HJIKlIIIIIiiiSDI:! "W Mil .iiiiliMJllMi Ereciheum, Attieijs. Temple on the Ilissus. ROMAN IONIC. Pig ^ Aqueduct of Hadrian , Athens. Tempie of Furluna Vinlis Rome. 30 IONIC ORDER. corner, and between each modillion, which is often filled with a flower. The bed-moidd below is generally an ovolo, fillet, and cavetto. This modillion cornice is, in fact, as well as the capital, rather Italian than Roman, as the ancient examples have the dentd cornice ; and in point of time, there may be some donbt, whether the modern Ionic capital is not rather a deduction from the Composite than the contrary; for the angular volute of Greece is not such a one as, if repeated, w^ould make the modern Ionic capital. The alteration of this order is in many respects valuable, for although not equal in simplicity to the Grecian Ionic, yet it is so easily manageable, especially with a dentil cornice, as to be easily adapted to modern wants ; and when executed on a large scale, the modillion cornice has a bold effect. The great difficulty in the Grecian Ionic is the return at the angle ; it does not look well to have a column side^vays in a range wdth others fronting, and this arrangement is so often wanted, and so ill attained by the Greek angular volute, that many times there is no alternative but the use of the modern capital. It ^vas once the custom to work the Ionic frieze project- ing like a torus'", thus giving an awkward weight to an order which ought to be light. The introduction of good Grecian models has driven out this impropriety, and much improved the present execution of the order, which is very beautiful, if well executed. The Ionic shaft may be fluted in twenty-four flutes, with fillets between them ; these flutes are semichcular. This order may be much ornamented if necessary, by carving the ovolo of the capital, the ogee of the abacus, and one or two mouldings of both architrave and cornice ; but the ancient Ionic looks extremely well without any ornament whatever. ■^ When thus formed it is called pulvinatcd. IONIC ORDER. 31 Our Ionic examples are not so numerous as the Doric, nor so complete, several of them not being entii'cly figured without conjecture. They are ; The temple on the Ilissus, at Athens. The temples in the Acropohs, (at Athens,) of Minerva Polias, and Erectheus. The aqueduct of Adrian, at Athens. The temple of Apollo Didyma^us, at Miletus. The temple of Bacchus, at Teos. The temple of jMincna Polias, at Priene. The temple of Fortuna Virilis, at Rome. Of these, for simplicity and elegance of composition, the now destroyed temple on the Ilissus, is pre-eminent; its volutes plain, but of excellent proportion, and it had an angular volute to the external capital ; its base was in mouldings the attic, but the tori were large, and the scotia flat ; there was a small astragal above the upper torus, and that torus was cut into small flutes. The entablature was very plain, having an architrave of one face only, a frieze plain, but which there is some reason to suppose was carved in some parts, and a corona with deep soffit, and for bed-mould only an ogee, with a fillet above, and astragal below. The temples in the Acropolis are small, but extremely rich, having many members car\^ed. The cornice is the same as the last example, but the architrave is of three faces. There are three ranges of columns, and the capitals of each have minute differences, but they may all be described together : they have an ornamented neck and astragal be- low the volutes ; the fillets of the volutes are double, thus making the volute much more elaborate, though not more beautiful; the bases are enriched with carvings, and the columns fluted; the bases are nearly those of the last example, but want the astragal. Of these examples, the 33 lOMC ORDER. architraves have a small projection from the top of the cokimn, though not near so much as the Doric. The aqueduct of Adrian is plain, but of good compo- sition ; it has a good volute, an architrave of two faces, and a small projection in front of the column ; a plain frieze, and a good plain dentil cornice. The temples of Minerva Polias at Priene, and Apollo at Miletus, have a base which is curious, but by no means deserving of imitation ; it consists of a large torus, resting on two scotia^, which are divided from it, and from each other and the plinth, by two astragals at each division. This base gives the column so unsteady an appearance, that it spoils an otherwise beautiful order. The temple of Bacchus, at Teos, has an attic base with an astragal added, and a cornice with dentils of greater pro- jection than usual. These three last examples have their volutes smaller than those of Athens, wdiich takes much from the grandeiu* of the order. The temple of Fortuna Virilis, at Rome. This example is far inferior to those we have before noticed. The Romans seem to have had a singular predilection, par- ticularly in their declining works, for very large fillets, and it is abundantly shewn in this edifice, where the fillet of the tenia of the architrave is very nearly as large as the ogee under it, and larger than one face of the architrave ; this, though the capital is pretty good, spoils the order, and the cornice is poor from the trifling appearance of the corona. The base is the attic, of very good })roporti()n. The temple of Concord, at Rome, is figured by Desgodets, but it is only remarkable for its deformity, and having an appearance of the modern Ionic. The capitals have angular volutes, but under the usual ovolo and astragal is a cyma recta, enriched with leaves, and a large astragal and fillet. The entablature is of a very poor character, and has small TOMC ORDER. 33 dentils and large plain raodillions. The base is of t\A^o tori divided by two scotise, which are separated by a fillet. In this example, the fillet on the bottom of the shaft is nearly as large as the upper torus. CORINTHIAN ORDER. This order originated in Greece, and the capital is said to have been suggested by observing a tile placed on a basket left in a garden, and round which sprung up an acanthus. All the other orders have, in various countries and situations, much variety ; but the Corinthian, though not without slight variations, even in the antique, is much more settled in its proportions, and its greater or less enrichment is the prin- cipal source of variety. The capital is the great distinction of this order- its height is more than a diameter, and consists of an astragal, fillet and apophyges, all of which are measured with the shaft, then a bell and horned abacus. The bell is set round with two rows of leaves, eight in each row, and a third row of leaves supports eight small open volutes, fom* of which are under the four horns of the abacus, and the other fom-, which are sometimes interwoven, are under the central recessed part of the abacus, and have over them a flower or other ornament. These volutes spring out of small twisted husks placed betweeen the leaves of the second row, and which are called cauUcoU. The abacus consists of an ovolo, fillet, and cavetto, like the modern Ionic. There are various modes of indenting the leaves, which are called, from these variations, acanthus, olive, &c. The column, including the base of half a diameter, and the capital, is about ten diameters high. Of the Corinthian capital, although the best examples 31. CORINTHIAN ORDER. have all some trifling difference, principally in the raffling of the leaves, and the connection of the central small volutes ; yet there is one capital so different from the others that it deserves some remark, more especially as it has been lately introduced into some considerable edifices. This capital is that of the circular temple at Tivoli, called by some a temple of Vesta, by others the Sybils' temple. In this capital the angiflar volutes are large, so much so as to give the capital the air of a Composite, till more minutely examined ; it is however a real Corinthian, for it has cen- tral volutes, though they are small, and formed out of the stalks themselves, and not as in the ordinary capital rising from them. Its great beauty, however, is the very bold manner of raffling the leaves, which gives it a very different appearance from the other capitals, and one which, in parti- cular circumstances, may make it valuable. The flower over the centre volutes, is very different from the common one, and nnicli larger. If a pedestal is used, it should have several mouldings, some of which may, if necessary, be enriched. The base may be either an attic base, or with the addition of three astragjils, one over each torus, and one between the scotia and upper torus ; or a base of two tori and two scotise, which are divided by two astragals, and this seems the most used to the best examples ; one or two other varieties sometimes occm\ The entablatm-e of this order is very fine. The architrave has mostly two or three faces, which have generally small ogees or beads between them. The frieze is flat, but is often joined to the upper fillet of the architrave by an apophyges. The cornice has both modillions and dentils, and is usually thus composed ; above the corona is a cymatium, and small ogee ; under it the modiUions, whose disposition. CORINTHIAN ORDER. 35 like the Ionic, must be one over the centre of the column, and one close to the retm^n of the cornice. These modillions are carved with a small balustre front, and a leaf under them ; they are siu:rounded at the upper part by a small ogee and fillet, which also runs roinid the face they spring from. Under the modillions is placed an ovolo, and then a fillet and the dentil face, which is often left uncut in exterior work. Under the dentils are a fillet and ogee. In some cases this order is properly worked with a plain cornice, omitting the modillions, and leaving the dentil face uncut. The enrichments of this order may be very considerable ; some of the mouldings of the pedestal and base may be en- riched ; the shaft may be fluted, as the Ionic, in twenty-four flutes, which may be filled one third high by staves, which is called cabling the flutes; the small mouldings of the architrave, and even some of its faces, and several mouldings of the cornice, may be enriched ; the squares in the soffit of the corona panelled and flowered, and the frieze may be adorned with carvings. But though the order will bear all this ornament without overloading it, yet, for exteriors, it seldom looks better than when the capitals and the modil- lions are the only carvings. The principal Corinthian examples are in Rome ; there are, however, some Grecian examples, which we shall first notice : A portico, at Athens. The arch of Adrian, at Athens. The Incantada, at Salonica. A temple at Jackly, near Mylassa. Of these, the first has an entablature, which is almost exactly that which has been generally used for the Compo- site ; the others have all dentil cornices, without modillions. In three examples, the horns of the abacus, instead of being 36 CORINTHIAN ORDER. cut off as usual, are continued to a point, Avliich gives an appearance of weakness to the capital. The bases are mostly attic, with an additional astragal, and at Jackly the tori are carved. The temple of Vesta, at Tivoli, has the capital noticed above ; its entablatm'e is simple, with an uncut dentil face, and the frieze carved in festoons. The astragal, under the capital, has a fillet above, as well as below, and the base has a fillet under the upper torus omitted. The flutes are stopt square, and not as usual rounded at the ends. The remain, called the frontispiece of Nero, has the com- plete block entablatme, usually called Composite. The capitals good, with attic base, and the whole of good cha- racter. The temple of Vesta, at Rome, The Basilica of Antoninus, and The temple of Mars the Avenger, are all incomplete ; the first has pointed horns, and the two first the attic base. The temple of Antoninus and Faustina, and The portico of Severus, have both a cornice Avith dentil face only, and uncut ; the first an attic base. The baths of Dioclesian have a good entablature, and the attic base ; some of the capitals are Composite. The forum of Nerva, The inner order of the Pantheon, The outer order of the Pantheon, The temple called Jupiter Tonans, and The temple called Jupiter Stator ai-e all excellent and beautiful in their proportions and execution ; the fillets small, and the order much enriched. The forum of Nerva, and the temple of Jupiter Tonans, have no bases visible ; the others have the real Corinthian CORINTHIAN. Arcli of Hadrian, Athens. CORINTHIAN. Temple of Vesta - COMPOSITE. '^SS Temple oiJupi-ei O.yrapiuSj Athens Arcb of Septimus Sererus. Rome, 38 CORINTHIAN ORDER. base with two scotioe. The hast may be considered the best existing model of Corinthian ; it is one of the most enriched, and nothing can better stamp its vakie than a minute and rigorous examination of it with any of the other examples. These are only a part of the antique remains of this order, but they are the best known, and may be sufficient to induce the student to examine every example for himself. It will not be right to quit this order without adverting to two stupendous magazines of it> the ruins of Balbec and Palmyra ; but although they are worth examining as mat- ters of curiosity, they are of comparatively little value ; how- ever rich, they contain much of the faulty and crowded detail of the later Roman work, and to what extent this was carried in very great Roman works, the best evidence is the palace of Dioclesian, at Spalatro, where, amidst a pro- fusion of ornament, we meet with great poverty of compo- sition, and combinations of mouldings so barbarous as to lead to a degree of astonishment how they could be exe- cuted by persons before whose eyes were existing such examples as Rome even now contains. In the decline of the Roman empire, it became a fashion to remove columns ; there are therefore in Rome, many edifices with a variety of valuable columns erected without their own entablature ; and Constantine, in the church of St. Paul without the walls, began the Norman arrangement by springing arches off the columns without an entablature, and carrying up the Avail to the clerestory windows, with little or no projection ; thus annihilating the leading features of the orders — a bold cornice. COMPOSITE ORDER. The Romans are said to have fomied this order by mixing the Corinthian and Ionic capitals ; Hke the Corinthian, the capital is its principal distinction. This is of the same height as the Corinthian, and it is formed by setting, on the two lower rows of the leaves of the Corinthian capital, the modern Ionic volutes, ovolo, and abacus. The smaU space left of the bell is filled by caulicoles, \Aath flowers, and the upper list of the volute is often floAvered. Ei'om the great variety of capitals which are not Corin- thian, (for it seems most commodious to term those only Corinthian which have four volutes in each face, or rather eight sets round the capital ; four at the angles and fom' in the centre,) it may seem at first difficult to say what should be called Composite, and what considered as merely a Composed order ; but there appears an easy way of designating the real Composite capital, viz. that of considering the Ionic volute, and the Ionic ovolo and astragal under the abacus, as essential parts ; for this ovolo and astragal not existing in Corinthian capitals, forms a regular distinction between the two. The colmnn is of the same height as the Corinthian, and the pedestal and base differ very little from those of that order, the pedestal being sometimes a Httle plainer, and the base having an astragal or two less. The entablature mostly used with this order is plainer than the Corinthian, having commonly only tAvo faces to the architrave, the upper mouldings being rather bolder; and the cornice is different, in having, instead of the modil- lion and dentil, a sort of plain double raodillion, consisting of two faces, the upper projecting farthest, and separated 40 COMPOSITE ORDER. from tlic lower by a small ogee; under this modillion is commonly a large ogee, astragal, and fillet. The assump- tion of this entablature for the Composite is rather Italian than Roman, for the examples of Composite capitals in Rome have other entablatures, and this is found with Corin- thian capitals ; but we must suppose that Palladio and Scammozzi, who both give this cornice to the Composite, had some authority on which they acted, and considering the great destruction of ancient buildings for their columns, this is not improbable. A plain cornice, nearly like that used to the Corinthian order, is sometimes used to this order, and also a cornice with the modillions bolder, and cantalivers under them in the frieze. This order may be enriched in the same manner as the Corinthian. The Composite examples we have to notice are few, and these are, The temple of Bacchus, The arch of Septimus Severns, and The arch of the Goldsmiths. These are all at Rome, and all have an attic base ; they have all large fillets. The first entablature is plain, and has no dentil fiice ; the second has a dentil face cut, as has the third, but the latter has an awkward addition of a second ogee under the dentils, apparently taken out of the frieze, which is thus made very small. The baths of Dioclesian : — this example is placed in the same room with Corinthian columns ; it has an attic base, and the Corinthian entablature. The arch of Titus : — this example has a real Corinthian base and entablature ; in short, it has nothing Composite but the capital. On the whole, an attentive examination of the subject COMPOSITE ORDER. 41 will lead us rather to discourage tlie use of this order than otherwise ; it cannot be made so elegant an order as the Corinthian, and can only be w^anted when columns are to be in two ranges ; and then the capital of the temple of Vesta, at Tivoli, affords a sufficient alteration of the Corin- thian. Having gone through the forms and distinctions of the orders, it is proper to say, that, even in Greece and Rome, w^e meet A^-ith specimens whose proportions and composition do not agree wdth any of them. These are comprised under the general name of Composed orders, and though some are beautiful as small works, scarcely any of the ancient ones are worthy of imitation in large buildings. Of these com- posed orders we have two examples in the Pantheon, one in the columns of an altar, and the other in the pilasters of the attic : they have both dentil cornices, w'ith an uncut face ; the first has angular Corinthian volutes, and none in the centres, and water leaves instead of raffled leaves under the volutes ; the other has no real volutes, but a scroll-work gives the appearance of them, and this capital is only fitted for pilasters. Modern composition has run very wild, and produced scarcely any thing worth prolonging by description. There was, however, one attempt of a singular kind, made some years since by an architect at Windsor, who published a magnificent treatise, and executed one colonnade and a few door cases in and near Windsor. This w^as H. Emljm, who conducted the restoration of St. George's chapel. His order, he says, was first brought into his mind by the twin trees in Windsor forest. He makes an oval shaft rise about one-fourth of its height, and then two round shafts spring from it, close to each other, and the diminution affords space for two capitals, which have volutes, and instead of G 42 COMPOSED ORDERS. leaves, feathers like the caps of the knights of the garter. His entablature has triglyphs, and his cornice mutules. The triglyphs are ostrich feathers, the guttae acorns, and the metopes are filled with the star of the garter. To conceal the awkward junction of the two columns to the loAver part, an omament is placed there, which is a tro- phy with the star of the garter in the centre. It is obvious that this order must be extremely unmanage- able, as it is difficult, and indeed almost impossible, to make a good angle column, and if its entablatm-e is proportioned to the diameter of one column, it will be too small ; if to the whole diameter it wdll be too heavy, and a mean will give the capitals 'wi'ong ; so that in any shape some error arises. In the colonnade above mentioned, the entablature is so light as to appear preposterous. This attempt is not gene- rally known, as the book was very expensive, and the colon- nade at a distance from a public road ; but it deserves con- sideration, because, though the idea was new, its execution seems completely to have failed, and indeed in large designs, no composed order has ever yet appeared that can come into competition wath a scrupulous attention to those excel- lent models of Greece and Rome, now, through the efiects of graphic art, happily so familiar to almost every English architect. There are a few small buildings in and near Athens, which, though not coming within any of the orders pre- cisely, are yet so beautiful in some of their parts, as to requii'e express notice. These are. The Choragic monument of ThrasyUus, The octagon tower of Andi'onicus Cyn'hestes, called the Temple of the Winds, The Choragic monument of Lysicrates, called the lantern of Demosthenes, and The temple of Pandrosus. COMPOSED ORDERS. 43 The fii-st is now merely a face, its intervals being walled up, but was originally the front of a cavern, and consists of an entablature supported by three antac, and covered by an attic lowered in the middle, on which is a statue in a sitting posture. The moiddings of the antea are such as are used in Doric buildings, and the architrave is capped by a plain fillet, with a small fillet, and guttce below j the guttai are continued along with an interval about equal to each drop. The frieze contains eleven wreaths of laurel, and the cornice and attic mouldings are plain but very good. The whole of this monument is so simple, yet possesses so beautiful a character as to render it worthy of very attentive study. The temple of the winds is chiefly valuable for its sculp- ture; it had two door-ways of a composed order, and in the interior is a small order of a Doric, of very inferior proportions, which rises to the support of the roof from a plain string, below which are two cornices or rather tablets. The roof is of marble cut into the appearance of tiles. The outside walls are plain, with an entablature, and a string below, forming a sort of frieze, on which are the figures of the winds. On the whole, this monument is rather curious than beautiful. The lantern of Demosthenes. This is one of the most beautiful little remains of antiquity existing. The whole height is but thirty-four feet, and its diameter eight feet. It is a circular temple, with six engaged columns standing on a basement, nearly as high as the columns, and nearly solid. The capitals, though not like most Corinthian capitals, are very beautiful. The frieze is sculptured, and instead of a cymatium to the cornice, is an ornament of honey-suckles, and above that on the roof, which is beautifully carved in leaves, is a line of a waved projecting ornament ; on the top is a vase, or rather the base of a tripod. Our limits 44 C'O.AH'OSKU ORDERS. will not admit of particularizing all the singularities of this delicate LuUding, but it avcU deserves study and imitation. The temple of Pandrosus is a building with Caryatidse, or figures instead of columns ; they have each a capital of an ornamented square abacus, and ovolo carved. The en- tablature has no frieze, but an architrave of three faces, the uj)permost of Avhich has plain circles for ornament, and joins the cornice, which is a dentil cornice, large, and of good mouldings. The statues are good, and stand upon a continued pedestal of two-thirds their own height ; and there are two antse which descend through the pedestal, and the entablature is rather proportioned to these antae than the Caryatidse. Many of the mouldings are enriched, and indeed the whole of this curious buildino;, which com- prises the temples of Eryctheus, Minerva Pohas, and Pan- drosus, is a fruitful soiu'ce of most delicate enrichment. In this essay it has by no means been intended to men- tion every valuable remaining example ; all that has been aimed at, is to give a general view of those remains which must be considered as standards, and to excite in the pupil that persevering attention to the best models, which is the only way of arriving at a complete knowledge of these very interesting sources of architectural science. ENGLISH ARCHITECTURE. In a work like the present, there will be little propriety in a lengthened disquisition on the origin of this mode of building ; we shall therefore proceed to the detail of those distinctions, which, being once laid down with precision, will enable persons of common observation to distinguish the difference of age and style in these buildings, as easily as the distinctions of the Grecian and Roman orders. It may, however, be proper here to offer a few remarks on the use of the term English, as applied to that mode of building usually called the Gothic, and by some the pointed architectm*e. Although, perhaps, it might not be so diffi- cult as it has been supposed to be, to shew that the English architects were, in many instances, prior to their conti- nental neighbours, in those advances of the styles about which so much has been written, and so little concluded, it is not on that ground the term is now used, but because, as far as the author has been able to collect from plates, and many friends who have visited the continent, in the edifices there, (more especially in those parts which have not been at any time under the power of England,) the architectm^e is of a very different character from that pure simplicity and boldness of composition which marks the English buildings. In every instance which has come under the author's notice, a mixture, more or less exact or remote, according to circumstances, of Italian com- position, in some parts or other, is present ; and he has little doubt that a very attentive observation of the con- tinental buildings called Gothic, would enable an architect to lay down the regulations of Erench, Elemish, Spanish, 46 ENOLISH ARCHITECTURE. German, and Italian styles, which were in use at the time when the English flomished in England. On the origin of the pointed arch, about which, perhaps, there may be now more curiosity than ever, from the numerous accounts given by travellers of apparently very ancient pointed arches in Asia, Africa, and various parts of the continent, it will doubtless be expected that some- thing should be said, and what is necessary may be said in a few lines. To say nothing on the impossibility, as far as at present appears, of fixing an authentic date to those, which, if dated, might be of the most importance, there appears little difficulty in solving the problem, if the practical part of building is considered at the same time with the theoretical. Intersecting arches were most likely an early, and certainly a very widely-spread mode of em- bellishing Norman buildings, and some of them were con- structed in places, and with stones, requiring centres to turn them on, and the construction of these centres must have been by something equivalent to compasses : thus, even supposing (which could hardly have been the case) that the arches were constructed without a previous de- lineation, the centres would have led to the construction of the pointed arch; and when once formed its superior lightness and applicability would be easily observed. To this remark it may be added, that the arches necessarily arising in some parts from Norman groining would be pointed. A carefid examination of a great number of Norman buildings will also lead to this conclusion — that the style was constantly assuming a lighter character, and that the gradation is so gentle into Early English, that it is difficult, in some buildings, to class them, so much have they of both styles : the same may be said of every ad- vance ; and this seems to be a convincing proof that the styles were the product of the gradual operations of a B.B . Wesi^Ti. Side, Moors . C.C. Ji^est Tempers . D J). Door irorrh Chapel to Cloisters . E. J^orth.I'orch. . F. f . West ^4isle of Transepts . ^.(j. £astjiCsle of Jrojis^ts . H, Vestibule, of Chapter If oi4^e . I.I. A'astoTv Thans^ts . L. ^har ofZao!^ Chape/ . 'MMMM. CkapeU. N.K. Mcnzirm/itzit Chapels . O.O. Jtoc-^i Scretfv or thy^iTi Screen^ . P. Jt^istTy or XibrariJ . ^ i 1^ ii|i» "Mji^^^^^^ io 20 3*? 40 jo 60 10 60 go joo ScaZe ir/'-Feee. Jhaam tmeejundio S.Giftrmjrlb. FuUishcdtj-J.H. Parker. QifoTd.ia47. ENGLISH ARCHITECTURE. 47 general improvement, guided by the hand of genius, and not a foreign importation. Diu'ing the eighteenth century various attempts, under the name of Gothic, have arisen in repairs and rebuilding ecclesiastical edifices, but these have been little more than making clustered columns and pointed windows, every real principle of English architecture being by the builders either unknown or totally neglected. English architectm-e may be divided into four distinct periods, or styles, which may be named, 1st, the Norman style, 2nd, the Early English style, 3rd, the Decorated English style, and 4th, the Perpendicular English style. The dates of these styles we shall state hereafter, and it may be proper to notice, that the clear distinctions are now almost entu'ely confined to churches ; for the destruction and alteration of castellated buildings have been so great, from the changes in the modes of warfare, &c., that, in them, we can scarcely determine what is original and what addition. Before we treat of the styles separately, it will be neces- sary to explain a few terms which are employed in describ- ing the churches and other buildings which exemplify them. Most of the ancient ecclesiastical edifices, when consi- dered complete, were built in the form of a cross, with a tower, lantern, or spire erected at the intersection. The interior space was usually thus divided : The space westward of the cross is called the nave^. The divisions outward of the piers, are called aisles. The space eastward of the cross, is generally the choir. " This name is applied equally to the cruciform or not, and whether with or body of the church whether the plan is without aisles. 48 ENGLISH ARCHITECTURE. The part running north and south, is called the cross or transept ^. The choir is generally enclosed by a screen, on the west- ern part of which is usually placed the organ. The choir, in cathedrals, does not generally extend to the eastern end of the building, but there is a space behind the altar, usually called the lady chapel". The choir is only between the piers, and does not include the side aisles, which serve as passages to the lady chapel, altar, «Sjc. The transept has sometimes side aisles^, which are often separated by screens for chapels. Chapels are attached to all parts, and are frequently additions. The aisles of the nave are mostly open to it, and in cathedrals both are generally without pews. In churches not collegiate, the eastern space about the altar is called the chancel. To the sides are often attached small buildings over the doors, called porches, which have sometimes vestries, schools, &c. over them^. ^Y\\Q, font is generally placed in the western part of the nave, but in small churches its situation is very various. In a few churches a building like a chapel has been erected over the font, or the font set in it^ In large churches, the great doors are generally either at the west end, or at the end of the transepts, or both ; but in small churches, often at the sides s. •' More commonly called the north and J More frequently on theeast sideonly. south transepts, which is often convenient, '^ Tlie room over the porch is fre- though not strictly correct. In some cathe- quently but erroneously called the drals a second smaller transept occurs, parvise. as at Canterbury, Wells, &c. f As at Luton, Bedfordshire ; S. Mar- ■■■ In some of the larger collegiate and garet's, Norwich ; and Trunch, Norfolk, cathedral churches there is a consider- « A south door only, protected by a able space eastward of the high altar porch, contributes materially to tlie between the reredos screen and the lady warmth of a small church, especially in chapel, called the presbytery. exposed situations. ENGLISH ARCIIITF.CTrRE. 49 To most cathedrals are attached a chapter-home and cloisters, which are usually on the same side. The chajder -house is often multangular. The cloisters are generally a quadrangle, with an open space in the centre ; the side to which is a series of arches, originally often glazed, now mostly open. The other wall is generally one side of the church or other buildings, with which the cloisters communicate by various doors. The cloisters are usually arched over, and formed the principal communication between the different parts of the mo- nastery, for most of the large cross churches have been monasteries. The lady chapel is not always at the east end of the choir ; at Durham it is at the Avest end of the nave, at Ely the north side. The choii' sometimes advances westward of the cross, as at Westminster. The walls in the interior, between the arches, are piers. Any building above the roof may be called a steeple. If it be square-topt, it is called a toicer. A tower may be round, square, or multangular. The tower is often crowned with a spire, and sometimes with a short tower of light work, which is called a lantern. An opening into the tower, in the interior, above the roof, is also called a lantern. Towers, of great height in proportion to their diameter, are called turrets; these often contain staircases, and are sometimes crowned with small spires. Large towers have often turrets at their corners, and often one larger than the others, containing a staii'case; sometimes they have only that one. The projections at the corners, and between the windows, are called buttresses, and the mouldings and slopes which divide them into stages, are called set-offs. H 50 ENGLISH ARCHITECTURE. The walls are crowned by a parapet, which is straight at the top, or a battlement, which is indented ; both may be plain, or sunk panelled, or pierced. In castellated work the battlement sometimes projects, with intervals for the pm'pose of discharging missiles on the heads of assailants ; these openings are called machico- lations. Ai'ches are round, pointed, or mixed. A semicircular arch has its centre in the same line with its spring, (i) A segmental arch has its centre lower than the spring. (2) A horse-shoe arch has its centre above the spring. (3) Pointed arches are either equilateral, described from two centres, which are the whole breadth of the arch from each other, and form the arch about an equi- lateral triangle ; (4) or drop arches, which have a radius shorter than the breadth of the arch, and are described about an obtuse-angled triangle; (5) or lancet arches, which have a radius longer than the breadth of the arch, and are described about an acute-angled triangle. (6) All these pointed arches may be of the nature of seg- mental arches, and have their centres below their spring. ENGLISH ARCHITECTURE. 51 Mixed arches are of three centres, whiclilooknearly likeellipticalarches ; (7) or of four centres, commonly called the Tudor arch; this is flat for its span, and has two of its centres in or near the spring, and the other two far below it. (8) The o^ee or contrasted arch has four centres; two in or near the spring, and two above it and reversed, (y) The spaces included between the arch and a square formed at the outside of it, are called spandrels, and are often ornamented. Windows are divided into lights by midlions. The ornaments of the divisions at the heads of windows, &c. are called tracery. Tracery is ^\\\\.tx jtowing"^, where the lines branch out into the resemblance of leaves, arches, and other figures ; oy perpendicidar, where the mullions are continued through in straight lines. The horizontal divisions of windows and panelling, are called transoms. The parts of tracery are orna- mented with small arches and points, which are called featherings or folia- tions, and the small arches cusps; and according to the number in im- mediate connection, they are called trefoils (i), quatrefoils (-3), or cinque- foils (3). •" The earlier kinds of tracery consist other geometrical figures, which cannot of circles and portions of circles, and strictly be called flowing. 52 ENGLISH ARCHITECTURE. The cusps arc soiiietiines again feathered, and this is called double feathering. (4) Tablets are small projecting mouldings, or strings, mostly horizontal. The tablet at the top, under the battlement, is called a cornice, and that at the bottom a basement, under which is generally a thicker wall. The tablet running round doors and windows, is called a dripstone '\ and if ornamented, a canopy. Bands are either small strings round shafts, or a hori- zontal line of square, round, or other panels, used to orna- ment towers, spu"es, and other works. Niches are small arches, mostly sunk in the wall, often ornamented very richly with buttresses and canopies, and frequently containing ^atues. A corbel is an ornamented projection from the wall, to support an arch, niche, beam, or other apparent weight, and is often a head or part of a figure. A pinnacle is a small spire, generally with four sides, and ornamented ; it is usually placed on the tops of but- tresses, both external and internal. The small [leaves or] bunches of foliage ornamenting canopies and pinnacles, are called crockets. The larger bunches on the top are called /?/^/«/5, and this term is sometimes applied to the whole pinnacle. The seats for the dean, canons, and other dignitaries, in the choirs of collegiate churches, are called stalls. The bishop's seat is called his throne. » This term is not strictly applicable haps the best term: label is very com- to the mouldings over windows in the monly used, but is properly applied only interior of a building, hoodmould is per- to square-headed windows. ENGLISH ARCHITECTURE. 53 The ornamented open Avork over the stalls, and in general any mmute ornamental open work, is called taber- nacle loork. In some churches, not collegiate, there yet remains a screen, with a large projection at the top, between the nave and chancel, on which was anciently placed certain images ; this was called the rood-loft. Near the entrance door is sometimes found a small niche, with a basin which held, in Roman catholic times, their holy water ; these are called stoups. Near the altar, or at least where an altar has once been placed, there is sometimes found another niche, distin- guished from the stoup by having a small hole at the bottom to carry off water ; it is often double, with a place for the bread : [and is commonly called a piscina.] On the south side, at the east end of some churches, are found stone stalls, either one, two, three, or sometimes more, of which the uses have been much contested'^; [but they are now generally considered to have been the seats for the officiating ministers, and are called sedilia.] Under several large churches, and some few small ones, are certain vaulted chapels, these are called cryijts. In order to render the comparison of the different styles easy, we shall divide the description of each into the follow- ing sections : Doors, Windows, Arches, Piers, Buttresses, Tablets, '^ See the Archseologia, vols. x. and xi., seats, not without interest from the num- in which will be found a long controversy ber of examples cited on both sides. on the subject of the original use of these 54 ENGLISH ARCHITECTURE. Niches, and ornamental arches, or panels. Ornamental carvings, Steeples, and Battlements, Roofs, Fronts, and Porches. We shall first give, at one view, the date of the styles, and their most prominent distinctions, and then proceed to the particular sections as described above. 1st, the Norman style, wliich prevailed to the end of the reign of Henry II., in 1189; distinguished by its arches being generally semicircular; though sometimes pointed, with bold and rude ornaments. This style seems to have commenced before the Conquest, but Ave have no remains really Jcnowu to be more than a very few years older. 2nd, the Early Enylish style, reacliing to the end of the reign of Edward I., in 1307'; distinguished by pointed arches, and long narrow windows, without mullions ; and a peculiar ornament, which, from its resemblance to the teeth of a shark, Ave shall hereafter caU the toothed ornament. 3rd, Decorated Enylish, reaching to the end of the reign of EdAvard III., in 1377, and perhaps from ten to fifteen years longer. This style is distinguished by its large windoAvs, Avhich have pointed arches divided by mullions ' The reign of Edward I. was the and with foliated circles in the head are period of transition from the Early Eng- to be considered as belonging to the Deco- lish to the Decorated style : many build- rated style, the division must be placed ings of this reign belong to the latter at an earlier date, as many buildings of style; for instance, the Eleanor crosses, thischaractcrareoftlie time of Henry HI.; which were all erected between 1290 and for instance, the chapter-house at Salis- 1300, and the style of which is clearly bury. See at the end of the Early English Decorated. If all windows with mullions Style on the transition to the Decorated. ENGLISH ARCHITECTURE. 55 and the tracery in flowing lines [or] forming circles, arches, and other figures, not running per[)endicular]y ; its orna- ments numerous, and very delicately carved. 'Perpendicular Encjlish. This is the last style, and appears to have been in use, though much debased, even as far as to 1630 or 1640, but only in additions. Probably the latest whole building is not later than Henry VIII. The name clearly designates this style, for the mullions of the windows, and the ornamental panellings, run in perpendi- cular hues, and form a complete distinction from the last style ; and many buildings of this are so crowded with ornament, as to destroy the beauty of the design. The carvings are generally very delicately executed. ON SAXON ARCHITECTURE. It may be necessary to state, that though many writers speak of Saxon buildings, those w^hich they describe as such, are either known to be Norman, or are so like them, that there is no real distinction. But it is most likely, that in some obscure country churches, some real Saxon work of a much earlier date may exist ; hitherto, however, none has been ascertained to be of so great an age. Without venturing to fix a date to either, it will be proper here to mention two towers which have hitherto been very little noticed, and yet are of very singular con- struction ; the first is, that of the old church, St. Peter's, at Barton, in Lincolnshire. This is a short thick tower, with very thick walls, originally of three stages ; the two lower of which are ornamented by perpendicular strips of stone, projecting from the face of the waU, and near the top of each stage breaking into arches ; the lower set of arches semicu-cular, and the perpendicular lines springing 56 ON SAXON ARCHITECTURE. from a stone set on the top of the ai'ch ; the second set are straight-lined arches, and run up to a flat string or tablet, on which is the third plain stage, with only two small arches, (if so they may be called,) as in the second stage. On the top of these three stages is one evidently early Nor- man, having a regular double Norman window in it, with a shaft and capital in the middle ; this stage being clearly Nonuan, it is evident the substructure must be of an earlier date ; and in the second stage of the lower part is also a double \\^ndow, with round arches, and divided by something (evidently original, for there are two) exactly resembling a rude balustre; all this arrangement is so different from Norman work, that there seems a probability it may be real Saxon ; and it should be noted, that the other, or new church, St. Mary's, stands within 150 yards of the old church, and is principally a Norman building, with an Early English tower, and a chancel of the same, and a very early Decorated east window, which, of course, renders it necessary to go back to the Conquest at least, for the date of the old one. The other tower is that of Clapham church, in Bedford- shire ; and this is principally remarkable for the extreme simplicity and rudeness of its construction. It consists of a square tower, without buttress or tablet, about tliree squares high, with a rude round-arch door, and above it two heights of small round-arched windows ; above this part of the tower, with a plain set-off, inwards is a Norman portion, with a Norman window divided into two by a central shaft, plain, and of early character; this part is surmounted by a cornice and battlement of later date". ■" A further account of the class of Saxon period will be found in tlie Ap- buildings supposed to belong to the pendix. EAST FRONT OF ST « HAM PSHIRE. FntlLslwd W J.H.Park«', Oxterdj THE NORMAN STYLE. 57 Wc sliall now licgin to trace the first or Norman style, and first of WEST DOOR, IPFLEY CHCHCH. OXFORDSHIRE Norman Doors. There seems to have been a desire in the architects who succeeded the Normans, to preserve the doors of their pre- decessors, whence we have so many of these noble, though, in most cases, rude efforts of skill remaining. In many 58 THE NORMAN STYLE. small cliurclies, Avhere all has been swept away, to make room for alterations, even in the Perpendicular style, the Norman door has been suffered to remain. The arch is semicircular, and the mode of increasing their richness, was by increasing the number of bands of moulding, and, of course, the depth of the arch. Shafts are often used, but not always, and we find very frequently, in tJie same building, one door with shafts, and one without. AMien shafts are used, there is commonly an impost moulding above them, before the arch mouldings spring. These mouldings are generally much ornamented, and the wave or zig-zag ornament, in some of its diversities, is almost universal, as is a large round moulding, with heads on the outer edge, partly projecting over this moulding. There are also mouldings with a series of figures enclosed in a running ornament ; and at one church at York, these figm*es are the zodiacal signs. The exterior moulding often goes down no lower than the spring of the arch, thus form- ing an apparent dripstone, though it does not always pro- ject so as really to form one. The door is often square, and the interval to the arch filled with carvings. Amongst the great variety of these doors in excellent preservation, Iffley church, near Oxford, is perhaps the best specimen, as it contains three doors, all of which are different ; and the south door is nearly unique, from the flowers in its interior mouldings. South Ockcnden church, in Essex, has also a door of uncommon beauty of design, and elegance of execu- tion. Ely, Durham, Rochester, Worcester, and Lincoln cathedrals, have also fine Norman doors. In these doors, almost all the ornament is external, and the inside often quite plain. Almost every county in England contains many Norman doors ; they are very often the only part which patching and altering has left worth examining, and they are re- NOKMAN DOORS. 59 niarkably varied, scarcely any two being alike. In delicacy of exccntion, and intricacy of design, the College Gate, at Bristol, seems eqnal, if not superior, to most; and indeed is so well worked, that some persons have been inclined to ascribe it to a later date ; but an attentive examination of many other Norman Avorks will shew designs as intricate, where there can be no doubt of the date. PART OP SOUTH DOOK, IFiLEY CHURCH, OXFOKD«Jili;ii;. Norman AVindows. The windows, in this style, are diminutive doors as to their ornaments, except that, in large buildings, shafts are more frequent, and often with plain mouldings. The size of these Avindows is generally small, except in very laro-e buildings; there are no mullions, but a double window 60 TIIK NORMAN STYLE. divided hy a shaft, is not iiiicoiunioii. In small rich churches, the exterior is often a series of arches, of which a few are pierced, as windows, and the others left blank. The arch is semicircular, and if the window is (juite ])lain, has generally sloped sides, either inside or out, or both. The proportions of the Norman windows arc generally those of a door, and very rarely exceed two squares in height of the exterior proportions, including the ornaments. The existing Norman windoAvs are mostly in buildings retaining still the entire character of that style ; for in most they have been taken out, and others of later styles put in, as at Durham, and many other cathedrals. There are still remaining traces of a very few circular windows of this style ; the west window at Iffley was circular, but it has been taken out; there is one in Canterbury cathedral, whicl i seems to be Norman; and there is one undoubtedly Norman at Barfreston ", rendered additionally sin- gular by its being divided by grotesque heads, and something like mullions. Circular Wiudow, 8l Jameus. Bristol though very rude, into eight parts. There seems to have been little if any attempt at fea- thering or foliating the heads of Norman doors or windows ". n See Glossary of Archittcture, vol. ii. pi. 163. " In the Romanesque styles of foreifin countries which correspond to the Noi- nian in Kngland, tlic heads of doors arc freijutntly of tlic trefoil form, csiK-eially in those parts of Germany bordering on the Rhine; in l-'ngland such exani])les may he found, liut they are rare and gene- rally of transition character jKirtaking of the ne.\t style. NORMAN WINDOWS. 61 WEST WINDOW, CASTLE RISING. NORFOLK. MA.LMSBORI ABBET. SOOTH WINDOW, IKFLEY. 62 THE NORMAN STYLE. Norm AN Arches. The early Norman arches are semicircular, and in many instances this form of the arch seems to have continued to the latest date, even when some of the parts were quite advanced into the next style ; of this the Temple chm'ch is a curious instance ; here are piers with some of the features of the next style, and also pointed arches with a range of intersecting arches, and over this, the old round-headed Norman window. But though the round arch thus con- tinued to the very end of the style, the introduction of pointed arches must have been much earlier, for we find intersecting arches in buildings of the purest Norman, and whoever constructed them, constructed pointed arches ; but it appears as if the round and pointed arches were, for nearly a century, used indiscriminately, as was most con- sonant to the necessities of the work, or the builder's ideas. Kirkstall and Buildwas abbeys, have all their exterior round arches, but the nave has pointed arches in the interior. There are some Norman arches so near a semicircle as to be only just perceptibly pointed, and with the rudely carved Norman ornaments. There are a few Norman arches of very curious shape, Ijeing more than a semicircle, or what is called a horse- shoe, and in a few instances a double arch. These arches are sometimes plain, but are much oftener enriched with the zigzag and other ornaments peculiar to this style. [It may be observed that in late Norman work Avhen the transition to the Early English style was beginning to take place, the arches in the interior of a building are frequently all pointed, while tliose in the exterior over the windows and doors are all semicircular. This seems to agree with the opinion that the change was connected with the vaulting.] NORMAN ARCHES. 63 ilALMSBDRT ABBEY. KIRK3TALL ABBEY. G4 THE NORMAN STYLE. Norman Piers. These are of four descrip- tions, 1st, The round massive columnar pier, which has some- times a round, and sometimes a square capital; they arc ge- nerally plain, but sometimes or- namented with channels in va- rious forms, some plain zigzag, some like network, and some spiral. They are sometimes met with but little more than two diameters high, and sometimes are six or seven. 2nd. A multangular pier, much less massive, is sometimes used, generally octagonal, and commonly with an arch more or less pointed. 3rd. The common pier with shafts ; these have sometimes plain capitals, but are sometimes much ornamented with rude fo- liage, and occasionally animals. The shafts are mostly set in square recesses. 4th. A plain pier, with per- fectly plain round arches, in two or three divisions. In some cases, the shafts are divided by bands, but the in- stances are not many. 'ir^-^H i - 3ru., Lady Chapal, Oxford Cathedral. NORMAN PIERS. 65 OXFOBD CATHEDHAi. iillilliiu.., WlNCHSaXEE. CATHEDRAL ST. ALBAN'S ABBtY. ST. PETERS, NORTHAMPXU-V. 66 THE NORMAN STYLE. Norman Buttresses. These require little description ; they are plain, broad faces, with but small projection, often only a few inches, and running up only to the cornice tablet, and there finish- ing under its projection. Sometimes they are finished with a plain slope, and in a few instances are composed of several shafts. Bands or tablets running along the walls, often run round the buttresses. There are, however, in rich buildings, buttresses ornamented with shafts at the angles, and in addition to these shafts, small scries of arches are sometimes used ; occasionally a second buttress, of less breadth, is placed on the outside of the broad flat one, [as at St. Cross Church, Hampshire, see Plate.] Norman Tablets. CORBEL-TABLE. IFFLET, OXFORDSHIRE In treating of tablets, that which is usually called the cornice, is of the first consideration ; this is frequently only a plain face of parapet, of the same projection as the but- tresses ; but a row of blocks is often placed under it, some- times plain, sometimes carved in grotesque heads, and in some instances the grotesque heads [or the plain blocks] suj)port small arches, when it is called a corbel-table. A plain string is also sometimes used as a cornice. COKBBL-TABLE, It-KLBy, OXFORDSHIRE NORMAN BUTTRESSES. 68 THE NORMAN STYLE. The next most important tablet is tlie dripstone, or outer moulding of windows and doors ; this is sometimes undistin- guished, l)ut oftener a square string, frequently continued horizontally from one window to another, round the but- tresses. [When not so continued it is frequently terminated by some gro- tesque ornament, especially in the richer buildings, as at jMalmsbury abbey p, or with a kind of foliage as at Shoreham church, Sussex.] The tablets, under windows, are generally plain slopes above or below a fiat string. Tn the interior, and in some instances in the exterior, these are much carved in the various ornaments described hereafter. Sboreham, Sussex -:^. Norman Niches, &c. These are a series of small arches with round ..rjzr- and often with intersect- ing arches, sometimes without, but oftener with shafts. Some of these arches have their mould- ings much ornamented. \ There arc also other = niches of various shapes over doors, in which are j)laccd figm-es ; they are generally of small depth, and most of them re- tain the figures originally })laced in them. LEIGH, WOKCbSTERSHlRE •' See (ilossary of Aichitecture, vol. ii. plate 52. NORMAN ORNAMENTS. Gl) Norman Ornaments. STAIBCASE. CANTERBURY. '^■X, The ornaments of this style consist principally of the different kinds of carv- ed monldings surrounding doors and windows, and used as tablets. The first and most frequent of them, is the zigzag or chevron moulding, which is generally used in great profusion. The next most common on door mould- ings, is the beak-head moulding, consisting of a hollow and a large round ; in the hollow are placed heads of beasts or birds, STAIRCASE, CANTERBDRY MALMSBDRT ABBEY 70 THE NORMAN STYLE. BEAK-HEADS. IFFLET CHURCH. ': jinMiiii whose tongues or beaks encircle the round. After these come many varieties, ahnost every specimen having some difference of composi- tion ; a good collection of them may be seen in the Archoeologia, Kino;'s ]\Imiimenta An- tiqua, [and in the Glossary of Architecture q.] There is one moulding which deserves mention, from its almost constant occur- rence, very nearly of the same pattern and propor- tions over every part of the kingdom ; this is the moulding of the square abacus, over the flowered or cut part of the capital ; it consists of a broad fillet and hollow, which are separated by a little sunk channel, and it is sometimes continued as a tablet along the walls. [Some of the Norman l)uildings arc exceedingly rich and profusely covered with ornament in almost every part, these examples are generally late in the style, but this does not appear to be an invariable rule, and the period at which par- ticular ornaments were first used is still undecided. The ex- terior of Norman buildings is sometimes nearly covered with a series of shallow niches or arcades, as in Castle Acre priory, Norfolk, St. Peter's church, Northampton, the west end of Iffley church, Oxfordshire, the towers of Norwich and Ely ca- thedrals. Castor church, Northamptonshire, S:c. The interior is ornamented in a similar manner, and sometimes portions '1 Vol. ii. plates 7^ It ii [RESTORED] PiiHishedliy J.H.Parker. Oxfori. 1846. EARLY ENGLISH WINDOWS. 94 THE EARLY ENGLISH STYLE. In large buildings they are often ornamented with very long and slender shafts, which are frequently banded [as at Polebrook, Northamptonshire, p. 9 1 ]. Most of our cathedrals contain traces of windows of this character, but some, as at Durham, have tracery added since their original erection. Salisbury, Chichester, Lincoln, Beverley, and York, still re- main pure and beautiful ; at York north transept are windows nearly fifty feet high, and about six or eight wide, which have a very fine effect. Although the architects of this style worked their ordi- nary windows thus plain, they bestowed much care on their circles. Beverley minster, York and Lincoln, have all circles of this style peculiarly fine ; that of the south tran- sept at York, usually called the marygold window, is ex- tremely rich, but the tracery of the circles at Westminster is of a much later date. [Some windows of this style are long and narrow, like the usual lancet-shaped windows, but with square tops, and worked quite plain, as in the chancels of Cowley church, Oxford- shire, and Tixover, Rut- landshire . Th e same form occurs at Ringstead, Northamptonshire, with an arched head over it, trefoiled and ornamented, but not pierced. Similar loop windows with square tops occur occasionally also in Norman work.l ,.„' -I WINDOW Oi TO WEB, EIKGSlLAD. EARLY ENGLISH WINDOWS. PETERBOROUGH CATHEDRAL, STRIXTON, NORTHAMPTONSHIRE H&BGEAVE, NORTHAMPTONSHIRE. 96 THE EARLY ENGLISH STYLE. YORK. CATHEDHAL. There is in all the long windows of this style, one almost universal distinction ; from the straight side of the window opening, if a shaft is added, it is mostly insular, and has seldom any con- nexion with this side, so as to break it into faces, though the shafts are in- serted into the sides of the doors, so as to give great variety to the open- ing. [These shafts are very frequently of the dark colour- ed marble called Pm-beck, or Petworth, or Forest marble, which takes a high polish, and is composed chiefly of sheUs, varying in size in different specimens from the same quarry, but there is no real distinction between these varieties.] At Westminster abbey, there are a series of windows above those of the aisles, which are formed in sphe- rical equilateral triangles. [The clerestory windows in small chmxhes of this style are sometimes plain circles, as at Acton Burnel, Shropshire, or a plain early trefoil or quatrefoil often en- Westminster ABBEy. closed in a circle or a square within, as at Hargrave, North- amp tonshu'e. Small lancet shaped windows may also be found, and spherical triangles similar to those at West- minster, but plainer.] Early English Arches. TRIFORIUM ARCADE, NOhTH TRANSEPT, WESlMJlvSTER ABBET. The window-arch of this style being generally a lancet arch, and some persons having considered the shape of the arch to be a very distinguishing feature of the different styles, it may be necessary in this place to say a few words on arches generally. If we examine with care the various remains of the different styles, we shall see no such con- stancy of arch as has been apprehended ; for there are com- position lancet arches used both at Henry the VII. 's chapel, Westminster, and at Bath ; and there are flat segmental arches in the Early English part of York ; and upon the whole it will appear, that the architect was not confined to any particular description of arch. The only arch precisely attached to one period, is the four-centred arch, which does 98 THE EARLY ENGLISH STYLE. not appear in windows, &€., if it does in composition, before the Perpendicular style ^ In large buildings, the nave-arches of the Early English style were often lancet, but in some large and many small ones, they are flatter, some of one-third drop, and perhaps even more, and sometimes pointed segmental. At Canterbury, in the choir, are some ciu-ious pointed horse-shoe arches, but these are not common. The architraves of the large arches of rich buildings are now beautifidly moulded like the doors, wdth deep, hollow mouldings, often enriched wdth the toothed ornament'. Of this description, York transepts, and the nave and transepts of Lincoln, are beautiful specimens; Salisbury is worked plainer, but not less really beautiful, and Westminster abbey is (the nave at least) nearly plain, but wdth great boldness of monldins;. :,\ i-;kLLY UINSitK. The arches of the gallery [triforium,] in this style, are often with trefoiled heads, and the mouldings running round the trefoil, even to the dripstone ; Chester choir is a fine specimen, and there are some plain arches of this description in AVinchcster cathedral which are very beautiful. ' There are a few rare exceptions to this rule, as tlie doorway to tlie city schools at Bristol, which has a four-cen- tred arch with pure Early English mould- irifjs. In the crypt of St. .Joseph's chapel at Glastonhury, the Lady-chapel at Christ Church, O.xford, and the pier-arches at Stanwick in Northamptonshire, are other early examples of four-centred arches. ' See Glossary, vol. ii. PI. 81. EARLY ENGLISH ARCHES. 99 WOODFORD, KOKTBAilPTONSHIRE NORTH TRANSEPT, WESTMINSTER ABBET. ARCHES, YORK CATHEDRAL. ]00 THE EARLY ENGLISH STYLE. Early English Piers. Of the piers of large buildings of this style, there are two distino-uishiiio; marks : first, the almost constant di- vision, by one or more bands, of the shafts which compose them ; and secondly, the arrangement of these shafts for the most part in a circle. In general they are few, some- times only four, sometimes ^^ eight, set rovmd a large circular one ; such are the piers of Salisbury and of Westminster abbey ; there are sometimes so many as nearly to hide the centre shaft, as at Lincoln and York ; but the circular arrangement is still pre- served, and there are some few as at the choir at Chester, which come very near the appearance of Decorated piers. Amongst other piers, one not very common deserves to be noticed ; it is found at Be- verley minster, and in a few other churches ; it consists of shafts, some of which are plain rounds, others filleted rounds, and some whose plan is a spherical triangle, with the edge outwards ; at Runcorn chm'ch, Che- shire, is a pier consisting of four of these triangular shafts, with a handsome flowered capital, which has alto- gether a very fine eflrct. TRANSEPl, Bt-VERLEY EARLY ENGLISH PIERS. 101 CHOIR, LINCOLN CATHEDRAL CHOIR, WESTMINSTER jflji ■ NAVE, SELBT, YORKSHIRE NAVE, ST. JOHN'S. CIRENCESTER. 102 THE EARLY ENGLISH STYLE. NF.TLEY ABBEY NORTH TRANSEPT. WESTMINSTER ABBEY. BliVtRLEY illXSTER. LINCOI.N CATHKOKAL. EARLY ENGLISH PIERS. 103 [The responds or half pillars attached to the wall at each end of an arcade frequently differ from the other piers, and the original Early English responds often re- main when the arches and the other piers have been re- built in a subsequent style. WHITBY ABBEY, YOKK-SHIEE. NETLEY ABBEY HAMPSHIRE. The vaulting shafts or half pillars attached to the wall and carrying either the ribs of the vault, or the side posts of the open timber roof, are very characteristic features of this style. They sometimes spring from the ground, and in such cases the lower part of them is attached to the face of the pier, often united in one base with it. In other instances they spring from corbels projecting from the face of the Avail, as at AVhitby, these are often placed in the spandrel formed by the springing of two arches imme- diately above the capital as at Netley.] 104 THE EARLY ENGLISH STYT-F.. The capitals of these shafts are various; in many, per- haps the greater number of huildings, they are plain, con- sisting of a bell with a mould- ing under it, and a sort of capping, with more mouldings above, and these mouldings are often continued round the centre pier, so as to form a general capital, [as at Stanwick, North- amptonshire, Westminster and Beverley.] The dividing bands are formed of annulets and fillets, and are often continued under windows, &c. as tablets, and are, like the capitals, some- times continued round the centre shaft. Another and richer capital is sometimes used, which has leaves like those in the capitals of the door shafts. This kind of capital is gene- rally used where the shafts entirely encompass the centre . one, as at York and Lincoln, and has a very fine effect, the leaves being generally ex- ht^^ tremely well executed. [Occa- y>^ sionally heads, or birds, or ani- mals, are introduced among the foliage, as in the beautiful tomb of Archbishop Walter Gray, in York cathedral.] STANWICK, NOKIHAMPTONSHIRE NORTH AISLE OF CHOIR. WESTillNSTER. LINCOLN CATHEDKAL. EARLY ENGLISH CAPITALS. 105 TOMB OF ABP. WALTER GP.AY. YORK. NORTH TRANSEPT, YORK CATHEDRAL. 106 THE EARLY ENGLISH STYLE. The bases used are frequently near ap- proaches in contoiu' to the Grecian attic base, but the reversed ogee is sometimes employed. There is another pier, in buildings that appear to be of this style, which is at times very confusing, as the same kind of pier seems to be used in small churches even to a very late date; this is the plain multangular (gene- rally octagonal) pier, with a plain capital of a few very simple mouldings, and with a plain sloped arch. Piers of this de- scription are very fre- quent, and it requires great nicety of observa- tion and discrimination to refer them to their proper date ; but a mi- nute examination wdll often, by some small mat- ter, detect their age, though it is impossible to describe the minutiae without many figures. In general the capitals BEVERLEY MIN3TEB LINCOLN CATHEDRAL. SELBY, YORKSHlRii in general iiic Lupitaio and bases will carry in their character sufficient marks to determine their date, except in the transition from Early English to Decorated. Early English Buttresses. These are of four de- scriptions : 1st. A flat buttress is often used, but it is not always so broad as the Norman ; its tablets are more delicate, and it has often the small shaft at the angle like the Norman. 2nd. A buttress not so broad as the flat one, but nearly of the same projec- tion as breadth, and car- ried up, sometimes with only one set-off, and some- times without any, and these have often their edges chamfered from the window tablet. They sometimes have a shaft at the corner, and in large rich buildings are occa- sionally panelled. These buttresses have also, at times, much more pro- jection than breadth, and are sometimes, as at Salis- bury, filled with niches and other ornaments. BUTTRESS, ENSEAaI, OSON. i'T^^'mm- BDTTBESS, TCHITBY 108 THE EARLY ENGLISH STYLE. 3rd. A long slen- der buttress, of nar- row face and great projection in few stages, is used in some towers, but is not very common. 4tlL Towards the latter part of this style, the buttress in stages was used, but it is not very common, and is sufficiently distin- guished by its tri- angular head, the usual finish of this style, which can hardly be called a pinnacle, though sometimes it slopes off from the front to a point. From the buttresses of the aisles to those of the nave, choir, &c., now began to be used the flying buttress, of which Salisbury and Chi- chester cathedrals [and Westminster abbey] present vari- ous fine examples. BOTTKESS WESTMINSTER ABBEY. EARLY ENGLISH TABLETS. 109 The cornice is sometimes rich in mouldings, and often with an upper slope, making the face of the parapet per- pendicular to the wall below. There are cornices of this style still resem- bling the Norman projecting parapet, but they consist of several mouldings. The hollow mould- ing of the cornice is generally plain, seldom containing flowers or carvings, except the toothed ornament, but under the mouldings there is often a series of small arches resembling the corbel- table. CORNICE, YORK. CORBEL-TABLE IN TOWER. STANWICK, NORTHAMPTONSHIRE. The dripstone of this style is vari- ous, sometimes of several mouldings, sometimes only a round with a small hollow. It is, in the interior, occa- sionally ornamented with the toothed ornament, and with flowers. In some buildings, the diipstone is returned, and runs as a tablet along the walls. It is in general narrow, and supported by a corbel, either of a head or a flower. DHCPdTONE 'lfc.U.JI:NlATION, SWATON, LINCOLNSHIRE.' 110 THE EARLY ENGLISH STYLE. There arc frequently, in large buildings, in the orna- mented parts, bands of trefoils quatrefoils, &c., some of them very rich. Although a sort of straight canopy is used over some of the niches of this style, yet it does not appear to have been used over win- dows or doors. In some buildings where they are found, they appear to be ad- ditions. The tablets forming the base-mouldings are some- times a mere slope ; at others, in large buildings, are of several sets of mouldings, each face projecting farther than the one above it; but the reversed ogee is very sel- dom used, at least at large and singly. [The arch-mould- ings of this style are gene- rally very bold and deeply cut, and form a very charac- teristic featm-e; they consist principally of plain rounds, separated by deep hollows : in very rich examples these hollows are sometimes tilled with the tooth ornament, or with foliage.] GATEWAY, TRINITY PRIORY, YORK. ARCH OF THE NAVE. MILTON, OXON BASE-MODLDING, SALISBURY EARLY ENGLISH MOULDINGS. SECTION OF POECH, HIGHAM FEREEES, iii'ii,ii' IVRCH OF THE NORTH DOORWAY. MILTON, OXON. MODLDING OF DOOR, WOODFORD, NORTHANTS. 112 THE EARLY ENGLISH STYLE. The most important niclies arc those fomid in chancels, in the walls of the south side, and of which the uses do not yet appear to be decided ''. Of these there are many of all stages of Early English ; there are sometimes two, but oftcner three, and they are generally sunk in the wall, and adapted for a seat ; the easternmost one is often higher in the seat than the others. They have some- times a plain trefoil head, and are sometimes orna- mented -vnth shafts ; they aregenerally straight-sided ' . The statuary niches, and ornamented in- terior niches, mostly consist of a series of arches, some of them slope-sided, and some with a small but not very visible pedestal for the statue. [On the west front of Peter- borough cathcch'al is a series of trefoil- headed arches, which arc alternately filled with statues and win- dows.] Theyare often The sedilia, see p. 53. ••DILE. STAN WICK. NOETHANTS MICUE, WKST FRONT, PETERBOROOGH CAU utijiwii.. ' At Uffingtoii, Berksliire, is a fine example, see Glossary, vol. ii. Plate 131. EARLY ENGLISH NICHES. PI3CINA. POLEBROOK. NORTHAMPTONSHIRE STALLS IN CHANCEL. DENFORD. NORTHAMPTONBJalHiS. 114 THE EARLY ENGLISH STYLE. grouped two under oue arch, with an ornamental opening between the small arches, and the large one like the double doors; a straight-sided canopy is sometimes used, and a plain finial. These niches, except the chancel stalls, and the stoup and water-drain, are seldom single, except in buttresses, but mostly in ranges. Early English Ornaments. The first ornament to be described is that already noticed as the peculiar distinction of this style, to which it seems nearly, if not exclusively confined ; it is the regular pro- gression from the Norman zigzag to the delicate four-leaved flowers so common in Decorated English buildings. Like TOOTH OHNi 1 AND DEIPSTONE TERMINATION, PKSCINA. IsoKiH TRANSEPT, YORK CATHEDRAL. the zigzag, it is generally straight-sided, and not round like the kaves of a flower, though, at a distance in front, it looks much like a small flower. It is very difficult to de- scribe it, and still more so to draw it accurately ; it may perhaps be understood by considering it a succession of low, square, pierced pyramids, set on the edges of a hollow moulding. This ornament is used very profusely in the buildings of this style, in Yorkshire and Lincolnshire, and frequency in those of other counties. [It is now generally known by the name of the tooth ornament. See above, and the capitals from York and Komsey.] EARLY ENGLISH ORNAMENTS. 115 Another ornament, which, though not peculiar, in small works, to this style, was seldom but dming its continuance practised to so large an extent, is the filling of the spaces above the chou'-arches with squares, enclosing four-leaved flowers, [or other leaves, and usually called diaper-work.] This is done at Westminster, at Chichester, and in the screen at Lincoln, in all which the workmanship is ex- tremely good, and it has a very rich eflect. ;"^ WESTMINSTER ABBET. HIGHAT.T FERRERS. NORTHANT3. CHOIR-SCREEN, LINCOLN CATHEDRAL IIT) THK KAKLY ENGLISH STYLK. -y- ) J 1^ 1.1__ 5-TT^T^T'yjT'y?T^i^^T.'n^T-^t^i!t::^^:!^l^ iN'OTLb,Y ABBc,\, BuCKlNGUAJUSHlKli. Ill many parts, as in the si)anclrels of door-arclies, and other plain spaces, circles filled with trefoils and qnatre- foils, Avitli flowered points, are often intro- duced, [as at Raunds.] These are of small depth, and are used in nianv buildings very freely. Sometimes instead of sunk panels a sort of boss of leaves and flowers is used, of which there are some fine examples in the Early English part of York minster, [and in the ruins of Notley Abbey. Elegant scrolls of foliage of a very marked character, are also frequently used as orna- ments in this style, as in the beautiful tomb of Abp. Walter Gray, at York, and at Westminster, Romsey, &r.l SUNK PANKL. KAUaDS, NOKTHANTS. FOLIAGE, TOMB OF ABP WALTEK GRAY, YORK. EARLY ENGLISH ORNAMENTS. 118 THE EARLY ENGLISH STYLE. In the early period of the style, crockets were not used, and the finial was a plain bunch of three or more leaves, or sometimes only a sort of knob ; but in small rich works, towards the end of the style, beau- tiful finials and crockets were introduced. [Gable crosses of this style are crockets, tomb of abp wm-ter gray. not very common, when found they partake of the usual character of the foliage of this style.] CROSS, MORTON, LINCOLNSHIRE CROSS. LITTLE FONION, LINCOLNSHIRE Early English Steeples. The Norman towers were short and thick, the Early English rose to a much greater height, and on the tower they placed that beautiful addition the spire. Some of our finest spires are of this age, and the pro- portions observed between the tower and spire are generally very good. Chichester is clearly of this style, and Salis- .uBig: ciETirmtcai . :^cs.irEi-*Niir^"3ta'K'S3!ESJs , Pabhshed TjT XH . Farkcr . Oarri .liii EARLY ENGLISH STEEPLES. 119 bury, thougli perhaps not erected till within the period of the Decorated style, is yet in its composition so completely of Early English character, that it should be considered as such, notwithstanding^^ the date and the advance of its ornaments ; in beauty of proportion it is unrivalled. The towers of Lincoln and Lichfield, though perhaps not finished within the date of the style, are yet of its com- position ; the spires of Lichfield are of much later date. Wakefield steeple is finely proportioned, though plain, and it is singular for its machicolations in the top of the tower. The towers are flanked by octagonal turrets, square flat buttresses, or, in a few instances, with small long but- tresses ; and generally there is one large octagonal pinnacle at the corners, or a collection of small niches. pFine examples of pinnacles and turrets occur at Peterborough cathedral, some of wdiicli have the tooth ornament, and others have their arches supported by clustered shafts ''.] When there is no parapet, the slope of the spire runs down to the edge of the wall of the tower, and finishes there with a tablet ; and there is a double slope to connect the corners with the intermediate faces. The spire is often ornamented by ribs at the angles, sometimes with the crockets on the ribs, and bands of squares filled with quatre- foils, &c., surrounding the spire at difierent heights. There are many good spires of this style in country churches. [Northampton- shire is especially celebrated for them, gene- rally of the class called broach spires, which have no parapet; Polebrook is a good ex- PETERBORODGH. •< See Glossary, vol. ii. Plate 110. 120 THE EARLY ENGLISH STYLE. ample of the usual character of these spires ; at Raunds perhaps the spire is rather disproportionate to the tower, but it is a very fine specimen, and the panelling of the tower is very remarkable'. St. Mary's at Stamford in Lincolnshire is another celebrated example, the spire is of somewhat later date than the tower, but the general character is well preserved and the proportions are good. It is not unusual to find Decorated spires added to Early English towers.] Early English Battlements. During nearly the whole of this style, the parapet, in many places plain, in others ornamented, continued to be used ; at Salisbury it has a series of arches and panels'", ■ _ '' '" ^^' " and at Lincoln quatrefoils in 7'-'i^^i^-£~~'^^T^'^^^"' ' ' ^i^riFi sunk panels fin some parts, •• -■^'■'•'^■■■■^■'-7-^ -'V-'-'^'-t-^^ -•:•/- 'W m other parts plain, with a ' " '''^"' _^' ■r-:-,r ^^ — . •■- . k, ^ rich cornice under it.] Per- i;; ...L' haps some of the earliest bat- • •■'-''■ tlement is that at the west ^^'^^^^^ cathedkal end of Salisbury cathedral, plain, of nearly equal intervals and with a plain capping moulding ; but it may be doubted if even this is original. Li small ornamented works, of the latter part of this style, a small battlement of equal intervals occurs. [In some instances the parapet is pierced with trefoils or quatrefoils, or open panels with trefoil heads similar to the sunk panels at Salisbury, the latter occur at Bayeux.] 1 [Oxford cathedral has one of the cruciform churches, wliich gives them earliest examples in England of a spire great elevation, and a fine effect ; at which is short, with pinnacles at the Bampton figures of angels are used as angles of the tower, these and the upper pinnacles, the spire-lights both here and part of the spire have been clumsily re- at Oxford are good and characteristic, built. Witney and Bampton, Oxfordshire, with open trifoils in the head.] have very fine spires of this style rising '" Sou Glossary, vol. ii. Plate !)7.' from the towers at the intersection ol U\^^\^* mi F.Macbnzie.d EARLY ENGLISH FRONTS. 125 east end of the lady-chapel at Salisbury, the extreme east end of Hereford cathedral, and the north transept of Headon chiu'ch, near Hidl, deserve attention. In general the west fronts and transept ends have a door, and one, two, three, or even four ranges of niches, windows, and arches over them. The transepts of Westminster abbey are very fine, but nuich of the work is not original. The west front of Lincoln minster deserves minute examination for its details ; the old Norman front is encompassed by Early English, the workmanship of which is very superior ; and a large feathered circle over the great door is nearly unique, from the exquisite workmanship of its mouldings, which consist of open-work bands of flowers. The west front of Peterborough cathedral is different from all the rest ; it consists of three large arches, forming a sort of screen to the front. These arches have piers of many shafts, and fine architraves, and the gables enriched with much small work of circles and arches, and a profusion of the toothed ornament over the whole. [Many small parish cluu'ches of this style have east or west fronts deserving attention ; in the east front there is most frequently a triplet of lancet lights, and the same arrangement is usual in the fronts of the north and south transepts, and at the west end also when there is no tower. Sometimes the lancets are small, and have a small window over them in the gable, as at Strixton, Northamptonshire, which is a valuable specunen of plain Early English work throughout. In later examples, the window is usually of three or more lights, separated only by mullions, with circles in the head, either with or mthout foliation, as at Raunds, Northamptonshne, and Acton Burnel, Shropshire. The west front of Nun-Monk- ton church, Yorkshire", afibrds a very singular example of o See an engraving of this front, with details, in the Archaeological Journal, vol. iv 126 THE EARLY ENGLISH STYLE. the combination of a small tower with the west gal)le, over a fine triple lancet window, and a rich doorway or shallow porch of transition character. New Shoreham church, Sussex, has a fine east front of good design, very early in this style ; the west front of St. Edmund's chapel, Gates- head, Durham, is another fine example.] i.CTON BUKNKLL. SHROPSHIRE Early English Porches. Of these, which are" in general larger than the Norman porches, it will be sufficient to mention two ; one the north porch of Salisbury cathedral, and the other the south porch at Lincoln, The first is attached to the north side of the nave, of which it occupies one division, rising as high as the aisles ; it consists of a noble plain arched entrance, over which are two double windows, close together, resting on a tablet ; and quite in the peak of the gable, two small niches close together resting on another string. The in- terior is groined in two divisions, and its walls ornamented with sunk panelling. The porch at Lincoln is placed in a singular situation, running westerly from the west side of the south transept. The lower part is a rich piece of groined work, with three entrances — north, south, and west, over which is a small room ; the whole of this porch, both interior and exterior, is well worked, and richly orna- mented. [There are also fine Early English porches at Barnack, Northamptonshire, and Skelton, Yorkshire'', and at Wood- ford, Northamptonshire, (see p. 128,) both the outer and inner doorways of which are richly moulded, and have numerous banded shafts in the jambs ; the outer arch is rather acutely pointed, the inner one is of the rounded trefoil form. The shallow west porch of Higham Ferrars chm'ch, Northamptonshire, is also deserving of especial mention from its extreme richness, the whole surface of the wall being covered with sculpture and diaper work, except where the crucifix has been removed. The west porch of St. Alban's abbey cluu'ch is another very fine ex- 1" Sec Glossary, vol. ii. Plate 1 Hi. 128 THE EARLY ENGLISH STYLE. ample, though the outer arch is Decorated; but perhaps the most gorgeous porch of this style in existence is the Galilee at the west end of Ely catliedral : this magnificent specimen of the Early English style must be seen to be duly appreciated; it combines the most elegant general forms with the richest detail; a very happy effect is pro- duced by the double arcade on each side, one in front of the other with detached shafts, not opposite but alternate.] SOUTH PORCH AND DOOR, WOODFORD. NORTH AMTTONSHJ RE. EARLY ENGLISH FONTS. Wellow. Srmerset Burrow, Leicesteislaie. Twyford Leicesteiatui-e St. (ieorge s, Canterbury. Hexham, Northumberland Bamack. NorthamptonsQire. 130 THE EARLY ENGLISH STYLE. There appear to be fewer Fonts of this style remaining than of any other, at least of such as can be clearly marked as belonging to the style. [But there are many plain, square, and circular Fonts, of which it is difficult to say whether they belong to the commencement of this or the end of the preceding style"". The richer Fonts arc usually ornamented with the characteristic foliage in high relief, or with the tooth-ornament, and the stem is frequently sur- rounded by detached shafts.] Early English staircases (except round ones in towers) are not common ; it is proper therefore to remark a small one, of rich character, at Beverley minster ; it leads from the north aisle of the choir to some adjacent building, and consists of a series of arches rising each higher than the former, with elegant shafts and mouldings. There is another in the refectory (now a grammar school) at Chester, leading up to a large niche or sort of pulpit, for the reader. [This kind of staircase let into the thickness of the wall, and leading up to a rostrum or reading pulpit on one side of the refectory, is a feature generally found in the remains of monasteries of this period. The well-known beautiful example at Beaulieu, Hampshire, belongs to the transition from this style to the next. Other examples occur at Wal- singham priory, Norfolk ; St. Mary's abbey, Shrewsbmy ; Fountains and Rievaulx abbeys, Yorkshire, &c. There is a very elegant staircase, of this period, in the refectory of St. iMartin des Pros, in Paris, perhaps one of the lightest buildings ever executed in stone.] •» [Preface to Simp.son's " Series of be depended on. It contains a list of Ancient Baptismal Fonts," a valuable sixty-five Early English Fonts.] work, the accuracy of whicli may always THE EARLY ENGLISH STYLE. 131 The general appearance of Early English biiildhig is magnificent, and rich rather from the number of parts than from its details. In those buildings where very long windows are used, there is a grandeur arising from the height of the divisions ; in smaller buildings there is much simplicity of appearance, and there is a remarkable evenness in the value of the workmanship. There is much of the other styles which appears evidently to be the copy by an inferior hand of better workmanship elscAvhere ; this is re- markably the case in Perpendicular work, but is hardly any where to be found in Early English work, all appears well designed and carefully executed. Of this style we have the great advantage of one build- ing remaining, worked in its best manner, of great size and in excellent preservation ; this is Salisbury cathedral, and it gives a very high idea of the great improvement of this style on the Norman. Magnificent without rudeness, and rich, though simple, it is one uniform whole. The west front is ornamented, but by no means loaded, and the appearance of the north side is perhaps equal to the side of any cathedral in England. The west front of Lincoln is fine, but the old Norman space is too visible not to break it into parts. Peterborough and Ely have perhaps the most ornamented fronts of this style. As interiors, after Salisbury, the transepts of York are perhaps the best speci- mens, though there are parts of many other buildings de- serving much attention. In the interior arrangement of large buildings we find the triforium a very prominent feature ; it is large in pro- portion to the Avork above and below it, and is generally the most ornamented part of the work. In small churches the triforium is generally omitted. Among the greatest beauties of this style are some of the chapter-houses, of which Lincoln and Litchfield, both decagons, but of very 132 THE TRANSITION FROM THE EARLY ENGLISH different arrangement ; and those of Chester and Oxford, both parallelograms, deserve particular attention ; but that of Salisbury, a regular octagon, and of a character quite late in the style, is one of the most beautiful buildings re- maining. Its composition is peculiarly elegant, and its ex- ecution not excelled by any. Not much has been done in cither restoring or imitating this style "■ ; it is certainly not easy to do either well, but it deserves attention, as in many places it would be peculiarly appropriate, and perhaps is better fitted than any for small country churches. It may be worked almost entirely plain, yet if ornament is used, it should be well executed ; for the ornaments of this style are in general as well executed as any of later date, and the toothed ornament and hollow bands equal, in difficulty of execution, the most elaborate Perpen d icular orn aments . In this style ought to be noticed those beautifid monu- ments of conjugal affection, the crosses of Queen Eleanor. Of these, three remain sufficiently perfect to be restored, if required, and to do which little would be wanted to two of them. One at Geddington in Northamptonshire, is com- paratively plain, but those of Northampton and Waltham are peculiarly rich, and of elegant composition ; there is enough of Early English character in them to mark their date, and enough of Decorated richness to entitle them to be ranked as buildings of that style ; that of Northampton is the most perfect, but that at Waltham is, on the whole, the most beautiful in its details. ■■ [Since this was written many at- tliis !J PlDDiMGluM, OXiOKDSHIRE. BAMPTCN, OXb'UKDSBlflE:. 146 THE DECORATED ENGLISH STYI-E. import:, Hampshire The second division consists of what may be truly called jloiL'ing tra- cery. Of this descrip- tion, York minster, the minster and St. Mary's, at Beverley, Newark church, and many north- ern churches, as well as some southern churches, contain most beautiful spechnens. The great west window at York, and the cast window at Carlisle, are perhaps the most elaborate. In the richer windows of this style, and in both divi- sions, the principal moul- ding of the mullion has sometimes a capital and base, and thus becomes a shaft. One great cause of the beauty of fine flowing traceiy, is the intricacy and delicacy of the mouldings ; the principal moulding often running up only one or two mullions, and forming only a })art of the larger design, and all the small figures being formed in mouldings which spring from the sides of the principal. The architraves of windows of this style are much ornamented with mouldings, which are sometimes made into shafts. The dripstones and canopies of windows are the same as in the doors, and have been described under that head. Wherever windows of this style remain, an artist shoidd copy them ; the varieties are much greater than might be supposed, for it is very difficult to find two alike in different buildings. LiUIe Addington, XortLciznpLOiiShiie DECOEATED ENGLISH WINIOWS ELING, HAMPSHIHI-;. P.H.D. fj-p. MAHiS, BEVKitLlliX. IK.THLING BOROUGH, KORTH AMPTONSH7RE. 148 THE DECORATED ENGLISH STYLE. Dorchester, Ox on It does not appear that the straight horizontal tran- som was much if at all used in windows of this style ; wherever it is found there is generally some mark of the window ori2;inatinsf after the introduction of the Per- pendicular style ; but it may have been used in some places, and there are a very few instances of a light being divided in height by a kind of canopy or a qua- trefod breaking the mullion ; the church of Dorchester, in Oxfordshire, has some very curious windows of this kind. In some counties, where fhnt and chalk are used, the dripstone is some- times omitted. The heads of the windows of this style are most commonly the ecpii- lateral arch; though there are many examples both of lancet and drop arches ; but the lancet arches are not very sharp. There are a few windows of this style wath square heads ; but they are not very common. [Exam- ples not un frequently occur of windows with segmental heads, as at Over, Cambridgeshire.] Over. Cambndjcbtiire. DECORATED ENGLISH WINDOWS. 149 THE JESSE WINDOW DORCHESTER, OXFORDSHIRE. 150 THE DECORATED ENGLISH STYLE. The circular windows of this style are some of them very fine ; there are several very good ones in composition at Exeter and Chichester, and the east window of old St. Paul's was a very fine one ; but perhaps the richest re- maining is that of the south transept at Lincoln, which is completely flowing. [There is also a very fine example in the old church at Cheltenham.] df , JiiABrS, CHELTENHAM Feiin^ton St Jobn's, Norfolk ScratfordoQ- Avon . DECORATED ENGLISH WINDOWS. 15] [The windows of the clerestory in this style offer some peculiarities, for though in large buildings they are fre- quently very large and fine, and of similar character to those of the body of the church, yet in ordinary parish chm'ches they are frequently very small, and appear little more than openings pierced through the wall. The general forms of these are the spherical triangle, the circle and square ; these are sometimes filled with tracery, but more frequently only trefoiled or quatrefoiled. The label is frequently carried all round the opening. The inside is generally deeply and widely splayed, and frequently of a different form from the outer opening. r^^q "XW^/ Exterior. Great Milton. Oxfordshire. Craofoiddt. Andrew. Noixhamptonsbira Barton Segrare. Northamptonshire 152 THE DECORATED ENGLISH STYLE. [Belfry windows, and other windows in towers, have usually a distinct character, and are fre- quently partially filled up with stone-work, as at Aynho, Northamptonshire. Sometimes they may be called twin-windows, con- sisting of two single lights coupled together, with a niche for an image be- tween them, as at Irth- lingborough. The open- ings filled with tracery, but not glazed, Avhich are found in some districts, especially in Norfolk, and there commonly called sound- holes, sometimes occur in this style, as at Great Adding- ton, though they are more common in Perpendicular work. Ayntio, Nortbamptocshire, Irt±dui£borou£h. Mortbamplonsliire. Great Addington. Northamptonshire. DECORATED ENGLISH WINDOWS. 153 [The name is not very applicable, as they are more strictly air-holes ; they are not used in the bell chamber, but in the ringing loft to give air to the ringers. Those belonging to this style are gene- rally smaller than in the next. They are sometimes diamond shaped, but more fre- quently square. Triangular win- dows are likewise fre- quently used in the points of gables over large windows. Some- times the common straight-sided trian- gle, more often the spinial triangle. A tendency to the Flamboyant style of tracery is frequently observable in the tra- cery of Decorated win- dows, in the later period of the style, as in Bolton abbey. Alberbury, ahropslnre. iidaison Dieu, Dover, boiton .£A.obcy. j.uiikbiii 154 THE DECORATED ENGLISH STYLE. Irchester, NurtiUiuia. Windows ip spires, or spire-lights as tliey are usually called, are more frequent in this style than in any other. The broach-siiires of Northamptonshire and some other districts are generally ornamented in this manner, and more commonly belong to this style, though they are frequently Early English, and occasionally Perpendicular. Windows in staircases, or stair-lights, are also of a dis- tinct character in all styles. I They are frequently mere loops or small openings of various forms, and not glazed, but in this style they are more usually ornamented with foliation, and some- times have tracery, as at St. Mary's, Beverley.] Towards the end of this style, and perhaps after the commencement of the next, we find windows of most beau- tiful composition, with parts like the Perpendicular win- dows, and sometimes a building has one end Decorated, the other Perpendicular; such is Melrose abbey, whose windows have been extremely fine, and indeed the great east window of York, which is the finest Perpendicular window in England, has still some traces of flowing lines in its head. This window has also its architrave full of shafts and mouldings, which kind of architrave for windows is seldom continued far into the Perpendicular style ; and therefore when a Perpendicidar window has its architraves so filled with mouldings, it may be considered early in the style. St. Marys, Beverley. Decorated English Arches. Though the arch most commonly used for general pur- poses in this style is the equilateral one, yet this is by no means constant. At York this arch is used, but at Ely a drop arch. Ely Cathedio cielby Abbey Cnurcu. The architrave mouldino;s of interior arches do not differ much from those of the last style, except that they are, per- haps, more frequently continued down the pier without being stopt at the line of capitals, and that the mouldings com- posing them are of larger size and bolder character, though in large buildings still consisting of many mouldings j of this, one of the finest examples is the architrave of the choir- arches at Litchfield, which is one of the best specimens of the different combinations of mouldings in this style. 156 THE DECORATED ENGLISH STYLE. 1 I, I Trifonum Arcade. Guisboroiifth, YorkBhij The distinction between the Early English small mul- tiplied mouldings and the bold Decorated ones, may be well observed at Chester, where thearchbetween the choir and lady-chapel is very good Early English, and the arches of the nave as good Decorated work; and these two also shew tlir difference o character of thi' two descriptions if of pier. The dripstones are of dehcate mouldings, gene- rally supported by heads. The arches of the [tri- forium] galleries are often beautifully ornamented with foliated heads, and line canopies; and in these arches the ogee arch is sometimes used, as it is freely in compo- sition in the heads of whidows. [The same features occur in the arcades along the side walls of the aisles, as in Beverley minster, many of which have very rich work.] S7 MAmTTS _ :Bffi"^3Ema,EX.- ARCH 8. SCREEN-NORTH S'DE OF CHOIR. PuUisiedtvJ.H.Faxter. OsfbrcLifiA? Decorated English Piers. A new disposition of shafts marks very decidedly this style in large buildings, they being arranged dia- mondwise, with straight sides, often containing as many shafts as will stand close to porh other at the capital, and only a fillet or small hollow be- tween them. The capitals and bases of these shafts are much the same as those described in the section on doors. Another pier of the richest efiect, but seldom executed, is that at York minster, where the centre shaft is larger than those on each side, and the three all run throus-h to the spring of the roof. Three also support the side of the arch ; these shafts are larger in proportion than those of Exeter, &c. and stand nearly close without any moulding between. The shaft which runs up to support the roof often springs from a rich corbel between the outer architrave mouldings of the arches; Exeter and Ely are fine ex- amples. 1 «►■' fif"|f||l; Dorchester, Uxou. \^ Vaulting Shaft. Exeter 158 THE DECORATED ENGLISH STYLE, Another pier, common towards the end of this style, and the beginning of the next, is composed of four shafts, about two-fifths engaged, and a fillet and bold hollow half as large as the shafts between each ; this makes a very light and beautiful pier, and is much used in small chm'ches. All these kinds of piers have their shafts sometimes filleted, and the architrave mouldings are often large ogees. In small country churches the multangular flat-faced pier seems to have been used. bzeiBi' uacaedral. Long ComptoD, Warwiokshire ^ixeuo' (.uOicoitu. DF.CORATED ENGLISH PIERS. 159 h ^ SILK WILLODGHBY. LITTLE ADDINGTON, NORTHAilPTONSHIRK FINEDON, NORTHAMPTONSHIRE, I ^^ DORCHESTER, OXFORDSHIRE. 160 THE DECORATED ENGLISH STYLE. I Decorated English Buttresses. These, though very various, are all more or less worked in stages, and the set-offs variously orna- mented, some plain, some moulded slopes, some with triangular heads, and some with panels ; some with niches in them, and with all the various degrees of ornament. The corner buttresses of this style are often set diagonally. In some few instances small turrets are used as buttresses. The buttresses are vari- ously finished ; some slope under the cornice, some just through it ; some run up through the battle- ment, and are finished with pin- nacles of various kinds. Of rich buttresses there are three examples which deserve great atten- tion ; the first is in the west front of York minster, and may be con- sidered in itself as a magazine of the style ; its lower part, to which it ascends without set-off', consists of fom' series of niches and panel- ling of most delicate execution ; above this part it rises as a buttress to the tower, in four stages of panels, with triangular crocketed set-off's. The first of these stages contains a series of statuary niches, Y 162 DECORATED ENGLISH BUTTRESSES. the rest are only panelled. This buttress finishes under the cornice with an ornamented panel and crocketcd head ; the projection of the lower part of this buttress is very great, and gives to the whole great boldness as well as richness. The second is a ruin, the east end of Howden church, Yorkshire; it has also some niches, but not so many as that at York. The third is also a ruin, the east end of the priory at Walsingham, in Norfolk ; this is very late, and perhaps may be considered as almost a Perpen- dicular work, but it has so much of the rich magnificence of the Deco- rated style, that from its great plain spaces it deserves noticing as such; it is in fact a flat buttress set up against one face of an octa- gonal turret, and terminates in a fine triangular head richly crock- eted. The buttress of the aisles of the nave of York minster are small compared with those at the west end, but their composition is singular, and of very fine effect; they run high above the parapet as a stay for the flying buttresses, and are finished by rich pin- nacles. -2. -":- -.w M^''--^ Over. Cainbridieshire Great Milwn. Oxfordshire Decorated English Tablets. The cornice is very regular, and though in some large buildings it has several mouldings, it principally consists of a slope above, and a deep sunk hollow, with an astragal under it ; in these hollows, flowers at resjular distances are often placed, and in some large buildings, and in towers, &c., there are fre- quently heads, and the cor- nice almost filled with them. Uiiordanire Cornice, Trchester, Northamptori shire. ^^-^ _^J% ■■?S?lff™«ffipB™™ Joruicc, ikicrton College Cbapci, uxiuia. rulcc, .iUCCU b Cioss, KOllLiArupl' 164 DECORATED ENGLISH TABLETS. The dripstone is of the same i description of mouldings, but smaller, and this too is sometimes enriched with flowers. The small tablet running under the window has neai'ly the same mouldings, and this sometimes runs round the buttress also. The dripstone very seldom, il ever, runs horizontally, though in a few instances a return is used in- stead of the common corbel-head. And here another singularity with respect to tablets may be men- tioned ; it is common in Early English work for the dripstone to be carried horizontally after the return at the spring of the arch, till stopt by a buttress, &c., and some- times it is even carried round the buttress : — and the same arrange- ment is common in Perpendicular work, but very rarely, if ever, is it so used in the Decorated style. The general base tablet of this style is an ogee, under which is a plain face, then a slope and an- other plain face ; and it is not common to find real Decorated buildings with more tablets, al- though both in the Early English and Perpendicular styles, three, four, and even five are sometimes used. [There are however many examples of good Decorated base- ments which have more numerous members.] String Dorchester. Oifordahire Ntnag Dorchester Oifordtbire Dnpstoae lenniuauun. braudou. SuGTolk. Busecotnt, Kwerby ^ h e © 1^' ,:4^s^ DECORATED ENGLISH NICHES. 165 Decorated English Niches. These form one of the greatest beauties of the style, and are very various, but may be divided into two grand divisions, which, if ne- cessary, might be again variously divided, such is their diversity, but these two may be suffi- cient. The first are panelled niches, the fronts of whose cano- pies are even with the face of the wall or but- tress they are set in. These have their inte- riors either square with a sloping side, or are regular semi-hexagons, &c. In the first case, if not very deep, the roof is a plain arch ; but in the latter case, the roof is often most delicately groined, and sometimes a little shaft is set in the angles, or the ribs of the roof are supported by small corbels. The pedes- tals are often high and nmch ornamented. Ssniiiti, i:'idcUugLOu, oxiordBliire, Fiacuja,. reteiborougb Catiicaiiii 106 DECORATED ENGLISH NICHES. The other division of niches have projecting canopies ; these are of various shapes, some conical Uke a spire, some like several triangular canopies joined at the edges, and some with ogee heads ; and in some very rich build- ings are niches with the canopy bending for- wards in a slight ogee, as well as its contour being an ogee; these are generally crowned with very large rich finials, and very highly enriched. There were also, at the latter part of this style, some in- stances of the niche with a flat-headed canopy, which became so common in the next style. These projecting niches have all some projecting base, either a large corbel, or a basement pedestal carried up from the next projecting face below. All these niches are occasionally flanked by small but- tresses and ])innacles ; those of the first kind have very often beautiful shafts. Piscina. North Moretosi, Berksbn The chancel stalls of this style are many of them un- commonly rich, their whole faces being often covered with ornamental carvins:. dKDlLIA, DORCHESTEH ABBEY CHaRCH. OXFORDSHIRE. \ 11 M SEDILIA, QRAitOM DNDERWOOD. l«Oitl Hjii^i lOK oHiK t; , 168 DECORATED ENGLISH NICHES. Under this head, thoiigli not strictly niches, may be mentioned what appears to be very rare% some wood carvings of a screen of this style ; they consist often or more divisions of panelling in the church of Lancaster ; part form at pre- sent a screen for a vestry, &c., and part are in a gallery as a lining to the wall ; their composition is alike and simple, being an arched head panel with a triangular canopy be- tween two buttresses crowned with pinnacles; they are, however, extremely rich, and varied in their details; the buttresses are panelled with diversified tracery, and the arch is an ogee canopy doubly feathered, and filled with tracery, as is the space between the ogee canopy and the triangular one, and both canopies are crocketed and crowned by rich finials ; though they may be late in the style, yet the diversity of tracery and boldness of character, combined with simplicity of composition, so different from the elabo- rate and gorgeous screen work of Perpendicular date, seem to mark them clearly as of the Decorated style. tici'een, St. John's. Winchesler. ' Subsequent research has brought to light manv examples of Decorated screen -work. Decorated English Ornaments. As the word Decorated is used to designate this style, and particidarly as the next has been called Florid, as if it were richer in ornament than this, it will be necessary to state, that though ornament is often profusely used in this style, yet these ornaments are like Grecian enrich- ments, and may be left out without destroying the grand design of the buikUng, while the ornaments of the next are more often a minute division of parts of the building, as panels, buttresses, &c. than the carved ornaments used in this style. In some of the more magnificent works, a variety of flowered carvings are used all over, and yet the building does not appear overloaded ; while some of the late Per- pendicular buildings have much less flowered carvings, yet look overloaded ^^dth ornaments, from the fatiguing re- currence of minute parts, which prevent the comprehension of the general design. The flower of four leaves in a hollow moulding, has already been spoken of, and in these hollow moiddings various other flowers are introduced, as well as heads and figm'es, some of them very grotesque ; and the capitals are very seldom found two alike. The foliage forming the crockets and finials is also extremely rich, and the pinnacle, in its various forms, is almost constantly used. The spandrels of ornamental arches are sometimes filled with beautiful foliage. An ornament almost as peculiar to the Decorated style as the toothed ornament to tlie Early English, is a small round bud of three or four leaves, which open just enough to shew a ball in the centre ; this is generally placed in a hollow moulding, and has a beautiful effect. Fuur-leaved tl.ow 170 DKCORATKD ENGLISH ORNAMENTS MOULDINGS. liMiiiili^^^^^^^^^ FINEDiTN. NORTH.-.:.:'! jl::shike. BRAT BEKK.SHIRS iM^'itf*;'?"-''.,' .^ DORCHEaTER. OiFOKDSHIRE. GRF;a.T ADDINGTON. NORTHAMPTONSHIRE. DORCHESTER. OXFORDSHIKE DECORATED ENGLISH ORNAMENTS MOULDINGS. 171 RAUNDS. NORTHAMPTONSHIRE DORCHESTER, OXFORrsEIKE ST. ADGUSTISE'S. CANTERBUHY. BECKLET, OXFORDriHIRE KINGSTHORPE. NORTHAMPTONSHTRE. DORCHFSTER, 0XFOKT3SETBF \72 DECORATKU ENGLISH ORNAMKNTS DIAPER. ^^i !m ^T\ \//^ ^, GEDDINGTON CKOSS XORTHAMPTOXSHIRE DECORATED ENGLISH ORNAMENTS DIAPER. 173 CANTERBCRT CATHEDRAL 174 DECORATED ENGLISH ORNAMENTS CROCKETS. WINCHESTER CA.THEDRAL. ■KIDLTKGrON, OXFORDSHIRE WINCHESTER CATHEDE&L. TTXETRR CATHEDRAL BEVERLEY MINSTER. DECORATED ENGLISH ORNAMENTS FOLIAGE. 175 On the steeple of Salisbury, knobs are used veiy pro- fusely in many parts as crockets ; these are plain, but are so most likely on account of the distance from the eye ; these and some other details shew the Decorated date of this steeple, though its composition is assimilated to the Early English building it is raised upon. It is seldom safe to judge of date solely by the character of the ornamental carvings, yet in many instances these will be very clear distinctions. It is extremely difficult to describe, in words, the different characters of Early English and Decorated foliage, yet any one who attentively examines a few examples of each style, will seldom afterwards be mistaken, unless in buildings so completely transitional as to have almost every mark of both styles. There is in the Early English a certain unnatm'al character in the foliage which is extremely stiff, when com- pared with the graceful and easy combinations, and the natural appearance of most of the well-executed Decorated foliage ; in no place can this be examined vdih better effect than at the cathedrals of York and Ely, both of which con- tain very excellent examples of each style. WINCHESTER CATHEDRAL. tEBRNHAM, .SDFFOLK. Decorated English Steeples. At the commencement of this style, several fine spires were added to towers then existing, and in after times many very fine towers and spires were erected. Grantham, Newark, and several other Lincolnshire spires are very fine. These are generally flanked with buttresses, many of which are diagonal, and are generally crowned with fine pinnacles. Of these spires, Newark deserves peculiar attention, it rises engaged in the west end of the church, and the lower parts are Early English, but it is the upper story of the tower and the spire which are its principal beauties. This story rises from a band (which completely sm-rounds the tower) of sunk panels. The story consists of a flat buttress of not much projection on each side, thus making eight round the tower ; these are in three stages, the two lower plain, with small plain set-ofFs, the upper panelled with an ogee head, and an ogee canopy, above which is a triangular head to the buttress richly crocketed, which finishes the buttress under the cornice. Between these buttresses are two beautiful two-light windows, ^nth rich canopies on the dripstone, and a general canopy over both, crocketed, and finishing in a rich finial ; in the pohit of this canopy, between the heads of the windows, is a statue in a small plain niche, and on each side of the windows are other statues in niches ^^^th ogee crocketed canopies. The tracery of these windows is very good, and the architraves, both of Avindows and niches, are composed of shafts. The cornice is filled with flowers and other ornaments at small intervals, and from the corners rise short octagonal pedestals, on which are beautiful pin- nacles finishing in statues for finials. The parapet is enriched with sunk quatrcfoil ])anels, and the spire has plain ribs and additional slopes on the alternate sides ; there are four heights of windows in alternate faces, all, except the i i f full 4b. ^ t> «, ^ V 3PF f Si In.-/' i i m PaOishcA V JH.fulKr. Oxford. 1846 DECORATED ENGLISH BATTLEMENTS. 177 •top row, richly crocketcd. On the whole, perhaps there are no specimens superior in composition and execution, and few equal. There are many small towers and spires which appear to be Decorated ; but there are so many of them altered, and with appearances so much like the next style, that they require more than common examination before they are pronounced absolutely Decorated ; and there does not appear (as far as the author has been able to examine) any rich ornamented tower of large size remaining, that is a pm-e Decorated building. The west towers of York minster come the nearest to purity, though the tracery of the belfry win- dows and battlements are decidedly Perpendicular. Decorated English Battlements. A parapet continues frequently to be used in the Deco- rated style, but it is often pierced in various shapes, of which quatrefoils in circles or without that inclosure, are very common, but another not so common is more beau- tiful ; this is a waved line, the spaces of which are tre- foiled ; it is well executed at the small church of St. Mary Magdalen, at Oxford'. Pierced battlements are become very common ; of these the nave of York presents a fine specimen ; the battlement is an arch trefoiled or cinque- ^■p^mum f ^mh&mm mm Great Addio^ton, Northimpionshirt;. Dorchester Oxfordshire foiled, and the interval a quatrefoil in a circle, the whole covered with a running tablet which runs both horizontally ' [See Glossary, vol. ii. Plate 97.] A a 178 THE DECORATED ENGLISH STYLE. and vertically. This round qiuitrefoil is sometimes ex- changed for a square quatrefoil, as at Melrose abbey. The plain battlement most in use in this style is one with small intervals, and the capping moulding only horizontal ; but there may be some battlement perhaps of this date with the capping running both vertically and horizontally. In some small works of this style a flower is occasionally used as a finish above the cornice, but it is by no means common. Decorated English Roors. The Decorated groined roof is an increase on the last style in the number of ribs ; those of the simplest kind consisted of the longitudinal and crossing rib at the point of the arches, with the cross springers and pier rib, with also an intermediate rib between the cross springers and the pier rib and the wall arch ; and these intermediate ribs increased in number, and adorned with small ribs forming stars and other figures by their intersections, give a variety to the groin- ing almost equal to the tracery of win- dows. In this style, the rib-mouldings are generally an ogee for the exterior, and hol- lows and rounds, with different fillets, to- wards the ceiling ; in some few instances a principal and second- ary rib are employed. The bosses are placed - ' ... :- . at all the intersections, and are often most ])eautifully DECORATED ENGLISH ROOFS. 179 carved. Exeter cathedral is a fine example of the plam roof, and the nave of York of the richer description, as is also the chapter-house of York. There are buildings in which, though the upper roof is shewn, there is a preparation for an inner roof; such is Chester cathedral, where only the Lady-chapel, and the aisles of the choir, are groined, and the whole of the rest of the church is open ; but on the top of the shafts is the commencement springing of a stone roof. There is a chapel [or vestry] in a chm'ch in Cambridgeshire, Willingham, WILLINGHAM, CAMBRIDGESHIRE. 180 THE DECORATED ENGLISH STYLE. DECORATED ENGLISH ROOFS. 181 between Ely and Cambridge, which has a very singular roof ; stone ribs rise like the timber ones, the intervals are pierced, and the slope of the roof is of stone ; it is high pitched, and the whole appears of Decorated character. BRADENSTOKE PRIORY. OR CLACK ABBET, ■WILTSHIRE. There remain a few roofs, which appear to be of Deco- rated character, that are open to the roof framing, and have a sort of panelled work in ogee quatrefoils in timber, be- tween the principals, which have arched ornamental work ; of this kind is the roof of Elthani palace. These are get- 183 THE DECORATED ENGLISH STYLE. ting very scarce, as they arc hardly ever repaired but by new work of a totally difi'crent kind^. Decorated English Fronts. The east fronts of Decorated buildings consist so often of one large window for the chancel or choir, and two smaller ones for the aisles, if there be any, that little need be said of their composition, as all its variation in general depends on the variety of buttresses, &c. used as finishings. Of these it may be sufficient to mention three, the east ends of Lincohi and Carlisle cathedrals, and Howden church. The first consists of a centre, and side aisles divided, and flanked by tall buttresses without set-offs, but panelled, with canopy heads and small corbels, the angles finished with shafts, and the tops of the buttresses with a triangular crocheted head ; under the Avindows, along the whole front, runs a line of panels divided by small shafts, and above them a tablet. The great centre window has been described before ; it has eight lights, has over it one of five lights, flanked by arch-headed panels, and the gable has an ornamented crocheted capping, and a cross ; behind the buttresses rise octagonal pinnacles with rich finials : the windows of the aisles are of three lights, and over them the gables are filled with three tier of panels and a circle, " [Decorated timber roofs are not so but fortunately a drawing of it was pre- uncomnion as tliey were supposed to be served by Mr. Blore, and engraved in wlien Mr. Rickmau wrote. Many ex- the Glossary of Architecture. The ex- amples have been found in parish ample from Raunds is late in the styh-, cluirches, as well as in monastic and and there are several specimens in the domestic buildings. The example from same part of Northamptonshire of roofs Clack abbey, on the preceding page, is very similar to this, which are of tran- perliaps one of the best remaining of the sition or early Perpendicular character, class described by Mr. Rickman. An- See Glossary of Architecture, vol. i. p. other very fine one at Malvern, was 316, and vol. ii. Plate 123.] wantonly destroyed a few years since, TEE WT.3T KRONT . I'liblishPd 15 J H hipkPi- :)t[\vM )St; DECORATED ENGLISH FRONTS. 183 plain capping, and a cross at the point. This front has a very tine effect, and is ahnost the only east front of a cathe- dral which can be seen at a proper distance. The east end of Carlisle is evidently a Decorated wall added to an Early English building ; its aisles are different from each other, but all the buttresses are rich ; its great beauty is the east window, which is of nine lights, and in the composition of the tracery is superior even to the west window of York, to which the centre mullion gives a stiffness not visible at Carlisle. At Howden, the tracery of the great window is destroyed, and the whole in ruins ; but enough remains to shew the symmetry of the composition, and the richness and delicacy of the execution. The east end of Lichfield cathedral is a semi-hexagon, with very fine long windows of rich tracery ; this is late in the style, and seems to have been much repaiied at a still later date. Of west fronts one only need be mentioned, but that must be allowed to be nearly, if not quite, the finest west front in the kingdom; it is that of York; its towers and buttresses have already been spoken of, and it only remains to say, that the three doors are the finest spe- cimens of Decorated doors in the kingdom ; its great win- dow is only excelled by that of Carlisle. The central part over the window finishes by a horizontal cornice and battle- ment, above which rises the pierced canopy of the window, and at some distance behind the gable of the roof rises T\ith a fi-ont of fine tracery, and a pierced battlement. It is to be regretted, that this beautiful front is surrounded by buildings so near, that no good view can be obtained of it, as, from the eye being brought too near, the fine elevation of the towers is almost lost. Of smaller churches, the east end of Trinity church, Hull, deserves attention ; the win- dows are very fine, but the centre one has a trace of Per- pendicular work in it. [The west front of Lichfield cathedral, witli its two 184 THE DECORATED ENGLISH STYLE. spires, centml window, and series of niches, is one of the richest specimens of this style in existence. The spire- lights are so numerous and so close to each other us to give nearly the effect of panelling. The pinnacles cluster- ing round the base of the spire, are a very elegant feature of this style, and the three sunk porches, with the double doorway in the centre, add much to the richness of the composition. WEST FRONT OF LICHFIELD CATHEDRaL. Perhaps one of the most elegant examples of a Decorated English front to a small building that we have remainhig, is the west front of the chapel at ITaiighton-in-the-Dale, Norfolk.] Foblisted Tjr JH.Pirlcur. Oi&rd, 1847. Decorated English Porches. There are not many of these remaining, but under this head should be noticed three beautiful gates, which arc in some degree assimilated to porches ; these are the gates of the abbey at Biuy St. Edmund's, of Thornton abbey in Lin- colnsliire, and of St. Augustine's monastery at Canterbiu'y ; they have all rich and beautifully ornamented gateways, with rooms over them, and tlieii' fronts ornamented with niches, windows, &c. and at St. Augustine's, two line octa- gonal towers rise above the roof. These tlu-ee are of very varied composition, but all contain very valuable details. [The St. Ethelbert's gateway to the close at Norwich is also a fine example of this style, and affords an early and beautifid specimen of flint and stone panelling, with rich sculptm'c, and a good series of niches vntli pedimented canopies. Decorated English porches, though comparatively un- common, are not so rare as Mr. Rickman appears to have supposed. Some fine examples remain both of stone and wood : at Over, Cambridgeshh'e, is a very remarkable one of stone ; the whole of the chm-ch to which this is attached is worthy of ' attentive study : at Horsemonden, Kent, is a very fine one of wood, with rich barge-boards, and some other examples are given in the Glossary of Architectm*e. At Merrow, Surrey, is a stone porch with wooden barge- boards belonging to this style. The west porch of Rush- den chm'ch belongs also to this style, and the manner in which the canopy is connected with the buttresses of the tower is very remarkable : there are other examples of porches of similar general arrangement, though few more elegant.] * [The gateway of Thornton abbey is very late in this style, and partly transition to the next : for details of it, see the Archaeological Journal, vol. ii. p. 357.] B b 186 THE DECORATED ENGLISH STILE. IdERROW, SORRV.T OVER. CAMBKIDGESHIKB DECORATED ENGLISH PORCHES. 187 H0R3EM0NDEN. KKNT 188 THE DECORATED ENGLISH STYLE. Decorated English Fonts. Though not so numerous as the Norman or Perpendicular Fonts, yet there are many good Fonts of this style re- maining, and at Luton in Bedfordshire, is erected round the Font a beautifid chapel or baptistery, of very fine com- position. 3Hiri.AKE OXFORDSHIRE. BLOXHAM. OXFORDSHIRE. COTTERSTOCK. NORTHA-ilPTONSHIRE. ST. PETERS NORTHAMPTON. ■W.S.Wilkin sou. % THE DECORATED ENGLISH STYLE. 189 The general appearance of Decorated buildings is at once simple and magnificent ; simple from the small number of parts, and magnificent from the size of the windows, and easy flow of the lines of tracery. In the interior of large buildings we find great breadth, and an enlargement of the clerestory windows, with a corresponding diminution of the triforium, which is now rather a part of the clerestory opening than a distinct member of the division. The roofing, from the increased richness of the groining, be- comes an object of attention. Though we have not the advantage of any one large build- ing of this style in its piu^e state, like Salisbiu-y in the last style, yet we have, besides many detached parts, the advan- tage of four most beautiful models, which are in the highest preservation. These are at Lincoln, Exeter, York, and Ely; and though differently worked, are all of excellent execution. Of these, Exeter and York are far the largest, and York, from the uncommon grandem' and simplicity of the design, is certainly the finest; ornament is nowhere spared, yet there is a simplicity Avhich is peculiarly pleasing. Lincoln has already been spoken of as assimilated to the Early Enghsh work around it ; and Ely has, from the same necessity of assimilation to former work, a larger triforium arrangement than common ; though not so bold in its com- position as the nave of York, the work at Ely is highly valuable for the beauty and dehcacy of its details. Amongst the many smaller churches. Trinity chm-ch, at Hull, deserves pecidiar notice, as its Decorated part is of a character which could better than any be imitated in modern work, from the great height of its piers, and the smallness of their size. The remains of Melrose abbey are extremely rich, and though in mins, its parts are yet very dis- tinguishable. 190 THE TRANSITION FROM THE DECORATED THORNTON ABBEY GATEH0D3E. SANDFORD, OXFORDSHIRE SOUTH AISLE OF CHOIB. YOKE. CLERESTORY OF PRESBYTERY, YOKK. TO THE PERPENDICULAR STYLE. 191 ORIEL WINDOW I>J GATEHOUSE. THORNTON ABBEY DOOR. KINGS SUTTON, NORTHAMPTONSHIRE. 192 TllANSinON FROM DECORATED TO PERPENDICULAR. In imitations of this style, great delicacy is required to prevent its running into the next, which, from its straight perpendicular and horizontal lines, is so much easier worked ; whatever ornaments are used, should be very cleanly exe- cuted, and highly finished. As an example of transition from this style to the next, the choir of York may be cited ; the piers and arches retain the same form as in the Decorated work in the nave, but the windows, the screens, and above all, the east end, are clearly Perpendicular, and of very excellent character and execution. The windows still retain shafts and mould- ings in the architraves, and the east window has a band of statuary niches as part of its architrave. [The transition from the Decorated to the Perpendicidar style is less obvious than in the earlier styles, but examples of it are perhaps quite as nimierous, though more frequent in some districts than in others. In Norfolk they are especially abundant, some of the finest chmx'hes in that county, as Worstead, Ingham, &c., having been built just at the period when this change was taking place, the latter half of the fom*teenth century : in Oxfordshu-e and Northamptonshire numerous examples may also be found. The tower and spire, and some other parts of King's Sutton chm'ch, Northamptonshire, afford a good specimen of this transition -. the north door is PcrpencUcular in form with Decorated details. In many of these cases the tracery partakes a good deal of the French Flamboyant character.] There are many fine castellated remains of this style ; of these, it may be enough to mention Caernarvon castle, and the noble gateway to Lancaster castle. © CO © < or THE FOURTH, PERPENDICULAR STYLE. Perpendicular English Doors. The great distinction of Perpendicular doors from those of the last style, is the almost constant square head over the arch, which is surromided by the outer moulding of the architrave, and the ~^ j, . ,, i^, _^,^_. --y^-y--^ ' -^ -^-^^vs ^ l i spandrel filled with ^^^^^^iJ^i^WJ^S^^^^ t some ornament, ^"^^'^i S M^Wfwv ' and over all a "^''^^rt'^I^IJ^ i dripstone is gene- rally placed. This ornamented spandrel in a square head, occurs in the porch to West- minster hall, one of the earliest Perpendicular buildings, and is continued to the latest period of good execution, and in a rough \ Spandi'el, , way much later. In large, very rich doors, a cbri8t church, oxford. canopy is sometimes included in this square head, and sometimes niches are added at the sides, as at King's college chapel, Cambridge. This square head is not always used interiorly, for an ogee canopy is sometimes used, or panels down to the arch, as at St. George's, Windsor ; and there are some small exterior doors without the square head. The shafts used in these doors are small, and have mostly plain capitals, which are often octagonal, and the bases made so below the first astragal. But there are still, in the early part of the style, some flowered capitals ; and in those to the shafts of piers, in small chm'ches, it is common for the capital to have in its hollow one or two square flowers. c c 19i THE PERPENDICULAR ENGLISH STYLE. PERPENDICULAR ENGLISH DOORS. 19.- ^gftfTT'ij PTM] KENTON. DEVONSHIRE CHRIST CHURCH HALL STAIRCASE, OXFORD. 196 THE PERPENDICULAR ENGLISH STYLE. The mouldings of the capitals often contain (more par- ticularly in the later dates of the style) a member which is precisely the cyma-recta of Grecian work. In small works, the bases of shafts have many mouldings, repetitions of ogees are mostly used, intermixed with hollows or straight slopes. The architraves of these doors have generally one or more large hollows, sometimes filled with statuary niches, but more often plain ; this large hollow, in the architraves of both doors and windows, is one of the best marks of this style. [The gateway of St. John's college, Oxford, p. 194, is remarkable from having the dripstone carried on shafts which project from the face of the wall, and are not re- cessed, as is usually the case in Gothic work.] ^-~^L Westminster Abbey j^iucoin catbt^diul. lESTiaAjyCE 1© TME CMAJPTJEK. aE®1ffSE_3S[®Wffi)E^o PubliihfidTrj- J HFaifei. Oifori. i&iS PERPENDICULAR ENGLISH WINDOWS. 197 Perpendicular English Windows. These are easily distinguished by their midlions running in perpendicular lines, and the transoms, which are now general. The varieties of the last style were in the dis- position of the principal lines of the tracery ; in this, they are rather in the disposition of the minute parts ; a window of four or more lights is generally divided into two or three parts, by strong mullions running quite up, and the portion of arch between them doubled from the centre of the side division. In large windows, the centre one is again some- times made an arch, and often in windows of seven or nine lights, the arches spring across, making two of foiu- or five lights, and the centre belonging to each. The heads of windows, instead of being filled with flowing ramifications, have slender mullions running from the heads of the lights, between each principal mullion, and these have small tran- soms till the window is divided into a series of small panels; and the heads being arched, are trefoiled or cinquefoiled. Sometimes these small mullions are crossed over each other in small arches, leaving minute quatrefoils, and these are carried across in straight lines. Under the transom is generally an arch; but in Yorkshii'e, Lincoln- shire, and Nottinghamshire, and perhaps in some other parts, there is a different mode of foliating the straight line without an arch, which has a singular appearance. 198 THE PERPENDICULAR ENGLISH STYLE. Ct.EBESTORY CHOIR. YORK CATHEDRAL BEAUCHAMP CHAPEL, 'WARWICK CLERESTORY. HENRY VII. s CHAPEL. WESTMINSTER PERPENDICULAR ENGLISH WINDOWS. 199 iviJotiDii^N, iNUctiHa.Mj^IUJSSillKI!i. MINSTER LOVJSLL. OXFORDSHIRE. 200 THE PERPENDICULAR ENGLISH STYLE. In the later windows of this style, the transoms are often ornamented with small battlements, and sometimes with flowers, which, when well executed, have a very fine effect. Amidst so great a variety of windows, (for perhaps full half the windows in English edifices over the kingdom are of this style,) it is difficult to particularize ; but St. George's, AVindsor, for fom- lights, and the clerestory windows of Henry the VII. 's chapel for five, are some of the best executed. For a large window, the east window of York has no equal, and by taking its parts, a window of any size may be formed. There are some good windows, of which the heads have the mullions alternate, that is, the perpen- dicular fine rises from the top of the arch of the panel below it. The windows of the Abbey-church, at Bath, are of this description. The east Avindow of the Beauchamp chapel at AVarwick, is extremely rich, and has both within and without many singularities. The mullions which divide it into three parts, have a part of the great hollow for their moulding, which on the inside is filled with very rich statuary niches ; the centre part of this window is divided into very minute paneUings in the upper part. It is necessary here to say a little of a window which may be mistaken for a Decorated window; this is one of three lights, used in many country churches ; the mullions simply cross each other, and are cinquefoiled in the heads, and quatrefoiled in the three upper spaces ; but to dis- tinguish this from a Decorated window, it will generally be necessary to examine its arch, its mullion mouldings, and its dripstone, as well as its being (as it often is) ac- companied by a clearly Perpendicular window at the end, or connected with it so as to be evidently of that time. Its arch is very often four-centred, which at once decides its date ; its mullion mouldings are often small, and very delicately worked; its dripstone in many instances has PERPENDICULAR ENGLISH WINDOWS. 201 some clear mark, and when the Decorated tracery is be- come familiar, it will be distinguished from it by its being a mere foliation of a space, and not a flowing quatrefoil with the mouldings carried round it. Large cii'cular windows do not appear to have been in use in this style ; but the tracery of the circles in the transepts of Westminster abbey appear to have been re- newed during this period. At Henry the VII. 's chapel, a window is used in the aisles which seems to have led the way to that wretched substitute for fine tracery, the square- headed windows of queen Elizabeth and king James the First's time. This window is a series of small panels forming a square head, and it is not flat but in projections, and these, with the octagonal towers used for buttresses, throw the exterior of the building into fritter, ill-assorting with the boldness of the clerestory windows. In most of the later buildings of this style, the window and its architrave completely fill up the space between the but- tresses, and the east and west windows are often very large ; the west window of St. George's, Windsor, has fifteen lights in three divisions, and is a grand series of panels, from the floor to the roof; the door is amongst the lower ones, and all above the next to the door is pierced for the window. The east window at Gloucester is also very large, but that is of three distinct parts, not in the same line of plan. When canopies are used, which is not so often as in the last style, they are generally of the ogee character, beautifully crocketed. Dd 203 THE PERPENDICULAR ENGLISH STYLE. Perpendicular English Arches. Although the four-centred arch is much used, par- ticularly in the latter part of the style, yet, as in all the other styles, we have in this also arches of almost all sorts amongst the ornamental parts of niches, &c., and in the composition lines of panels are arches from a very fine thin lancet to an almost flat segment. Yet, with all this variety, the four-centred arch is the one most used in large buildings, and the arches of other character, used in the division of the aisles, begin to have what is one of the great distinctions of this style, — the almost con- stant use of mouldings running from the base all round the arch, without any stop horizontally, by way of capital ; sometimes with one shaft and capital, and the rest of the lines running ; the shafts in front running up without stop to the roof, and from their capitals springing the groins. In window arches, shafts are now very seldom used, the architrave running all round, and both window arches and the arches of the interior are often inclosed in squares, with ornamented spandrels, either like the doors, or of panelling. Interior arches have seldom any dripstone when the square is used. Another great distinction of these arches, in large build- ings, is the absence of the triforium or gallery, between the arches of the nave and the clerestory windows; their place is now supplied by panels, as at St. George's, Windsor, or statuary niches, as at Henry the VII. 's chapel ; or they are entirely removed, as at Bath, and Manchester Old church, &c. PERPENDICULAR ENGLISH ARCHES. 203 WINCHESTER CA.-IHEDRA.L CANTERBDRr CATHEDRAL 204 the perpendicular english style. Perpendicular English Piers. The massive Norman round pier, lessened in size and extended in length, with shafts set round it, became the Early English pier ; the shafts were midtiplied, and set into the face of the pier, which became, in its plan, lozenge, and formed the Decorated pier. We now find the pier again altering in shape, becoming much thinner between the arches, and its proportion the other way, from the nave to the aisle, increased, by having those shafts which run to the roof, to support the springings of the groins, added in front, and not forming a part of the mouldings of the arch, but having a bold hollow between them : this is particularly apparent at King's college chapel, Cambridge, St. George's, Windsor, and Henry the VII. 's chapel, the three great models of en- riched Perpendicular style ; but it is observable in a less degree in many others. In small churches, the pier men- tioned in the last style, of foiu- shafts and four hollows, is still much used ; but many small churches have humble imitations of the magnificent arrangement of shafts and mouldings spoken of above. There are still some plain octagonal, &c. piers, in small churches, which may belong to this age. Though filleted shafts are not so much used as in the last style, the exterior moulding of the architrave of interior arches is sometimes a filleted round, which has a good effect ; and in general the mouldings and parts of piers, architraves, &c. are much smaller than those used in the last style, except the large hollows before men- tioned. PERPENDICULAR ENGLISH PIERS. 205 'I0TNES3, DEVONSHIRE RUSHDEN, NORTHAMPTONSHIRE ST. ANDREW. PLYMOUTH, DEVONSHIRE. PL?MSTOCK, DEVONSHIRE. 206 THE PERPENDICULAR ENGLISH STYLE. : Perpendicular English Buttresses. These differ very little from those of the last style, except that triangular heads to the stages are much less used, the set-offs being niiicli more often bold projections of plain slopes ; yet many fine buildings have the trian- gular heads. In the upper story, the but- tresses are often very thin, and have diagonal faces. There are few large buildings of this style without flying but- tresses, and these are often pierced; at Henry the YII.'s chapel they are of rich tracery, and the buttresses are oc- Ktuoi: Lv.cn tagoual tmTcts. At King's college chapel, Cambridge, which has only one height within, the projection of the buttresses is so great as to alloW' chapels between the w^all of the nave, and another level with the front of the buttresses. At Glou- cester, and perhaps at some other places, an arch or half arch is pierced in the lower part of the buttress. There are a few buildings of this style without any buttresses. All the kinds are occasionally ornamented with statuary niches, and canopies of various descriptions, and the diagonal corner buttress is not so common as in the last style; but the two buttresses often leave a square, which runs up, and sometimes, as at the tower of the Old church at Manchester, is crowned with a third pinnacle. So'jtb Moiewu. Be ka PERPENDICULAR ENGLISH BUTTRESSES. 207 WINCHESXEK CATHEDRAL. Although pinnacles are used very freely in this style, yet there are some buildings whose buttresses run up and finish square without any ; of this description is St. George's, Windsor, and the Beauchanip chapel. The buttresses of the small eastern addition at Peterborough cathedral are curious, having statues of saints for pinnacles. In interior ornaments, the buttresses used are sometimes small octagons, sometimes panelled, sometimes plain, and 208 THE PERPENDICULAR ENGLISH STYLE. then, as well as the small buttresses of niches, are often banded with a band diflFer- cnt from the Early English, and much broader. Such are the buttresses between the doors of Henry the VII. 's chapel. The small buttresses of this style attached to screen-work, stall-work, and niches, are different from any before used, and they form a good mark of the style. The square pedestal of the pinnacle being set with an angle to the front, is continued down, and on each side is set a small buttress of a smaller face than this pedestal, thus leaving a small staff betAveen them ; these buttresses have set-offs, and this small staff at each set-off has the moulding to it, which being generally two long hollows, and a fillet between, has on the staff an appearance of a spear-head. It is not easy to describe this buttress in words, but when once seen, it will be easily recognised ; and as almost every screen and tabernacle niche is ornamented with them in this style, they need not be long sought. The niches in front of Westminster hall, (one of the best and ear- liest Perpendicular examples,) and the niches under the clerestory windows of Henry the YII.'s chapel, (one of the latest,) have them iihnost exactly similar. Tn^.^ Henry VII. s ChapoV. Wtstrainslcr. Perpendicular English Tablets. The cornice is now, in large buildings, often composed of several small mouldings, sometimes divided liy one or two considerable hollows, not very deep ; yet still, in plain buildings, the old cornice mouldings are much adhered to ; but it is more often ornamented in the hollow with flowers. cornice, KushdeD, Nort.iiamptonsbire Cornice, Kcuu^u. DevoDshire. &c., and sometimes with grotesque animals; of this the churches of Gresford and Mold, in Flintshii-e, are curious examples, being a complete chase of cats, rats, mice, dogs, and a variety of imaginary figures, amongst which various grotesque monkeys are very conspicuous. In the latter end of the style, something very analogous to an ornamented frieze is perceived, of which the canopies to the niches, in various works, are examples; and the angels so profusely introduced, in the later rich works, are a sort of cornice ornaments. These are very conspicuous at St. George's, Windsor, and Henry the VII. 's chapel. At Bath, is a cor- nice of two hollows, and a round between with fillets, both upper and under smface nearly ahke. E e 210 THE PERPENDICULAR ENGLISH STYLK. The dripstone of this style is, in the heads of doors and some windows, much the same as in the last style, and it most generally finishes by a plain return ; though corbels are sometimes used, this return is frequently continued hori- zontally. [These corbels are fre- quently heads, see p. 216.] Tablets under the win- dows are like the drip- stone, and sometimes fine bands are carried round as tablets. Of these there are some fine remains at the cathedral, and at the tower of St. John's, Ches- ter. The basement mould- ings ordinarily used are not materially different from the last style ; re- versed ogees and hollows, variously disposed, being the principal mouldings; but in rich buildings seve- ral mouldings and alter- nate faces are used. Dripstone termiuauou, Taclcley. Oxon. String , OuLidle, NorihamptoDshir^ Baweroeat, BoltOQ Abbey, Yorkshire. KMufanxi*. ATKn.-Sittau» ht (XJawitt. Perpendicular English Niches. These are very numerous, as amongst them we must include nearly all the stall, tabernacle, and screen-work in the English churches ; for there appears little wood-work of an older date, and it is probable that much screen-work was defaced at the Reformation, but restored in Queen Mary's time, and not again destroyed ; at least the execution of much of it would lead to such a supposition, being very full of minute tracery, and much attempt at stiffly ornamented friezes. The remains of oak screen-work and tracery are much greater than would be conceived possible, considering the varied destructions of the Reformation and civil war. Most of our cathedrals, and very many smaller churches, contain tabernacle and screen -work in excellent condition, and of beautiful execution ; and amongst this kind of work should be reckoned the great number of stalls with turn-up seats and benches ; these, though many of them are of abominable composition, are by no means all so ; the ceremonies of the church, legends, and above all, figures of animals, flowers, and foliage, admirably designed and executed, make up by far the greater number. At St. Michael's church, Coventry, are many of the best character. The benches before these stalls present, in their ends and fronts, combinations of panelling and flower-work of great beauty. As an instance how late wood-work was executed in a good style, there is some screen-work in the church at Huyton in Lancashire, in which the date is cut in such a way as to preclude any doubt of its being done at the time ; and the date is corroborated by armorial bearings carved on the same work; this date is 1663, a time at which all idea of executing good English work in stone seems to have been lost. 212 TFIE PKRPENDICULAU ENGLISH STYLE. St. Mary Alagdalta GLmvh. Oiiord. Cerne Attas. Duitiet Many niches are simple recesses, with rich ogee canopies, and others have over-hanging square-headed canopies, with many minute buttresses and pinnacles, crowned with battle- ments ; or, in the latter part of the style, with what has been called the Tudor flower, an ornament used instead of battle- ment, as an upper finish, and profusely strewed over the roofs &c. of rich late buildings. Of these niches, those in Henry the VII. 's chapel, between the arches and clerestory windows, are perhaps as good a specimen as any. Of the plain recesses, witli ogee canopies, there are some fine ones at Windsor. The whole interior of the richer buildings of this style, is more or less a series of panels ; and therefore, as every panel may, on occasion, become a niche, we find great variety of shape and size ; but like those of the last style, they may generally be reduced to one or other of these divisions. PERPENDICULAR ENGLISH ORNAMENTS. 213 Perpendicular English Ornaments. The grand source of ornament, in this style, is Hng ; indeed, the interior of most rich buiklings is general series of it ; for example, King's college chapel, Cam- bridge, is all panel, except the floor ; for the doors and win- dows are nothing but pierced panels, in- cluded in the general design, and the very roof is a series of them of different shapes. The same may be said of the in- terior of St. George's, Windsor; and still further, Henry the VII. 's chapel is so both within and with- panel- only a 1 anelbug, i'elvertott, K'.rdiaij.ptcE8bum.'WKra.ia4fl. PERPENDICULAR ENGLISH ROOFS. 225 A variety of this roof which is very seldom met with, is a real fiat ceiling, like the ordinary domestic ceiling of the present day ; of this, the post room at Lambeth palace offers one specimen, and a room attached to St. Mary's hall, at Coventry, another ; both these have small ribs crossing the ceiling, and dividing it into several parts. At Coventry, the intersection of these ribs in the centre, and their spring from the moulding, which runs round from the side walls, are ornamented with carvings. The third, or groined roof, is of several kinds. Of this it may be well to notice, that the ribs in this style are frequently of fewer mouldings than before, often only a fillet and two hollows, like a plain mullion. We see in the groined roofs of this style almost every possible variety of disposition of the ribs, and in the upper part of the arch they are in many instances feathered; and these ribs are increased in the later roofs, till the whole is one series of net-work, of which the roof of the choir at Gloucester is one of the most complicated specimens. The late monu- mental chapels, and statuary niches, mostly present in their roofs very complicated tracery. CEBIST CHURCH H&LI. OXFORD. We now come to a new and most delicate description of roof, that of fan tracery, of which probably the earliest, (i 2: 226 THE PEIIPENDICULAR ENGLISH STYLE. luid certainly one of tlie most elegant, is that of the cloisters at Gloucester. In these roofs, from the top of the shaft springs a small fan of ribs, which doubling out from the ])oints of the panels, ramify on the roof, and a quarter or half-circular rib forms the fan, and the lozenge interval is formed by some of the ribs of the fan running through it, and dividing it into portions, which are filled with orna- ment. King's college chapel, Cambridge, Henry the VII. 's chapel, and the Ab- bey-chm'ch at Bath, are the best speci- mens, after the Glou- cester cloisters ; and to these may be add- ed the aisles of St. George's, Windsor, and that of the east- ern addition to Peter- borough. To some of these roofs are attached pendants, which, in Henry the VII. 's chapel, and the Divinity school at Oxford, come down as low as the spring- ing: line of the fans. Christ Church Catitdral, t'xford. The roof of the nave and choir of St. George's, Windsor, is ver}^ singular, and perhaps unique. The ordinary })ro- portion of the arches and piers is half the breadth of the nave ; this makes the roof compartments two squares, but at Windsor the breadth of the nave is nearly three times that of the aisles, and this makes a figure of about three squares. The two exterior parts are such as, if joined, would 52 U 1 J PERPENDICULAR ENGLISH ROOFS. 227 make a very rich, ribbed roof; and the central compartment, which runs as a tlat arch, is filled with tracery panels, of various shapes, ornamented with quatrefoils, and forming two halves of a star ; in the choir, the centre of the star is a pendant. This roof is certainly the most singular, and perhaps the richest in effect of any we have ; it is profusely adorned with bosses, shields, &c. There still remains one more description of roof, which is used in small chapels, but not common in large buildings. This is the arch roof; in a few instances it is found plain, with a simple ornament at the spring and the point, and this is generally a moulding with flowers, &c. but it is mostly panelled. Of this roof, the nave of the Abbey - church at Bath is a most beautiful specimen. The arch is very fiat, and is composed of a series of small rich panels, with a few large ones at the centre of the com- partments formed by the piers. The roofs of the small chapels, on the north side of the Beauchamp chapel, at Warwick, are also good examples ; and another beautiful roof of this kind is the porch to Henry the VII. 's chapel ; but this is so hidden, from the want of light, as to be seldom noticed. The ribbed roofs are often formed of timber and plaster, but are generally colom^ed to represent stone-work. There may be some roofs of different arrangements from any of these ; but in general they may be referred to one or other of the above heads. 228 THE PERPENDIfULAR ENGLISH STYLE Perpendicular English Fronts. The first to be noticed of these, and by far the finest west front, is that of Beverley minster, a building much less known than its great value merits it should be. What the west front of York is to the Decorated style, this is to the Perpendicular, with this addition, that in this front nothing but one style is seen, — all is harmonious. Like York minster, it consists of a very large west window to the nave, and two towers for the end of the aisles. This window is of nine lights, and the tower windows of three lights. The windows in the tower correspond in range nearly with those of the aisles and clerestory windows of the nave ; the upper windows of the tower are belfry windows. Each tower has four large and eight small pinnacles, and a very beautiful battlement. The whole front is panelled, and the buttresses, which have a very bold projection, are ornamented with various tiers of niche-work, of excellent composition and most delicate execution. The doors are uncommonly rich, and have the hanging feathered ornament ; the canopy of the great centre door runs up above the sill of the window, and stands free in the centre light, with a very fine effect. The gable has a real tympanum, which is filled with fine tracery. The east front is fine, but mixed with Early Eng- lish. The west fronts of Winchester, Gloucester, Chester, Bath, and Windsor, are all of this style, and all of nearly the same parts ; — a great window and two side ones, with a large door and sometimes side ones ; Chester has only one side window. Though in some respects much alike, they are really very different. Whichester has three rich porches to its doors ; Gloucester a very rich battlement. PERPENDICULAR ENGLISH FRONTS. 229 with the canopy of the great window running through it ; Chester a very fine door, with niches on each side ; Bath, a curious representation of Jacob's dream, the ladders forming a sort of buttresses, and angels filling the space about the head of the great window ; Windsor is plain, except its noble window and beautiful pierced parapet and battlements : but it is curious that in all these examples the nave is flanked by octagonal towers ; at Winchester and Gloucester, crowned with pinnacles; at Chester and Windsor with ogee heads, and at Bath by an open battle- ment. The ends of King's college chapel, Cambridge, are nearly alike, but that one has a door and the other not ; these also are flanked with octagonal towers, which are finished with buttresses, pinnacles, and an ogee top. Of east ends, York is almost the only one which preserves the whole elevation, and this is the richest of all ; it is highly ornamented with niches in the buttresses, and has octagonal turrets which finish in very tall pinnacles, of a size equal to small spires, but which, from the great elevation of the front, do not appear at all too large. Of small churches, the west end of St. George, Doncaster, and Trinity cluu'ch, Hull, are fine examples ; as are the east ends of Louth church in Lincolnshire, and Warwick church, as well as its beautiful companion the Beauchamp chapel. 230 THE TERPENDICULAR ENGLISH STYLE. Perpendicular English Porches. Of these there are so many that it is no easy matter to choose examples, but three may be noticed ; first, that attached to the south-west tower of Canterbury cathedral, which is covered with fine niches ; secondly, the south porch at Gloucester, which has more variety of outline, and is nearly as rich in niches ; the third is the north porch at Beverley, and this is, as a panelled front, perhaps un- equalled. The door has a double canopy, the inner an ogee, and the outer a triangle, with beautiful crockets and tracery, and is flanked by fine buttresses breaking into niches, and the space above the canopy to the cornice is panelled ; the battlement is composed of rich niches, and the buttresses crowned by a group of four pinnacles. The small porches of this style are many of them very fine, but few equal those of King's college chapel, Cambridge. Of the Perpendicular English Style. The appearance of Perpendicular buildings is very va- rious, so much depends on the length to which panelling, the great source of ornament, is carried. The triforium is almost entirely lost, the clerestory windows resting often on a string which bounds the ornaments in the spandrels of the arches, but there is not unfrequently under these win- dows, in large buildings, a band of sunk or pierced panel- ling of great richness. Of this style so many buildings are m the finest preserva- tion, that it is difficult to select ; but, on various accounts, several claim particular mention. The choir at York is one ^J S® TUT EL l-roiSJDSI (UI? S? XfiAffiS'S (2BrariSJJ33E_3E2'5TEms:.E"r. Publbhffd by JH-Pazbr. Onord. ifiaS • THE PERPENDICULAR ENGLISH STYLE. 231 of the earliest buildings ; indeed it is, in general arrange- ments, like the nave, but its ornamental parts, the gallery under the windows, the windows themselves, and nmcli of its panelling in the interior, are completely of Perpendicular character, though the simple grandeur of the piers is the same as the nave. The choir of Gloucester is also of this style, and most completely so, for the whole interior is one series of open-work panels laid on the Norman work, parts of which are cut away to receive them; it forms a very ornamental whole, but by no means a model for imitation. Of the later character, are three most beautiful specimens. King's college chapel, Cambridge, Henry the VII. 's chapel, and St. George's, Windsor ; in these, richness of ornament is lavished on every part, and they are particidarly valuable for being extremely different from each other, though in many respects alike. Of these, undoubtedly St. George's, Windsor, is the most vakiable, from the great variety of composition arising from its plan ; but the roof and single line of wall of King's college chapel, Cambridge, deserves great attention, and the details of Henry the VII. 's chapel will always command it, from the great delicacy of their execution. Of small churches, there are many excellent models for imitation, so that in this style, with some care and exami- nation, scarcely any thing need be executed but from abso- lute authority. The monumental chapels of this style are peculiarly deserving attention, and often of the most elabo- rate workmanship. The castellated remains of this style are generally much altered, to render them habitable ; parts of Windsor castle are good ; the exterior of Tattershall castle, in Lincolnshire, remams nearly unaltered. 232 THE PERPENDICULAR ENGLISH STYLE. Perpendicular English Fonts. The fonts of this style are very numerous, and of all sorts of workmanship, from the roughest description, to that most elaborate specimen at Walsingham church in Norfolk. To some of these remain font covers of wood, of which a few are composed of very good tabernacle-work. '.VVUOMOaAM, NORKOLK [The fonts are generally raised upon steps, when in their original position, and these steps are sometimes richly orna- mented with panelling. The fonts themselves are also most commonly panelled, and the panels are often filled with sculpture, representing the Evangelistic symbols, the seven sacraments of the Roman Church, the emblems of the Passion, angels bearing shields, heraldic and other devices. The bowl is frequently supported by angels, and round the stone are figures under canopies, or lion.-^. PuHisheily J3.P4dcer.ftifij«l 1848. PERPENDICULAR ENGLISH FONTS. 233 These rich Perpendicular fonts are particularly abundant in Norfolk and Suffolk, but they are also common in other parts of England, especially in Somersetshire and Devon- shire. At Trunch in Norfolk the font is placed in a kind of Baptistery of rich Perpendicular wood-work ; and at St. Peter Mancroft, Norwich, is another example, similar but not so fine, and much mutilated.] EAST DEREHAM. NORFOLK H h MISCELLANEOUS REMARKS BUILDINGS OF ENGLISH ARCHITECTURE. Having now given an outline of the details of the dif- ferent styles, it remains to speak of a few matters which could not so well be previously noticed. As one style passed gradually into another, there Avill be here and there buildings partaking of two, and there are many buildings of this description whose dates are not at all authenticated. There is one building which deserves especial mention, from the singularity of its character, ornaments, and plan ; this is Roslyn chapel. It is certainly unclassable as a whole, being unlike any other building in Great Britain of its age, (the latter part of the fifteenth century,) but if its details are minutely examined, they will be found to accord most completely, in the ornamental work, with the style then prevalent, though debased by the clumsiness of the parts, and their want of proportion to each other. There seems little doubt that the designer was a foreigner, or at least took some foreign buildings for his model. It will be proper to add a few words on the alterations and additions which most ecclesiastical edifices have re- ceived ; and some practical remarks as to judging of their age. The general alteration is that of windows, which is very frequent ; very few churches are without some Per- pendicular windows. We may therefore pretty safely con- clude that a building is as old as its windows, or at least MISCELLANEOUS REMARKS. 235 that part is so which contains the windows ; but we can by no means say so with respect to doors, which arc often left much older than the rest of the building. A locality of style may be observed in almost every county, and in the districts where flint abounds, it is some- times almost impossible to determine the date of the churches, from the absence of battlements, architraves, and buttresses ; but wherever stone is used, it is seldom diffi- cult to assign each part to its proper style, and with due regard to do the same with plates of ordinary correctness a little habitual attention would enable most persons to judge at once, at the sight of a plate or drawing, of its correctness, from its consistency, or the contrary, vidth the details of its apparent style. In a sketch like the present, it is impossible to notice every variety ; but at least the author now presents the world with a rational arrangement of the details of a mode of architecture on many accounts valuable, and certainly the most proper for ecclesiastical edifices. Still further to enable the reader to distinguish the principles of Grecian and English architecture, he adds a few striking contrasts, which are formed by those principles in buildings of real purity, and which will at once convince any unprejudiced mind of the impossibility of any thing like a good mixtiu'e. Grecian. English. The general running The general running lines are horizontal. lines are vertical. Arches not necessary. Arches a really funda- mental principle, and no pure English building or ornament can be composed without theuL 236 .MISCELLANEOUS REMARKS Grecian. An entablature abso- lutely necessary, consisting always of two, and mostly of three distinct parts, having a close relation to, and its character and orna- ments determined by the columns. English, No such thing as an entablatm"e composed of parts, and what is called a cornice bears no real rela- tion to the shafts which may be in the same build- ing. The columns can sup- port nothing but an entab- lature, and no arch can spring directly from a column. The shafts can only sup- port an arched moulding, and in no case a horizontal line. A flat column may be called a pilaster, which can be used as a cokmm. Nothing analogous to a pilaster ; eveiy flat orna- mented projecting surface, is either a series of panels, or a buttress. The arch must spring from a horizontal line. No horizontal line ne- cessary, and never any but the small cap of a shaft. Columns the sup})orters of the entablature. Shaft bears nothing, and is only ornamental, and the round pier still a pier. No projections like but- tresses, and all projec- tions sto])ped by horizontal liiK'S. Buttresses essential parts, and stop horizontal lines. ON BUILDINGS OF ENGLISH ARCHITECTURE. 237 Grecian. Arrangement of pedi- ment fixed. Openings limited by the [)roportions of the column. Regularity of composi- tion on each side of a centre necessary. English. Pediment only an orna- mented end wall, and may be of almost any pitch. Openings almost unli- mited. Regularity of composi- tion seldom found, and variety of ornament uni- versal. Cannot form good stee- ples, because they must re- semble unconnected build- ings piled on each other. From its vertical lines, may be carried to any practicable height, with almost increasing beauty. In the foregoing details we have said little of castellated or domestic architectui'e ; because there do not appear to be any remains of domestic buildings, so old as the latest period of the English style, which are unaltered; and because the castellated remains are so uncertain in their dates, and so much dilapidated or altered, to adapt them to modern modes of life or defence, that little clear arrange- ment could be made, and a careful study of ecclesiastical architectm'c will lead any one, desu'ous to form some judgment of the character of these buildings, to the most accurate conclusions on the subject which can well be ob- tained in their present state. Nor has any thing been said of monuments, because, should they bear the name of the deceased, and the date of his death, they were often erected long after ; thus Osric's tomb at Gloucester, and that of King John at Worcester, 238 MISCKLLANEOUS KKMARKS. are both of Perpendicular date, if their style may be con- sidered as any guide. Most of the monuments which are valuable, will have their style ascertained by what has been said of larger erections. There are many which deserve much attention, for the excellence of their workmanship and composition ; of these may be noted those of Aymer de Valance, earl of Pembroke, in Westminster abbey, and a curious monument in Winchelsea church, Sussex ; the monument of the Percys at Beverley ; that of King Edward the II. at Gloucester, and that of Richard Beauchamp, earl of Warwick, in the centre of the Beauchamp chapel ; with several at Canterbury, York, and Winchester. There are two which are so singular, and so different from the style in use at the time of their erection, that they require particular remark ; these are, the shrine of Edward the Confessor, and the tomb of Henry the III., both erected near the same time, and probably by the same artist, who has been stated to be an Italian ; and this may account for the style of these monuments, where, with some few traces of the Early English, (the style in use at the time of their erection,) there is much close re- semblance to Roman work ; added to which they are covered with Mosaic work, which has been much used in Italy. [In the former editions of this work a number of churches in each county were described in the appendix, the inten- tion being that they should be a selection of the best exam- ples, but the changes which have taken place since the last edition was published, rendered a thorough revision of these notes necessary ; and after a careful examination, it has been thought better to incorporate them in a general work on the Ecclesiastical and Architectm-al Topography of England, and omit thein altogether from this volume.] CHRONOLOGICAL TABLE. Eon the use of the student a table is subjoined, shewing the duration of the styles of English architecture, and the kings reigning in each period. To render this list more useful, it is printed in duplicate, that one may be cut out, and serve as a table for the more readily consulting other works. The duphcate will be found at the end of the Appendix. Kings. Date. WlLLIASlI 1060 William II 10S7 j Henry 1 1100 y Stephen 1135 I Henry n 1151 to 1189 J Remarks. r Prevailed little more than I 124 years ; no remains Norman. ■{ really known to be more I than a few years older than ^he Conquest. Richard I.» llS9j John 1199 r Early Henry HI 1216( Englisu. Edward I." 1272 to 1307 ) Edward II 1307) Edward III.'^.. 1327 to 1377 ( Richard II 1377^ Henry IV 1399 Henry V 1413 Henry VI 1422 Edward IV 1461 y Edward V 1483 Richard m 1483 Henry VII 1485 Henry VIII... .1509 to 1546 J » [The reign of Richard I. was the chief period of the Transition from the Norman to the Early Knglish style. The change began perhaps a little earlier in a few instances, and continued a little later, some bnildings of the time of King John being of Transition cha- racter. '' The Transition from the Early English to the Decorated style took place chiefly in the reign of Edward I. The Eleanor crosses belong rather to the latter than the former style. ' In the latter part of the long reign of Edward III. the Transition from the Deco- rated to the Perpendicular style began, and was almost completed by the time of the acces- Decorated English. Perpendicu- lar English. Prevailed about 118 years. Continued perhaps 10 or 15 years later. Prevailed . little more than 70 years. Prevailed about 169 years. Few, if any, whole build- ings executed in this style later than Henry VIII. This style used in addi- tions and rebuilding, but often much debased, as late ^as 1630 or 1640. sion of Richard II. Some buildings of the Decorated style may be found of his reign, but the works of William of Wykeham, West- minster Hall, and many other buildings of this period, are of very decided Perpendicular cha- racter. Perhaps one of the earliest and best authenticated examples of this Transition, shewing a curious mixture of the two styles, is Edington church in Wiltshire, founded by bishop William of Edington in 1352, and con- secrated in 1361. The same bishop, who died in 1366, commenced the alteration of Win- chester cathedral into the Perpendicular style, which was continued by William of Wykeham.] ON SAXON ARCHITECTURE, oil SUCH BUILDINGS AS MAY HE PRESUMED TO HAVE BEEN ERECTED IN ENGLAND BEFORE THE NORMAN CONQUEST. In addition to what has been incidentally remarked on these buildings'', I wish to consider these early edifices both in England and France, and I have to notice such buildings in both countries as are either known to be of a date prior to the year 1000, or by their clear difference from anything of later date, may, from that clear difference, and their rela- tion to works known to be before the year 1000, be well permitted to be considered of an earlier date, until proved to be of a later one. In France there are the following buildings : The walls of the city of Bayeux, The theatre at Lillebonne, The church of St. Germain at Rouen, The ancient portion of a chm'ch at Beauvais, now called the Basse CEuvre ; All these present clear and definable Roman features. " See p. 5.5. a 11 APPENDIX. At the theatre at Lillcbonne we have regular ashlar masoniy with rubble backing'': the front work very well done, with good clean joints. Also a wall with small stones about six inches long and about fom- inches high in the courses ; these form a thin skin, and have rubble backing, but with horizontal courses of what are called Roman bricks, i. e. flat tiles about fom-tcen inches long, eleven inches broad, and not quite two inches thick. These tiles act as binding-conrses to the small stone and rubble of which much Roman walling is constructed. This horizontal bond of tiles accompanies nearly all the Roman walling which is built of small stones, both in England and that part of France included in my present observations. It is present in the walls of Bayeux, where the courses of stone are irregular ; some small, some large : in tlie chm'ch of St. Germain, where the walling is of squared stone, rather larger than the small stones at Lillebonne; and here there is also an outer tier of bricks around the arches, like a di'ip-stone. It is also in the Basse CEuvi-e at Beauvais ; here the walling is small stones with large joints, and the exterior arches, as well as the drip-course round them, are partly fonned of Roman bricks. The interior A\-alling of this building is the white stone of that comitry, which, though so soft as to be easily worked, retains its edge and its form completely to the present time. This building (now a firewood warehouse) though sadly neg- lected, has much of its interior work, plain round arches and square piers, in very good condition. These buildings are in France well known to antiquaries, and their dates constantly acknowledged as prior to the year 1000. *' See Glossary, vol. ii. Plates 7 and 73. ON SAXON AHClllTKCTURE. Ill In England we have, first, a variety of Roman walling acknowledged to be such. These w^alls are in various counties, from Northumberland to Kent, and many of them (and I believe all in which the construction was necessary) have the bonding bricks more or less frecpient. There are a few Roman examples in which, from the mode of construction with large blocks of stone, it does not appear that the bonding bricks w^ere used. Of these examples I may mention two which remain in a more perfect state than, considering their age, could w^ell have been expected. The first is the north gate at Lincoln, which, as W'hen first erected, is still used as the passage through the walls. This gate had originally an impost and architrave moulding ; but they are now hardly visible. The second is a portion of the Roman wall near the military road from Newcastle to Carlisle ; its w^alling is well done, and in a very perfect state; and near it is a quarry of most excellent building stone, from whence that used in the wall appears to have been taken. I do not intend to notice all the Roman works know^n to exist in England, but merely a few^ for the purpose of shewing the similarity of construction with those noticed in France; and of referring to them as linking with those churches w^hich I suppose to have been erected in England before the year 1000. Wliat is called the Jews' Wall at Leicester, is built with many of the flat tiles, or Roman bricks ; and the portions of Roman w^all still remaining near St. Alban's, in Hert- fordshii-e and at Richborough castle, in Kent, have these Roman bricks used as horizontal bond, in the same way as we have noticed in the French edifices. I shall now, pre\dous to enumerating the buildings which IV APPENDIX. 1 have reason to believe were erected before the year 1000, state those particularities of their masonry, their forms and their details, which by the difference from works of known Norman date give reason to suppose them of this very early period. Fu'st, as to the masonry, there is a peculiar sort of quoining, which is used Avithout plaster as well as with, consisting of a long stone set at the corner and a short one laying on it, and bonding one way or both into the wall ; when plaster is used, these quoins are raised to allow for the thickness of the plaster. Another peculiarity is the use occasionally of very large and heavy blocks of stone in particular parts of the work, while the rest is mostly of small stones ; the use of what is called Roman bricks, and occasionally of an arch with straight sides to the upper part instead of ciu'ves. The want of buttresses may be here noticed as being general in these edifices. An occasional use of portions with mouldings much like Roman, and the use in \vindows of a sort of rude balustre. The occasional use of a rude round staircase'', west of the tower, for the purpose of access to the upper floors ; and at times the use of rude carvings, much more rude than the generality of Norman work, and carvings which are clear imitations of Roman work. AU these marks do not in every case appear in each of the edifices ; but they are all more or less united to one another, and thus form a very interesting series. The buildings of this character as yet found, are : 1. The chiu-ch at Whittingham, in Northumberland. 2. The west end of the church of Kirkdale, Yorkshire. •^ These staircases appear to liave been additions, as at Brixwortli and Brigstock. ON SAXON ARCHITECTURE. V 3. The clinrch of Laughton-en-le-Morthen, Yorkshire. 4. The tower of St. Peter at Barton-on-the-Humber, Lincohishire. 5. Part of the west end of Ropsley church, Lincohishire. 6. The east end of the church of Repton, Derbyshire. 7. The tower of the church of Barnack, Northampton- shire. 8. The east end of Wliittering church, Northampton- shire. 9. The church of Brigstock, Northamptonshire. 10. The church of Brixworth, Northamptonshire. 11. The tower of the chiu-ch of Earl's Barton, North- amptonshire. 12. The tower of Clapham church, Bedfordshire. 13. The tower of the church of St. Benet, Cambridge. 14. The tower of the church of St. ]\lichael, Oxford. 15. A part of the tower of Trinity chiu-ch, Colchester. 16. Some small portions of the chm"ch of Stoke D'Aber- non, SmTcy. 17. The east end of the church of North Burcombe, Wiltshire. 18. The doors (now stopt) of Brytford church, Wiltshire. 19. A small part of the church of Worth, Sussex. 20. The tower of the church of Sompting, Sussex. VI APPKNDIX. This list comprises twenty edifices in thirteen counties, and extending from AMiittingham, in Northnmberland, north, to Sompting on the coast of Sussex, south, and from Barton on the Humber, on the coast of Lincohishire, east, to North Bm'combe on the west. This number of chm-ches extending over so large a space of country, and bearing a clear relation of style to each other, forms a class much too important and extensive, to be referred to any anomaly or accidental deviation ; for the fom* extreme points all agree in the peculiar featm-e of long and short stones at the corners, and those stones of a varied character, and all easily accessible in their respective situations. These English examples of towers and churches I may, T trust, be permitted to describe with some minuteness, so that persons who visit them may know wdierein consists their likeness to each other, and difference from other styles. From what I have seen, I am inclined to beheve that there are many more churches which contain remains of this character, but they are very difficult to be certain about, and also likely to be confounded with common quoins and common dressings, in counties where stone is not abundant, but where flint, rag, and rough rubble plastered over, form the great extent of walling. In various cluu'ches it has happened that a very plain arch between nave and chancel has been left as the only Nonnan feature, while both nave and chancel have been rebuilt at diff'erent times, but each leaving the chancel arch standing. I am disposed to think that some of these plain chancel arches, will, on minute examination, tm-n out to be of this Saxon style. I am the more induced to think so from the tower at Whittingham, in Northumberland, having close to it one such plain arch, and next to it another semicircular arch, which would be called, if not ON SAXON ARCHITECTURE. Vll early, certainly not very late Norman, yet strikingly different. As the portion of France I visited, thongli containing a great variety of large edifices, was not visited as to the small chm-ches to an equal extent, owing to the difficulty of getting to places not on the high roads, I cannot say whether there is anv thiuGj like our combination of long and short stones ; only one cluuch I saw at a village near Beauvais had any such antiquity, by tradition, as before the year 1000, and there the only featm-e noticeable was a resemblance to the walling of the Basse CEuvre at Beauvais, both being found of small stones with large joints. I shall now proceed to state more clearly the distinctions of this early or Saxon style, and then to describe those edifices above enumerated. Arches. Where of considerable size, they are semicir- cular, but there are smaller aper- tures of doors and windows with straight slopes to the apertm'c. In some doors, and in some larger arches, there is a regular impost at the spring, which has a rude resemblance to Roman mould- ings. Door. Barton "n Untnber. Vm APPENDIX. In the small windows a sort of rude balustre, such as might be supposed to be copied by a very rough workman by remembrance of a Roman balustre. Masonry. First, a sort of quoins or framing of stone projecting from the face of the wall, the filling in often of small rough stonework, and sometimes plastered. Second, the use of very large pieces of stone, much larger than usual in Norman, for parts, while the remainder is of small and very roughly hewn stone. Staircases. In two instances (more perhaps may here- after be found) there are on the w^est side of the towers cir- cular staircases, equally rude as the masonry of the chmxh ; but in one of these instances this staircase has been found to be an addition. Bricks. It is not easy to discover whether the Roman bricks (or rather flat tiles, as we should noAv term them) that we find in one at least of these edifices, have been laid before, and are the ruins of a former building, or w'ere made for the purpose and used new. Ornaments. In one, if not more of these buildings, there arc some very rude carvings, more rude than most Norman work. Plan. All the corners square ; and there seems no in- stance of a buttress to these buildings which is not evidently an addition. As I cannot presume to settle which of these buildings is of the earliest date, it will, I think, be better to take them nearly geographically, and connnencing at the most northerly. ON SAXON ARCHITECTURE. IX 1. AVhittingham Church, Northumberland. This cliurch has a tower, and the west end of the aisles and one arch on the north side, all appearing of the same early style. There are Norman portions, but they are clearly of a different and later date, and parts of the chmx'h are even later still, with some mo- dern mutilations. The corners of the tower and exterior angles of the walls of the aisles, are clearly of long and short stones of a very strong coarse gritstone, and the whole walling being of the same stone as the quoins, and no plaster requii'ed, the con- struction of the masonry is very conspicuous. Tlie battle- ments, and a part of the upper story of the tower, appear to have been altered; but the upper aperture has a rude balustre between the two windows ; thus presenting two features, generally the most striking and constant in these early buildings. One arch of what appears to me to be the original nave, remains ; it is very plain, has a large rude abacus or impost, and a plain square pier : it is now stopped, and forms part of the vestry. The next arch eastward on the same side is a common Norman one, ^^'ith the usual round pier and a capital, with a sort of bell and a square abacus. The remainder of the chm'ch is later, and of little comparative interest. The apertures in the tower have been much mutilated, yet those above have the balustre suffi- ciently clear to mark the style. b Ncrthumberiaiii APPENDIX. This church is situated about tliree hundred yards out of the great road, and presents nothing attractive to the eye at a distance, nor do I beheve it has ever been described. 2. The Church of Kirkdale, Yorkshire. This chui'ch is also out of the road, between Hehiisley and Kirkby Moorside, in a valley near the celebrated Bone Caves. It is a small edifice, mostly of much later date. It has a stone on the south side, with a Saxon inscription ; but as this has been removed from its original place, it is now no evidence of itself as to what part of the chm*ch is Saxon ; but as the western door, now stopt, and the arch to the chancel, are both of them very rude, though in some degree resembhng Norman, they may, I think, on a carefiU examination of them, be considered portions of the old building. 3. The Church of Laughten-en-le-Morthen, between Sheffield and Worksop, is in Yorkshh'e, away from any public road ; it is a fine cluu'ch wdth a lofty spire, visible at a great distance. The Saxon por- tion of the chm'ch consists only of a door on the north side, close to the western wall; it is evidently part of a more ancient struc- ture carefully preserved, and surrounded with more modern masonry of very different stone, and is as clearly a long and short construction as Whittingham or Barton. The church, for a country place, is a large one, and has a Lau^hten en-le Mortben, Yorkshire. ON SAXON ARCHITECTURE. XI nave, aisles, and large chancel. A portion is Norman ; and this, as well as some more modern parts, is built of what appears to be a magncsian limestone — yellow at first but gro^ang a fine grey ; the ancient door is, however, of a very different stone, being a dark red sandstone of a strong grit ; whence obtained I do not know; but in the Norman chancel, intennixed "with the grey stone, are several portions of the red sandstone, built in irregularly, as if portions of an older building ; and on the inside are two niches, one evidently a seat with a plain sink and a semicircular head, and another, which seems to be a cupboard, Avitli a straight arch top : but both of these are plastered and whitewashed, so that I could not examine of what stone they were con- structed. The later portions of this chiu-ch are curious ; for the Norman piers on one side of the nave are capped by a sort of upper square capital of Perpendicular work, which I have not seen elsewhere, and which is intended to raise those piers to the height of the piers on the other side of the nave, and from each spring arches of the same character corre- sponding with the later piers. 4. The Church of St. Peter, at Barton-on-the- HuMBER, Lincolnshire. This is a short thick tower, with very thick walls, origi- nally of tlu*ee stages ; the two lower of which are orna- mented by perpendicidar stripes of stone, projecting from the face of the wall, and near the top of each stage breaking into arches : the lower set of arches semicircular, and the perpendicular lines springing from a stone set on the top of the arch ; the second set are straight-lined arches, and rim up to a flat string or tablet, on which is the third plain stage, with only two small arches, (if so they may be Xll APPKNDIX. called,) as in the second stage. On the top of these three stages is one evidently early Nor- man, having a regular double Nor- man window in it, with a shaft and capital in the middle; this stage being clearly Norman, it is evident, the substructm*e nnist be of an ear- lier date ; and in the second stage of the lower part is also a double window, with round arches, and divided by something (evidently original, for there are two) exactly resembling a rude balustre ; all this arrangement is so different from Norman work, that there seems a probability it may be real Saxon ; and it should be noted, that the other, or neiv church, St. Marv's, stands within 150 yards of the old chm*ch, and is princi- pally a Norman building, (with an Early Enghsh tower, and a chancel of the same, and a very early Decorated east window,) which, of coiu^se, renders it necessary to go back to the Conquest at least, for the date of the old one. Tliis always goes by the name of the old chm"ch, and the other church, within a very short distance and called St. Mary's, the new chm-ch. Now no part of the new church is much later than A.D. 1300, and, except the toioer, no part of the old church is so old as the year 1300; thus referring to the tower as the ancient part of the old cluu"ch, and as the piers and arches of the nave of the new chm-ch are Norman, though rather late, it makes the old church of course as old as Norman, and from the circumstance of the belfry story above the ancient tower being Norman, and certainly not late Norman, it gives a sort of prima facie Barton -on-theHumber. Lincolnshire. ON SAXON ARCHITECTURE. Xlll evidence of a gi'eater antiquity to the tower; and this evidence, and the complete difference from Norman in this tower, first attracted my attention, and led me to look for similar ones in other parts of the kingdom. This tower has the long and short quoin and rib stones, with the balustre window for what appears to be the original belfry story, before the addition of the Norman belfiy. These rib and quoin stones project, are filled in with rough rubble walling, and plastered. There is one door with a round arch, and one straight. The walls of the tower are thick, and there is no appearance of any stau'case having ever existed. The chiu-ch is mostly of Decorated character. I consider this tower the most pure specimen of the long and short work, and particularly deserving of a visit from those who "wdsh to see this style fully exemplified ; and the Norman belfry is valuable from at once limiting the date of the tower to an early period. 5. RopsLEY, Lincolnshire. The long and short remains in this church are confined to a portion of the Avest end near the tower, and here also it is mixed with Norman work ; a Norman north aisle appears to have been added. 6. The East End of the Church of Repton, IN Derbyshire. Here the long and short appearances are very small, only two ribs by the side of the chancel window, which is an insertion ; but there is a crypt, which is more like Roman work in some parts than Norman; and here are early Norman portions in the church, and all these portions are so blended with later work, that it is very XIV APPENDIX. difficult to say where one ends and the other begins; but I have no doubt that some part of this chui'ch is of Saxon date. 7. The Tower of the Church at Barnack, IN Northamptonshire. This tower has quoins and rib-stones hke Barton-on- the-Hmnber, but the stones are more carefully squared and laid, and there are certain ornamental portions built into the walls, which give it a very diflPerent air to that of Barton ; but it had no , -^_:i";x ^ __ staircase, and to supply ^^CrT" this want the lower story was groined, and in one corner a circular stair- case of Early English date carried up mthin the square of the old tower. The arch into the chm-ch is curious from its sin- gularly rude imitations of Roman mouldings in the impost and architrave. On the tower is a later belfry, and a short spire. ^"'^^ Bamwk Northamptonshire. This church is near Stamford, but not on any high road ; it is a handsome structiu-e, and deserving of attention, exclusive of the more ancient portion. It is built of Barnack stone, which seems to have been very extensively employed at one time, though the quarries are not, I be- lieve, now worked : it is an oolite, in which are embedded nmucrous small shells, from whence it weathers very rough and open. ON SAXON ARCHITECTURE. XV 8. The East End of Whittering Church, Northamptonshire, has some portions of long and short work, and the arch between the nave and chancel is built of large rude blocks of stone with very httle attempt at ornament. This church has a short tower and low spire, and has nothing attractive in the view from the great road, fi'om which it is distant only a few hundred yards, being on the road from Stamford to London, and is nearly, if not actually, the next parish to Barnack. The chm-ch is well deserving of attention, more than it has received, and is a curiously connecting link between Barnack and Earl's Barton. 9. Brigstock Church is another cm-ious specimen, but here the early work forms only a very small portion, though siu-rounded by ancient remains of such a cha- racter, as to confirm, as much as their antiquity can do, the earher date of this portion. The tower is of very rough masonry, plastered, and has a roughly built round stair- case on the west side, as at BrLx- worth; the tower opens into the north aisle by a semicircular-headed small plain door, with a small win- dow over it. The arch into the nave has large plain blocks for imposts, and a projecting stone round the arch, like those at Barton-on-the- Hmnber ; the pier of this arch is on the north-east comer of the tower, abutted against by Noniian piers and plain XVI APPENDIX. arches ; the rest of the cluirch has various niteresting features of several styles, but nothing more appears now to remain of a character like the lower part of the tower, which has above it a belfry and spire of a date somewhat later than that at Brix worth. There arc several good doors and windows, a small water drain, a beautifid niche in the chancel, and the stau's to the rood-loft remain. 10. Brixworth Church ». This curious church had not, to my knowledge, been noticed till \dsited by me in company with my friend G. Baker, the historian of Northamptonshire, near the end of the year 1823, which visit led to a subsequent more minute examination of the building, and a search for traces of the parts which have been destroyed. This church, in its original state, appears to have con- sisted of a spacious nave and narrow aisles, a large chancel and a western tower, with a clerestory to the nave, and the chancel divided from it by a large arch. The lower story of the tower had four doors, one on each side, the north and south small ; the east and west large and lofty : in the upper part of the tower, and looking into the nave, is a window, with two of the rude balustres found in the windows of the tower of the old chm*ch at Barton-on-the- Himiber. In this state the church would be near 120 feet long, the nave thirty feet wide, and the aisles appear to have been from ten to twelve feet wdde ; but as the foundations, which were discovered by digghig on the north side, were iiTcgular, this width is in some degree conjectm-al, although it is not likely to be more than a foot or two wrong. If we suppose eleven feet as the medium for the breadth of the ' For engravings of this cliurrli, see Britton's Architectural Aiiti(iuitics, vol. v. p. 160. ON SAXON ARCHITECTURE. XVll aisles, it will give the exterior breadth of the chiu'ch, in its original state, sixty-six feet, as the walls are near three feet and a half thick. The construction of this church comes now to be noticed, and tliis is particularly cmious ; the walls being mostly built with rough red-stone rag, in pieces not much larger than the common brick, and all the arches tmiied, and most of them covered, with courses of bricks or tiles, as they may be called, precisely similar in quality and size to those found in Roman works discovered in this county; and over the balustres of the window looking from the tower into the nave, these bricks are used as imposts. The great arch, between the nave and the chancel, has, at an early period, been partly taken down and filled up with a good pointed arch ; but this was not so completely done as to destroy the remains of the spring of the original arch, which, on stripping the plaster, was found to have the same tile impost and tile arch, and course of covering tiles, as are found in the other arches. At what date the chm'ch remained in its original state, I do not presiune to deter- mine ; but fi'om the natm^e of the alterations now extant, it must have been very early : and I now proceed to state these as they appear. The north door of the tower is stopt up, and against the west side of the tower is erected a circular staircase, built of the rag stone in a very rough state ; the stairs are partly remaining, and the under side of them has been formed upon rough plastered centering, in the mode usually adopted by the Normans. To afibrd access to this stau'case, the original west door of the tower has been partially stopt, and the aperture is a small circular-headed door. There is no other access to these stairs, and they lead to the two stories of the tower, reaching rather higher than the present remains of the original steeple, upon c XVm APPENDIX. which is now a belfry and lofty spire, of a style which may be considered of from 1300 to 1330. Proceeding eastward, we find the original aisles de- stroyed, and the westernmost arch, on the south side, remaining to its original use, but now leading into a south aisle, nearly of the date of the belfry ; and to give access to the eastern part of this aisle, the wall of the original chancel on the south side has been opened, and two arches inserted, which are dissimilar in their shape, range, and mouldings. In the arch next the tower on the south side is also inserted a door, and of such a character as to fix its date to about the year 1150 : it is covered by a porch of a date somewhat later. We now come to the present chancel, which is an addition eastward of the original one. The east end had, originally, one large window and two small ones ; the lower part of the large one has been opened to the ground, widened, and the upper part supported by a wood lintel resting on two wooden uprights, against which are some remains of a Perpendicular wood screen. Eastwai'd, the present chan- cel consists of portions of each of the four styles ; on the north side, joining the old chancel, are parts of two Norman divisions •v^ith small flat buttresses, and such a du'ection as to make it probable that this Nonuan chancel was multangular eastward. In these two divisions are inserted two windows, one a Decorated two-hght window, foiTning a north low-side wdndow, the other a Pei*pendicular two-light, which is so inserted as to preserve above it the Norman arch of the window originally lighting that division. The rest of the chancel below the string is Early Enghsh, and has Perpendicular windows above ; on the south side is a Perpendicular door and a low-side window of the same date. The nave is now lighted by six \\dndows inserted in the old walls, aU of difierent sizes, and, with ON SAXON ARCHITECTURE. XIX the exception of two, which are ahke, of different dates. A vestry has been formed in the nave, opposite the porch, and a wall built across the nave at that part, forming a screen ; the vestry is Hghted by a small window, differing from any of the others. This chm'ch has been thus particnlarly described, on account of the extraordinary preservation of so much of the original structure, amidst alterations which appear to have been carried on from the time of the Normans to the Reformation, about every fifty years, for so diver- sified are the different additions and insertions as to cha- racter : it is also curious for the discovery of a rehc in a small shi'ine, which appears of the age of the south aisle, and was inserted in the south wall near a window. Inter- fering with a seat, it was taken out of the wall, and behind it a cavity w^as found containing a small wooden box, in which was a small bone, which, with the shrine, is carefully preserved. 11. Eae-l's Barton, in Northamptonshire. This tower is apparently of the same character as No. 4, but more ornamented, and with rather more finish of workmanship ; it is, however, still rude, compared with most Norman work, and its west door has a cmious approximation to Roman work, in an impost with flutes, and a rude mould- ins; over it, similar to a Roman architrave. The balustre is used to the windows; the number of stone ribs is greater than atBarton-on-the-Humber; Window in Tower, Earl's B^rtoii. .\x APPENDIX. and the upper stories of the tower diminish in size a few inches each way, less than the story below. This tower so clearly resembles Brixworth in the balustre, Brigstock in the work about the door, and Barton-on-the-Hmnber in general character, that there can be little hesitation in considering them of the same class, and the tower of Barnack assimi- lates also in several points to Brigstock and Earl's Barton. The chm^h of Earl's Bar- ton is highly interesting, exclusive of its cmious tower. The chancel be- low the window, the south door of the chm-ch, and some other portions, are Norman, good and much enriched; other portions, both of clnuch and chan- cel, are Early English, and the north door and some of the windows are Deco- rated; while some in- serted windows and the clerestory are Perpendi- cular. There are two Early Enghsh water-cbains and three Norman stalls. There have been low-side windows to the chancel, but they are now stopt. The arch from the tower into the nave is evidently an insertion of later date than the rest of the tower : it is partly Norman to the spring of the arch, and Early English above. To'^ver, Eaurl's Barton. ON SAXON ARCHITECTURE. XXI 12. The Tower of Clapham Church, Bedfordshire. This is principally remarkable for the extreme simplicity and rudeness of its construction. It consists of a square tower, without buttress or tablet, about three squares high, with a rude round arch door, and above it two heights of small round arched windows ; above this part of the tower, wdth a plain set-off inwards, is a Norman portion, mth a Norman window divided into two by a central shaft, plain, and of early charac- ter ; this part is sm-- mounted by a cornice and battlement of later date. This tower is wholly plastered and rough-cast outside, and therefore does not shew the long and short work ; but a very attentive examination of the interior of the tower, the construction of the windows, the absence of a stakcase, the great thickness of the walls, the material used (small rag- stone) and the general appearance, induce me to include it in this list of early chmxhes. This church is very near the great road about two miles north of Bedford. Tower, Clapham, Bedfordshiio. xxu APPENDIX. 13. The Tower of the Church of St. Benet, IN Cambridge. The long and short portions have been here obscured by plaster and rough-cast ; but duiing the sitting of the British Association at Cambridge in the year 1833, I had per- mission of Dr. Lamb, Master of Corpus Christi college, to remove so much plaster as shoidd settle the construc- tion of the tower, which was done, and the long and short masonry clearly de- veloped''. The arch from the tower into the church (a large semicii'cular one) resem- bles the arch at the west end of Kirkdale church in a degree of approach to Nor- man, and the impost and arch mouldings assimilate it to Barnack and Earl's Bar- ton ; while certain rude ani- mals, in the place of a drip supporter, add another cu- rious featm'e. This tower is not sufHcicntlv known, being a good specimen and wmdow m Tower, StSenecsCambr in excellent preservation ; it has the balustre belfry window, and no staircase. The west door and window over it are insertions. Tower, 9t Benet s, Cambridge j^i Vf _. ^ This tower has since been entirely cleared of plaster, under the direction of the Cambridge Camden Society. ON SAXON ARCHITECTURK. XXlll 14. The Tower of the Church of St. Michael IN Oxford. This tower, like Clapham, in Bedfordshire, was, till very lately, covered w^th rough-cast, and its cmious features only to be guessed at from a ba- lustre belfry window, and the small rude ragstonc waUing of the interior, with the absence of a staircase : but on recently passing tlu-ough Oxford, I was glad to find the rough -cast stript off from the outside, and short features It its long and clearly displayed stands out a decid specimen of the long and short work. now stands out a decided and good Tower, tit. MicUael's, Oxford 15. Trinity Church, Colchester. Of this chiu"ch only a part of the tower, the west door, and a small portion about it, arc of early date, but this small part is cmious from its near approximation to Roman work, being plastered over bricks, and also from its having a straight lined arch. The arch into the church is semi- circular, and of small ragstones or brick, i. e. flat tiles. 16. The Church of Stoke D'Abernon, Surrey. Tliis chiu-ch has the chancel arch, and east wall, of long and short work. XXIV APPENDIX. •y 17. The Church of North Burcombe, Wilts. This is a small church close by the road side from Wilton to Hindon ; it is only the east end of the chancel which appears to be part of the original building ; though the rest of the chm^ch is principally of Decorated date, and has proper quoins of the usual size, and alternate bonding into the wall ; and thus this church offers a good spe- cimen of both sorts of masonry, which are not commonly found together. Both the long and short pieces and the quoins are of the oohte, common in that part of Wiltshire, and are in very KoTih Burcooibe Wuouicd worlt. Long and short. good condition, and the edges sharp, affording another proof of the value of that description of stone. The walls are flint and rag and some rubble, but the east end is plastered ON SAXON ARCHITECTURE. XXV and rough-cast, as well as part of the sides of the chancel, and therefore I cannot tell whether there is any east Avindow, or ever has been, as the plaster both inside and out shews no trace of any that I could discover. IS. Britford Church near Salisbury. In this parish was, I believe, a palace of Edward the Confessor. The chui'ch is a cross chui'ch, and seems to have been rebuilt and patched at various times ; but there Arch in the wall, Britford Church still remains a north and a south door, which are evidently Saxon ; and there is another apertm'c rudely stopped, and a window (also stopped) with a buttress of much later date before it. This last mentioned aperture and window are not clear as to date ; but the north and south doors are curious. The former is of stone in small thin pieces, long-and- shortwise, AA-ith a plain impost to spring from ; the latter is also composed of long and short pieces of stone, with, a few of the flat tiles called Roman bricks, and the arch tm-ned with these bricks, and large joints of a mortar evidently composed of lime, flint, and pounded bricks. These doors d XXVI APPENDIX. are now both stopt ; tlic south door forms an important hnk with BrixAVorth chm"ch by the mixtm'c of brick and stone. 19. The Church of Worth, in Sussex, appears to have some long and short work ; but as I have not been yet able to visit it, or otherwise to ascertain exactly its arrangement and construction, I notice it only as a church deserving of more attention than it has hitherto received. [Mr. Bloxam considers the ground-plan of it to be the most perfect of any of this class. The original foundation does not appear to have been disturbed, although insertions of windows of later date have been made in the walls. It is a cross church, consisting of a nave mth transepts and a chancel terminating at the east end with a semicircular apsis.] 20. SoMPTiNG Church, Sussex. This most cmious tower I have recently visited, and have found it clearly of long and short character, but presenting some singular differences from others : here, as in most, the corner stones are long and short ; but the transverse or short pieces are no longer, or rather broader, than the long ones, and they are mostly of a different stone. Ordinary Long and Short. Long and Short at Sompting. ON SAXON ARCHITECTURE. XXVU This tower is large, and the whole of the north side has been taken down and rebuilt to form a side of a chapel, part of which now remains, but this only applies to about fifteen feet of the lower part; all above is ancient. There is a window, now stopt, on the west side of this tower, which appears to be an original one, and which has the small thin long and short work, like the north door at Britford. The opening into the church from this tower is not in the middle, Toner i&rcb, Scmpting. Impost of Tower Arch. but on the south part of the west wall, and has on each side a column and two pilasters ; the former with a nide capital not Norman, but having much of a Roman character, and hke a Corinthian cap with the volutes and cm'ls of the leaves broken ofl' ; the pilasters have a sort of impost with a boldly cut scroll, the rehef and character XXVIU APPENDIX. of wliicli are also much more Roman than Norman. This tower has no stah's, and in its upper windows has a pLain round centre instead of the bahistre, but having a top A^dth a rude sort of volute, and in several parts of these win- dows I fomid Roman bricks, or flat tiles, and some of the windows had semicircular heads and some straight- lined heads. DuTATte OF Tower, Soupiino. ON SAXON ARCHITECTURE. XXIX oo T ^ r\ r^r\ /->,/^ 1 This tower has a middle rib which becomes rounded above the first story, and is flat below ; that first story has over it an ornamented string mth a sort of cutting I have never seen elsewhere, and unlike any Norman ornament I know. This string is about nine inches thick, and is so decayed that I could not satisfactorily ascertain its section, but I believe the above is near what it is. This tower is lofty, full one hundred feet to the point of the slated sort of spire ; it has four gables very point- ed, and thence arises the spire. The church is a cross chm'ch with no aisles, ex- cept an east aisle to the transepts; the north has three round piers and two arches, and the south one arch only; the whole of this is mixed Avith very late Norman and Early Enghsh, and appears all before 1200, except the woodwork of the porch, and perhaps its stone- work, and some Perpen- dicular inserted A\indows. On the whole, this is a very cm-ious church, and deserves to be studied mth great attention. Tower, Sooipting. XXX APPENDIX. Having now gone througli the list of twenty clim-ches Avliich I have described with some minuteness, in order to excite an interest in this valuable study, and also to shew their connection, (and I have left much undescribed, that they may be visited and studied by others,) I proceed to make a few general remarks. I beg first to say, that in this interesting investigation I owe much to the zeal and activity of my friend William Twopeny, Esq., of the Temple. For the knowledge of several of these churches I am indebted to him ; he first discovered and examined the two extremes, AVliittingham and North Burcombe, each of which I have since visited, and found peculiarly valuable. It is curious that of twenty churches, the names of seven, or more than one-third, begin with the letter B. It is also curious that no one of the towers appears to have had a stone stair. Those at Brixworth and Brigstock are e\idently additions outside, and at Barnack obviously so inside. They have all ladders, and I find no vestige of any original stone stair : at Whittingham is a sort of vault and rude stair a little way up, but I do not think it original. The very extensive under-building which appears at Earl's Barton to introduce the arch into the nave, and at Sompt- ing to add the Decorated side chapel, are very curious, and shew great boldness of practice. In the latter, short and thick buttresses have been added to the tower, evidently when this chapel was built ; and a west door and window inserted in the lower story of the tower at the same time. In the examination of this subject I have of course attended to the illuminations of ancient manuscripts, and I find in those of the metrical paraphrase of Caedmon, lately printed by the Antiquarian Society, (Archseologia, vol. xxiv. Plates LV. and LXIIL), something which appears to me clearly to represent the long and short masonry. [The annexed representations of parts of Saxon buildings are from jElfric's Anglo- Saxon version of the Pentateuch, preserved among the Cotton MSS. in the British Museum. Claud. B. iv.] ON SAXON ARCHITECTURE. XXXI IT ri HS. Cotton, fol. 67. MS. Cotton, fol. 74. v" MS. Cotton, fol. 38. vo. ir\ M3, Cotton, Claud. B. Iv, fol. 36. vo. XXXll APPENDIX. The term Roman brick will, I hope, be easily understood. Though I by no means wish to assert that all these bricks were Roman, I think it not unlikely that the Saxons re- tained the art of making them\ The brick I mean differs in shape from modern brick, and more resembles om pre- sent large paving tile: they are of various dimensions, nearly, but I believe seldom quite, square, between fourteen inches and eleven inches on the sides, and rarely much more than one inch and a haK thick. As the terms rag and ruhhle, though very clear when known, are sometimes confusing to those not ac- quainted with various ma- sonry, I may say, that by rag I mean stuff of many Eag-work. qualities in different counties, but being flat bedded stuff, breaking up about the thickness of a common brick, sometimes thinner, and generally used in pieces not much larger than a brick ; it is found laid in all directions, though generally horizontally. This stone is often very hard, and frequently plastered and rough-cast; but in some counties neatly pointed with large joints, and looking very well. Rubble walling is generally of pieces more nearly approaching to a » [There appears good reason to sup- pose that tiles continued to be made after the Roman fashion in size and thickness down to the thirteenth century. The newels of the staircases at SL Alban's, and many tiles or bricks in Colchester and its neighbourhood, and in other parts of the east of England, were evidently made for the places they occupy. The earliest example of the use of bricks of the Flemish shape in England is at Little Wenham Hall, Suffolk, about 12G0. Paving tiles and roofing tiles are frequently mentioned in the writings and accounts of the_ twelfth and thir- teenth centuries.] ON SAXON ARCHITECTURE, XXXlU cube, with great irregularity of size and shape, as well as hardness ; this also is often plastered, but sometimes well pointed vnih. large joints, and left outside ; it is, how- ever, much more used as backing behind ashlar work, and often of very bad materials. I once took down a tine Nor- man tower, in parts seven feet thick, and the wall consisted of two skins about nine inches thick of sand-stonc-ashlar, and the whole of the interval filled in with mere nuid mixed with a little lime. In all these early churches the materials are generally hard and well consolidated. I thus present at once to the view of my readers all that I at present know on the subject, that others may be induced to engage in this interesting pursuit, and thereby my list of twenty churches be increased ; for there are several others that I hope will, on a careful examination, prove to be of this early date. I do not mention them, because I wish not to mislead by noticing what ma^ be curious ; but rather, that by closely studying these examples, the student may have his ideas of this style carefully fixed, and then explore for himself in the many parts of England where our churches have not, to any extent, been properly examined. [The following churches, or portions of churches, of similar character, have been subsequently noticed, and published by other writers as belonging to this class. It may very possibly be found, on a carefid examination, that some of them do not strictly belong to it, while fm-ther research will probably bring other examples into notice : — Berkshire. Cambridgeshire. Cholsey, tower. St. Giles's, Cambridge. Wickhani, tower and chancel-arch. Cornwall, Buckinghamshire. Tintagel. Caversfield, tower. Durhvm. Lavendon, tower. Jarrow, walls of church, and ruins Wing, nave and chancel, with poly- near it. gonal apse. Monk's Wearmouth, tower. XXXIV APPENDIX. Essex. Boreham, church. Colchester, Trinity church. Felstead, church. Great Maplestead, north door. Gloucestershire. Daglingworth, church. Deerhurst, tower. Miserden, church. Upleaden, chancel-arch. Hampshire. Boarhunt. Corhanipton, church. Headbourne Worthy. Kilmeston, church. Tichborne. Hertfordshire. St. Michael's, at St. Alban's. Huntingdonshire. Woodstone, tower, (lately destroyed.) Kent. Dover, the ruined church in the castle. Swanscombe, tower. Lincolnshire. Aukborough. Cab urn. Clee, tower. Heaphani. Holton-le-Clay. Lincoln, St. Beuet's tower. Nettleton. Ropsley. Kothwell. Scartho. Skellingthorpe. Skilliiigton, part of the church. Springthorpe. IStow, transepts. Swallow Syston, tower. Waith. Winterton. Middlesex. Kingsbury, part of the church. Norfolk. Dunham Magna, church, tower. Huve. Newton, tower. Northamptonshire. Green's Norton, west end. Stowe nine churches. Northumberland. Bolam, tower. Bywell, St. Andrew. Bywell, St. Peter. Corbridge. Hexham, crypt. Ovingham. Oxfordshire. Northleigh, tower. Shropshire. Barrow, chancel- arch. Clee. Stanton Lacy, nave and transept. Stretton, church. Stottesdon. Somersetshire Cranmore, a doorway Milbourne Port. Suffolk. Barham, part of church. Claydon, part of church. Flixton, near Bungay. Gosbeck, part of church. Hcniingstone. Ilketshall. Surrey. Albury, chuich. ON SAXON ARCHITECTURE. XXXV Sussex. Bishopstone, church. Bosham, tower. St. Botolph, chancel- arch. Burwash. Worth. Yapton. Warwickshire. Wooteii Wawen, substructure of tower. Wiltshire. Bremhill, west end. Somerford Keynes, church. Worcestershire. Wyre Piddle, chancel-arch. Yorkshire. Bondsey. Kirkdale. Kirk Hamerton. Maltby. Ripon Minster, crypt. York, St. Mary Bishop-hill junior.] [A few of these may be more particularly noticed. Deerhurst Church, Gloucestershire. This church is a valuable example of the supposed class, the more so from the circum- stance of a stone having been pre- served with an inscription upon it recordino; the erection of a chm'ch on this spot by Duke Odda, who lived in the reign of Edward the Confessor. This stone, which is now preserved among the Arundel Marbles in Oxford, was dug up in the last century on the site of the chancel, which had been destroyed in the time of the civil war. The tower of this church is a good speci- men of the style. It is unusually lofty, being fom' stories high, and is divided by a wall into two parts: this middle wall however extends only to the top of the third story, one side is covered by a plain and Saxon Section o£ Towe rude barrel vault, the other half appears to have had a XXXVl APPENDIX. spire upon it : the wliole of the upper story ma} })robably be an addition. The masonry is ver} rude and wide jointed rag- work, with some herring-bone, and Avith long and short work at the angles : the door- ways are round-headed, with clumsy di'ipstones, and rude scidptures over them ; that oa ei the middle doorway ib j a figure standing in a shallow niche, holding ^,j a vesica, probably in- ^ tended to represent the Trinity. The south wall of the church and the chancel-arch ap- pear to be of the same age as the tower. The arch is now built up in the wall which forms the present east Avail of the chiu-ch. It has a square dripstone terminated by sculptures of grotesque aninuils. The Avindows of the tower on the north and south sides are small and round-headed, the head of each cut out of a single stone, and the jambs each also formed of a single stone. In the east Avail is a curious double AvindoAv AA^itli triangular heads, the shafts ornamented Avith an imitation of Roman fluting, and the capitals are merely cut into a scries of small receding square fillets. Dooi'ways in the Tower Deerhurst. ^aat Window of Tower Deerliunu ON SAXON ARCHITECTURE. XXXVU CORHAMPTON ChURCH, HAMPSHIRE. -i^.W=- Corhampton Church, Hampshire. This is a singularly good example of long and short work, which occurs at every angle. The flat pilaster but- tresses, and the north doorway, have the same character. The doorway is built up, and a lancet win- dow inserted under it. The impost and base of this are good specimens of the rude imitation of Roman work which has been before noticed. The chancel-arch is also of the same clumsy work as has been noticed in other examples, the imposts of plain large stones and the usual sort of rude hood-mould. Part of this church is Early English, which is also the case with several others of this class. The font is a curious one, and seems early. Door, Corbampton Uorcacnptoa Doorway, IcDpost. an^ Base xxxvm APPENDIX. NORTHLEIGH ChURCH, OXFORDSHIRE. The tower of this church appears, from its very thick walls and rude baluster windows, to belong to the same class : it has originally been a central tower, but the nave has been destroyed, and the original chancel turned into the present nave, another chancel having been added. Stanton Lacy Church, Shropshire. m' 't:llji|| Stautou Lacy church, ^u. This church though much altered has preserved many of its original features, the pilaster strips and the north doorway possess very clearly the same early character as the other examples. Some details of it are engraved in the Archaeol. Journal, vol. iii. p. 289. ON SAXON ARCHITECTURE. XXXIX Church of St. Mary Bishop-hill junior, York. The tower of this church has most of the same featm'es with the others al- ready described. The upper part has })een rebuilt of the old ma- terials. The original masonry is, in parts, of herring-bone work, and has bricks or tiles of the Roman shape built in. The belfry windows are of the usual rude character, with something ap- proaching to long and short work in the jambs, a clumsy shaft carrying a long impost, and a plain square dripstone carried on pilaster strips. JL± South smd East Windows of Tower, St. Waiy Biehop iuil Jomoi, ic xl APPENDIX. Dunham Magna, Norfolk. The nave and central tower of this chm-ch have the usual features of the class. The tower has long and short work at the angles, small round- headed win doAvs, splayed inside and out, and belfry windows, with a central shaft supporting & a long stone, as in several other examples, but the shaft has caps and bases of Norman character. The tower-arches are plain and massive, the eastern arch has a rude cable- moulding for the impost, and on the west side has two hood-moulds, the lower one springing from the end of the impost mouldings, the upper one from short corbel shafts with round caps rudely mould- ed : both these hood-moidds are rovmd, and appear of anti- Norman character: the west- ern arch has the Norman star ornament, the same as occurs in the chapel of the White Tower, London. At the west "^ end is a triangular canopy, over a square-headed doorway, consisting of a fillet with the edges cut into a kind of square billet ornament, and shafts ornauiented in a similar manner, the imposts of which arc of the same character as those of the window at Deerhurst.J Dunham ilaiua, Norfolk ON THE ARCHITECTURE OF A PART OF FRANCE. Having, since the last edition was published, visited a part of France, I wish to make a few observations on what I noticed architectiu'ally in that visit. In my first edition, published in 1817, I remarked "that in every instance which had come under my notice of buildings on the con- tinent, a mixture more or less exact or remote, according to circumstances, of Italian composition in some part or other is present, and that I had little doubt that a very attentive examination of the continental buildin2:s called Gothic, would enable an architect to lay down the regula- tions of the French, Flemish, German, and Italian styles, which were in use when the English flourished in England," and it is with great pleasm'e I find myself enabled by this journey to go some way towards this conclusion, with re- spect to that part of France, at least, which was included in this tour. The line of country visited may be thus briefly inti- mated : — From Dover to Calais, Boulogne, Abbeville, Amiens, Beauvais, Rouen, Jumieges, Evreux, Lisieux, Caen, Bayeux, St. Lo, Coutances, Carentan, Isigny, Honfleur, Pont Aude- mer, Caudebec, Lillebonne, Harfleur, Havre-de- Grace, and thence to Southampton. In the course of the journey, notes were taken of 4 edifices of Roman work, or of dates before 1000, 14 cathedrals or collegiate churches. 43 larger churches in towns. 50 smaller churches in towns and villages. 14 domestic edifices and civil edifices. 6 smaller edifices, shrines and details. f xlii APPENDIX. In tliis number of above one hundred churches, only nine ancient fonts were discovered, all the rest which were seen being modern and mostly of one species of marble, called in Normandy, Flemish marble, but I had no clear account whence it came. With respect to the general features of difference striking an English eye, on visiting the ecclesiastical buildings in Picardy and Normandy, the most prominent are 1st. The want of clearness of outline ; occasioned by the great breadth of the large churches, from their mostly having two aisles on each side the nave, and the great magnitude and grouping of the flying buttresses. Of this want of outline perhaps the cathedral of Beauvais (though it has very fine portions) is the most conspicuous example ; for having no nave, only choir and transepts, it looks at a distance a heavy lump, and it is only when near enough to distinguish some of its admirable details, that it can be properly appreciated. 2nd. The great interior height of the nave and often of the aisles, in proportion to their breadth ; this feature, though not constant is very general, and is sometimes from one and a half to nearly double the usual English propor- tions of height, as compared to breadth. 3rd. The very general termination of the east end of large chm"ches (and also very many small ones) in a cii'cular or polygonal apsis ; this with the chapels and aisle sur- rounding these apses, tends very much (aided by the lofty and extensive flying buttresses) to give that lumpishness mentioned above. 4tli. Another, though not perhaps so prominent a fea- ture, is the greater height of the windows from the floor. In only one or two at most of the whole number of chm'ches inspected, could the windows be looked into by a person outside. ON THE ARCHITECTURE OF A PART OF FRANCE. xliii All these differences from English appearances are very prominent, and strike the eye at once of the most rapid and inexperienced traveller ; bnt the others which we have yet to emmierate are equally noticeable to the eye accustomed to the examination and comparison of details. Of these minor differences may be stated, 1st. The unfinished or irresrular terminations of towers: sometimes two nearly alike, but with different tops ; some- times one tower despoiled of its ancient cornice, parapet and pinnacles, and a very ugly modern slate roof put on it. I am not sure that I saw more than one or two towers in the whole line which were perfect in these respects, and many wefe terminated in a way which, though not unknown in England, is very uncommon, viz., the tower on two sides has high gables, and is roofed from these with a common house ridge roof. This sort of roof is called a pack-saddle roof. This unsightly mode seems to be often original, but perhaps as often a mutilation. The stone spires, which are numerous, are more fortunate, and in general tolerably preserved. 2nd. The total absence in all my route of a cut battle- ment, either real, when used as a parapet ; or apparent, when used ornamentally. One small piece apparently very recent on a wall in the court of the bishop's palace, at Evreux, was the only por- tion we saw. Plain parapets are common, and perhaps pierced parapets in gooa churches still more so ; but there are still very many village churches with dripping eaves. 3rd. The very great predominance of wheel windows, most of them large and of elaborate tracery. 4th. The smallness of the exterior bases and their very trifling projection is remarkable, as is also the great bold- ness and projection of the few which form exceptions to this rule. All the above are differences constantly occurring xliv APPENDIX. and very apparent ; but there are many more to be stated when we compare edifices of similar dates and characters, as worked at the same time in each conn try. It may be proper in these prehminary remarks to state, that in order to prevent confusion, I call the entrance end of a church the west, and the altar end the cast ; but that in very many instances, churches in my route were found built so much across the compass, that it was sometimes difficult to make out which was east, as the number of cen- tral towers in small churches not cruciform, is considerable. In the city of Caen, this deviation is so great, that some of the churches are in this respect directly opposed to others. As the nature of the stone used in the districts which I have examined, seems to have had considerable influence on the design of many churclies, and particularly on the orna- mental parts, it will be right to notice that from Abbeville to Evreux, and perhaps even further, the larger churches are composed of a white stone which may be scratched by a nail, and works very easily, yet seems of great durability ; as works of great delicacy executed four and five hundred years ago, and even more, are now quite fresh and perfect. This stone seems a sort of indurated chalk, and is of different hardness in different places : it is mixed in build- ings with some of the oolites from Caen and other places, and is singularly adapted for the rich and elaborate tracery, niche-work, foliage, and other embellishments of the later Prench styles. About Caen and Bayeux, that beautiful stone called Caen stone, of Avhich so much was once brought to England, is generally used, and of it or similar stone is much of the early Norman work constructed, some of which is as per- fect as when first cut. In the village churches we find stone of various descrip- tions ; sandstone, limestone, and other stones of the locality ON THE ARCHITECTURE OF A PART OF FRANCE. xlv used, mixed with the Caen and other stones of that descrip- tion which are used for the mouldings and more dehcate portions of the building. At Amiens and some other places a very hard dark stone has been used for plinths and bases. From Bayeux to Coutances a hard stone of very slaty texture is used in small pieces little larger than the pieces of ragstone used in North- amptonshire, at Brixworth and other places. In several village chm'ches and the smaller churches in towns, this slaty stone and other materials are laid in the way called herringbone masonry, but this construction does not seem always to be very ancient. In the whole nmnber of churches visited, (upwards of one hundred,) only nine ancient fonts were seen so as to be drawn ; there might be a few more in churches we could not get into, but judging from what we did find, I apprehend not many. A large number of the fonts, whether ancient or modern, have covers, most of which are poor and plain, and in general carefully locked. As before noticed, nearly all the modern fonts are of marble, mostly of one description called Flemish marble ; they are very commonly oval, and some are divided into two basins by a division of marble. The nine fonts are, 1st. Breteuil between Amiens and Beauvais. This font is of a shape not uncommon in England ; it has a large central bowl with tAvelve small shafts and capitals with plain leaves, and the base so common in Early English work. This font is in very good preservation, and the tool marks visible, but it is painted. 2nd. Subles has a round bowl and shaft, and an Early English base, and much resembles those of similar date in England. 3rd. Yaucelles near Bayeux, and not far from Subles. This font very much resembles the last, but from its mouldings seems a little later. xlvi APPENDIX. 4th. St. George-de-Boclierville, near Rouen. This is a large and very fine Norman chiu'ch, with much of later work in various parts, with which this font harmonizes ; here, as in the two last noticed fonts, there is a plain bowl on an upright foot, but diversified here by having some of the })arts octagonal instead of being all circular, as in the two last. 5th. Jumieges, the parish church near the abbey, not far from Rouen. This font is a curious one, being very different in shape from any of the former examples, and harmonizing with various fonts of the same shape in Lincolnshire and some other counties. It is also cut in the same way with flat fillets and shallow panels, with plain slopes for mouldings, and the panelling varied in the different sides. The font at Haydor in Lincolnshire is much like this. I consider this font clearly of Deco- rated character. 6th. Duclair-on-the-Seine, near Rouen. This church is a curious one of various dates, so that it is not very easy to make out the date of the font by analogy. The hom-- glass shape of this font has few if any resemblances in England. 7th. Carentan, between Coutances and Cherbourg. 1 measm-cd the font carefidly, and have drawn it geometri- cally. This is composed of several pieces, and may possibly be composed of several fragments ; it is circular and looks very much as if the foot had been reversed, and the bowl added at a later date. Anomalies not uncommon in Eng- land, of which a church in York has a font which is a curious instance. 8th. Ifs, near Caen. The shape of this font is not very uncommon in England, and it also by its form assimilates with the hour-glass shape at Duclair, but here the mould- ings are clear, and have an appearance of rather late Deco- rated character. ON THE ARCHITECTURE OF A PART OF FRANCE. xlvii 9th. Haute Allemagne, the next parish to Ifs, and near Caen. The form of this font is still more common in Eng- land than the last, and but that the neck moulding has a Decorated character, it might pass for an English Perpen- dicular font. I think it may be a httle before or perhaps a little after A.D. 1400. I now come to trace as well as I can the progress of architecture in France, at least that part of it now visited. It seems likely that the Romans left some better works in Erance than in England, for there is still remaining that beautiful specimen of Corinthian, called the Maison carre at Nismes. At Lillebonne a Roman theatre has been within a few years discovered and laid open. At Bayeux, the pulling down some old houses has laid open for a short time (for other houses are building) a portion of the Roman wall of the city, within a few feet of which, a fine gold medal of Valentinian was found. At Rouen in the church of St. Germain, which is clearly made out by the Erench antiquaries to be about, if not before, A.D. 350 for the crypt, and the upper part of the east end to be before A.D. 1000. At Beauvais is the remain called the Basse (Euvre, or Low Work, as compared with the very lofty work of the new choir. This is considered the remains of the ancient cathedral, and it stands where the nave of the present cathedral should stand. This building also the Erench antiquaries consider of a date before A.D. 1000. All this succession of building is of the same character ; all have tiers of Roman bricks or tiles, running as bonds hori- zontally and round the arches in nearly all the examples. All have their arches plain semicircles, and all are built with small stones and very large joints. At the Basse xlviii APPENDIX. Q<]uvre, at Beauvais, the lower arches remain, they are per- fectly plain, and have plain square piers. At St. Gervais, Rouen, the crypt has a plain impost at the spring of the arch, much like that which continues with a plain arch, almost as long as the semicircular arch itself remained. The upper part of the east end of this church over the crypt, has regular columns just engaged perhaps three inches in a diameter of near two feet; they are about 10 diameters high, have regular bases and capitals, alternating Corinthian and Ionic; both capitals and bases are much mutilated, but can be made out ; there is now no entab- lature. About the year 1000 there appears to have begun that style which may, I think, justly be called Norman, for under William the Conqueror, and William Rufus, we have both in Trance and England, a series of magnificent works, in a style so much the same, that to an ordinary observer they would appear identical. Shortly after we have the magnificent churches at Caen, St. Nicholas, now cavalry stables, Trinity chm'ch, or the Abbaye aiLx Dames, now the chapel of the hospital, and St. Stephen's chiu-ch, or the Abbaye aux Hommes. There are also many small churches in which Norman portions remain. It should be remembered that in speaking of these build- ings it is only the Norman part which is spoken of, for almost all these churches have only a part Norman. At St. George de Bocherville nearly the whole of the church is Norman, but the chapter-house and other adjuncts are much later. At Jumieges only the nave and a few other small parts are Norman ; the choir of the Abbaye aux Hommes is much later. The character of the capitals is very various in these edifices, but hardly any of them are very materially different from those in England, except that ON THE ARCHITECTURE OF A PART OF FRANCE. xlix a greater resemblance to regular Corinthian capitals is found ; and at times an approach to Ionic. Very large and deep doors are not very common, but at St. George de Bocherville is a fine one ; straight-headed apertures under semicircular arches are about as common as in England, and the zigzag, billet, fret, and other enrichments arc much the same ; windows are some plain, some ornamented, many one light, but some two lights with the usual pillar centre, and the two round heads under one semicircular arch. It is just as difficult to ascertain the exact date of the introduction of the pointed arch in Prance as in England, but when once it was introduced it was mixed with the semicircular one in a more capricious way than in England, for here there is a little consistency in its use when mixed with other shapes, but in Erance its use seems to have been governed by no assignable rule, and frequently a pointed arch occm's at the very bottom of a building, and every thing above is Norman. From these circumstances I cannot but think that the use of the round arch with Norman details was continued there quite as late, if not later, than in England. A claim has been set up by Monsieur de Gerville for a very early date for the cathedral of Coutances, but, having visited and carefully examined this cathecb-al, I cannot consider it entitled to an earlier date than about 1220 or 1230 : and I think that any one acquainted with the architectm^e of England and France will consider it useless for Monsiem* de Gerville to continue a claim which would, if proved, throw all our reasoning from the character of buildings into inextricable confusion. The French antiquaries, and principally Monsiem* de Caumont, in his essay in the transactions of the Anti- quarian Society of Normandy, have divided their styles in a way different from my own division ; but, as a very 1 APPENDIX. careful exaininatioii of the French monuments does not bear out that clear distinction of the different dates which would he required for the adoption in England of all his divisions and their names, and as the principal points are coincident in both countries, (with the general correction 1 shall shortly state,) I think it best to retain, as in England, the word Early, calling that style which began about 1200, and lasted till abont 1300, Early French, to which those who Avish to add Gothic, may add the term if it is any benefit. The next period, from 1300 to 1400, I call Decorated, as in England, but the last period, after 1400, being in its arrangements so pecidiar and so different from our Per- ])endicular style as to require a different and particular appellation, I take the name given it by Monsieur de Caumont, which is peculiarly a])plicable, and very easily understood by any one who will spend a short time at Rouen only in examining the buildings of this style. Mons. de Caumont's name is Flamboyant, alluding to the waving of a flame, and the tracery of the windows of this style (which are the great, but not the only distinguishing feature) gives very forcibly the idea of this waving in its dividing lines. I have been compelled in some degree to anticipate in the foregoing paragraph, in order to give at once the names I propose using ; and here may perhaps be the best place to introduce the general corrective remark alluded to above. In England there are few whole edifices of one style only ; and even where there has been a building carried on upon one plan to completion, we sometimes find that, tluMigh the plan is retained, cither the forms or the mould- uigs of the portions executed at the later periods are more or less ,'idaptcd to the style then prevalent. Of this West- minster abbey and the cloisters at Norwich afford examples. ON THE ARCHITECTURE OF A PART OF FRANCE. li A second source of difficulty in assigning buildings to their proper styles is, that a form common in an earlier style is continued for a long period in some particular buildings, after it has been almost or quite extinct in other buildings ; this is rare in England, but some examples are to be found. In France both these sources of confusion occur to a great extent, and some buildings which have been very long in erecting have both. These anomalies in some districts are more prevalent than in others, and an illustration in point may be taken from the steeples about Caen, and in other parts. Those of Norman date had, in some of the stages, several compartments of panelling, of which the alternate ones, or if four the two middle ones, were pierced for windows ; these were often, if the steeple was lofty, of a long propor- tion ; when the next style came, of com'se, according to the usual character of that style, they were lengthened ; and when the Decorated style was formed, these long windows continued to occur, but they were a little modified by being made veiy small two lights ; yet the same general appearance of these steeples was preserved by this adap- tation for near 400 years ; and so nearly is the outward form alike, that it requires a close approach to discern what the real style is. One other instance of resemblance in the details of very different periods may be found in the spires being cut in tiles or shingles ; this begins very early and continues very late. This illustration will, I trust, explain my meaning ; and I may also remark, that in France there is much more mixture of the features of different styles in the portions of buildings that were erected at the same period than we generally find in England. at IVUr's. Caeu APPENDIX. Although it is evident that the gradation in France, from the Norman style to the Early French, was carried on as in England by imperceptible degrees, yet we are not able to trace it so clearly from the continued tendency to Norman mixtures, which lasted till the style again changed to Decorated. We have therefore in each church, a greater or less mix- ture, and not many pm-e buildings like our Early English in its confirmed state, and before the enlargement of win- dows, which marks our later buildings of that style, and forms the transition to the next ; but of these pure build- ings I found two so very excellent that they deserve especial mention. One is the church of Norrey, near Caen, a cross church, with a lofty steeple and circular apsis, with chapels. The other, the chapel of the Seminary at Bayeaux, which was a monastery, and the buildings are mostly mo- dern, except the chapel, which has lately been cleaned, and some restorations executed not in the best style ; its beau- tiful porch is, however, still in a ruinous state. This chapel is a single plain groined space, with double lancet windows. It is in character and simple beauty more like the eastern portion of the Temple church than any thing I saw. This chapel has a curious eastern termination, which will be noticed when that subject is treated of. Norrey has its choir and north porch of a much richer character than the Seminary chapel, but still in its details, mouldings, and foliage, very pure, and much like English work. These examples, with various small portions, occurring in different buildings, are sufficient to shew that, although not always so worked, yet that the Early French style, when pure, was very much like the Early English. During this transition and that to the next style, many very large build- ings were begun, and the Early English base of piers (the ON THE ARCHITECTURE OF A PART OF FRANCE. lui attic base worked to hold water) is as common in France as in England, if not indeed more so. Dm-ing this time also the piers have varied, though not exactly as in England, yet so much so, as not to require particular enumeration, ex- cept in one case, arising from the general plan of finishing the eastern portion of the French churches ; this, in very nearly every large church and a great many small ones, is with a circular or multangular apsis, and this rendered it convenient to use a pier, very seldom if ever used in Eng- land, that is, a double column engaged in each other, the plan forming a figme of 8, one shaft to the choir and the other to the aisle. This arrangement is continued from very early French to very late work ; and at one cathedral, these shafts have been fluted in modern times. As the cathedral of Amiens is usually contrasted with SaUsbmy cathedral, it will be proper here to notice the por- tal, or grand entrance, which forms so important a portion of most of the western facades, and in many of the transept ends, of the larger Fi'ench churches. They have in most instances the centre door double ; and in far the greater number, the head of the actual doorway is a straight line leaving a large tympanum. The sides are often very deep, far beyond almost any English Norman doors, and are very generally filled with saints of very large dimensions, in niches which are continued up the sides of the arches, and thus, with the tympanum, which is also often carved with statues in niches, or relieved figures in groups, forming a mass of statuary, which at a little distance becomes con- fused ; and the straight lines at the head of the door having above it other straight lines of figures, the whole has a very unsatisfactory appearance, from the arches being abruptly cut by these straight lines. This mode of ornamenting the portals began about 1200, and continued more or less to the latest period ; but not to quite so great an extent in the liv APPENDIX. Flamboyant style, as some of the transept doors of that style are not so overpowered with statuary. It may be well to remark, that the nail-head and toothed ornaments, though found in France, are by no means so abundant as in England ; there is, however, a great simi- larity in the style of carving at the same date in both countries. The enlarged windows, which led on in both countries to the Decorated style, appeared apparently at an early period, as parts of Amiens have real Decorated windows ; but it is not so absolutely clear that they are so early as the walls, for many practical reasons might occur to defer the windows, the tracery at least, till a later pe- riod. However this may be, there seems to have been a rather ab- rupt assumption of win- dows with geometrical tracery, much of which, from the large size of the churches, is very beautiful; and very soon appeared the glory of the French large churches, their magnificent wheels. In this particular we cannot compete with France. I am not certain that we have twenty wheel windows in England, which, for size and tracery, can well be named ; while in most of the cathedrals in France there are one, often two, and some- times three ; and they are of all dates, from Early French to tlie latest Flamboyant, and from their size are often very Window, La ON THE ARCHITECTURE OF A PART OF FRANCE. Iv elaborate ; and many of their large windows have wlieels of very rich character in their heads. The advance of flowing tracery not Flamboyant, does not seem to have taken place in France so completely as in England, the tracery con- tinuing apparently longer of a geometrical character, and then almost at once becoming Flamboyant. There appear to be not many pure Decorated buildings, that is, buildings the style of which is without a tendency either backwards or forwards, but there are many portions ; and one chancel of a small church. Tour en Bessin, near Bayeux, is so beautiful, and so completely harmonizes with om' best English Decorated work, that it deserves especial notice. It is a cross church, the nave Norman, the aisles destroyed, and the arches built up ; with a central tower and transept. The tower and spire seem earlier than the chancel, which has very large windows above a lofty arcade. In this arcade (now very much mutilated, and part con- verted into cupboards and shut up) there have been two rich piscinas and three stalls ; there may have been more stalls, but they are not now visible ; above this arcade a band of quatrefoils ran under a cornice and pierced parapet, with a passage between it and the windows. The chapel is beautifully groined, and has had a south door, the out- side of which remains. All this work is of the purest character, and the mouldings bear a great analogy in cha- racter and combination to some of our best English Deco- rated work. This church renders it necessary again to revert to the finishing of the east ends of large and small churches ; — after 1200 it appears, during the prevalence of the Early French style, to have been not uncommon in smaller churches, to have the east ends flat ; for I found many country churches with three lancets and a flat east end, but of these many were stopt. A few east ends I also saw with Ivi APPENDIX. Decorated windows at the east end, and the end flat. One hirge church in a town (Louviers) between Rouen and Evreux, the date of which is known to be 1218, had originally a flat east end and lancets, but now has a plaster addition to make a sort of circular apsis. As a curious sort of intermediate finish of the east end, the chapel of the Seminary at Bayeux, and this Decorated chancel at Tours, may be cited, and I know not that we have anything like either of them in England. The first is easily described; at the east end one shaft rises in the middle and another behind it, then on each side of this shaft a recess, being three sides of an octagon, is formed ; thus giving a singular and very beautiful groining, to the east end. I suspect this east end had originally two altars. At Tours, another and much more elaborate composition is exhibited. Here we have the east end divided into three arches, the middle one containing a very fine five- light Decorated window, and each side arch having three sides of an octagon outwards ; two of them with two-light windows, and the other with a one-light window, aU with good and varied Decorated tracery. The arcade which is inside the side Avindows, also runs inside of these polygonal portions, and is separately groined from its own shafts, and then the principal space again groined ; the intricacy and beauty of this roof altogether I have seldom seen ex- ceeded. It may be proper here to remark, that the cathedrals of some of the southern parts of France have various por- tions and combinations strikingly recalling their vicinity to Italy, and the modifications thence arising. Before proceeding to the last or Flamboyant style, it is right to notice the continuance nearly through all the styles of that most simple mode of groining which, with us, is ON THE ARCHITECTURE OF A PART OF FRANCE, Ivii cliaractcristie of the Early English style ; and I think it is easily accounted for by the greater height, not only actual, but proportional, in the French edifices, which rendered useless the elaborate groinings of our lower, and lower pro- portioned churches. That the French architects did it from choice, is evident from the occasional use in proper places — small chapels, niches, &c., of very elaborate and beautiful groining ; but I do not recollect seeing any real fan-tracery, though some roofs have pendants. It may be well here to notice two singidarities which run through all the later French styles ; one is, the absence of all battlements, properly so called, whether real as parapets, or ornamental in buttresses, niches, &c., where they are so frequently used in England ; instead of them we have a pro- fusion of pierced parapets of elaborate composition. The other ornamental difference is in the feathering or cuspi- dation of arches in tracery, &c. In England, although the earliest feathering is generally a trefoil, yet the cinquefoil is used in Early English work, and is continued and used in^ differently with the trefoil to the latest tmie. In France, though it cannot be said the cinquefoil is never used, yet the trefoil is so constant that cinquefoiled examples are very rare. In many of the large churches, such as the cathedrals of Amiens and Rouen, and the church of St. Ouen at Rouen, and at a few other places, the triforium is glazed as a win- dow, and being in these instances large and lofty, and filled with stained glass, has a very fine effect. Of the stained glass I may say, that it is astonishing that so much has been saved as is still remaining, and its quality is mostly very good indeed. A careful examination with a good telescope is (from its distance from the eye) essential to a proper appreciation of its value. I have said little of the minor adjuncts — screen-work, wood- work, &c., but I may here mention that the cathedral of Evreux alone, contains a complete mine of beautiful en- h Iviii APPENDIX. ricliments and tracery in wood screen-work, and in iron locks, handles, &c. The beantiful shrine of St. Taurin in that city, is a complete silver-gilt cross chapel, of the best Early Trench character and most admirable execution, and considerable size, being about five feet long, two feet wide, and three feet high, having many fine figm-es appearing in the arches, and beautiful foliage in the crockets, &c. : if executed in stone as a chapel, it woidd make a veiy fine building. Other edifices contain portions of screen- work, &c., of great value, and I beHeve some at least of the uten- sils, crosses, lamps, &c. are of ancient date. I now proceed to the last or Flamboyant style. Like our Perpendicular style, it seems to have come out nearly at once, as we see little transition from Decorated to it ; though the nave of St. Ouen is such in some degree, but perhaps in a greater degree an adaptation of the later style to the character of the choir. Like the Perpendicular style, its piers are often without capitals, the mouldings running into the arches ; like the Perpendicular, it has a variety of bases to its piers, and also a variety of small buttresses to its niches ; and it has also that interpenetration of mouldings, and piers with bases taking one set of mouldings and missing another, which is so common in the English Perpendicular. It has its mouldings flattened and with large hollows, like English later work ; but with these points the agreement nearly ends, and the styles are in other points curiously contrasted. Although the Perpendicular style admits of great richness, we find it often worked very plain, yet retaining all the real character of the style ; while plain Flamboyant seems very uncommon in France. Its essence seems to be elaborate and minute ornament, and this continues till the forms and combinations are sadly debased, and a strange mixture of Italianism jumbled with it. Its combinations in the earlier part of the style, for ON THE ARCHITECTURE OF A PART OF FRANCE. lix richness, elaborate orna- ment, and magnificent de- sign, are admirable ; and no one can visit Rouen, where there are many chm-ches still used and others now desecrated, and contemplate leisurely the beautiful church of St. Maclou, without feel- ing the value of the style, and also the value of that fine stone which seems to have encouraged the Flamboyant architects to vie with each other in elaborate decoration. The portals of Abbe\dlle, Beau- vais, St. Riquier, Evreux, and St. Maclou at Rouen, parts of Caudebec church, and various other churches, are some of the finest specimens of this style. The combination of tra- cery called Flamboyant, is not easy to express in words, and we have very little like it in England. An example or two exhi- bited will be the best explanation. Some of the towers of this style are very fine, but Flamboyant Wicdo-w. Harfieur Windc;w, St. Germajij, Pout iudenctr. Ix APPENDIX. too often mutilated; the spire of one of the western towers of the cathedral of Chartres may also be mentioned as a fine specimen. I might add Harfleur, and some other smaller churches. As in England, during this style a material alteration took place in the arches of doors, windows, &c., and in the same direction, viz. to become flat- ter ; but it is cm'ious it took an entirely diff'erent direction. Wliile the English four-cen- tred arch kept getting flatter and flatter, till it became a mere turn for the small arch, and a straight line for the larger one ; it still preserved a point, and even when flattened so as to rise only a few inches, still preserved its character; of which arch I can find no distinct trace in Erance, though I will not say it does not exist, but its French companion, the flattened arch of the Elamboyant style, which is used as much as our four-centred arch, is a very simple one, consisting of an absolute straight line in the centre, and the angles rounded ofl" with a quarter circle, giving more or less height to the arch as the radius of the quarter circle is greater or sniaUer. In domestic work the aperture often becomes a straight line with a drip, or other ornamental moulding or canopy over it. This style is exhibited in wooden domestic work in many parts of France, gradually adopting more and more Ttalianism till they overpower all traces of Gothic. [n chm'ches it is not so easy to trace the debasement, but parts of some churches at Caen shew it clearly. Porch, HarfleiiT. ON THE ARCHITECTURE OF A PART OF FRANCE. Ixi Of the details of this style I have little more to say ; but I must notice two very disagreeable piers which are not uncommon in this style. One is, a series of eight hollows and eight rounds without fillets ; this pier has a capital to each round, but it looks very poor and meagre from the want of fillets ; it is used at Beauvais and some other places. The other is a plain round pier with no capital, but the mouldings jumping out of the pier side, as if they had been soft, and the pier stuck up into them. I know not that we have any thing like these in England. I have heretofore noticed the very capricious omission and insertion of the drip-moulding in all the French styles, and both inside and out. In England, the nature of the material, or some other apparent reason, occurs for this omission ; but in France I can discover no law or local reason for its use in some instances, and its omission in others. I may also notice that the flat character of the primitive Norman arch faces, with perhaps a large bead for the only moulding, continues to appear to a late date, and in some degree to operate till the two hollows of the Flam- boyant style supersede the flatness. From the very great height of the large churches this character will be little noticed ; but a good telescope (which is especially required to see many things in the French chm'ches) will soon discover the absence of those rich suits of mouldings, so common in the arches of om* large churches. As one more characteristic of the Flamboyant style, may be noticed the use of a small number of very large crockets in the canopies of large portals; the effect pro- duced is very fine, but very difi'erent from any of our Per- pendicular combinations. There are other remarks which might be made on the 1X11 APPENDIX. minutiae of tlie progress of architecture within any assigned hmits, both in England and France, but I hope I have said enough to induce those who may have time and oppor- tunity to study the styles of architecture in different coun- tries, not as contradictions, but as members of the same family with local differences. If this is done with a basis of extensive English know- ledge (for I still think that in England will be found the most clearly marked features of each style in its pimty) then will every succeeding essay, giving details of buildings in any part of Europe, be eminently useful, and lead the way to what is much wanted — a general statement of the progress of architectiu'e in Europe ; and why may this not hereafter enable us to acquire some systematic knowledge of the Mahommedan and Hindoo buildings, to which we are but strangers at present. CHRONOLOGICAL TABLE. For the use of the student a table is subjoined, shewing the duration of the styles of English architecture, and the kings reigning in each period. To render this hst more useful, it is printed in duplicate, that one may be cat out, and serve as a table for the more readily consulting other works. Kings. Date. Style. William I lOGG., William n 10S7 | Henry 1 1100 y Norman. Stephen 1135 I Henry II 1154 to IISqJ Remarks. Prevailed little more tliau 12i years ; no remains really known to be more than a few years older than the Conquest. Richard I.» 11S9 > John 1199 r Early Henry III 1216 ( English. Edward I." 1272 to 1307 ) Edward II 1307 I Decorated Edward 111."=. . 1327 to 1 377 j English. Prevailed about 118 years. Richard II 1377^ Henry IV 1399 Henry V Iil3 Henry VI 1422 Edward IV 1461 J- EDWAJiD V 1483 Richard III 1483 Henry VII 1483 Henry Vm....l509 to 1546 j » [The reign of Richard I. was the chief period of the Transition from the Norman to the Early Knglish style. The change began perhaps a little earlier in a few instances, and continued a little later, some buildings of the time of King John being of Transition cha- racter. •> The Transition from the Early English to the Decorated style took place chiefly in the reign of Edward I. The Eleanor crosses belong rather to the latter than the former style. « In the latter part of the long reign of Edward III. the Transition from the Deco- rated to the Perpendicular style began, and was almost completed by the time of the acces- Perpendicu- LAR English. Continued perhaps 10 or 15 years later. Prevailed . little more than 70 years. '' Prevailed about 169 years. Few, if any, whole build- ings executed in this style later than Henry VIII. This style used in addi- tions and rebuilding, but often much debased, as late Us 1630 or 1640. Bion of Richard II. Some buildings of the Decorated style may be found of his reign, but the works of William of W'ykeham, West- minster Hall, and many other buildmgs of this period, are of very decided Perpendicular cha- racter. Perhaps one of the earliest and best authenticated examples of this Transition shewing a curious mixture of the two style* is Ediiigton church in Wiltshire, founded by bishop William of Edington in 1352, and con- secrated in 1361. The same bishop, who died in 1366, commenced the alteration of Win- chester cathedral into the Perpendicular style, which was continued by William of Wykeham.] INDEX. [The woodcuts are specified by an asterisk, the steel engravings by italics.'^ A. Abbeville, portal, Flamboyant work, App. 59. Acton Burnel, Shropshire, E. E. front, 125, *126; E. E. window, 96; *Trans. E. E. window, 135. Addington, Great, Northants, *D. bat- tlement, 177 ; *D. moulding, 1 70 ; *D. window, 152. Addington, Little, Northants, D. door, 141; *D. pier, 159; *D. window, 142 ; *D. window, 146. Adel, Yorkshire, N. church, 83 ; N. roof, 78. Alban's, St., Abbey, *N. moulding, 70 ; N. ornaments, 72 ; *N. pier, 65 ; N. steeple, 76 ; E. E. porch, 127 ; *D. diaper, 173. — St Michael's, supposed Saxon work at, App. 34 ; Roman wall near, App. 3. Alberbury, Shropshire, *D. window, 153. Albury, Surrey, supposed Saxon work at, App. 34. Amiens Cathedral, grand entrance, App. 53 ; triforium, App. 57. Amport, Hants, *D. window, 146. Ancaster, Lincolnshire, *N. font, 82. Anglesey, Llan Tysilio, *E. E. roof, 122. AsHBY Folville, Leic, *N. font, 82. Athens, aqueduct of Hadrian, *columns, 29 ; arch of Hadrian, *column, 37 ; Erectheum, *column, 29 ; temple of Jupiter Olympius, *coluran, 37 ; tem- ple of Theseus, •columns, 21. AuKBORoi'GH, Lincolnshire, supposed Saxon work at, App. 34. AvNHO, Northants, *D. door, 141 ; *D. window, 152. B. Bampton, Oxon, E. E. spire, 120; *D. door, 139 ; *D. window, 145. Barfreston, Kent, N. church, 83 ; *N. strings, 7 1 ; N. circular window, 60. Barham, Suffolk, supposed Saxon work at, App. 34. Barnack, Northants, *E. E. font, 129; E. E. porch, 127; supposed Saxon tower, App. 5; described, App. 14; •supposed Saxon arch, App. 14. Barrow, Shropshire, supposed Saxon chancel arch, App. 34. Barton Earl's, Northants, supposed Saxon tower, App. 5. • Barton-on-the-Humber, St. Mary, described, App. 12 ; principally Nor- man work, 56 ; E. E. tower and chan- cel, 56 ; D. window, 56. — St. Peter, supposed Saxon tower, 55, App. 5, 11, *12, 13; *Saxon arch, App. 7; later work, App. 13. Barton Segrave, Northants, "D. clere- story window, 151. Barton Stagey, Hants, *E, E. win- dow, 92. Bath Abbey Church, P. arch, 97; P. angel corbels, 215; P. cornice, 209; P. front, 228, 9 ; P. fan-tracery, 226 ; P. roof, 227 ; P. windows, 200. Bayeux, city walls Romanesque, App. 1 ; their masonry described, App. 2, 47.— Cathedral, E. E. parapet, 120 ; *D. window, App. 54. — Seminary chapel, App. 52, 56. i INDEX. Beaulieu, Hants, E. E. staircase, 130; *D. buttress, 161. Beauvais, The Basse OJuvre, Roman- esque, App. 1 ; masonry described, App. 2, 47. — Cathedral, want of out- line in, App. 42 ; Flamboyant pier, App. 61 ; portal. Flamboyant work, App. 59. Becklev, Oxon, *D. moulding, 171. Belton, Line, *N. font, 82. Beverley Minster, *E. E. base, 106; E. E. capital, 104; E. E. door, 90; E. E. front, 124; *E. E. piers, 100, »102; *E. E. staircase, 130; *ea- terior of north transept, 125 ; *E. E. triforium, 98 ; E. E. window, 94 ; *D. arcade, 1.56; *D. capital, 160; *D. crocket, 174; D. windows, 146, *147 ; Percy monuments at, 238 ; P. front, 228 ; P. porch, 230. Beverley, St. Mary's, *arch and screen of choir, 156; *south porch, 230; *D. spire-light, 154; D. windows, 146, •147. Bishop's Cleeve, Gloucester, N. spire, 76, *77. BiSHopsTONE, Sussex, supposed Saxon work at, App. 35. BisHOFSTONE, Wilts, *P. battlement, 222. Bloxham Church, Oxfordshire, *tower and spire, 176; *1\ font, 188. BoARHUNT, Hants, supposed Saxon work at, App. 34. BoLAM, Northumberland, supposed Sax- on tower at, App. 34. Bolton Abbey, *D. window, 153; *P. basement, 210. Bondsey, Yorkshire, supposed Saxon work at, App. 35. Boreham, Essex, supposed Saxon work at, App. 34. BosHAM, Sussex, supposed Saxon tower at, App. 35. Boston, Line, P. tower, 218. BoTOLPH, St., Sussex, supposed Saxon chancel arch, App. 35. Bradenstoke Priory, or Clack Ab- bey, Wilts, *D. roof, 181, 2. Bradfield, Berks, E. E. roof, 122. Brandon, Suffolk, *D. dripstone ter- mination, 161. Bray, Berks, *D. moulding, 170. Breadsall, Derbyshire, *E. E. win- dow, 93. Bredon, Worcestershire, *N. turret, 77. Bremiiill, Wilts, supposed Saxon work at, App. 35. Breteuil, Normandy, font at, App. 45. Bridlington, Yorks., *D. buttress, 161. Brigstock, Northants, supposed Saxon work at, App. 5; described, App. 15, 16 ; *Saxon arch, App. 15. Brinsop, Herefordshire, •N. sculpture, 72, 73. Bristol Cathedral, N. vestibule, 84. — College, N. door, 59. — St. James, *N. circular window, 60. — Schools, E. E. doorway, 98. Britford Ch., Wilts, supposed Saxon work, App. 5; described, and *arch, App. 25, 26. Brixworth, Northants, supposed Saxon work at, App. 5 ; described, App. 16 —18 ; later work, App. 18, 19. Buildwas Abbey, N. arches, 62. BuRCOMBE, North, Wilts, supposed Saxon work at, App. 5 ; *east end, *quoined work, *long and short work, App. 24, 25. Burrow, Leicester, 'E. E. font, 129. BuRWASH, Sussex, supposed Saxon work at, App. 35. Bury St. Edmund's, D. gateway, 185. Byland Abbey, E. E. front, 124. Bywell, St. Andrew, Northumberland, supposed Saxon work at, App. 34. — St. Peter, supposed Saxon work at, App. 34. C. Caburn, Lincolnshire, supposed Saxon work at, App. 34. Caen, Abbaye aux Dames, N. work at, App. 48. — Abbaye aux Hommes, N. INDEX. work at, &c., App. 48. — St. Nicholas, N. work at, App. 48. — Orientation of churches at, App, 44. — St. Peter's, *spire, App. 51. Caernarvon, D. castle, 192. Cambridge, St Bene't, supposed Saxon tower, App. 5; ♦22; *window, App. 22. — St. Giles, supposed Saxon work at, App. 33. — King's college chapel, P. work at, 231 ; P. battlement, 222; P. buttresses, 206 ; P. door, 193 ; P. fronts, 229; P. panelling, 213; P. piers, 204; P. porch, 230; P. fan- tracery, 226. Canterbury Cathedral, •N. arcade, 69 ; N. arches, 83; "N. capital, 75 ; N. ornaments, 72; "N. pillar, 73; N. staircase, 84 ; N. circular window, 60 ; Ethelbert's tower, N. ornaments, 84; •D. diaper, 173 ; *P. bay, 203 ; P. porch, 230; P. tower, 220; double transepts, 48; tombs, 238.— St. Au- gustine's monastery, D. gateway, 185 ; *D. moulding, 171. — St. George, *E. E. font, 129. Carentan, Normandy, font, App. 46. Carlisle Cathedral, D. front, 182, 3 ; D. windows, 142, 146 ; D. east win- dow, 183. Castle Acre, Norfolk, N. arcade, 70 ; N. front, 80; N. ornaments, 84. Castlr Rising, Noifolk, *N. win- dow, 61. Castor, Northants, N. arcade, 70. C AUDEBEC, Flamboyant work at, App. 59. Caversfield, Bucks, supposed Saxon tewer, App. 33. Cerne-Abbas, Dorset, •P. niche, 212. Chaddesden, Derbyshire, "D. window, 144. Chaddesley Corbet, Worcestershire, «N. font, 82. Chartham, Kent, *D. window, 143. Chartres Cathedral, Flamboyant spire at, App. 60. Cheltenham, St. Mary's, *D. circular window, 150. Chester Cathedral, E. E. arches,156 ; E. E. chapter-house, 132 ; E. E. piers, 100 ; E. E. roof, 121 ; E. E. triforium, 98 ; D. arches, 156 ; D. roof, 179 ; P. front, 228, 9 ; refectory, E. E. staircase, 130; St. John's, P. bands, 210. Chichester Cathedral, N. orna- ments, 72 ; E. E. buttress, 108 ; E. E. diaper, 115; E. E. door, 89; E. E. steeple, 118; E. E. window, 94; D. circular window, 150. Cholsey, Berks, supposed Saxon tower, App. 33. Christ Church, Hants, N. buttress, 66; *N. turrets, 77; E. E. door, 86. Cirencester, St. John's, *E. E. pier, 101. Clack Abbey, or Bradenstoke Priory, Wilts, *D. roof, 181, 2. Clapham, Beds, supposed Saxon tower, 56, App. 5, "21 ; N. window, 56. Claydon, Suffolk, supposed Saxon work at, App. 34. Clee, Lincolnshire, supposed Saxon tower, App. 34. Clee, Shropshire, supposed Saxon work at, App. 34. Colchester Castle, *N. moulding, 71. — Trinity church, supposed Saxon work at, App. 5, 23, 34. CoMPTON, Long, Warwickshire, "D. pier, 158. Conisburgh, Yorks., N. castle, 85. Corbridge, Northumberland, supposed Saxon work at, App. 34. Corhampton, Hants, supposed Saxon work at, App. 34 ; *Church, App. 37 ; ♦impost and base, App. 37 ; *door, App. 37. Cotterstock, Northants, 'D. font, 188. CouTANCES Cathedral, supposed date, App. 49. Coventry, St. Mary's Hall, P. roof, 225. —St. Michael, P. stalls, 211; P. steeple, 218. Cowley, Oxfordshire, E. E. window, 94. Cranbourne, Somerset, supposed Saxon doorway, App. 34. Cranford St. Andrew, Northants, *D. clerestory window, 151. INDEX. Cromer, Norfolk, *P. battlement, 221; •P. tower-light, 220. Cross, St., Hants, N. base, 74, *75 ; N. front, 81 ; * east front, 57 ; *E. E, door, 87, f)0. ]\ Daglingworth, Gloucestershire, sup- posed Saxon work at, App. 34. Debenham, Suffolk, *D. foliage, 175. Deerhurst, Gloucestershire, Saxon tower at, App. 34 ; masonry described, App. 35, 36 ; *section of tower, App. 35 ; *doorways, App. 36 ; *windows in tower, App. 36. Derby, All Saints, P. tower, 218. Dereham, East, Norfolk, *P. font, 233. Delos, Temple of Apollo, *columns, 21. Denford, Northants, *E. E. stalls, 113. Doncaster, St. George, P. front, 229 ; P. tower, 218. Dorchester, Oxon, *D. battlement, 177; *D. capital, 160 ; *D. mould- ings, 170, *171 ; *D. sedilia, 167 ; *D. strings, 164; D. vaulting shaft and piers, *157, *159; *D. window, 144; •D. window, 148 ; * Jesse window, 149. Dover, ruined church in castle, sup- posed Saxon work at, App. 34. — Mai- son Dieu, *D. window, 153. Duclaire-on-the-Seine, Normandy, church and font, App. 46. Dunham Magna, Norfolk, supposed Saxon work at, App. 34 ; masonry described, 40 ; *tower, 40 ; *arch, 40. Durham Cathedral, *N. abacus, &c., 71; *N. capital, 75; N. door, 58; *N. dripstone, 71; N. interior, 83; N. pillar, 73; N. window, &c., 60; E. E. window, 94 ; Lady-chapel, 49. — Castle, •N. capital, 74. E. Earl's Barton, Northants, supposed Saxon tower described, App. 19, 20; •window in tower, App. 19; *tower, App. 20; description of church, App. 20. Edington, Wilts, A.D. 1352— 61, Trans. D. App. 63. Eleanor Crosses, 54, App. 63. Eling, Hants, *D. window, 147. Eltham Palace, D. rcof, 181. Ely Cathedral, N. arcade, 70 ; N. door, 58; E. E. front, 131; E. E. porch, 128; Trans. E. E. 133; D. work at, 189; ♦D. arch, 155; D. foliage, 175; D. shaft, 157; Lady- chapel, 49. Ensham, Oxon, *E. E. buttress, 107. EvREUX, bishop's palace, parapet at, App. 43 — Cathedral, wood and iron work, App. 58 ; portal. Flamboyant, App. 59; St. Taurin's shrine, App. 58. Evesham, St. Lawrerice, *ruimd chapel at, 200. EwERBY, Lincolnshire, *D. base, 164. Exeter Cathedral, D. work at, 189 ; *D. crocket, 174; D. door, 137; D. roof, 179; D. shaft and piers, *157, *158; D. circular window, 150. Faringdon, Berks, *E. E. door, 87. Felstead, Essex, supposed Saxon work at, App. 34. Fekington St. John's, Norfolk, *D. circular window, 150. Finedon, Northants, *south view, 185 ; *D. capital, 160 ; *D. moulding, 170 ; *D. piers, 159. Fhxton, Suffolk, supposed Saxon work at, App. 34. Fountain's Abbey, "N. buttress, 67 ; E. E. staircase, 130. G. Gateshead, Durham, E. E. front, 126. Geddington, Northants, Eleanor cross, 132; *D. diaper from Eleanor cross, 172. Germain's, St., Cornwall, *N. gable cross, 72. INDEX. Germain, St., Pont Audemer, •Flam- boyant window, App. 59. George's, St., de Bocherville, Nor- mandy, N. church and font, App. 46, 48 ; door at, App. 49. Glastonbury Abbey, arches in crypt, 98 ; N. spire, 7(). Gloucester Cathedral, N. interior, 83; «N. pier, 64; P. buttress, 206; P. front, 228, 9 ; P. porch, 230 ; choir, P. roof, 225; cloisters, P. fan-tracery, 226 ; P. tower, 218 ; P. window, 201 ; choir, P. work at, 231 ; tombs, 237, 8. Gosbeck, Suffolk, supposed Saxon work at, App. 34. Grafton Underwood, Northants, *D. sedilia, 167. Grantham, Lincolnshire, D. steeple, 176. Green's Norton, Northants, supposed Saxon work at, App. 34. Gresford, Flintshire, P. cornice, 209 ; P. tower, 218. GuisBORouGH, Yorkshire, *D. pier, 158; *D, triforium, 156. Guildford, N. castle, 85. a. Hales Owen, Shropshire, E.E. roof, 122. Harfleur, Flamboyant tower, App. 60 ; *Flamb. porch, App. 60 ; *Flamb. window, App. 59. Hargrave, Northants, E. E. window, 95, 96. Haute Allemagne, Normandy, font, c. 1400, App. 47. Haughton le Dale, Norfolk, *west front, frontispiece ; D. front, 184. Haydon, Lincolnshire, D. font, App. 46. Headbourne Worthy, Hants, sup- posed Saxon work at, App. 34. Headon, Yorkshire, E. E. front, 125. Heapham, Lincolnshire, supposed Saxon work at, App. 34. Hedingham, Essex, N. castle, 85. Hemingstone, Suffolk, supposed Saxon work at, App. 34. Hereford Cathedral, N. arches, 83 ; E. E. front, 125. — Bishop's palace, N. roof, 78. Hexham, Northumberland, supposed Saxon crypt at, App. 34 ; *E. E. font, 129. Higham Ferrers, Northants, *west door- way, 90 ; E. E. door, 90 ; »E. E. moulding. 111; *E. E. diaper, 115; E. E. porch, 127. Holton-le-Clay, Lincolnsliire, sup- posed Saxon work at, App. 34. Horsemonden, Kent, D. porch, 185, *187. Howden, Yorkshire, D. buttress, 162; D. front, 182, 3; *west front, 183; *entrance to the chapter -house, 196. Hull, Trinity church, D. work at, 189; *interior of chancel, 189 ; D. front, 183 ; P. front, 229. Huve, Norfolk, supposed Saxon work at, App. 34. Huyton, Lancashire, good carved wood- work, A.D. 1663, 211. I. Iffley, Oxon, N. arcade, 70 ; "N. base, 75 ; *N. beak-head ornament, 70 ; *N. buttresses, 61 ; *N. corbel-tables, 66 ; •N. doors, 57, 58 ; *N. impost, &c., 59; *N. turret, 77; *N. window, 61 ; N. circular window, 60. Ifs, Normandy, late D. font, App. 46. Ilketshall, Suffolk, supposed Saxon work at, App. 34. Ilissus, temple on, *column, 29. Ingham, Norfolk, Trans. D. church, 192. Irchester, Northants, *D. cornice, 163; *D. spire-light, 154. Irthlingborough, Northants, Trans. E. E. window, 134, * 135 ; *D. window, 147; *D. window, 152. Jarrow, Durham, supposed Saxon work at, App. 33. INDEX. JuMiEGES, Normandy, nave, &c., App. 48 ; D. font, App. 46. K. Kelso, N. porch, 81. Kenton, Devon, *P. buttress, 206 ; *P. capital, 217; *P. cornice, 209; *P. door, 195. Kelton, Rutland, *west front, 85 ; church. Trans. N. 85. KiDLiNGTON, Oxen, *D. crocket, 174; *P. window, 199. KiLMESTON, Hants, supposed Saxon work at, App. 34. Kingsbury, Middlesex, supposed Saxon work at, App. 34. King's Sutton, Northants, •Trans. D. door, 191, 2; Trans. D. tower and spire, 192. Kingsthorpe, Northants, *D. mould- ing, 171 ; * tower and spire, 220. KiRKDALE, Yorkshire, supposed Saxon work at, App. 4, 10, 35. Kirk Hamerton, Yorkshire, supposed Saxon work at, App. 35. KiRKSTALL Abbey, N. arches, 62, *63. KisLiNGBURY, Nortliants, *D. doors, 137. L. Lambeth Palace, P. roof, 225. Lancaster Castle, D. gateway, 192 ; D. wood carving, 168. Laughton-en-le-Morthen, Yorks., supposed Saxon, App. 5 ; *Saxon doorway, App. 10 ; supposed Saxon and later work described, App. 10, 11. Lavendon, Bucks, supposed Saxon tower, App. 33. Lavenham, Suffolk, "P. crocket, 216. Leicester, Jews' wall at, Roman work, App. 3. Leigh, Worcestershire. "N. niche, 68. Leominster, Herefordshire, "D. win- dow, 144. Lichfield Cathedral, E. E. chapter- house, 131 ; E. E. door, 90; E. E. nave, 133; E. E. roof, 121; E. E. steeple, 119; D. arches, 155; D. fronts, 183, *4 ; D. windows, 133. Lillebonne, theatre at, Romanesque, App. 1 ; its masonry described, App. 2 ; Roman theatre at, App. 47. Lincoln Cathedral, N. door, 58; N. front, 80 ; E. E. arches, 98 ; *E. E. base, 106; *E. E. boss, 121 ; E. E. capitals, *104, *105 ; E. E. chapter- house, 131 ; *E. E. diaper, 115 ; E. E. door, 89, •90; E. E. and N. front, 125 ; E.E. front, 131; •E. E. parapet, 120; E. E. piers, 100, *101, *102 ; E. E. porch, 127; E. E. window, 94; E. E. tower, 119 ; Lady-chapel, Trans. E. E. 133; D. work at, 189; *D. diaper, 173 ; choir, D. door, 140 ; D. front, 182; D. window, 92; D. win- dows, 142 ; D. circular window, 150 ; *P. door, 196. Lincoln, St. Benet's, supposed Saxon tower at, App. 34. — North-gate at, supposed Roman work, App. 3. Lincolnshire, P. windows, 197. Lindisfarne Priory, *N. arch, 63 ; N. front, 80 ; N. roof, 79. London, Crosby Hall, P. roof, 224 ; St. Dunstan in the East, 6 ; St. Mary Aldermary, 6 ; St. Paul's, Covent Garden, church, 18 ; Old St. Paul's, D. circular window, 150; Temple church. Trans. N. 85 ; N. arches, 62 ; Whitehall banqueting-house, 6 ; White Tower, N. roof, 79. LoNGLEAT, Wilts, manor-house, 6. Loughborough, Leicester, P. battle- ment, 221. Louth, Line, P. front, 229. LouviERS, Normandy, date of church, App. 56. Luton, Beds, baptistery, D. 48, 188. M. Mackworth, Derbyshire, *D. door, 139. INDEX. Malmsbury Abbey, *N. arch, 63; N. dripstones, 68; 'N. moulding, 69' *N. moulding, 71 ; "N. panel, 72; N. porcli, 81 ; *N. window, 61. Maltby, Yorkshire, supposed Saxon work at, App. 35. Malvern, D. roof, 182. Manchester, collegiate church, P. tower, 206. Maplestead, Great, Essex, supposed Saxon work at, App. 34. Melrose Abbey, D. battlement, 178; D. ruins at, 189 ; Trans. D. window, 154. Meopham, Kent, •D. window, 144, Merrow, Surrey, D. porch, 185, *186. Milbourne, Port, Somerset, supposed Saxon doorway, App. 34. IMiLTON, Great, Oxford, *E. E. door, 87; *E.E. moulding, 110, *111 ; *D. buttress, 162 ; *D. clerestory windows, 151. MiMMS, North, Herts, *D. door, 138. Mjnster Lovell, Oxon, *P. window, 199. Miserden, Gloucestershire, supposed Saxon work at, App. 34. Mold, Flintshire, P. cornice, 209. Monk's Wearmouth, Durham, sup- posed Saxon tower, App. 33. Moreton, North, Berks, *D. piscina, 166. Moreton, South, Berks, *P. buttress, 206; E. E. roof, 122. Morton, Line, *E. E. cross, 118. N. Netley Abbey, *E. E. pier, 102; *E. E. vaulting shaft, 103. Nettleton, Lincolnshire, supposed Saxon work at, App. 34. Newark, Line, P. steeple, 176 ; D. windows, 146. Newcastle-upon-Tyne, St. Nicholas, P. steeple, 218. Newton, Norfolk, supposed Saxon tower at, App. 34. NiSMEs Maison CARRE, Corinthian architecture, App. 47. NoRREY Church, near Caen, App. 52. Northampton, St. Peter's, N. arcade, 70 ; *N. buttress, 67 ; *N. pier, 65 ; N. steeple, 76; *D. font, 188. *Northarnpton, Queen's Cross, 132 ; Elea- nor cross, 132; *D. cornice, 163. Northleigh, Oxfordshire, supposed Saxon work, App. 34; •tower, App. 38. Northmoor, Oxon, *D. windows, 145. Norwich Cathedral, N. apse, 81 ; N. arcade, 70 ; N. interior, 83 ; N. tri- forium, 83; N. tower, 76; cloisters, *D. boss, 178 ; *D. capital, 160 ; D. door, 137, *139; D. door, 140; St. Ethelbert's gateway, D. 185; St. Ethelred's, *N. moulding, 71 ; St. Margaret's, baptistery, 48; St. Michael Coslaney, *P. flint and stone panel- ling, 214, St. Peter Mancroft, P. font and baptistery, 233. *Norwich, St. Peter Mancroft, roof, *225. Notley Abbey, Bucks, *E. E. corbel- table, 116. Nottinghamshire, P. windows, 197. Nun Monkton, Yorkshire, E. E. front, 125. O. Oakham, Rutland, N. roof, 78. OcKENDEN, South, Essex, N. door, 58. Othery, Somerset, *N. gable-cross, 72. OuNDLE,Northants, *E. E. window, 93 ; *P. string, 210. Over, Cambridgeshire, *D. buttress, 162; D. porch, 185, •186; •D. win- dow, 149. Ovingham, Northumberland, supposed Saxon work, App. 34. Oxford Cathedral, N. arches, 83 ; •N. piers, *63, *64 ; arches of Lady- chapel, 98 ; E. E. chapter-house, 132; E. E. spire, 120 ; *P. roof, &c., 226, — Christ Church hall, •P. boss and fan-tracery, 225; staircase, •P. door, INDEX. 195 ; P. roof, 224 ; *?. spaiuliel, 193. — ^Divinity School, hileriur of, •227 ; P. pendants, 226.— St. John's College, P. door,*194-, 196.— Magdalene Coll., P. tower, 218 St. Mary Magdalene Church, D. battlement, 177 ; P. niche, 2\2.—* Merton College Chapel, north side, •161; »P. corbels, 216; *D. cornice, 163 ; tower, *P. battlement, 221. — St. Michael's, supposed Saxon tower, App. 5, *23. — Schools tower, 6 ; Late P. pinnacles, 216. Pambek, Hants, E. E. roof, 122. Paris, St. Martin des Pres, E. E. stair- case, 1 30. Paunton, Lincolnshire, P. tower, 218. Peterborough Cathedral, N. apse, 81 ; N. front, 81 ; N. nave, 83 ; N. roof, 78; E. E. front, 125, 131; *E. E. niche, 112; *E. E. window, 95 ; P. buttresses, 207 ; *E. E. pin- nacle, 119; *D. piscina, 165; P. fan- tracery at east end, 226. PiDDiNGTON, Oxon, •D. niche, 165 ; •D. window, 145. Plymstock, Devon, *P. pier, 205. * Polehrook Church, Northants, tower and spire, •119 ; •£. E. piscina, 113; •E. E. window, 91 ; E. E. window, 94; *D. roof, 180. Ponton, Little, Lincolnshire, *E. E. cross, 118. PoRc HESTER, Hants, *N. front, 80. R. Raunds, Northants, "Trans. E. E. cusp, 134; E.E. front, 125; *E. E. mould- ing, 111; "E. E. panel, 116; E. E. spire, 120; E. E. window, 92; *west window, 92 ; *E. E. window, 135 ; "D. moulding, 171 ; *D. roof, 180, 182. Repton, Derbyshire, supposed Saxon work at, App. 5; described, App. 13, 14. RitvAULX Abbey, E. E. staircase, 130. RiCHBORouGH Castle, Kent, Roman work at, App. 3. RiNfiSTEAD, Northants, *E. E. window, 94. RiPON Minster, supposed Saxon crypt at, App. 35. Riquier, St., portal, Flamboyant, App. 59. Rochester, N. castle, 85. — Cathedral, N. door, 58 ; N. front, 80 ; N. nave, 83 ; N. roof, 78, *79 ; E. E. roof, 122. Rome, arch of Septimus Severus, •column, 37.— St. Paul's, 4, 38. — Temple of Fortuna Virilis, * column, 29. — Theatre of Marcellus, •column, 21. RoMSEY Abbey, N. base, 74 ; *N. moulding, 71; *E. E. capital, 105; E. E. foliage, 116, *117; *E. E. window, 93. RoPSLEY, Lincolnshire, supposed Saxon work at, App. 5, 34 ; masonry, sup- posed Saxon, App. 13. Rothwell, Lincolnshire, supposed Saxon work at, App. 34. Rouen Cathedral, triforium, App. 57. — St. Germain's, Romanesque, App. 1 ; its masonry described, App. 2 ; sup- posed dates of, App. 47 ; crypt and church described, App. 48. — St. Mac- lou, Flamboyant work at, App. 59. — St. Ouen, triforium, App. 57. Runcorn, Cheshire, E. E. pier, 100. RusHDEN, Northants, D. porch, 185, *187; *arch and screen, *210 ; *P. cornice, 209 ; *P. pier, 205 ; "P. roof, 224; •P. window, 199. Salisbury Cathedral, entire E. E. 131 ; chapter-house, 54 ; arches, 98 ; buttress, 107, 108; door, 90; front, 124, 5; *moulding, 110; parapet, 120; piers, 100; porch, 127; roof, 121; steeple, 118; windows, 91, 92, 94 ; D. spire, 175. Sandford, Oxon, •Trans. D. window, 190. INDEX. StARTHo, Luieolusluie, suiiposeJ Saxon work at, App. 3-t. SiXBY, Yoiks., *E. E. base, 10(3 ; •£. E. diaper, 115 ; *E. E. piev, 101 ; *D. arches, 155. Sherborne Abbey, Dorset, N. porch, 81. Shiplake, Oxon, *D. font, 188. Shobdon, Herefordshire, *N. pillar, 73. SiioREHAM, New, Sussex, *N. drip- stone, 68 ; *N. mouldings, 71 ; E. E. front, 126. SiioREHAM, Old, Sussex, E. E. roof, 122. Shrewsbury, St. Mary's Abbey, E. E. staircase, 130. Silk Willoughby, Lincolnshire, D. pier, 159. Skellingthorpe, Lincolnshire, sup- posed Saxon work at, App. 34. Skelton, Yorkshire, E. E. porch, 127. Skillington, Lincolnshire, supposed Saxon work at, App. 3i. Solihull, Warwickshire, *P. crocket, 216. Somerford Kevnes, Wilts, supposed Saxon work at, App. 35. SoMPTiNG, Sussex, supposed Saxon tower, App. 5 ; described, 26, 29 ; *masonry, 26; *tower-arcli, 27; *im- post, 27 ; *detailsof tower, 28; •string, 29 ; *tower, 29 ; later work at, 29. SouLDERN, Oxon, *D. cornice, 163. * Southwell Minster, Notts, north porch, 8\ ; N. pinnacles, 76 ; N. porch, 81 ; N. triforium, 83. Spalatro, Palace of Dioclesian, bracket, *l, 38. Springthorpe, Lincolnsliire, supposed Saxon work at, App. 34. *Stamford, St. Mary, spire and details, *120. Stamford, St. Leonard's Hospital, Trans. N. 85. Stanton Lacy, Shropshire, 'general view, App. 38 ; supposed Saxon work at, App. 34. Stanwick, Northants, arches, 98 ; *E. E. base, 89; *E. E. capital, 104; *E.E. corbel-table, 109; *E. E.sedile, 112; *E. E. window, 93. Stewklfy, Bucks, N. church, 83. Stoddesdon Church, Shropsliirc, sup- posed Saxon work at, App. 34. Stoke D'Abernon, Surrey, supposed Saxon work at, App. 5 ; chancel- arch, &c., App. 23. Stoke-in-Teignhead, Devon, *P. capi- tal, 217. Stourbridge, Cambridgeshire, *N. ca- pital, 75. Stow, Lincolnshire, supposed Saxon work at, App. 34. Stowe nine Churches, Northants, sup- posed Saxon work at, App. 34. Stratford on-Avon, *1). circular win- dow, 1 JO. Stretton Church, Shropshire, sup- posed Saxon work at, App. 34. Strixton, Northants, *E. E. front, 124, 5 ; *E. E. window, 95. SuBLES, Normandy, font at, App. 45. Swallow, Lincolnsliire, supposed Saxon v;ork at, App. 34. SiVANScoMBE, Kent, supposed Saxon tower at, App. 34. Swatox, Lincolnshire, *E. E. dripstone termination, 109. Syston, Lincolnshire, supposed Saxon tower at, App. 34. T. Tackley, Oxon, *V. dripstone, 210. Tattershall, Lincolnshire, P. castel- lated remains at, 231. ♦Taunton, St. Mary, P. tower, 218,219. * Thornton Abbey, Lincolnshire, ivest side of gateway, * 1 65; *east side of gateway, •192; D. gateway, 185; Trans. D. windows, *190, *191. Tewkesbury Church, N. front, 80; N. tower, 76. TicHBORNE, Hants, supposed Saxon work at, App. 34. Tichencote, Rutland, N. church, 83. Tintagel, Cornwall, supposed Saxon work at, App. 33. INDEX. TivOLi, temple of Vesta, capital, 31-, 41 ; •column, 37. TixovER, Rutland, E. E. winc'ow, di. ToTNESS, Devon, *P. pier, 205. Tour en Bessin, near Bayeux, church described, App. .'55, 56. Trunch, Norfolk, baptistery, 48 ; P. font and baptistery, 233; *P. roof, 223. TwYFORD, Leicester, *E. E. font, 129. Tynemouth Priory, E. E. front, 124. U. Uffington, Berks, *E. E. door, 87; E. E. sedilia, 112. Upleaden, Gloucestershire, supposed Saxon chancel-arch at, App. 34. Upmarden, Sussex, *E. E. roof, 122. V. Valle Crucis Abbey, E. E. front, 124. Vaucelles, Normandy, font, App. 45. W. Waith, Lincolnshire, supposed Saxon work at, App. S K Wakefield, York, E. E. steeple, 119. Walsingham Pr:ouy, Norfolk, E. E. staircase, 130; D. buttress, 162; *P. font, 232. * IValtham Abbey, compartment of nave, *63 ; N. pillar, 73 ; N. triforium, 83 ; Eleanor cross, 132; P. battlement, 222. Warkton, Northants, *P. door, 194. Warminqton, Northants, 'E. E. roof, 123. Warwick, St. Mary. P. front, 229 ; P. roofs in chapels, 227 ; Beauchamp chapel, P. battlement, 221 ; P. but- tresses, 207 ; P. front, 229 ; tomb, 238 ; P. windows, 198, 200. * Wells Cathedral, ground plan, *i7 ; double transepts, 48. Wellow, Somerset, •E. E. font, 129. Weniiam, Little, Hall, Suffolk, Flemish shaped bricks at, App. 32. We.stminster Abbey, E. E. arches, 98, *99 ; «E. E. buttress, 108 ; *E. E. capital, 104; *E. E. diaper, 11-5; E. E. foliage, 116, *117 ; E. E. front, 125; E. E. piers, *100, *I01, *102; «E. E. triforium, 97; E. E. windows. 92, 94, *96 ; choir, 49; cloisters, *Trans. E. E. 133; •D. diaper, 173 ; D. tracery, 142 ; P. arch, 97; *P. door, 196; P. tracery, 201 ; tomb of Edward the Confessor, 238 ; tomb of Henry III., 238 ; tomb of Aymer de Valence, 238. — Henry VII. 's chapel, P. work at, 231; P. buttresses, 206, •208; P. cornice, 209 ; P. angel cornice, 215, •216 ; P. niches, 202, 212; P. panel- ling, 213; P. piers, 204; P. roof to porch, 227; P. fan-tracery, &c., 226 ; •Tudor flower, 215 ; *P. window, 198, 200.— Hall, P. buttress, 208 ; P. roof, 223; P. spandrel, 193; Ai)p. 63 Palace, *N. arch, 63. Whitby Abbey, Yorkshire, E. E. front, 124; *E. E. buttress, 107; *E. E. vaulting- shaft, 103. Whittering, Northants, supposed Sax- on work at, App. 5 ; described, App. 15. Whittingiiam Church, Northumber- land, supposed Saxon tower, App. 4, •9 ; masonry &c. described, App. 9. WicKH.wi, Berks, supposed Saxon work at, App. 33. WiLLiNGHAM, Cambridgeshire, *D. vestry, 179. Winciielsea Church, Sussex, tomb, 238. Winchester Cathedral, N. capital, 74, '75; N. front, 81 ; *N. pier, 65; N. roof, 78; N. tower, 76; *E. E. door, 88 ; E. E. triforium, 98 ; •D. crockets, 174; •D. foliage, 175; P. portion of commenced, App. 63 ; •P. bay, 203 ; •?. buttresses, 207 ; P. chapels, 213 ; P. front, 228, 9 ; tombs, .- 238.— St. John, *D. screen, 168. INDEX. Windsor Castle, P. castellated re- mains at, 231. — St. George's Chapel, P. work at, 231,41 ; *P. battlement, 222 ; P. buttress, 207 ; P. chapels, 213 J P. cornice, 209; P. angel cor- nice, 215; P. door, 193; P. front, 228, 9; P. niches, 212; P. panell- ing, 202, 213; P. piers, 201; P. roof of nave and choir, 226 ; P. fan-tracery in aisles, 226 ; tomb-house, P. battle- ment, 221 ; P. window, 201. Wing, Bucks, supposed Saxon work at, App. 33. WiNTERTON, Lincolnshire, supposed Saxon work at, App. 34. Witney, Oxon, E. E. spire, 120. Woodford, Northants, *E. E. arches, 99; *E. E. moulding, 111; E. E. porch, 127, *]28. WooDSTONE, Hunts, supposed Saxon tower, (now destroyed,) App. 34. WooTEN Wawen, Warwickshire, sup- posed Saxon work at, App. 35. WooTTON, Gloucestershire, *N. capital, 74. Worcester Cathedral, N. door, 58; P. tomb, 237. Worstead, Norfolk, Trans. D. church, 192; *Gallery and font, *232. Worth, Sussex, supposed Saxon work at, App, 5, 35 ; long and short work at, App. 26. Wrexham, Denbighshire, P. tower, 218. * IVymondham, Norfolk, roof, *223 Wyke Piddle, Worcestershire, sup- posed Saxon work at, App. 35. Yafton, Sussex, supposed Saxon work at, App. 35. Yelvertoft, Northants, *P. panelling, 213. York Cathedral, E. E. arches, 97, 98; •£. E. arches, 99; E. E. bosses, 116; E. E. capital, 104, *105 : E. E. cornice, 109 ; *E. E. crockets, 118 ; E. E. door, 89, 90; *E. E. fo- liage, 89, *116; E. E. front, 124; E. E. interior, 131 ; *E. E. orna- ments, 114; E. E. piers, 100; E. E. window, 94, *95 ; D. work at, 189; D. arch, 155; D. battlement, 177; D. buttress, 161, 2; *D. capitals, 160; D, doors, 137, 183; D. foliage, 175; D. front, 183; D. pier, 157; nave, D. roof, 179 ; D. west towers, 177; D. windows, 142, *143, 146; D. west window, 183 ; Trans. D. win- dows, 154, 190; P. east front, 229; P. tower, 220 ; *P. window, 198 ; *P. east window, 200 ; chapter-house, D. roof, 179; choir. Transition, D. 192; choir, P. work at, 231; tombs, 238; P. lanterns, 21 8.— Christ Church, *D. door, 140. — St. Margaret, N. door, 58 St. Mary, Bishophill Junior, sup- posed Saxon work at, App. 35 ; ma- sonry described, App. 39; *tower, App. 39; * windows in tower, App. 39. — St. Michael, Spurrier-gate, *P. battlement, 222.— Trinity Priory, 'E. E. moulding, 110. Yorkshire, P. windows, 197. OXIORD : rRiNTFn r.Y i. siirimpton. r GETTY CENTER LIBRARY 3 3125 00951 1698 i