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SPECIMENS
(Bot\)it artJ)itetture;
SELECTED FEOSI VABIOUS
ANCIENT EDIFICES IN ENGLAND;
CONSISTING OP
PLANS, ELEVATIONS, SECTIONS, AND PARTS AT LARGE;
CALCULATED TO EXEMPLIPT
THE VARIOUS STYLES,
THE PRACTICAL CONSTRUCTION
ADMIRED CLASS OF ARCHITECTURE;
ACCOMPANIED DY
VOL. L
By AUGUSTUS PUGIN.
THE LITERARY PART BY E. J. WILLSON.
iSDiniurgt)
JOHN G R A N 1^
31 GEORGE IV. BRIDGE
1895
Digitized by the Internet Archive
in 2012 with funding from
University of North Carolina at Chapel Hill
http://archive.org/details/specimensofgothi1pugi
TO
JOHN NASH, Esq.
ARCHITECT TO THE OFFICE OF WORKS,
PRIVATE ARCHITECT TO THE KING, &c. &c. &c.
Sir,
Soon after my arrival in this country, I was very fortunately
introduced to you, and prosecuted my architectural studies in your
office, with much gratification and advantage to myself. It is,
therefore, with no small degree of pleasure that I inscribe to you
the present volume of Specimens, which none, better than yourself,
know how to appropriate and to appreciate. Indeed, from your
friendly and judicious counsel I have already profited much; and
I trust that the present Work, as well as any other I may here-
after be induced to undertake, may merit the approbation of so
distinguished a judge.
I remain.
With great respect and gratitude,
Your obedient Servant,
A. PUGIN.
/
PREFACE.
In submitting this work to the attention of his readers, the Editor is desirous of
propitiating their good opinion by a candid explanation of his intentions and views in
projecting the Work, and in the execution of its different parts. Intimately connected
as he has been for many years with architects, amateurs, and publishers, he has often
had occasion to lament the want of a series of Plates, representing the geometrical
proportions, plans, and construction of genuine examples of the Architecture of the
middle ages. The drawings for all the Plates in the ensuing series have been made
with care, and with attention to iJradical execution. It is hoped and believed that every
form and member here represented can easily be executed, either on a scale equal to the
original, and for similar purposes, or reduced to any other scale.
In designing or adapting Gothic Architecture for modern edifices, it is of primary
importance to calculate on the size, proportion, object, and situation of an intended build-
ing ; and to select a class or style applicable to those points. The next requisite is to
preserve harmony, or consistency of style, throughout all the members and details of the
work. Disregarding this, or ignorant of its principles, many builders, miscalled architects,
have committed egregious blunders, and have jumbled together, in one design, not only
the styles of different ages, but mixtures of castellated, domestic, and ecclesiastical archi-
tecture. Indeed, it is to tlie tastelessness of persons, who occasionally compose, or rather
build, such edifices without well-planned and well-digested designs, that " modern
Gothic " has been treated with sneers and contempt, and has been sarcastically termed
" Egyptianised, Grecianised, Romanised, Gothicised, Castleised, Abbeyised, buildings."
Whether a design be for a mansion, a cottage, or a church, does not appear to have
entered into the calculation of many builders. They blunder on with some confused
notions of pointed arches, slender columns, and embattled parapets : and at length pro-
duce a nondescript building, which cannot degrade them, because they have no reputa-
tion to lose ; but unfortunately excites a prejudice against, and erroneous opinions of, a
class of architecture, which is susceptible of great beauties and impressive combinations.
It is to obviate a repetition of such blunders, and such follies, that the present Work is
produced : and, at the same time that it furnishes genuine materials for the Architect to
work from, it supplies the amateur with a criterion for reference, and to guide his judg-
ment. Both may see, in the Specimens here exhibited, the distinctive styles and forms
that belong to a given period.
PREFACE TO THE SECOND EDITION.
Ihe destruction of all the copies, remaining on sale, of the first volume of "Specimens
OF Gothic Architecture,"* having rendered a new impression necessary, the pro-
prietors, notwithstanding their loss, have anxiously attended to various important im-
provements for this new edition. The deficiency of literary illustration to some Plates
at the end of the volume has been supplied and enlarged ; various inaccuracies and
defective passages corrected ; the " Glossary " has been revised, and considerable
additions made to it ; and the whole of the Plates are now arranged according to a
regular distribution of subjects, the same as in the second volume.
Thus improved, this first volume is again submitted to the public, with more satis-
faction than at its first publication, which some circumstances conspired to render,
in a few parts, irregular and incomplete.
This collection of " Specimens of Gothic Architecture " will undoubtedly prove of the
greatest use to architects, as well as to gentlemen who study the subject as a liberal
accomplishment, no previous publication having presented so many details of mouldings
and ornaments adapted to actual practice. The study of that beautiful style which
we are accustomed to call Gothic, appears to advance in its interest with the British
public ; and the adaptation of it to modern purposes, so frequently attempted with im-
perfect success, bids fair to be completely effected at the present day, by the aid of
accurate and tasteful delineations from the finest ancient examples ; advantages which
the architects of the last generation did not possess, and which, whilst they excuse,
in some measure, the imperfect manner in which they imitated the true Gothic style,
leave no apology for a repetition of such barbarous designs.
E. J. W.
NOTICE TO THE THIRD EDITION.
The extensive and rapid sale of the former impressions of this work, affords the best
evidence of its merit ; a testimony more impartial than any thing its editors could say in
favour of their work. After receiving such encouragement, the proprietors would be
ungrateful to a liberal public, did they not endeavour to amend and improve whatever
has appeared defective in the former Editions : accordingly, the literary part has been
carefully revised, some mistakes corrected, additional information inserted ; and, thus
improved, the volume is again respectfully presented in a Third Edition.
E. J. W.
* By fire, wliioh destroyed Mr. Taylor's premises, 59, High Holborn, in the night of Nov. 23, 1822.
An extensive and valuable stock of books and prints of Architecture, MSS. &c., perished at the same time.
LIST OF PLATES.
,* The first line of small Arabic numerals correspond with figures engraved at the right hand corner, at the
bottom of each Plate, and are intended to direct the arrangement of the Plates ; these are regularly described
in this numerical order in the accompanying letter-press.
PLATES. DESCRIBED, PAGE
DOORWAYS.
1. — I. Various Modes of forming Arches 1
2. — II. Jew's House, Lincoln, Window
and Door 4
3. — IV. Ancient Gateway, St. Mary's
Guild, Lincoln 5
4. — III. Ancient Doorway, Atherton
Place, Lincoln 6
5. — III.* New Shoreham Church, Sus-
sex, East End 7
6. — V. Doorway, St. Mary's Church,
Lincoln 7
7. — LIV. Specimens of Doorways, from
different Buildings 8
8, — LXVII. Four Specimens of Door-
ways, from Westminster and Lincoln.. 8
9.— XXXIX. Door of the Bishop's
Palace, Lincoln 8
10.— XL. West Door of the Collegiate
Church, Tattershall, Lincolnshire 9
1 1 . — XLI. South Door of the same Church 9
12. — LIX.* Entrance to the Canon's Re-
fectory, Windsor Castle 10
WINDOWS.
13.— LII. St. Mary's Church, Lincoln,
Windows and Details 10
14. — XLII. John of Gaunt's Palace, Lin-
coln, Oriel Window 11
PLATES. DESCRIBED, PAGE
15. — XLIII. Arched Window of the same
Palace, &c 12
16. — LIX. Specimens of Windows at Lin-
coln, &c 14
17. — LXIX. An Oriel, and other Win-
dows, at Oxford 14
18. — LXXIII. Specimens of Buttresses at
Oxford 15
19.— LXXV. Other Specimens at Oxford 15
20.— XXVII. York Minster, lower part
of a Pinnacle 15
21. — XXIX. York Minster, upper part of
the same 15
22.— XXXL Mullions of Windows from
York and Beverley Minsters 16
23. — LXIl. Brackets and Pedestals, from
Westminster and Lincoln 16
24.— LXVIIL Pinnacles, &c. at Oxford... 16
25. — LXXIV. Parapets and Battlements
at Oxford, &c 17
26.— XXVIII. Font in St. Mary's Church,
Lincoln 17
27. — XXX. Stone Screen in Lincoln-Min-
ster 17
28. — LV. Specimens of Pannels on the
Sides of Tombs, &c 18
29.— LX.* Tracery in the Spandrils of
Arches at Westminster Abbey, &c 18
30.— LXXVII. Groined Vaults at Lincoln
and Westminster 18
LIST OF PLATES.
PLATES. DESCRIBED, PAGE
31.— XXXVI. Bishop Flemyng's Chapel,
Lincoln-Minster, Elevation of Part of
the Front, with Details, &o 19
32.— XXXIL Westminster Hall, Section,
and Parts of the Koof 22
33.— XXXIIL Ditto, -Compartment of the
Roof, &c 22
34.— XXXIV. Ditto, Elevation of the
great North Window 23
3.5.— XXXV. Ditto, Side Window,
Brackets, &c 24
36.— LXXII. St. Mary's Church, Oxford ;
Plan, Elevation, and Section of the
Spire 24
37.— XXXVII. Tattershall Castle, Fire-
place 25
38.— XXXVIII. Ditto, another Specimen 25
39.— LIII. Windsor Castle, two Fire-
places 26
40.— LVI. Chimney-Shafts at Windsor
and Lincoln 27
41. —LXVI. Ditto at Eton College, Buck-
inghamshire 27
42. — XLII. Crosby Place, London, Parts
of the Roof of the Council Chamber... 28
43.— XLIL* Ditto, Window, and Part of
the Roof of the Hall 29
PLATES. DESCRIBED, PAGE
44. — XLIV. Crosby Place, London, Sec-
tions, &c. of Parts of the same Roof ... 30
45.— XLIV.* Ditto, Oriel- Window in the
Hall, with Details 30
46. — XLV. Chancellor's House, Lincoln,
Gateway in the West Front 31
47.— LVIIL Ditto, Oriel, or Bay- Window 32
48.— XLIIL* St. George's Chapel in
Windsor Castle, Niche in South Aile. . 32
49.— XLIX. Ditto, Door and W^indow.... 33
50. — L. Ditto, two Doorways 34
51. — LI. Ditto, Parapets and Battlements 34
52. — LII. Compartment of Aldworth
Chapel 35
53.— Title. Henry VIL's Chapel, West-
minster, Part of the North Aile 36
54.— LAai. Ditto, Specimen of Tracery... 36
55. — LX. Ditto, Part of the Brass Screen
round the Founder's Tomb 36
56.— LXL Ditto, Tracery in Pannels 36
57.— LXIV. Ditto, Door and Window,
with Details 37
58.— LXV. Ditto, Flying Buttress, and
Turret 37
59. — LV. Bishop Longland's Chapel, Lin-
coln-Minster, Part of the Front, &c 38
60.— LVI. Ditto, Parapet, Pinnacle, &c... 39
REMARKS
AND ON MODERN IMITATIONS.
The history of what is usually termed Gothic Architecture, affords one of the
most eminent instances of the fluctuations of public taste. After reigning,
acknowledged throughout the principal countries of Europe, as the most
beautiful and convenient style of building, during almost four centuries, com-
mencing our epoch from the full establishment of the pointed arch ; and after
filling Germany, France, England, &c., with edifices of such lightness and
sublimity of eff'ect as the world had never before witnessed, an over-wrought
refinement in elaborate details at length brought the whole style into disi'e-
pute : the ornaments appropriate to its principal members became neglected ;
and imperfect details of Italian Architecture took place of them ; the admirers
of which, without attempting to bring forward complete examples of the rival
style, applied its ornaments to buildings of decidedly difi'ereut character.
Nothing could be more barbarous than such mixtures, for the leading forms
of both these very difi'erent manners of building became violated by their
being brought into contact. Pilasters and columns, borrowed from the Grecian
orders, were worse than useless, when placed between windows of a breadth
far beyond what the style they belonged to admitted ; and those windows, as
if to heighten the incongruity, divided into numerous small lights by muUions
of stone, as at Longleat House, Wiltshire, &c. Turrets, pinnacles, and open
battlements, could have no legitimate affinity to Doric or Corinthian entabla-
tures ; and yet such indiscriminate mixtures were practised, not merely by
ignorant and inferior artists, but by the most eminent architects of the time.
VOL. I. b
X REMARKS ON GOTHIC ARCHITECTURE.
The changes in religious opinions, which took place in the sixteenth century,
had a great effect upon Architecture, and its sister arts. The adoption of the
new doctrines was every-where ushered in by the demolition of monasteries,
many of which had churches, halls, cloisters, and other buildings of great mag-
nificence ; whilst even cathedral and parochial churches were rudely despoiled
of the statues of saints, and of all their most valuable ornaments. The destruc-
tion of so many grand establishments, where Architecture, Sculpture, and
Painting had always been warmly cherished, and, indeed, where alone they
had found protection during the stormy periods of feudal warfare, gave a
terrible blow to those arts " that adorn and soften life." From the death of
Henry VIII. to the restoration of Charles 11. , almost all the great houses built
by the English nobility exhibit a mixed style, such as we have described. A
few, but very few, examples of pure Italian Architecture were produced by
Inigo Jones, the most celebrated of which was the Banqueting-House of the
projected palace of Whitehall. The few churches that were erected within
that time exhibit much the same mixture of styles as the great houses. Arched
and muUioned windows retained their place ; but columns of the Jive 07-ders,
and other members of incompatible design, were blended with them indiscri-
minately. Even Inigo Jones disfigured the decayed cathedral of St. Paul,
London, by casing its old Norman walls with rustic work, decorated with
obelisks, and Doric triglyphs ; and a spacious portico of Corinthian columns
was added by him to its western entrance. The " Godly thorough Reforma-
tion," effected by the opponents of the unhappy king, Charles I. destroyed
many splendid remains of ecclesiastical Architecture. In the choirs of almost
every cathedral in England, the episcopal throne, and the rich screens and
tabernacles where the high altars had formerly stood, were broken down with
furious zeal. Upon the re-establishment of the monarch and of the clerical
hierarchy, these outrages were repaired in the taste of the day. Corinthian
columns and cornices were then erected amidst rows of prebendal stalls,
crowned with tapering pinnacles and fretted tracery.* A pedantic afi"ectation
of Italian taste had branded the pointed arch, and all the buildings constructed
on its principles, with the opprobrious term Gothic, an epithet inconsiderately
* Wren himself gave designs for such incongruous ornaments as these at Winchester and Lincoln
Cathedrals ; and at the latter he replaced one side of the quadrangle of the cloisters with a portico
of semi-circular arches, raised upon columns of the Italian Doric ; the other three sides of the
square being of the style of Edward the First's reign.
REMARKS ON GOTHIC ARCHITECTUEE. XI
applied, merely as designating something barbarous and devoid of regular
design. Our great national architect, Sir Christopher Wren, following the
prejudices of his contemporaries, gave his suffrage to the general censure ;
and deservedly as his talents were esteemed, it is no wonder that his judgment
was applauded and re-echoed as unc[uestionable. And yet how unable has
he shewn himself to imitate the style he condemned ! What are the towers he
added to Westminster Abbey ? Clumsy copies of those of Beverley Minster,
overlaid with cornices and other members, borrowed from Roman Archi-
tecture. The octagonal tower, erected by him over the chief entrance of
Christ Church, Oxford, and such of the churches as he repaired or rebuilt
in London, where any imitation of the Gothic style was attempted, exhibit
such imperfect and poor designs, as no living architect, of any reputation,
would now risk his credit upon. From that time down to the reign of
our late venerable sovereign, Italian Architecture maintained undisputed
ascendancy : all that was called Gothic remained proscribed and neglected.
The rise and establishment of a more liberal taste would form an agreeable
subject for details of greater length than our limits will admit of, the design
of this work being rather to assist the actual imitation of Gothic Architecture,
than to give a full history of it.
Although it was not till the reign of George III,, as observed above, that
any critical investigation of our ancient buildings was entered upon, yet some
imperfect efforts at imitation had previously been made, which indicated a
returning piirtiality for the once favoured style. The evident failure of Sir
Christopher Wren in all that he had designed as imitations of the Gothic style,
might very fairly deter ordinary ai'chitects from attempting what had baffled
a man of his eminence. He must have felt the inferiority of his works to their
models, and seldom ventured on such things. But where new buildings were
planned, en suite, with ancient ones, some conformity of style seemed neces-
sary to avoid very discordant effects ; and this, though too often disregarded
by Wren himself, could not always be dispensed with. It was the case at
All Souls College, Oxford, where the library, and other modern buildings,
form a quadrangle with a chapel and hall, built by the founder. Archbishop
Chichely, in the reign of Henry VI. The library was begun in 1716. Its
outside bears some accordance with the chapel. The east side of the sc[uare
has two lofty turrets, and was also designed to be Gothic, as far as internal
convenience would allow, together with the cloister and gate which range
along the front. Of this quadrangle. Lord Orford remarks, with his charac-
Xll EEMAP.KS ON GO'l'HIO ARGHITEUTURE.
teristic acuteness, that "it has blundered iuto a picturesque scenery, not void
of grandeur,"* which must be allowed : but the parts are wretchedly made
out. Nicholas Hawksmoor, a scholar of Wren's, and associate with him in
several of his principal works, was the professional architect ; but Dr. George
Clarke, a member of the college, assisted in designing these buildings, which
deserve notice as amongst the earliest and most considerable of those imita-
tions, the inaccuracies of which eventually led to a thorough investigation of
ancient examples, and a more perfect revival of their style. The impropriety
of altar-screens, episcopal thrones, &c. of Italian Architecture, when placed in
our cathedrals, was at length perceived ; indeed, nothing but undistinguish-
ing partiality could ever have tolerated such incongruous ornaments. The
choir of York Minster had a throne for the archbishop of most unsuitable
design, which was set up in place of the ancient one destroyed under the rule
of the presbytery : this was removed in 1740, and a new one erected, together
with a pulpit, and other furniture, in professed imitation of the ancient stalls. t
About the same time a stone screen was built at the entrance of the choir of
Beverley Minster, in a style of intended resemblance to the works of the 15th
century.| The screens which enclose the upper end of Westminster Hall
for the Courts of Chancery and King's Bench, were designed by Kent, in the
reign of George II. § All the above works are miserably deficient in fidelity of
* " Anecdotes of Painting," &c., in which these buildings were at tirst attributed to Qibbs, the
architect, a mistake which is corrected by a subsequent note. The whole quadrangle was not com-
pleted in less than 40 years.
f As Kent had been consulted by Lord Burlington for the patterns of the variegated pavement
laid down in 1736, in York Minster^ it seems highly probable that he was concerned in the design
of the above furniture of the choir. However miserable his attempts in Gothic Architecture, Kent
was a man of extraordinary mind ; and his talents wei'e applied to every species of design. The
introduction of a new style of laying out ornamental grounds was chiefly effected by him, though
prompted by the fine taste of Pope.
I The date of this erection is not in the published accounts of Beverley ; but it was about the
time above mentioned. The workmanship is excellent, and the design shews great genius, though
spoiled by a total ignorance of proper details. It was probably a work of Kent's.
§ These have been recently taken down, and new courts are building on the west side of the hall,
from the skilful designs of Mr. Soane. We learn, with much pleasure, that many innovations and
barbarous additions to that most noble liall will be removed, and its pristine Architecture, in a great
measure, restored.
' Huge Etruscan scrolls made with old marble slabs, cut into narrow slices. Archbp. Bowett's
tomb was actually stripped, as well as many others, to furnish materials for this display of taste !
REMARKS ON GOTHIC ARCHITECTURE. XIU
details, and altogether unworthy of notice, except as evidences of right
feeling in those who designed them. An artist, with the advantages of the
present day, who should venture to display such barbarous things, would
deservedly be hooted with contempt; but we must bear in recollection, that
when Hawksmoor and Kent produced them, the Italian had for so long a time
been thought the only Architecture worthy of the study of scientific men,
that all knowledge of the iDcautiful style which it superseded in this country
had fallen into oblivion. The dates of most cathedrals, and of some other
principal buildings, stood recorded in history ; but such records gave mere
dates, and hardly ever entered into specific details. It could never become
unknown that circular arches and ponderous columns, the style of Durham
Cathedral, were of older fashion than the pointed arches and light shafts
of that of Salisbury : but all discrimination of the changes which Architec-
ture had received during the 13th, 14th, and 15th centuries, was in a manner
lost, as we may see in the gross blunders which occur in many descriptions
of those fabrics, even by antiquaries who were profoundly acquainted with
ancient history, — such as Browne Willis* and others. Sir Christopher Wren,
on occasion of being employed to survey Salisbury Cathedral, preparatory
to its repair, amongst much scientific observation on the fabric, published
the most wild and inconsistent theories on the style in which it is built, t
He was then at the head of his profession, a man of learning, and con-
versant in the first circles of men of knowledge. His failures, wherever he
attempted any thing in the Gothic style, have been already noticed. His
immediate successors in that way were not more happy ; indeed, it had
become impossible for any individual, however powerful or fertile his genius,
to effect any thing worthy to associate with original works in that style,
beyond the mere copy of some part.
That lively and acute genius, the Hon. Horace Walpole, contributed so
much to spread a taste for the beauties of Gothic Architecture, especially
amongst people of fashion, both by his writings and by the construction of his
celebrated Villa of Strawberry-Hill, that his name cannot be silently passed
over. His education, first at Eton, and subsequently in King's College,
Cambridge, at both which places the poet Gray was his intimate companion,
* See his Histories of Lincoln, York, and other Cathedrals, 4to. 1729, &o.
t " Parentalia." These theories have been refuted in Bentham's " History of Ely ; " and
since then, more fully, by Dr. Milner, in his " Treatise on the Architecture of the Middle Ages."
8vo. 1811.
XIV REMARKS ON GOTHIC ARCHITECTURE.
may be thought to have inspired him, as well as his friend, with a predilection
for the florid style of ecclesiastical Architecture. His verses to the memory
of king Henry VI., written at Cambridge in 1738, are full of admiration of the
sublime chapel of King's College.* Strawberry-Hill was incredibly admired
for several years, though, in point of Architecture, it is a heap of inconsist-
encies, and altogether a mere toy. The place was purchased by him in 1748 ;
and he shortly after began to embellish it in the Gothic style. Various apart-
ments were added to the old house at different times, as late as the year
1776.t When he began to build, Mr. Walpole visited many ancient castles
and mansions, and his letters of 1752 and 1753 contain some beautiful
descriptive sketches of what he saw. In the preface to " A Description of
Strawberry-Hill," printed at his private press there in 1774, after stating that
" the Description originally was meant only to assist those who should visit
the place," he adds, "A farther view succeeded, that of exhibiting specimens
of Gothic Architecture, as collected from standards in cathedral and chapel-
tombs, and shewing how they may be applied to chimney-pieces, ceilings,
windows, balustrades, loggias, &c." And further on, " I did not mean to
make my house so Gothic, as to exclude convenience and modern refinements
in luxury. The designs of the inside and outside are strictly ancient, but the
* The following lines of tlie above poem strikingly display the taste of that time, when a young
writer felt himself obliged to apologise for the want of Italian rules of proportion in King's College
Chapel : —
" When Henry bade this pompous temple rise,
Nor with presumption emulate the skies,
Art and Palladio had not reached the land.
Nor methodized the Vandal builder's hand ;
Wonders unknown to rule, these piles disclose ;
The walls as if by inspiration rose," &c.
Gray's " Ode on a Distant Prospect of Eton College," was written in 1742.
t In the designs for Strawberry -Hill, Mr. Walpole was assisted by Mr. Richard Bentley, only
son of the celebrated critical scholar. Dr. Richard Bentley. John Chute, Esq. was also consulted,
a gentleman of congenial taste, who embellished his seat at the Vine, in Hampshire, with some
elegant architectural works. In the style of his curious mansion, Mr. Walpole was prompted, very
likely, by a house which Richard Bateman, Esq. had built at Old Windsor about the same time.
Mr. Walpole resided at Windsor the summer before his acquisition of Strawberry-Hill. Mr. Bate-
man's house was intended to resemble a monastery ; it was lately occupied by the dowager lady
Onslow. Some of its antique furniture was eagerly purchased for Strawberry-Hill, on Mr. Bate-
man's death.
REMARKS ON GOTHIC ARCHITECTURE. XV
decorations are modern ; and the mixture may be denominated in some words
of Pope, ' A Gothic Vatican of Greece and Rome.' "*
A short Essay on the ancient Architecture of England was published in
1762, by the Rev. Thomas Warton, in his "Observations on the Fairy-Queen
of Spenser," which exhibited a better chronological sketch of different styles
than had been previously done ; though the authority of Sir Christopher Wren
led him into some mistakes. Mr. Warton's favourite studies had made him
intimate with many curious descriptions of Architecture contained in the
writings of Langland, Chaucer, Lydgate, and other old poets ; and in his
great work, " The History of English Poetry," of which the first volume
appeared in 1774, there are many valuable notes on such descriptions.t The
information afforded by Mr. Warton, was in a great measure superseded by
the "History of Ely Cathedral," published in 1771, by the Rev. James
Beritham,. The knowledge of ancient Architecture displayed in this work far
exceeded all that had been previously published on that subject. The
cathedral of Ely, where Mr. Beutham was beneficed, had furnished him with
examples of almost every style of building, from the Saxon era to that of the
Reformation. The peculiar ornaments of each were carefully studied by him,
and his numerous quotations from ancient authors prove his diligence in
historical research. In this work was first brought forward the presumed
origin of the j^ointed arch, the chief feature of Gothic Architecture, and on
which the whole style seemed to be formed. This Mr. Bentham supposed to
have been derived from the intersection of two semi-circular arches, such as
are seen on the walls of buildings erected about the period of the Norman
Conquest, an opinion that has occasioned much animadversion, which seems
* Few men have had their talents so severely criticised, and variously estimated, as Horace
Walpole. His concern in the revival of Gotliic Architecture is all that we have to do with, and
considerable merit must be claimed for him. His letters, and many passages in the Anecdotes of
Painting, were very useful in correcting public taste, which had sunk into mere pedantry and a blind
partiality for particular rules. His imitations at Strawberry-Hill are hardly to be called Architec-
ture ; but he had the generosity to acknowledge its deficiencies, and to bestow unreserved praise upon
more successful efforts, when Gothic Architecture became better understood.
t In 1760, Mr. Warton published, without his name, "A Description of the City, College,
and Cathedral of Winchester," 12mo. In this work, such glaring mistakes occur in ascertaining
the age of certain parts of that cathedral, as shew that he could not then have paid much attention
to the study of ancient Architecture ; but the essay above-mentioned displays much deeper critical
knowledge. — See Milner's "History of Winchester," 2 vols. 4to. in which Warton's errors are
pointed out and corrected.
XVI EEMARKS ON GOTHIC ARCHITECTURE.
to have led most practical men to the conclusion of its being well founded,
though some speculative writers wish to find a higher origin for the Gothic style.
The Preface to Ca2Jtain Grose's " Antiquities of England and Wales,"
came out shortly after Bentham's History of Ely, and added some useful
remarks to what had been given in that work, extending the comparison of
English buildings to foreign ones ; the author did not, however, venture to dis-
pute the inconsistent theories of Sir Christojiher Wren. Grose quoted freely
from Warton, Bentham, and Bishop Warhurton, the latter of whom had pub-
lished some fanciful observations on the subject, in his notes to Pope's Epistles.
The " History and Survey of the Antiquities of Winchester," by
Dr. Milner, 2 vols. 4to. 1798, brought a grand accession to the knowledge
of old English Architecture. The church of the Hospital of St. Cross, near
that city, had been noticed by Bentham for the curious combinations of
circular and pointed arches displayed in its construction ; and the historian
of Winchester, adopting the opinion of that author relative to their origin,
strengthened it by concurrent arguments and ol:)servations. His description
of the cathedral, college, and other buildings at Winchester, cleared up the
mistakes of preceding writei's, and evinced a complete acquaintance with the
Gothic style of Architecture and its various alterations.
The exertions of literary men in illustrating the history of Architecture,
enabled practical artists to select proper models for imitation ; the specimens
of different ages became better known, and the impropriety of blending the
ornaments proper to works of distinct periods, as had been previously done,
began to be felt. Mr. James Essex was the first professional architect whose
works displayed a correct taste in imitations of ancient English Architecture.
He was born at Cambridge in 1723, and educated in the school of King's
College, where a repeated contemplation of the magnificent chapel is thought
to have determined his taste to that style of Architecture, which is there so
enchantingly displayed. He was employed to make architectural drawings
for the historian of Ely, so early as the year 1757, and remaining ever after
in friendship with Mr. Bentham, he undoubtedly acquired much knowledge
from him on the history of his art. Mr. Essex was also acquainted with
Gray the poet, Gough, Tyson, Cole of Milton, Horace Walpole, and other
antiquaries : his modesty and amiable temper being no less admired than his
talents. The works of this architect in the Gothic style were not numerous.
The choir of Ely Cathedral was altered under his direction in 1770 ; and
he eff'ected very extensive repairs in that church, which occupied nearly
REMARKS ON GOTHIC ARCHITECTURE. XVU
20 years. After this he was engaged in repairing Lincoln Minster, where an
altar-piece of stone was erected after his designs, and some very important
repairs were effected.* King's College Chapel was also repaired by him, and
he designed the stone screens about the altar there, which was then removed
to the east end, and a space originally behind it taken into the choir. An
elegant Cross at Ampthill was erected from a drawing by Essex, in com-
memoration of the abode of Queen Catherine of Arragon at that place ; besides
which, he made improvements at Madingly, an ancient mansion in Cam-
bridgeshire, and furnished designs for windows and other minor works.
Death closed the labours of Mr. Essex just about the time when a new
master in modern Gothic Architecture appeared, who soon " eclipsed all
former fame." Mr. James Wyatt, whose skill in Grecian Architecture had
long before placed him at the head of his profession, was consulted, in 1782,
by Thomas Barrett, Esq. for the improvement of his seat at Lee, near Canter-
bury. " Wyatt," says Walpole, " designed several plans, some Grecian,
some Gothic. The latter was adopted ; " and the success of the imitation
soon made both the place and the architect highly celebrated. This was
Mr. Wyatt's first work in the style of our old English Architecture, and, as
such, it deserves particular notice, although he afterwards produced several
much more sumj)tuous specimens of that style. Mr. Barrett was a man
possessed of elegant taste and knowledge of the fine arts, and he not only
attended very carefully to the correctness of his new buildings, but consulted
several friends, and particularly the Hon. Horace Walpole, whose approba-
tion of Lee was thus expressed with equal warmth and judgment : — " The
house at Lee, which was but indifferent before, has been, by the skill and art
of Mr. Wyatt, admirably improved in the disposition of the apartments ;
amongst them is a very beautiful library, finished in the most perfect style of
Gothic taste. The three fronts of the house convey the idea of a small convent,
never attempted to be demolished, but partly modernised, and adapted to the
habitation of a gentleman's family ; "t and in the later editions of " The Anec-
* The general form of this altar-piece was probably copied from the monument of Bishop Wm.
De Luda, in Ely Cathedral, enlarged and modified. It has a chaste and suitable effect, although it
is not large and sumptuous enough to fill its place, worthily, in so magnificent a church. The works
of Mr. Essex in the Gothic style cannot be exceeded in their fidelity to ancient examples ; but they
are deficient in boldness and spirit of design, and his details are too often meagre, as is apparent in
this and other of his works.
t The above passage was published in Hasted's " History of Kent," Vol. III., and has been copied
into other works. In the " Bibliographical Decameron," the author, the Rev. T. F. Dibdin, tells us,
VOL. I. e
XVm REMARKS ON GOTHIC ARCHITECTURE.
dotes of Painting," he again takes occasion to praise Mr. Wyatt's success in
this his first essay. " Mr. Wyatt, at Mr. Barrett's, at Lee, near Canterbury,
has, with a disciple's fidelity to the models of his masters, superadded the
invention of a genius. The little library has all the air of an abbot's study,
except that it discovers more taste."* The superiority of Lee to Strawberry-
Hill was beyond comparison, and no one acknowledged it more readily than
the noble owner of the latter, whose taste contributed to this superior perfec-
tion of Lee.t For a full description of Lee, we must refer to the works men-
tioned in a note ; remarking only one circumstance in the idea of its style,
which deserves the attention of every imitator of ancient Architecture, viz. a
propriety and consistency in the character it assumes as an ancient work, "a
small monastery, — partly modernised, and adapted to the habitation of a
gentleman's family. ";{: The situation is happily suited to the appearance of
monastic seclusion, but obvious convenience required some deviations from
strict adherence to ancient forms, particularly in the windows, on which,
however, the beauty of Gothic buildings mainly depends. || Mr. Wyatt's sub-
that this passage mas im-itten by Lord Orford hitnsdf, " and had it not been deemed necessary a little to
vary and curtail it to adapt it to the historian's plan, would have appeared more advantageously."
" Decameron," Vol. III. p. 457, note.
* Vol. III. of liord Orford's Works, 4to. p. 433. In a letter published in Vol. VIII. of Nichols's
" Literary Anecdotes," he says, " I have seen, over and over again, Mr. Barrett's plans, and approve
them exceedingly. The Gothic parts are classic ; you must consider the whole as Gothic modernised
in parts, not as what it is, the reverse. Mr. Wyatt, if more employed in that style, will shew as much
taste and imagination as he does in Grecian." [A.D. 1782. N.B. The new buildings began the next
year.]
t See Lord Orford's Correspondence, Vol. V. of his Works, p. 668, where, in a letter dated 1788,
addressed to Thomas Barrett, Esq., he acknowledges the defects of Strawberry-Hill, and tells his friend,
" My house was but a sketch by beginners, yours is finished by a great master."
X This consistency was wanting in Strawberry-Hill, where the designs vacillated between the style
of a castle and that of a convent. See Descriptions of Lee, in Hasted's " History of Kent," Vol. III.
665 ; " Beauties of England," Vol. VIIL p. 1092 ; Angus' " Views of Seats," 1787, in which there
is a neat Engraving ; and " Bibliographical Decameron," Vol. III. 457, whicli contains a vignette and
description, &c.
II Many of the best-designed modern Gothic mansions are spoiled by their windows, as is the case
at Lee. Turrets, battlements, pinnacles, in short, almost every ornament of the Gothic style, may .
easily be applied to modern houses, for external decoration, without departing from the ordinary mode
of fitting up the rooms, within ; but windows in rows of the simple Grecian structure, destroy all har-
mony on the outside, and if forms appropriate to the exterior be adopted, the inside must be in some
degree conformable, and fresh difficulties arise in the furnishing and fitting up of rooms. As to sash
windows with their bars tortured into pointed arches, such carpentry is absolutely contemptible, and
REMAKKS ON GOTHIC ARCHITEGTUEE. XIX
sequent works in imitation of the ancient Architecture of England are too well
known to need description, and too numerous to allow of it here. Several of
these buildings were far more extensive and sumptuous than any such works
previously executed ; but while we allow this celebrated architect due praise
for his beautiful imitations of Gothic buildings, we cannot but condemn him
for the destruction of some valuable original specimens in three of the cathe-
drals submitted to his taste — ^Lichfield, Salisbury, and Durham. His genius
luxuriated in florid details, without always attending to ancient rules ; and too
much credit is claimed for Mr. Wyatt, when it is said, that he " revived, in
this country, the long-forgotten beauties of Gothic Architecture."* Since the
first works of Mr. Wyatt, the Gothic style has been adopted in numerous
residences of the British nobility and gentry ; which have been built, or
refitted, in that style, with different degrees of fidelity and success. Several
churches and chapels have also been erected with very good efi"ect, this style
having peculiar advantages for such structures. The repair of our cathedrals,
those invaluable monuments of ancient taste and skill, has, in late years, been
attended with less violation of their original style than at any period since the
introduction of Italian Architecture. Several incongruous works of a barbarous
taste have been removed from their venerable interiors, and been replaced by
others more consistent with the general style of the buildings. During the last
twenty years, numerous publications have issued from the press, some to deve-
lope the obscure history oi Gothic Architecture, others to display its various beau-
ties. Artists of first-rate talents have been employed to delineate and engrave
the most beautiful and curious remains, and their works will be eagerly sought
for, and carefully prized, a century hence. The general improvement of
public taste, resulting from these works, is clearly evident. The respective
beauties and conveniences proper to the Grecian orders in their pure state, or
as modified by the Romans and their successors of the Palladian school, may
be fully allowed, without a bigotted exclusion of the style we are accustomed
to term Gothic ; and yet its merits ought not to be asserted to the disadvantage
much more disgusting than common undisguised forms ; nor can frames of cast iron ever successfully
fill the place of stone mullions, the want of substance preventing such a frame from ever appearing
"a lightened part of the structure itself," as a proper Gothic window has been happily described.
See "Metrical Remarks on Modern Castles and Cottages," &c. London, 1813. The Preface to this
smart satire is full of judicious remarks on our ancient Architecture, and its adaptation to modern
dwellings.
* See "Gentleman's Magazine,'' Sept. 181.3. Also "Monthly Magazine," for Oct. of the same year.
XX REMARKS ON GOTHIC ARCHITECTURE.
of classic Architecture. Each has its proportions and characteristic features,
which cannot, without impropriety, be transferred to the other. The use of
ancient Architecture, either Grecian or Gothic, may not inaptly be compared
to that of the dead languages. Both have become obsolete, and in employing
them we must be guided by original examples. The rules of construction are
fixed in both ; and the proportions and ornaments of Architecture require to be
thoroughly studied, and strictly followed, no less than the metres and phrases
of the classic tongues. The architect must evince his judgment in the use he
makes of the best models of the style he adopts ; and in invention, he must
endeavour to think in the manner of the original inventors. These precepts
may be thought to restrain modern practice to a servile imitation : but that is
more than is intended. The scholar is left at full liberty to express his ideas
in classic language ; and the architect is not less at liberty to build in the
ancient styles ; only let his models be attended to, i-emembering that a licen-
tious departure from original rules produced the execrable Gothic of Batty
Langley,* more contemptible than the most barbarous Latin of the feudal
ages.
EDWARD JAMES WILLSON.
* About sixty years siuce, this artist invented, and unfortunately published, '^five orders of Gothic
Architecture," which were hideous caricatures of Italian columns and entablatures, disguised by strange
mouldings of what he conceived to be Gothic. Such attempts to impose on puljlic taste would not now
be likely to mislead the most ignorant carpenter or mason ; but ancient examples were then little
studied, and this man's books produced some shocking barbarisms in Architecture.
Specimens
GOTHIC ARCHITECTURE.
No. 1. — Plate L* Various Modes of forming Arches.
The Arcli being the distinctive feature of all structures of the middle ages,
as the column was of those of classic antiquity, the first Plate of this Work
is devoted to an elucidation of various forms of Arches, beginning with such
as are found in buildings of the Norman, or Saxon style,! and then proceed-
ing through the principal varieties of pointed Arches.
1. The semi-circular Arch was the principal one used in all buildings,
until about the middle of the twelfth century, although a solitary instance of
the pointed Arch may now and then be proved to be of earlier construction.
2. Arch described from one centre placed above the base-line. — This form
has been denominated the Horse-shoe ; it is common in some buildings of
eastern countries, and examples of it occur in Romsey Abbey Church, and in
others of the Norman style.
3. Semi-circular, but including a portion of the perpendicular jambs
above the imposts. — This form is seen in a side-arch of the rood-tower of
Malmesbury Abbey Church, where the transepts being narrower than the
nave and choir, two of the four arches were limited to a less breadth,
though required to equal the others in height. Other examples are found in
the transepts of Winchester Cathedral, St. Albans Abbej^ Church, &c. ; in
short, the Norman architects frequently raised their Ai'ches above the imposts
in this manner.
* The No. and small figure will be found at the right hand corner, bottom of eacli Plate.
t These national denominations are used indifl'erently, it appearing, after great research, and
many attempts to distinguish characters peculiar to the buildings erected in this country before the
Conquest, that the Normans did not introduce a new style, though they enlarged the scale of our
churches and other public buildings. See Vol. 11. p. xi.
2 SPECIMENS OF GOTHIC ARCHITECTURE.
4 and 5. EUij^tical Arches, described from three centres. — Arches of this
form are not only found in Norman buildings, mixed with the semi-circular,
but frequently over doors and windows, in the early part of the fifteenth
century, along with the pointed Arch, and the other characteristics of the
style of that period. The entrance-tower to the deanery of Lincoln has gate-
ways of this form, and several other instances might be adduced.
6. Semi-circular Arches mtersecting each other. — Some instances occur of
intersecting pointed Arches, and others, of Arches, if they may be so called,
described by straight lines, forming a series of intersecting triangles raised on
one base : these were merely ornamental, as may be seen in the ruins of
St. Augustin's Abbey Church tower at Canterbury.
7. Semi- circular and Lancet Arches combined. — Such a combination is
commonly found in buildings towards the end of the twelfth century, when
the pointed Arch began to prevail.
8. Three -centred pointed. — Arches formed on this principle began to come
into fashion at the beginning of the fifteenth century, and afterwards those of
a more obtuse form.*
9. Moorish. — This form may be classed with the Horse-shoe, No. 2. It
is described from two centres placed above the imposts. Arches, somewhat
of this form, are occasionally met with in buildings of the early pointed, or
Gothic style ;t they are only found placed over narrow apertures.
10. Elliptical, resembling a pointed Arch, only rounded at the top.
11. Lancet Arch, described from two centres on the outside of the Arch. —
The term lancet has been happily applied to the tall, narrow windows which
enlighten the structures of the thirteenth century. Salisbury Cathedral is
the most complete specimen of the style of that age. These lights have each
a pointed Arch at the top, and the Arch is frequently raised on straight lines
above the mouldings of the impost, where such mouldings occur ; this is,
indeed, the lancet form, comparing the Arch to the head of a lancet.
* See Vol. II. p. xiv. note i.
f We have not scrupled to use the term Gothic, it having become inseparably connected with
that style of building, of which the pointed Arch is the distinctive feature. The impropriety of the
term is generally acknowledged, but it is never now applied as contemptuous. The attempt to ap-
propriate this beautiful style to our own country, by designating it English Architecture, was made
without due regard to the noble monuments of it remaining in France, Germany, and Flanders.
Pointed Architecture, in allusion not only to its characteristic Arch, but to its pinnacles, spires,
c&c. sesms the most appropriate term, and most expressive of its character.
VARIOUS FORMS OF ARCHES. ' 3
12. Eqxdlateral, where the points of the base and crown form an equi-
lateral triangle. — This may be called the standard form of the ^oointed Arch,
and is perhaps the most beautiful.
13. Four-centred pointed. — Some beautiful varieties of decoration were
struck out from this form, but it must still be regarded as less perfect than
the simple Arch struck from two centres.— See the Arch No. 8, and the note
referred to in Vol. 11.
14. 15, and 16. The combination of circles, and portions of circles, being
so infinitely diversified in specimens of florid tracery, especially in the larger
windows of the fourteenth century, it would be vain to attempt to analyse all
their principles. We may observe, however, that most of them were divided
at first into a few large forms, and these again subdivided into as many
openings as the space would allow, so that the openings were never broader
than those of the perpendicular lights of the window, and seldom less than
one-half of the breadth of one of these. In proportioning the void and solid
parts of windows, we seldom find the mullion exceed one-third of the light in
the larger divisions, or smaller than one-fifth.
17. Mode of describing a pointed Arch by the crossing of straight lines. —
This Arch may be classed with the four-centred, being of flatter curve in the
upper part than the lower. Many actual examples of Arches appear to have
been struck out, by the intersection of straight lines, in specimens of the
later periods.
18, 19, and 20. Four-centred Arches, centres of which must be upon the
same diagonal lines, which are found by dividing the base-line of the Arch
into more or less parts, according to the fixed height of the Arch. — These are
some of the various forms of what has been called the Tudor Arch, because
they are chiefly found in buildings, erected under the reigns of our princes of
the house of Tudor ; we find, however, that this flattened Arch was used
more than fifty years before the accession of Henry VII., the first English
sovereign of that family.
21. Ogee. — This, and No. 16, give an ornamental variety of Arch, which
was sometimes used over doors and windows in the reigns of Edward II.
and III., as in Caerphilly Castle, &c. The inflected curves necessarily weaken
it too much to allow of its application on any large scale, and only small
specimens are found of this sort of Arch.
22. Four -centred pointed, of the same class as Nos. 18, 19, and 20, but
differently described.
4 SPECIMENS OF GOTHIC ARCHITECTURE.
23. Rampant pointed, described by the intersection of straight lines. — See
whiit is said of No. 17.
24. Shews one mode of proportioning the diagonal lines of a groined vaidt
to Arches of the sides. In this example, the side Arches are semi-circles,
the diagonal ones elliptical curves. Where the sides are pointed Arches, the
diagonal curve was frequently a semi-circle. The consummate skill evinced
in many roofs of buildings of the fourteenth and fifteenth centuries, renders
them deserving of the most minute and careful examination.
25. This example may be classed with No. 23. The lines of the joints
are described in this.
No. 2. Plate II. Jew's House, Lincoln, — Window and Door; 1140.
The specimens represented in this Plate are taken from a private dwelling
in the city of Lincoln, called the Jeiv's House* and belong to the period
when the Norman style had attained its highest ornament, immediately after
which, the pointed Arch began to supersede the semi-circular one, producing
a total revolution in architectural taste. The loindoiv, which forms the
first subject, belongs to the upper story, and remains in good preserva-
tion, none of its members being wanting but the column in the centre.
We have fully displayed it in an elevation, a perpendicular, and a horizontal
section, with parts of the outer moulding of the Arch, and of the wreathed
torus or string-course, on an enlarged scale ; and here it may be observed, that
the string-course runs along the whole front, and the other moulding is continued
to a window corresponding with the one here engraved, but now mutilated.
The djOor, which forms the other specimen, gives entrance to the lower
story of the same building. This must be considered as very curious, being
constructed so as to serve for the base of a chimney, which we shall briefly
describe. The elevation and corresponding section will, together, shew the
peculiar form of the Arch ; its projection upon two carved trusses, its
* This name was acquired by its having been the residence of Belaset de Wallingford, a Jewess,
who suffered death for clipping the silver coin of the realm, when this house was confiscated, 18th
Edward I. It afterwards came into the hands of Canon William de Thornton, and was, by him,.
assigned to the Dean and Chapter of the Cathedral, as part of the endowment of a chantry, and it
still remains their property. The Jew's Mouse stands at some distance from that where the murder
of the Christian child, Hugh, was perpetrated, in 1255, by certain Jews, who were then numerous
in this city, and many of whom had grown rich by usury, the practice of taking interest on loans being
at that time, and for some centuries afterwards, esteemed unlawful amongst Christians.
ANCIENT GATEWAY, LINCOLN. 5
outer sides sloping upwards to the breadth required for the body of the
chimney, which stands out from the front like a broad pilaster, and is hol-
lowed at inside for a fire-place.* All the inner part is blocked up and
altered, and the original shaft, above the front, is replaced by common brick-
work : luckily, however, a sketch, taken by one of the brother artists, named
Buck, in 1724, has preserved its form, as it then stood nearly entire. It was
a tall circular tube, with a square base, having a small triangular gable at each
of its sides ; the top was shattered, and wanted its proper finish.
The plans beneath the elevation and section shew the curves in the
mouldings of the jambs. A portion of the interlaced ornament of the inner
Arch is given on a large scale, with a section ; a section of the outer, or
projecting Arch, is placed next to it ; and beneath it, views of the front and
side of one of the little clustered leaves with which the jambs are studded ;
and at the end of the Plate, a portion of the abacus, or moulding, which
covers the capitals. The shafts of the two columns are wanting, and the
lower parts of the sides have perished, and are rebuilt with rude stone.
The comparative size of this door is greater in the original, a scale smaller
than is used for the windows being necessarily adopted for the sake of a
better displaj' of both.
No. 3. — Plate III. Ancient Gateway, Lincoln; 1150.
The subject of this Plate exhibits another specimen of the most finished
Norman style, where a conjunction of the semi-circular and pointed Arch is
seen ; no uncommon mixture in the buildings of the twelfth century. The
building it is drawn from appears to have been the Hall of St. Mary's, or the
Great Guild, of Citizens, and it is now held by lease under the Mayor and
Corporation of Lincoln.t The original elevation of the front has been
* A similar chimne}', built over a door, was standing, within memor}-, in front of a house not
far from this. The house here alluded to is said to have belonged anciently to a Jew. The fire-place,
with all above, is destroyed, but the entrance remains, with an Arch projecting exactly like this,
only not so richly decorated. Qusre, whether chimneys so placed were peculiar to the dwellings of
the Jews at any period ? We know that they were obliged to distinguish themselves by their habit.
f The designation of John of Gaunt's Stables was applied to this building by Mr. Gough, in his
enlarged edition of Camden's "Britannia," without any good authority. That prince had indeed a
palace in the same street, which occasioned this mistaken conjecture. Lord John Hussey was taken
from this building to execution, having forfeited his life for heading an insurrection against king
Henry VIII., and hence it is frequently called Lord Hussey's House.
VOL. I. B
b SPECIMENS OF GOTHIC ARCHITECTURE.
redueecl to about the height of what is shewn in the engraving, but there
has been another story, and a range of windows may be traced above the
cornice, A. which appear to have resembled that of the Jeivs House in
Plate II. The gateway occupies one of the four divisions into which the
length of the front is separated by pilasters, or flat buttresses. No. I. in the
Plate gives an elevation of the gateway in front ; No. 2, a section. The most
remarkable feature is the flat Arch, formed probably for convenience, by
reducing the height of the doors, so that they might turn back under the
vaulting within, which has been destroyed.* The curious mode of arranging
the joints of this Arch will be understood from the Plate, in which the
centres are marked.t Parts of the enriched moulding are shewn on a larger
scale beneath the elevation : viz. A. a portion of the cornice upon which the
upper windows were placed. B. one of the pateras, engraved ■ in the face
of the outer moulding; of the Arch. C. C. one of the flowers in another
moulding of the Arch ; this may be compared with an ornament in the door
of the Jew's House. D. E. F. G. other portions of the cornice A. which is
curiously wrought in foliage and figures of animals, and, being formed of
hard stone of the Lincoln quarries, the carving has preserved all its original
sharpness and perfection. The bottoms of the jambs of the gate are hidden
by the accumulation of soil, which has probably risen about three feet above
the original basement.
No. 4. — Plate IV. Ancient Doorway, Lincoln; about 1120.
This doorway belongs to an ancient mansion in the Close of the Cathedral,
called Atherton-Place : it was the front entrance of the hall, originally a vast
apartment, now modernised, and forming a separate house. The doors have
been taken away, and the opening walled up ; they are restored in the Plate,
from existing instances of the same age. The Plate represents an elevation
and section of the whole, with plans to l)oth. The details of ornament are
fully exhibited, with all their measurements, on the right hand of the Plate.|
* The north door of the parish church of Fiskerton, near Lincoln, has a flat Arch placed within
a semi-circular one, in the manner in which this is.
t The joints between the two radii, which describe the sweeps, are struck from the jioint
of intersection of those two lines ; the joints below those lines converge in the centres of tlie
sweeps.
X The two heads terminating the outer moulding of the Arcli resemble that of the crocodile, or
rather, some of the serpent tribe. This ornament, which is exceedingly common in Saxon or
NEW SHOKEHAM CHURCH : ST. MARY S, LINCOLN. 7
No. 5. — Plate III.* New Shoreham Church, Sussex, — East End.
The church from which this Plate is drawn contains many curious examples
of semi-circular and pointed Arches intermingled, each decorated with its
peculiar ornaments. It is not unlikely, that the construction of this building
might occupy a considerable period, so that, the new style growing more
into fashion whilst the work was carrying on, the parts last erected would
be made conformable to the prevailing style. Such gradual variations may
be traced in most large fabrics, not only where the building suffered some
interruption, but even where the work was continually advanced, as, for
instance, in Salisbury Cathedral. The east end of Shoreham Church has
been selected, as a specimen of the mixed style, which intervened between
the Norman and Early Pointed, or Gothic. The details on the right hand
refer to the lower windows, A. where we may notice that the mouldings
and little columns are of the early Grothic, although the arches are circular.
The enrichment B. is rather uncommon. The circular window is an example
of the early wheel-form, filled with small shafts and semi-circular Arches,
conversjine; to one centre.*
No. 6. — Plate V. St. Mary's Church, Lincoln, — Doorway on
the South Side.
This doorway forms a pleasing example of the early Pointed, or Gothic
style. The ornament, marked A. in the Plate, was most extensively used
in buildings of the first half of the thirteenth century, but seems to have gone
out of fashion before the reio'n of Edward I. We see abundance of it in
Lincoln and Salisbury Cathedrals, but scarcely any in Westminster Abbey.
This enrichment, sometimes called the Dogs Tooth, though really made up
of a series of flowers, each formed of four small leaves, seems to have been
Norman building!?, may originally have had a reference to the mythology of the northern nations.
In some examples, such heads are more appropriately joined to a round moulding, wreathed, or
carved, in a sort of scales.
* See some Italian instances of such wheel-windows in Archseologia, Vol. XVI. They are not
uncommon in England, in Norman buildings. Some of these have the little columns, with their
bases, diverging outwards. The large window in the south gable of the transept of York Cathedral
is formed on the same principle, consisting of two series of pointed Arches, with columns con-
verging to one centre. The French architects were extremelj' fond of circular windows, many of
their principal churches having one over the west door of the nave ; no instance of this is found in
England.
8 SPECIMEN'S OF GOTHIC AECHITECIUEE.
only an alteration of a Xorman pattern ; such little clustered leaves are seen
in the preceding Plates 11. and III. but are there set at intervals, here in
immediate connexion. This ornament wants an appropriate name.
Xo. 7. — Plate LIT. Specimens of Six Dooeways, with Squaee
Heads, Hood-moulds, ant) various-shaped Aeches.
1. DooEWAY in the long Stables of the Vicar's Court, Lincoln, with blank
shields in the spandrils, and a hood-mould. A window from this building is
shewn. Xo. 16. — Plate LIX. The next doorway was properly a window in
a building between the Cathedral and Chapter-house at Lincoln. The follow-
ing .specimen is from the Clxancellor s House, at the back of the building,
whence Plates XLIY. and LTIII. were taken. The doorway of TattershaU
Castle forms the chief entrance to the oreat tower. The doorwav, from Horn
Church, Esses, with its pannelled door, is a fine specimen, and is probably
about the date of 1-440. By the plan and section it will be seen, that some
of the mouldings are bold and deep. In the example from Oulton, Xorfolk,
of about 1400, are some elegant ornaments within the arch and spandrils. The
two latter examples are from drawings by J. A. Repton, Esq. Architect.
Xo. 8. — Plate LXVIl. Theee Dooeways from Westmixstee Abbey
Church, and oxe feom Lixcolx.
Xos. 1 and 2. Doorways in the passage leading from the Dean's-yard to the
Cloister ; Xo. 3. The entrance doorway to the Chapel of St. Erasmus, on the
north side of Edward the Confessor's Chapel, Westminster ; Xo. 4. On the
east side of the Cloisters, Lincoln Cathedral. This doorway was barbarously
enlarged some years back, by cutting away the inner mouldings of the arch
and jambs. The original door, of very strong oak, embellished with tracery,
was taken away at the same time. It was built about the beginning of the
sixteenth century.
Xo. 9. — Plate XXXIX. Bishop's Palace, Lixcolx, Dooeway, with
CARVED Doors, &c.; 1440.
The specimen before us, besides its merit in point of design, obtains historic
importance from the circumstance of its date being ascertained, within a
very few years, by the arms tipon it,* thus fixing one example of the
* These belonged to bishop William Alnwick, who was translated from the see of Xorwicb to
that of Lincoln in 1436, where he sat till his death in 1449. His name was recorded on the stained
DOORWAYS OF TATTERSHALL CHURCH. 9
progressive changes in style, which our ancient architecture was continually
receiving. The arch is not flattened, as began to he the fashion about that
time, and as was done in those of other doors, and some windows of the same
fabric. The square turn of the label was a mode introduced not much before
this instance, and continued in use to the very latest examples of the pointed
arch. The mouldings of the different members are neatly carved, so as to
produce smart lines of shade, which have a very good effect in the original.
The Plate gives an elevatioia in front, with corresponding sections, taken
upright, and across, as also these details. — A. Tracery of one panel of
the doors. — N.B. The outward one on each side is narrower than the others.
B. Section and return of the label, or hood-mould. C. Capital to one of the
little columns in the jambs, with its plan. The shaded lines are for the shaft
and moulding on its inner side, next to the doors. D. Mouldings of the base,
to the same columns.
No. 10. — Plate XL. Tattershall Church,* Lincolnshire, — West
Doorway ; 1455.
This specimen has, in the example given, a remarkable effect, from the
contracted size of the door, and the depth of the recess within the jambs.
The tracery round the outside was intended to take off the disproportion
between it and the window above, which it does, so well, that the whole has
a rich and pleasing appearance. The Plate contains an elevation of the
entrance, in front, an upright section, and a plan, shewing the mouldings of
the jambs, &c. On the left hand, two enlarged portions of the tracery
are delineated, with their sections, A. B. The shields above the doors are
all plain. C. is one of the little bases, drawn on a larger scale.
No. 11. — Plate XLI. South Doorway of Tattershall Church.
The town lying on the north side of the Church, the southern porch was
not so much regarded as the opposite one, which was the principal entrance.
glass of the cliapel windows adjoining the tower to wliicli this door belongs, which was also built b}'
him.
* Tattershall Church was erected into a collegiate establishment by Lord Cromwell, builder of the
castle, who rebuilt the church also. The fabric of the church remains of its original dimensions, though
the cloisters, &c. are entirely demolished. The fate of its choir, which was ruined by being despoiled of
its fine painted glass in the last century, is well known from Mr. Gtough's relation. It is built in the
form of a cross, with a low tower over the western end of the nave. It was in course of building, when
Lord Cromwell died, in 1455.
10 SPECIMENS OF GOTHIC ARCHITECTURE.
This was nevertheless adorned in a corresponding style, if not so elaborate,
and its simplicity makes it capable of more easy imitation. The crossing of
the mouldings in the outer angles of the jambs may be noticed as a refinement
of execution peculiar to late examples. This may cost the workman more
labour than the simple junction of the diagonal line, and sometimes without
producing a good effect. The doors are not studded with nails, which were
less used in this century than in the preceding one.
No. 12. — Plate LTX.* Entrance to the Refectory, Windsor.
The entrance to a small inner court in the Lower Ward of Windsor Castle is
here represented. It leads to the refectory intended for the chaplains and
choristers of the Collegiate Chapel, as the inscription in the head of the door
declares, " ^des pro Sacellorum et Choristarum oonviviis, Extructa
1519." The date gives a j^eculiar value to this specimen. The niche over
the door is remarkably broad for its height, and was probably designed
for an equestrian statue of the patron St. George. Above this niche is an
accumulation of ornaments, elegant in detail, but heavy and ungraceful in the
general effect ; a censure which many more considerable works of that era of
architecture may be thought to deserve. The elevation shews the entrance
and as far as an angle made by the return of the wall, where another niche is
set. The swellino; frieze of foliage over the broad niche was an ornament of
late invention, yet it is a very beautiful one ; we see it repeated on the
pedestal. At a. is the plan of the niche.
b. Moulding of the door-jamb at large. The same combination of curves,
more or less repeated, will be found to make up the mouldings of most
examples of the later style.
A section, taken through the centre of the door, and the plan beneath the
elevation will completely elucidate the whole composition. The wall is of
brick — the ornamented parts of freestone.
No. 13. — Plate LII. St. Mary's Church, Lincoln,— Window and
Details.
The form of this window was very commonly used throi;ghout the whole of
the fourteenth century, and later. We find windows of various dimensions
with their upper parts traceried in this pattern ; some small ones of a single
light in breadth : domestic apartments frequently had them of two lights ;
and where larger windows were required, we see the pattern extended to
ORIEL WINDOW, LINCOLN. 11
five and eveu six lights or bays. This window has been sekjcted as an
example of considerable elegance, produced by lines of great simplicity.
The label, or hood-mould,* is terminated by forms which will Ije Ijcst
understood by the engravings : there are examples of such an ornament
in sonae arched windows at Lincoln, of the age of Edward I. The details
at A. B. shew a portion of the tracery, enlarged. C gives a section of the
upright muUions. D. the string-course, remarkable for its simple form.
Such mouldings not only relieve the flat surface of a wall, but help to
throw off the wet, and so protect it from the inj uries of the weather.
No. 14. — Plate XLII. Oriel Window, John of Gaunt's Palace,
Lincoln.
The curious investigator of domestic antiquities will not fail to appreciate
this remnant of a once splendid habitation.t In delineating its form and
enrichments, most scrupulous care has been taken to give a full and exact
portrait, such an interesting specimen being very rarely seen. The elevations
of the front and profile exhibit no more than what actually exists, except the
tops of the pinnacles, which, being broken ofi" level with the foliage between
them, are here restored in a style corresponding with the other ornaments :
it may also be proper to notice, that the three lights, which, no doubt, were
once "cloised ivell ivith roiall glas," (Old Eomance of the Squire of Low Degree,)
are now blocked up, and the mouldings partly obscured by plastering. The
* In countries where freestone is the usual buikling material, especially Yorkshire, wliich abounds
with Cjuarries, several of the old masonic terms remain in use ; hood-mould, the projecting moulding
of a door or window whicli covers the other mouldings, is one of these.
f Prince John, of Gaunt, having acquired the earldom of Lincoln by marriage, appears to have
been much attached to the place, where, and at Bolingbroke Castle, in the same county, he often
resided. Lincoln Castle was an official residence of his ; but his house, which stands in a more
sheltered situation, was most probably built for the Lady Katherine Swynford, to whom he was
many years attached, and who at length became his wife. She survived him from 1399 to 1403,
and lies interred in the choir of Lincoln cathedral. This palace must liave been built on an extensive
plan, as the foundation and different remains have shewn. The front next the street was nearly
entire when Buck published a View in 1726, but has since been quite altered, and dep)rived of all
ancient ornament, except this window, which is attached to the south end : another ancient window
or two are left, with several busts, and figures, pierced for spouts, at the back. When Buck's view
was taken, the royal arms of France and England, quarterly, were sculptured on a large shield on
the front, which Dr. Stukely also noticed in his " Itinerarium Curiosum."
12 SPECIMENS OF GOTHIC ARCHITECTUBE.
bracket, which sustains the frame of the window, is covered with sculpture,
divided by plain mouldings into four tiers. The lowest of these consists
of a single figure, representing an angel serving as a bracket. The next
has three masks, or faces : viz. at the right, a queen ; in front, a king ; and on
the left, a bearded man, rather defaced. Above these runs a course of foliage,
displayed in lai'ge leaves. The uppermost division has six figures, one
beneath each of the little abutments, which guard the angles of the window.
Against the wall on the right hand, is a man covered with hair, wearing a
long beard, holding a bird in one hand, and in the other a branch ; next to him,
an angel playing upon a cithern ; then, a king with a long beard : on his left
hand, an old man clothed in a mantle ; beyond this figure, a youth in a
close robe ; and lastly, against the wall, a bearded man, rather disfigured.
A plan, or horizontal section, taken at two difi"erent heights, is drawn in the
upper part of the plate, D. E. ; below is an enlarged section of the bracket,
shewing the projection of all its mouldings, with their several measurements.
These details are also represented separately, with letters referring to the
elevations. Fig. B. Hea-d uj^on the little bracket of one of the niches, in the
two blank lights. C. A pannel, with section, of those beneath the lights.
F. Coping of a buttress. G. Enrichment on the front of each buttress.
H. Final rising from the crockets over every light. All examination of the
interior of the oriel is unfortunately obstructed by a modern chimney, built
up within it.
No. 15. — Plate XLII. Window of John of Gaunt's Palace, Lincoln;
AND one from South Carlton Church, near Lincoln.
The first of these specimens remains in part of the same building in which the
beautiful oriel, represented in the preceding Plate, is situated. The apartment
to which it belongs has been so much altered, that its original size and form
cannot be made out; it is on the ground floor, and this window faces the south;
there is no appearance of this room having ever been a chapel. The elevation
comprehends half the window, represented in a perfect state, some parts of
the original having been rudely hacked and broken, which are here restored
from a careful examination of what is left entire. On the left hand jamb
is shewn a section of the pier, which divided this window from one that has
been pulled down. The bust above served for the arches of both windows,
the two hood-moulds resting upon it. The profile of this bust is shewn by
JOHN OF GAUNT's PALACE, LINCOLN. 13
the side of the front view : the features care old ; the head-dress that which
ladies wore in the early part of the fifteenth century, to which date this
window must be referred.*
a. Kefers to an enlarsjed detail of the little battlements over the middle
tier of lijfhts : it is moulded inside in the same manner as on the outside.
b. Tracery in the heads of the upper row of large lights. This tracery is
mostly cut away. c. Head of one of the lower lights, filled with glazing of
the original pattern, as made out from ancient panes scattered about in the
window.t d. One of those panes, which are quarrels, or lozenges of clear
glass, stained with yellow, and diapered with lines, &c. in bistre : the effect
altogether must have been very pleasing, and better adapted to a habitable
room than rich colours and figures.
The second of these specimens is brought forward as an example of
similar style, though much smaller, and less enriched. We find the upper
parts of both divided into narrow lights, half the breadth of those below,
with thinner mullions, and moulded and pointed alike : the same sort of
embattled transom crosses both : the arches of both form nearly the same
sweep, only that this is a simple curve, whilst the other is rounded at the
springing : in short, they may safely be pronounced of the same age. The
elevation takes in rather more than half the breadth of this window, there
beins: two larger licfhts, and four smaller ones.
a. Section of the little battlements, which are worked the same on the
inside as in front.
A section of the jamb is shewn in outline, and the forms of the mullions
are shaded, the upper ones being moulded on both sides ; the lower one left
square, for the better fitting of the wooden shutters, which went no higher
than the battlement.J
* This part of the palace was certainly of later erection than the first buildings.
+ The fleurs-de-lis over these lower lights form an elegant ornament : they, not improbably,
might be adopted in compliment to Henry V. when conqueror of France, and the conjecture is
countenanced by the arms of France and England, quarterly, which were carved on a large shield
in front of the palace, the former arms being represented in the manner first borne by him : viz. with
only three fleurs-de-lis.
X The mullions of the other window in this Plate are also square inside, as high as the battle-
ments, and iron hooks for two tiers of shutters remain in the stone-work. After a close examina-
tion of the Carlton window, it appears not to have been originally designed for a church, but
rather for domestic use, and very probably was brought from a mansion adjoining, anciently the
VOL. I. C
14 SPECIMENS OF GOTHIC ARCHITECT IJIIE.
No. 16. — Plate LIX. Specimens of Square-headed Windows.
These windows ;ire of forms proper for domestic buildings. 1. Is taken
from a decayed house built of stone, in the city of Lincoln. The room to
which this window belongs is wainscotted with oak, in small square pannels,
with a chimney-piece carved in the Romanesque style, prevalent in the reign
of Queen Elizabeth. The window resembles one in front of a timber house
at Tunbridge, in Kent, on which is the year 1593, probably about the date
of this building.
2. Is taken from the gable of a building, erected in the fifteenth century,
for granaries, stables, and other offices to the College of Vicars in Lincoln
Cathedral.
3. The Stone-Bow is a very spacious gate-house, built across the High
Street of the city of Lincoln. This window belongs to the upper story, in
which is the Guild-hall. The windows are set two arid two tosether, each
pair divided by a narrow pier ; the lights are uncommonly spacious, and are
well designed.
4. Is a window of very late style, rather massy, but well moulded.
6. The proportions of this single light are very neat.
No. 17. — Plate LXIX. Oriel-Window, and parts of other Windows
FROM Oxford.
No. 1. Part of a window from the porch of the church of St. Peter in the
East, at Oxford. No. 2. with plan and sections, from Magdalen College,
Oxford. Two or three such windows have been j^rojected from the fronts
of different chambers, as improvements of the original lights. This window
appears, by its style, to be of the early part of the sixteenth century.
No, 3. A window of singular pattern from Christ-Church. No. 4. An arched
window from the same collea-e. No. 5. An arched window in Magdalen
o O
Church. Compare the last two specimens with those in Plate XXVI. Vol. II.
described at page 15. The sections are pointed out by letters of reference.
residence of the noble family of Monson, who continue to bury here, which mansion was destroyed
aliout the time of the civil wars. There are two windows of this form, which stand within arches
formerly opening into an aile now pulled down. We have been thus minute in describing the peculiar
forms of these windows, as specimens of ancient domestic architecture are not common, nor are
they so well understood as they deserve.
YORK CATHEDRAL. 15
Nos. 18, 19. — Plates LXXIII. LXXV. Buttresses from Oxford.
The l>iuldiiigs whence these are taken, as well as corresponding letters of
reference to elevations and plans, are engraved on the Plates.
No. 20. — Plate XXVIl. York Cathedral, — Lower Part of a
Pinnacle on the South Side of the Nave.
The subject illustrated by this Plate, and that numbered XXIX., exhibit a
fine specimen of the style of the fourteenth century, in its earlier period, not
later than the reign of Edward II.* These Plates, togethci-, display one of
the tall pinnacles rising above each buttress, on the south side of the nave of
York Cathedral. On the left hand of Plate XXVII. is an elevation of the
body of the buttress, immediately above the parapet of the aile, a section
of which is ffiven at the foot of the elevation.t The western side of the
pinnacle is represented with an open tabernacle for a statue, which stands in
front attached to it. An elevation of the canopy of the same tabernacle,
as seen in front, is also given. In these elevations, the plans of the small
piers are shewn, with one of them at large. P. The interior form of the niche
and the groins of its roof are also explained by lines. J. Section of mould-
ings of one jamb of the pannels on the sides of the pinnacle. K. L. M. N.
refer to horizontal sections of the ornaments, explaining the forms to which
the materials require to be reduced, before they are wrought into foliage.
0. Section taken across one of the little pinnacles of the tabernacle, shewing
its size, with the crockets, &c.
No. 21. — Plate XXIX. is a continuation of the former Plate.
An elevation of the pinnacle, in its upper stage, is placed on the left side.
The plan is shewn in a section at G. one angle of which is given on a large
scale in the shaded outline G. — A. Section of the finial, shewing the pro-
jections of its different parts. B. neck-mould. C. Refers to the section
* The Nave was rebuilt between the yeax's 1291 and 1330, but some of the outward finishings,
particularly the open battlements of the upper story, are of later style. See Britton's "Cathedral
Antiquities," where Plate XVIII. of the illustrations of York Cathedral gives an elevation of the
whole buttress and pinnacles, here displayed in parts.
f The whole elevation of the pinnacle and buttress measures 101 feet. That of the body of the
pinnacle is cut out in our representation, in order to bring it within the compass of a Plate, without
reducing it to a scale of minuteness.
16 SPECIMENS OF GOTHIC ARCHITECTURE.
of the pinnacle among the details. E. Section of a finial, taken in the same
manner as A. and explaining the position of the crockets, three in each of
the three tiers. E. neck -mould of the same finial. A plan of the finial is
placed above, in further illustration of D. The purpose of these dissections
is well known to practical men, for whose use they are calculated. F. Section
of the hood-mould in the little crocketed gables. H. belongs to Plate XXVII.,
being a horizontal section of the finial referred to by that letter in the above
Plate. I. Neck-mould to the same.
No. 22. — Plate XXXI. Sections op the Mullions of Windows in
York and Beverley Minsters, reduced to one-fourth of the real size. —
York : — Nos. 2. and 3. Larger and smaller mullion of the upper window of
the nave ; 4. Window of the south aile of the nave ; 5. Tracery of ditto ; 6.
and 7. Window in avenue to the Chapter-House ; 8. and 9. Chapter-House
window; 10. Rib groining in the nave. — Beverley: — 11. and 12. Cornice
of the screen behind the altar; 13. and 14. Large and small mullions of a
north window of the nave.
No. 23. — Plate LXII. Brackets and Pedestals from Westminster, &c.
No. 1. Pedestal in an octagonal niche, Henry VII. 's Chapel ; 2. Bracket,
St. Nicholas' Chapel, Westminster Abbey ; 3. Ditto, Bishop's Palace, Lincoln ;
the arms belong to Bishop Wm. Alnwick, mentioned under Plate XXXIX. ;
4. Pedestal in north front, Westminster Hall ; 5. St. Edmund's Chapel,
Westminster; 6. and 7. Henry V.'s Shrine, ditto; 8. Bishop Flemyng's
Chapel, Lincoln ; 9. Norwich Cathedrah
No. 24. — Plate LXVIII. Pinnacles and Turret.
No. 1. Pinnacle with niche and statue ; plan, and parts of the open battle-
ment, from Magdalen College, Oxford ; No. 2. Octangular stair-turret, with
pinnacle, &c. to the tower of the same College. The lofty bell-tower of Mag-
dalen College forms a principal object in the views of Oxford. It was finished
in 1498. Four octagonal turrets, finished by crocketed spires, rise at the
angles; and four pinnacles, each having a statue standing within a taber-
nacle in front, are placed between them ; the battlements are perforated, and
the whole composition appears with very fine elfect. Parts of the battlements
are delineated in Plate LXXIV. No. 3. Pinnacle, with tracery and parapet,
to All Souls' College, Oxford.
LINCOLN CATHEDRAL. 17
No. 25. — Plate LXXIV. Parapets and Battlements from Oxford,
— with sections and references to the buildings from which they are taken.
No. 2. is composed of two specimens of very different ages. The heads and
the little arches above them belong to the original fabric of the church. The
parapet, built upon them, is part of extensive embellishments added to the
old structure in the fifteenth century.
No. 26.— Plate XXVIII. Font in St. Mary's Church, Lincoln.*
Without pretensions to distinguished elegance or richness, the composition
of this font will be found to have been well understood. In some instances,
we find fonts of a corresponding age and style finished with lofty canopies
of wood, wrought in pinnacles and open-work. Two of uncommon height
are represented in the Vetusta Mouumenta.t This has lost its original cover.
The plate gives an elevation, section, and plan of the whole. At A. is a
detail of one of the little buttresses, with a corresponding section ; the tops
of these being cut off without any finish of ornament, look as though intended
to be continued upward, by the pinnacles of a cover such as we have noticed
above. B. Section of the mouldings on the base. The eight sides of the
bowl are all sculptured in the same style as the three represented.
No. 27. — Plate XXX. Lincoln Cathedral,— Stone Screen; 1340.
The screen, which forms the subject of this Plate, stands in front of one
division of an aile on the eastern side of the transept of Lincoln Minster.
There are three of these screens in each arm of the cross, or transept,
each of which had anciently an altar : the other screens are of wood ;
this is executed in stone. The Plate gives an elevation of the centre, with
a part of the sides, which are continued in the same style as what is
here drawn, up to the ends. The section shews the thickness of the different
divisions in this elevation, which is very light and well contrived. Of the
details, A. shews the finish of a little buttress at the sides of the door, with a
section. B. Section of moulding on the base. C. Top of one of the little
* The actual date of this font is imkuovvn ; from a iiiorij attentive consideration of its ornaments,
we are inclined to think it not so old as the date put upon the engraving, 1340, and suppose it to be of
the fifteenth century. One of the shields upon its sides is charged with bendy of seven, probably the
arms of the donor. The other shields are plain.
t See Vol. III. Plate XXV. See a variety of fonts in the Archa;ologia, Vol. XVI.
18 SPECIMENS OF GOTHIC ARCHITECTURE.
pinnacles in front of the lower part. D. A small cornice in the upper part,
studded with flowers.
The exact date of this specimen is not known ; but we may judge of its
age, as well by the style of its ornaments as by the arms sculptured upon
the shield beneath the uppermost niche, which are the bearings of Old
France and England, quarterly, as assumed by Edward III., with the
title of King of France, in 1338.* The other shields, which profusely deco- .
rate the upper parts, are all plain. Within the arch of the door is inscribed,
with some contractions, " Oremus pro Benefactoribus istius Ecclesi^,"
alluding to the purposes of the endowment anciently belonging to this chapel,
which was, to pray for the benefactors to the church, both living and dead.
The four little statues kneeling at the sides, represented the chaplains who
served The Works Chauntry, as it was called : these have had their
heads mischievously broken off". Upon the point of the door-arch sits the
figure of a bishop in full costume. The three niches on the top of the centre
undoubtedly contained statues ; and other figures of smaller size were in-
tended, no doubt, to range in pairs above the embattled parapet on the
sides ; but of all these moveable ornaments not a fragment is left.
No. 28. — Plate LV. Specimens of Pannels.
No. 1. From St. Erasmus' Chapel, Westminster Abbey Church; 2. St. Paul's
Chapel, ditto; 3. Exterior, North Front, Westminster Hall; 4, 5, 6, 8, 16.
Henry VH.'s Chapel; 7. Henry V.'s Monument, Westminster Abbey; 9, 10,
11, 15. Bishop Longland's Chapel, Lincoln Cathedral; 17. Norwich Cathe-
dral; 12, 13, 14. Sir James Hobart's Monument, temp. Henry VH. in the
nave of Norwich Cathedral.
No. 29. — Plate LX.* Spandrils from Westminster. — Nos. 1, 2, 4,
G, 7, 9, 10. lienry VH.'s Chapel ; 3, 5, 8. from the AlAey Church.
No. 30. — Plate LXXVH. Groining from Westminster Abbey, &c.
explaining the mode of forming centres. — No. 1. Horizontal and perspective
views of a fourth division of one compartment, or severy of a vaulted roof, in
* Charles the Sixth reduced the arms of France to three fleurs-de-lis, after whose example our
king, Henry the Fifth, altered the old bearings of France in his quarterings.
FLEMYNG's chapel, LINCOLN MINSTER. ' 19
the south side of the cloisters, shewing the manner in which the centres
of each rib are to be found. The centres of all the arches, or parts of arches
are placed on the line of the spring. The point L is the centre of the arch
MH. The height FII is equal to RII, QG to UO, DK to WV, and SM to
CM : and from the centres N, Z, T, D, the arches EH, EG, KX, and MK,
are formed. No. 2. One fourth of a compartment in section and horizontal
in the roof of an aile of Henry VH.'s Chapel, Westminster. No. 3. Vault
under the vestry of Lincoln Minster. The arches of this crypt are circular.
No. 4. A boss in the centre of one bay of the vaulting, in the nave of Lincoln
Minster. The foliage is highly relieved and under-cut.
No. 3L — Plate XXX VL Bishop Flemyng's Chapel, Lincoln Minster.
The specimens detailed in this Plate are parts of a chantry attached to the
north aile of Lincoln Minster, near the east end. It was built as a sepulchi'al
monument for the prelate whose name it bears.* This little chapel, which in
its situation may be compared to those which range along the sides of
King's College Chapel, Cambridge, is, like them, bounded in its length
by two buttresses of the larger building to which it is attached, and in its
height also by a window of the church which looks over it. The inner front
towards the church presents a small entrance, very prettily adorned, and the
tomb of the founder placed under a flat arch. His effigy rests upon the tomb
in pontifical vestments, and ]:)eneath is the figure of a wasted corpse wrapped
in a windino- sheet.t
The elevation on the left hand of the Plate gives half of one bay, or
division, of which there are three in front ; the projection of the buttresses is
shewn at the return of the angle. The appearance of this front is very
pleasing ; none of its ornaments are elaliorate, but the whole is neatly
compacted and of good proportions. The tabernacles, or niches, of which
every buttress has one in front, are the most delicate of the ornaments.
* Richard Flemyng presided as bishop of Lincoln from 1420 to his death in 14.30. Dr. Robert
Flemyng, a relative of the bishop's, was dean of this cathedral from 1451 to 14S.3, and made some
endowment for this chapel, but the bishop's tomb seems evidence of its having been built before that
endowment.
+ This memorial of the frailty of our mortal state, has given rise to a silly story of tlie bishop's
having died in consequence of rigorous fasting in Lent ; the same is related of similar figures in other
churches, both in England and in France.
20 SPECIMENS OF GOTHIC ARCHITECTURE.
These are separately delineated ou a laro-er scale than the elevation. The
statues are entirely gone.
Details : — f. Plan of the jamb of the windows, with g. a muUion of the
same. b. Elevation of the base and canopy of one of the tabernacles, with
plan of the same underneath. Perpendicular section of a tabernacle in its
entire height, h. Portion of the embattled parapet, with a section, e. Section
of the bracket in the niche. a. Section of the bottom mouldings of the
window, with the surbase. c. d. Base and cap of the little shafts at the sides
of the tabei'nacles. i. Part of the plan.
Nos. 32, 33, 34, 35.— Plates XXXIL, XXXIII., XXXIV., XXXV.
Westminster-Hall.
Westminster-Hall, though generally looked upon as nothing more than a
court of justice, was anciently the great dining-room of the royal palace.
It was first erected by King William Eufus,* but about three centuries
afterwards was rebuilt by Richard II., who, on its completion in the year
1399, solemnised Christmas by a feast held in it with characteristic profusion :
and it is commonly stated, that he and his guests sat down every day to the
number of ten thousand. Excepting the north end, which, being the principal
front, was adorned with a rich porch, and a number of tabernacles, and
statues, Westminster- Hall presents but little external beauty. Its deep roof
resembles some huge barn ; but though its sides have been stripped of their
lead covering, and mean-looking slates substituted, it has yet an air of
* The lower parts of the side-walls are remains of the original building, which was probably sup-
ported by two ranges of pillars, no roof of that period being capable of covering so great a breadth
in one span. The hall of the episcopal palace at Lincoln was so divided by two rows of stone
arches, with columns of Purbeck marble. It was erected in the reign of Richard I. The hall of the
ancient royal palace at Eltham, in Kent, resembles this of Westminster, but is much smaller. The
next age reduced the pitch of their roofs to a much lower angle. The roof of the refectory, built by
Cardinal Wolsey for his college at Oxford, is the finest specimen of the low-pitched roof. That
of the hall built by King Henry VIII. , at Hampton Court, rises with a steep pitch, but is cut ofl'
obtusely ; such a form was contrived to gain internal capaciousness, without extravagant height. [See
Vol. II. of this work.] The decorations of that roof are more florid than those of any other in the
kingdom. Tlie hall of the Middle-Temple, raised in the time of Queen Elizabeth, has ,a roof in
the ancient style, but finished with Roman mouldings. At Lambeth-Palace is a hall, with a roof in
imitation of that of Westminster, built in the reign of Charles II., and it is a fine piece of woik,
thougli spoiled, like that of the Temple, by incongruous ornanxents.
WESTMINSTER-HALL. 21
grandeur inseparable from such dimensions. The interior, however, makes
ample amends for any external want of elegance. An extent equal to a
cathedral church is presented in one vicAv, unbroken by pillars, and the roof
delights the scientific spectator by the intricate and skilful arrangement of
its timbers, in which lightness, strength, and ornament are combined in the
liappiest manner. The object of the present work being to reduce the forms of
ancient art within the compass of imitation, leaving to others the lighter task
of representing scenic efi'ects, two of the Plates illustrative of Westminster-
Hall are filled with geometrical delineations of the chief parts of the roof,
which principally claim our admiration ; and the other two with elevations of
windows, and other prominent features. The angle of the roof is formed
on what country workmen still term common jyitcJi, the length of the rafters
being about three-fourths of the entire span. The cutting off' the girders, or
tie-beams, which, crossing from wall to wall in common roofs, restrain all
lateral expansion, was the first circumstance peculiar to this construction.
To provide against lateral pressure, we find trusses, or princi2Jcds^ as they
are technically designated, raised at distances of about 18 feet, throughout
the whole length of the building. These trusses abut against the solid parts
of the walls, between the windows, which are strengthened in those parts by
arch-buttresses on the outside. Every truss comprehends one large arch,
springing from corbels of stone, which project from the walls at 21 feet below
the base-line of the roof, and at nearly the same height from the floor. The
ribs forming this arch are framed, at the crown, into a beam which connects
the rafters in the middle of their lenoth. A smaller arch is turned within this
large one, springing from the base-line of the roof, and supported by two
brackets, or half-arches, issuing from the springers of the main arch. By this
construction of the trusses, each one acts like an arch ; and by placing their
springers so far below the top of the walls, a more firm abutment is obtained ;
subordinate timbers co-operate to transfer the weight and pressure of inter-
mediate parts upon the principals ; and thus the whole structure reposes in
perfect security after the lapse of more than four centuries from its first
erection. The above brief analysis of this stupendous frame may, it is
hoped, render the Plates better understood by persons not practically
versed in Architecture ; our opinion is, that verbal descriptions of elaborate
buildings too generally fail of conveying intelligible ideas ; and the reader is
not likely to be gratified by rhapsodies of indiscriminate admiration, although
the writer may.
VOL. L D
22 SPECIMENS OF GOTHIC ARCHITECTURE.
No. 32. — Plate XXXII. A transverse section of half the roof, showino-
the elevation of so much of one p7'incipal, is here exhibited. The principles
of construction having been explained, but little need here be added, beyond
specifying the parts referred to : — A. Large timber arch, framed at top
into the beam, d.* F. Above the bracket, or half-arch, is seen to diverge
from the larger curve, terminating in the figure of an angel, whence the inner
arch takes its spring. E. One of the upright timbers, or queen-posts,t
standing upon the end of the girder where it is cut off, and entering the
principal rafter at the same point with the wind-beam, d. H. Arch-buttresses.
Details : — A. A. Sections of the arched and upright timbers at their
junction. E. Section of a rib of the inner arch. F. Section of the arch at
its springing. A. Section of the stone-arch of the buttress, b. Tracery of
one space of the screen- work, with which the main timbers are filled in.
N. B. This screen-work is a great ornament to the roof. c. Eidge-tree.
d. Section of a mullion of the screen-work. g. Tracery in the spandril
of the bracket.
No. 33. — Plate XXXIII. A. Longitudinal Section of one bayj of the
roof, showing a window beneath it, &e. This, with the preceding delineation,
will explain the construction of the whole roof. We see the entire height of
the timber-work formed in three divisions. The lowest rests upon corbels of
stone, ranging with the cornice beneath the windows, and reaches to the top
of the walls. The next division reaches up to half the height of the rafters,
where the arched ribs and other ornamental parts finish. The upper part
from hence is left plain, as being very little seen from the floor. The
windows, with wooden frames in the middle division, probably did not make
part of the original design ; § they have, nevertheless, a good eff'ect, by
admitting light where it is much wanted, and are become necessary, since
* Such a timber is called, in old accounts, and still by country carpenters, a %vind-beam, from
its usefulness in staying a steep roof against violent winds.
t Where a single upright rises to the ridge of a roof, it is called a Jcing-posty where a pair are
set up at the sides, they are called queen-posts.
X A bay, in this sense of the term, is taken for the space between two principals. Buildings are
described in old surveys, as consisting of so many bays.
§ St. George's Hall, in Windsor Castle, had windows of this sort above the walls. The roof
and whole interior of this hall were modernized by King Charles II. ; but a view of it, before that
alteration, is engraved in Ashmole's History of the Order of the Garter.
WESTMINSTEK-HALL. 23
many of the windows below have been blocked up by modern buildings raised
against the walls, and which have therefore sadly obscured the upper end of
the hall.
Details :— a. b.— a. b. Elevations in front, B. and at the side, C. of the
ornamented head and base, which finish the sides of the queen-post. This
sort of pilaster resembles a slender turret, and forms a very neat decoration.
D. Profile of one of the angels which ornament the brackets.
E. Fore-shortened view of the same. These figures form the most striking
decoration of the roof ; they have a bold and fine effect, whether looked up to
directly, or viewed in a range perspectively. Each one holds a large shield,
bearing old France and England quarterly, the royal arms of the founder.
Tracery of spandril.
6. H. Views of carving which finishes the hood-mould of a window. It
represents a deer lying down to rest, with the head of an old man in a cowl,
like a hermit, looking over it : it seems to allude to a story in the legends of
the saints. The same subject is repeated in different parts of the hall.
No. 34. — Plate XXXIV. A. External Elevation, and B. Section of the
great Window over the entrance to Westminster-Hall, with its plan, D. D.
This noble light is an early specimen of a new mode of tracery, which,
about the period of its erection, superseded the ramified patterns that filled
the great windows of the fourteenth century. Here the tracery is confined by
perpendicular lines, continued upwards from the muUions of the chief lights.*
The whole breadth of the window is distributed into three chief divisions,
which are again divided into three subordinate ones. This manner of arranging
the different lights was followed in several of the principal windows of the
succeeding century, after the flattened arch became fashiounble. The hood-
mould of the arch is terminated by sculptures of a hart collared and chained,
the badge of King Richard II.
* The great Western Window of York Minster is a most beautiful example of ramified tracery, but
is exceeded by the eastern window of Carlisle Cathedral, which may be pronounced the finest piece of
that sort in the kingdom. Durham has a fine one at the west end : and a circular one at Lincoln is
eminently beautiful in tracery, resembling the fibres of a leaf. Of the style exemplified in the north
window of Westminster-Hall, the eastern window of York Slinster is, beyond dispute, the finest in the
world. Very fine specimens are seen in the eastern window of Beverley Minster, &c. and of the same
description, under flattened arches, in St. George's Chapel, Windsor ; King's College Chapel, Cambridge,
&c. — See Britton's Architectural Antiquities, and Cathedral Antiquities. See the term Perpendicular, in
Introduction to Vol. II. p. xiv.
24 SPECIMENS OF GOTHIC ARCHITECTURE.
No. 35. — Plate XXXV. A. External elevatiou of a side- window of
Westminster-Hall.
D. Plan of the same, with its muUion, B. separately detailed.
C. Section of the window, taken perpendicularly.
a. Elevatiou of the bases of the columnar mouldings attached to the
window on the inner side. Beneath is a plan of the same.
G. H. Views of the front and profile of a piece of sculpture at the ends of
the hood-moulding. It represents the white hart, the founder's cognizance,
the same as on the great northern window and other parts of the building ;
but in this instance, a tasteful addition is introduced of pales, as of a park
fence, which, placed beneath the animal, form a support to it.
J. K. Elevations of the front and one side of a stone corbel from
which the timber arches spring.- The arms are those attributed to King-
Edward the Confessor, supported by two harts. Richard 11. assumed
these arms, sometimes bearing them together with those of France and
England, in veneration of his sainted predecessor. Beneath each of
these corbels, a sort of half-column, or canted pier, has been built ; a
casing of stone was at the same time affixed to tlie walls. This was
done about the year 1781, when some repairs were made on the roof,
&c. The necessity of these additions has been questioned by some men
of science ; and, since they certainly deform the building, it were to
be wished they might be taken down, if found unnecessary. The northern
front of Westminster-Hall has undergone complete repair, and the whole
surface has been restored with new work, and all the ornaments have
been re-worked.
No. 36. — Plate LXXII. Spire of St. Mary's Church, Oxford.
This spire, rising from its clustered pinnacles at the four angles of the tower,
is generally admired as one of the best-formed specimens in England. " By
richly clustering this steeple at the base, and leaving the shaft plain, the
whole elevation is striking and beautiful." "The perfection of a
spire and tower is formed upon a directly opposite principle in appearance,
but the same in fact. It is, that the shaft of each should be plain, and
the ornaments clustered, forming a capital or base, as inversely applied." —
[Dallaway's "Observations on English Architecture," pp. 122 and 123.]
The validity of the principle in the above observation seems to stand opposed
to several fine examples, especially of towers, where the ornaments are
TATTERSHALL CASTLK, LINCOLNSHIltE. 25
difiereutly disposed. The date of St. Mary's tower aud spire is attributed to
the reign of Henry VII. in the work just quoted ; but the style of architecture
in both evidently belongs to a period considerably earlier. From the canopies
to the tabernacles, the windows, and the hollow moulding [a casement,
see Glossary] studded with small round knots, which is abundantly made use
of in the ornamental parts, it may pretty safely be referred to the middle of
the fourteenth century, and not to a later period. The same moulding is
used in the details of Salisbury steeple, in the upper part of the tower. —
[See " Cathedral Antiquities."] The western steeples of Lichfield Cathedral
resemble this of St. Mary's in some details. — [See " Cathedral Antiquities."]
Dr. Plott tells us, that the battlements of this steeple " were repaired, and
thus thick-set ivith pinnacles," by Dr. King, Dean of Christ Church, then Vice-
Chancellor of the University.* — [History of Oxfordshire, folio, p. 271.] This
can hardly be referred to any thing but a restoration of some parts, perhaps
damaged by a storm. The upper pinnacles might indeed be the first added,
but it seems unlikely. The elevation, section, and plans of this beautiful spire
need no verbal description, t
Nos. 37, 38.— Plates XXXVII. XXXVIII. Tattershall Castle, Lin-
colnshire, — Two Fire-Places; 1440.|
These Plates present two fine specimens of embellishment in the residences
of our old nobility. The breadth of the spacious hearth seems to rekindle
* Afterwards Bishop of London from I6I1 to 162L
t Oxford possesses three steeples of very different dates and styles, forming excellent subjects
of comparison. Christ Church, the modern cathedral, anciently the conventual church of St. Frides-
wide, has an obtuse stone spire of very early style, rising from a tower of the same date, probably
about the middle of the thirteenth century : the whole well preserved, and unmixed with more
modern ornaments, and consequenth' valuable specimens, though not beautiful ones. The second
of this series, the spire of St. Mary's Church, has been fully described. The Church of All Saints
is a modern fabric, designed by the celebrated Dr. Hen. Aldrich, Dean of Christ Church ; and its
spire-steeple is an instance of the violence done to Grecian columns, and entablatures, whenever
they have been piled up to rival Gothic spires. The spire of All Saints "has fewer objectiotmble
parts" than almost any of such compositions, but that is very moderate commendation. — Dallaway,
p. 150.
+ Tattershall Castle was erected in the reign of Henry VI., by Ralph Lord Cromwell, who
resided at it in all the magnificence of feudal power, and died in 1452. The principal building
is a most stately tower of red brick, with walls of vast strength and admirable construction. This
castle appears never to have been inhabited by its noble possessors after the death of one of the
Clintons, Earls of Lincoln, in the reign of William 111. ; and tlie great tower, whence the subjects
26 SPECIMENS OF GOTHIC ARCHITECTURE.
the huge wood fires of those hospitable ages, and the pompous display
of heraldic insignia on the mantle-piece records their pride of high descent,
so jealously maintained by the great of feudal times, before the wealth of
commerce had asserted its pretensions against their claim to exclusive homage.
The rich effect of the carvings is strikingly set off by the bare walls around
them, which are now not only stripped of the rich hangings of tapestry that
once covered their nakedness, but exposed to the stains and injuries of the
weather. The arms refer to the pedigree of the founder : the purses record
his dignity of Lord-Treasurer : and of the two legendary compartments in the
first specimen, one represents St. George fighting the dragon ; the other a
man in combat with a lion, a feat of chivalrous prowess related of Hugh de
Nevil, one of the crusaders who served under King Richard I. The Architec-
tural members will be fully explained by the Plates. The arches in the walls
above the stone-work were constructed for relieving the weight, lest the
mantle-pieces should be broken by it ; and, with this precaution, they might
be put up after the walls were finished, and perhaps were so. Plate XXXVIII.
is taken from the lowest of four grand chambers : XXXVII. stood immediately
over it ; and still higher are two other fire-places, now become inaccessible by
the decay of the floors.
No. 39. — -Plate LIII. Two Chimney-pieces in Windsor Castle.
The taste for highly-embellished architecture, which distinguished the fifteenth
century, lavished its decorations upon every description of building. A fire-
place being the principal feature in the habitable apartments of our climate,
was sure not to be left unadorned. Two grand examples from the baronial
castle of Tattershall have been exhibited in Plates XXXVII. and XXXVIII.
This Plate displays two others of rather smaller size, and of later style, from
the royal castle of Windsor. The first belongs to a room in the upper ward.
It seems, by the form of certain parts, to be of as late a date as the reign of
Henry VIII.
A. Elevation of the front, with a plan and section. C. A pannel in the
frieze, on a larger scale, with a section of its mouldings. The united badges
of the above two Plates have been drawn, is divested of its roof, and left to ruin. — See a View of the
Castle, with historical and descriptive Account, in Britton's Architectural Antiquities of Great
Britain ; also two Plates drawn by Girtin, in Hewlett's " Selection of Views in the County of
Lincoln," published in 4to. 1797. A short account of Tattershall Castle is given in that work.
CHIMNEY-SHAFTS FROM ETON. 27
of the houses of York aud Lancaster, the two roses, decorate its centre.
D Eularo-ed details of the jambs. Their retiring sides are well adapted to
their purpose, and worth notice.
Two of the foliage ornaments are drawn separately in the right hand
corner of the Plate.
B. A chimney-piece from some buildings added to Windsor Castle by
Kino- Henry VII. This is a specimen of grander design than the preceding
one and may be compared with the first of those in Plate XXXVII. The
mouldino-s here are deeper and more relieved, though the hearth is of less
breadth than that in Tattershall Castle. The port-cullis, the badge of the
Beaufort family, from whom Henry VII. was descended by his mother,
forms the chief heraldic ornament. Several mouldings, &c. about this
chimney-piece, correspond with parts of the same king's sumptuous chapel
at Westminster. The two octangular shafts being detached from the jambs
is something uncommon ; their position is shown in the pjlan, and also in the
section.
E. Pannel, with its section, at large. F. Capital of one shaft, shewn
both in front and in profile. G. Section of mouldings in the jambs.
Comparing these specimens with those which are now set up to adorn our
best rooms, we may remark, that here the greatest skill, both in design and
workmanship, was bestowed on common stone: " JMateriam superat opus"
might truly be said of these ancient works ; whilst we seek the rarest foreign
marbles, and are contented to see them in slabs of the most shapeless forms.
No. 40. — Plate LVI. Chimney-Shafts of Stone from Windsor and
Lincoln.
No. I. From the Castle; No. 2. St. George's Chapel; and No. 3. From a
private house in Lincoln.
No. 41. — Plate LXVI. Four Chimney-Shafts from Eton.
These are executed in brick of fine texture, and skilfully wrought. They
were probably built early in the reign of Henry VIIL, although the college
and chapel were begun by Henry VI. Many curious particulars respecting
the building, &c. of Eton College, with two Plates, are given in the
" Architectural Antiquities of Great Britain," page 3 of Vol. II. and the two
Plates of similar chimneys there described.
28 SPECIMENS OF GOTHIC ARCHITECTURE.
Nos. 42, 43, 44, 45.— Plates XLII. XLIL* XLIV. XLIV.* Crosby-Hall,
London; 1450.
The remains of Crosby-Place have become so much obscured by modern
buildings, that no piece of antiquity in the metropolis, of equal interest,
is less seen by strangers. Here was a sumptuous mansion erected by Sir
John Crosby, a wealthy merchant and citizen of London, about the year 1470.
Richard, Duke of Gloucester, resided in it at the time the two infant princes,
sons of Edward IV., were lodged in the Tower, under his protectorship. It is
not known who succeeded Richard III. in the occupation of Crosby-Place,
after he had acquired the crown ; but it seems to have continued a long time
subsecpently in the royal possession, as Queen Elizabeth lodged certain
foreign ambassadors there. After that time, part of it was long used for a
place of religious worship ; but at present the two great apartments, all that
now remains of the original building, are used as a packer's warehouse. The
first of these stands on the east side of a narrow court, and was the hall.
The other building adjoins the hall, looking into the court toward the south ;
it is of the same height, but consists of two stories.
No. 42.- — Plate XLII. belongs to the latter building, consisting of
details from the roof of what is still called " The Council-Chamber," which
occupies the upper floor. A. Exhibits one-half of a timber arch at the east
end of the room, opening into the hall. B. Shows the elevation of one bay,
taken at the central rib. The form of this ceiling is simple, being of an
elliptical curve, springing from a level cornice on each side, and without any
groin. Arched ribs cross it between the windows ; and lighter ribs divide
the spaces into pannels, which are fretted and enriched with great diversity.
The character of these enrichments will be best explained by the engravings.
They were all finely executed in wainscot, and decorated with gilding ; in
short, the original must have been of the most splendid description. C. gives
the pattern of the tracery in one pannel, with a section of the depth of its
mouldings. D. A corbel beneath the springing of one of the arched ribs,
with part of the cornice in continuation : a section of the cornice is placed
next to it. N. B. These parts are of stone. E. Section of one of the
arched ribs. F. Shield and ornaments in a small spandril within the arch.
G. Enlarged portion of the arch A. H. Another little spandril from the
same arch.
CROSBY-HALL, LONDON. 29
Nos. 43, 44, 45.— Plates XLIL,* XLIV., XLIV.*
These three Plates are filled with details of the Architecture of the hall
of this palace, a short description of which, to accompany the delineations,
may be thought necessary. The front towards the court has a range of
arched windows, with an oriel, or bay-window, projecting into the court : the
original entrance has been destroyed, and a public passage broken through
the lower end of the hall. The interior measures 69 feet by 27 ; and the
heio'ht in the centre of the roof is about 38 feet.* The view within this
O
magnificent apartment is quite obstructed by a floor which now divides it
into two stories ; and many other injuries have defaced and mutilated its
various rich decorations. The roof is admirably wrought in oak timber, and
although sullied with smoke and dirt, presents an effect of great beauty and
dignity. It is ceiled in the form of an arch, like the council chamber; but the
hall being a much loftier apartment, the ornaments were designed in a bolder
style, and without so many florid details. Three ranges of pendants form the
prominent features ; ornaments which require to be consideraljly elevated
above the spectator in order to produce a pi'oper effect. The windows at the
sides are placed at a great height from the floor, as was common in such halls,
the walls beneath them being usually hung with tapestry, at solemn feasts.
No. 44. — Plate XLIV., which may better be explained first, in treating
of the roof, shows part of one arch, or princijxd of the roof, in a transverse sec-
tion, including rather more than half the span. The spandrils of the small
arches which connect the pendants are filled with tracery, pierced through : —
a. Stone corbel attached to a pier between two windows, from which the
timber arch springs, b. b. Pendants, worked at the bottom in forms corre-
sponding to the stone corbels, e. Line of the ceiling, which forms a flattened,
pointed arch : above this the rafters are quite out of sight, not exposed as in
* About 12 feet in length of the south end of the hall-roof are not ceiled like the rest, but left
unadorned : and it is remarkable that two windows on each side, beneath this part, are placed in pairs,
so that the roof could not have had springers between them as the rest has ; some have supposed this
part to have been originally separated from the hall. Beneath was undoubtedly a screen, enclosing
a passage behind which the principal doors opened as well as those leading to the kitchens, butteries,
&c. : above the screen was usually a gallery for music ; but this might be partitioned off to form a
chamber. At the other end of the hall a large breach has been opened to a room communicating with
a staircase and outer door.
VOL. I. E
30 SPECIMENS OF GOTHIC ARCHITECTURE.
Westmiuster and other earlier halls. This fashion was undoubtedly considered
an improvement upon the former ; but whatever neatness might be gained by
it, a ceiling necessarily prevented that airy lightness which gives such a charm
to the open roof f g. Part of the jamb of one of the side-windows, c. d.
A large hexagonal compartment in the centre of the ceiling, above which
the architect undoubtedly intended to raise a lantern, but which seems to have
been removed very early, if ever placed there, as the pannels which cover the
opening are ornamented with mouldings, &c., corresponding with those of the
ceiling ; and we find a large fire-place on the east side of the hall, which
appears nearly, if not quite, of original antiquity.*
No. 43. — Plate XLIL* A portion of the roof is here shown in an eleva-
tion passing longitudinally through the central rib. The extreme care to fill
up every part with appropriate enrichments is here remarkable. The windows
have their arches flattened towards the point, and bear a considerable resem-
blance to those in the hall of the old royal palace at Eltham in Kent. The
frieze of quatrefoils above them, and the spandrils wrought in tracery, similar
to the pendants, have a very rich eff"ect. In so fine a composition it may seem
somewhat fastidious to find fault ; but the row of pendants down the centre
appears too large, and had better have been omitted, or made subordinate to the
two ranges on the sides. B. Plan of a window, showing the deep mouldings
worked in the sides and muUion. C. Corbel of a pendant, seen in elevation.
D. Plan of the same, with its tracery, small battlements, &c. E. Corbel of
stone attached to the side-wall. F. Plan of the same, with its details, and
section of the arched rib springing from it. G. Part of the frieze running
along the walls beneath the arched ceiling, of wood. H. Section of the
same.
No. 45. — Plate XLIV.* Oriel Window. t — This window projects into
the court from the north end of the front, as was before observed, that being
* The halls of ancient mansions, colleges, and monasteries were generally warmed by fires of
charcoal, in an open iron grate, which stood in the middle of the floor, and had a lantern, or loiivre,
placed above it, formed like a turret of timlier, with the sides perforated to let out the fumes. The
hall of the Middle-Temple, London, tliat of Trinity College, Cambridge, and a few others, retain tliis
usage, which, during the last century, was given up, in most instances, for stoves or chimneys.
t Tiie Oriel Window was almost always an appendage to the ancient hall, from the fourteenth
century down to the reigns of Elizabeth and James I. Some halls had two, one on each side. They
chancellor's house, LINCOLN. 31
the upper end of the hall ; the fire-place is opposite to it. The whole frame
of the oriel is much to be admired, combining strength with an elegant light-
ness, and designed in strict conformity with the structure to which it is
attached. A great injury has been inflicted upon it, by breaking a door
through its upper part, alcove the floor which now divides the hall into two
stories ; and its exterior is blocked up by a temporary staircase.
Figure 1. refers to an elevation of the interior as it opens towards the hall.
Fig. 2. gives an elevation of half the outside, as seen in front. Fig. 3. a sec-
tion taken through the centre. Fig. 4. plan, with the tracery of the beauti-
fully vaulted room.
A. Head of one of the windows on a larger scale than that of the eleva-
tion. Some fragments of stained glass, memorials of departed splendour,
are still perceptible in the heads of these lights. B. C Roses carved on the
intersections of the ribs in the vaulting. D. Plan of one of the angular piers
of the oriel. E. A muUion dividing the two lights which illuminate each face
of the oriel.
In concluding the explanation of these specimens of the architecture of
Crosby-Place, we cannot help reflecting on the perishable nature of all human
labours. To see a noble structure thus mutilated and degraded to the rudest
purposes, can hardly fail to fill the ingenious spectator with indignation ; but
he must consider, that, in a commercial city, the smallest space is of too great
value to be sacrificed to taste, and that his curiosity is freely gratified by the
possessors of the buildings, in whose hands they seem likely to be preserved
from total destruction.
No. 46. — Plate XLV. Chancellor's House, Lincoln, — Gateway; 1480.
This gateway is the chief entrance to the Chancellor's residentiary-house
in the Close of the Cathedral. The building it belongs to is of brick,
with windows of stone in a style corresponding with this gate; all of them,
with one exception, have escaped the violence of modern fashion. A mantle-
were placed near to the upper end, serving for side-boards to stand in for the use of the high table.
The great hall at Eltham has two very spacious oriels, or bay-windows, with doors in them commu-
nicating with the principal chambers. These are perhaps the earliest specimens of the oriel in a
dining-hall, and appear to be of the age of Richard II. or a little later. The hall of Eltham Palace
is now degraded to a barn, and waggons are driven through the beautiful remains of these oriels,
The hall at Stoneyhurst, in Lancashire, is a very late instance of the old plan, having two spacious
oriels, one on each side of the upper end, and a screen across the entrance.
32 SPECIMENS OF ROTHIC ARCHITECTURE.
piece of stone, sculptured with the arms of Bishop Russel, now remaining in
one of the chambers, though concealed by wainscot, determines the date of
the building ; which exactly corresponds in style with the tower erected by
the above prelate at his palace at Buckden.* The form of the gate needs
no farther illustration than what is given in the engraving, in which an
elevation, section, and plan, are delineated, with enlarged copies of the
tracery in the doors, A. B. C. and a section of the label over the arch. The
manner of returning this moulding in form of a lozenge was a late fashion,
very common in the reigns of Henry VII. and VIII. ; it superseded the neces-
sity of placing a bust or other piece of sculpture, and had a fuller and richer
effect than the simple return of the moulding in a straight line, especially in
large pieces of work.
No. 47. — Plate LVIII. Chancellor's House, Lincoln ; — Oriel
Window, t
This window forms the principal ornament of the building described under
Plate XLV. It stands in the middle of the front, and, by its size and
bold projection, has a very good effect. The workmanship and stone are
equally good, both remaining c|uite firm and perfect. An elevation, a section,
and plan are given in the Plate, with one of the returns of the cornice more
at large. [See what is said on the form of ending this ornament in the
description of the gateway.] The top of the window is leaded within the
battlements, and the cornice is neatly bent at one end, so as to allow a spout
to pass under it, to carry off the wet. Inside is a flat ceiling of wood, divided
into pannels by narrow ribs.
No. 48. — Plate XLIIL* St. George's Chapel, Windsor,— Niche to
Bishop Beauchamp.
This niche, or recess, is wrought within a pier of the arch which terminates
the upper end of the south aile, and is supposed to commemorate Bishop
* He was translated from Rochester 1480, and died in 1494.
t " The Bowed Mansional Window, by its sweeping form, its height, breadth, and lightened
solidity of frame, displays the utmost possible capacity of cheerful illumination. I am much struck
with the beauty of this original feature of an old English residence, with its branching muUions of
sculptured stone, it is a constituent part of the building itself, a lightened part of the structure, in
its place and proportion discharging an elficient duty ; whereas, the crowded windows of modern
ST. George's chapel, Windsor. 33
Beauchamp, who was principally concerned in rebuilding tins magnificent
chapel of St. George, under King Edward IV.* From its resemblance to
a tomb, it lias sometimes been described as such, but that appears to be
erroneous. Regarding this as the bishop's own design, it is no Ijad specimen
of his taste ; the flattened arch spoiled all the architecture of his age, but
here it is managed so as not to produce the depressed effect it generally did,
an effect which is nowhere more lamentably felt than in the magnificent
chapel at Windsor.
Fis. 1. Refers to the elevation of the whole front. 2. Section taken
through the centre, uprightly, showing the depth of the recess, its mouldings,
and the tracery in its sides. 3. Plan, showing the tracery on the soffit of
the arch, &c.
a. Moulding on the front edge of the table, drawn separately, b. Part of
the foliated crest which finishes the top. c. Finial of the crocketed canopy,
which is turned very gracefully, and the foliage of the crockets well ap-
plied, d. Horizontal section of mouldings, and one shaft, at the side of
the recess.
In the upper end of the Plate are details of the ornaments within the arch,
and lower down, one of the pannels in front of the tomb, with its section.
No. 49. — Plate XLIX. The first sjyecimen on this Plate is a doorway
opening into the cloisters of the collegiate buildings in Windsor Castle. The
composition is altogether good, and the mouldings well relieved. The trusses
Architecture, compulsively adapted to our wants of light and air, are awkward holes cut in the wall
by the chisel of necessity." — Preface to Metrical Remarks on Modern Castles and Cottages. 8vo.
London. 1813. Page 12.
* Richard Beauchamp, bishop of Salisbury, for his skill in architecture, was accounted "the
Wickham of his day." He built the great hall of his palace at Salisbury, and was appointed master
and surveyor of the works by King Edward IV. in the rebuilding of St. George's Chapel in Windsor
Castle. The preamble of the patent which conferred upon him the office of chancellor to the Order
of the Garter, recites, " that out of mere love towards the order, he had given himself the leisure daih'
to attend the advancement and progress of this goodly fabrick." Two years afterwards he was appointed
dean of Windsor ; and dying in 1482, was buried within a chapel built by liimself as a sepulchre for
his family, adjoining his cathedral, which has since been destroyed, under pretence of its injuring the
uniformity of the church. Gough states that this prelate gave a rich missal (more likely an office-book
or breviary), to be chained for public use in a niche on the opposite side to that we have represented,
where he also placed a crucifix, and an inscription to record his gift. — See Gough's "Sepulchral Monu-
ments," II. 273. — Might not this niche be intended for some such use?
34 SPECIMENS OF GOTHIC ARCHITECTURE.
which support the outer mouldiug of the arch, are of uncommon design, but
rather too fanciful to look well. The elevation, plan, and section, have
nothing to be explained. The window is taken from one of the ailes of
St. George's Chapel. In this example we find a closeness and heaviness of
design, which may be considered degenerate when compared with the win-
dows of the preceding age. This deterioration of beauty was partly occa-
sioned by the lights between the upright muUions being divided into so many
heights or pannels, a fashion which began to show itself in the works of the
celebrated William of Wickham, in the nave of his cathedral at Winchester :
the obtuse arch was also too often allowed to cut off the varied tracery which
so much adorned windows of earlier date.
Details to the elevation : — a. Section of the hood-mould, b. Head
of one of the lights, c. Section of the string-course beneath the window,
d. Section of one jamb, with reference to the plan.
No. 50. — Plate L. Two Doorways; St. George's Chapel, Windsor.
The first of these belongs to the chapel said to have been added by King
Henry VII. to that of St. George, before he began his celebrated chapel at
Westminster.* A comparison of this entrance with one represented in
Plate XLL, will show how little change architecture had undergone during
the last fifty years of that century.
A. Elevation. B. Section through the centre of the arch. a. Spandril,
at large, b. Capital of one of the little columns, or boltels, at the sides.
c. Section of the label, or hood-mould, d. Section of one jamb, at large,
referring to the plan above, e. Moulding to cover the edges of the folding
doors.
The second of these entrances exhibits an uncommon composition, par-
ticularly in the retiring curve of the jambs. It appears to be of a very late
style, not earlier than the reign of Henry VIII.
A. Elevation. B. Section, e. Jamb at large, with reference to the plan,
f. Moulding upon the door. g. Base of one of the shafts, both as seen in
front, and at the side. h. Part of the embattled crest, with its section at
large.
* This chapel has generally been called Wolsey's Tomlj-house, from a sumptuous tomb cjf brass
which that Cardinal prepared for his own burial, but which his sudden misfortunes prevented him ever
finishinK.
ST. GEORGES CHAPEL, WINDSOR. -iO
No. 51. — Plate LI. St. George's Chapel, Wl\dsor, — Parapets.
The upper roof of this magnificent structure is guarded by a straight parapet,
pierced in compartments ; whilst the ailes have an embattled parapet, which
is also pierced.* Four varieties of these are exhibited in this Plate. The
cornice is studded with heads, grotesque and ludicrous, agreeably to the
fjishion of the age in which the building was erected, when exhibitions of
masques and mummeries entertained the gravest and most polished characters,
no less than the lowest classes of society.
The elevation and corresponding section of each of these specimens seem
to require no explanation.
No. 52. — Plate LIT. St. George's Chapel, Windsor, — Compartment
OF Aldworth Chapel, t
This little fabric has been censured, by no incompetent judge in such matters,
as " a bad specimen of architectural design, and an infringement on the
uniformity of the chief edifice. "| It occupies a space on the east side of
the south transept of St. George's Chapel.
* The pinnacles rising from the buttresses of the chapel were oiigiiially finislicd bj- figures of
animals, holding banners of metal, which turned with the wind : such embellishments were in high
fashion at the end of the fifteenth century, and when perfect, and emblazoned with colours and
gilding, must have made a splendid show. A sharp controversy was carried on through the medium
of the Gentleman's Magazine, in 1811, respecting the existence of such vanes on the turrets of
Henry VIL's Chapel, Westminster, as originally finished. The affirmative was supported by the
late Mr. John Carter, with his usual ardour, and proved, though his suggestions were not followed
by the restoration of the vanes.
f This small structure was really built by Oliver King, bishop of Bath and Wells, canon of
Windsor, and registrar of the Garter, who died 1503, and is said to have been buried here : the
name of Aldworth lias become attached to it since the interment of some of that family within the
chapel. Bishop King distinguished himself by commencing the rebuilding of the abbey churcli of
Batli, one of the cathedrals of his diocese, which, however, he did not live to see completed.
5 See Britton's "Architectural Antiquities," Vol. III. p. 44.
The former part of this censure will not be here contradicted. The Plates must vindicate the
merits of the design: the charge of "infringing on the uniformity of the chief edifice," has been
brought against various appendages of great ehurclies of much more interest and value than
this diminutive chapel. The loud and united voices of men most esteemed for taste and science
were raised, not many years back, against certain destructive pursuits of uniformity, which were
then making havoc of ■some valuable antiquities in Durham, Salisbury, and Lichfield Cathedrals :
36 SPECIMENS OF GOTHIC ARCHITECTUEE.
A. Elevation of its eastern front, as it projects beyond one of the great
buttresses. Three such divisions make u]) the south side. B. Section of
the outward mouldings, &c. C. Part of the battlements, at large. D. Section
of the same, showing its perforation. E. Part of a window, at large, with
section of its mouldings, a. Surbase-moulding beneath tlie window.
Nos. 53, 54, 55, 56, 57, 58.— Henry VII.'s Chapel, Westminster.
Illustrated in the Title-Plate, and Plates LX., LXL, LXIV., LXV.
No. 53. — The Title-Page represents a door-way and screen within the north
aile of Henry VH.'s Chapel, Westminster. The details of this screen are very
elegant, corresponding with the architecture of the chapel. A part of the
exquisite roof is shown in perspective above the screen.
No. 55. — Plate LX. Part of the Monumental Screen. — This enclosure
for the royal founder's tomb is made of bronze, and is of most elaborate
design and skilful execution. Its elevation is divided into two stories,
perforated like windows, with a parapet and crest on the top. An inscription
runs round the whole, near the middle. On each side of the doorway are
two niches, with statues of saints, all cast in brass. On the right-hand side
of the Plate is a section of the doorway, and beneath are plans.*
No. 56. — Plate LXL Pannelling and Tracery Mouldings, —
from the same chapel, exhibited in six specimens, selected from various
parts.
their anathemas will go down to posterity, and, it is hoped, have sonae effect in deterring such devasta-
tions in future.
* The tomb itself, within the enclosure of brass screens, is built of touchstone, a hard, dark-coloured
marble, upon which lies statues of the monarch and his consort, of gilt-brass, with angels sitting at the
four corners of the tomb, and figures of saints in compartments at the sides. This tomb was the work
of Pietro Torregiano, an artist who came from Florence to execute this work, which he completed in
1519. The style of the tomb, in its architectural parts, is decidedly Italian, and from its total dissimi-
larity to the architecture of the screen, the latter can hardly be supposed to be of his design, though the
little statues, and indeed the whole screen, might be exended by Torregiano and the artists employed
under him. The tomb of Margaret, countess of Richmond, on the south side of the chapel, is of Italian
style, resembling that of her royal son Henry Vll. ; it was probably another work of Pietro Torregiano.
See Carter's "Ancient Sculpture and Painting," Vol. II., Britton's "Architectural Antiquities," Vol. II. ;
also Bray ley's " Westminster Abbey."
HENRY THE SEVENTH'S CHAPEL, WESTMINSTER. 37
No. 57. — Plate LXIV. The Doorway and Screen, from Henry
VII.'s Chapel, represented on this Plate, enclose one of the chapels, or
oratories, on the side of the nave. This is shewn in elevation, section, and
jjhin, with measurements of parts. The embowed outline of the plan is
remarkable. See A. on the Plate. The window is one of the upper story, or
clerestory, a. Emlmttled transom, b. Pannelled tracery, c. Large mullion.
f. Small mullion.
No. 58. — Plate LXV. The Flying Buttress, Turret, &c. exhibited
in this Plate are curious specimens of the architecture of this wonderful
monument, shewing how profoundly the architects calculated to provide suf-
ficient solidity, though the whole appears a mass of ornamental sculpture.
The foundation stone of Henry VH.'s chapel was laid by " Abbot Islip and
Reginald Braie," &c. 24th January, 1502 ; and we conclude, that the work
was regularly continued. The stone was brought from Caen, Yorkshire, and
Ryegate ; and as too much of the latter appears to have been used for the
exterior, the whole surface gradually decayed, and had fallen into such a state
of dilapidation and ruin, that Parliament came to a resolution, about ten years
back, to have the whole exterior restored with Bath-stone.* This work was
committed to the charge of Mr. Thomas Gayfere, who has executed it with
great skill and attention to the original forms and ornaments.t
Every part of this sumptuous chapel, both external and internal, is
covered with tracery and sculpture, full of most beautiful details ; nevertheless
there is a want of repose and harmony in the effect, as a whole ; and a little-
ness and pettiness is produced by multitude of parts. In a monument, or
small oratory, — objects that are embraced at once by the eye, and are only
appendages to a larger building, — such a style of design is approjDriate and
beautiful ;J but in a large building, like the chapel now alluded to, exposed
* The Hoiase of Cdinnions voted the sum of JSOOO, for the repair of Henry the Seventh's Chapel,
29th April, 1811.
t The upper pinnacles antl Ijattleiuents were so entirely perished, that no part was left as an
example for restoration ; and the accuracj' of the new parts, in lesemblauce to the original ones, has
been questioned. The late Mv. John Carter demonstrated from various prints, that the straight line
of the new parapet differed from the ancient work, in which a crest, obtusely pointed like the battle-
ments of King's College Chapel, Cambridge, rose up in the centre of each bay. — See Gentleman's
Magazine, 1811, Part 11. page 417.
X The chapel represented in Plates LIX. and LX. is an example. A ground-plan, and eighteen
VOL. I. F
38 SPECIMENS OF GOTHIC ARCHITECTURE.
to a changeable and corrosive climate, a more simple and less ornamented
design would have been preferable. This was the climax, or zenith of the
florid style ; and from the time of erecting this chapel, we find not only a
decline, but a perfect revolution in the architecture of this country.
Nos. 59, 60. — Plates LV. LVI. Bishop Longland's Chapel, Lincoln
Minster.
This small but beautiful fabric may be regarded as one of the very latest
specimens of Gothic Architecture, unmixed with heterogeneous ornaments
of the Roman style. '" It is annexed to the south aile of the church ; and,
together with a corresponding chapel erected by Bishop Eussel, forms a fine
accompaniment to the porch which graces the cathedral on that side. Both
these chapels are copies, as to general design, of the one erected by Bishop
Flemyng, on the opposite side of the church ;t but greatly improved, espe-
cially Bishop Longland's, which is more elaborate in its ornaments than even
Bishop Russel's, though its counterpart in jjlan and elevation. The inner
front of Bishop Longland's Chapel is covered with very delicate carving. The
roof is ceiled in pannels with wainscot, the beams being fretted, and adorned
at their crossings with knots of foliage, &c. There are several tabernacles,
and perches,! inside, for statues. The walls retain marks of painting, an-d
some coloured fragments of glass remain in the tracery of the windows,
clearly shewing what a splendid little oratory this once was.
No. 59.— Plate LV. The elevation comprehends one-third of the front.
The plan of so much of the chapel is shewn below the elevation. The section
gives the thickness of the wall, and the projections of the different members.
As a specimen of the latest refinements in Gothic architecture, this little
structure deserves a careful examination. Many of the same forms may be
other prints, ■with a full history and description of this chapel, are given in the second volume of
Britton's "Architectural Anticpities." See our Vol. 11. p. 25, witli note*.
* Archljishop Warham's Tomh, in Canterbury Cathedral, was noticed by the late Lord Orford,
as "the last example of unbastardised Gothic." — (Letter to the Eev. William Cole, 1769.) — That prelate
died, A.D., 1532; Bishop Longland not till 1547. This chapel was erected some years before his
death.
+ Plates XXXI., XXXVI. — Bishop Russel died in 1494. His chapel has several ornaments of
similar forms to some in King's College Chapel, Cambridge.
X Perches, projecting corbels, or brackets, to set small statues, lights, or such things, upon.
LONGLAND's chapel, LINCOLN MINSTER. 39
traced as in Henry VII.'s Chapel, which may be appealed to as the chief
example of the style in question. Every part is studiously finished with all
the ornament it could admit of; each moulding is quirked and deeply curved;
and all the crockets and other foliated ornaments are relieved with the utmost
lightness it was possible for stone to bear.
Details on an enlarged scale : — A. Elevation and section of the
moulding which divides the secondary pinnacle into two heights. B. Base
of the same pinnacle, shewing how it stands diagonally upon the coping of
the buttress.* C. Section of the cornice below the battlements.t E. Section
of a mullion in the window. F. Section of a jamb of the same.
No. 60. — Plate LVI. Details from Bishop Longland's Chapel. —
On the left hand of the Plate is an elevation of a principal pinnacle, with the
upper part of its secondary, or subordinate one, beneath, a. Horizontal
section of the finial, the shaded part shewing the shape of the stalk, the out-
line that of the crockets, b. Similar section at the neck-mould, c. Another
section taken lower down. d. Section across the most elaborate part.
e. Section of the body of the pinnacle, with the lower finial attached to it.
f. Refers to the secondary pinnacle, at its neck-mould, g. Section of the
same, with its crockets, h. Ditto of the square, or body, of the same ; we
may observe, that it is almost cut through by the deep mouldings in the
sides.
Battlement. The elevation and plans will need no description. The plan
s. shows how the crests are splayed back to prevent their exposing any
heaviness, and to give a more open eff'ect to the loojys.'l
Buttress. The arms are those of the founder, with his favourite cog-
nizance, or badge, the dove with an olive branch. The section and plan of
* Such secondar\- pinnacles were evidently part of the design for Bishop Flemyng's chapel, but they
appear never to have been executed : and we find the buttresses coped with an obtuse point in that
part. See Plate XXXII.*
j The intersection of the arch over the window with the cornice is a vicious refinement of taste :
such intricate fancies are common in late specimens.
X Dr. Plot, "Natural History of Staffordshire," 1686, p. 381, describes a large yew-tree, "cut on
the top with loop and crest, like the battlements of a tower." The same terms occur in more ancient
authorities. The loop is the crenelle or space between two crests, or croivpes, a.s they are frequently
termed in ancient accounts.
40 SPECIMENS OF GOTHIC ARCHITECTURE.
this part show the projections of the mouldings belonging to the elevation.
The admirers of this specimen will rejoice to know that it remains in fair
preservation. The stone, from Ancaster, in the same county, has preserved
the mouldings, &c. without any material loss. The ceiling, which had very
nearly fallen to irremediable decay, was repaired by the dean and chapter
about ten years since, when all its most minute carvings were restored with
great pains : this was effected chiefly in consequence of the good taste of the
present sub-dean, the Rev. H. Bayley, B.D.
. CHRONOLOGICAL AND HISTORICAL TABLE
OF THE SUBJECTS AXD DATES OF THE RESPECTIVE PLATES IN THE TWO VOLUMES OF
lPugm'0 specimens of (Sotbic accDitccturc.
DEAWN UP BY JOHN ADET KEPTON, ESQ. ARCHITECT, K.S.A. AND ADDBESSED TO A. PUGIN : —
Dear Sir,
Hares Street, near Romford, Feb. 18, 1823.
I have lost no time in preparing the enclosed paper, and have examined the Plates very carefully
in fixing such dates, which are not mentioned in your Work. I have also looked over my Tjooks on cathedrals, for their
different styles of architecture, wherein the dates are known, and compared them with your Work.
In ascertaining the dates of buildings, much must depend upon circumstances ; for instance, in the
nave of the cathedral of Exeter, which was erected as late as the reign of Edward III., the style of the architecture
of the choir was adopted of the date of Edward I., in order to preserve the uniformity of the whole design. The same
observation may be made on the nave of the cathedral of Norwich, to correspond with the old Norman work of Ijishop
Herbert. In the cloisters of the same cathedral, which was 133 years in building, the same uniformity of design prevailed
of Edward the First's time, except in the tracery of the windows.
I remain, yours truly, J. A. REPTON.
FIRST PERIOD:— 1100 to 12.50.
Henry I. Stephen. Henry 11. Kichard I. John.
I I I : I
iiou
No. Vol. I.
2. Jew's House at Lincoln
5. New Shoreham Church
4, Ancient Gateway, Lincoln
3. Ancient Doorway, Lincoln
6. Doorway, St. Mary's Church, Lincoln
30. Groining; Lincoln and Westminster
Vol. II.
LI. Ornaments from Westmr. Abbey,D.E.r.G.
XVI. Iffley Church (south door)
LXIX. Capitals ; Westminster Abbey and St.
Saviour's Church
XLV. Triforium ; Westminster Abbey
XL VII. Groining, St. Saviour's Church
XLVIII. Capitals and Bases
11. iO
1140
. 11!
1200
50
1120
[1100]
[1170 to 1180]
SECOND PERIOD:— 1250 to 1400.
Henry III. Edward I. Edward II.
Edward III.
I I
I I
I I
I I
1250
No. Vol. I.
20 and 21. York Cathedral (Pinnacle)
22. Ditto (Plans of MulHons)... [1250 to
22. Beverley Minster (Ditto)
13. St. Mary's Churcb, Lincoln (Window)..
27. Lincoln Cathedral (Stone Screen)
14. John of Gaunt's Palace (Oriel Window)
32, 33, 34, 35. Westminster Hall
15. Window in South Carlton Church
8. Doorways, Westminster and Lincoln (1 h "):.
8. Ditto Ditto (3&4)'.
36. St. Mary's Church, Oxford (Spire) [[1250] to
18. Buttresses (Oxford)
19. Ditto Ditto
Vol. II.
LI. Ornaments (Westminster Abbey) A. B.C.
XLIV. Mr. Ormerod's Chest
XXXI. John of Eltham's Monument
XXXII. Edward the Third's Monument
XXVL Windows (I, 4, 5)
XXIV. Door to Cloisters, New College
XXV. Doorway to St. Stephen's Chapel
[1250]
1300
[13|00to 1330]
13,00]
1350
13
[13
00 to
00]
. 1340
.[1340
.[1340
to
to
.13
[I-'
.'after 1334
.{1320 .
.1 [1340 .
50
50 to
Henry III.
I I I
1250
1230
. [12
[12
50]
50]
[1120 to 12 50]
. [1240 to 1260]
[1220 to 12
1240
50]
Richard II,
J L
1400
. . . . 14
. 1380]
. . 1390
[1380 to 1390]
.... 1390
13S0
1380 to 14
00]
00
1400
14 00]
. after 1377
. 1370]
. . 1380-1
to .1360]
42
CHRONOLOGICAL TABLE.
THIRD PERIOD:— 1400 to 1600.
Henry IV. Henry V. Henrj' VI. Edward IV. Eich. III. Henry VII.
Henry VIII. Edw. VI.
I : I I
I I
1400
1450
[1400 to
[14:
[1400
[1400
[1400
1400
No. I Vol. I.
26. Lincoln (Font in St. Mary's Cliurch)
46. Ditto (Chancellor's Gateway)
47. Ditto (Oriel Window)
9. Ditto (Donr of Bishop's P.-ilaoe)
59. Ditto (Bishop Longland's Chapel)
31. Ditto (Bishop Flemyng's Chapel)
10 and 11. S. & W. Doors of Tattershall Church
37 and 38. Tattershall Castle (two Fire-places)
42, 43, 4-i, 45. Crosby Hall
7. Six Doors with square heads
28. Specimens of Pannels
40. Chimney Shafts from Windsor and Lincoln
5 4. Tracery
16. Specimens of Square-headed Windows...
23. Brackets and Pedestals
41. Four Chimney Shafts from Eton
12. Windsor (Entrance to the Refectory)
39. Ditto (two Chimney-pieces)
48. Ditto (Niche to Bishop Beauchamp). ...
52. Ditto (Compartment of Aldworth Chapel)
50. Windsor (two Doorways)
51. Ditto (Parapets)
49. Ditto (Window in S. Aile)
4 Plates from Henry VIL's Chapel
The Monumental Tomb of Henry VII....
29. Westminster Abbey (Spandrils)
30. Ditto (Groining)
23. Ditto (Brackets and Pedestals)
24. O.vford (Pinnacles and Turret)
17. Ditto (Windows, e.xcept No. 5.)
19. Ditto (Buttress of Magdalen College)...
19. Ditto (Pinnacle to Ditto)
25. Ditto (Battlements)
N.B. The lower part of fig. 5. is Saxon :
fig. fi. is of the date of Edward II. or III.
Vol. II.
I. to XIII. Hampton Court (13 Plates)
SXXVI. Monument toFascet(Westmr. Abbey)
XXXVII. Monument to Islyp
XLVIIL Ornaments (A.B.C.)
XXVII. Circular Window in a Square
XXIII. and XXIV. Monument of Henry V.
XXXV. Monument of Bishop Dudley
XVIII. Oxford (Doorway of Merton College)..
XVIIL Ditto (Doorway of Christ Church)... |
XIV. and XV. Ditto (St. Mary's Church) i
XXVril. Ditto (Window in Baliol College)...
XXIX. Ditto (Oriel Window, Jesus' CoUege)'
XXX. Ditto (Tower, Brazen-Nose College)
XXXIX. Ditto (3 Niches)
XLIII. Ditto (Stone Pulpit, Magdalen College)
L. Ditto (Brackets)
XLVIIL Capitals and Bases (1, 2, and 4) [1400
XXVL Windows (2 and 3) [1400
XIX. Two Porches
XX. Gateway to King's College, Cambridge...
XXIII. Doorway to St. Mary's Church, Camb.
XXIV. Door to Edward the Confessor's Chapel 1400
XLII. Pulpit in Worcester Cathedral
XLVL Turret at King's College Chapel
LIII. and LIV. Chimney-piece, Queen Eliza-
beth's Gallery
to 1
440]
14
1440
1440
[14
.to
[14
.to
.to
[14
50]
1480
1455
. 1460 to 1470
50 . to
50
. 1460
50 to 1470]
1460
[14
[14
[14
[14
14
1400
1422—1431
after ,
14
[14
Henry
Henry
50
50
50]
50]
50
50
50]
1483
1440 to
[about
14
to
to
14
1470]
50
50
to
1500
1550
. 15
.15
Hen
.15
.15
.15
. 15
1490
1490
[1521 to 1547]
00]
1510]
00]
ry VII.
00]
00]
00 . to
. 1519
00
.15
af
. .15
. .15
Henry
. . l.T
1478
.15
to
1516 to 1519
02
02
15
15
15
00]
00]
00
1520 . .
00
00 to 1532
1540
1525
Henry VIII.
ter 1510
1516
1520
00]
00]
VII. and VIIL
00 to 1534
1519
00
Henry VIII.
50
20
02
INDEX
VOL. I. PUGIN'S SPECIMENS.
The Numbers refer to the Plates, and are engraved at the right-hand corner, at the bottom of each Plate.
All Souls' Collkge, Oxford, style of xi.
Aldworth Chapel, Windsor 52 35
Arch, character of: — semicircular; rising from
straight lines; — semicircular and lancet com-
bined : — horse-shoe 1 1
, intersecting ; elliptical, from three centres ;
pointed, three centred ; — lancet; — Moorish 1 2
, pointed : four centred ; — rampant ; — Tu-
dor ; — Ogee ;— equilateral 1 3
■ , a peculiar flat one, under a semicircular. . . 1 4
, ditto, ditto, at Fiskerton 6
, Intersection with cornice, a vicious refine-
ment of taste note, 25
, joints of a curious one 3 6
■ , w^ide, and flat to tire places 37, 38 25
Arches, various modes of forming, described 1 1
Armorial bearings, at Tatterahall 37, 38 25
■ Bishop Longland's Chapel 60 38
Beauchamp's niche 48 32
Architecture, Gothic, or English, remarks on
the term note, 2
, modern Gothic x.
Alnwick, Bishop, his arms 9 8
Barrett, his house at Lee
Bentham, Rev. James, Essay on Gothic Archi-
tecture
Bateman's House at Old Windsor
Bays, term explained note,
Beauchamp, Bishop, his Works note,
Brackets, curious specimen
— — — , from Westminster
Boltels, or little columns, at St. George's Chapel 50 34
Buttress, fine specimen
, Bishop Flemyng's Chapel
, flying, Henry VII. 's Chapel
— , from Oxford — specimens 18,
XV.
xiv.
25
33
49 32
23 16
— , flat, at the Hall of St. Mary
— , in stone screen, Lincoln Cathedral
— , at John of Gaunt 's palace
— , at Bishop Longland's Chapel 59 ,
— , to the Aldworth Chapel
— , Westminster Hall
— , flying, Westminster Hall
59 39
31 19
58 37
19 15
6
17
11
27
14
60 39
52 35
32 22
ib. ib.
Cathedrals, repairs of xix.
Chimney, a peculiar one, .Jew's House, Lincoln, note, 5
■ Pieces, two at Windsor Castle 39 26, 27
— , Shafts, at Windsor and Lincoln 40 27
, at Eton 41 27
Chauntry, the Works, statues of Chaplains who
served 1 1
Corbels, Crosby Hall 43 .30
Crosby Hall, London 42, 43,44,45 28-30
Carlton, South, Church Window from 15 ]2
Chapel of Henry VII 53, 54, 55, 56, 67, 58 36
, see St. George's, Beauchamp, Longland,
Flemyng.
Crests and Loops, old terms, signifying Battle-
ments 60 39
No. Page
Doorways, at .Jew's House, elevation, section,
and plan 2 4
, ancient one at Lincoln 4 6
, three from Westminster Abbey, and
one from Lincoln 8 8
, St. Mary's Church, Lincoln 6 7
, at Tattershall Church, remarkable
eftectofone 10 9
, Tattershall Castle 7 8
■ , example of crossed mouldings, in one 11 9
, to Bishop's Palace, Lincoln 9 8
, two, from St. George's Chapel,
Windsor 50 34
, one exhibiting an uncommon com-
position ib.
, at Vicar's Court, and Chancellor's
House, Lincoln 7, 8
, Horn Church, Essex ; and Oulton,
Norfolk 8
, in Henry Vll.'s Chapel ; title page 36
, to Cloisters, AVindsor 49 33
, six specimens 7 8
, with ogee, crocketed arch 27
squarehead 12 10
Essex, James, architect : remarks on xvi.
Fire-places, two fine specimens, Tattershall
Castle 37, 38 25
, ditto, Windsor Castle 39 26
Finial, in nave of York Cathedral 21 15
, at John of Gaunt's Palace, Lincoln 14 11
, at Bishop Longland's Chapel 60 39
, at Bishop Beauchamp's niche, St.
George's Chapel 48 33
Fleur-de-lis, when adopted, conjecture on. ..note, 13
Flemyng, Bishop, his Chapel at Lincoln 31 19
Font, in St. Mary's Church, Lincoln 26 17
, two of uncommon height, referred to 17
Frieze, of foliage, an ornament of late invention 12 10
Gateway, an ancient one at Lincoln 3 5
, to Chancellor's House, Lincoln 46 31
Gaunt, John of, palace of, at Lincoln 14 11
Gothic architecture, remarks on 9 xix.
Groining, mode of forming, from Westminster
Abbey 30 18
, or tracery of oriel window 45 30
Grose, Capt., remarks on English buildings xvi.
Inscription on stone screen, Lincoln 27 17
— , above entrance to refectory, Windsor
Castle 12 10
Jones, Inigo, his mode of adding to St. Paul's
Cathedral x.
Kent, William, Architect ' xii.
King-post, term explained note, 22
Langley, Battey, his five orders reprobated xx.
Label, or hood-mould, term explained 11
44
INDEX.
No. Page
Label, lozenge-shaped, return of 46 32
, square turn of, when introduced 9
, at doorway of Bishop's Palace, Lincoln.. 9 8
Lincoln Cathedral, stone screen at 27 17
, John of Gaunt's Palace at 14 11
, Chancellor's House at 46 31
47 32
, Bishop's Palace, Doorway .. 9 8
, Bishop Lorgland's Chapel 59, 60 38
, John of Gaunt's Palace, Window in 14 11
Longland, Bishop, Chapel of, at Lincoln, a speci-
men of pure Gothic Architecture 59, 60 38
Louvre, or lantern, its use in ancient halls.. noic, 30
Milner, Rev. Dr., character of his writings xvi.
Monasteries, demolition of, destructive of Archi-
tecture X.
MuUions, plans of 22 16
Niche, to Bishop Beauchamp 48 32
, in riemyng's Chapel 31 19
, Refectory Doorway, Windsor 12 10
Norman and Saxon styles, remarks on 1
.ornament note, 3 6
, Doorway 4 6
Ornament, called dog's tooth 6 7
, resembling a serpent's head note^ 4 6
Pannels, specimens of 17 different patterns, en-
riched 42 28
28 18
Parapet and battlements of St. George's Chapel 51 34
, open, with battlement 31 19
, Aid worth's Chapel 52 35
. , open and embattled 59 37
, Henry VIL's Chapel 58 37
, and battlements, Oxford 25 17
Pendants, Crosby Hall 44 29
Perches, term explained note, 38
Pinnacles, fine specimens of 59, 60 39
, from Magdalen College 24 16
, fine .specimen of, at York Cathedral 20, 21 15
, at Bishop Longland's Chapel, Lincoln 60 39
, curious embellishment at St. George's
Chapel, Windsor note, 35
, Bishop Flemyng's Chapel 31 19
Principals or trusses in roofs 32 21
Quarrels, or lozenges, term applied to glass 27
Queen-post, term ex)ilained note, 22
Roots, pitch of, reduced about 1300 note, 20
, angle of, called common pitch 21
of Westminster Hall 32,33 21,22
, finely ornamented, Cro.sby Hall 42, 43 24, 28
Saxon and Norman styles, remarks on 1
— ornament note, 4 6
Shoreham Church, new, east end 5 7
Spandrils, ten specimens of 29 18
, to Door\v:iy, Title Piirjr.
No. Page
Spire of St. Mary's Church , Oxford 36 24
St. Mary's Church, Lincoln, Doorway at 6 7
.Window and Details 13 10
,Fontin .26 17
St. George's Chapel, Windsor 32
Stone Screen, Lincoln Cathedral 27 17
Timber Roofs, see Crosby Hall and Westminster
Hall.
Tracery Mouldings, time of Henry VII 54 36
Do 56 36
, new mode of. Window of Westminster
HaU 34 23
Trusses, or Principals 21
Turret, Henry VII.'s Chapel 58 37
, Magdalen College 24 16
Warton, Thomas, his Sketch of Architecture xv.
Warham's, Archbishop, tomb 38
Walpole, Horace, remarks on xiii. x viii.
Westminster Hall 32, 33, 34, 35 20
Account of 20, 24
, Roof of 32, 33 21, 22
, Windows at 34, 35 23, 24
Windsor, St. George's Chapel at 48 32
, Castle, Entrance to the Refectory 12 10
, Two Chimney-pieces at 39 26
, St. George's Chapel 48-50 32, 33
, Do 51, 52 33, 34
Wind Beam, term explained note, 22
Wykeham, Willm. of, his innovations in Archi-
tecture 34
Windows, at Jew's House, Lincoln, elevation and
section 2 4
, three pointed ; do. semicircular 5 7
, at St. Mary's Church, Lincoln 6 7
, circular ib. ib.
^ examples referred to note, 7
, at Westminster Hall 34, 35 23, 24
, examples of, with fine tracery. ...moic, 23
, in Longland's Chapel 59 38
, St. George's Chapel, Windsor 49 33
, Oriel, use of note, '32
, at Lincoln, an interesting speci-
men 14 11
, at Chancellor's House, Lincoln 47 32
, at Cro.sby Hall, London 45 30
, at John of Gaunt's Palace, Lincoln... 15 12
, at South Carlton Church ib. ib.
, the Bowed, mansional, an original
feature in old English architecture note, 32
, change of style by William of Wyke-
ham 34
, Square-headed 16 14
, Oriel, and others 17 14
Wren, Sir Christopher, his style of imitating
Gothic xi.
Wyatt, James, his designs in Gothic x vii.
York Cathedral ; Pinnacle on south side of nave 20, 21 15
END OF VOL. I.
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