Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/treatiseonriseprOOshar DECORATED WINDOWS. A TREATISE ON THE RISE AND PROGRESS OF DECORATED WINDOW TRACERY IN ENGLAND. ILLUSTRATED WITH NINETY-SEVEN WOODCUTS AND SIX ENGRAVINGS ON STEEL. ET EDMUND SHARPE, M.A., ARCHITECT. LONDON: JOHN VAN VOORST, PATERNOSTER ROW. M.DCCO.XLIX. LONDON: Printed ty S. & J. Bentlet and Henry Flby, Bangor House, Shoe LaDe. Jn£ GETTY CENTER LIBRARY TO THE RE V. R. WILLIS, F.S.A., JACKSONIAN PROFESSOR IN THE UNIVERSITY OF CAMBRIDGE. THE FOLLOWING PAGES ARE INSCRIBED, IN TOKEN OF THE MANY SERVICES HE HAS RENDERED TO THOSE ENGAGED IN THE STUDY OF ®Ijurc?l 3icf)iteiture, BY HIS FRIEND, THE AUTHOR. CONTENTS. -♦- PART I. THE CLASSIFICATION OF TBACERIEB WINDOWS AND THEIR SEVERAL PARTS. CHAPTER I. FAGE Introduction ...-... 1 CHAPTER II. Division of Traceried Windows into Three Classes.— GEOMETRICAL, CURVILINEAR, and RECTILINEAR 6 CHAPTER III. Origin of Tracery ........ 9 Sect. I. —The Circle carried by two Arches ib . „ II. —-The Combination of Lancets under one Arch . 13 CHAPTER IV. Definition of Tracery ... 21 CHAPTER V. 1. The Window Arch.-—2. The Scoinson Arch. — 3. The Rear Vault ...... 25 CHAPTER VI. • Foliation .. ..... 32 CHAPTER VII. The Mouldings of Decorated Windows ... 38 Sect. I.—Subordination ...... ib . „ II.—Profile ....... 49 vii CONTENTS. PART II. CHRONOLOGICAL ACCOUNT OF THE PRINCIPAL TRACERIF.D WINDOWS IN ENGLAND. CHAPTER I. PAGE The Geometrical Period . 57 Sect. I. —Early Geometrical . ib. „ II. —Late Geometrical. 73 CHAPTER II. The Curvilinear Period.—Origin of Curvilinear Tracery 93 Class 1 . 97 „ II. 103 „ III. 105 ILLUSTRATIONS. <®ngralniigs ott Steel. Plate A. p. 17 —Origin of Tracery ; illustrated by a Series of Three-light Windows. Plate B. p. ]9.—Origin of Tracery; illustrated by a Series of Two-light Windows. Plate C. p. 43. —Sections of Window-arch. Plate D. p. 43.— Do. Plate E. p. 43.— Do. Plate F. p. 93.—Outlines of Tracery. SSiJootlCUtS. PAGE Etton Church. —Two-light Window in Chancel . 9 Grantham Church. —Four-light Window in North Aisle . 10 Lichfield Cathedral. —Three-light Window in Aisles. 10 Kirkstall Abbey Church. —View of Interior of Transept Chapel 12 Southwell Minster. —Norman Window in Aisles. 14 Ely Cathedral. —Norman Window in Aisles. 14 Byland Abbey Church. —Transitional Window in Aisles . 14 Canterbury Cathedral. —Transitional Window in Choir. 15 Bottesford Church. —Lancet Window in Chancel. 16 Chichester Guildhall. —East Window of Five Lancets . 18 Etton Church.—E ast Window of Five Lights. 18 Lillington Church. —Double Lancet Window in Aisle . 19 Etton Church. —Double Lancet Window in Chancel, outside .... 22 Etton Church. —Double Lancet Window in Chancel, inside. 22 Woodstock Church. —Double Trefoil-headed Lancet Window, inside. 23 Woodstock Church.— Double Trefoil-headed Lancet Window, outside . 23 ix ILLUSTRATIONS. - PAGE Stone Church.—T wo-light Window in Aisle . 23 Bottesford Church.—P lan of Lancet Window in Chancel. 25 Sleaford Church.—S ection of Window-arch of Four-light Curvi¬ linear Window . 26 Netley Abbey Church.—S ection of Window-Arch of East Window 27 Netley Abbey Church.—P lan of Jamb of East Window . 27 Arreton Church.—S ection of Two-light Window . 28 Arreton Church.—E levation of Two-light Window. 28 Gloucester Cathedral.—E levation of Scoinson-arch of Curvili¬ near Window in Triforium of South Transept. 30 Ripon Cathedral.—S ection of Window-arch, Rear-vault, and Scoinson-arch of East Window. 30 Tintern Abbey Church.—S ection of Window in South Transept 31 Tintern Abbey Church.—V iew of Window-arch, Rear-vault, and Scoinson-arch of the same. 31 Selby Abbey Church.—E levation of Trefoiled Arcade on West Front. 32 Whitby Abbey Church.—E levation of Trefoiled Arcade in North Transept. 33 St. Albans Abbey Church.—E levation of Trifoliated Arcade in North Aisle of Choir. 33 Quatrefoil . 33 Quatrefoliated Circle. 33 A Quatrefoliated Circle shewing Soffit-Cusp. 34 Section of the same. 34 A Quatrefoliated Circle shewing Chamfer Cusp . 34 Section of the same . 34 Lincoln Cathedral.—M oulded Soffit-cusp in Arcade of Pres¬ bytery . 35 Howden Collegiate Church.—S ection of Tracery-bar, with inserted Soffitcusp. 35 Chamfer-cusp. 36 Howden Collegiate Church.—S ection of Window-arch, Tracery- bar, and Foliation of West Window. 42 Easby Abbey Church.—C entre-piece of a Window in Refectory.. 47 Whitby Abbey Church.—S ection of Tracery-bars and Foliation 47 Howden Collegiate Church.—V iew of portion of Tracery of Aisle Windows. 48 Wellingborough Church.—C entre-piece in East Window. 48 ILLUSTRATIONS. - PAGE Sleaford Church.—S ection of Double Ogee Moulding in Aisle Windows . 51 Welbourne Church.—S ection of Double Ogee Moulding in Aisle Windows . 51 Holbeach Church.—S ection of Double Ogee Moulding in Aisle Windows . 51 Guisborough Abbey Church.—S ection of a Moulding in Aisle Windows . 51 Church of the Holy Trinity, Hull.—S ection of Tracery-bar in Transept Window. 52 Canterbury Cathedral, St. Anselm’s Chapel.—S ection of Tracery-bars. 53 Lincoln Cathedral.—S ection of Tracery-bars of East Window.. 53 Howden Collegiate Church.—S ection of Tracery-bar of Aisle Windows . 54 Grantham Church.—V iew of Capitals of Shafts in West Window of North Aisle . 54 Lincoln Cathedral.—S ection of Mullion and Tracery-bar of East Window. 55 Guisborough Abbey Church.-—S ection of Mullion and Tracery- bar of East Window. 55 Heckington Church.—S ection of Mullion and Tracery-bar of East Window. 55 Westminster Abbey Church.—A isle Window of Choir. 59 Grantham Church.—F our-light Windows in North Aisle. 63 Tintern Abbey- Church.—T wo-iight Window in Side Aisles .... 67 Stone Church. — Four-light Window at East end of North Aisle. 68 Lichfield Cathedral.—T hree-light Window in Aisles of Nave.. 70 Ely’ Cathedral.—T wo-light Window on East side of South Transept. 70 Stone Church.—T wo-light Windorv in North Aisle. 71 Hereford Cathedral.—C lerestory Window of North Transept.. 72 Lichfield Cathedral.—C lerestory Window of Nave. 72 Ely Cathedral.—T refoil in East end . 73 Easby’ Abbey Church.— Circular Centre-piece in a Window of Refectory . 77 Howden Collegiate Church.—C ircular Centre-piece in West Window of Aisles. 78 XX ILLUSTRATIONS. - PAGE Wellingborough Church.—C ircular Centre-piece in East Win¬ dow. 79 St. Albans Abbey Church.—C ircular Centre-piece in Aisle Win¬ dow of Choir. 80 Barholme Church.—T hree-light Window in South Aisle. 81 St. Mary’s Church, Oxford.—T hree-light Window in Tower .. 82 HowdenCollegiate Church.—T hree-light Window in Aisles of Nave . 82 Ratcliffe Church.—F our-light Window in East end. 83 Bristol Cathedral.—F ive-light Window in North Transept.... 84 Tintern Abbey Church.—S even-light Window at West end_ 85 Tibsey Church.—T wo-light Window in Aisles. 86 Gloucester Cathedral.—T hree-light Window in South Aisle of Nave. 87 Whitby Abbey Church.—C entre-piece in Window of North Aisle of Nave. 89 Ciiartham Church.—F igure in East Window. 89 Great Bedwyn Church.—C entre-piece of Window in Transept ends . 90 Canterbury Cathedral.—F igure in Window of St. Anselm’s Chapel . 91 Raunds Church.—S pandrel in East Window . 94 Grantham Church.—S pandrel in West Window of North Aisle 95 Exeter Cathedral.—S pandrel in Clerestory Windows of Choir.. 95 Wellingborough Church.—S pandrel in East Window. 95 Hull—Church of the Holy Trinity.—S pandrel in Window in Transept end . 95 St. Cross Abbey Church.—W est Window. 96 Cottingham Church.—O utline of the Tracery of West Window 97 Aunsby Church.—T hree-light Window .105 Boston Church.—F ive-light Window .106 Charlton Horf.thorne Church.—T hree-light Window in Aisles 108 Cottingham Church.—S ide Compartment of West Window ... 109 Sleaford Church.—A Compartment of Window in North Tran¬ sept. 110 Selby Abbey Church.—A Compartment of East Window.110 xii DECORATED WINDOWS. PART I. THE CLASSIFICATION OF TRACERIED WINDOWS, AND THEIR SEVERAL PARTS. CHAPTER I. INTRODUCTION . In originally describing this work as a collection of examples illustrative of the Window Tracery of the Decorated Period of English Architecture, a mode of phraseology was employed which would be familiar to all who have of late years been en¬ gaged in the study of the Church Architecture of this country, and would therefore satisfactorily con¬ vey the intentions of the Publisher and the object of the work. It is to Mr. Rickman that we are indebted for that classification of the styles of English Archi¬ tecture, and that system of Nomenclature which has been almost exclusively used by recent writers on the subject. The excellence of this Classification and Nomen¬ clature, and their sufficiency for the purpose for 1 DECORATED WINDOWS. which they were intended, are best evidenced by the fact, that, although the attempts to supersede them have been both numerous and persevering, Mr. Rickman’s “Attempt to discriminate the Styles of Architecture in England,”* still remains the best guide of the Architectural Student in his first in¬ quiries into the History of the Art, and the prin¬ cipal text-book from which most of the popular publications of the day on the subject have been compiled. In estimating, however, the value to us, at the present time, of Mr. Rickman’s Classification, and the advantage of retaining it, regard must be had to the object with which it was originally proposed, and the amount of knowledge possessed on the sub¬ ject at the time he wrote. One of the prevailing errors of earlier writers was an anxiety to discover such distinctive marks in different buildings belonging to the same style as should entitle them to separate classification. The imaginary nature of these distinctions, and the variety and discrepancy of the opinions held by different writers upon this point—scarcely two of them agreeing to use the same nomenclature, to recognize the same distinctions, or to apply the same rules as a test in regard to date—were all circumstances tending to confuse and to distract rather than to fix the attention of the architectural student. When, therefore, Mr. Rickman, following the footsteps of Milner, determined to arrange and * Longman, London. 2 INTRODUCTION. condense the established facts and discoveries of earlier writers, as well as the results of his own observation, in a system which should be at once simple and comprehensive, and proceeded with this view to divide the whole of our Church Archi¬ tecture into four Periods or Styles, he rendered a great service to those engaged in the subject, and enabled students, by means of the admirable descriptions which accompanied his classification, readily to apprehend the leading characteristics of these four styles, and practically to apply his rules to all the buildings which might fall within their reach and observation. Although, however, the sufficiency of Mr. Rick¬ man’s Classification for the purpose for which it was intended, has been thus satisfactorily proved, and his reputation, as the first eminent Historian of the Art, permanently established, it may be a question how far a division so simple as to fix the attention of early students, and, on that ac¬ count, so necessary for preliminary inquiry, is one that, in the present advanced state of know¬ ledge on the subject, is calculated to satisfy the requirements of descriptive writers of the present day. It is clear that Mr. Rickman might, with equal correctness, have divided the entire duration of the Mediaeval Styles into five, six, or even seven Periods instead of four, had he chosen to do so. It is probable, however, that the simplicity of his system was the chief element of its success, as well as his reason for adopting it. 3 DECORATED WINDOWS. He must, nevertheless, have known, what is now beginning to be generally admitted, that our Na¬ tional Architecture, from its earliest infancy to the period of its entire debasement, was in a con¬ stant state of regular progression or transition, and that this progress was not only uniform and con¬ stant, but carried on in different parts of the country very nearly simultaneously. We have been so much in the habit of classing our buildings according to their leading peculi¬ arities, in one or other of these four styles, that we have been apt to overlook this fact, and its important bearing upon the gradual development of our knowledge upon the subject. It is difficult to say what accuracy of informa¬ tion may not hereafter be attained by the joint operation of the various architectural and archae¬ ological associations now in active existence in dif¬ ferent parts of the country, and the increasing efforts of those who have undertaken the illus¬ tration of this interesting branch of History and Art. It would not be too much to predict, that, class¬ ing our buildings, as we do at present, in four large groups, we may, at no great distance of time, be able to class them, not by centuries , but by decades of years. Whether, looking at the additional information we already possess, the time has notv arrived for a more detailed division of the Church Architec¬ ture of this country, than that which has been bequeathed to us by Mr. Rickman, and which has 4 INTRODUCTION. hitherto served our purpose so well, is a question which manifestly lies out of the limits of the pre¬ sent essay: at the same time, it may be assumed that the consideration of so much of it as applies to the particular feature which we have under¬ taken to illustrate, lies peculiarly within our pro¬ vince. It has become, in fact, our legitimate task, now that the series of examples which have been peri¬ odically presented to our readers is completed, to consider how we shall classify them; to examine their points of contrast and resemblance; to in¬ quire whether the peculiarities which distinguish some from others are not such, and so great, as to render it difficult and inconvenient, if not actu¬ ally incorrect, to comprehend the whole of the Tracery of the so-called “ Decorated” Period in one undivided class, and under one general de¬ nomination. 5 CHAPTER II. DIVISION OF TRACER IED WINDOWS INTO THREE CLASSES: —GEOMETRICAL, CURVILINEAR, AND RECTILINEAR. No one who has paid much attention to the buildings of the Decorated Style, or who has con¬ sulted the descriptions of such buildings given in Mr. Rickman’s Appendix, can fail to have observed that the windows of this style are divisible into two classes: one, in which the leading lines of the tracery are geometrical; and the other, in which they are of flowing character.* Nor is this distinc¬ tion the only one which exists between these two classes of Windows. We shall find, if we examine further, that they differ also materially in other respects; in their mouldings and plan, as well as in their sculpture and ornaments. We shall find, in fact, whether we consider the general design or the detail, that the points of difference which distinguish Perpendi¬ cular Windows from Decorated Windows, are not * These terms “geometrical” and “flowing” are used here in the same sense as that in which they were used by Mr. Rickman, and are still used in most of the publications of the present day. 6 CLASSIFICATION. greater than those which separate these two classes of Decorated Windows from one another. We have only to carry our inquiries a step fur¬ ther, in order to satisfy ourselves that these points of difference are not confined to the Windows alone, but extend also to the buildings to which these Windows respectively belong; and having arrived at this point, we shall not he long in coming to the conclusion that there exists a large and important class of buildings, characterized by the Geometrical forms of their Window tracery, which has hitherto been treated as belonging partly to the Early Eng¬ lish and partly to the Decorated Styles, but which is, in reality, distinct from both, and pre-eminently entitled, from the number and beauty of its ex¬ amples, to separate classification. Instead, therefore, of following Mr. Rickman’s division of Traceried Windows into two classes, Decorated and Perpendicular, I propose to divide them into three ; ill the first and earliest of which the leading lines of the tracery are generally circular; in the second, flowing ; and in the third, straight. To retain the term Decorated for the second of these classes would tend to confusion; as it at pre¬ sent embraces a portion of the first, and has been so long applied to so many buildings of this character, that it would be very difficult, if not impossible, to limit its future signification to the extent and in the manner required. Moreover, it was adopted by Mr. Rickman as a fit term to express the contrast be¬ tween the rich head of a mullioned Window, and 7 DECORATED WINDOWS. the plain lancet-head of his earlier style ; a contrast which cannot be said to exist to the same extent between circular and flowing tracery. Neither does it appear necessary or desirable to retain the term Perpendicular for the third style, if one more correctly expressive of the character of the tracery of this Period can be found. I propose, then, to name these three styles of Window tracery, Geometrical, Curvilinear, and Rectilinear; and to allot the following periods to them:— A.D. 1245 — 1315 . 1315 — 1360 . 1360 — 1500 . * Geometrical Curvilinear Rectilinear * The terms “ Curvilinear ” and “ Rectilinear ” were many years ago proposed by a writer in the “ British Critic ” (vol. ii. p. 378), to be sub¬ stituted for Mr. Rickman’s “ Decorated” and “Perpendicular.” 8 CHAPTER III. ORIGIN OF TRACERY. SECTION I. THE CIRCLE CARRIED BY TWO ARCHES. The elemental principle of the design of by far the greater number of the earliest Traceried Win¬ dows is that of a circle carried by two pointed arches. This feature, or some modification of it, is found throughout the whole of the Geometrical Period, and is not entirely lost sight of in many of the most beautiful examples of the Curvilinear Period. The two-light Window of the aisles of Etton Church, Northampton¬ shire, presents the sim¬ plest form, where both the arches and circle are perfectly plain. The four-light Win¬ dows in the north aisle of Grantham Church, and those of Westminster Chapter House (No. 7), ETTON. DECORATED WINDOWS. GRANTHAM. Netley (No. 8), Howden (No. 14), Rudston (No. 6), and Leominster (No. 21), exhibit the application of this principle on a larger scale. In all these examples the simple two-liglit form is merely dou¬ bled, in order to ' produce the larger <{_ Window. The magnificent eight - light East Window of Lincoln Cathedral (No. 11), in which the original two-light is quadrupled, is a remarkable example of the same kind. In three-light Windows the head of the Win¬ dow is usually filled with three circles of nearly equal size; as in the plain three-light Window of Bourne Church (No. 3), and in the aisle Windows of Lichfield Cathedral, to which the large six-light Windows of Raunds (No. 9), and Grantham (No. 10), hear the same relation that the East Window of Lincoln does to the four-light Windows before mentioned. 10 LICHFIELD. ORIGIN OP TRACERY. The mode in which this principle is applied to five-light Windows, may be seen in the Windows of Bedale (No. 13), Easby (No. 18), Welling¬ borough (No. 35), and Fish toft (No. 25), and in the numerous fine five-light Windows of the Choir of Exeter Cathedral. Ripen Cathedral contains a noble seven-light Window of this kind (No, 16), which is still sur¬ passed by the larger and more striking East Win¬ dow of Gfuisborough Abbey, of very similar design (No. 17). Throughout the whole of these examples, varied as they are in detail, we readily recognize the elemental principle before mentioned, as the one upon which their general outline has been de¬ signed. In considering, then, the origin of Tracery, the derivation of its earliest and most essen¬ tial feature, that of a Circle carried by Two Arches, naturally becomes the object of our first inquiries. In the Norman Style a single broad circular¬ headed Window was the one usually employed. As the style advanced, the proportions of this single Window became altered, its height being increased, and its relative width, diminished. Circular Windows also were not uncommon in this style; but in the Transitional Period they be¬ gan to be of frequent occurrence. They were sometimes of large proportions, and occupied the entire gable, as in the west ends of Byland and Kirkstall Abbey Churches; occasionally they were li- DECORATED WINDOWS. ornamented with small arches, resting on shafts radiating from the centre; hut frequently they were small and plain, and used in a manner which exhibited a connexion with, or a reference to, the other openings. They appear thus in the transepts of Durham, at the east end of St. Cross, near Winchester, and in the ends of the transepts of Ivirkstall and Fountains. It is in the eastern chapels, however, of the transepts of Foun¬ tains and Kirkstall Abbey Churches (two buildings strongly re¬ sembling one another), that the use of the circular Window in connexion with the plain circular headed Window of the Tran¬ sitional Period, is more particularly deserving of notice. There are two of these chapels attach¬ ed to the east side of both the transepts; they are vaulted with a plain pointed barrel vault, and are lighted at the east end with a plain circular Window, over two plain circular-headed Windows. The relation which these three openings bear 12 KIRKSTALL. ORIGIN OF TRACERY. to one another, and to the space in which they are situated, is too evident to permit us to doubt that in this arrangement we have the type of the elemental principle of Geometrical Tracery before mentioned, and one of the earliest examples of a Circle carried by Two Arches. The conventual Church at Kirkstall was com¬ pleted a. d. 1152; and Westminster Abbey Church, the first building in England of authentic date in which Window Tracery, properly so called, was used, was commenced a. d. 1245. We have thus an entire century intervening be¬ tween the first appearance of this feature and the introduction of the art to which it eventually gave rise. The manner in which this interval was filled up requires to be briefly noticed. SECTION II. THE COMBINATION OP LANCETS UNDER ONE ARCH. There are few circumstances in the History of Architecture more deserving of attention than the rapid and remarkable changes of form through which the Window passed between the 11th and 14th centuries ; and it is on this account that it may be taken more readily than any other promi¬ nent feature of a building to denote its age and character. Rapid as was the reduction in width, and increase 13 DECORATED WINDOWS. SOUTHWELL. in height, from the low, broad, circular-headed examples of the 11th century, to the long, narrow lancet of the 13tli cen¬ tury ; still more remarkable was its sudden expansion from the latter form into the spa¬ cious examples of the same century. A few instances will illus¬ trate the nature and progress of the earlier of these changes. We first find the low, broad Early Norman Win¬ dow of Southwell and Dur¬ ham brought to the fairer proportions of Ely and Peter¬ borough. The Windows of Malms- bury, Fountains, and Kirk- stall exhibit the progress of this elongation in the early part of the Transitional Period, and those of Roche and By¬ land its continuation in the latter part of the same period. In the extreme eastern portion of the choir of Can¬ terbury Cathedral, and in the nave of Glastonbury Abbey Church, we find the approxi¬ mation to the Lancet form still ORIGIN OF TRACERY. more close ; and in both these buildings pointed and circular arches are used indifferently in the window heads. The earliest Lancet Win¬ dows still exhibit a consider¬ able breadth of glass; which became, however, almost im¬ mediately greatly diminished in proportion to their height. To such an extent was this reduction carried in some in¬ stances, that the Window be¬ came a narrow strip of glass, the breadth of which bore no estimable proportion to its height. Thus, in the chancel of Bottesford Church, Lincolnshire, the side Win¬ dows are fifteen feet six inches in height, and only eight inches in width. Thus reduced in width, and diminished, as their transparency often was, by the stained glass with which they were filled, single Windows soon proved to be insufficient to afford the requisite amount of light, and it became necessary to compensate by a combination of several openings for the deficiency thus occasioned. This combination was effected in the earlier in¬ stances by simply placing two or more Lancet Win¬ dows in juxtaposition ; the number of the Windows so combined varying with the size of the compart¬ ment to be lighted; thus, while we find couplets of lancets in the compartments of the side aisles, we 15 CANTERBURY. PLATE A. BoTT£SFORD Cow LEr S T Bartholomews Hospitai ibivich/ 4 Temple Church 0. R I C I TRACE R Y ORIGIN OF TRACERY. blished, by carrying a continuous hood-moulding over the whole group, and by lessening the mural space between them ; as in the east end of St. Bar¬ tholomew’s, Sandwich (Fig, 2). In the succeeding examples (Figs. 3 and 4) the wall space between the lights is so far reduced as to come under the denomination of a mullion. The unity of Design suggested by the last group becomes strikingly apparent in the two next ex¬ amples from the south transept of Carlisle Cathe¬ dral (Figs. 5 and 6), in which the three Lancets are united under one Arch. A further advance of no small importance is also exhibited in Fig. 6, in which the space that inter¬ venes between the heads of the Lancets and the Arch is pierced with a small circle. It only remained that this perforation should be complete, and designed so as to occupy the whole of this intervening space, in order to convert what had hitherto been a group of separate Windows into one Window of several lights: as shewn in the two last examples from Netley and Easby Abbey Churches (Figs. 7 and 8). This step, which would appear to be little more than the completion of the preceding one, was in fact the consummation of the change which had been thus gradually carried on, and the commence¬ ment of a new era in the art of constructing Win¬ dows. All that has just been remarked in regard to Windows of three lights applies equally to the larger groups, which generally occupy the gable- 17 DECORATED WINDOWS. ends. The collection of five lancets under one arch at the east end of the old Guildhall at Chichester shews the same pro¬ gress in the last stage but one, and the east Window of Etton Church shews the per¬ foration in the Win¬ dow-head complete. The former being a group of Jive Lancets , and the latter a Lancet Window of five lights. Whilst this progress was going on in the gable-ends of build¬ ings, a contempora¬ neous change, not less important, but of a somewhat different nature, was being car¬ ried on in the side- walls. ET'TON. In the churches of this period, the high pitch of the roofs, increasing, as it did, the loftiness of the principal front, ne¬ cessarily subdued and kept down the height of the side-walls. Whilst, therefore, the number and height of the Lancet Windows lighting the east and west fronts and the transept ends of the so- called Early English Period, is one of the most striking and characteristic features of the style, the unpretending and subordinate character of the 18 G0ILDHAIX, CHICHESTER. PLATE B. ST Cues. Oxford Netley Giapteh House, ST Cues , Ox F OR D Netley. Wi NCHESTER County HaV $ T Cross If..Torch. 7 Grasby Dowsby Etton Origin of tracery niustrated, by a senes L on do a. PubTish.ec! by Jolm^j^f/borst. Paternoster Bow, 184#. ORIGIN OF TRACERY. side-aisle and clerestory Windows is equally re¬ markable.* Used singly in the earlier instances, and in cou¬ plets and triplets in the later examples, we rarely find the latter number exceeded in the compart¬ ments of the side aisles. Here the progress we have been tracing through the larger groups was differently exhibited. It was in the side aisles that the practice of pairing Windows, and perforating the wall above them with a circular, or other opening, an early ex¬ ample of which we LILLINGT'ON. have recorded in the first section of this chapter, found a ready ac¬ ceptance. Following at first the same course in the dual arrangement as in the case of a plurality of Lancets, we find them first placed in juxtaposition (Plate B., Fig. 1); next, united by a continuous hood-mould¬ ing (Fig. 2); and subsequently in a similar manner combined under one arch (Fig. 3). But here an anomaly arose, which had no existence in the larger groups, where the heads of the lancets rising above * These churches were, in fact, principally lighted from tneir extreme ends ; or, in other words, from the head, the feet, and the arms of the cross ; and this circumstance, and the necessity, in fact, which existed for this extraordinary supply of light from the extremities of the building may, in some degree, account for the prevalence of Transeptal Churches, in this style. DECORATED WINDOWS. one another within the arch itself filled it so nearly as to leave hut little space for further perfora¬ tion. In two-light Windows, on the other hand, a con¬ siderable space was left between the heads of the lights and the circumscribing arch, which presented an opportunity that was not likely to be neglected by the architects of this Period. We accordingly find this space perforated in a variety of ways, as exhibited in the remaining ex¬ amples given in Plate B. The first three, Netley, Winchester, and St. Cross, shew simply a foiled opening placed under the arch, over two lancets or two trefoiled lights. The two next, Grasby and Dousby, shew awk¬ ward and incipient attempts to adapt the shape of the perforation to the form of the arch. The two last, Charlton-on-Ottmoor and Chisel- bourne, exhibit the whole arch filled with a con¬ sistent design, containing a foliated circle carried by two lancets. It was thus, then, by the joint operation of these two important results, namely, the conversion of a qroup of Lancets into One Window of many lights, and the combination of a Circle and Tivo Lancets under One Arch, that the way was prepared for the approaching change. 20 CHAPTER IV. DEFINITION OF TRACERY. A Window cannot be said to contain Tracery unless the whole of the Window-head is pierced through to the plane of the glass, so as to leave no plain surface, or solid mass of stone, in the spandrels between the principal Tracery-bars and the Window- arch. This rule, which is nearly identical with that laid down by Professor Willis in the sixth chapter of his “ Remarks on the Architecture of the Middle Ages,” contains a definition of Tracery that is at once simple and obvious, and enables us to class the Windows of this Period upon an intelligible principle. It has been seen in the preceding section that before Lancet Windows were entirely abandoned, they were used in combination in such a manner as to present the appearance of their being a single Window of many lights ; and that, in the case of Lancet Windows of two lights, the manner in which the Window-head is treated, almost gives the ap¬ pearance of Tracery. In many of these latter cases, the approach to actual Tracery is so close as to lead to the supposi¬ tion at first sight that the Window is one of Early 21 DECORATED WINDOWS. Geometrical character: the application, however, of the rule just laid down is sufficient to determine the true nature of the design. Thus, in Etton Church, the Windows of the nave would appear at first sight, and as seen from the ovtside, to have reached the point indicated by the foregoing rules, and to con- When seen, how¬ ever, from the inside, their real construction becomes evident, and they appear on this side to be, what in re¬ ality they are, Lancet Windows of two lights, with a plain circle over them under one arch. The sunk work in the spandrels on the out¬ side is merely super¬ ficial, the perforation is incomplete, and the true principle of Tracery is therefore wanting. In a Window of Woodstock Church a similar instance occurs; (Inside.) here, however, the case is reversed ; it is on the inside, in this examjfie, that the approach is made; hut the attempt equally falls short, the principle is again just missed, and the outside 22 tain actual Tracery. ETTON. DEFINITION OF TRACERY. still exhibits the double trefoil- headed Lancet, and the Circle. It only re¬ mained, then, for these two at¬ tempts to meet each other in or¬ der to perfect the discovery, as in the aisle of Stone Church, where the perforation is complete. A Window cannot, however, be said to con¬ tain Tracery in which the fore¬ going condition is complied with simply by pierc¬ ing the spaces that lie between the heads of three or more Lancets united under one arch, as in the East Window of Etton Church (see page 18), or STONE. 23 DECORATED WINDOWS. the East Window of Easby Church (Fig. 6, Plate A.), the term conveys something more than the mere vertical continuation of the mnllions above the spring of the Window-arch, and their termination in Lancets in the head of that arch; it necessarily implies the existence of a consistent design of per¬ foration commencing at the spring of the arch, and occupying the entire Window-head. 21 CHAPTER V. I. THE WINDOW-ARCH. - II. THE SCOINSON-ARCH. III. THE REAR-VAULT. 1. The Window-Arch .—In Lancet Windows the glass was usually placed near the outside of the wall, which was deeply splayed from the glass inwards, to facilitate the admission of light. The combination of many lancets recessed under one Arch, - whilst it necessarily brought the glass nearer the cen¬ tre of the wall, intro- BOTTESFORD. duced a new feature, the treatment of which soon rendered it an important one in the designs of Windows of this period. In the earlier examples we often find this cir¬ cumscribing Arch without mouldings or ornaments. As the style advances its importance increases; it is furnished with shafts and mouldings ; it is en¬ riched with running ornaments, foliage, and sculp¬ ture ; and eventually becomes the deeply-moulded 25 DECORATED WINDOWS. frame , in which the rich panel of the Tracery is appropriately set. This Arch may with propriety he called the Window-Arch. In Windows of Curvilinear character the mould¬ ings of this Arch are usually the same on the inside as on the outside, and the Tracery is placed ex¬ actly in the centre of the wall: in Geometrical Windows, however, this is rarely the case. In many early examples, the practice of placing the glass as near the outside as possible is still retained, as in the east Window of Netley Abbey (No. 8), and the east Window of the north aisle of Stone Church. In the former example, the Tracery lies on the very surface of the outer wall, and the Window-Arch, which lies wholly on the inside, consists of a rich series of mould¬ ings of four orders, carried on a like number of detached handed shafts, placed on the face of a deep splay. By far the greater number, however, of Traceried Windows possess a distinct and well-defined Win- 26 THE WINDOW-ARCH. dow-Arch, which exhibits itself on the outside as well as on the inside, the mouldings of which, associated and blended, as they usually are, with those of the Tracery, are still easily to be sepa¬ rated and distinguished from the latter and have DECORATED WINDOWS. a subordination of their own entirely independent of that of the Tracery. II. The Scoinson-Arch .—In Windows which are placed in walls of considerable thickness, or where the Tracery lies near the outer surface, as in most early examples, there frequently occurs an arch which is not to be confounded with the Window- Arch, the treatment of which in both early and late work is worthy of especial notice. The object of this Arch, to which Professor Willis was the first to call attention, and which he has named the Scoinson-Arch,* appears to have been twofold. Almost all walls of mediaeval character were built S. It. w. ARRETON. Section. with an inner and outer facing of dressed stone, the middle being filled in with rubble-work and * From the French term Escaiinson. See Willis, &c. 23 THE SCOmSON-ARCIL grouting, as the work proceeded. One of the pur¬ poses for which the Scoinson-Arch was used, was to carry the inner face of such walls, the outer face being carried by the Window-Arch. Again, it is clear that for the better admission of light, it is desirable that the window side, or jamb, should be splayed on the inside as much as possible : the continuance of this splay round the head of the Window on the inside, not only pro¬ duces an unsightly effect, but raises the Window to an inconvenient height. The Scoinson-Arch, springing, as it frequently does, from the same level as the Window-Arch, and rising only to the same height, at once obviates both these difficul¬ ties, and affords an elegant finish to the edge of this internal splay. It often consists simply of a plain chamfered rib, of segmental or obtusely-pointed form, which dies into the splay of the jamb on each side, as in Arreton Church. Sometimes this rib is carried by a single shaft, set in a hollow, as in Tintern (p. 31). In other examples the mouldings are continued downwards, at the edge of the splay of the jamb, to the sill or string course at the bottom of the Window. In the richer examples it becomes frequently equal in importance to the Window-Arch, and con¬ tains mouldings of two or more orders, and pos¬ sesses its own hood-mould, as in the east Windows of the South Transept of Ely Cathedral. It is less common in the Curvilinear than in 29 DECORATED WINDOWS. the Geometrical Period, but is occasionally richly ornamented with folia¬ tion in this period, as in Broughton Church, Ox¬ fordshire, and in a Win¬ dow in the east wall of the triforium of the south aisle of Gloucester Cathedral. It occurs also in those Windows which are placed in walls contain¬ ing galleries or passages, GLOUCE3TEB. . such as clerestory Win¬ dows, and large east and west Windows. III. Rear-Vault .—Between the Window-Arch and the Scoinson-Arch there usually occurs a vaulted space, to which Professor Willis has given the name of Rear-Vault.* This Arch or Vault is usually perfectly plain, as in Arreton (p. 28), and Tintern (p. 31); hut it is sometimes ornamented, as in the east Window of Ripon Cathedral, where a deep rib of good profile is laid on its surface, * From the old French term of Arriere-vousse. 30 THE REAR-VAULT. between the Window-Arch and the Scoinson-Arch, which dies into the jamb at the spring of the vault. Much ingenuity is often shewn in the manner in which these three members of the head of a Traceried Window are respectively arranged and united with its lower part and with one another; and the subject is one which deserves more at¬ tention and study than is usually bestowed upon it. The side Windows of Tintern Abbey Church pre¬ sent good examples of the relative position and importance of the Window-Arch (W), the Scoinson- Arch (S), and the Rear-Vault (R), in Windows of Geometrical character. CHAPTER VI. FOLIATION. The practice of foiling Arches, as described by Professor Willis,* arose in England at the close of the Transitional Period. An early instance of a trefoiled Arcade occurs in SELBY. the West front of Selby Abbey Church ; and of a quatrefoiled circle in the Triforium of Jedburgh Abbey Church, where the blank space over the double arches of the Triforium is pierced alter¬ nately with a plain circle, and a quatrefoiled circle. Both these examples belong to the Transitional Period. This mode of ornamenting blank spaces soon came * “ Architecture of the Middle Ages,” p. 41. 32 FOLIATION. into rapid and universal use. The West front of Lincoln, Peterborough, Wells, and Salisbury Ca¬ thedrals are covered with trefoiled arcades : it became, in fact, the characteristic ornament of the Period. It was this species of decoration, used so profusely in the works of the so-called Early English Period, that gave rise to the art of Foliation,* as practised in the Windows of the succeeding Period. Foliation preceded the introduction of Tracery; it is found in the heads of Lancet Windows at the close of the Period, and is a certain indication of late work. In the earliest examples the Foliation is * The difference between foiling an arch and foliating it, is thus de¬ scribed by Professor Willis in his “ Remarks on the Architecture of the Middle Ages," p. 45 :—- “ In the first case the arch itself is indented into a number of small arches; in the second case, such a foiled arch is placed below it.” Thus the series of small arches in the accompanying arcade from the ST. _A1BAN'S. North Transept of Whitby Abbey Church are trefoiled ; whilst those in the subsequent example, from the choir of St. Alban’s are trifoliated. Again, the next figure is a quatrefoil, and the following one a quatre- foliated circle. 33 DECORATED WINDOWS usually formed by the addition of a small plain cusp to the soffit of the Window-Arch, as in Rudston (No. 6). This description of cusp, which consists usually of a small piece of stonework, flat on both sides, and square or chamfered slightly on its edge, has been called by Mr. Paley * a soffit-cusp, to distin¬ guish it from that cusp which is formed by the foliated continuation of the whole or part of the small hollow chamfer of the mullion or jamb adjoin¬ ing the soffit, and the soffit itself, and which he has called a chamfer-cusp. There is a striking analogy between the treatment of the unpierced Window-head and the solid soffit- cusp of the Lancet Period. Just as the solid span¬ drels in the Window-heads were perforated in order to produce tiacery, so was the plain cusp pierced through to the plane of the glass, and reduced to the condition of a slender bar of stone, apparently laid on the soffit of the small arch or tracery-bar to which it was attached. *“ Manual of Gothic Moldings.” Van Voorst. London, 1847. 34 FOLIATION. This soffit-cusp pierced, became the characteristic cusp of the Geometrical Period. Generally this cusp is plain, with a small chamfer on one or both of its edges, but in richer examples it is often elegantly moulded, with a different profile on each side, as in the arcade of the aisle of the Presbytery of Lincoln Cathedral. The small triangular space between the cusp and the small arch or tracery- bar to which it belongs, whether solid, sunk, or pierced, has been called by Professor Willis* the foliating space, and by common masons, where only 1 LINCOLN sunk, an eye. presbttebt. One effect of thus piercing the solid soffit-cusp was to cause it to be treated, in its altered form, as a separate and distinct mem¬ ber. Thus in almost all the larger, and in many of the smaller fo¬ liated circles of the Geometrical Period, the cusps were inserted in a groove cut in the soffit of the circle, and are not, as they appear to be, cut out of the solid. It would not be difficult in a circle to keep these inserted cusps in their places, but in the head of a light this would not be so easy; hence it is by no means uncommon to find these two descriptions of soffit-cusp united in the same Window in the Early Geometrical Period: the solid soffit-cusp being used * “ Architecture of the Middle Ages,” p. 45. 35 DECORATED WINDOWS. in tlie heads of the lights, and the inserted cusp in the foliated circles ; * and to the same circumstance is to be attributed the fact that many Early Geometrical Windows appear to have been designed with plain circles, and foliated lights, whereas in reality, owing to decay, the neglect of churchwardens, and igno¬ rant repairs, the original cusps of these circles, have either slipped out of their grooves, or been cast aside as offering an unnecessary difficulty to the glazier, and the grooves filled up with plaster or cement. Soffit-cusps continued in use throughout the whole of the Geometrical Period, but are rarely, if ever, to he found in Curvilinear Windows. Chamfer-cusps appeared as early as the Lancet Period; they are common in Geometrical Windows, hut were al¬ most exclusively used in the Curvi¬ linear Period. The earlier chamfer-cusps are distin¬ guishable from the later ones in their having a plane surface on the chamfer, whilst in the later examples the chamfer is usually hollowed. They are used, almost without any variation, * This has been satisfactorily ascertained by Mi - . Scott to be the case in the east Window of Raunds Church (No. 9), in which the cusps of the circles have slipped out, and the groove has been filled up, whilst those of the lights, being solid, have remained. The Window is shewn in the accompanying series in its present state. In the north aisle of the nave of Chichester Cathedral, the whole of the circles in the Early Geometrical three-light Windows have suffered a similar loss, and are at the present time undergoing a correct restoration by Mr. Carpenter. 36 FOLIATION. throughout the Curvilinear Period, alike in the richest as in the plainest Windows. The foliating space is usually small, and the back of the cusp convex. The plane of the fillet or edge of the cusp is gene¬ rally a little below that of the adjoining fillet of the mullion or tracery-bar.* * The hollow chamfer-cusp is the one almost invariably used in modern practice, as well in windows of Geometrical as in those of Curvilinear design. It is almost needless to observe, that any attempt to carry out a Geometrical outline with Curvilinear details must end in a failure. There is, perhaps, no Period of English Architecture in which so much attention was paid to niceties of detail as the Geometrical, or one in which the absence of care in this respect in modern imitation exhibits a greater departure from the spirit of the style. 37 CHAPTER VII. THE MOULDINGS OF DECORATED WINDOWS. SECTION I. SUBORDINATION. Sir James Hall was the first who noticed the subordination of Mouldings in Traceried Windows.* Mr. Rickman alludes to it,f and Professor Willis has enlarged upon it in the sixth Chapter of his “Architecture of the Middle Ages.” He endea¬ vours there to prove the derivation of Tracery through the practice of foiling arches from the earlier practice of constructing compound arches, one under the other, of different forms. The whole of this chapter, as well as the whole work, deserves the careful study of all who are curious on this sub¬ ject, or are interested in the architecture of these Periods. Ingenious, however, as is the manner in which this view is there treated, and well supported, as it appears to be by the foreign examples which are cited, it is extremely doubtful how far it may be said to be applicable to the case of English Tracery; * “ Essay on Gothic Architecture.” + “ Attempt to discriminate,” &c. Third edition, p. 74. 38 MOULDINGS. the origin of which is so simply and naturally to be accounted for in the manner already explained. (Chapter III.) The fact is, that in the period immediately pre¬ ceding that in which Tracery made its appearance, the principal idea which seemed to possess the builders in their treatment of Windows, was that of combination; and in the earlier instances that com¬ bination was marked as frequently by a simple hood¬ moulding, lying on the surface of the wall, as by a recessed Arch;* nor, where the Window-Arch was thus used, was it of that depth, or the relation of the lights to it of such a nature as to suggest the idea of subarcuation. In fact, from the moment that groups of Lancets ceased to be separate features, and became so many members of one large Window, the whole of the stonework within the Window- Arch began to be treated as one large panel, the component parts of which, although possessing, as they often do, a subordination of their own, are not to be looked upon as entering into a system of subordination of which the Window-Arch forms a part. This view of the nature of a Traceried Window becomes confirmed when we examine its construc¬ tion ; it is at first sight apparent that the only real Arch of Construction, except where a Rear-Vault and Scoinson-Arch occur, is the Window-Arch; the Tracery and mullions having been almost invariably set after the Window-Arch was completed,-j- and * Oundle Church, seven lights. + This practice, the exceptions to which in ancient work are ex- 39 DECORATED WINDOWS. being evidently designed to fill the vacant space, and to carry only their own weight;* a fact which is incompatible with the idea of the Tracery or any portion of its Mouldings being a sub-arch to the order above it; inasmuch as in all systems of sub- areuation the sub-arch is the one first constructed, on the back of which the others are built. Following out the principle on which he derives the construction of Traceried Windows, from the practice of constructing consecutive, subordinate arches, and which has led him to regard the Tracery itself as a portion of such a series, Professor Willis, in his classification of the different orders of Mould¬ ings in a Traceried Window, constitutes the Win¬ dow-Arch the first, and the Foliation the last of the series, f Hence it follows, that the first order of the Mouldings of the Tracery becomes in fact the second order of the Mouldings of the Window; an incon¬ venience the amount of which, in describing the Window, will be found to be considerable. Again, it frequently happens that the Window-Arch itself contains two orders of Mouldings; so that the first order of the Tracery will not always necessarily be the second, but may sometimes be the third, or even tremely rare, is very often transgressed in modern work ; it is, in fact, not uncommon to see a considerable portion of the mouldings of the Window- Arch worked together with those of the tracery on the same stone. It is in vain for us to hope to seize the spirit of early models, if we content ourselves with copying their decorative features, and neglect the principles of their construction. * The Tracery may, in fact, be said to bear pretty much the same relation to the Window-Arch that the glass does to the Tracery. t “ Architecture of the Middle Ages,” p. 55. 40 MOULDINGS. the fourth order of the Mouldings of the Window. These difficulties are increased where, as is often the case, the Foliation contains two orders of Mouldings, and the total number becomes thus increased to six or seven orders. On the other hand, if we adopt that principle which leads us to regard the Window-Arch as the frame, and the Tracery as the panel of the Window, and class their respective Mouldings, as well as those of the Foliation separately, all difficulty of description vanishes, and the true relation and sub¬ ordination of the parts is rendered distinct and intelligible. According to this method of description, the Mouldings of the head of the west Window of Howden Collegiate Church, the elevation of which is given in the series (No. 27), and the plan of which is annexed, may be classed under three heads and thus described:— The Window-Arch contains two orders of Mould¬ ings ; the Tracery has two orders of Mouldings ; and the Foliation has also two orders, the first of which is identical with the second order of the Tracery, and the second of which is formed by soffit-cusps. For the purpose of distinctly noting the different orders of Mouldings contained in a Window-head of this kind, the method of classing them, as shewn in this plan, will be found to he the most convenient, in which the Mouldings of the Window-Arch are limited by lines drawn at right angles to the wall, those of the Tracery by lines drawn diagonally, and 41 DECORATED WINDOWS. those of the Foliation by others drawn in the direc¬ tion of the glass or parallel to the wall. EOWDEN. WEST WINDOW. The plates c, D, and E, present the plans of the greater part of the Windows given in the accom¬ panying series, and may he taken as representing sufficiently well the character of the Mouldings of the Geometrical and Curvilinear Periods respectively. The scale to which they are drawn differs through¬ out, for the convenience of arrangement; the object, being rather to obtain a general synoptical view of the whole, than to give accurate detailed measure¬ ments of each. On the first view that we take of these plates, the following points at once strike us. 1. The Window-Arch rarely contains more than 42 ■ PLATE C- ■■■■—■.-.I Loud ori. PiibQish ed "by Jolm Van Yoorst, Paternoster Row. 1849. PLATE D. X on don.. PuCblisTie & "by Jolm Van Voorst .Paternoster Row.l8T9. PLATE L. XcsndiorL. PuMislieX'by Jolm-Van Voorst, Paternoster Bow,1849. MOULDINGS. two orders of Mouldings, and more frequently only one. This remark applies as well to the larger Win¬ dows of this series, Carlisle, Lincoln, Selby, and Guisborough, as to the smaller ones. The east Win¬ dow of Netley, it is true, has four orders in the Window-Arch, (see p. 27,) which, however, in this case, lies wholly on the inside, and is of very early and peculiar character. The Window-Arch always comes down to within a few inches of the glass; the portion of stone on which the adjoining part of the Tracery is worked being seldom as thick even as the Mullion, and never having any additional Mouldings worked upon it, above the plane of the first order of the Tracery. The mode in which the back joints between the Tracery and the Window-Arch, and between the different orders of the Window-Arch are provided for is worthy of notice. In the accompanying plates these joints are shewn by dotted lines ; and it will be seen that occasionally a small subsidiary Moulding, usually a hollow, inter¬ venes between the first order of the Tracery and the soffit of the Window-Arch, the object of which is to give the necessary thickness to the stone on which the former is worked, as in Trent (No. 28), Wells (No. 30), Hedon (No. 55), Exeter (No. 24), and Nantwich (No. 46). In many cases, however, the same object is at¬ tained by increasing the width of the fillet on the surface of the first order of the Tracery, which meets at right angles the soffit of the lowest order of 43 DECORATED WINDOWS. the Window-Arch, and thus forms a rectangular joint. This is the case in Arreton (No. 2), ITowden (No. 14), Bedale (No. 13), Cartmel (No. 22), Milton (No. 31), Hull (No. 29), Great Bedwyn (No. 34), Carlisle (No. 37), Heckington (No. 39), Yaxley (No. 49), and numerous others. Sometimes this fillet has its natural width, and a portion of the first Moulding of the Tracery bar is seen worked on both sides of it, as in Grantham (No. 10), Heckington (No. 38), Whitby (No. 32), and Boston (No. 47). Again, where the Window-Arch contains two or¬ ders of Mouldings, the joint between them is usually placed where two plain surfaces, or fillets, meet each other at right angles, as in Grantham (No. 10), Howden (No. 20), and Carlisle (No. 37); in almost all other cases it is placed in a hollow, and generally at that point of the curve where a tangent, drawn parallel to the wall line, or at right angles to the joint, would touch it, as in Howden (p. 42), Nant- wich (No. 46), Boston (No. 47).* 2. The Tiiacery never contains more than three orders of Mouldings, and very rarely more than two. This may be said of the largest and richest Win¬ dows in England; it is, indeed, possible to conceive a case where a quadruple series of Mouldings might exist, but if the principle of subordination practised in English Tracery were adopted, the design would of necessity contain not less than sixteen lights. * The mode in which these parts of a Traceried Window are worked, and the joints provided for, involves great nicety, and is generally totally overlooked in modern work. 44 TRACERY. The number of Windows containing three orders in the Tracery is very small; there are only four in the accompanying series, namely, Lincoln eight lights (No. 11), Carlisle nine lights (No. 37), North- borough five lights (No, 50), and Wells four lights (No. 30); and of these, the third order in the two last is formed by cusp-tracery. It will be seen on comparing the elevations in the series with the profiles, that the primary Mouldings are confined in the Geometrical Period generally to the two principal arches and the circle they carry; and where the number of lights is uneven, as in Ripon (No. 16), and Guisborough (No. 17), to the small subsidiary arch below the circle, forming the head of the central lights ; and in the Curvilinear Period to the principal arches, the centre-piece and the Tracery-bars which connect them. The skeleton of the design being thus formed, the secondary Mouldings developed the principal forms of the Tracery, and defined the outline of the foliated figures. The east Window of Carlisle (No. 37), may be taken as an example, the Tracery of which exhibits a design of perfect proportions, and well arranged subordination in three orders. The primary Mouldings here are confined to the two principal arches, the oval-headed centre-piece between them, and the small circle over the central light, which form the principal features of the design. The secondary Mouldings define all the leading lines in the Tracery of the two side com¬ partments as well as the principal openings in the 45 DECORATED WINDOWS. centre-piece ; and tlie tertiary Mouldings complete the design by supplying all the intervals with foli¬ ated figures. 3. The Foliation never contains more than two orders, and generally only one. The Mouldings of this part of a Window-head and their subordination, deserve more attention, and have obtained perhaps less, than any other part of a Traceried Window. This is particularly the case with regard to Geometrical Windows, which ex¬ hibit occasionally very singular combinations of this member, the nature and design of which are not very apparent at first sight. Where two orders are used, it frequently happens that the first order is used in one part of a Window, and the second in another. This is the case in Early as well as Late Geometrical Windows. Thus, in the Windows of the Chapter House at Westminster (No. 7), the roll Moulding, which forms the first order of the Tracery, forms also the quatrefoil over each of the two side compartments, whilst the large central circle, and the heads of the lights are foliated with soffit-cusps. So, also, in the east Window of a chapel in Meo- pham Church,* the heads of the lights are trefoiled; the fillet which forms the trefoil being also the sur¬ face Moulding of the three circles in the Window- head, which contain a second order of inserted soffit-cusps. In the east Window of the refectory of Easby Abbey (No. 18), the two orders are united in the * “ Brandon’s Analysis.” Sect. I. Plate 2. 46 FOLIATION. same trefoil in the most singular manner, in the circular centre-piece; a small soffit-cusp being in¬ serted at the base of each trefoil, the primary fillet forming the other two foils; the whole of the rest of the Foliation is formed by the secondary soffit-cusps. In the east Window of Ripon Cathedral (No. 16), the first order of the Foliation which forms the BASBY trefoils of the centre¬ piece is, as in most other cases, identical with the second order of the Tracery, and the second order of the Foliation, which is formed by soffit-cusps, is employed throughout the rest of the Window. So again, in the Late Geometrical Window in the north aisle of Whitby Abbey Church (No. 32), the trefoils exhibiting the first order of Foliation, which appear in the g singular figure that s constitutes the princi¬ pal feature of the de- | sign, are formed by H the second order of T m , , WHITBY. the 1 racery, whilst the heads of the lights shew the second order of Foli¬ ation. In the aisle Windows of Howden Collegiate Church the same thing occurs, some parts of the 47 DECORATED WINDOWS. Foliation being worked with two orders, and other parts with only one. We have now to notice those Windows in which the two orders of the Foliation are worked out separately in the same part of the Window; a practice which appeared in some of the later Geometrical Windows, and gave rise to that beautiful kind of double Foliation, which became so frequent and so rich an orna¬ ment of the Tracery and open work of the later Periods : it occurs in the west Window of Howden Collegiate Church (No. 27), which contains what is called, in the descriptive text, a trifoliated quatrefoil. Both orders of the Foliation are here developed separately, the second order constituting the Folia¬ tion of the first order. A precisely similar example occurs in the centre¬ piece of a Window in the tower of Trent Church (No. 28). In the east Window of Wellingborough Church (No. 35) appears a more advanced and very elegant example of double Folia¬ tion ; and the canopied niche on the point of the wellingbohough. gable indicates the early discovery of its applicability to open work. 48 HOWDEN. FOLIATION. It is in this form only that two orders of Folia¬ tion are ever used in Curvilinear Windows, and in this form only very rarely. In fact, the Foliation of nearly all Curvilinear Windows consists of the plain chamfer-cusp of one order, sometimes flat, but commonly hollowed on the chamfer side ; generally with an edge, but some¬ times with a fillet, and even a small roll on its sur¬ face ; usually convex at the back, and rarely pierced in the foliating space. This remark applies equally to the magnificent nine-light of Carlisle (No. 37), and the small two-light of Hedon (No. 56). In the whole of the foregoing remarks, general rules only are attempted to be laid down on a sub¬ ject to which little attention has hitherto been paid; anomalies and irregularities will frequently be met with, and occur indeed in many of the accompany¬ ing examples, involving an apparent departure from these rules ; but the advantage of some systematic plan of viewing and classing the different parts of a Traceried Window, is too great to permit exceptions of this kind to prevail against such an attempt, and the improvements that may be made upon it from time to time by other inquirers. SECTION II. PROFILE. The principal Mouldings of Traceried Windows are, I., those of the Jamb and Window-Arch; and II., those of the Mullion and Tracery-bars. To 49 DECORATED WINDOWS. these may be added the Mouldings of the Scoinson- Arch, the Hood-moulding, and the String-course, which, as consisting of one order only, may be looked upon as of secondary importance. It has already been stated, that Geometrical and Curvilinear Windows differ no less in their Mould¬ ings and details than in their general design. It has also been observed, that the outline of the general design of a Geometrical Window-head is formed of circles or segments of circles, whilst that of a Curvi¬ linear Window is composed of lines of a flowing character. It will be seen on examination, although the ogee found its way first into the Profiles of Mouldings, that the same rule which obtains in re¬ gard to the design of the Tracery, generally holds good with respect to the detail; and that the circle is as prevalent and characteristic a feature in the Profile of the Mouldings of a Geometrical Win¬ dow as the ogee is in those of Curvilinear charac¬ ter. A comparison of the sections of the Window- Arches, given in Plates c, d, and e, will shew this ; it will be found, in fact, that, whilst in the former class the depth of the hollows, as well as the round¬ ness of the convex Mouldings, denote the presence of the circle, in the latter the ogee in one form or another, is almost invariable. The double ogee oc¬ curs in Curvilinear Windows under the following forms:— I. As in Sleaford (No 40 and No. 57), Nantwich (No. 46), and St. Mary’s, Beverley (No. 48). II. As in Welbourne, Wellingborough (No. 35), 50 MOULDINGS. Yaxley (No. 49), Boston (No. 47), Great Claybrook (No. 58), Great Hale (No. 60), and others. III. As in the aisle Windows of Holbeach Church. i. ii. hi. SLEAFORD. WELBOURNE, HOLBEACH. The two last forms occur constantly in both Win¬ dows and doorways in the Curvilinear Period, but are nowhere to be found in works of genuine Geo¬ metrical character. The first of them is derived from, and resembles a Moulding which is common in Lancet and Geo¬ metrical Windows, and which, although exhibiting the ogee, is to be looked upon as little else than a slight departure from the common filleted bowtel of those Periods. • It occurs in Netley (No. 8) and Grantham (No. 10), and in the east Window of Lincoln Cathedral, but in the form more nearly approaching the Curvilinear example in the south aisle Window of Guisborough Abbey. The different orders of the Window-Arch sel¬ dom consist of the same Mouldings, and do not often even resemble each other. This is perhaps less the case with the earliest Windows than with the later ones. Four out of the five orders of Netley (p. 36), for instance, are similar, and the two orders of the five series in the 51 DECORATED WINDOWS. Window at Grantham (No. 10) are nearly so. So also are the two plain orders in Eashy (No. 18), and the richer ones of Howden (Nos. 14 and 20). On the other hand, the rich series of Curvilinear Arch-mouldings, commencing with Carlisle (No. 37) and ending with Beverley (No. 43), (Plates d and E,) exhibit profiles of great variety and beauty ; amongst which the elegant examples of the six- light Window, in the North Transept of Sleaford (No. 40), and the three-light Window in the North aisle of the chancel of St. Mary’s, at Beverley (No. 43), may he said to he preeminent. As soon, however, as the double ogee began to be a prevalent curve, the practice of repetition in the orders of Mouldings, both of Windows and Door¬ ways, became again very common, as in Great Clay- brook (No. 58) and Boston (No. 47). Tracery has been divided by Professor Willis into two classes : * 1. That which has a Fillet on its surface; and 2. That which has a Roll on its surface ; and he has termed the two descriptions “ Fillet-tracery ” and “ Roll-tracery.” There is, however, another description, namely, that in which the surface Moulding is angular ; as in the large six-light Window in the Transepts of the Church of the Holy Trinity at Hull (No. 29), in which the whole of the Tracery of the second order is form¬ ed in this manner. This description of Tracery may be called “ Edge- tracery.” It * “ Remarks on the Architecture of the Middle Ages,” p. 54. Deigh- ton, Cambridge, 1835. 52 TRACERY - . prevailed at the latter end of the Geometrical Period. The whole of the Tracery and Foliation of the beautiful three-light Window of Herne Church, already alluded to,* is constructed in this manner. The spire of Chesham Church-f- furnishes us with a two-light, and Evington Church f with a four- light, in which Edge-tracery is used in the foliation of the heads of the lights only. In the five-light Window in the Chapel of St. Anselm in Canterbury Cathedral, -j~ there is a large and remarkable cen¬ trepiece, the Tracery of which, in two orders, is entirely of this character. Roll-tracery is more common in Geometrical, than in Curvilinear Windows, and Edge-tracery is almost entirely confined to a short interval, of probably only a few years, at the close of the Geometrical Period. The section of a Tracery-bar is usually the same on both sides. This rule, which may be said to obtain throughout the whole of the Curvilinear Period, has its exceptions in the Geometrical Period. Occasionally, the circular centrepiece has a different series of Mouldings, on the inside and on the outside; as in Westminster (No. 7), v n LINCOLN. lludstone (No. 6), and Ar- reton (No. 2), and in the east Window of Lin- * “ Brandon’s Analysis.” + “ Architectural History of Canterbury Cathedral,” by Professor Willis. Longman, London. 53 DECORATED WINDOWS. coin Cathedral (No. 11), where the whole of the circles exhibit this peculiarity. Where, also, two orders of Foliation are used, not oc¬ curring together, a Tracery-bar will sometimes shew a different profile on its two sides, as in the aisle Windows of Howden (p. 48). The Mullion is to the Tracery- bar what the Jamb is to the Window-Arch, or what, on a larger scale, the Pier is to its Arch. This analogy is most apparent in those earlier and richer Windows of both periods, where the Mullions HOWDEN . GRANTHAM. WEST WINDOW. N. AISLE. consist of small shafts, with capitals and bases. The relation which such Mullions bear to their Tracery-bars, and the alteration of profile above the capitals, is exemplified in the accompanying woodcuts, which represent the plans of the Mul¬ lions and Tracery-bars of the Early Geometrical Window of Lincoln (No. 11), the Late Geo¬ metrical Window of Guisborough (No. 17), 54 MULLIONS AND TRACERY-BAR. and the Curvilinear Window of Heckington (No. 37). LINCOLN. GUISBQRQUGH. MulliOD, HECKINGTON. DECORATED WINDOWS. In the last mentioned it will be seen that the section of the Mouldings above and below the capi¬ tals is the same. It does not follow that Windows, the design of whose Tracery is elaborate, exhibit a corresponding richness in their Mouldings : it frequently happens, on the contrary, that the Window-heads of the most intricate pattern exhibit a Window-arcli of the most simple profile. Rich as are the Mouldings in some of the earlier Curvilinear Windows, it cannot be denied that a certain heaviness and inelegance is observable in the details of the latter part of this Period, which contrast unfavourably with the effective combina¬ tions in the Mouldings of the preceding Period. There is little doubt, in fact, that the art of moulding stonework, which had been constantly ad¬ vancing for three centuries, reached its perfection at the commencement of the fourteenth century; then as gradually declined through that and the two following centuries, and became finally extinct, so far as originality of design was concerned, in the seventeenth. 56 PART II. CHRONOLOGICAL ACCOUNT OF THE PRINCIPAL TRACERIEB WINDOWS IN ENGLAND. CHAPTER I. THE GEOMETRICAL PERIOD. SECTION I. EARLY GEOMETRICAL. From the preceding remarks it will be perceived that it is proposed to apply the term Geometrical to a large number of Windows which have hitherto been described and considered as Early English ; but which contain Tracery, in the sense in which that term is explained in the fourth chapter of Part I. The advantage resulting from this division of our earliest Pointed Windows, and the application of the term Tracery, as now sought to be estab¬ lished, are obvious ; for we are thus enabled not only to limit and describe the Windows of the earlier Period by a term sufficiently characteristic, but also to class, in a simple manner, the whole of the Windows of Pointed form under four heads, 57 DECORATED WINDOWS. and to denominate them according to their leading features:— I. Lancet. III. Curvilinear. II. Geometrical. IV. Rectilinear. Having undertaken the illustration of those which belong to the Geometrical and Curvilinear Periods, we have treated of Lancet Windows only so far as was necessary to shew the origin of the Window of many lights, with its mullions and tracery; and of Rectilinear Windows only so far as was necessary in order to define the limits of the preceding Period. It remains for us now to take a brief chronological view of the principal Windows of Geometrical and Curvilinear Tracery in the Kingdom; and to notice the gradual change of form through which the Win¬ dow-head passed during these Periods. In our endeavour to determine the commence¬ ment of this era, we are naturally first led to inquire for that description of external testimony which may enable us to fix, from credible historical sources, the precise date of those buildings which contain the earliest examples of Geometrical Tracery. It, however, unfortunately happens, that no pe¬ riod of our Architectural History is so singularly barren in documentary evidence of this nature as that which intervenes between the years 1230 and 1280. Of the many important buildings that remain, which must necessarily have been constructed during this period, scarcely one satisfactory notice is to be found in their chronicles sufficient to fix the exact 58 THE GEOMETRICAL PERIOD. time of their construction. Such scanty informa¬ tion as we do possess becomes, therefore, doubly valuable to us, and all discoveries of evidence re¬ lating to this important period deserve to be care¬ fully noted, and publicly recorded. There appears to be little doubt, however, that the first building in which Tracery, as previously de¬ fined, made its appearance in England, and of which the date may be said to be authentically established, is the Abbey Church of St. Peter at Westminster ; the foundation stone of which was laid, and the design therefore prepared, in the year of our Lord 1245. The Choir, Transepts, and easternmost part of the Nave, were built, in all probability, in accord¬ ance with the original design, and appear, from documentary evidence, to have been carried on slow¬ ly but continuously from East to West for several years. With the exception of two rows of Lancet Windows at each end of the Transepts, the whole of the original Windows of this part of the building are Traceried Windows, principally of two lights, and are excel¬ lent examples of the earliest description of Geometrical Tracery; they consist of two plain Lancet-headed lights, carrying a foliated circle, the foils of which are formed with soffit-cusps : 59 WESTMINSTER. DECORATED WINDOWS. the jamb and the mullions have shafts with rich moulded capitals, and the Window-Arch is also moulded. These Windows of Westminster Abbey Church may he taken as the type of a large class of Geo¬ metrical Windows, the Tracery of which is entirely composed of plain or foliated circles, and which may he said to constitute the first subdivision of the Geo¬ metrical Period, and may be denominated accord¬ ingly, Early Geometrical. It appears, however, probable, that some time elapsed before the example of constructing Tracery thus set in this Metropolitan Church, and derived, as it no doubt was, from the Continent, was gene¬ rally followed, and the Lancet Window entirely abandoned. Not only is this the case in several important buildings then in the course of construction,* which, as having been commenced in the earlier Period, were, according to the general practice, completed in conformity with the original designs; but we also find new foundations commenced after this Period not entirely free from the influence of the earlier style. Thus, in the Choir of Netley Abbey Church, the convent of which was founded a.d. 1240, we find Lancet Windows in the walls of the side aisles, although the East end contains the fine Geometrical four-light given in this series. In consequence of the apsidal termination of the East end, no opportunity was afforded in Westmin- * Ely Cathedral, A. d. 1235—1252. Salisbury Cathedral, a. d. 1220—1258. York, North Transept, a. d. —1260. 60 THE GEOMETRICAL PERIOD. ster Abbey Church for the construction of a large Geometrical East Window; what is wanting in the Church is, however, well supplied in the Chapter House, which can authentically be pronounced to have been commenced a.d. 1250. Of the five noble Windows which this most interesting ruin formerly possessed, not one is left; but on the three re¬ maining sides of the octagon, adjoining the South Transept, and other buildings, the blank Tracery— the counterpart, in fact, of that which, on the other five sides was glazed—still remains.* These Windows (No. 7) are four-light Windows of great size and beauty; their mouldings and de¬ tails are of still Early character, and give but slight indications of a departure from the forms of the Lancet Period. The Cloisters of Westminster Abbey contain on the North side Windows possessing Tracery of a character similar to that of the Windows of the Chapter House ; but, the inserted cusps having been removed from their original place, the circles have lost their foliation. The Windows of the Chapter House of Salisbury * It is almost incredible, that in these days a building, originally so beautiful, and still possessing within itself sufficient traces of its former condition for a perfect restoration, should be permitted to remain in its present mutilated state, the inconvenient store-room of the National Re¬ cords ; or, that so important and valuable a monument of national art should be thereby rendered all but inaccessible. Nor can it be considered otherwise than as a matter to be deplored, that the cost of one single compartment of the contiguous modern buildings, upon which the nation has lavished its treasures, which would go far to restore their impover¬ ished neighbour to its former noble condition, and its original high use and destination, has not been spared or provided for this purpose. 61 DECORATED WINDOWS. Cathedral, as well as those of the Cloisters, bear a striking resemblance to those of the Chapter House at Westminster; and were constructed, in all pro¬ bability, by Bishop Bridport, who governed the see a.d. 1256—1262; and whose tomb still remains in the Church to identify the character of the work of his time. The East Window of Netley Abbey Church (No. 8) is another fine example of an Early Geome¬ trical four-light of large size; and appears to be, as already noticed, of the same date as the Lancet Win¬ dows in the side aisles. It is, however, to be noted, that as the East Win¬ dow of a Choir was the largest window in the build¬ ing, occupying the entire front, and was generally the last Window fixed, so it frequently happens that it contains symptoms of advance upon the aisle Windows ; this is the case in Carlisle Cathedral and Selby Abbey Church, the East Windows of which are Curvilinear, whilst the adjoining aisle Windows, and all their details, are of Geometrical character. Of six-light Windows of this character, the East Window of Raunds (No. 9) is a good specimen; it is represented in this series as it exists at present, with circles, having no cusps : it has, however, been discovered that the whole of the circles are actually grooved for soffit-cusps, and that, the cusps having been removed, the grooves have been subsequently filled up with cement.* It appears, indeed, to be * This discovery was made and communicated by Gilbert Scott, Esq., after the window was engraved. 62 THE GEOMETRICAL PERIOD. * extremely doubtful whether any of the plain circles at present to be found in the larger Geometrical Windows were originally designed without cusps. Thus, the noble six-light Window of Grantham, (No. 10) which con¬ tains thirteen circles of nearly equal size in its head, the whole of which were filled, during a recent restoration, with cast-iron soffit cusps, may have ori¬ ginally been foli¬ ated, although, like the adjoining four- light Windows of similar character, they possessed no cusps at the time of the restoration. The North Transept of Hereford Cathedral con¬ tains some very remarkable Windows of Early Geometrical character; the most striking of these is a lofty six-light Window in the North end, divided by a large central pier of clustered shafts into two compartments of three-lights each. The design is of the usual character, a circle carried by two arches, the radius of which is so long, and the curve so flat, as to give the arch of the Window- head the appearance of being almost straight-sided; the whole of the circles have been originally foli¬ ated, but some have lost their cusps. The side Windows are three-lights of similar character ; those 63 GRANTHAM. DECORATED WINDOWS. on the West side being very lofty, rising nearly the entire height of the Transept. Another remarkable Window of considerable size is to be found in the West end of the Priory Church at Biniiam. It is inserted in a front of earlier workmanship, and exhibits a similar design of an octo-foliated circle carried on two arches having sexfoliated circles in their heads ; these circles are, in their turn, carried by two smaller arches, which are again similarly subdivided, and an eight-light Window is thus produced, of striking appearance and proportions. Far surpassing the last mentioned example in size and symmetry, but similar in its general arrange¬ ment and subdivision, is the magnificent East Win¬ dow of Lincoln Cathedral (No. 11). This Window may be pronounced the Queen of the Windows of the Geometrical Period, as that of Carlisle is of the Curvilinear Period. If we analyse the design of this Window, we shall find that the Tracery contains three orders of Mouldings, the first of which indicates the leading feature of the design, a large circle carried by two pointed arches ; each of these arches contains again two smaller arches, carrying also a circle, the out¬ line of which is traced by the second order of Mouldings; and lastly, each of these smaller arches is similarly subdivided, the third order of Mould¬ ings defining the outline of the smallest pair of arches, which have, like the others, a circle above them. Allowing for the difference in point of size, the 64 THE GEOMETRICAL PERIOD. similarity between this Window and the West Win¬ dow of Grantham Church, is as great as can exist between a Window of eight, and one of six lights; they both contain thirteen circles, the centre-pieces* being identically the same;—the heads of the lights are in both cases unfoliated, and all the mullions have shafts with foliaged capitals. Above this Window is a fine Jive-light Window of similar character; and the Clerestory and side aisles of this portion of the building (the Presby¬ tery) contain four and three-light Windows of great beauty and corresponding design. In the year of our Lord 1256, King Henry III., in accordance with the petition of the Dean and canons of Lincoln, for leave to take down the city wall, in order to extend their cathedral towards the east, appointed a commission to inquire into and report upon the feasibility of doing this without detriment to the city; j- and, in the year 1282, we find that the body of St. Hugh was translated to his new shrine in the Presbytery. Hence, it is highly probable that the whole of the Presbytery, and therefore these Windows, were constructed in the interval; a supposition which accords with the character of the building. And, considering the sumptuous nature of the work, and the time that must have been occupied in its construction, we have reason to conclude that the commission insti¬ tuted in 1256, reported favourably, and that the * The principal figure occupying the centre of the design of a Win¬ dow-head may he called the “ centre-piece.” t Bugdale’s “ Monasticon.” New edition, vol. vi. p. 1278. 65 DECORATED WINDOWS. design was prepared, and the work commenced not later than a. d. 1260. Of a somewhat more advanced, though still early character, are the magnificent eight-light East Window (No. 12), and the two fine six- light Windows, of the Transepts of Tintern Abbey Church.* Here, as in Lincoln, the East Window is divided by a massive central mullion of three orders; but, in this case, the two large arches of the Tracery are concentric with the Window-Arch itself; and, instead of one large circular centre-piece, we have three circles of nearly equal size, the central one occupying its usual position, and containing four cinqfoils; the smaller ones filling the head of each of the large arches, and containing three cinqfoils. This peculiar arrangement has caused the introduc¬ tion of a feature which is believed to be unique; — in the large spandrel lying between the bottom of the centre-piece and the principal arches, a perpen¬ dicular stone post has been placed over the centi’e mullion, which, whilst it gives support to the circle, serves also to fill what would otherwise have been a wide and unsightly gap. Another peculiarity in this Window is, that the heads of the lights are not formed, as usual, of small trifoliated arches, but simply of trefoils, each pair of which carries a cinqfoliated circle, the spandrel between them not being pierced, but left solid, manifestly for the * See “ Architectural Parallels.” Van Voorst. London. 1848. Plate 48. 66 * THE GEOMETRICAL PERIOD. purpose of strength. In like manner the large circles contain, not foliated circles, but cinqfoils.* The two six-light Windows are of similar character, and are equal in height to the East Window. The Windows of the side aisles and Clerestory, are two- lights of perfectly similar character. This church was entirely rebuilt by Roger Bigod, and consecrated a. d. 1287. There is, perhaps, no description of Window so well suited to the character of Early Geometrical Tracery, as that which consists of four lights. We accordingly find this class the most numerous. Of five-light Windows the number is very small. The Window at the East end of the aisle in Bedale Church (No. 13), and the East Window of New Abbey Church, county Galloway, being rare in¬ stances. * The problem of determining the actual design of this noble Window, from the small remains on the ground, and the fragments to be found still in the frame of the Window-Arch, which was a work of no small labour and search, was successfully accomplished by the editor, assisted by Mr. T. Austin and Mr. Payne, the warden of the abbey grounds, in the summer of 1846. The missing pieces of tracer}' which were dis¬ covered in the ruins during this search, and which verify the correctness of this restoration, are now carefully preserved in the custody of Mr. Payne. 67 TIN TERN. DECORATED WINDOWS. The four-Ugld Windows of the Chapter Houses and Cloisters of Westminster and Salisbury Ca¬ thedrals, have already been noticed. In the staircase and approach to the Chapter House of Wells Cathedral are similar Windows of great beauty. The Transepts of Howden Collegiate Church contain a fine four-light Window in each of their opposite ends (No. 14), and corresponding two- light Windows in their sides. The West Towers of Bakewell and Davenham Churches contain good examples of Early Geome¬ trical four-lights. The East Window of Netley Abbey Church (No. 8), has been already noticed, as well as the elegant four-light in the North aisle of the Nave The East Window of the North aisle of Stone Church is a Geometrical Window of the ear¬ liest character, and of great beauty ; in its proportions, and the richness of its detail, it may be said to be unsur¬ passed ; the whole of the latter is lavished, as in the Netley Window, on the in¬ side. 68 THE GEOMETRICAL PERIOD. The East Window of St. John’s Church, Win¬ chester, is of this character, and is remarkable for having the heads of its lights cinqfoiled. The East Window of the choir of St. Alban’s Abbey Church, and the clerestory Windows of the choir of Ripon Cathedral, are fine four-light Win¬ dows of the same class; as are also the smaller Windows at the east end of Rudstone Church (No. 6), and several in the South aisle and Tran¬ septs of Melton Mowbray Church. The design of the whole of these Windows is identically the same, and exhibits the elemental principle of Tracery, as defined in Chapter III. Section I. in its simplest form and most beautiful proportions; the only variation throughout the whole of them being, the extent to which the Foli¬ ation is carried. They all consist of two principal arches carrying a large circle, and containing two smaller secondary arches, and a small circle above them, the Foliation being in some cases confined to the circles, and in others extended to the lights. Of Early Geometrical three-lights there is no scarcity. In addition to those of Ounble (No. 5) and Bourne (No. 8), given in this collection, and those in the North Transept of Hereford Cathe¬ dral, and the Presbytery of Lincoln, already no¬ ticed, the three-lights of the Nave aisles of Lich¬ field Cathedral may be mentioned as good examples. A n reton Church has a good Early three-light , similar in character to the two-Ught (No. 2). The East end of the Choir of Romsey Church 69 DECORATED WINDOWS. LICHFIELD. contains some elegant three-light Windows, having- foliated circles in their heads, and a rich leaf in the hol¬ low of the jambs, and the Chapel of the Bishop’s Palace at Wells, has Win¬ dows of similar cha¬ racter. Of two-light Win¬ dows there is a great abundance. In addition to those already noticed and given in this series, may be added some very early and interesting Windows in the South Transept of Ely Cathedral. They exhibit a foliated circle carried by two Lancets, having on the outside elegant shafts, both on the jamb and mullion, of two orders, with tall capitals and good mouldings ; and on the inside a elt. deep Rear-vault, and richly moulded Scoin- son-arch. The mould¬ ings are so nearly identical with those of the Lancet Period; and the whole of the character of the work has so early an ap¬ pearance, as to afford good testimony of the South. Transept fact, that Tracery, as 70 before defined, is the first THE GEOMETRICAL PERIOD. leading feature of change from the Lancet to the Geometrical Period, and, therefore, the proper fea¬ ture by which to characterize the latter. In the Choir of the Abbey Church of St. Alban’s there are several Early Geometrical two-lights, with proportions and details very similar to those last mentioned. Stone Church, in Kent, is remark¬ able, as uniting some of the latest examples of Lancet work with some of the earliest Win¬ dows of Geometri¬ cal character; the fine four-light in the North aisle has already been noticed (p. 68); the accompanying two-light is of similar design. In the Clerestories of buildings of the Early Geometrical Period, and occasionally in gable-ends, and elsewhere, there is to be found a Window of unusual form, which rarely occurs in any other Period. Its form is that of a spherical triangle, containing one or more foliated circles. The earliest indication of this form occurs in the Transept of Salisbury Cathedral, where, however, owing to the want of thorough perforation, the design has an incomplete appearance, and no Tracery is formed. The earliest complete specimen is found in the upper part of the aisles, and the south walls of the 71 DECORATED WINDOWS. j V HBKBFORD. Transepts of Wesminster Abbey Church; where it occurs inclosed in a low Arch, resting on short side-shafts. An example al¬ most identically the same exists in the Clerestory of the Transept of Here¬ ford Cathedral; the only difference being, that in the latter example the circle is sexfoliated, instead of octofo- liated, and that the Window-Arch, which in the former example rests on a shaft, in this case dies into a straight-sided jamb. The Cleres¬ tory of the Nave of Lichfield Cathedral con¬ tains a Window of similar form, which is, in this instance, filled, like the heads of the side-aisle Windows, with three trifoliated circles, and has a Window-Arch, the Mouldings of which come down to the curved Window-sill. 72 LICHFIELD. THE GEOMETRICAL PERIOD. SECTION II. LATE GEOMETRICAL. The East Windows of Lincoln and Tintern pos¬ sess a feature which was capable of considerable mo¬ dification, without exceeding the limits of the strict geometrical outline which bounded it. They both contain the large circular centre-piece, which is to be found in nearly the whole of the Early Geo¬ metrical Windows, with this difference, however, that in the case of Lincoln instead of being a simple foliated circle, it consists of a large circle filled with seven small foliated circles, and in the case of Tin- tern of one containing four cinqfoils. It is evident that the number and the form of these foliated figures may be considerably varied ; and we accord¬ ingly find this license taken in the beautiful East Window of Ripon Cathedral (No. 16), where the circular centre-piece contains three circular, and three pointed trefoils, alternately disposed. It was this license that gave rise to the introduc¬ tion of a feature of great beauty, which immediately became the characteristic ornament of Late Geome¬ trical Tracery. This was the elegant, long- lobed, pointed trefoil, the origin of which is to be looked for in the Lancet Period, and which in another form served so fre¬ quently to decorate the spandrils and arcades of that Period. 79 DECORATED WINDOWS. This feature is to be found in one form or an¬ other in most of the Windows of Late Geometrical character. It appears on a large scale in the East Window of Ripon Cathedral (No. 16), and in the following Windows of the accompanying series:— Guisborougii (No. 17), Howden (No. 20), Temple Balsall (No. 19), Cartmel (No. 22 ), Leominster (No. 21), Wells (No. 30); and at the very close of the Period, in Trent (No. 54), Milton Abbey (No. 31); and in the very commencement of the Curvilinear Period, in Wellingborough (No. 35), where it carries a second order of Foliation. In most cases this trefoil con¬ sists of three equal and similar foils or lobes, which are gene¬ rally formed by the intersection of three circles, as in nearly all the examples just referred to. In this condition it is the most graceful, and therefore the most popular form of expression for the Holy Trinity. Perhaps in no period of Church Architecture, and in no part of a building, was symbolism of this simple and expressive character more unequivocally displayed than it was in the Window Tracery of the Geometrical Period. There is scarcely a single window in the accompanying series belonging to this Period, in which this sacred number does not somewhere appear. The heads of the lights were almost invariably trefoiled, or tri- foliated. In the Windows of Howden (No. 20), Temple Balsall (No. 19), and Whitby (No. 32), trifoliated openings only appear ; and in the rest 74 THE GEOMETRICAL PERIOD. the trefoil greatly predominates over every other form of perforation. The pointed trefoil may therefore be considered as characteristic a feature of the Late Geometrical, as the foliated circle was of the Early Geometrical Period. It did not long remain the ornament of the centre-piece alone; its applicability to other parts of the Window became at once apparent; its use¬ fulness in filling those spandrels or interstitial spaces which, in the Earlier Geometrical Windows, had been left blank, was speedily recognized (Easby, No. 18); and its almost immediate adoption in every part of the Window Head gave a stimulus to the development of Tracery, which produced results that were often remarkable, and occasionally singular and almost unique. The simplicity and similarity of outline which characterized the Early Geometrical Windows is not to be found in those of Late Geometrical date ; they exhibit, on the contrary, great diversity and originality of design; they admit, however, of a certain classification, and may be grouped, according to their leading peculiarities, principally under four or five heads. Retaining, then, the term Geometrical, in the conventional sense in which it was used by Mr. Rickman, and has been adopted by almost all subse¬ quent writers on the subject, as well for the Later Windows of this character as for the Earlier ones, we will take a hasty view of the different groups in which they may be classed. 76 DECORATED WINDOWS. Those retaining the large circular centre-piece appear to be first deserving of notice. 1. The largest and, altogether, the noblest Win¬ dow of Late Geometrical character in this country, is the seven-light East Window of the Conventual Church of St. Mary at Guisborough (No. 17). It is the loftiest Window in this collection, exceeding by three feet six inches, the East Window of Carlisle Cathedral, and by two feet six inches the West Window of York : the relative heights of the three being as follows :— Guisborough, York, Carlisle, 63 ft. 60 ft. 6 in. 59 ft. 8 in. If the tracery of Carlisle may be said to be more graceful than that of Guisborough, the pro¬ portions of the Geometrical example will certainly be allowed to surpass those of its Curvilinear rival. In this respect, indeed, it may perhaps be pro¬ nounced to be without a competitor ; the height of its mullions (34 ft.) exceeding those of any untransomed Window in the Kingdom. Had the West Window of York Cathedral been finished according to the original design, it is possible that the Guisborough Window might have stood second only in the list of Windows of this date ; as it is, the Late Curvilinear Tracery with which the Geometrical outline of the former is filled, gives an anomalous character to this fine Window, which renders it unlike any other. The Choir of the Abbey Church at Guisborough was totally destroyed by fire, a.d. 1288, and was 76 THE GEOMETRICAL PERIOD. rebuilt on a magnificent scale immediately after¬ wards. The East Window of Ripon Cathedral, of seven lights (No. 16), belongs to the same class, and ranks next to the Guisborough Window in point of size and beauty, but somewhat earlier in point of date. It contains in its centre-piece the alternate arrange¬ ment of three pointed and three circular trefoils, which obtains in so many Windows of this class, and in several of the accompanying series, but in none on so large a scale, and of such striking pro¬ portions as in this example.* The East Window of the Refectory of Easby Abbey, of Jive lights (No. 18), has a circular centre-piece, con¬ taining five circular trefoils, and supported by two cinq- foliated circles. This Window having, like the preceding examples, an unequal number of lights, has an acute arch over the centre light, supporting the centre-piece, which is, in all the three examples, filled with a long pointed trefoil; in this case, however, the side-spandrels lying between the centre-piece and the Window-Arch, which in the former instances are blank, are also filled by similar trefoils, formed by soffit-cusps of the second order of Foliation ; exhibiting an early in¬ stance of the appearance of foliation in this situation. * The radius of the circle forming the pointed trefoils is no less than three feet in length. 77 DECORATED WINDOWS: Temple Balsall Church, in Warwickshire, has a three-liglit Window (No. 19), which has three circles in its head, each of which contain the alter¬ nate arrangement of three circular and three pointed trefoils. The Cloister of Lin¬ coln Cathedral, and the North and South Aisles of the Nave of Howden Col¬ legiate Church (No. 20), contain four- light Windows, having a centre-piece of precisely similar character. The Windows of the South Aisle of the Church of St. Peter and St. Paul, at Leominster, of four lights, (No. 21), exhibit a very similar centre-piece, hut have other marks betokening their later character. The five-light Clerestory Windows of the Choir and Nave of Exeter Cathedral have lai’ge centre¬ pieces, filled with trefoils and other Geometrical figures; they contain, however, one feature exhi¬ biting decided advancement,—the side-spandrels are occupied with various figures; in the earlier Win¬ dows of the Choir (No. 24), the trefoil is simply and awkwardly inserted at the top of the supporting- arches, but in those of the Nave (No. 36), the first step is taken towards the construction of Flowing Tracery, by the conversion of the upper part of the supporting arches into the graceful ogee, which thus not only accommodates itself to the form of the circular centre-piece, but gives to the span- 78 HOWDEN. THE GEOMETRICAL PERIOD. drel a grace and a fitness which it had hitherto wanted. The next example to be noticed, of this class, is the fine Jive-light Window in the East end of Wellingborough Church (No. 35). It contains the alternate arrangement of trefoils in its beautiful centre-piece ; the three principal ones of which shew a double order of Foliation. It is, how¬ ever, singular, in exhibiting the ogee in almost every part of the design, except in that in which it was alone employed in the last- mentioned Window, and in which its usefulness became afterwards so strikingly apparent. The side spandrels are inelegantly occupied by an irregular trefoil. Perhaps no Window can be more advan¬ tageously selected, as marking the termination of the Geometrical Period, and the commencement of the next, as this example; a very slight alteration of the design would convert it into one of pure Curvilinear character. A centre-piece deserves to be here mentioned, which occurs in a few Windows of this date. The West Window of Howden Church (No. 27) contains an example of it. It is called, in the description of that Window, a spherical square, from the circum¬ stance that, formed as it is, by the inversion of the upper portion of the Window-Arch, it represents a square with the sides curved slightly outwards: it 79 DECORATED WINDOWS. contains in this Window, as well as in the South Window of St. Andrew, at Trent (No. 25), a trifoliated quatrefoil. The South Aisle of Bil- lingborough Church (No. 23) contains another example of the same kind. At the West end of the Side Aisles of the Nave of Whitby Abbey Church, this figure appears as a distinct Window, containing four quatrefoils: precisely the same design appears in composition in the head of a Window in the North Aisle of the Nave of Headon Church. The equilateral spherical triangle was also abun¬ dantly used in composition in Late Geometrical work; the East Window of St. Peter’s, at Dun- church, is a well known example, and has been frequently referred to: the large six-light Win¬ dow, in the Transepts of the Church of the Holy Trinity at Hull (No. 29), contains three large spherical triangles filled with minute Tracery ; and the large Curvilinear eight-light Window in the South Transept of Chichester Cathedral, exhi¬ bits a large spherical triangle as a centre-piece, divided into three compartments of elegant flowing Tracery. A centre-piece of elegant design is to be found at the East end of the Aisle of the Choir of St. Alban’s Abbey Church; and an ex¬ ample of precisely the same figure occurs in a Window in the North Aisle of Dor- ST. ALBANS. 80 THE GEOMETRICAL PERIOD. Chester Church. They are three-light Windows, of nearly identical design, and of Late Geometrical character. 2. Another class of Late Geometrical Windows consists of those which contain what has been called intersecting Tracery; or those in which the Mul- lions becoming the principal Tracery-bars, are con¬ tinued through the Window-head in arcs of simi¬ lar curvature, and, intersecting one another, termi¬ nate in the Window-arch. This description of Window, in its simplest and earliest form, without tracery and foliation, is not uncommon at the close of the Lancet Period; it may be looked upon as a step in advance of the example given in Plate A., Fig. 9. The North Aisle of Scot- ton Church,Lin¬ colnshire, con¬ tains several large three-light Win¬ dows of this kind: and Bar- holme Church has a similar ex¬ ample. This form was never altogether lost sight of in the Early Geometrical Period ; hut the predomi¬ nant centre-piece prevailed against its frequent use : it is easily to be traced down to the subsequent periods. We find it first in a three-light Window of the 81 BABHOLME. DECORATED WINDOWS. ST. MARY'S, OXFORD. Tower of St. Mary’s, Oxford; with the addi¬ tion of Foliation in the heads of the lights only, the intervening spaces between the points of intersection re¬ maining still un- cusped. In Cranford St. John, * also a three - light, we find the whole of The spaces foliated with soffit-cusps: and again, in the three - light East Window of Meopham Church,f we have a complete Early Geometrical traceried Window, with foliated circles between the principal intersecting Tracery-bars. Later still, we find it in one of the beautiful and varied Win¬ dows of the Nave of Howden Col¬ legiate Church, where the in¬ tervening spaces are filled with pointed trefoils and quatrefoils. later and very A three-liglit Window of still * Brandon’s “ Analysis ; ” Windows, App. No. 23. t Ibid. Sect. I. PI. 10. THE GEOMETRICAL PERIOD. elegant character, is to be seen in Herne Church, Kent,* the head of which is filled with Edge-tra¬ cery of very minute and beautiful pattern. A jive-light Window in Southfleet Church, Kent,f has a Window-head of this kind, in which the intervening spaces are entirely filled with point¬ ed quatrefoils, diminishing in size as they ascend. The East Window of Solihull Church, of jive- lights , is of similar character. It is clear that the principle upon which these Windows are designed is incompatible with the idea of a centre-piece : in four and jive-light Win¬ dows, however, we occasionally see attempts made to introduce this favourite feature, by arresting the continuation of some of the Tracery-bars, and thus providing a small space in the upper part of the Window- head, which is then occupied by a Foliated Circle. The four-light East Window of Ratcliffe Church, Nottinghamshire, may be said to belong to this class of Windows : and Watford Church, Northamptonshire, has a jive-light Win¬ dow, and Cottingham Church, Northamptonshire,! has a four-light, of precisely similar character. * Brandon’s “ Analysis,” Sect. I. PI. 20. + Ibid. PL 43. t Ibid. Sect. I. 83 BA.TCLIFFE. DECORATED WINDOWS. The four-light Windows of the Chapter House at Wells (No. 30), although the centre-piece is larger than usual, may he said to belong to this class. The Jive-liglit Window in the East Wall of the North Transept of Bristol Cathedral, in which the BRISTOL CATHEDRAL. centre-piece is reduced to very small dimensions, is a good example of this species of Tracery; and Trumpington Church, Cambridgeshire, has a five- light East Window, * to which the same remarks apply. Three fine Windows of this class still remain to be noticed : the earliest of these is the noble six- light Window, at the North end of the Eastern Transept of Durham Cathedral, called the Nine Altars :f this Window is divided into three great, equal, and similar compartments by its principal 84 * Brandon’s “ Analysis,” Sect. I. PI. 29. f Billing’s “ Durham,” PI. VI. THE GEOMETRICAL PERIOD. Mullions and Tracery-bars, which are very promi¬ nent, and are the only ones that intersect; the whole of the intervening spaces being filled with Foliated Circles of five different sizes, and no less than eleven in number. The second is the fine Late Geometrical seven- light at the West end of Tintern Abbey Church ; TINTERN. a Window of very uncommon design, in which the intersection is interrupted not only over the the central, but also over the side compartments. The third is the magnificent seven-light East Window of the Chapel of Merton College, Ox¬ ford. This Window is remarkable for several pecu¬ liarities ; it possesses a large centre-piece, which 85 DECORATED WINDOWS. intercepts the whole of the intersecting Tracery- bars in the upper part of the Window; it has double foliation in the heads of the lights, and the intervening spaces are multi-foliated ; it has small pinnacles and canopies over the heads of the lights, which have crockets and finials, in which respect it resembles the Earlier Window at the East end of Barnack Church. The whole of the Windows of this building are interesting examples of Late Geometrical work. 3. Throughout the whole of the Geometrical Period are to be found Windows whose Tracery is formed entirely by Foliation. The class of Win¬ dows we have just been considering, by permitting no large features, and by dividing the whole Win¬ dow-head into a number of small compartments; of nearly equal size, gave great opportunity for the revival of this practice, the origin of which is to be sought in the early foliated Lancets of the former Pe¬ riod. Several instances of this description of work are given in Brandon’s “ Ana¬ lysis.”* It is shewn in the Aisle Window of Milton Abbey Church (No. 31), and in the accompany¬ ing example from Tibsey TIBSEY. Church. Chester Cathedral contains some large four-light Windows on the South side of the Choir, of this character. 86 * Trmnpington. Sect. I. PI. 29. Stoke Albany, THE GEOMETRICAL PERIOD. 4. In the counties of Gloucester and Hereford there exists a series of Windows of Late Geome¬ trical date, which deserve separate classification. Their peculiarity consists in the redundant use which is made of the Ball-flower in their design; an ornament which sprung into rapid and universal favour about this time. It appears in the Windows of the Chapter House of Wells Cathedral (No. 80), in a single row on the outside, but in two orders of the Jamb on the inside. This building was erected in the time of Bishop William Be la March, who held the See A. D. 1295 to A. D. 1802. It is in the South Aisle of ~ i the Transept of rallllli W Gloucester GLOUCESTER. Cathedral, how¬ ever, that the profuseness of the builders of these ages, in the use of a favour¬ ite ornament, is most conspicu¬ ous : in this Aisle, built by Abbot Thokey at the commencement of the fourteenth century, not only are the Windows covered inside and outside,—the Jambs, the Window-arch, the Tracery, and the Fo¬ liation,—with Ball-flowers, but the buttresses, cano¬ pies, and pinnacles are all studded with them. It appears, in fact, as if the idea had seized them, DECORATED WINDOWS. that they had discovered a new and beautiful sub¬ stitute for the formerly popular, but then anti¬ quated, dogtooth ; which might be repeated to the same lavish extent, and with the same excellent effect as that elegant ornament. The attempt, how¬ ever, proved a failure ; the richness of effect which strikes the beholder on seeing a first example, is greatly weakened by repetition, and rapidly dimin¬ ishes as it becomes familiar, — a result which its evident costliness tends to confirm. No richness of effect in detail can compensate for poverty of design; and in the smaller buildings, where the former is studied, the latter becomes unavoidable. It was probably some such consideration as this which confined this description of work to the short period and limited district within which it is to be found. The Windows of the South Aisle of Leomin¬ ster Church (No. 21) have been already described: they are probably the largest and handsomest of this class. The Churches of Badgewortii * and Maisey Hampton, in Gloucestershire, and of Ledbury, in Herefordshire, all contain examples of Windows of this ornate description. The Central Tower of Hereford Cathedral is covered with Ball-flowers, running in vertical lines up the buttresses and Windows ; and on the upper part of the Tower and the Spire of Salisbury Cathedral this mode of decoration is conspicuously displayed. * See Brandon’s “ Analysis,” Sect. I. PI. 38. THE GEOMETRICAL PERIOD. 5. Towards the close of the Geometrical Period there occurred some singular attempts at originality in the designs of Window Tracery. Becoming, ap¬ parently, dissatisfied with the extreme formality of the usual Geometrical forms, several fanciful experi¬ ments were tried by the builders of this Period, which, without betraying any symptom of the im¬ pending change, present—under forms which may still be termed Geometrical in the conventional sense in which we have used the term—very little simi¬ larity in their general outline to the examples which we have hitherto been considering. An early example of the description of Window alluded to occurs in the North Aisle of Whitby Abbey Church (No. 32), which contains a figure similar to which nothing had hitherto appeared in Window Tracery : it is worked on the second order of the Tracery, and consists of four trefoils, separated by four points or angular openings of peculiar appearance; the figure occurs over each pair of lights, and is repeated as a centre¬ piece, thus occupying the whole of the Window- head. These points are the characteristic feature of the class of Windows of which we are treating : they occur, in fact, in all the Windows below mentioned. Next in point of date, and almost identical in design, is the four-light DECORATED WINDOWS. East Window of Ciiartham Church, Kent (given by Mr. Petit in his “ Remarks on Architectural Character”), which also contains three figures similarly designed. The two-liglit Side Windows of the Chancel of this Church have a similar figure in their heads. The centre-piece of the three-light Window in the South Aisle of Billingborougii Church (No.33) is also of similar character. Lyddington Church, Berkshire,* and Capel St. Mary, Suffolk, f have two-light Windows, and Northfleet Church, Kent, a three-light, in which the same features occur in a simpler form. The whole of these Windows, with the exception, perhaps, of the last mentioned, although of mani¬ festly late date, are still devoid of any strongly- marked Curvilinear features. There remain, how¬ ever, some to he noticed, which cannot he said to be so entirely clear of Curvilinear influence. The Church of Great Bedwyn, Wiltshire, has a three-light Window at the ends of the North and South Transepts (No. 34), which exhibits in its form and details many features of Curvilinear character. It contains one of these figures. The North Transept contains the Tomb and Effigy of the Founder, Sir Adam de Stock, who died * Brandon’s “ Analysis.” Appendix, PI. IV. Fig. 35. t Ibid. Sect. I. PI. 8. GREAT BEDWYN 90 THE GEOMETRICAL PERIOD. a. d. 1312, and may be said to have been built within a few years of this date. The Church of Ciiaddesly Corbet, Worcester¬ shire, has a variety of fine Windows, partaking more or less of this character: the East Window, a large and handsome one of j five lights , has these forms mixed with flowing lines, and a circular centre¬ piece. The side Windows have some of them the late Geometrical forms, and others decided Curvi¬ linear Tracery. The most remarkable Window of this class, how¬ ever, is the singular Window, so minutely described and illustrated by Professor Willis in his “ History of Canterbury Cathedral” (p. 115), and which exists in the Chapel of St. Anselm in that Church. This Window contains all the peculiarities above described, and although an advanced specimen, may be said to be an excellent repre¬ sentative of this class : it con¬ tains a large circular centre¬ piece, filled with Tracery and Foliation, perfectly similar to WSSx' that of the centre-piece of the Canterbury. Chaddesly Corbet, and the Hull Windows already quoted : and over the side lights a trifoliated trefoil with points. In taking a review of the Windows of the Late Geometrical Period,—we cannot fail of being struck with the fact, that although abounding in pleasing and elegant detail, there is, with one or two re¬ markable exceptions, a singular want of expression 91 DECORATED WINDOWS. throughout the whole of them: in many, indeed in most of them, the centre-piece almost entirely dis¬ appears, nor is there anything in their general design and composition to compensate for the want of this leading feature. The study of the Architect seems principally to have been, as in the late Curvilinear Period, to fill the Window-head with a variety of elegantly formed perforations, rather than to pro¬ duce unity of design, or a striking and beautiful whole. 92 GEOMETRICAL CURVILINEAR. RAUNDS SLEAFORD FISHTOFT HULL SLEAFORD Loxl^jdil. Piiblislied-Ly Jd!mVaiiYoorst.Pfctemo,ster Row. 184?9 THE CURVILINEAR PERIOD. CHAPTER II. THE CURVILINEAR PERIOD. There is a remarkable analogy in the history of the Progress of Tracery through the Geometrical and the Curvilinear Periods. On reviewing the Windows of the former period, and the leading principles of their design, we shall find that they are divisible generally into three classes. 1. Those in which the Window-head is occupied by a large and prominent centre-piece carried by two independent arches; as in Lincoln (No. 11), How- den (No. 14), Ripon (No. 16), and Guisborough (No. 17). 2. Those in which the Window-head is divided by two main arches of the same curvature as the Win¬ dow-arch, into two equal and symmetrical portions, as in Tintern (No. 12), Bedale (No. 13), and Whitby (No. 32). 3. Those in which the Window-head is filled with Tracery, having no such equal division of its parts by means of arches, as in Hull (No. 29) and Cartmel (No. 23). These are precisely the three classes into which the Windows of the Curvilinear Period most natu¬ rally arrange themselves, and the accompanying 93 DECORATED WINDOWS. Plate D presents parallel examples of the two periods in each of their classes ; the black lines representing the outline traced by the primary Mouldings ; and the dotted lines that traced by the Mouldings of the second order. Of these three classes, the first mentioned was the earliest in the Geometrical Period, and may also he said to contain the greatest number of original and beautiful examples : and the like may be said of the corresponding class in the Curvilinear Period. No sooner was the discovery made that, by the adoption of a graceful curve, the supporting arches might be more conveniently accommodated to the centre-piece, and a vacant and unsightly spandrel converted into an elegant figure, than the neglected centre-piece rose again into high favour : changed somewhat in form, but occupying its former promi¬ nent position, and constituting the chief object in the design. It may be well to notice the manner in which this transformation was effected. In the early part of the Geometrical Period, the space or spandrel lying be¬ tween the supporting Arch, the centrepiece, and the Window-Arch, was left blank : sometimes the sup¬ porting Arch projected so much beyond the centre-piece as to give this space an irregular form, as in the case of the East Window of Raunds Church (No. 9), and sometimes so little 94 THE CURVILINEAR PERIOD. as to leave it triangular, as in the West Window of Grantham Church (No. 10). In the latter part of the Period, however, when Foliation began to occupy all vacant spaces, this span¬ drel began to be similarly treated. The Clerestory Windows of the Choir of Exeter Cathedral (No. 24) shew this spandrel filled with a trefoil ; and the more advanced Windows of Hull (No. 29) and Wellingborough (No. 35) Churches, Geometrical in their outline, but almost Curvilinear in their details, exhibit further at¬ tempts to foliate this opening. These three last-mentioned ex¬ amples may, however, be looked upon only as ineffectual attempts, on the part of the Architects of this Period, to mitigate what was felt to be one of the greatest defects of a Traceried Window : the vacant space was filled and foliated, but the inelegant outline of the spandrel remained the same. The West Window of the Abbey Church of St. Cross exhibits, per¬ haps, the first successful attempt to get rid of this difficulty: the head of the supporting Arch, in EXETER. WELLINGBOROUGH. 95 ■I DECORATED WINDOWS. this example, is of a form that is not uncom¬ mon at the close of the Geometrical Period, shewing a slight ogee at its crown ; the return curve, thus commenced, is continued by the pri¬ mary fillet of the Tracery until it meets that of the circular centre-piece. The defect above men¬ tioned is thus removed, a new form given to the spandrel, and the sup¬ porting Arch gracefully connected with the centre-piece. It will be at once seen, however, that a new de¬ fect had been created in removing the old one: a small interstitial space is introduced between the crown of the supporting Arch and the centre-piece, which forcibly illustrates the novelty of the attempt, and its want of complete success. The examples we have been hitherto considering contain circular centre-pieces, carried by two pointed Arches ; the last example shewing the man¬ ner in which the supporting Arch was united, by an ogee curve, with the circle, so as to impart a flowing outline to the whole design. The next and the last step taken in this Curvi¬ linear progress was still farther to accommodate the Arch to the centre-piece, or rather to fuse the one 96 THE CURVILINEAR PERIOD. the other, by converting the pointed arch into an ogee arch, and the circle into a figure of pointed oval form, as shewn in the accompany¬ ing outline of the West Window of Cottingham Church (No. 45). The ogee having at a much earlier period already found its way into the foliation, and other subordi¬ nate parts of Windows, this last-mentioned discovery suddenly completed the Revolution. CLASS i. To the first Class of Curvilinear Windows, or those which contain a large oval centre-piece, sup¬ ported and bounded by two ogee Arches, usually crossing each other, belong many of the most beautiful Windows in the kingdom. Of this class are the three fine and very similar seven-light Win¬ dows of Hawton, Heckington (No. 38), and Selby (No. 42), and the similar six-light Windows in the North Transept of Sleaford Church (No. 40), and the South Aisle of Newark Church. These Windows in their main outline may be said to be almost identical, the principal difference being in the amount and distribution of their foliated openings: they present a perfect study of the various modes in which the Architects of that day disposed the subordinate parts of their Tracery, and the facility with which they adapted their Foliation to an opening of any given form. 97 DECORATED WINDOWS. Of five-light Windows belonging to this class : the East Windows of Heckington Church (No. 39) and the Grammar School at Coventry are good examples; the latter shewing an arrangement and a centre-piece of an elegant and unusual kind. Throughout the whole of the Windows hitherto mentioned, a peculiarity obtains which requires especial notice : the form and width of the centre¬ piece in all of them is such, that the apex of the ogee Arch can in no case lie in the centre line of the Arch itself: one side of it becomes accordingly lengthened and distorted,—a defect which is, to some extent, covered and compensated for by the three pointed Arches, which are formed within the two ogee Arches, and which are also marked by the primary Mouldings of the Tracery. (See Plate D.) A necessary consequence of this arrangement is the distortion of the two spandrels, which lie in the heads of the ogee Arches, between the three pointed Arches and the centre-piece. It is remarkable that the most agreeable propor¬ tions which can be given to this centre-piece, are those which bear the same relation to the whole bulk of the lower parts of the Window which sup¬ port it, that, in the human figure, the head bears to the body. A glance at the outlines of the Tracery of the Windows before mentioned is sufficient to satisfy us of this ; and a comparison between some of them and the outline of the figure of Edward the Black Prince, in Westminster Abbey, and other effigies of the same date, which is identical with that of the Windows themselves, will go far to induce us 98 TIIE CURVILINEAR TERIOD. to suspect that this fact was not altogether unrecog¬ nized by the Architects of this Period. In this case we have no difficulty in accounting for that distortion, which has been so naturally objected to as a defect in these otherwise beautiful Windows ; but which is absolutely unavoidable, if the proportions prescribed by the above rule are to be observed; the only circumstances under which such a centre-piece could be adapted to a Window of many lights, without the distortion referred to, being such as entirely to destroy all idea of such proportion. After all, the defect is one that is much more apparent on paper than in reality ; for it is in the elevation of the design that the dis¬ tortion is most perceptible in perspective, except when the Window is seen at some distance, and from a point immediately fronting it, the eye hardly detects it, and is certainly not violently offended by it. In four and three-light Windows, this difficulty does not occur. As in the Geometrical, so also in the Curvilinear Period, the four-light Window may be invariably taken as the simplest and most perfect type of its class. Beverly St. Mary’s (No. 44), two others in the same Church, Sleaford (No. 41), Cottingham (No. 45), Nantwich (No. 46), and the East Win¬ dow of Wilsford Church, maybe taken as excellent and characteristic examples ; and numerous other instances might be cited. The symmetrical form of the centre-piece in four- light Windows affords, perhaps, more scope for the 99 DECORATED WINDOWS. display ol elegant piercing, than that in those of a fewer or greater number of lights : certain it is, that the designs of the centre-piece in four-light Windows are usually of great elegance. An unusual form of four-light occurs in the Church at Great Hale, in Lincolnshire. Here the ogee occupies the whole Window-head, and has its apex in that of the Window-Arch. It con¬ tains two smaller Arches, which carry also the primary Mouldings, and in other respects exactly resembles one of the side compartments of the larger Windows we have been describing. In Boston Church, Lincolnshire, there occur some four-lights of this form, along with others of different character: the one which is given in the accompanying series (No. 47) may be said to belong to this class, rather than to any other, although the two ogee Arches are not brought into immediate contact with, and therefore do not support, the centre-piece, or carry the primary Mouldings. Of three-light Windows, St. Mary’s, Beverley (No. 43), and Tewksbury Abbey Church (South side of Nave), present good examples of nearly identical design. In the East end of Croxton Church, Norfolk, and in numerous other Churches, three-light exam¬ ples of this class are to be found. A beautiful instance of a two-light Window of this class is to be found in With am Church, Essex.* Similar examples abound. The largest and most remarkable Window of this class,—the West Window of York Cathedral,—has 100 THE CURVILINEAR PERIOD. yet to be described. Although possessing, in its composition, less of the true spirit of the class than, perhaps, any of the Windows which we have been considering, it has still the two large ogee Arches, carrying the primary Mouldings, and symmetrical, moreover, in form, which support a large triple centre-piece, consisting of three kite-shaped com¬ partments, filled with foliated openings of uniform character, resembling plumes, in place of the usual rich oval centre-piece of the class. It is the monotonous effect produced by the fea- ther-like uniformity of the whole of the subordinate Tracery in the upper portion of this Window, as well as want of harmony in the design itself, which takes from it that prominence to which its great size and elaborate character would seem to en¬ title it; and it is on these accounts that it cannot be compared with its great rival at Carlisle, which, in simplicity and elegance of outline, as well as in richness of detail immeasurably surpasses it. The design of the large Circular Window in the South Transept of Lincoln Cathedral contains features strongly resembling some in this Win¬ dow. The South Transept of Chichester Cathedral presents a fine and large Window of seven-lights , which, although totally different from all that have hitherto been described, may be said to belong to this Class. It has for its centre-piece a large spherical triangle, resting on the points of the two * Brandon’s “ Analysis,” Appendix, Fig. 36. 101 DECORATED WINDOWS. lateral Arches, and the head of the central light, which is filled with elaborate Curvilinear Tracery of great beauty. The stiffness of this outline presents almost a Geometrical design, but the details are of genuine Curvilinear character. Nearly the same remarks may be applied to the large nine-light West Window of Exeter Cathedral, which, as well as all the Windows of the Nave of that Church, exhibit the adaptation of Curvilinear details to Geometrical outlines, evidently through a desire to conform as nearly as possible to the original design for the whole building. We have hitherto been considering those Win¬ dows only of the first class, that possess a regular subordination in their tracery, the principal outline of which is traced by the first order of Mouldings, and the subordinate parts, or the outline of the foliated openings, by the second order. There are, however, numerous Windows, in both this and the second class that we are about to con¬ sider, which do not exhibit this subordination, the designs of which are, in all other respects, almost identical with those of the more correct Types of these classes, and entitle them, therefore, to be ranked accordingly. Of such Windows, those on the North and South sides of the Chancel of Boston Church, and that on the North side of the Chancel of Holbeacii Church, Lincolnshire,* may be taken as examples of Class I. * Brandon’s “ Analysis,” Sect. I. PI. 7. 102 THE CURVILINEAR FERIOD. CLASS II. The second Class of Curvilinear Windows consists of those in which the Window head is divided into two equal and symmetrical portions, by two main Arches; the space above them being occupied oc¬ casionally by a small centre-piece, but generally by subordinate Tracery, having no relation to the rest of the design. They differ from the former class not only in the suppression of the centre-piece, as the principal object in the design, but also in the cir¬ cumstance that the two dividing Arches are not constructed independently , one of their sides lying within, and being subordinate to the Window-arch on each side. In Windows consisting of an equal number of lights, the inner sides of these Arches spring from a central mullion; but in Windows of an unequal number of lights, they usually spring from the two most central mullions, leaving, in this case, a larger space between them in the centre for subordinate Tracery, which is generally designed without any reference to, or correspondence with, that of the compartments on each side. To this Class belongs the noblest Curvilinear Window in the kingdom, the nine-light East Win¬ dow of Carlisle Cathedral (No. 37), which has already been fully described, Part I. p. 63. The effect of this fine Window is so much enhanced by the prominence given to its elegant centre-piece, as to render it a matter of regret that this feature 103 DECORATED WINDOWS. is so seldom seen in Windows belonging to this class. The West Window of Durham Cathedral, and the East Window of the Church of Austin Friars, in London, of seven lights, are fine examples of this class. Malmsbury Abbey Church contains a fine six- light Window of minute and elegant Tracery of the same character. Of five-light Windows, the following may be mentioned as good examples :—The East Window of the Aisles of the Chancel of the Church of the Holy Trinity at Hull (No. 52), the Windows at the End of the South Transepts of Yaxley and Northborougii Churches (Nos. 49 and 50), and the East Windows of Houghton-le-Spring and Ring- stead Churches (Nos. 51 and 53). St. James Deeping and Boston in Lincolnshire, Albrigi-iton Church in Shropshire, and Wimming- ton Church* in Bedfordshire, contain five-light Windows of this kind; and the East Window of Otford Church, Kent, Bricett Church, Suffolk, and Ratby Church, Leicestershire, also of five lights, are handsome Windows of similar design. Of four-light Windows there is a large number: a very common form is shewn in the side Windows of the Church of Austin Friars, and at the East End of Worsted Church in Kent, the design of which is identically the same. The four large Win¬ dows which light the lower part of the octagonal Lantern of Ely Cathedral, are of this class ; as well * Brandon’s “ Analysis,” App., PL IV. Fig. 48. 104 TIIE CURVILINEAR PERIOD. as the East Window of South Wooton Church in Norfolk, and Long Stanton Church in Cam¬ bridgeshire.* * * § Three-light Windows - of this kind are found in Holbeach and Aunsby Churches in Lincolnshire; in Elm- sett Church, Nor¬ folk; in Mickleham Church, f Surrey; in Little Waltham in Essex, J and in nume¬ rous other buildings. Chenies Church, Buckinghamshire, § contains a good example of a two-light Window of this class. CLASS III. This class is not remarkable for many Windows of large size, the singular and fine Window of seven lights at the East end of Mildenhall Church in Suffolk being a rare example: || of jive-lights, four- lights, and three-lights, however, the number is very large. Oundle Church has & jive-light in the South Transept, and a three-light in the Chancel. Boston * Brandon’s “ Analysis,” App. PI. IV., Fig. 54. t Ibid. Fig. 40. t Ibid. Fig. 55. § Ibid. Sect. I. PI. III. Fig. 1. || Paley’s “ Manual of Gothic Architecture,” p. 178. 105 DECORATED WINDOWS. Church has a remarkably fine example of five lights, containing no less than nineteen foliated openings; BOSTON. Sleaford Church has also one at the West end of the South Aisle containing as many as twenty. Lindfield Church * in Sussex, has an East Win¬ dow of five lights of this kind, and Cheltenham Church has one in the North Transept. A Window in the North Aisle of Sleaford Church (No. 57), and another in Shiere Church, Surrey,-j- are good examples of four-light Windows of this Class ; to which may be added the Clere¬ story Windows of Selby Abbey Church, and the East Window of Maxstoke Church, Warwick¬ shire. Bolton Abbey Church in Yorkshire, Tilsworth Church in Bedfordshire, \ Sutton-at-Hone in * Brandon's “ Analysis,” Sect. I. PI. VI. Ibid. App. PI. IV. Fig. 49. t Ibid. Figs. 42 & 43. 106 THE CURVILINEAR PERIOD. Kent, Hessett Church in Suffolk, and Queni- borough Church in Leicestershire, contain fine three-light Windows of this Class. Those in the North aisle of Hedon Church, Yorkshire (No. 55), and the Founders’ Chapel of Trent Church, So¬ mersetshire (No. 54), are peculiar and elegant spe¬ cimens of the same kind. Great Claybrook Church in Leicestershire (No. 58), Kenilworth Church in Warwickshire, St. James Deeping in Lincolnshire, Ribci-iester Church in Lancashire, West Haddon Church in Northamptonshire, Glanvilles Wooton Church in Dorsetshire, and Bilton Church in Warwickshire, all contain plain three-light Windows of this character. Hedon Church exhibits also in the North Aisle a pretty example of a two-light Window of this class (No. 56). Under this denomination also comes a very large class of Windows, which are to be found in every part of the Kingdom, containing what has been called Reticulated Tracery, or Tracery formed by the repetition of the same foliated opening, usually an ogee quatrefoil, but occasionally a trefoil. The whole of the Windows of the Lady Chapel of Wells Cathedral are of this description ; but the largest example perhaps is the seven-light East Window of Milton Abbey Church, the Tracery of which consists of a network of eighteen ogee quatre- foils. The two-light at the East end of the North Aisle of Billingborougii Church (No. 59), is an early example of the same kind. Cheltenham Church has a five-light at the 107 DECORATED WINDOWS. West end of the North Aisle, North Wingfield Church in Derbyshire, an East Window of four lights, CharltonHoretiiorne in Dorsetshire an Aisle Window, and Swayton Church in Lincolnshire a West Window of three lights of this form; and other examples abound everywhere. This kind of Tracery is constructed onaprinciple CHARLTON HORETHORNB, which exhibits a nearer approach, perhaps, than any other to that of Flamboyant work, which divides the Window-head by means of prominent waved lines, into a number of small and similar compartments. Indeed nearly the whole of the Curvilinear Tra¬ cery of the Continent may be said to belong to this class; the existence of flowing Tracery, possessing subordination and divided by arches, whether en¬ gaged or independent, being, both in France or Ger¬ many, extremely rare. It cannot be considered otherwise than as a re¬ markable fact, that, although the construction of Tracery was undeniably practised on a large scale on the Continent before it appeared in this country, and continued in use almost as long, such was the adherence to the original type, and, when it was abandoned, so rapid was the progress of debasement, that the severe outline of the circle carried by two arches may be said to have been almost immediately 108 THE CURVILINEAR PERIOD. succeeded by the extravagant forms of Flamboyance; and Continental Tracery may be, in general terms, divided into two great classes, the first of which is analogous to our earliest Geometrical, and the second to our latest Curvilinear: to the varied forms of our late Geometrical, and the graceful outline of our earliest Flowing Tracery, the architecture of the Continent offers scarcely a single parallel. Of the subordinate parts of the Tracery of Curvilinear Windows — the foliated openings —- and their relative size and position, much might be written. No description, however, can convey an adequate idea of their unlimited variety, nor any given set of terms define the endless changes of form which they are made to assume according to the fancy of the architect, or the nature of the space they are designed to fill. It may perhaps be convenient for the purpose of description to haVe particular terms by which to designate their rela¬ tive position in a Window-head; thus the term convergent may be aptly applied to those openings, the heads of which incline to the centre of the compartment or figure in which they lie : of this kind are the principal trifoliated openings in the centre-pieces of Selby (No. 42), Beverly (No. 44), and Cottingham (No. 45). In the same way, those openings, the heads of which diverge from the centre, and lie in the direc¬ tion of the sides of the compartments, may with 109 DECORATED WINDOWS. propriety be termed divergent; as the whole of the cinque-foliated openings in Houghton-le-Spring (No. 51), and the four central trifoliated open¬ ings in Billingborough (No. 56), and Sleaford (No. 57). Again, the term reversed may be applied to those openings, the heads of which hang down; as in the two trifoliated open¬ ings in the central compartment of Heckington (No. 38), the centre-piece of Nantwich (No. 46),'* and the side compartments of Selby (No. 42.) It must not be forgotten, however, that these differences in the arrangement of the sub¬ ordinate portions of the Tracery do not constitute the leading characteristics of Windows, which are always to be sought for in those outlines which mark out the general subdivisions of the design, and are traced by the primary Mouldings. In fact, pierced openings of the three kinds above described, are more frequently than otherwise found united in the same Window, and very often in the same com¬ partment of a Window ; and their use appears to be as little capable of being referred to any fixed law, as the combination of the Mouldings in the Win¬ dow-arch. It is, indeed, impossible to prescribe any definite rule to the modern architect in either of these * These terms have been suggested by Mr. Freeman in a letter to the editor of the “ Ecclesiologist,” No. LXI. p. 33. 110 SELBY. THE CURVILINEAR PERIOD. respects, or any particular limits within which to fetter his powers of invention, for, great as is the number of Curvilinear Windows which are left to us, such is the variety of pattern, that it is difficult to find two in the kingdom which exactly resemble each other; and provided a design he carried out as formerly, in the spirit and feeling of the period to which it belongs, both as regards outline and detail, great is the license which the artist may take to himself, in the arrangement of his foliated open¬ ings, and the form and distribution of his Mouldings. The accompanying series, small as it is, and selected out of the many hundreds of beautiful examples which exist, may still serve to illustrate this vital principle of variety, so inherent in the designs of these Periods. INDEX. Arreton, 28, 29, 30, 44, 53, 69. Albrighton, 104. Aunsby, 105. Austin Friars, 104. Bourne, 10, 69. Bedale, 11, 44, 67, 93. By land, 11, 14. Bottesford, 15, 16, 25. Broughton, 30. Boston, 44, 51, 52, 100, 102, 106. Beverley, St. Mary’s, 50, 52, 99, 100, 109. Binham Priory, 64. Bake well, 68. Billingborough, 80, 90, 107, 110. Barholme, 81. Bristol Cathedral, 84. Bamack, 86. Badgeworth, 88. Bricett, 104. Bolton Abbey, 106. Bilton, 107. Canterbury Cathedral, 14, 15, 53, 91. Cartmel, 44, 74, 93. Capel St. Mary, 90. Carlisle, 17, 43, 44, 45, 49, 52, 62, 64, 76, 103. Cheltenham, 106, 107. Chenies, 105. Charlton-on-Ottmoor, 20. Chesham, 53. Chester Cathedral, 86. Chartham, 89. Chaddesley Corbet, 91. Charlton Horethorne, 108. Chichester Guildhall, 18. -Cathedral, 36, 80, 101. Chiselboume, 20. Cottingham, 83, 97, 99, 109. Coventry Grammar School, 98. Cranford St. John, 82. Croxton, 100. Davenham, 68. Dousby, 20. Dorchester, 81. Dunchurch, 80. Durham Cathedral, 12,14,84,104. Easby, 11, 17, 24, 46, 52, 75, 77. Ely Cathedral, 14, 29, 60, 70, 73, 104. Elmsett, 105. Etton, 9, 18, 22, 23. Evington, 53. Exeter Cathedral, 11, 43, 78, 95, 102 . Fishtoft, 11. Fountains, 12, 14. Galloway, New Abbey, 67. Glastonbury Abbey, 14. Gloucester Cathedral, 30, 87. Grantham, 9, 10, 44, 51, 52, 54, 63, 65, 68, 95. Grasby, 20. Granvilles Wooton, 107. Great Bedwyn, 44, 90. Great Claybrook, 51, 52, 107. Great Hale, 51, 100. Guisborough Abbey, 11, 43, 45, 51, 54, 55, 74, 76, 93. Hawton, 97. Heckington, 44, 55, 97, 98, 110. Hedon, 43, 49, 80, 107. Hereford Cathedral, 63, 69, 72, 87, 88 . Heme, 53, 83. Holbeach, 51, 102, 105. Hessett, 107. Houghton-le-Spring, 104, 110. Howden, 10, 41, 42, 44, 47, 48, 52, 54, 68, 74, 78, 79, 82, 93. Hull, 44, 52, 80, 93, 95, 104. Jedburgh Abbey, 32. Kirkstall Abbey, 11, 12, 13, 14. Kenilworth, 107. INDEX. Ledbury, 88. Leominster, 10, 74, 78, 88. Lichfield, 10, 69, 70, 72. Lillington, 19. Lincoln Cathedral, 10, 33, 35, 43, 45, 51, 53, 55, 64, 69, 73, 78, 93, 101. Lindfield, 106. Little Waltham, 105. Long Stanton, 105. Lyddington, 90. Maisey Hampton, 88. Malmsbury Abbey, 14, 104. Maxstoke, 106. Melton Mowbray, 69. Meopham, 46, 82. Mickleham, 105. Milton Abbey, 44, 74, 86, 107. Mildenhall, 105. Nantwich, 43, 44, 50, 99, 110. Netley Abbey, 10, 17, 20, 26, 27, 43, 51, 60. 62, 68. Newark, 97. Northfleet, Kent, 90. Northborough, 45, 104. North Wingfield, 108. Oundle, 39, 69, 105. Oxford, St. Mary’s, 82. -Merton College, 85. - 104. Peterborough Cathedral, 14, 33. Queniborough, 107. Raunds, 10, 36, 62, 94. Ratcliffe, 83. Ratby, 104. Ribchester, 107. Ringstead, 104. Ripon Cathedral, 11, 30, 45, 47, 69, 73, 74, 77, 93. Romsey Abbey, 69. Roche Abbey, 14. Rudston, 10, 34, 53, 69. Salisbury Cathedral, 33, 60, 62, 68, 71, 88. Sandwich, St. Bartholomew’s, 17. Scotton, 81. Selby Abbey, 32, 43, 62, 97, 106, 109, 110. Shiere, 106. Sleaford, 26, 50, 51, 52, 97, 99, 106, 110. Solihull, 83. Southfleet, 83. Southwell, 14. South Wooton, 105. St. Cross Abbey, 12, 20, 96. Stone, 23, 26, 68, 71. St. Alban’s Abbey, 33, 69, 71, 80. St. James Deeping, 104, 107. Sutton at Hone, 106. Swayton, 108. Tewksbury Abbey, 100. Tibsey, 86. Temple Balsall, 74, 78. Tilsworth, 106. Tintern Abbey, 29, 30, 31, 66, 67, 73, 85, 93. Trent, 43, 48, 74, 80, 107. Trumpington, 84, 86. Watford, 83. Wellingborough, 11, 48, 50, 74, 79 95. Wells Cathedral, 33, 43, 45, 68, 74, 84, 87, 107. Wells, Bishop’s Palace Chapel, 70. Welbourne, 51. Westminster Abbey, 13, 53, 59, 60, 61, 68, 72. - Chapter House, 9, 46, 62. West Haddon, 107. Wilsford, 99. Wimmington, 104. Winchester Hall, 20. - St. John’s, 69. Whitby Abbey, 33, 44, 47, 74, 80, 89, 93. Witham, 100. Woodstock, 22. Worsted, 104. Yaxley, 44, 51, 104. York Cathedral, 60, 76, 100. London: Printed by S. & J. Bentley and Henry Fley, Bangor House, Shoe Lane. GETTY RESEARCH INSTITUTE • •