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AN ATTEMPT TO DISCRIMINATE 
 
 STYLES OF ARCHITECTURE IN ENGLAND. 
 
Digitized by the Internet Archive 
 
 in 2010 with funding from 
 
 Research Library, The Getty Research Institute 
 
 I 
 
 http://www.archive.org/details/englandarchitectOOrick 
 
AN ATTEMPT TO DISCRIMINATE 
 
 STYLES OF AECHITECTUEE IN ENGLAND, 
 
 FKOM THE 
 
 CONQUEST TO THE KEFORMATION 
 
 WITH A SKJETCU OF 
 
 CIj^ ^xmmx antr goman; #rbcrs. 
 
 BY THE LATE 
 
 THOMAS RICKMAN, F.S.A. 
 
 SIXTH EDITION, 
 
 WiW) lonsibcrabic glbbitbns, t\p.t^-Q lisforital, 
 
 By JOHN HENEY PARKER, F.S.A. 
 
 ©«forir anb JTonbon : 
 
 JOHN HENEY AND JAMES PARKER. 
 
 1862. 
 
printcb bn |Vlcssrs. |3urlur, Cornmurlut, ^!>vforb. 
 
ADVERTISEMENT TO THE SIXTH EDITION. 
 
 IN the present edition the text of Mr. Hickman is preserved 
 entire, all additional matter being inserted between brackets, 
 or else distinguished by smaller type ; the former where the 
 actual text required amplifying in consequence of the progress 
 of the study since Mr. Hickman's time, the latter where histo- 
 rical examples are introduced to illustrate and explain the text. 
 A beginner therefore wishing only to study the grammar of 
 the subject, may pass over the more close printing until he has 
 made some progress and wishes to investigate the history. 
 
 The additions now comprise a chronological series of English 
 examples of each style, with a selection of foreign examples 
 of the same period for comparison. A considerable part of this 
 chronological table of medieval architecture appeared in the 
 "Companion to the Glossary" in 1841 and 1846, but has been 
 out of print for many years, because the compiler was not 
 satisfied with it : he has now added largely to it from the 
 results of subsequent investigations, and although quite con- 
 scious that it is still very incomplete, he trusts that it will be 
 found useful; and if he had deferred it much longer, his life 
 might perhaps not be spared to publish it at all, and no one 
 else could have made much use of his notes. 
 
 Mr. Hickman was so accurate and careful an observer, and 
 was so ably assisted by Mr. W. Twopeny and others, and their 
 combined observations extended over so wide a field, that this 
 work can never in fact be superseded by any other. All subse- 
 quent writers on the subject have been largely indebted to it, 
 and many of their attempts are mere plagiaries from it, with 
 
VI ADVERTISEMENT TO THE SIXTH EDITION. 
 
 or without acknowledgment. His di^nsions of the styles and 
 his definitions and descriptions of their characteristic features 
 are so true, that those who have differed from him have only 
 departed from the facts. Others have quarrelled with his no- 
 menclature, and have endeavoured to change it, while retain- 
 ing his divisions and descriptions ; but the great merit of 
 Mr. Rickman's nomenclature is its simplicity, and that it 
 involves no theory, consequently does not mislead the beginner, 
 which all others do. 
 
 No one can deny that each country has an Early Gothic 
 style of its own, distinct from that of any other country : in 
 England this is the Early English style. The term Decorated 
 has been much cavilled at, but it is extremely clear and con- 
 venient: window tracery, which is the characteristic feature of 
 this style, is obviously a great decoration, and forms an essential 
 part of the structure, which cannot be removed without leaving 
 a blank ; this is not usually the case with other ornamentation, 
 and therefore this decoration is an excellent characteristic of the 
 style. There is less variation in this style in different countries, 
 and Dr. Whewell has called it the perfect Gothic, assuming it 
 to be the same in all countries, which perhaps to a certain 
 extent it is, but still there are decided national and provincial 
 characteristics in this style as in all others, though they are 
 less marked. The name of the Perpendicular style is so called 
 from the vertical lines of the tracery and the panelling, which 
 form the distinguishing features of this style; and this name 
 is so obviously true that no one ever forgets it, which is 
 a great advantage. 
 
 An attempt was made some years since to introduce the 
 terms First Pointed, Middle Pointed, and Third Pointed, 
 for Mr. Rickman's three styles of Gothic, and from the in- 
 fluential persons who took it up this change was partially 
 and temporarily introduced, but has almost died out again, as 
 it was found to mislead people rather than guide or assist 
 them to a knowledge of the subject. No one can say what 
 
ADVERTISEMENT TO THE SIXTH EDITION. vil 
 
 was the First Pointed style, but the Early English Gothic 
 certainly was not ; and as no one can say which will be the last 
 Pointed style, it is equally impossible to say which is the 
 Middle. The greatest objection to this proposed nomenclature 
 is, however, the manner in which it misleads beginners in the 
 study. Every round-headed doorway is set down for Roman- 
 esque or Norman, and every square-headed window for " Third 
 Pointed," or Perpendicular, or Debased; and this is quite 
 natural for those who are taught to consider the form of the 
 arch as a guide to the age of a building. It is no guide what- 
 ever, the form of the arch was at all times dictated by conve- 
 nience quite as much as by fashion : round-headed doorways 
 and square-headed windows are of all periods, and may be found 
 in all the styles, common in some districts, rare in others ; this 
 is more especially the case in houses and castles, but it is very 
 frequent in church towers also, and not uncommon in other 
 parts of churches where convenience obviously required it. 
 
 A remarkable instance of this inattention to the form of the 
 arch may be mentioned ; the castle of the celebrated captain 
 of the English army under Edward III., John Chandos, in the 
 Cotentin in Normandy, of which the walls are nearly perfect, 
 has scarcely a pointed arch throughout the whole structure. 
 But it is not necessary to go abroad for examples, almost every 
 medieval house or castle in England shews the same thing, 
 though not to the same extent. 
 
 The term Gothic has so long been established, and is so 
 thoroughly well understood throughout Europe, that it is in 
 vain to attempt to change it; and whatever its origin may 
 have been, it is a very convenient term, which now misleads 
 no one but those who are grossly and wilfully ignorant. 
 
 Mr. Rickman's concise and clear description of Grecian and 
 Roman architecture has been retained in the present edition, 
 and carefully revised by Professor Donaldson, to whom the 
 Editor begs thus publicly to express his cordial thanks ; he has 
 greatly increased the value of this useful summary of a subject 
 
Vlll ADVERTISEMENT TO THE SIXTH EDITION. 
 
 which is in clanger of being forgotten altogether, but of which 
 some knowledge is essential for the proper understanding of 
 the Medieval styles, which were gradually developed from the 
 Roman. 
 
 The chapter on Anglo-Saxon architecture, which was thrown 
 into an Appendix in the previous editions, has now been intro- 
 duced in its proper place, between the Roman and the Norman 
 styles, with large additions. Mr. Rickman's " Tour in Normandy 
 and Picardy in 1832," first published in the twenty-fifth volume 
 of the ArchcBologia, and appended to some editions of this work, 
 has now been omitted as not necessary, the substance of his 
 observations and large extracts being given in the list of 
 Foreign Examples. 
 
 TuRL, Oxford, 
 Juli/ 1, 18G2. 
 
ADVERTISEMENT TO THE FIFTH EDITION. 
 
 THE practical value of this work has now been so long 
 established, and is so well known, that it is only neces- 
 sary to mention the alterations which have been made in the 
 present edition. 
 
 The text of IVIr. Eickman's last edition has been scrupulously 
 preserved, the additional matter being inserted between brackets 
 or as foot notes. Several years having elapsed since the last 
 edition was published, and those years having been remarkable 
 for a very great and rapid extension of the study of Gothic 
 Architecture, it might be expected that great changes would 
 have been required in this work, which was the first systematic 
 treatise on the subject in any language, and formed the original 
 basis and ground of the study. But notwithstanding the numer- 
 ous works which have appeared within the last five or six years, 
 it is surprising to observe how very little real information has 
 been added to that which Mr. Rickman collected and digested. 
 The general accuracy of his observations, and the acuteness with 
 which he made use of the facts he had collected, are really quite 
 wonderfid, considering that he was the first to examine the 
 ground, and may be said to have invented a new science. 
 
 It would have been easy to have enlarged every chapter of 
 his work, but this would have added more to the bulk than to 
 the value, the real difiiculty was to compress and digest the 
 multitude of instances, to take a general and comprehensive 
 view, without being deterred by a few exceptions. 
 
 The Editor of the present edition felt that what the work 
 really required to make it more intelligible to the public, was 
 a better set of engravings of the objects described ; an accurate 
 drawing of the object is worth more than a whole chapter of 
 description. He has accordingly turned his attention chiefl}^ to 
 this point. In the present edition the illustrations are entirely 
 taken from old examples, while in the previous editions they 
 were chiefly from Mr. Eickman's own designs. By far the 
 
 b 
 
X ADVERTISEMENT TO THE FIFTH EDITION. 
 
 greater part are from original drawings made expressly for the 
 work by Mr. Mackenzie and Mr. Orlando Jewitt, whose ac- 
 curacy cannot be too highly praised. A portion of them have 
 been borrowed from other works when any could be found that 
 exactly suited the purpose. To have attempted to give the 
 whole from original sources, where so large a number was 
 required, would have greatly increased the price of the book, 
 without any equivalent advantage. 
 
 The Appendix to the former editions contained short notes 
 of a number of churches in different counties ; this part of the 
 work was found to require a thorough re"\dsion, in some cases 
 from imperfect information originally, in others from subse- 
 quent changes. The manuscript notes of Mr. Rickman himself 
 and those of many others who have kindly assisted in the woi*k, 
 are in the hands of the Editor and preparing for publication. 
 They are altogether so numerous and important that he has 
 considered it best to make them into a separate work on " The 
 Ecclesiastical and Architectural Topography of England," which 
 he purposes to publish in separate counties, of which Bedford- 
 shire is ready for the press, and many others are in a state of 
 forwardness ^. The plan which he has adopted is that of arrang- 
 ing the churches in Deaneries, by which those in each neigh- 
 bourhood can be most conveniently classed together. Some 
 notice will be given of everj^ church, distinguishing those most 
 worthy of attention ; the remains of the Monasteries, Castles, 
 and Houses of the Middle Ages will, as far as possible, be noticed 
 under the head of the parishes in which they are situated, or to 
 which they are proximate. Such a work must obviously be one 
 of great labour and difficulty, and requiring the assistance of 
 many hands, he will therefore be obliged by receiving com- 
 munications from any parties who have been in the habit of 
 taking architectural notes. 
 
 Tto'l, Oxford, March 18, ISiS. 
 
 a Of this work seven counties were prising the following counties, — Oxford, 
 
 published, completing the dioceses of Berks., and Bucks. ; Cambridge, Beds., 
 
 Oxford and Ely, for the use of students Huntingdon, and Suliolk. 
 at the two great Universities, and com- 
 
PREFACE TO THE FIRST EDITION. 
 
 AN outline of the present essay was written by the Author 
 for Smith's " Panorama of Science and Art," and published 
 in that work many years ago, but having been frequently 
 requested to enlarge and republish it, he has performed that 
 task, and has subjoined a copious list of buildings for the 
 student's instruction. 
 
 The object of the present publication has been to furni'sh, 
 at a price which shall not present an obstacle to extensive 
 circulation, such a view of the principles of architecture, more 
 particularly that of the British Isles, as may not only be 
 placed with advantage in the hands of the rising generation, 
 but also afford the guardians of ecclesiastical edifices such 
 clear discriminative remarks on the buildings now existing, 
 as may enable them to judge with considerable accuracy of the 
 restorations necessary to be made in those venerable edifices 
 that are under their peculiar care ; and also, by leading them 
 to the study of such as still remain in a perfect state, to render 
 them more capable of deciding on the various designs for 
 churches in imitation of the English styles which may be 
 presented to their choice. 
 
 As a text-book for the architectural student little need 
 be said of this publication. The want of such a work, par- 
 ticularly as it respects the English styles, is generally acknow- 
 ledged ; and it has been the aim of the Author, by a constant 
 reference to buildings, to instil the principles of practice rather 
 than mere theoretical knowledge. 
 
 This essay is by no means intended to supersede that more 
 
xii PREFACE TO THE FIRST EDITION. 
 
 detailed view of English architecture which the subject merits 
 and requires : an undertaking of this nature must necessarily 
 be expensive, from the requisite number of plates, without 
 which it is impossible to give a full view of this interesting 
 subject ; but if his life be preserved, and time and opportunity- 
 be afforded him, the author may perhaps again intrude himself 
 on the public, with a more comprehensive view of Gothic 
 architecture in Europe. If he be not so permitted, it is a satis- 
 faction to him to know that he will now leave behind those 
 fully capable of investigating a subject which will richly reward 
 the philosophic investigator. 
 
CONTENTS. 
 
 PAGE 
 
 INTRODrCTORY REMARKS 1 
 
 GRECIAi!^ ARCHITECTURE 7 
 
 TUSCAN ORDER 16 
 
 DO RIC 21 
 
 IONIC 28 
 
 CORINTHIAN 34 
 
 COMPOSITE 39 
 
 ENGLISH GOTHIC ARCHITECTURE 41 
 
 ON ANGLO-SAXON ARCHITECTURE 55 
 
 [on THE BUILDINGS OF THE ELEVENTH CENTURY 97 
 
 „ „ TIME OF WILLIAM I., A.D. 1066 — 10S7] 106 
 
 THE FIRST, OR NORMAN STYLE 117 
 
 [examples OF THE TIME OF WILLIAM II., A.D. 10S7 — 1100 151 
 
 „ „ „ HENRY I., A.D. 1100 — 1135 ... 155 
 
 „ „ „ STEPHEN, A.D. 1135 — 1151... 163 
 
 HENRY II., A.D. 1151— 11 S9 167 
 
 FOREIGN EXAMPLES 175 
 
 TRANSITION FROM NORMAN TO EARLY ENGLISH 150 
 
 HISTORICAL EXAMPLES OF] 167-182 
 
 THE SECOND, OR EARLY ENGLISH STYLE 183 
 
 [ENGLISH EXAMPLES OF THE TIME OF RICHARD I., A.D. 1189 — 
 
 1199 232 
 
 FOREIGN EXAMPLES 235 
 
 ENGLISH EXAMPLES OF THE TIME OF JOHN, AD. 1199 — 1216 238 
 
 FOREIGN EXAMPLES 239 
 
 ENGLISH EXAMPLES OF THE TIME OF HENRY III., A.D. 1216 — 
 
 1272 242 
 
 FOREIGN EXAMPLES 255 
 
 TRANSITION FROM EARLY ENGLISH TO DECORATED 229 
 
 HISTORICAL EXAMPLES OF] 252-260 
 
XIV CONTENTS. 
 
 PAGE 
 
 THE THIRD, OR DECORATED STYLE 261 
 
 [ENGLISH EXAMPLES OF THE TIME OF EDWARD I., A.D. 1272 — 
 
 1307 318 
 
 FOREIGN EXAMPLES 325 
 
 ENGLISH EXAMPLES OF THE TIME OF EDWARD II., A.D. 1307 — 
 
 1326 328 
 
 FOREIGN EXAMPLES 331 
 
 ENGLISH EXAMPLES OF THE TIME OF EDWARD III., A.D, 1327 
 
 —1377 332 
 
 FOREIGN EXAMPLES 344 
 
 TRANSITION FROM DECORATED TO PERPENDICULAR 315 
 
 HISTORICAL EXAMPLES OF] 337-348 
 
 THE FOURTH, OR PERPEXDICULAR STYLE 349 
 
 [examples OF THE TIME OF RICHARD II., A.D. 1377 — 1399... 392 
 
 rNDER THE HOUSE OF LANCASTER, A.D. 1399 — 1460 398 
 
 UNDER THE HOUSE OF YORK, A.D. 1461 — 1485 412 
 
 UNDER THE TUDORS, 1485—1547] 416 
 
 THE FLAMBOYANT STYLE 424 
 
 MISCELLANEOUS REMARKS ON BUILDINGS OF ENGLISH ARCHI- 
 TECTURE, AND A COMPARISON OF THE PRINCIPLES OF 
 
 GRECIAN AND ENGLISH ARCHITECTURE 435 
 
 CHRONOLOGICAL TABLE 440 
 
 LIST OF PLATES XV 
 
 GLOSSAEIAL INDEX 441 
 
 TOPOGRAPHICAL INDEX 447 
 
LIST OF PLATES. 
 
 PAGE 
 
 - Plan of Wells Cathedral . . . . .47 
 
 ' Waltham Abbey Church . . . . .122 
 
 (Norman Arches.) 
 East Front of St. Cross Church, Hampshire . . .145 
 
 (Norman Front.) 
 North Porch of Southwell Minster . . . .146 
 
 (Norman Porch.) 
 "West Entrance of Ketton Church, Rutlandshia-e . .150 
 
 (Transition.) 
 Canterbury Cathedral, Crypts . . . . .169 
 
 Plan of Crypts . . . .171 
 
 (Norman and Transition.) 
 Durham Cathedral, Ground-plan . . . .173 
 
 "West Window of Eaunds Church, Northamptonshire . .190 
 
 (Early English.) 
 Polebrook Church, Northamptonshire . . . .215 
 
 (Early English Steeple.) 
 St. Mary's Church, Stamford . . . . .217 
 
 (Early English Tower, with Decorated Spire.) 
 North Transept, Beverley Minster . . . .221 
 
 (Early English Front.) 
 "Western Doorway, Higham Ferrers, Northamptonshire . . 224 
 
 (Early English Porch.) 
 Staircase in Beverley Minster ..... 227 
 
 (Early English Staircase.) 
 Queen Eleanor's Cross, Northampton . . . .229 
 
 (Early Decorated Niches, &c.) 
 Salisbury Cathedral, Elevation of Two Bays . . . 242 
 
 (Early English, a.d. 1220.) 
 St. Mary's, Beverley, Arch and Screen, North Side of Clioir . 280 
 
 (Decorated.) 
 ^ Finedon Church, Northamptonshire . . . .301 
 
 (Decorated English Steeple.) 
 
XVI LIST OF PLATES. 
 
 PAGE 
 
 Bloxham Church, Oxfordshire ..... 302 
 
 (Decorated English Steeple.) 
 Howden Church, Yorkshire . . . . .307 
 
 (Decor.ited English Front.) 
 Houghton-le-Dale Church, Norfolk . . . .309 
 
 (Decorated English Front.) 
 South Porch of St. Mary's Church, Beverley . . .310 
 
 (Decorated English Porch.) 
 Hull Church, Yorkshire, Interior of Choir . . .314 
 
 (Decorated English Style.) 
 Thornton Abbey, Lincolnshire, East Side of Gatehouse . 317 
 
 (Transition from Decorated to Perpendicular.) 
 Merton College Chapel, Oxford, North Side of Choir . .319 
 
 (Early Decorated, a.d. 1274—1277.) 
 Exeter Cathedral, Elevation of Two Bays of Nave . . 333 
 
 (Decorated, a.d. 1331—1350.) 
 Euined Chapel on the North Side of the Church of St. Lawrence, 
 
 Evesham ....... 358 
 
 (Perpendicular Panelled Arch.) 
 Bocher's Arch, Rushden Church, Northamptonshire . . 367 
 
 (Perpendicular Arch and Screens.) 
 Kingsthorpe Church, Northamptonshire . . .374 
 
 (Perpendicular English Steeple.) 
 Perpendicular Roof of "Wymondham Church, Norfolk . . 380 
 
 Roof of St. Peter's Mancroft, Norwich . .382 
 
 Gallery and Font in AYorstead Church, Noifulk . 388 
 
 Entrance to the Chapter-house, Howden, Yorkshire . . 393 
 
 (Early Perpendicular, a.d. 1380—1407.) 
 Thoruton Abbey, Lincolnshire, West Side of Gatehouse . 395 
 
 (Transition from Decorated to Perpendicular, a.d. 1382— 138G.) 
 
 The Divinity School, Oxford . . . . .408 
 
 (Perpendicular, rich Fan-Tracery Vaulting, a.d. 1445—1454.) 
 
gin attempt, ^c. 
 
 THE science of Architecture may be considered, in its most 
 extended application, to comprehend building of every 
 kind : but at present we must consider it in one much more 
 restricted ; according to which, Architecture may be said to 
 treat of the planning and erection of edifices, which are com- 
 posed and embellished after two principal modes, 
 
 1st, the Antique, as Grecian and Roman, or Classic ; 
 
 2nd, the English or Gothic, or Mediaeval. 
 
 TVe shall treat of these modes in separate dissertations, be- 
 cause their principles are completely distinct, and indeed mostly 
 form direct contrasts. But before we proceed to treat of them, 
 it will be proper to make a few remarks on the difference 
 between mere house-building, and that high character of com- 
 position in the Grecian and Roman orders properly styled 
 Architecture ; for though we have now many nobly architec- 
 tural houses, we are much in danger of having our public 
 edifices debased, by a consideration of what is convenient as 
 a house, rather than what is correct as an architectural design. 
 
 In order properly to exainine this subject, we must consider 
 a little, what are the buildings regarded as our models 
 for working the orders ; and in what climate, for what purposes, 
 and under what circumstances they were erected. This may, 
 perhaps, lead to some conclusions, which may serve to distin- 
 guish that description of work, which however rich or costly 
 is still mere house-building in point of its composition. 
 
 It is acknowledged on all hands that our best models, in 
 the three ancient unmixed orders, the Doric, Ionic, and Corin- 
 thian, are the remains of Grecian temples. Most of them were 
 erected in a climate in which a covering from rain was by 
 no means necessary, and we shall find this circumstance very 
 influential ; for - as the space within the walls was always par- 
 
 JB 
 
2 INTRODUCTORY REMARKS. 
 
 tially, and often wholly open, apertures in those walls for 
 light were not required ; and we find, also, in Grecian struc- 
 tures very few, sometimes only one door. The purpose for 
 which these buildings were erected was the occasional reception 
 of a large body of people, and not the settled residence of an3^ 
 But, perhaps, the circumstances under which they were erected 
 have had more influence on the rules, which have been handed 
 down to us as necessary to be observed in composing architec- 
 tural designs, tlian either the climate or their use. It is now 
 pretty generally agreed, that the Greeks did not use the arch, 
 at least in the exterior of their public buildings, till it was 
 introduced by the Romans. Here then we see at once a limi- 
 tation of the intercolumniation, which must be restrained by 
 the necessity of finding stones of sufficient length to form the 
 architrave. Hence the smaller comparative intercolumniations 
 of the Grecian buildings, and the constant use of columns ; and 
 hence the propriety of avoiding arches in compositions of the 
 purer Grecian orders. 
 
 The Romans introduced the arch very extensively into build- 
 ings of almost every description, and made several alterations 
 in the mode of working the orders they found in Greece, to 
 which they added one order by mixing the Corinthian and 
 Ionic, and another by stripping the Doric of its ornaments. 
 Their climate, also, was so far different as to require more gen- 
 eral roofing ; but still, from the greater necessity of providing 
 a screen from the heat of the sun than apertures to admit 
 the light, it does not appear that large windows were in general 
 use, and hence an important difference in modern work. Al- 
 though, by roofs and arches, much more approximated to 
 modern necessities than the Grecian models, still those of 
 Rome, which can be regarded as models of composition, are 
 temples or other public edifices, and not domestic buildings ; 
 which, whenever they have been found, appear unadapted to 
 modern wants, and are therefore unfit for imitation. 
 
 In a few words we may sum up the grand distinctions 
 between mere building and architectural design : the former 
 looks for convenience, and though it will doubtless often use 
 architectural ornaments, and preserve their proportions,, when 
 
INTRODUCTORY REMARKS. 3 
 
 used as smaller parts, yet the general proportion may vary very 
 widely from the orders, and yet be pleasing, and perhaps not 
 incorrect. But all this is modern building, and not architecture 
 in its restricted sense : in this the columns are essential parts, 
 and to them and the proportions of the order, to which they 
 belong, all other arrangements must be made subservient. And 
 here we may seek for models with care and minuteness amongst 
 the many remains yet left in various parts, (and of which the 
 best are familiar to most architectural students from valuable 
 delineations by those, who have accurately examined them,) 
 and in selecting and adopting these the taste and abilities of 
 the architect have ample scope. 
 
 As an introduction to the dissertations, it may not be amiss 
 to take a hasty sketch of the progress of architecture in 
 England. 
 
 Of the British architecture, before the arrival of the Romans 
 in the island, we have no clear account ; but it is not likely 
 it differed much from the ordinary modes of uncivilized na- 
 tions. The hut of wood with a variety of coverings, and some- 
 times the cavities of the rock, were doubtless the domestic 
 habitations of the aboriginal Britons; and their stupendous 
 public edifices, such as Stonehenge and others, still remain 
 to us. The arrival of the Romans was a new era. They in- 
 troduced, at least in some degree, their own architecture, of 
 which a variety of specimens have been found : some few still 
 remain, of which, pei'haps, the gate of Lincoln is the only one 
 retaining its original use. Although some fine specimens 
 of workmanship have been dug up in parts, yet by far 
 the greatest part of the Roman work was rude, and by no 
 means comparable with the antiquities of Greece and Italy, 
 though executed by the Romans. The age of purity in the 
 Roman architecture reaches down to several of the first em- 
 perors ; but very early, with a degree of purity of composition, 
 there was such a profusion of ornament made use of, as soon 
 led the way to something like debasement of composition. The 
 palace of Dioclesian, at Spalato, has descended to us suffi- 
 ciently perfect to enable us to judge of the style of both com- 
 position and ornamental details; and the date of this may be 
 
4 
 
 INTRODUCTORY REMARKS. 
 
 Palace of Dioclesian, 
 
 considered from a.d. 200 to 300; and Constantine, wlio died 
 in A.D. 337, erected the church of St. Paul, without the walls 
 of Rome% which, in fact, in its composition resembles a Nor- 
 man building. And it is curious to observe that the orna- 
 ment afterwards used so profusely in Nor- 
 man work is used in the buildings of Dio- 
 clesian, the Corinthian modillions being 
 capped with a moulding cut in zigzag, and 
 which only wants the enlargement of the 
 moulding to become a real Norman orna- 
 ment. When the Romans left the island, 
 it was most likelj^ that the attempts of the Britons were still 
 more rude ; and endeavouring to imitate, but not executing on 
 principle, the Roman work, their architecture became debased 
 into the Saxon and early Norman, intermixed with ornaments 
 perhaps brought in by the Danes. After the Conquest, the 
 rich Norman barons erecting very magnificent castles and 
 churches, the execution manifestly improved, though still with 
 much similarity to the Roman mode debased. But the intro- 
 duction of shafts, instead of the massive pier, first began to 
 approach that lighter mode of building, which, by the introduc- 
 tion of the pointed arch, and by an increased delicacy of execu- 
 tion and boldness of composition, ripened at the close of the 
 twelfth centurj^ into the simple yet beautiful Early English 
 style. Towards the end of another century'-, this style, from 
 the alteration of its windows by throwing them into large ones 
 divided by mullions, introducing tracery in the heads of windows, 
 and the general use of flowered ornaments, together wath an 
 important alteration in the piers, became the Decorated English 
 stjde, which may be considered as the perfection of the English 
 mode. This was very difficult to execute, from its requiring 
 floAving lines where straight ones were more easily combined ; 
 and at the close of the fourteenth century we find these flow- 
 
 » It was begun by the Emperor Thco- 
 dosius, and finished by his sons Arcadius 
 and Iloiiorixis. " The rescript, addressed 
 to the rrajfcct of Rome in the year 386, 
 which conveys the imperial commands 
 on this subject, has been preserved by 
 
 Baronius," [vol. v. p. 607]. — Ecclesias- 
 tical Arcliifeciure of Italy, by the late 
 Mr. Gaily Knight, in which work a 
 view of the interior of this building is 
 given, as it existed previous to the fire 
 in 1822. 
 
INTRODUCTORY REMARKS. 5 
 
 ing lines giving way to perpendicular and horizontal ones. 
 The use of which continued to increase, till the arches were 
 almost lost in a continued series of panels, which at length 
 in one building — the chapel of Henry YII. — covered com- 
 pletely both the outside and inside ; and the eye, fatigued by 
 the constant repetition of small parts, sought in vain for the 
 bold grandeur of design, which had been so nobly conspicuous 
 in the preceding style. The Reformation, occasioning the de- 
 struction of many of the most celebrated buildings and the mu- 
 tilation of others, or the abstraction of funds uecessar}^ for their 
 repair, seems to have put an end to the working of the English 
 styles on principle. The square panelled and mullioned win- 
 dows, with the wooden panelled roofs and halls, of the great 
 houses of the time of Queen Elizabeth, seem rather a debased 
 English than anything else ; but dm*ing the reign of her 
 successor, the Italian architecture then prevalent on the Con- 
 tinent began to be introduced first only in columns of doors 
 and other small parts, and afterwards in larger portions, though 
 still the general style was this debased English''. Of this 
 introduction, the most memorable is the celebrated tower of 
 the Schools at Oxford, where, into a building adorned with 
 pinnacles and having mullioned windows, the architect has 
 crowded all the five orders over each other. Some of the 
 works of Inigo Jones are little removed beyond this barbarism. 
 Longleat, in Wiltshire, is rather more advanced, and the Ban- 
 queting-house, Whitehall, seems to mark the complete intro- 
 duction of Italian workmanship. The close of the seventeenth 
 century produced Sir Christopher Wren, a man whose powers, 
 confessedly great, lead us to regret that he had not studied the 
 architecture of his English ancestors with the success he did 
 that of Rome ; for while he has raised the most magnificent 
 modern building we possess, he seems to have been pleased to 
 disfigure the English edifices he had to complete. His works 
 at St. Mary Aldermary and St. Dunstan-in-the-East prove how 
 well he coidd execute imitated English buildings when he 
 
 •* Italian features certainly began to more frequently in buildings erected 
 
 beintroducedbeforethe reign of James I. during the reigns of Edward VI. and 
 
 They are occasionally to be met with in Elizabeth, 
 work of the time of Henry VIII., and 
 
6 INTRODUCTORY REMARKS. 
 
 chose, thoiigli even in thera he has departed, in several respects, 
 from the true English principles. By the end of the seven- 
 teenth century the Roman architecture appears to have been 
 ■well established, and the works of Vitruvius and Palladio suc- 
 cessfidh' studied ; but Sir John Yanbrugh and Nicholas Hawks- 
 moor seem to have endeavoured to introduce a massiveness 
 of style, which happily is peculiar to themselves. The works 
 of Palladio, as illustrated by some carpenters, appear to have 
 been the model for working the orders during the greater 
 part of the eighteenth century ; but in the early and middle 
 part of it, a style of ornament borrowed from the French was 
 much introduced in interiors, the principal distinctions of 
 which were the absence of all straight lines, and almost of 
 all regidar lines. The examples of this are now nearly extinct, 
 and seem to have been driven out by the natural operation 
 of the advance of good workmanship and greater simplicity 
 of treatment in the lower class of buildings. 
 
 AU ornamental carvings were with difficult}^ executed in 
 wood, and were very expensive; but towards the latter end 
 of the eighteenth century, the Adamses introduced a style of 
 ornament directly contrary to the heavy carving of their pre- 
 decessors. This was so flat as to be easily worked in plaster and 
 other compositions, and putty-ornament was sold very cheap 
 and profusely used in carpenters' work. This flatness was more 
 or less visible in man}^ considerable buildings ; but near the 
 close of the century, the magnificent works of Stuart and 
 Eevett, and the Ionian antiquities of the Dilettanti Society, 
 began to excite the public attention, and in a few years a great 
 alteration was visible ; the massive Doric, and the beaiitiful 
 plain Grecian Ionic began to be worked, and our ordinary 
 door-cases, «S:c. soon began to take a better character. The 
 use of the simj^le yet bold mouldings and ornaments of the 
 Grecian models is gradually spreading, and perhaps we may 
 hope, from the present general investigation of the principles 
 of science, that this will continue without danger of future de- 
 basement, and that a da}- may come, when we shall have 
 Grecian, Roman and English edifices, erected on the princi- 
 ples of each. 
 
GEECIAN AECHITECTUEE. 
 
 The many valuable treatises and excellent delineations of 
 the Grecian and Eoman buildings, and the details of their 
 parts, will render unnecessary in this dissertation that minute- 
 ness, which from the total absence of a previous system it 
 will be proper to adopt in the description of the English styles. 
 But in this sketch a similar plan will be followed, of first 
 gi\dng the name and grand distinctions of the orders ; then 
 describing the terms and names of parts necessary for those 
 who have not paid attention to the subject to understand ; and 
 a concise description of each order will follow. With respect 
 to the examples in England, it will be most proper to leave 
 the reader to select his own ; because in this country we have 
 not, as in the English architecture, the originals to study, but 
 a variety of copies, adapted to the climate and to the conveni- 
 ence of modern times. 
 
 In dividing the Grecian and Eoman architecture, the word 
 order is used, and much more properly than style ; the English 
 stjdes regard not a few parts, but the composition of the whole 
 building. But the question naturally arises. What is an order ? 
 In architecture the term * order ' signifies properly not merely the 
 column and its superincumbent entablature, but rather a re- 
 cognised principle of decoration, a systematic arrangement, a 
 certain characteristic proportion, which pervade not only the 
 column and entablature, but also all the other accompaniments 
 in a building, and all the minute details of the several parts, as 
 the doors, windows, &c. 
 
 Now it is well known that there are three distinct general 
 divisions, under which all objects in nature may be classed : 
 namely, 1st, the strong and weak ; 2nd, the tall and short ; and 
 3rdly, the mean between these two : by some compared with 
 the robustness of the man, the grace of the virgin, and the 
 maturer development of the matron. Each of these moral 
 
8 GRECIAN ARCHITECTURE. 
 
 modifications is realised in the orders, and received its physical 
 and t}-pical realization in the three great divisions of Greek 
 architecture, known as the Doric, Ionic, and Corinthian : where 
 strength and robustness are retained in the Doric, refined and 
 modified in the Ionic, and attenuated to greater grace and 
 elegance in the Corinthian. These distinct qualities exist not 
 only in the column of the order, but pervades all the parts of 
 an edifice ; so that a Greek-Doric monument is known at once 
 by its simple, massive, ponderous proportions ; the Ionic b}^ its 
 calm but lighter subdivisions ; the Corinthian by the more 
 intricate and slender modifications of all the parts. So that 
 even without the prominent characteristic of the column with 
 its capital and base, we may at one glance decide to which 
 order of architecture the edifice may belong. Thus the ph^'sical 
 proportions of the building decide its moral influence on the 
 mind, so that, if these two do not harmonize, there must be 
 some impropriety or contradiction. 
 
 Let us then bear in mind these three great physical distinc- 
 tions embodied in the Doric, Ionic, and Corinthian orders : in 
 the Doric, the idea of solid supports, subdued ornament, and 
 short proportions ; in its opposite, the Corinthian, elegance of 
 form, lightness of proportions, richness of decoration ; in the 
 Ionic, the mean between these two extremes, moderate strength, 
 subdued embellishment, proportions intermediate between the 
 sturdiness of the Doric and the loft}' grace of the Corinthian. The 
 Romans, however, who were less exact in their metaphysical 
 appreciation of the orders, divided them into five, as did also the 
 Italian masters, and they are usually enumerated as follow : — 
 
 Tuscan, — Doric, — Ionic, — Corinthian, — Composite. 
 
 The first and the last of these being unknown in Greek art. 
 
 Their origin will be treated of hereafter. Their prominent 
 distinctions are as follow : — 
 
 The Tuscan is without an}' ornament whatever. 
 
 The Doric is distinguished by the channels and projecting 
 intervals in the frieze, called trifj///p/is, and the Greek-Doric 
 column is usually without a base. 
 
GRECIAN ARCHITECTURE. 9 
 
 The Ionic is characterized by the ornaments of its capital, 
 which are spiral, and are called volutes. 
 
 The Corinthian is marked by the superior height of its 
 capital, and by its being ornamented with leaves, which sup- 
 port very small volutes at the angles and in the centre, and 
 which are called cauUcoli. 
 
 The Composite has also a tall capital with leaves, but is dis- 
 tinguished from the Corinthian by having the large angular 
 volutes and the enriched ovolo of the Ionic capital. 
 
 In a complete order there are three grand divisions, which 
 are occasionally executed separately, viz. 
 
 1 . The 2)edesial ^, which supports the column, 
 
 2. The column, including its base and capital, 
 
 3. The entablature, or part above and supported by the column. 
 
 These are again subdivided 
 
 , Surbi 
 
 into three parts : — 
 
 The pedestal into 
 
 1. base, or lower mouldings ; 
 
 2. dado or die, the plain central space ; 
 
 3. surbase, or upper mouldings. B,.e 
 
 The column into base, or lower mouldings ; shaft, or central 
 space ; and capital, or upper mouldings. 
 
 The entablature, into architrave, or beam immediately above 
 the column ; frieze, or central space ; and cornice, or upper pro- 
 jecting mouldings to throw off the rain. 
 
 These parts may be again divided thus : the lower por- 
 tions, viz. the base of the pedestal, base of the colimin, and the 
 
 '' A pedestal can scarcely be con- of an order. It is not found in the 
 sidered necessary for the completeness majority of ancient examples. 
 
 C 
 
10 
 
 GRECIAN ARCHITECTURE. 
 
 architraye, divided each into two parts ; the first and second 
 into plinth and mouldings, the third into face or faces, and 
 upper moulding or taenia ^. 
 
 Each central portion, as dado of the pedestal, shaft of the 
 column, and frieze, is undivided. 
 
 Each upper portion, as surbase of the pedestal, capital of the 
 column, cornice of the entablature, divides into three parts : the 
 first into hcd-moidd, or the part under the corona; corona, or 
 plain face ; and cymatium, or upper moulding. 
 
 The capital mto neck, or part below the ovolo ; ovolo, or project- 
 ing round moulding ; and abacus or tile, the flat upper moulding, 
 in general nearly square. These divisions of the capital, how- 
 ever, are less distinct than those of the other parts *". 
 
 The cornice into hedmould, or part below the corona ; corona, 
 or flat projecting face ; cymatium, or moulding above the corona. 
 
 Besides these general divisions, it will be proper to notice 
 a few terms often made use of. 
 
 The ornamental moulding; runnino; 
 round an arch is called an archivolt, or 
 round doors and windows it is called an 
 
 architrave, (b.) 
 
 A horizontal moulding for an arch 
 to spring from is called an inijmst. (a.) 
 
 The central stone at the top of an 
 arch, which often projects, is called a 
 key-stone : this does not usuall}^ occur 
 in Gothic construction. 
 
 ' The term tnenia is usually confined 
 to the Doric order. 
 
 ' In the Corinthian order, and in 
 many examples of the Ionic, these 
 divisions do not exist. In the Compo- 
 site order the part below the ovolo 
 
 is called the vase, hell, or hodi/ of the 
 capital. In fact, the vase is the cap 
 proper, round which the caulicoli and 
 leaves are grouped merely as a deco- 
 ration. In the vase-shaped Egyptian 
 capitals this is very evident. 
 
GRECIAN ARCHITECTURE. 
 
 11 
 
 The small brackets under the corona in the cornice are 
 called mutu/es or modilUoiis. If they are 
 square, or longer in front than in depth, 
 they are called mutules, and are used in 
 the Doric order ; if they are less in 
 front than their depth, they are called 
 modiUions, and in the Corinthian order have carved leaves 
 spread under them. 
 
 A truss is a modillion enlarged, and placed 
 flat^ against a wall, often used to support the 
 cornice of doors and windows. 
 
 A console is an ornament like a truss carved 
 on a key- stone. 
 
 Trusses, when used under modiUions in the 
 frieze, are called cantalivers. 
 
 The space under the corona of the cornice 
 is called a soffit, as is also the under side of an arch ^. 
 
 Dentils are ornaments used in the bed- 
 mould of cornices ; they are parts of a small 
 flat face, which is cut perpendicularly, and small intervals left 
 between each, and represent the ends of ceiling joists. 
 
 Flat columns, having the same capital as the ':"^M^^^ 
 column, are called 2)ik(sters ' ; in Greek architec- 
 ture they have a different capital, and are called 
 antce. (a.) 
 
 A small height or story above the cornice is called 
 an attic; and sometimes a parapet is introduced, 
 with small pillars, swelling towards the bottom, 
 called baliistres, and a series of them a halastrade. 
 
 « It would be more correct to say, 
 placed upright against a wall. 
 
 '' Soffit is a very general term for 
 horizontal under surfaces ; it is applied 
 to the under side of the architrave of 
 
 an entablature. 
 
 ' Pilcisters are usually attached to 
 a wall, and in general project but 
 slightly from it. 
 
12 
 
 GRECIAN ARCHITECTURE. 
 
 The triangular portion over a series of columns is called 
 a pediment, and the plain central space bounded by the horizon- 
 tal and sloping cornices, the ii/mpanum ; this is often orna- 
 mented with groups of figures, as in the Parthenon at Athens, 
 or by other work in relief. 
 
 Pedestals and attics are far from settled as to their propor- 
 tions, or the mode of their execution, depending almost entirely 
 on circumstances connected with the particular design, rather 
 than the order with which they are used. However, for either, 
 about one-fifth of the whole height, including pedestal and 
 entablature, is a good proportion, though it may be often neces- 
 sary to increase it from local circumstances. In general, an 
 order looks much better executed without pedestals. 
 
 Columns are sometimes orna- 
 mented b}^ channels, which are 
 call&A. flutes^. These channels are 
 sometimes partly filled by a lesser 
 rovmd moulding ; this is called 
 cabling the flutes. 
 
 If the joints of the masonry 
 are sunk in channels, the work 
 is caUed rustic; this is often 
 used on the basement of an 
 order. 
 
 For the better understanding the description to be given of 
 the orders, it will be proper first to notice the mouldings which, 
 by different combinations, form their parts. [They are the al- 
 
 '' In the Doric order twenty flutes arc 
 used on the colinnn, and tlicy are worked 
 witliout fillets be- 
 tween them. In ^_ '" 
 the Ionic, Corin- -!^%x^\^^..,^,^^-,x<,>^^^\^ 
 thian, and Com- 
 
 posite orders twenty- j^ n 
 
 four flutes are used, ^^4^S^V^ 
 with small fillets be- ' 
 twecn. The Tuscan is the only order 
 in wliich the columns arc never fluted. 
 
GRECIAN ARCHITECTURE. 
 
 13 
 
 phabet of architecture, as Mons. Ramee observes : they are the 
 elements, the members which serve to determine and give ex- 
 pression to the different parts of a monument. 
 
 It is to be observed, that the purer monuments of Classic art 
 are characterized by the moderate use of mouldings, which are 
 generally small in size and few in number, as compared with the 
 plain faces. In the later periods, however, the mouldings gra- 
 dually increased, and finally among the Romans predominated, 
 so as to leave hardly any plain faces at all. A moulding maj^ be 
 considered to be, in the terms of Quatremere de Quincy, " a 
 small body projecting more or less from the wall, and having 
 a rounded surface." It may be remarked, that the angle of in- 
 clination of the Greek mouldings is never very great, but in 
 the Roman monuments they overhang much more.] 
 
 Mouldings may be divided into two classes, the simple, and 
 the complex or compound ; the former are — 
 
 1st. The Roman ovolo, or 
 quarter round ; or the Greek 
 ovolo, with an elliptic or 
 conic section. 
 
 2nd. The eavetto, or hol- 
 low. 
 
 
 3rd. The torus, or round. 
 
14 
 
 GRECIAN ARCHITECTURE. 
 
 rl 
 
 From the composition of these are formed divers others, and 
 from the arrangement of them, with plain flat spaces between, 
 are formed cornices and other ornaments. A large flat space is 
 called a corona, if in the cornice ; 
 
 Ziface ov fascia in the architrave ; Li — 
 
 and the frieze itself is usually a |"'^"^"^^^^""^^'~"~ 
 flat space K A small flat face is 
 
 called a filet, and is interposed between mouldings to divide 
 them. (See p. 18.) 
 
 A fillet is, in the bases 
 of columns and some other 
 parts, joined to a face, or 
 to the column itself, by a 
 small hollow, then called 
 apophygcs. 
 
 :j 
 
 i!iiiiiiiiiimiiiiiiiiiiiiiii! 
 
 The torus, when very small, 
 becomes an astragal, or bead, 
 which docs or does not pro- 
 ject. 
 
 Compound mouldings are 
 — the cyma recta, which has 
 the hollow uppermost and 
 projecting. 
 
 The cyma rcrersa, which 
 has a similar contour, but 
 adapted for a base moulding 
 to a wall or plinth. 
 
 The frieze is not invariably flat. 
 
GRECIAN ARCHITECTURE. 
 
 15 
 
 The ogee, which has the 
 round iippermost and over- 
 hanging. 
 
 The scotia, which is formed 
 of two hollows % one over 
 the other, and of different 
 
 centres. 
 
 [The most complex of all mouldings is the BircVs-hcal; which 
 exists almost exclusively, if 
 not quite so, in the Greek 
 Doric order. It was never 
 employed, strange to say, by 
 the Romans. It disappears, 
 even in the Greek buildings 
 themselves, after the classic period of Athenian art. It may 
 be defined in its elementary form as a cyma surmounted by 
 a projecting or overhanging ovolo, the uppermost moulding, 
 the ovolo, casting a deep shade on the whole of the cyma recta. 
 It is never carved, but was usually painted with a succession 
 of leaves placed vertically.] 
 
 In the Roman works, the mouldings are generally worked of 
 equal projection to the height, and not bolder than the above 
 regular forms ; but the Grecian mouldings are often bolder, 
 and worked with a small return, technically called a quirk, and 
 these are of various proportions. 
 
 Tlie upper and lower hollows contrasted. 
 
16 
 
 GRECIAN ARCHITECTURE. 
 
 The ogee and oyoIo are most 
 generally used with quirks. 
 
 Several beads placed 
 gether are called reecUngs. 
 
 to- 
 
 -^ 
 
 All these mouldings, except the fillet, may be occasionally 
 carved, and they are then called enriched mouldings. 
 
 From these few simple forms (by adding astragals and fillets, 
 and combining difierently ornamented mouldings, faces, and 
 sofiits) are all the cornices, panels, and other parts formed, and 
 the modern compositions in joiners', plasterers', and masons' 
 work, are very numerous, and too well known to need de- 
 scribing. 
 
 There are several terras applied to large buildings, which 
 it is proper also to explain. 
 
 A series of columns of considerable length is called a 
 colonnade. 
 
 A series of columns at the end of a building, or projecting 
 from the side of a building, is called a portico. 
 
 A portico is called tetra style, if of four columns ; hexa style, 
 if of six ; octo style, if of eight ; deca style, if of ten. 
 
 TUSCAN ORDER. 
 
 This is the most ancient of the Roman orders, and, from 
 its plainness and simplicity, it is usuall}' first noticed. Its 
 origin is evidently Italian, for the Grecian work, however plain, 
 has still some of the distinctive marks of massive Doric, whilst 
 the Tuscan always bears clear marks of its analogy to the 
 Roman Doric. Some examples of simple orders in the lower 
 stories of ancient theatres and amphitheatres have induced the 
 writers on architecture to consider them as Tuscan. 
 
TUSCAN ORDER. 17 
 
 But if we are to rely upon Yitruvius, the great master in 
 the art, we shall find the features of the Tuscan entablatui'e, 
 as described by him, totally different from the examples above 
 referred to, or those given by the Italian writers on archi- 
 tecture. The best illustration of which exists in the portico of 
 Covent-garden Church, London. 
 
 Yitruvius gives seven diameters to the height of the column, 
 the base half a diameter high, and the upper diameter of the 
 column equal to three-fom'ths of the lower one. He divides 
 the capital into three parts, one for the hypotrachelium or 
 neck, one for the echinus, and one for the abacus, which equals 
 in width the lower diameter of the column. He describes the 
 architrave as being formed of coupled beams of wood, two inches 
 apart ; over the beams are mutules, equalling in projection 
 one-fourth of the height of the column ; over the mutules come 
 the corona and mouldings. The columns of Trajan and An- 
 tonine, with the exception of the pedestals, may be considered, 
 omitting the sculptures, as the Yitruvian type of the Tuscan 
 column. 
 
 The pedestal, when used, should be very plain, but the column 
 is more often set on a plain square block plinth, which suits the 
 character of the order better than the higher pedestal. This 
 block projects about half the height of the plinth of the base 
 beyond its face. 
 
 The Tuscan column, including the base and capital, is, ac- 
 cording to the rules of the Italian masters, about seven dia- 
 meters high. The column, in the Koman orders, is usually 
 only diminished the upper two-thirds of its height. This di- 
 minution is bounded by a curved line, which is variously de- 
 termined, but does not differ much from what an even spring 
 would assume, if one part of it were bound, in the direction 
 of the axis of the shaft, to the cylindrical third, and then, 
 by pressure at the top only, brought to the diminishing point. 
 The Grecian columns are mostly diminished from the bottom, 
 and conically. The quantity of diminution varies from one- 
 sixth to one-fourth of the diameter just above the base. 
 
 The Tuscan base is half a diameter in height, and consists 
 of a plain torus with a fillet and apophyges. This last is 
 
 D 
 
TUSCAN ORDER ACCORDING TO THE ITALIAN MASTERS. 
 
TDSCAN OEDEK AS DESCKIBED BY VITRDVIOS, B. iv. c. 7. 
 
 '■"■' .\luiu/c 
 
 ' ne kaiahi ojColuTnn 
 
 Counled Beanii 
 
 Ahacus 
 Echinus 
 
 JhinotrachcUutn 
 
 r.L.OO/V/iLOSO.u.iii. 
 
 JC'A'ITT . SI 
 
20 TUSCAN ORDER. 
 
 part of tlie shaft, and not of the base, as indeed all apophj^goc 
 are considered to be, and also all the astragals underneath the 
 capitals, as well as the upper fillet of the base in all the 
 richer orders ; in masonry it should be executed on the shaft 
 stones. 
 
 The capital of the Tuscan order is (exclusive of the astra- 
 gal) half a diameter in height, and consists of a neck on which 
 is an ovolo and fiUet, joined to the neck by an apophyges, and 
 over the ovolo a square tile or abacus, which may or may not 
 be ornamented by a projecting fillet. 
 
 The shaft is never fluted, but many architects have given 
 to this order, and some have even added to the richer orders, 
 large square blocks, as parts of the shaft, which are called rusti- 
 cations, and are sometimes roughened. 
 
 The Tuscan entablature, according to the Italian masters and 
 Sir W. Chambers, shovdd be quite plain, having neither mutules 
 nor raodillions. The architrave has one or sometimes two faces, 
 and a fillet ; the frieze quite plain, and the cornice consisting 
 of a cyma recta for cjanatium and the corona with a fillet, 
 and a small channel for drip in the sofiit. The bed-mould 
 should consist of an ovolo, fillet, and cavetto. 
 
 The Tuscan given on p. 18 is that of Palladio ; some other 
 Italian architects have varied in parts, and some have given 
 a sort of block modillions like those used in Co vent- garden 
 Church, but these ought not to be imitated in stone, being 
 only adapted for wooden construction. 
 
 [This order is little used in monumental architecture, but 
 it is sometimes adopted with the bed-moulding or slightly pro- 
 jecting mutules, where rustic orders are introduced, as at the 
 Villa Papa Julia at Rome b}'' Yiguola ; at the Luxembourg 
 palace by De Brosse at Paris, and in the orangery at Versailles, 
 by Mansard.] 
 
 Having explained the parts of one order, it will be necessarj^ 
 to make a few remarks, which coidd not so well be previously 
 introduced. If pilasters and columns are used together, and 
 they are of the same character, and not antae, the pilasters 
 should be diminished like the columns ; but where pilasters are 
 used alone, they may be undiminished. 
 
DORIC ORDER. 21 
 
 The fillet and moulding under the cymatium, which in rich 
 orders is often an ogee, is part of the corona, and as such is 
 continued over the corona in the horizontal line of pediments, 
 where the cymatium is omitted ; and is also continued with 
 the corona in interior work, where the cymatium is often with 
 proprietj^ omitted. 
 
 In pediments, whose cornices contain mutules, modillions, 
 or dentiles, those in the raking cornice must be placed perpen- 
 dicularly over those in the horizontal cornice, and their sides 
 need not be perpendicular : their under parts follow the rake 
 of the cornice. 
 
 DORIC OEDER. 
 
 The ancient Grecian Doric appears to have been an order 
 of pecuKar grandeur ; simple and bold, its ornaments were 
 the remains of parts of real utility : and perhaps it originally 
 was worked with no moulding but the cymatium, to cover the 
 ends of the tiles, its triglj^phs being the ends of the beams, and 
 its mutules those of the rafters. In after times, its proportions 
 were made rather less massive, and its mouldings and orna- 
 ments, though not numerous, were very beautiful. The Romans 
 considerably altered this order, and by the regulations they 
 introduced rendered it peculiarly difficult to execute on large 
 buildings. As the examples of the two countries are very dif- 
 ferent, we shall treat of them separately, and therefore de- 
 scribe first the 
 
 Grecian Doric. 
 
 The columns of this order were, in Greece, generally placed 
 on the floor, without pedestal and without base; the capital, 
 which occupied a height of about half a diameter, had no astra- 
 gal, but a few plain fillets, with channels between them, under 
 the ovolo, and a small channel below the fillets. The ovolo 
 is generally flat, and of great projection, with a quirk or return. 
 On this was laid the abacus, which was only a plain tile, with- 
 out fillet or ornament ". 
 
 " The abacus is worked on the same stone with the rest of the capital, and 
 is not separate from it. 
 
DORIC ORDER. 23 
 
 In tlie dmsion of the entablature, the architrave and frieze 
 have each more than a third in height, and the cornice less. 
 The architrave has only a plain broad fillet", under which 
 are placed the drops or guttse, which appear to hang from the 
 triglyphs p. 
 
 A triglyph, in Greece, appears to have been generally 
 placed at the angle'!, thus bringing the interior edge of the 
 triglyph nearly over the centre of the angular column, and 
 consequently rendering the outer intercolumniations closer, 
 giving an appearance of greater strength to the angles. The 
 metope, or space between the triglj^hs, was nearlj^ the square 
 of the height of the frieze, and frequently, as in the Par- 
 thenon and Theseion at Athens, filled with sculptured groups ; 
 and a mutule was placed not only over each triglyph, but also 
 over each metope. The cornice of this order, in Greece, con- 
 sisted of a plain face, under the mutule, which was measured 
 as part of the frieze, and then the mutule, which projected 
 sloping forward under the corona, so that the bottom of the 
 mutule in front was considerably lower than at the back. Over 
 the corona was commonly a small ovolo and fillet, and then 
 a larger ovolo and fillet for the cymatium ; and below the 
 corona a fillet about equal in height to the mutule. 
 
 The ornaments of this order, in Greece, were, — 
 
 1st, the flutings of the column, which are peculiar to the 
 order, and are twenty in number, shallow, and not with fillets 
 between them, but arrises or sharp edges. These flutes are 
 much less than a semicircle, and should be elliptic. 
 
 2nd, At the corner^, in the space formed in the soffit of 
 the corona, by the interval between the two angular mutules, 
 was sometimes placed a flower ; and the cymatium of the cornice 
 had often lions' heads ^ which appear to have been real spouts. 
 
 3rd, In addition to the drops under the triglyph, the mutules 
 also had three rows of drops of the same shape and size *. 
 
 This order appears in general to have been worked very 
 
 ° The tjpiiia, along the top. ■' Of a huilding. 
 
 P They are not attached to the taenia, » Projecting from it at intervals, 
 
 but to a small intervening fillet on the ' The tympanum of the pediment and 
 
 underside of it. the metopes of the frieze were often or- 
 
 1 When a building forms an angle. namented with sculpture in relief. 
 
24 DORIC ORDER. 
 
 massively ; in the best examples the columns are from five to 
 six diameters high, which is lower than the Italians usually 
 worked the Tuscan ; but this gave peculiar grandeur to the 
 temples in which it is thus employed. 
 
 Our present authorities for the Grecian orders are scattered 
 through a variety of very expensive works, and in them are 
 presented in very irregular succession, whether we regard their 
 supposed dates, their purity, or their orders; and it would be 
 a valuable present to the architectural student, if the good 
 authorities of each order were collected, figured, and some ac- 
 count given of their variations. "With respect to the Doric 
 order, this has been ably done in a treatise by Edmund Aikin ", 
 from which we shall take the liberty of extracting a few 
 remarks. 
 
 " On viewing and comparing the examples of the Doric 
 order, the first emotion will probably be surprise at beholding 
 the difierent proportions, — a diversity so great, that scarcely 
 any two instances appear, which do not materially differ in 
 the relative size of their parts, both in general and in detail : 
 they present difierences, which cannot be reconciled upon any 
 system of calculation, whether the diameter, or the height of 
 the column, or the general height of the order be taken as the 
 element of proportion. At the same time, they all resemble 
 one another in certain characteristic marks, which denote the 
 order ; the diflPerences are not generic but specific, and leave 
 unimpaired those plain and obvious features, which enable us 
 to circumscribe the genuine Doric order within a simple and 
 easy definition. 
 
 "Interesting would be the investigation, could we trace 
 the history of tlie Doric order in its monuments, and mark 
 what progressive improvements it may have received in the 
 course of time ; but of the monuments of antiquity few, com- 
 paratively, have survived the injuries of time, and the more 
 speedy and effectual destruction of violence ; and of these still 
 fewer retain either inscriptions, or, in the records of history, the 
 dates of their erection." 
 
 " Essay on the Doric Order of Architecture. Folio. Lond. 1810. 
 
< 
 
 DORIC ORDER. 25 
 
 The examples of Grecian Doric, of which we have accounts 
 and figures that may be depended on, are : — 
 
 The temple of Minerva at Athens, called the Parthenon. 
 
 The temple of Theseus, at Athens. 
 
 The Propylsea, at Athens. 
 
 The temple of Minerva at Sunium, and one at Thoricura. 
 ^ The temple of Apollo, at Delos. 
 
 The portico of Philip, at Delos. 
 
 The portico of the Agora, at Athens, (Poman period). 
 
 The temple of Jupiter Nemajus, between Argos and Co- 
 rinth, (Roman period probably). 
 ^The temple at Corinth. 
 
 The temple of Jupiter Panhellenius, in ^gina. 
 
 The temple of Minerva, at Syracuse. 
 
 The temple of Juno Lucina, at Agrigentum. 
 
 The temple of Concord, at Agrigentum. 
 
 The temple of Jupiter, at Selinus. 
 
 A smaller temple at Selinus. 
 
 A temple at -3ilgesta. 
 
 Temple of Metapontum, Calabria. 
 ^Three temples at Psestum. 
 Our limits will not permit us to enter minutely into the 
 question which of these examples might be now considered 
 as the most valuable for imitation, but one circumstance it 
 is requisite to notice, which is, that in the Athenian examples, 
 and many of the others, the architrave projects over the top 
 of the shaft, so as to be nearly perpendicular to the front of 
 the bottom of the shaft, an arrangement never seen at Rome, 
 but which contributes much to the boldness of the Grecian 
 temples : and it is curious to observe, that in the temple of 
 Apollo at Delos, of Concord at Agrigentum, and the temple 
 of ^gesta, this projection is very small compared with that 
 of the other examples ; and that in the portico of Philip, at 
 Delos, and all the temples at Psestum, there is no projection, 
 but the face of the architrave is set over the diminished part 
 of the shaft, the same as in Roman examples. 
 
 Two of the temples at Psestum have capitals, with some 
 additions about the neck, and such a great projection of the 
 
 OQ 
 
26 DORIC ORDER. 
 
 echinus and abacus, as well as some appearances in the entabla- 
 ture, which give them a peculiar and striking character. 
 
 The other temple at Paestum has (excepting the projection 
 above spoken of) all the characters of the Grecian examples. 
 
 On the whole, the temples of Minerva and Theseus at Athens, 
 and of Minerva at Sunium, appear to be those examples of the 
 Attic type, which deserve the most attentive consideration, as 
 well from the general beauty of the composition as the excel- 
 lence of the details and execution. But in this order, as well 
 as in architecture generally, the duty of the architect is not 
 to be a servile copyist of any example, however fine ; but, by 
 seizing the principles and spirit of the age of his best models, 
 so to design a building which should appear as fitted for the 
 purpose, as a like work by any of the great architects, whose 
 productions he seeks rather to renew than imitate. 
 
 Roman Doric. 
 
 This differs from the Grecian in several important particulars : 
 1st, the triglyphs must be precisely over the centre of the 
 columns ; 2nd, the metopes must be exact squares ; 3rd, the 
 mutules also must be exact squares ; 4th, it has the attic base ; 
 5th, the mutules appear in the inclined cornice of the pediment 
 as well as in the horizontal cornice. 
 
 The Roman Doric is sometimes set on a plinth, and some- 
 times on a pedestal, which should be of few and plain mould- 
 ings. The bases usually employed are either the attic base 
 of a plinth, lower torus, scotia, and upper torus, with fillets 
 between them, or the proper base of one torus and an astragal, 
 or, very rarelj', of a plinth and simple fillet. The shaft '^, 
 including the base and capital, each of which is half a diameter, 
 is generally eight diameters high, and is fluted. The capital 
 has an astragal and neck under the ovolo, which has some- 
 times three small fillets projecting over each other >', and some- 
 times another astragal and fillet. The ovolo should have a seg- 
 mental profile. The abacus has a small ogee and fillet on its 
 upper edge. 
 
 The architrave has less height than the Grecian ; this con- 
 
 * The column. t The fillets are placed under the ovolo, above the neck. 
 
DORIC ORDER. 27 
 
 sequently gives it a weak appearance, being only two-thirds of 
 tlie frieze, which is equal in height to the cornice. In a few 
 instances the architrave has two faces, bvit mostly only one. 
 
 The frieze has nothing peculiar to this mode; if plain, its 
 metopes being, as before observed, square. 
 
 The cornice differs much from the Grecian, having its soffit 
 flat, and the mutules square, with a square interval between 
 them. The Grecian drops in the mutules generally appear in 
 front, below the mutules ; but the Roman do not, and are some- 
 times omitted ; the drops also are of a different shape, being- 
 more complete cones. 
 
 The cymatium, or crowning moulding, is often a cavetto, and 
 sometimes a cyma recta, with an ogee under it. The mutules 
 have a small ogee, which runs round them, and also round the 
 face they are formed of ^ ; and imder the mutules are an ovolo 
 and small fillet, and the flat fillet which runs round the top of 
 the triglyphs here belongs to the cornice, and not, as in the 
 Grecian, to the frieze. Sometimes dentils are introduced in the 
 bed of the cornice, representing the ends of the ceiling joists. 
 
 The Roman Doric is susceptible of much ornament, for in 
 addition to the flutes, the gvittae of the triglj^hs, and the roses 
 in the soffit of the corona, the neck of the capital has some- 
 times eight flowers or husks placed round it, the ovolo carved, 
 and the metopes in the frieze filled with alternate ox-skulls, 
 paterfe, or other emblematic ornaments. In interior decorations, 
 sometimes one or two of the mouldings of the cornice are en- 
 riched ; but with all this ornament, the Roman Doric is far 
 inferior in grandeur of sentiment to the Grecian. 
 
 The Doric we have now described, and its rules, should 
 rather be considered Italian than Roman ; for it is in fact the 
 Doric worked by Yignola, Serlio, and other modern Italian 
 architects, rather than the Doric of ancient Rome, of which 
 we have only one example, which is far from giving such a 
 Doric as above described. 
 
 This example is the theatre of Marcellus, which has dentils 
 in the cornice, and of which the corona was so decayed even 
 near 150 years back, as to give no trace of anything but an 
 ' The face from which they project. 
 
28 
 
 IONIC ORDER. 
 
 indication of a mutnlo, whicli appears a little like a Grecian 
 mutule. This theatre is considered to have been erected by 
 Augustus, and it appears most probable that the portico of the 
 Agora, at Atliens, was erected about the same time; if so, 
 it becomes a curious question how and why the order should 
 be so altered in Home. 
 
 The first order of the Coliseum is a much later work, and 
 is extremely poor in its combinations, but has a capital very 
 raucb like the theatre of Marcellus, and its cornice has an uncut 
 dentil face. The parts and proportions given by Sir W. Cham- 
 bers to this order are arranged in the most masterly and 
 graceful manner, and present the most perfect example of the 
 Roman Doric. 
 
 IONIC ORDER. 
 
 As the Greeks and Romans differed much in their modes 
 of working the Doric order, so there was considerable difference 
 in their execution of the Ionic, though by no means so great 
 as in the former. 
 
 The distinguishing feature of this order is the capital, whicli 
 has four spiral projections called 
 volutes. These, in Greece, were 
 placed flat on the front and back 
 of the column, leaving the two 
 sides of a different character, and 
 forming a balustre. But as this 
 produces a disagreeable effect at 
 the external angle, an angular vo- 
 lute was sometimes placed there, 
 shewing two volutes, one flat the 
 other angular, to each exterior 
 face, and a balustre cusheon to 
 each interior, as at the Erectheum 
 in the Acropolis at Athens ; but 
 this not forming a good combi- 
 nation, a capital was invented by 
 the Romans with four angular vo- 
 lutes, and the abacus witli its 
 
 Modem Tonic. Palladio. 
 
IONIC ORDER. 29 
 
 sides hollowed out ^. This is called the angular Ionic capital. 
 In the ancient examples, the list or spiral line of the volute 
 runs along the face of the abacus, straight under the ogee, 
 but in the modern this list springs from beliind the otoIo ; and 
 in the hollow of the abacus, which is an ovolo, fillet, and 
 cavetto, is general!}' placed a flower. The abacus of the ancient 
 capital has only a small ogee for its moulding. 
 
 There are examples at Athens of an astragal to the ancient 
 Ionic capital below the volutes, leaving a neck which is adorned 
 with carvings ; but these examples are rare. 
 
 The Ionic shaft, including the base, which is half a diameter, 
 and the capital to the bottom of the volute generally a little 
 more, is about eight and a half to nine diameters high. 
 
 The pedestal is a little taller, and more ornamented than 
 in the Doric. 
 
 The bases used to this order are very various : some of the 
 Grecian examples are of one torus and two scotiae, with astra- 
 gals and fillets as in the temples of Priene and Branchydae, 
 near Miletus ; others of two tori and a scotia of small projec- 
 tion, as in the Erectheum at Athens ; but the attic base is very 
 often used, and with an astragal added above the upper torus 
 makes a beautiful and appropriate base for the Ionic. 
 
 The cornices of this order maj^ be divided into three divisions : 
 1st, the plain Attic cornice ; 2nd, the dentil cornice of Ionia ; 
 3rd, the modillion cornice of Rome. 
 
 In the first, the architrave is of one or two faces, the frieze 
 plain, and the cornice composed of a corona with a deep soffit '', 
 •with the bedmould moulding hidden by the drip of the soffit, 
 or coming very little below it. The cjTuatium generally a cyma 
 recta, and ogee under it. 
 
 The second has generally two or three faces in the architrave, 
 and the cornice, which is more than one-third of the height 
 of the entablature, has a corona with a cyma recta and ogee 
 for cymatium, and for bedmould a dentil face between an ovolo 
 and ogee. The soffit of the corona is sometimes ornamented. 
 
 " At Rome the Temple of Fortuna Yirilis and a capital in the Basilica of 
 S. Maria in 'Jrastevere are the best instances of tliese angular volutes. 
 ^ Deeply sunk. 
 
30 IONIC ORDER. 
 
 The tliird, or modillion entablature, has the architrave, 
 frieze, and cymatium of its cornice as the last, but under the 
 soffit of the corona are placed modillions, which are plain and 
 surrounded by a small ogee ; one must be placed over the centre 
 of each column, and one being close to the return", makes 
 a square panel in the soffit at the corner, and between each 
 modillion, which is often filled with a flower. The bedmould 
 below is generally an ovolo, fillet, and cavetto. 
 
 This modillion cornice is, in fact, as well as the capital, rather 
 Italian than Roman, as the ancient examples have the dentil 
 cornice ; and in point of time, there may be some doubt 
 whether the modern Ionic capital is not rather a deduction 
 from the Composite than the contrary ; for the angular volute 
 of Greece is not such an one as, if repeated, would make the 
 modern Ionic capital. The alteration of this order is in many 
 respects valuable, for although not equal in simplicity to the 
 Grecian Ionic, yet it is so easily manageable, especially with 
 a dentil cornice, as to be easily adapted to modern wants ; and 
 when executed on a large scale, the modillion cornice has 
 a bold efiect. The great difficulty in the Grecian Ionic is the 
 return at the angle ; it does not look well to have a column 
 sideways in a range with others fronting, and this arrangement 
 is so often wanted, and so ill- attained by the Greek angular 
 volute, that many times there is no alternative but the use of 
 the modern capital. 
 
 It was once the custom in modern times to work the Ionic 
 frieze projecting like a torus'*, thus giving an awkward weight 
 to an order which ought to be light. The introduction of good 
 Grecian models has driven out this impropriety, and much 
 improved the present execution of the order, which is very 
 beautiful if well executed. 
 
 The Ionic shaft may be fluted in twenty-four flutes, with 
 fillets between them ; these flutes are semicircular. This order 
 may be much ornamented, if necessary, by carving the ovolo of 
 the capital, the ogee of the abacus, and one or two mouldings 
 of both architrave and cornice ; but the ancient Ionic looks 
 extremely well without any ornament w^hatever. 
 
 *= At an angle of a building. •■ When thus formed it is called pulvinaied. 
 
IONIC ORDER. 31 
 
 Our Ionic examples are not so numerous as the Doric, nor so 
 complete, several of them not being entirely figured without 
 conjecture. They are, — 
 ci /The temple on the Ilissus, at Athens. 
 
 ':^ ) The temples in the Acropolis, (at Athens,) of Minerva 
 ■^ I Polias, and Erectheus, and the Propylea. 
 i-i ^The aqueduct of Hadrian, at Athens. 
 
 .2 r The temple of Apollo Didymseus, at Miletus. 
 ^ <. The temple of Bacchus, at Teos. 
 i=i (.The temple of Minerva Polias, at Priene. 
 The temple of Fortuna Yirilis, at Eome. 
 
 Of these, for simplicity of composition, the now destroyed 
 temple on the Ilissus is pre-eminent; its volutes were plain, 
 but of excellent proportion, and it had an angular volute to 
 the external capital ; its base was, in mouldings, the attic, but 
 the tori were large, and the scotia flat ; there was a small 
 astragal above the upper torus, and that torus was cut into 
 small flutes. The entablature was very plain, having an archi- 
 trave of one face only, a frieze plain, but which there is some 
 reason to suppose was carved in some parts, a corona with deep 
 soffit, and for bedmould only an ogee, with a fillet above and 
 astragal below. 
 
 The temples in the Acropolis are small, but extremely rich, 
 having many members carved. The cornice is the same as the 
 last example, but the architrave is of three faces. There are 
 three ranges of columns, and the capitals of each have minute 
 differences, but they may all be described together : they have 
 an ornamented neck and astragal below the volutes ; the fillets 
 of the volutes are double, and the mouldings richly carved, 
 thus making the volute much more elaborate : and it is to 
 be observed that the large size of the volutes give greater im- 
 portance to the capital than in the Roman examples, and still 
 more majesty than in the examples of the Italian masters. 
 The bases are enriched with carvings, and the columns fluted ; 
 the bases are nearly those of the last example, but want the 
 astragal. The architraves overhang slightly beyond the upper 
 diameter of the column, though not near so much as the Doric. 
 
GRECIAN IONIC. 
 
 "Iff" "" "" ' 
 
 
 
 
 
 
 1 
 
 
 
 
 ■l: '"!l »IM!':''l>IIiril 
 
 jM*a 
 
 ilUillll'iilMiJii :■ 
 
 
 ErecLheum, Athens. 
 
 Temple en the Ilissua. 
 
 ROMAN IONIC. 
 
 fiiai p 
 
 Aqueduct of Hadriau. Athens. 
 
 Temple of Fortuna Vuilis, Eoroe. 
 
IONIC ORDER. 33 
 
 The aqueduct of Hadrian is plain, but of good composition ; it 
 has a good volute, an architrave of two faces, and a small pro- 
 jection in front of the column ; a plain frieze, and a good plain 
 dentil cornice. 
 
 The temples of Minerva Polias at Priene, and Apollo at 
 Miletus, have a base which is curious, but by no means de- 
 serving of imitation ; it consists of a large torus, resting on two 
 scotiae, which are divided from it, and from each other and the 
 plinth, by two astragals at each division. This base gives the 
 column so unsteady an appearance, that it spoils an otherwise 
 beautiful order. 
 
 The temjDle of Bacchus, at Teos, has an attic base with an 
 astragal added, and a cornice with dentils of greater projection 
 than usual. These three last examples have their volutes smaller 
 than those of Athens, which takes much from the grandeur of 
 the order. 
 
 The temple of Fortuna Yirilis, at Rome. This example is 
 far inferior to those we have before noticed. The Romans seem 
 to have had a singular predilection, particularly in their de- 
 clining works, for very large fillets, and it is abundantly shewn 
 in this edifice, where the fillet of the taenia of the architrave is 
 very nearly as large as the ogee under it, and larger than one 
 face of the architrave ; this, though the capital is pretty good, 
 spoils the order, and the cornice is poor from the trifling 
 appearance of the corona. The base is the attic, of very good 
 proportion. 
 
 The temple of Concord, at Rome, is figured by Desgodets, 
 but it is only remarkable for its deformity, and having an 
 appearance of the modern Ionic '^. The capitals have angular 
 volutes, but under the usual ovolo and astragal is a cyma recta, 
 enriched with leaves and a large astragal and fillet. The 
 entablature is of a very poor character, and has small dentils 
 and large plain modillions. The base is of two tori divided by 
 two scotise, which are separated by a fillet. In this example 
 the fillet on the bottom of the shaft is nearly as large as the 
 upper torus. 
 
 ^ It is introduced in Hanover-square Cliurcb, Loudon, in the columns under 
 the gallery. 
 
34 CORINTHIAN ORDER. 
 
 CORINTHIAN ORDER. 
 
 This order originated in Greece, and the capital is said by 
 Vitruvius to have been suggested by observing a tile placed 
 on a basket left in a garden, and round which, sprang up an 
 acanthus. All the other orders have, in various countries and 
 situations, much variety ; but the Corinthian, though not with- 
 out slight variations, even in the antique, is much more settled 
 in its proportions, and its greater or less enrichment is the 
 principal source of variety. 
 
 The capital is the great distinction of this order ; its height 
 is more than a diameter, and consists of an astragal, fillet, and 
 apophyges, all of which are measured with the shaft, then a vase 
 and horned abacus. The vase is set round with two rows of 
 leaves, eight in each row, and a third row of leaves supports 
 sixteen small open volutes ; the eight larger of which are under 
 the four horns of the abacus, and the other eight smaller ones, 
 which are sometimes interwoven, being under the central re- 
 cessed part of the abacus, and having over them a flower or 
 other ornament. These volutes spring out of small twisted 
 husks placed between the leaves of the second row, and which 
 are called calices. The abacus consists of an ovolo, fillet, and 
 cavetto, like the modern Ionic. There are various modes of 
 carving the leaves, which are called, from these variations, 
 parsh'i/, acanthus, oUce, laurel, &c. The column, including the 
 base of half a diameter, and the capital, is from nine to ten 
 diameters high. 
 
 Of the Corinthian capital, although the best examples have 
 all some trifling difierence, principally in the rafiling of the 
 leaves and the connection of the central small volutes, yet 
 there is one capital so different from the others that it deserves 
 some remark, more especially as it has been lately introduced 
 into some considerable edifices. This capital is that of the 
 circular temple at Tivoli, called by some a temple of Yesta, by 
 others the Sybils' temple. In this capital the angular volutes 
 are large, so much so as to give the capital the air of a Com- 
 posite, till more minutely examined ; it is however a real Co- 
 
CORINTHIAN ORDER. 35 
 
 rinthian, for it has central volutes, though they are small, and 
 formed out of the calices themselves, and not, as in the ordinary- 
 capital, rising from them. Its great beauty, however, is the 
 very bold manner of raffling the leaves, which gives it a very 
 different appearance from the other capitals, and one which in 
 particular circumstances may make it valuable. The flower 
 over the centre volutes is very different from the common one, 
 and much larger. 
 
 If a pedestal is used, it should have several mouldings, some 
 of which may, if necessary, be enriched. The base may be 
 either an attic base, or with the addition of three astragals, one 
 over each torus, and one between the scotia and upper torus ; 
 or a base of two tori and two scotioe, which are divided by two 
 astragals, and this seems the most used to the best examples : 
 one or two other varieties sometimes occur. 
 
 The entablature of this order is very fine. The architrave 
 has mostly two or three faces, which have generally small ogees 
 or beads between them. 
 
 The frieze is generally flat, but is occasionally cmwed, and 
 often joined to the upper fillet of the architrave by an apo- 
 phyges. 
 
 The cornice has both modiUions and dentils, and is usually 
 thus composed : above the corona is a cymatium, and small 
 ogee ; under it the modiUions, whose disposition, like the Ionic, 
 must be one over the centre of the column, and one close to the 
 return of the cornice. 
 
 These modiUions are carved with a small balustre front, and 
 a leaf under them ; they are surrounded at the upper part by 
 a small ogee and fillet, which also runs round the face they 
 spring from. Under the modiUions is placed an ovolo, and then 
 a fillet and the dentil face, which is often left uncut in exterior 
 work. Under the dentils are a fillet and ogee. In some cases 
 this order is properly worked with a plain cornice, omitting the 
 modiUions, and leaving the dentil face uncut, as at Tivoli. 
 
 The enrichments of this order may be very considerable ; 
 some of the mouldings of the pedestal and base may be en- 
 riched; the shaft may be fluted, as the Ionic, in twenty-four 
 flutes, which may be filled one- third high by staves, which is 
 
CORINTHIAN. 
 
 Arch of Hadrian. Atbeus. 
 CORINTHIAN. 
 
 Temple of Vesta, Tlvoli, 
 COMPOSITE. 
 
 Temple of Jupiter Olympius, Athens. 
 
 Arch of Septimus Severua. Rome. 
 
CORINTHIAN ORDER. 37 
 
 called cabling the flutes ; the small mouldings of the architrave, 
 and even some of its faces, and several mouldings of the cornice, 
 may be carved, the squares in the soffit of the corona panelled 
 and flowered, and the frieze may be sculptured. But though 
 the order will bear all this ornament without overloadinsr it, 
 yet, for exteriors, it seldom looks better than when the capitals 
 and the modillions are the only carvings, and but few of the 
 mouldings enriched. 
 
 The principal Corinthian examples are in Rome -, there are, 
 however, some Grecian examples, which we shall first notice : — 
 
 The Chora gic monument of Lysicrates, ") 
 
 The Stoa or portico, >at Athens. 
 
 The arch of Hadrian, J 
 
 The Incantada, at Salonica. 
 
 A temple at Jackly, near Mylassa. 
 
 Of these, the third, the arch of Hadrian at Athens, has an 
 entablature, which is almost exactly that, which has been gene- 
 rally used for the Composite ; the others have all dentil cor- 
 nices, without modillions. In three examples, the horns of the 
 abacus, instead of being cut off as usual, are continued to a 
 point, which gives an appearance of weakness to the capital. 
 The bases are mostly attic with an additional astragal, and 
 at Jackly the tori are carved. 
 
 The temple of Yesta, at Tivoli, has the capital noticed above ; 
 its entablature is simple, with an uncut dentil face, and the 
 frieze carved in festoons and boucrania. The astragal, under 
 the capital, has a fillet above as well as below, and the base 
 has a fillet under the upper torus omitted. The flutes are stopt 
 square, and not, as usual, rounded at the ends. 
 
 The remain, " called the frontispiece of Nero, has the com- 
 plete block entablature, usually called Composite. The capitals 
 good, with attic base, and the whole of noble character. 
 
 The temple of Yesta, ^ 
 
 The Basilica of Antoninus, and > at Eorne, 
 
 The temple of Mars the Avenger, J 
 are all incomplete : the first has pointed horns, and the first two 
 the attic base ; the capital of the last is simple and magnificent 
 in style. 
 
38 CORINTHIAN ORDER. 
 
 Tlie temple of Antoninus and Faustina, and 
 
 The portico of Severus, 
 have both a cornice -with dentil face only, and uncut ; the first 
 an attic base. 
 
 The baths of Dioclesian have a good entablature, and the 
 attic base ; some of the capitals are Composite. 
 
 The forum of Nerva, 
 
 The inner order of the Pantheon, 
 
 The outer order of the Pantheon, 
 
 The temple called Jupiter Tonans, and 
 
 The temple called Jupiter Stator, 
 are all excellent and beautiful in their proportions and execu- 
 tion ; the fillets small, and the order much enriched. The 
 forum of Nerva, and the temple of Jupiter Tonans have no 
 bases visible ; the others have the real Corinthian base with two 
 scotiaj. The last may be considered the most elaborately en- 
 riched model of Corinthian ; and nothing can better stamp its 
 value than a minute and rigorous examination of it with any 
 of the other examples. 
 
 These are only a part of the antique remains of this order, 
 but they are the best known, and may be sufficient to induce 
 the student to examine every example for himself. 
 
 It will not be right to quit this order without adverting 
 to two stupendous magazines of it, the ruins of Balbec and 
 Palmyra ; but although they are worth examining as matters 
 of curiosity, they are of comparatively little value ; however rich, 
 they contain much of the faulty and crowded detail of the later 
 Roman work of the time of the Antonines ; and to what excess 
 this was carried in very great Poman works of the decline of the 
 Roman Empire, the best evidence is the palace of Dioclesian, at 
 Spalato, where, amidst a profusion of ornament, we meet with 
 great poverty of composition, and combinations of mouldings so 
 barbarous as to lead to a degree of astonishment how they coiild 
 be executed by persons before whose eyes were existing such 
 examples as Pome even now contains. In the decline of the 
 Roman empire, it became a fashion to remove columns from 
 other buildings ; there are therefore in Rome many edifices 
 with a variety of valuable columns erected without their own 
 
COMPOSITE ORDER. 89 
 
 entablature ; and Constantine, in the church of St. Paul without 
 the walls, began the Norman arrangement by springing arches 
 off the columns without an entablature, and carr34ng up the 
 wall to the clerestory windows -with little or no projection ; 
 thus annihilating the leading features of the orders — a bold 
 cornice. 
 
 COMPOSITE ORDER. 
 
 This order is principally found in some triumphal arches, as 
 those of Trajan at Rome and Beneventum, and the arch of 
 Titus at Rome. 
 
 The Romans are said to have formed this order by mixing 
 the Coriuthian and Ionic capitals for the sake of greater rich- 
 ness ; like the Corinthian, the capital is its principal distinc- 
 tion. This is of the same height as the Corinthian, and it is 
 formed by setting, on the two lower rows of the leaves of the 
 Corinthian capital, the modern Ionic volutes, ovolo, and abacus. 
 The small space left of the bell is filled by caulicoles, with 
 flowers, and the upper list of the volute is often flowered. 
 
 From the great variety of capitals which are not Corinthian, 
 (for it seems most commodious to term those only Corinthian 
 which have four volutes in each face, or rather eight sets round 
 the capital, four at the angles and four in the centre,) it may 
 seem at fi-rst difficult to say what should be called Comjjosite, and 
 what considered as merely a Composed order ; but there appears 
 an easy way of designating the real Composite capital, viz. that 
 of considering the Ionic volute, and the Ionic ovolo and astragal 
 under the abacus, as essential parts ; for this ovolo and astragal 
 not existing in Corinthian capitals, forms a regular distinction 
 between the two. 
 
 The column is of the same height as the Corinthian, and the 
 pedestal and base differ very little from those of that order, the 
 pedestal being sometimes a little plainer, and the base having 
 an astragal or two less. 
 
 The entablature mostly used with this order is plainer than 
 the Corinthian, having commonly only two faces to the archi- 
 trave, the upper moiddings being rather bolder ; and the cornice 
 
40 COMPOSITE ORDER. 
 
 is different, in having-, instead of the modillion and dentil, a sort 
 of plain double modillion, consisting of two faces, tlie npper pro- 
 jecting farthest, and separated from the lower by a small ogee ; 
 under this modillion is commonly a large ogee, astragal, and 
 fillet. The assumption of this entablature for the Composite is 
 rather Italian than Eoman, for the examples of Composite capitals 
 in Rome have other entablatures, and this is found with Corin- 
 thian capitals ; but we must suppose that Palladio and Scamraozzi, 
 who both give this cornice to the Composite, had some authority 
 on which they acted, and considering the great destruction of 
 ancient buildings for their columns, this is not improbable. 
 
 A plain cornice, nearly like that used to the Corinthian order, 
 is sometimes used to this order, and also a cornice with the 
 modillions bolder, and cantaKvers under them in the frieze. 
 
 This order may be enriched in the same manner as the 
 Corinthian. 
 
 The Composite examples we have to notice are few, and 
 these are, — 
 
 The temple of Bacchus, *• 
 
 The arch of Septimus Severus, and 
 
 The arch of the Goldsmiths. 
 
 These are all at Rome, and all have an attic base ; they have 
 all large fillets. The first entablature is plain, and has no dentil 
 face ; the second has a dentil face cut, as has the third, but the 
 latter has an awkward addition of a second ogee under the 
 dentils, apparently taken out of the frieze, which is thus made 
 very small. 
 
 The baths of Dioclesian. This example is placed in the same 
 room with Corinthian columns; it has an attic base, and the 
 Corinthian entablature. 
 
 The arch oi Titus. This example has a real Corinthian base and 
 entablature ; in short, it has nothing Composite but the capital. 
 
 On the whole, an attentive examination of the svibject will 
 lead us rather to discourage the use of this order than other- 
 wise ; it cannot be made so elegant an order as the Corinthian, 
 and can only be wanted when columns are to be in two ranges ; 
 and then the capital of the temple of Yesta, at Tivoli, affords 
 a sufiicient alteration of the Corinthian. 
 
COMPOSITE ORDER. 41 
 
 Having gone througli the forms and distinctions of the 
 orders, it is proper to say that, even in Greece and Rome, 
 we meet with specimens whose proportions and composition 
 do not agree with any of them. These are comprised under 
 the general name of Composed orders, and though some are 
 beautiful as small works, scarcely any of the ancient ones are 
 worthy of imitation in large buildings. Of these Composed 
 orders we have two examples in the Pantheon, one in the 
 columns of an altar, and the other in the pilasters of the attic : 
 they have both dentil cornices, with an uncut face ; the first 
 has angular Corinthian volutes, and none in the centres, and 
 water leaves instead of raffled leaves under the volutes ; the 
 other has no real volutes, but a scroll-work gives the appearance 
 of them, and this capital is only fitted for pilasters. Modern 
 composition has run very wild, and produced scarcely any- 
 thing worth prolonging by description. There was, however, 
 one attempt of a singular kind, made some years since by an 
 architect at Windsor, who published a magnificent treatise, and 
 executed one colonnade and a few door-cases in and near Wind- 
 sor. This was H. Emlyn, who conducted the restoration of 
 St. George's chapel. His order, he says, was first brought into 
 his mind by the twin trees in Windsor forest. He makes an 
 oval shaft rise about one-fourth of its height, and then two round 
 shafts spring from it, close to each other, and the diminution 
 afibrds space for two capitals, which have volutes, and instead 
 of leaves, feathers like the caps of the knights of the Garter. 
 His entablature has triglj^phs, and his cornice mutules. The 
 triglyphs are ostrich feathers, the guttee acorns, and the me- 
 topes are filled with the star of the Garter. 
 
 To conceal the awkward junction of the two columns to the 
 lower part, an ornament is placed there, which is a trophy with 
 the star of the Garter in the centre. 
 
 It is obvious that this order must be extremely unmanage- 
 able, as it is difficult, and indeed almost impossible, to make 
 a good angle column, and if its entablature is proportioned to 
 the diameter of one column it will be too small, if to the 
 whole diameter it will be too heavy, and a mean will give the 
 capitals wrong; so that in any shape some error arises. In 
 
 G 
 
42 COMPOSITE ORDER. 
 
 the colonnade above mentioned the entablature is so liglit as 
 to appear preposterous. This attempt is not generally known, 
 as the book was verj'^ expensive, and the colonnade at a distance 
 from a public road ; but it deserves consideration, because, 
 though the idea was new, its execution seems completely to 
 have failed ; and indeed, in large designs, no Composed order has 
 ever yet appeared that can come into competition with a scrupu- 
 lous attention to those excellent models of Greece and Rome, 
 now, through the efforts of graphic art, happily so familiar 
 to almost every English architect. 
 
 The Choragic monument of Lysicrates, commonly called the 
 lantern of Demosthenes, is one of the most beautitul little re- 
 mains of antiquity existmg. The whole height is but thirty- 
 four feet, and its diameter eight feet. It is a circular temple, 
 with six engaged Corinthian columns standing on a basement, 
 nearly as high as the columns, and nearly solid. The capitals, 
 peculiar in the arrangement of the leaves and central honey- 
 suckle ornament, are very beautiful. The frieze is sculptured, 
 and instead of a cymatium to the cornice, is an ornament of 
 honeysucldes ; and above that, on the roof, which is exquisitely 
 carved in leaves, is a line of a waved projecting ornament ; on 
 the top is a vase, or rather the base of a tripod. Our limits 
 Mill not admit of particularizing all the singularities of this 
 delicate building, but it well deserves stud}^ and imitation. 
 
 There are a few small buildings in and near Athens which, 
 though not coming within any of the orders precisely, are yet 
 so beautiful in some of their parts as to require express notice. 
 These are, — 
 
 The Choragic monument of Thras5dlus, 
 
 The octagon tower of Andronicus Cyrrhestes, called the Tem- 
 ple of the "Winds, 
 
 The temple of Pandrosus. 
 
 The first is now merely a face, its intervals being walled up, 
 but was originally the front of a cavern, and consists of an 
 entablature supported by three antce, and covered by an attic 
 lowered in the middle, on which is a statue in a sitting posture. 
 The mouldings of the antoD are such as are used in Doric build- 
 ings, and the architrave is capped by a plain fillet, with a small 
 
COMPOSITE ORDER. 43 
 
 fillet, and guttne below ; the gutta; are continued along with an 
 interval about equal to each drop. The frieze contains eleven 
 wreaths of laurel instead of triglyphs, and the cornice and attic 
 mouldings are plain, but very good. 
 
 The whole of this monument is so simple, yet possesses so 
 beautiful a character, as to render it worthy of very attentive 
 study. 
 
 The Temple of the "Winds is chiefly valuable for its sculpture ; 
 it had two doorways of a Composed order, and in the interior 
 is a small order of a Doric, of very inferior proportions, which 
 rises to the support of the roof from a plain string, below which 
 are two cornices, or rather tablets. The roof is of marble cut 
 into the appearance of tiles. The outside walls are plain, with 
 an entablature, and a string below, forming a sort of frieze, on 
 which are the figures of the winds. On the whole, this monu- 
 ment is rather curious than beautiful. 
 
 The temple of Pandrosus is a building with Caryatidse, or 
 figures instead of columns ; they have each a capital of an 
 ornamented square abacus, and ovolo carved. The entablature 
 has no frieze, but an architrave of three faces, the uppermost of 
 which has plain cii'cles for ornament, and joins the coi'nice, 
 which is a dentil cornice, large, and of good moiddings. The 
 statues are good, and stand upon a continued pedestal of two- 
 thirds their owai height ; and there are two antse, which descend 
 through the pedestal, and the entablature is rather proportioned 
 to these antse than the Caryatidse. Many of the mouldings are 
 enriched, and indeed the whole of this curious building, which 
 comprises the temples of Eryctheus, Minerva Polias, and Pan- 
 drosus, is a fruitful source of most delicate enrichment. 
 
 In this essay it has by no means been intended to mention 
 every valuable remaining example ; all that has been aimed at 
 is to give a general view of those remains, which must be con- 
 sidered as standards, and to excite in the pupil that persevering 
 attention to the best models, as the only way of arri"\dng at 
 a complete knowledge of these very interesting sources of 
 architectural science. 
 
ENGLISH GOTHIC AECHITECTUEE. 
 
 In a work like the present tlicre will be little propriety in 
 a lengthened disquisition on the origin of this mode of build- 
 ing, we shall therefore proceed to the detail of those distinc- 
 tions which, being once laid down with precision, will enable 
 persons of common observation to distinguish the difference of 
 age and style in these buildings as easily as the distinctions of 
 the Grecian and Roman orders. 
 
 It may, however, be proper here to offer a few remarks on 
 the use of the term English, as applied to that mode of building 
 usually called the Gothic, and by some the Pointed architecture. 
 Although, perhaps, it might not be so difficult as it has been 
 supposed to be to shew that the English architects were, in 
 many instances, prior to their continental neighbours in those 
 advances of the styles about which so much has been written, 
 and so little concluded^ it is not on that ground the term is now 
 used, but because, as far as the author has been able to collect 
 from plates, and many friends who have visited the Continent, 
 in the edifices there (more especially in those parts which have 
 not been at any time under the power of England) the archi- 
 tecture is of a very different character from that pure simplicity 
 and boldness of composition whicli marks the English buildings. 
 In every instance which has come under the author's notice, 
 a mixture, more or less exact or remote, according to circum- 
 stances, of Italian composition, in some parts or other is present ; 
 and he has little doubt that a verij attentive observation of the 
 continental buildings called Gothic would enable an architect 
 to lay down the regulations of French, Flemish, Spanish, Ger- 
 man, and Italian styles, which were in use at the time when the 
 English flourished in England. 
 
 On the origin of the pointed arch, about which, perhaps, there 
 may be now more curiosity than ever, from the numerous ac- 
 counts given b)'" travellers of apparently very ancient pointed 
 arches in Asia, Africa, and various parts of the Continent, it 
 
ENGLISH GOTHIC ARCHITECTURE. 45 
 
 will doubtless be expected that something should be said, and 
 what is necessary may be said in a few lines. To say nothing 
 on the impossibility, as far as at present appears, of fixing an 
 authentic date to those which, if dated, might be of the most 
 importance, there appears little difficult}^ in solving the problem, 
 if the practical part of building is considered at the same time 
 with the theoretical. Intersecting arches were most likely an 
 early, and certainly a very widely-spread, mode of embellishing 
 Norman buildings, and some of them were constructed in places, 
 and with stones, requiring centres to turn them on, and the 
 construction of these centres must have been by something 
 equivalent to compasses : thus, even supposing (which could 
 hardly have been the case) that the arches were constructed 
 without a previous delineation, the centres would have led to 
 the construction of the pointed arch ; and, when once formed, 
 its superior lightness and applicability would be easily observed. 
 To this remark it may be added, that the arches necessarily 
 arising in some parts from Norman groining would be pointed. 
 A careful examination of a great number of Norman build- 
 ings will also lead to this conclusion — that the style was con- 
 stantly assuming a lighter character, and that the gradation is 
 so gentle into Earlj'- English, that it is difficult in some build- 
 ings to class them, so much have they of both styles : the same 
 may be said of every advance ; and this seems to be a convinc- 
 ing proof that the styles were the product of the gradual opera- 
 tions of a general improvement, guided by the hand of genius, 
 and not a foreign importation^. 
 
 * [ITiere is no doubt that Mr. Rick- it for the better or not. Mr. Freeman's 
 man's observations on this subject were ingenious argument, that it is the style 
 perfectly correct, and are fully borne of the Gothic nations developed by 
 out by subsequent investigations ; the them when they became civilized, and 
 early Gothic of all parts of the Conti- confined to them, is entitled to its due 
 nent has a mixture of Roman details, consideration; but without entering into 
 the Early English Gothic is the only the vexed questions of its origin or its 
 one that is perfectly pure and unmixed. propriety, long-established usage is suf- 
 But the name of Gothic, whatever its ficient ground for retaining it, while 
 origin may have been, has been es- there is also this advantage in doing so, 
 tablished for nearly two centuries all that the name does not mislead any one, 
 over Europe, and is the only name by whereas the name of i't)inted, which has 
 which the medieval style of building been proposed as a substitute, does mis- 
 is known in all languages ; it is there- lead many persons ; when they find a 
 fore quite useless to attempt to change Pointed arch they naturally conclude 
 it, whether we think we could chauge that the building is of the Pointed 
 
46 
 
 ENGLISH GOTHIC ARCHITECTURE. 
 
 During the eighteentli century various attempts, under the 
 name of Gothic, have arisen in repairs and rebuilding ecclesias- 
 tical edifices, but these have been little more than making 
 clustered columns and pointed windows, every real principle 
 of English architecture being by the builders either unknown 
 or totally neglected. 
 
 English Gothic architecture may be divided into four dis- 
 tinct periods, or stj^es, which may be named, 
 
 1st, the Norman style, 
 
 2nd, the Early English style, 
 
 3rd, the Decorated English style, and 
 
 4th, the Perpendicular English style. 
 
 The dates of these styles we shall state hereafter, and it may 
 be proper to notice, that the clear distinctions are now almost 
 entirely confined to churches ; for the destruction and alteration 
 of castellated buildings have been so great, from the changes in 
 the modes of warfare, &c., that in them we can scarcely deter- 
 mine what is original and what addition''. 
 
 style, forgetting that the Pointed arch 
 was used at all periods, and that it 
 is impossible to say which is the first 
 Pointed style, or what will be the la-t. 
 On the other hand, beginners who have 
 been tanght to call the Gothic styles 
 Pointed, naturally conclude that when 
 they find a round-headed doorway it is 
 of the twelfth century or earlier, and 
 that all square-headed windows are of 
 the fifteenth, and they are often com- 
 pletely misled in this manner by a name ; 
 the fact being that round-headed door- 
 ways and square-headed windows may 
 be found of all periods, especially in 
 castles and houses. 
 
 The form of the arch was at all 
 periods dictated chiefly by convenience 
 or the necessity of the construction, and 
 can never be I'elied upon as a guide to 
 the date of any building ; this can only 
 be ascertained by careful attention to 
 the mouldings and details, as shown in 
 the following chapters of this work. 
 
 The Early English Gothic is so clearly 
 distinct from the early Gothic of all 
 other countries that it deserves and 
 requires a distinct name, and as the 
 early Gothic of each country has to 
 a considerable extent a distinct national 
 
 character, it is convenient to distinguish 
 each by its own name : the Early French 
 Gothic or the Early German Gothic 
 may dispute the priority of date with 
 the Early English Gothic, it may be 
 diflicult to prove that either one was 
 derived from the other, but there can 
 be no reasonable objection to calling 
 each by the name of the country in 
 which it flourished. 
 
 It must also he borne in mind that in 
 the reign of Henry II., when the early 
 Gothic style was developed, the whole 
 of the western provinces of France 
 were under the dominion of the Eng- 
 lish Crown, and Normandy had been 
 for more than a century part of the 
 same kingdom, and a very influential 
 part : some eminent French antiquaries 
 call this style Anglo-Norman, and not 
 without reason ; there is scarcely any 
 difference of style in buildings of the 
 same period in Normandy and in Eng- 
 land, but Normandy is not at all in 
 advance of England in the develope- 
 nient of the Early Gothic style.] 
 
 ^ [Subsequent and more careful ob- 
 servations have removed this difliculty. 
 Castles and houses can now be as well 
 classed and arranged in chronological 
 
J^. PrirLcepaJ, WestlJoor 
 B.B . Wesftm, Side, Doors 
 C C- West Towers . 
 D-D. Door froTrt OtapeZ to ffjjisCff 
 
 E. 27ortJi.Fon:h. . 
 F. F tVeJtyiisle of 2nmse^t.y 
 I G.G. EastAisl^ of Tra/i^epts . 
 H. TcttHiilA of (?Lapter J/oo.vr . 
 IT Eastern, ThoTisepts . 
 
 L ^Izur ofZaelff Ouzpri . 
 
 MiklKM Cftapels. 
 
 N.N. MoriumySn/zU Ckapels . 
 
 0.0. Jiooti Screen- or 
 
 Or^an. Stre^Tv . 
 
 P Ji£^i:>rn/ or Xibrort/ . 
 
 J^rajiT^ i'/Thazjt/rvdbt/ff.Ciuer^- 
 
 jPEiAjy ®3F ■iX'nSE.ILiS 'S^v/JTHDEUJllS-JiX - 
 
ENGLISH GOTHIC ARCHITECTURE. 47 
 
 Before we treat of the styles separately, it will be necessary 
 to explain a few terms whicli are employed in describing the 
 churches and other buildings which exemplify them. 
 
 Most of the ancient ecclesiastical edifices, when considered 
 complete, were built in the form of a cross, with a tower, lan- 
 tern, or spire erected at the intersection. The interior space 
 was usually thus divided : — 
 
 The space westward of the cross is called the )iave'^. 
 
 The divisions outward of the piers are called aisles. 
 
 The space eastward of the cross is generally the c/ioir. 
 
 The part running north and south is called the cross or 
 tt'ansejjt^. 
 
 The choir is generally enclosed by a screen, on the western 
 part of which is usually placed the organs 
 
 The choir in cathedrals does not generally extend to the 
 eastern end of the building, but there is a space behind the altar, 
 usually called the Lady-chajiel^. 
 
 The choir is only between the piers, and does not include the 
 side aisles, which serve as passages to the Lady-chapel, altar, Sec. 
 
 The transejDt has sometimes side aisles^, which are often sepa- 
 rated by screens for chapels. 
 
 Chapels are attached to all parts, and are frequently additions. 
 
 The aisles of the nave are mostly open to it, and in cathedrals 
 both are generally without pews. 
 
 succession as churches. See " Domestic such large dimensions in modern times. 
 
 Architecture of the Middle Ages," by It is now a seri -us obstruction to the 
 
 T. H. Turner and J. H. Parker.] view, and encloses the choir more closely 
 
 •= This name is applied equally to the than was intende'h Tlie west end is 
 
 body of the church whether the plan is the usual place for it in foreign churches, 
 
 cruciform or not, and whether with or and either there or one of the transepts 
 
 without aisles. appears to be a better place for it than 
 
 ^ More commonly called the north over the chancel-sereen. A custom has 
 
 and south transepts, which is often con- crept in lately of building a room like 
 
 venient, though not strictly correct. In a chapel on the side of the church to 
 
 some cathedrals a second smaller tran- contain it, and in some cases the room 
 
 sept occurs, as at Canterbury, Wells, over the porch has been applied to that 
 
 &c. purpose.] 
 
 ^ [This is, however, a modem custom ; ' In some of the larger collegiate and 
 the original use of the gallery at the cathedral churches there is a consider- 
 west end of the choir separating it from able space eastward of the high altur 
 the nave was to carry the holy rood, between the reredos screen and the Lady- 
 or crucifix, and it was called the rood- chapel, called the presbytery, 
 loft. The organ was a small instrument s More frequently on the east side 
 at the time wheu Gothic churches were only, 
 originally built, and has only grown to 
 
48 ENGLISH GOTHIC ARCHITECTURE. 
 
 In churches not collegiate the eastern space about the altar 
 is called the chancel. 
 
 To the sides are often attached small buildings over the doors, 
 called -porches, which have sometimes vestries, schools, &c. over 
 them'^. 
 
 The font is generally placed in the western part of the nave, 
 but in small churches its situation is very various. In a few 
 churches a building like a chapel has been erected over the font, 
 or the font set in it\ 
 
 In large churches the great doors are generally either at the 
 west end, or at the end of the transepts, or both ; but in small 
 churches often at the sides''. 
 
 To most cathedrals are attached a chapter-house and cloisters, 
 which are usually on the same side. 
 
 The chapter-house is often multangidar. 
 
 The cloisters are generally a quadrangle, with an open space 
 in the centre ; the side to which is a series of arches, originally 
 often glazed, now mostly open. The other wall is generally 
 one side of the church or other buildings, with which the 
 cloisters communicate by various doors. The cloisters are 
 usually arched over, and formed the principal commimication 
 between the different parts of the monastery, for most of the 
 large cross churches have been [attached to] monasteries. 
 
 The Lady-chapel is not always at the east end of the choir ; 
 at Durham it is at the west end of the nave, at Ely [and Oxford] 
 on the north side. 
 
 The choir sometimes advances westward of the cross, as at 
 Westminster '. 
 
 The walls in the interior, between the arches, are piers. 
 
 Any building above the roof may be called a steeple. If it be 
 square-topped, it is called a tou'er. 
 
 ^ The room over the porch is fre- ' [The choir properly so called, or 
 
 quently, but erroneously, called the the place for the chorus for chanting 
 
 parvise. the service, was very frequently con- 
 
 ' As at Luton, Bedfordshire ; St, Mar- tinued westward beyond the crossing of 
 
 garet's, Norwich ; and Trunch, Norfolk. the transept, and occupied also the first 
 
 '' A south door only, protected by a bay or first and second bays of the nave : 
 
 porch, contributes materially to the it was enclosed by a screen or cancellus, 
 
 warmth of a small church, especially in from which the name of chancel was 
 
 derived situations.] derived.] 
 
ENGLISH GOTHIC ARCHITECTURE. 
 
 49 
 
 A tower may be round, square, or multangular. The tower 
 is often crowned with a spire, and sometimes with a short tower 
 of light work, which is called a lantern. An opening into the 
 tower, in the interior, above the roof, is also called a lantern. 
 
 Towers of great height in proportion to their diameter are 
 called fur ret a ; these often contain staircases, and are sometimes 
 crowned with small spires. 
 
 Large towers have often turrets at their corners, and often 
 one larger than the others, containing a staircase ; sometimes 
 they have only that one. 
 
 The projections at the corners and between the windows are 
 called buttresses, and the mouldings and slopes which divide 
 them into stages are called set-offs. 
 
 The walls are crowned by ajJurapet, which is straight at the 
 top, or a battlement, which is indented ; both may be plain, or 
 sunk panelled, or pierced. 
 
 In castellated work the battlement sometimes projects, w^th 
 intervals for the purpose of discharging missiles on the heads of 
 assailants ; these openings are called machicolations. 
 
 Arches are round, pointed, or mixed. 
 
 A semicircular arch has its centre in the 
 same line with its spring, as in fig. 1. 
 
 A segmental arch has its centre lower than 
 the spring, as in fig. 2. 
 
 A horse-shoe arch has its centre above the 
 spring, as in fig. 3. 
 
 Pointed arches are either equilateral, de- 
 scribed from two centres, which are the 
 whole breadth of the arch from each other, 
 and form the arch about an equilateral 
 triangle, as in fig. 4; 
 
 H 
 
50 
 
 ENGLISH GOTHIC ARCHITECTURE, 
 
 Or drop arches, which have a radius shorter 
 than the breadth of the arch, and are de- 
 scribed about an obtuse-angled triangle, as 
 in fig. 5 ; 
 
 Or Imicet arches, which have a radius 
 longer than the breadth of the arch, and 
 are described about an acute -angled tri- 
 angle, as in fig. 6. 
 
 All these pointed arches may be of the nature of segmental 
 arches, and have their centres below their spring. 
 
 Mixed arches are of three centres, which 
 look nearly like elliptical arches, as in fig. 7 ; 
 
 Or of four centres, commonly called the 
 Tudor arch; this is flat for its span, and 
 has two of its centres in or near the spring, 
 and the other two far below it, as in fig. 8. 
 
 The ogee or contrasted arch has four cen- 
 tres; two in or near the spring, and two 
 above it and reversed, as in fig. 9. 
 
 The spaces included between the arch and 
 a square formed at the outside of it are 
 called spandrels, and are often ornamented, 
 as in fio;. 10. 
 
 "Windows are divided into lights by mullions. 
 
 The ornaments of the divisions at the heads of the windows, 
 SiQ., are called tracery. 
 
 Tracery is either Jloicing ^, where the lines branch out into 
 the resemblance of leaves, arches, and other figures ; or perpen- 
 
 ■" The earlier kinds of tracery consist other geometrical figures, which cannot 
 of cii'cles and portions of circles, and strictly be called flowing. 
 
ENGLISH GOTHIC ARCHITECTURE. 51 
 
 dlcular, where the mullions are continued through in straight 
 lines. 
 
 The horizontal divisions of windows and panelling are called 
 transoms. 
 
 The parts of tracerj'' are ornamented with small arches and 
 points, which are called featherings or foliations, and the small 
 arches cusps ; and according to the number in immediate con- 
 nection ih.&j are called — 
 
 3 /^ 
 TREFOILS, 1 ; QUATREFOILS, 2 ; Or CINQUEFOTLS, 3. 
 
 The cusps are sometimes again feathered, 
 and this is called double feathering, as in 
 fiff. 4. 
 
 Tablets are small projecting mouldings, or strings, mostly 
 horizontal. 
 
 The tablet at the top, under the battlement, is called a cornice, 
 and that at the bottom a basement, under which is generally 
 a thicker wall. 
 
 The tablet running round doors and windows is called a 
 dripstone ", and if ornamented, a canop>y. 
 
 Bands are either small strings round shafts, or a horizontal 
 line of square, round, or other panels, used to ornament towers, 
 spires, and other works. 
 
 Niches are small arches, mostly sunk in the wall, often orna- 
 mented very richly with buttresses and canopies, and frequently 
 containing statues. 
 
 A corbel is an ornamented projection from the wall, to sup- 
 port an arch, niche, beam, or other apparent weight, and is 
 often a head or part of a figure. 
 
 " This term is not strictly applicable perhaps the best term : label is very 
 to the mouldings over windows in the commonly used, but is properly applied 
 interior of a building, hoodmould is only to square-headed windows. 
 
52 ENGLISH GOTHIC ARCHITECTURE. 
 
 A pinnacle is a small spire, generally with four sides, and 
 ornamented ; it is usuall}' placed on the tops of buttresses, both 
 external and internal. 
 
 The small [leaves or] bunches of foliage ornamenting cano- 
 pies and pinnacles are called crocJcefs. 
 
 The larger bunches on the top are called finials, and this 
 term is sometimes applied to the whole pinnacle. 
 
 The seats for the dean, canons, and other dignitaries in the 
 choirs of collegiate churches are called stalls. 
 
 The bishop's seat is called his throne. 
 
 The ornamented open work over the stalls, and in general any 
 minute ornamental open work, is called tabernacle work. 
 
 In some churches not collegiate there yet remains a screen, 
 with a large projection at the top, between the nave and chan- 
 cel, on which were anciently placed [the holy rood, or crucifix, 
 with images of St. Mary and St. John] ; this was called the 
 rood-loft. 
 
 Near the entrance door is sometimes found a small niche, 
 with a basin which held, in E-oman Catholic times, their holy 
 water ; these are called stoups. 
 
 Near the altar, or at least where an altar has once been 
 placed, there is sometimes found another niche, distinguished 
 from the stoup by having a small hole at the bottom to carr}' 
 off water ; it is often double, with a shelf : [and is commonly 
 called a piscina.] 
 
 On the south side, at the east end of some churches, are 
 found stone stalls, either one, two, three, or sometimes more, 
 of which the uses have been much contested ° ; [but they are now 
 generally considered to have been the seats for the officiating 
 ministers, and are called sedilia.] 
 
 Under several large churches, and some few small ones, arc 
 certain vaulted chapels, these are called cri/pts. 
 
 In order to render the comparison of the different styles easy, 
 
 See the Archmologia, vols. x. and xi., seats, not without interest from the nuiu- 
 in which will be found a lon<; controversy her of examples cited on both sides., 
 on the subject of the original use of these 
 
ENGLISH GOTHIC ARCHITECTURE. 53 
 
 we shall divide the description of each into the following 
 sections : — 
 
 Doors, 
 
 "Windows, 
 
 Arches, 
 
 Piers, 
 
 Buttresses, 
 
 Tablets, 
 
 Niches, and ornamental arches, or panels. 
 
 Ornamental carvings, 
 
 Steeples, and 
 
 Battlements, 
 
 Roofs, 
 
 Fronts, and 
 
 Porches. 
 We shall first give, at one view, the date of the styles, and 
 their most prominent distinctions, and then proceed to the par- 
 ticular sections as described above. 
 
 1st. The Norman style, which prevailed to the reign of 
 Henry II. ; distinguished by its arches being generally semi- 
 circular; though sometimes pointed, with bold and rude orna- 
 ments. This style seems to have commenced before the Con- 
 quest, but we have no remains really known to be more than 
 a very few years older p. 
 
 2nd. The Early English style, reaching to the reign of Ed- 
 ward 1. 1 ; distinguished by pointed arches, and long narrow 
 
 p [The earliest examples of the Nor- English Provinces of Gaul ; in France 
 
 man style in England are believed to be proper, that is, in the Royal Provinces 
 
 the remains of the work of the time of of France, this change took place chiefly 
 
 Edward the Confessor at Westminster in the reign of Philip Angustu«, 1180 — 
 
 Abbey, consisting of the substructure of 1223, but it is said to have begun a few 
 
 the dormitory and the lower part of years earlier, during the administra- 
 
 the walls of the refectory, with the tion of Suger, under Louis VII., 1137 
 
 ornamental arcade. See Scott's " Glean- — 1180.] 
 ings from Westminster Abbey." i The reign of Edward I. was the 
 
 The reign of Henry II., 1154 — 1189, period of transition from the Early 
 
 was the cliief period of transition from English to the Decorated style : many 
 
 the Norman to the Early Gothic in buildings of this reign belong to the 
 
 England, and inNormandy and the other latter style; for instance, the Eleanor 
 
54 
 
 ENGLISH GOTHIC ARCHITECTURE. 
 
 windows witliout mullions ; and a peculiar ornament, which, 
 from its resemblance to the teeth of a shark, we shall hereafter 
 call the toothed ornament. 
 
 3rd. Decorated EnrjUsh, reaching to the end of the reign of 
 Edward III., in 1377, and perhaps from ten to fifteen years 
 longer ^ This style is distinguished by its large windows, 
 ■which have pointed arches divided by mullions and the tracery 
 in flowing lines [or] forming circles, arches, and other figures, 
 not running perpendicularl}^ ; its ornaments numerous, and very 
 delicately carved. 
 
 Perpendicular English. This is the last style, and appears to 
 have been in use, though much debased, even as far as to 1630 
 or 1640, but only in additions. Probably the latest whole 
 building* is not later than Henry YIII. The name clearly 
 designates this style, for the mullions of the windows and the 
 ornamental panellings run in perpendicular lines, and form 
 a complete distinction from the last style ; and many buildings 
 of this are so crowded with ornament, as to destroy the beauty 
 of the design. The carvings are generally very delicately 
 executed. 
 
 crosses, which were all erected between 
 1290 and 1300, and the style of which 
 is clearly Decorated. If all windows 
 with mullions and with foliated circles 
 in the head are to be considered as 
 belonging to the Decorated style, the 
 division must be placed at an earlier date, 
 as many buildings of this character are 
 of the time of Henry III. ; for instance, 
 the chapter-house at Salisbury. See at 
 the end of the Early English Style on 
 the transition to the Decorated. 
 
 ■■ [The change from the Decorated to 
 the Perpendicular style began to come 
 in occasionally at an earlier period, as 
 at Gloucester, where the work has very 
 much the appearance of the later style 
 before the middle of the fourteenth 
 century, but the mouldings are clearly 
 Decorated ; this is, in fact, a transitional 
 example, as are Edington Church, Wilt- 
 
 shire, and part of the west end of Win- 
 chester Cathedral. Examples of transi- 
 tional work, or a mixture of these two 
 styles, are common. 
 
 s [Subsequent observation hasbrought 
 to light several examples of whole build- 
 ings designed and executed in a de- 
 based Perpendicular style in the time 
 of James I. and Charles I., as the Schools 
 and Wadham College, and the Chapels 
 of Lincoln, Jesus, and Oriel Colleges, 
 Oxford ; the Chapel of St. Peter's Col- 
 lege, Cambridj;e; the hall of the Inner 
 Temple, and the Chapel of Lincoln's 
 Inn, London ; and several country 
 churches, as Low Ham Church, Somer- 
 setshire ; Water Eaton Chapel, Oxford- 
 shire; Apthorp Church, Norllmmpton- 
 sliire ; Arthuret Church, Cumberland; 
 and Stanton Harold, Lcicestersliire.] 
 
ON 
 
 ANGLO-SAXON AECHITECTUEE, 
 
 OR SUCH BUILDINGS AS ilAY BE PRESUMED TO HAVE BEEN 
 ERECTED IN ENGLAND BEFORE THE NORMAN CONQUEST. 
 
 It may be necessary to state, that tliough many writers speak 
 of Saxon buildings, those which they describe as such are 
 either known to be Jforman, or are so like them that there is 
 no real distinction. But it is most likely that in some obscure 
 country churches some real Saxon work of a much earlier date 
 may exist ; hitherto, however, none has been ascertained to be 
 of so great an age. 
 
 Without venturing to fix a date to either, it will be proper 
 here to mention two towers which have hitherto been very little 
 noticed, and yet are of very singular construction ; the first is, 
 that of the old church, St. Peter's, at Barton on H umber, in 
 Lincolnshire. This is a short thick tower, with very thick walls, 
 originally of three stages, the two lower of which are ornamented 
 by perpendicular strips of stone, projecting from the face of the 
 wall, and near the top of each stage breaking into arches ; the 
 lower set of arches semicircular, and the perpendicidar lines 
 springing from a stone set on the top of the arch ; the second set 
 are straight-lined arches, and run up to a flat string or tablet, 
 on which is the third plain stage, with only two small arches, 
 (if so they may be called,) as in the second stage. On the top 
 of these three stages is one evidently early Norman, having 
 a regular double Norman window in it, ^\'ith a shaft and capital 
 in the middle ; this stage being clearly Norman, it is evident 
 the substructure must be of an earlier date ; and in the second 
 
56 [on ROMAN BUILDINGS.] 
 
 stage of the lower part is also a double -window, with round 
 arches, and divided by something- (evidently original, for there 
 are two) exactly resembling a rude balustre : all this arrange- 
 ment is so different from Norman work, that there seems a pro- 
 bability it may be real Saxon ; and it should be noted that the 
 other, or new church, St. Mary's, stands within a hundred and 
 fifty yards of the old church, and is principally a Norman build- 
 ing, with an Early English tower, and a chancel of the same, 
 and a very early Decorated east window, which, of course, 
 renders it necessary to go back to the Conquest at least for 
 the date of the old one. 
 
 The other tower is that of Clapham Church, in Bedfordshire ; 
 and this is principally remarkable for the extreme simplicity 
 and rudeness of its construction. It consists of a square tower, 
 without buttress or tablet, about three squares high, with a rude 
 round-arch door, and above it two heights of small round- 
 arched windows ; above this part of the tower, with a plain set- 
 off, inwards is a Norman portion, with a Norman window 
 divided into two by a central shaft, plain, and of early cha- 
 racter ; this part is surmounted by a cornice and battlement of 
 later date. 
 
 In addition to what has been incidentally remarked on these 
 buildings, I wish to consider these early edifices both in Eng- 
 land and France, and I have to notice such buildings in both 
 countries as are either known to be of a date prior to the year 
 1000, or by their clear difierence from anything of later date 
 may, from that clear difierence, and their relation to works 
 known to be before the year 1000, be well permitted to be con- 
 sidered of an earlier date, until proved to be of a later one. 
 
 In France there are the following buildings : — 
 The walls of the city of Bayeux, 
 The theatre at Lillebonne, 
 The church of St. Germain at Rouen, 
 
 The ancient portion of a church at Beauvais, now called the 
 Basse Q^uvre ; 
 
 All these present clear and definable Roman features. 
 
 At the theatre at Lillebonne we have regular ashlar masonry 
 
ON ROMAN BUILDINGS, 
 
 57 
 
 Roman Masonry. Caerwent. 
 
 witli rubble backing'': the front work very well done, with 
 good clean joints. Also a wall with 
 small stones about six inches long 
 and about four inches high in the 
 courses ; these form a thin skin, 
 and have rubble backing, but with 
 horizontal courses of what are called 
 Roman bricks, i.e. flat tiles about 
 fourteen inches long, eleven inches 
 broad, and not quite two inches 
 thick. These tiles act as bonding- 
 courses to the small stone and rubble 
 of which much Roman walling is 
 constructed. 
 
 This horizontal bond of tiles accompanies nearly all the 
 Roman walling which is built of small stones, both in England 
 and that part of France included in my present observations. 
 
 It is present in the walls of Bayeux, where the courses of 
 stone are irregular, some 
 small, some large : in the 
 church of St. Germain, 
 where the walling is of 
 squared stone, rather larger 
 than the small stones at 
 Lillebonne ; and here there 
 is also an outer tier of 
 bricks around the arches, 
 like a drip-stone. It is 
 also in the Basse ffiuvre 
 at Beauvais ; here the wall- 
 ing is small stones with 
 large joints, and the ex- 
 terior arches, as well as 
 the drip-course round them, 
 are partly formed of Roman 
 bricks. The interior wall- 
 ing of this building is the 
 
 E^ 
 
 ^y%. 
 
 iaiai5-Si*i4, 
 
 EomEin Masonry, Bargli Castle, Norfolk. 
 
 See Glossary of Architecture, vol. ii. Plates 12 and 107. 
 I 
 
A Floor covered ■with piaster. 
 B Piers built of tiles and mortar, 
 D Black sooty matter. 
 E Stucco. 
 F Sand. 
 
 VIEWS AND SECTION OF A ROMAN HTPOCAOST, WHSATLST, OXON. 
 
ON ROMAN BUILDINGS. 59 
 
 white stone of that country, which, though so soft as to be 
 easily worked, retains its edge and its form completely to the 
 present time. This building, though sadl}^ neglected, has much 
 of its interior work — plain round arches and square piers — in 
 very good condition. 
 
 These buildings are in France well known to antiquaries, 
 and their dates constantly acknowledged as prior to the year 
 1000. 
 
 In England we have, first, a variety of Roman walling 
 acknowledged to be such. 
 
 These walls are in various counties, from Northumberland 
 to Kent, and many of them (and I believe all in which the 
 construction was necessary) have the bonding bricks more or 
 less frequent. 
 
 There are a few Roman examples in which, from the mode 
 of construction with large blocks of stone, it does not appear 
 that the bonding bricks were used. Of these examples I may 
 mention two which remain in a more perfect state than, con- 
 sidering their age, could well have been expected. 
 
 The first is the north gate at Lincoln, which, as when first 
 erected, is still used as the passage through the walls. This 
 gate had originally an impost and architrave moulding ; but 
 they are now hardly visible. 
 
 The second is a portion of the Roman wall near the military 
 road from Newcastle to Carlisle ; its walling is well done, and 
 in a ver}'- perfect state ; and near it is a quarry of most excellent 
 building stone, from whence that used in the wall appears to 
 have been taken. 
 
 I do not intend to notice all the Roman works known to 
 exist in England, but merely a few for the purpose of shewing 
 the similarity of construction with those noticed in France ; and 
 of referring to them as linking with those churches which 
 I suppose to have been erected in England before the year 
 1000. 
 
 What is called the Jews' Wall at Leicester is built with 
 many of the flat tiles, or Roman bricks ; and the portions of 
 Roman wall still remaining near St. Alban's, in Hertfordshire, 
 and at Richborough Castle, in Kent, have these Roman bricks 
 
60 ON ROMAN BUILDINGS. 
 
 used as horizontal bond, in the same way as we have noticed in 
 the French edifices. 
 
 Roman Masonry. Jewry Wall, Leicester. 
 
 I shall now, previous to enumerating the hiiildings which 
 I have reason to believe were erected before the year 1000, state 
 those particularities of their masonry, their forms and their 
 details, which by the difference from works of known Norman 
 date give reason to suppose them of this very early period. 
 
 First, as to the masonry, there is a peculiar sort of quoiuing, 
 ■which is used without plaster as well as with, consisting of 
 a long stone set at the corner and a short one lying on it, and 
 bonding one way or both into the wall ; when plaster is used, 
 these quoins are raised to allow for the thickness of the plaster. 
 Another peculiarity is the use occasionally of very large and 
 heavy blocks of stone in particular parts of the work, while the 
 rest is mostly of small stones ; the use of what is called Roman 
 bricks, and occasionally of an arch with straight sides to the 
 upper part instead of curves. The want of buttresses may be 
 here noticed as being general in these edifices. An occasional 
 use of portions with moiddings much like Roman, and the use 
 in windows of a sort of rude balustre. The occasional use of 
 a rude round staircase, west of the tower, for the purpose of 
 access to the upper floors ; and at times the use of rude carvings, 
 
ON ANGLO-SAXON ARCHITECTURE. 61 
 
 much more rude [and shallow] than the generality of Norman 
 work, and carvings which are clear imitations of Roman work. 
 
 All these marks do not in every case appear in each of the 
 edifices; but they are all more or less united to one another, 
 and thus form a very interesting series. 
 
 This list comprises twenty edifices in thirteen counties, and 
 extending from Whittingham in Northumberland, north, to 
 Sompting on the coast of Sussex, south, and from Barton-on- 
 the-Humber, on the coast of Lincolnshire, east, to North Bur- 
 combe on the west. This number of churches extending over 
 so large a space of country, and bearing a clear relation of style 
 to each other, forms a class much too important and extensive 
 to be referred to any anomaly or accidental deviation ; for the 
 four extreme points all agree in the peculiar feature of long and 
 short stones at the corners, and those stones of a varied cha- 
 racter, and all easily accessible in their respective situations. 
 
 These English examples of towers and churches I may, 
 I trust, be permitted to describe with some minuteness, so 
 that persons who visit them may know wherein consists their 
 likeness to each other, and difierence from other styles. 
 
 From what I have seen, I am inclined to believe that there 
 are many more churches which contain remains of this charac- 
 ter, but they are very difficult to be certain about, and also likely 
 to be confounded with common quoins and common dressings, in 
 counties where stone is not abundant, but where flint, rag, and 
 rough rubble plastered over, form the great extent of walling. 
 
 In various churches it has happened that a very plain arch 
 between nave and chancel has been left as the only Norman 
 feature, while both nave and chancel have been rebuilt at 
 different times, but each leaving the chancel -arch standing. 
 I am disposed to think that some of these plain chancel- arches 
 will, on minute examination, turn out to be of this Saxon style. 
 I am the more induced to think so from the tower at Whittino;- 
 ham, in Northumberland, having close to it one such plain 
 arch, and next to it another semicircular arch, which would 
 be called, if not early, certainly not very late Norman, yet 
 strikingly different. . 
 
 As the portion of France I visited, though containing a great 
 
62 
 
 OX AXGLO-SAXOX ARCHITECTURE. 
 
 variety of large edifices, was not visited as to the small churches 
 to an equal extent, owing to the difficulty of getting to places 
 not on the high roads, I cannot say whether there is anything 
 like our combination of long and short stones ; only one church 
 I saw at a village near Beauvais had any such antiquity, by 
 tradition, as before the year 1000, and there the only feature 
 noticeable was a resemblance to the walling of the Basse (Euvre 
 at Beauvais, both being formed of small stones with large joints. 
 I shall now proceed to state more clearly the distinctions of 
 this early or Saxon style, and then to describe those edifices 
 above enumerated. 
 
 Arches. TThere 
 of considerable size, 
 they are semicircu- 
 lar, but there are 
 smaller apertures of 
 doors and windows, 
 w^th straight slopes 
 to the apertui'e. In 
 some doors, and in 
 some larger arches, 
 there is a regular 
 impost at the spring, 
 which has a rude re- 
 semblance to Roman 
 mouldinffs. 
 
 '''■'^^f»^^^'>k:<S^Uit^^;^; 
 
 Door. Bcirtcn-on-Hamber. 
 
 In the small windows a sort of rude balustre, such 
 as might be supposed to be copied by a very rough 
 workman by remembrance of a Roman balustre. 
 
 [This is sometimes attached to the front of a 
 narrow strip of wall, as at St. Michael's, Oxford ; 
 more frequently it stands in the middle of the thick 
 wall, and carries a long stone extending through 
 the wall.] 
 
 Masoxky, First, a sort of quoins or framing of stone 
 jeeting from the face of the wall, the fiUing-in often of 
 
 pro- 
 small 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 63 
 
 Common Quoined work. 
 
 Long-and-Bbort Work. 
 
 rough stonework, and sometimes plastered. Second, the use 
 
 of very large pieces of stone, 
 
 much larger than usual in 
 
 Norman, for parts, while the 
 
 remainder is of small and 
 
 very roughly hewn stone. 
 
 [The quoins or corner 
 stones are arranged in a pe- 
 culiar manner, — a long stone 
 being placed upright at the 
 angle, alternately with a 
 similar long stone placed 
 horizontally, in order to bind 
 the rubble walling and keep 
 it together. This is techni- 
 cally culled Long- and- Short Work. Its use depends a good deal 
 on the nature of the building materials. As this use of stone, 
 especially the vertical or upright pieces, is not a natural use of 
 that material, or such as a mason would use, it has been sup- 
 posed that these early buildings were erected by carpenters 
 rather than by masons.] 
 
 Staircases. In two instances (more perhaps may hereafter 
 be found) there are on the west side of the towers circular 
 staircases, equally rude as the masonry of the church ; but 
 in one of these instances this staircase has been found to be 
 an addition. 
 
 Bricks. It is not easy to discover whether the Eoman bricks 
 (or rather flat tiles, as we should now term them) that we find 
 in one at least of these edifices, have been laid before, and are 
 the ruins of a former building, or were made for the purpose 
 and used new. 
 
 Ornaments. In one, if not more of these buildings, there 
 are some very rude carvings, more rude than most Norman 
 work. [These are extremely shallow, and such as coidd be 
 worked with the hammer or pick, without the use of the chisel 
 being required.] 
 
 Plan. All the comers square ; and there seems no instance 
 of a buttress to these buildings which is not evidently an 
 addition. 
 
64. 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 As I cannot presume to settle which of these buildings is of 
 the earliest date, it will, I think, be better to take them nearly 
 geographically, and commencing at the most northerly. 
 
 1. "Whittingham Church, Northumberlaxd. 
 
 This church has a tower, and the west end of the aisles and 
 one arch on the north side, all appearing of the same early 
 style. There are Norman por- 
 tions, but they are clearly of a 
 different and later date, and parts 
 of the church are even later still, 
 with some modern mutilations. 
 
 The corners of the tower and 
 exterior angles of the walls of 
 the aisles are clearly of long 
 and short stones of a very strong 
 coarse gritstone, and the whole 
 walling being of the same stone 
 as the quoins, and no plaster 
 required, the construction of 
 the masonry is very conspicuous. 
 The battlements and a part of 
 the upper story of the tower ap- 
 pear to have been altered; but 
 the upper aperture has a rude 
 balustre between the two win- 
 dows; thus presenting two fea- 
 tures, generally the most striking and constant in these early 
 buildings. One arch of what appears to me to be the original 
 nave remains ; it is very plain, has a large rude abacus or im- 
 post, and a plain square pier : it is now stopped, and forms 
 part of the vestry. The next arch eastward on the same side is 
 a common Norman one, with the usual round pier and a capital, 
 with a sort of bell and a square abacus. The remainder of the 
 church is later, and of little comparative interest. The aper- 
 tures in the tower have been much mutilated, yet those above 
 have the balustre sufficiently clear to mark the style. 
 
 This church is situated about three himdred yards out of the 
 
 Whituugham, Northioinberland. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 65 
 
 great road, and presents nothing attractive to the eye at a dis- 
 tance, nor do I believe it has ever been described. 
 
 2. The Church of Kirkdale, Yorkshire. 
 This church is also out of the road, between Helmsley and 
 Kirkby Moorside, in a valley near the celebrated Bone Caves. 
 It is a small edifice, mostly of much later date. It has a stone 
 on the south side, vs'ith a Saxon inscription ; but as this has 
 been removed from its original place, it is now no evidence of 
 itself as to what part of the church is Saxon; but as the 
 western door, now stopped, and the arch to the chancel, are both 
 of them very rude, though in some degree resembling Norman, 
 they may, I think, on a careful examination of them, be con- 
 sidered portions of the old building. 
 
 Inscription in Kirkdale Church. Yorkshire, c. lObO. 
 
 [This inscription is to be read thus : — " Orm Gamal suna bohte sanctus Gregorius 
 minster "Sonne hit wes ael tobrocan •} to-falan i he hit let macan newan from 
 grunde XPE -j sanctus Gregorius in Eadward dagum cining, in Tosti dagum 
 eorl." "^Tiich may be translated: — "Orm, son of Gamal, bought St. Gregory's 
 church, when it was all ruined and fallen down, and he caused it to be made 
 new from the ground, to Christ, and St. Gregory, in Edward's days the King, 
 and Tosti's days the Earl." 
 
 The inscription round the dial may be translated : — " This is the sun's day- 
 marker at every hour, and Hay ward made me, and Brand the priest." 
 
 Tosti was Earl of Northumberland from 1055 to 1065. Orm was murdered, by 
 Earl Tosti's order, in 1064.] 
 
 K 
 
66 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 Doorway, Laughten-en-le-Morthen. TorkBhire. 
 
 3. The Chlrcti of Laughten-ex-le-Morthen, 
 between Sheffield and Work- 
 sop, is in Yorkshire, away 
 from any public road ; it is 
 a fine church, with a loftj'' 
 spire, visible at a great dis- 
 tance. The Saxon portion 
 of the church consists only 
 of a door on the north side, 
 close to the western wall; 
 it is evidently part of a more 
 ancient structure, carefully 
 preserved, and surrounded ', 
 with more modern masonrj' _-„ 
 of very different stone, and 
 is as clearly a long and 
 short construction as Whittingham or Barton. The church, 
 for a country place, is a large one, and has a nave, aisles, and 
 large chancel. A portion is Norman ; and this, as well as 
 some more modern parts, is built of what appears to be a mag- 
 nesian limestone — yellow at first, but growing a fine grey : the 
 ancient door is, however, of a very different stone, being a dark 
 red sandstone of a strong grit; whence obtained I do not 
 know ; but in the Norman chancel, intermixed with the grey 
 stone, are several portions of the red sandstone, built in irre- 
 gularly, as if portions of an older building ; and on the inside 
 are two niches, one evidently a seat with a plain sink and a 
 semicircular head, and another, which seems to be a cupboard, 
 with a straight arch top : but both of these are plastered and 
 whitewashed, so that I could not examine of what stone they 
 were constructed. 
 
 The later portions of this church are curious ; for the Norman 
 piers on one side of the nave are capped by a sort of upper 
 square capital of Perpendicular work, which I have not seen 
 elsewhere, and which is intended to raise those piers to the 
 height of the piers on the other side of the nave, and from each 
 spring arches of the same character, corresponding with the 
 later piers. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 67 
 
 4. The Church of St. Peter, at Bartox-ox-the- 
 HuMBER, Lincolnshire. 
 
 This is a short thick tower, with very thick walls, originally 
 of three stages ; the two lower of which are ornamented by 
 perpendicular strips of stone, projecting from the face of the 
 wall, and near the top of each stage breaking into arches : the 
 lower set of arches semicircular, and the perpendicular lines 
 springing from a stone set on the top of the arch ; the second 
 set are straight-lined arches, and run up to a flat string or 
 tablet, on which is the third plain stage, with only two small 
 arches, (if so they may be called,) as in the second stage. On 
 the top of these three stages is one evidently early Norman, 
 having a regular double Norman win- 
 dow in it, with a shaft and capital in 
 the middle : this stage being clearly 
 Norman, it is evident the substructure 
 must be of an earlier date : and in the 
 second stage of the lower part is also a 
 double window, with roimd arches, and 
 divided by something (evidently ori- 
 ginal, for there are two) exactly re- 
 sembling a rude balustre. All this ar- 
 rangement is so different from Norman 
 work, that there seems a probability it 
 may be real Saxon ; and it should be 
 noted, that the other, or new church, 
 St. Mary's, stands within 150 yards of 
 the old church, and is principally a 
 Norman building, (with an Early Eng- 
 lish tower, and a chancel of the same, 
 and a very early Decorated east wdndow,) 
 which, of coui'se, renders it necessary to go back to the Con- 
 quest at least for the date of the old one. 
 
 This always goes by the name of the old church, and the 
 other church, within a very short distance and called St. Mary's, 
 the new church. Now no part of the new church is much later 
 than A.D. 1300, and, exce^it the tower, no part of the old church 
 
 Barton-on-the-H am ber. 
 Line oIds hire. 
 
68 ON ANGLO-SAXON ARCHITECTURE. 
 
 is so old as the year 1300 ; thus referring to the tower as the 
 aucient part of the old church, and as the piers and arches of 
 the nave of the new church are Norman, though rather late, 
 it makes the old church of course as old as Norman, and from 
 the circumstance of the belfry story above the ancient tower 
 being Norman, and certainly not late Norman, it gives a sort 
 oi prima facie evidence of a greater antiquity to the tower; and 
 this evidence, and the complete diflPerence from Norman in this 
 tower, first attracted my attention, and led me to look for 
 similar ones in other parts of the kingdom. 
 
 This tower has the long-and-short quoin and rib stones, with 
 the balustre window for what appears to be the original belfry 
 story, before the addition of the Norman belfry. These rib and 
 quoin stones project, are filled in with rough rubble walling, 
 and plastered. There is one door with a round arch, and 
 one straight. The walls of the tower are thick, and there is 
 no appearance of any staircase having ever existed. The church 
 is mostly of Decorated character. I consider this tower the 
 most pure specimen of the long-and-short work, and particularly 
 deserving of a visit from those who wish to see this style fully 
 exemplified ; and the Norman belfry is valuable from at once 
 limiting the date of the tower to an early period. 
 
 5. RopsLEY, Lincolnshire. 
 
 The long-and-short remains in this church are confined to 
 a portion of the west end near the tower, and here also it is 
 mixed with Norman work; a Norman north aisle appears to 
 have been added. 
 
 6. The East End of the Church of Repton, 
 IN Derbyshire. 
 
 Here the long-and-short appearances are very small, only 
 two ribs by the side of the chancel window, which is an inser- 
 tion ; but there is a crypt, which is moi'e like Roman work in 
 some parts than Norman ; and here are early Norman portions 
 in the church, and all these portions are so blended with later 
 work, that it is very difficult to say where one ends and the 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 69 
 
 other begins ; but I have no doubt that some part of this church 
 is of Saxon date. 
 
 7. The Tower or the Church at Barnack, 
 IN Northamptonshire. 
 
 This tower has quoins and rib-stones like Barton-on-the- 
 Humber, but the stones are more carefully squared and laid, 
 and there are certain ornamental portions built into the walls, 
 which give it a very dif- , __ _ 
 
 ferent air to that of Bar- 
 ton ; but it had no stair- 
 case, and to supply this 
 want the lower story was 
 groined, and in one corner 
 a circular staircase of Early 
 English date carried up 
 within the square of the 
 old tower. The arch into 
 the church is curious from 
 its singularly rude imita- 
 tions of Roman mouldings 
 in the impost and archi- 
 trave. On the tower is 
 a later belfry, and a short 
 spire. 
 
 This church is near Stamford, but not on any high road ; it 
 is a handsome structure, and deserving of attention, exclusive 
 of the more ancient portion. It is built of Barnack stone, which 
 seems to have been very extensively employed at one time, 
 though the quarries are not, I believe, now worked : it is an 
 oolite, in which are embedded numerous small shells, from 
 whence it weathers very rough and open. 
 
 Tower-arch, Barnack. Northamptonshire. 
 
 8. The East End of Wittering Church, 
 Northamptonshire, 
 
 has some portions of long-and-short work, and the arch between 
 
70 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 the nave and chancel is built of large rude blocks of stone, with 
 yery little attempt at ornament. 
 
 This church has a short to^yer and low spire, and has nothing 
 attractive in the view from the great road, from which it is 
 distant only a few hundred yards, being on the road from 
 Stamford to London, and is the next parish to Barnack. The 
 church is well deserving of attention, more than it has re- 
 ceived, and is a curiously connecting link between Barnack and 
 Earl's Barton. 
 
 9. Brigstock Church, Northamptonshire, 
 
 is another curious specimen, but here the early work forms 
 only a very small portion, though surrounded by ancient re- 
 mains of such a character as to con- 
 firm, as much as their antiquity can 
 do, the earlier date of this portion. 
 The tower is of very rough masonry, 
 plastered, and has a roughly built 
 round staircase on the west side, as at 
 Brixworth ; the tower opens into the 
 north aisle by a semicircular-headed 
 small plain door, with a small win- 
 dow over it. The arch into the nave 
 has large plain blocks for imposts, 
 and a projecting stone round the arch, 
 like those at Barton-on-the-Humber ; 
 the pier of this arch is on the north- 
 east corner of the tower, abutted 
 
 against by Norman piers and plain arches ; the rest of the 
 church has various interesting features of several styles, but 
 nothing more appears now to remain of a character like the 
 lower part of the tower, which has above it a belfry and spire 
 of a date somewhat later than that at Brixworth. There are 
 several good doors and windows, a small water-drain, a beau- 
 tiful niche in the chancel, and the stairs to the rood-loft 
 remain. 
 
ON ANGLO-SAXON ARCHITECTURE, 
 
 71 
 
 10, Brixwortk Church, Northamptonshire b. 
 
 This curious church had not, to my knowledge, been noticed 
 till visited by me in company with my friend G. Baker, the 
 historian of Northamptonshire, near the end of the year 1823, 
 
 Plan and North Klevation of Biiswortli Cliuix;h = 
 
 which visit led to a subsequent more minute examination of the 
 building, and a search for traces of the parts which have been 
 destroyed. 
 
 This church, in its original state, appears to have consisted 
 of a spacious nave and narrow aisles, a large chancel and 
 a western tower, with a clerestorj'^ to the nave, and the chancel 
 divided from it by a large arch. The lower story of the tower 
 had four doors, one on each side, the north and south small, 
 the east and west large and lofty : in the upper part of the 
 tower, and looking into the nave, is a wdndow, with two of the 
 rude balustres found in the windows of the tower of the old 
 church at Barton-on-the-Humber. In this state the church 
 
 '' For engravings of this church see 
 Britton's Architectural Antiquities, vol. 
 V. p. 160. 
 
 '^ The foundations of the aisles are 
 here shewn as uncovered by digging. 
 
72 ON ANGLO-SAXON ARCHITECTURE. 
 
 would be near 120 feet long, the nave thirty feet wide, and the 
 aisles appear to have been from ten to twelve feet wide ; but as 
 the foundations, which were discovered by digging on the north 
 side, were irregular, this width is in some degree conjectural, 
 although it is not likely to be more than a foot or two wrong. 
 If we suppose eleven feet as the medium for the breadth of the 
 aisles, it will give the exterior breadth of the church, in its 
 original state, sixty-six feet, as the walls are near three feet 
 and a-half thick. 
 
 The construction of this church comes now to be noticed, and 
 this is particularly curious ; the walls being mostly built with 
 rough red-stone rag, in pieces not much larger than the common 
 brick, and all the arches turned, and most of them covered, 
 with courses of bricks or tiles, as they may be called, precisely 
 similar in quality and size to those found in Roman works dis- 
 covered in this country ; and over the balustres of the window 
 looking from the tower into the nave these bricks are used as 
 imposts. 
 
 The great arch, between the nave and the chancel, has, 
 at an earl}^ period, been partly taken down and filled up with 
 a good pointed arch ; but this was not so completely done as 
 to destroy the remains of the spring of the original arch, which, 
 on stripping the plaster, was found to have the same tile impost 
 and tile arch, and course of covering tiles, as are found in the 
 other arches. At what date the church remained in its original 
 state I do not presume to determine, but from the nature of 
 the alterations now extant it must have been very early : and 
 I now proceed to state these as they appear. 
 
 The north door of the tower is stopped up, and against the west 
 side of the tower is erected a circular staircase, built of the raff- 
 stone in a very rough state ; the stairs are partl}^ remaining, 
 and the under side of them has been formed upon rough 
 plastered centering, in the mode usually adopted by the Nor- 
 mans. To afford access to this staircase, the original west door 
 of the tower has been partially stopped, and the aperture is a small 
 circular-headed door. There is no other access to these stairs, 
 and they lead to the two stories of the tower, reaching rather 
 higher than the present remains of the original steeple, upon 
 
ON ANGLO-SAXON ARCHITECTURE. 73 
 
 which is now a belfry and lofty spire, of a style which may be 
 considered of from 1300 to 1330. 
 
 Proceeding eastward, we find the original aisles destroyed, 
 and the westernmost arch, on the south side, remaining to its 
 original use, but now leading into a south aisle, nearly of the 
 date of the belfry ; and to give access to the eastern part of this 
 aisle, the waU of the original chancel on the south side has been 
 opened, and two arches inserted, which are dissimilar in their 
 shape, range, and mouldings. In the arch next the tower on 
 the south side is also inserted a door, and of such a character 
 as to fix its date to about the year 1150 : it is covered by 
 a porch of a date somewhat later. We now come to the present 
 chancel, which is an addition eastward of the original one. The 
 east end had, originally, one large window and two small ones ; 
 the lower part of the large one has been opened to the ground, 
 widened, and the upper part supported by a wood lintel resting 
 on two wooden uprights, against which are some remains of 
 a Perpendicular wood screen. Eastward, the present chancel 
 consists of portions of each of the four styles ; on the north side, 
 joining the old chancel, are parts of two l^orman divisions with 
 small flat buttresses, and such a direction as to make it pro- 
 bable that this Norman chancel was multangular eastward. In 
 these two divisions- are inserted two windows, one a Decorated 
 two-light window, forming a north low side window, the other 
 a Pei'pendicular two-light, which is so inserted as to preserve 
 above it the Norman arch of the window originally lighting 
 that division. The rest of the chancel below the string is Early 
 English, and has Perpendicular windows above ; on the south 
 side is a Perpendicular door and a low side window of the same 
 date. The nave is now lighted by six windows inserted in the 
 old walls, all of difierent sizes, and, with the exception of two, 
 which are alike, of different dates. A vestry has been formed 
 in the nave, opposite the porch, and a wall built across the 
 nave at that part, forming a screen; the vestry is lighted by 
 a small window, differing from any of the others. 
 
 This church has been thus particularly described, on account 
 of the extraordinary" preservation of so much of the original 
 structure, amidst alterations which appear to have been carried 
 
 L 
 
74 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 on from the time of the Normans to the Reformation, about 
 every fifty years, for so diversified are the difierent additions 
 and insertions as to character : it is also curious for the dis- 
 covery of a relic in a small shrine, which appears of the age 
 of the south aisle, and was inserted in the south wall near 
 a window. Interfering with a seat, it was taken out of the 
 wall, and behind it a cavity was found containing a small 
 wooden box, in which was a small bone, which, with the shrine, 
 is carefully preserved. 
 
 [There seems to be little doubt that this church was ori- 
 ginally a Roman basilica, probably of the fourth or fifth 
 century, of which the outer walls have been destroyed and the 
 arches walled up. The foundations of the aisle walls were 
 again uncovered at the time of the meeting of the Archae- 
 ological Institute in 1861, and examined by Lord Alwyne Comp- 
 ton, ^Ir. J. H. Parker, and some others. The aisles are divided 
 by cross walls, as if they had been originally divided into small 
 chambers or chapels. The western porch has Roman arches or 
 doorways on the north, south, and west sides ; the Anglo- 
 Saxon belfry has been built upon this Roman porch, probably 
 in the eleventh century, and the circular staircase added to 
 obtain access to it. The original Roman apse at the east end 
 has been destroyed in order to carry out a longer chancel.] 
 
 11. Earl's Barton, in Northamptonshire. 
 
 This tower is apparently of the same character as No. 4, 
 but more ornamented, and with rather more finish of work- 
 manship ; it is, however, still rude, compared with most Nor- 
 man work, and its west 
 door has a curious ap- 
 proximation to Roman 
 work, in an impost with 
 flutes, and a rude mould- 
 ing over it, similar to a 
 Roman architrave. The 
 balustre is used to the 
 ■windows ; the number of 
 
 stone ribs is greater than 
 
 at Barton- on- the- Humber ; 
 
 Wiudow In Tower. Earl's Barton. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 75 
 
 and the upper stories of the tower diminish in size a few 
 inches each way, less than the story below. This tower so 
 clearly resembles Brixworth in the balustre, Brigstock in the 
 work about the door, and Barton-on-the-Humber in general 
 character, that there can be little hesitation in considering 
 them of the same class, and the tower of Barnack assimi- 
 lates also in several points to Brigstock and EarFs Barton. 
 The church of Earl's Bar- 
 ton is highly interesting, 
 exclusive of its curious 
 tower. The chancel be- 
 low the window, the south 
 door of the church, and 
 some other portions, are 
 Norman, good and much 
 enriched ; other portions, 
 both of church and chan- 
 cel, are Early English, and 
 the north door and some 
 of the windows are Deco- 
 rated ; while some in- 
 serted windows and the 
 clerestory are Perpendi- 
 cular. There are two 
 Early English water-drains 
 and three Norman stalls. 
 There have been low side 
 windows to the chancel, iu.v.r, ji^an, ba.>.ou. 
 
 but they are now stopped. The arch from the tower into the 
 nave is evidently an insertion of later date than the rest of 
 the tower : it is partly Norman to the spring of the arch, 
 and Early English above. 
 
 12. The Tower of Clapham Church, Bedfordshire. 
 
 This is principally remarkable for the extreme simplicity 
 and rudeness of its construction. It consists of a square tower. 
 
76 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 witliout buttress or tablet, about three squares higb, with 
 a rude round -arched door, 
 and above it two heights of 
 small round arched windows ; 
 above this part of the tower, 
 with a plain set-off inwards, 
 is a Norman portion, with a 
 Norman window divided into 
 two by a central shaft, plain, 
 and of early character ; this 
 part is surmounted by a cor- 
 nice and battlement of later 
 date. 
 
 This toAver is wholly plas- 
 tered and rough- cast outside, 
 and therefore does not shew 
 the long - and - short work ; 
 but a very attentive exami- 
 nation of the interior of the 
 tower, the construction of the 
 
 windows, the absence of a Tower, ClapUam, Bedfordslme 
 
 staircase, the great thickness of the walls, the material used (small 
 rag-stone) and the general appearance, induce me to include it 
 in this list of early churches. This church is very near the 
 great road about two miles north of Bedford. 
 
 13. The Tower of the Church of St. Benet, 
 IN Cambridge. 
 
 The long -and -short portions have been here obscured by 
 plaster and rough-cast ; but during the sitting of the British 
 Association at Cambridge in the year 1833, I had permission of 
 Dr. Lamb, Master of Corpus Christi College, to remove so much 
 plaster as should settle the construction of the tower, which was 
 done, and the long-and-short masonry clearly developed ''. The 
 
 "^ This tower has shice been entirely cleared of plaster, under the direction of tlie 
 Cambridge Camden Society. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 77 
 
 Tower, at. Bouets, Cambridge 
 
 arch from the tower into the church (a large semicircular one) 
 resembles the arch at the west end 
 of Kirkdale Church in a degree of 
 approach to Norman, and the impost 
 and arch mouldings assimilate it to 
 Barnack and Earl's Barton ; while 
 certain rude animals, in the place of 
 a drip supporter, add another curious 
 feature. This tower is not sufficiently- 
 known, being a good specimen and in 
 excellent preservation ; it has the ba- 
 lustre belfry window, and no stair- 
 case. The west door, and window over 
 it, are insertions. 
 
 [The tower-arch is a remarkably 
 characteristic feature, and has some 
 curious rude sculpture on the imposts, 
 some kind of animal, the sculpture very 
 shallow and flat, such as might be done 
 with the pick without requiring the use of the chisel.] 
 
 14. The Tower of the Church of St. Michael, 
 IN Oxford. 
 
 This tower, like Clapham, in 
 Bedfordshire, was, till very late- 
 ly, covered with rough-cast, and 
 its curious features only to be 
 guessed at from a balustre belfry 
 window, and the small_^rude rag- 
 stone walling of the interioi", 
 with the absence of a staircase : 
 but on recently passing through 
 Oxford, I was glad to find the 
 rough-cast stripped off from the 
 outside, and its long- and -short 
 features clearly displayed. It 
 now stands out a decided and 
 good specimen of the long-and- 
 short work. 
 
 Tower, St. Michael's, Oxford 
 
78 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 15. Trinity Church, Colchester. 
 
 Of this church only a part of the tower, the west door, and 
 a small portion about it, are of early date, but this small part 
 is curious from its near approximation to Roman work, being 
 plastered over bricks, and also from its having a straight-lined 
 arch. The arch into the church is semicircular, and of small 
 rag-stones or brick, i.e. flat tiles. 
 
 16. The Church of Stoke D'Abernon, Surrey. 
 
 This church has the chancel-arch and east wall of long-nnd- 
 short work. 
 
 17. The Church of I^orth Burcombe, Wilts. 
 
 This is a small church 
 close by the road side from 
 Wilton to Hindon ; it is 
 only the east end of the 
 chancel which appears to be 
 part of the original build- 
 ing ; though the rest of the 
 church is principally of De- 
 corated date, and has proper 
 quoins of the usual size, and 
 alternate bonding into the 
 wall ; and thus this church 
 offers a good specimen of 
 both sorts of masonry, which 
 are not commonly found to- 
 gether. 
 
 ^ioith Burcombe. 
 
 Both the long-and-short pieces and the quoins are of the 
 oolite, common in that part of Wiltshire, and are in very good 
 condition, and the edges sharp, affording another proof of the 
 value of that description of stone. The walls are flint and rag 
 and some rubble, but the east end is plastered and rough-cast, 
 as well as part of the sides of the chancel, and therefore I can- 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 79 
 
 not tell whether there is any east window, or ever has been, as 
 the plaster, both inside and out, shews no trace of any that I 
 could discover. 
 
 18. Bkitfokd Church, near Salisbuhy. 
 
 Arch iu the wall. Bntford Church. 
 
 In this parish was, I believe, a palace of Edward the Con- 
 fessor. The church is a cross church, and seems to have been 
 rebuilt and patched at various times; but there still remains 
 a north and a south door, which are evidently Saxon ; and 
 there is another aperture rudely stopped, and a window (also 
 stopped) with a buttress of much later date before it. This 
 last-mentioned aperture and window are not clear as to date; 
 but the north and south doors are curious. 
 
 The former is of stone in small thin pieces, long-and-short- 
 wise, with a plain impost to spring from ; the latter is also com- 
 posed of long-and-short pieces of stone, with a few of the flat 
 tiles called Roman bricks, and the arch turned with these bricks, 
 and large joints of a mortar evidently composed of lime, flint, 
 and pounded bricks. These doors are now both stopped ; the 
 south door forms an important link with Brixworth Church by 
 the mixture of brick and stone. 
 
80 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 19. The Church of "Worth, in Sussex, 
 appears to have some long-and-short work ; but as I have not 
 been yet able to visit it, or otherwise to ascertain exactly its 
 arrangement and construction, I notice it onh^ as a church de- 
 serving of more attention than it has hitherto received. 
 
 [Mr. Bloxam considers the ground-plan of it to be the most 
 perfect of anj'^ of this class. The original foundation does not 
 appear to have been disturbed, although insertions of windows 
 of later date have been made in the walls. It is a cross church, 
 consisting of a nave with transepts, and a chancel terminating 
 at the east end with a semicircular apsis.] 
 
 20. SoMPTiNG Church, Sussex. 
 
 This most curious tower I have recently visited, and have 
 found it clearl}' of long-and-short character, but presenting some 
 singular differences from others. Here, as in most, the corner 
 stones are long and short ; but the transverse or short pieces 
 are no longer, or rather broader, than the long ones, and they 
 are mostly of a different stone. 
 
 This tower is large, and the whole of the north side has been 
 taken down and rebuilt to form a side of a chapel, part of which 
 
 OrdiQary LonJ-aud-Sbort. 
 
 LoD^-and-Shorl at Somptinft 
 
 now remains, but this only applies to about fifteen feet of the 
 lower part; all above is ancient. There is a window, now stopped. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 81 
 
 on the west side of this tower, which appears to he an original 
 one, and which has the small thin long-and-short work, like the 
 
 Tower-arch, SompUng. 
 
 Impost of Tower-arcti. 
 
 north door at Britford. The opening into the church from this 
 tower is not in the middle, but on the south 
 part of the Avest wall, and has on each side 
 a column and two pilasters ; the former with 
 a rude capital not Norman, but having much 
 of a Roman character, and, like a Corinthian 
 cap, with the volutes and curls of the leaves 
 broken off; the pilasters have a sort of impost 
 with a boldly cut scroll, the relief and cha- 
 racter of which are also much more Roman 
 than Norman. This tower has no stairs, and in its upper 
 windows has a plain round centre instead of the balustre, but 
 having a top with a rude sort of volute ; and in several parts 
 of these windows I found Roman bricks, or flat tiles, and some 
 of the windows had semicircular heads and some straight- 
 lined heads. 
 
 M 
 
82 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 This to-vvcr has a middle rib which becomes rounded above 
 the first story, and is flat below ; that first story has oyer it an 
 
 DeiaUs of Tower, Sompting. 
 
 ornamented string with a sort of cutting I have never seen else- 
 where, and unlike any Norman ornament I know. 
 
 This string is about nine 
 inches thick, and is so de- 
 cayed that I could not satis- 
 factoril}^ ascertain its section, 
 but I believe the above is 
 near what it is. 
 
 'OO 
 
 
 
 
 IP 
 
 no 
 
 no 
 
 
 
 
 I 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 83 
 
 This tower is lofty, full one hundred feet to the point of the 
 slated sort of spire; it has 
 four gables very pointed, 
 and thence arises the spire. 
 
 The church is a cross 
 church with no aisles, ex- 
 cept an east aisle to the 
 transepts ; the north has 
 three round piers and two 
 arches, and the south one 
 arch only ; the whole of 
 this is mixed with very late 
 Norman and Early English, 
 and appears all before 1200, 
 except the woodwork of the 
 porch, and perhaps its stone- 
 work, and some Perpendi- 
 cular inserted windows. On 
 the whole, this is a very cu- 
 rious church, and deserves 
 to be studied with great at- 
 tention. '^''^'''- s-'-^rAiDg 
 
 Having now gone through the list of twenty churches, which 
 I have described with some minuteness, in order to excite an 
 interest in this valuable study, and also to shew their connection, 
 (and I have left much undescribed, that they may be visited and 
 studied by others,) I proceed to make a few general remarks. 
 
 I beg first to say, that in this interesting investigation I owe 
 much to the zeal and activity of my friend William Twopeny, 
 Esq., of the Temple. For the knowledge of several of these 
 churches I am indebted to him ; he first discovered and ex- 
 amined the two extremes, Whittingham and North Burcombe, 
 each of which I have since visited, and found peculiarly 
 valuable. 
 
 It is curious that of twenty churches, the names of seven, or 
 more than one-third, begin with the letter B. 
 
 It is also curious that no one of the towers appears to have 
 had a stone stair. Those at Brixworth and Brigstock are 
 
84 ON ANGLO-SAXON ARCHITECTURE. 
 
 evidently additions outside, and at Barnack obviously so inside. 
 They have all ladders, and I find no A'estige of any original 
 stone stair : at Whittingham is a sort of vault and rude stair 
 a little way up, but I do not think it original. The very ex- 
 tensive under-building which appears at Earl's Barton to intro- 
 duce the arch into the nave, and at Sompting to add the Deco- 
 rated side chapel, are very curious, and shew great boldness of 
 practice. In the latter, short and thick buttresses have been 
 added to the tower, evidently when this chapel was built ; and 
 a west door and window inserted in the lower story of the tower 
 at the same time. In the examination of this subject I have of 
 course attended to the illuminations of ancient manuscripts, and 
 I find in those of the metrical paraphrase of Caedmon% lately 
 printed by the Antiquarian Society, {Arc/ueohgia, vol. xxiv. 
 Plates LV. and LXiii.,) something which appears to me clearly 
 to represent the long-and-short masonry. 
 
 [The annexed representations of parts of Saxou buildings are from ^Ifric's Anglo- 
 Saxon version of the Pentateuch, preserved among the Cotton MSS. in the British 
 Museum. Claud. B. iv. There is considerable doubt whether the representations 
 of buildings in Anglo-Saxon MSS. can be relied on ; also whether they are intended 
 to represent stone buildings or wooden structures w^th metal ornaments.] 
 
 The term Boman brick will, I hope, be easily understood. 
 Though I by no means wish to assert that all these bricks were 
 Roman, I think it not unlikely that the Saxons retained the art 
 of making them*^. The brick I mean differs in shape from 
 modern brick, and more resembles oiu" present large paving- 
 tile ; they are of various dimensions, nearly, but I believe 
 seldom quite, square, between fourteen inches and eleven inches 
 on the sides, and rarely much more than one inch and a-half 
 thick. 
 
 " [This manuscript of Ctedmon is of newels of the staircases at St. Alban's, 
 
 the eleventh century. The Benedic- and many tiles or bricks in Colchester and 
 
 tional of St. j-Ethelwold, published in its neighbourhood, and in other parts 
 
 the same volume of the ArchcBologia, of the east of England, appear to have 
 
 and which also contains drawings of been made for the places they occupy. 
 
 Anglo-Saxon buildings, is suppostd by The earliest example of the use of bricks 
 
 Mr. Gage to have been written be- of the Flemish shai)e in England is at 
 
 tween a.d. 977 and 989. See Arch., Little Wenham Hall, Suflblk, about 
 
 vol. xxiv. p. 131.] 12G0. Paving-tiles and roofing-tiles are 
 
 ' [There appears good reason to sup- frequently mentioned in the writings 
 
 pose that tiles continued to be made after and accounts of the twelfth and thir- 
 
 the Roman fashion in size and thickness tcenth centuries.] 
 down to the thirteenth century. The 
 
ilS. Cotton, fol 57. vo. 
 
 "f~^ 
 
 '? W^ 
 
 MS. Cotton, fol. 74. v". 
 
 MS. Cotton, fol. 38. v". MS. Cotton, Claud. B. iv. fol. 36. v". 
 
 ILLUSTEATIONS FROM MSS. OF THE ELEVENTH CENTUBT. 
 
86 ON ANGLO-SAXON ARCHITECTURE. 
 
 As the terms rag and rubble, thougli very clear when 
 known, are sometimes confusing to those not acquainted with 
 
 various masonr}', I may say, 
 
 that by rag I mean stuff of "^^ 
 
 many qualities in different 
 counties, but being flat bedded 
 stuff, breaking up about the 
 thickness of a common brick, 
 sometimes thinner, and gene- 
 rally used in pieces not much Ras-work. 
 larger than a brick ; it is found laid in all directions, though 
 generally horizontally. This stone is often very hard, and fre- 
 quently plastered and rough- 
 cast ; but in some counties 
 neatly pointed with large 
 joints, and looking very well. 
 
 Rubble walling is generally 
 of pieces more nearly approach- 
 ing to a cube, with great ir- 
 regularity of size and shape, Eubwe-work. 
 as well as hardness ; this also is often plastered, but sometimes 
 well pointed with large joints, and left outside ; it is, however, 
 much more used as backing behind ashlar work, and often of 
 very bad materials. I once took down a fine Norman tower, in 
 parts seven feet thick, and the wall consisted of two skins about 
 nine inches thick, of sand-stone ashlar, and the whole of the 
 interval filled in with mere mud mixed with a little lime. In 
 all these early chui"ches the materials are generally hard and 
 well consolidated. 
 
 I thus present at once to the view of m.j readers all that I at 
 present know on the subject, that others may be induced to 
 engage in this interesting pursuit, and thereby my list of twenty 
 churches bo increased ; for there are several others that I hope 
 will, on a careful examination, prove to be of this early date. I do 
 not mention them, because I wish not to mislead by noticing what 
 mat/he curious ; but rather, that by closely studj'ing these exam- 
 ples, the student may have his ideas of this style carefully fixed, 
 and then explore for himself in the many parts of England where 
 our churches have not, to any extent, been properly examined. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 87 
 
 [The following churches of this class have been noticed since 
 the publication of Mr. Riclanan's list. 
 
 21. Deerhurst Church, Gloucestershire. 
 
 The tower of this church is a good specimen of the style. 
 It is unusually lofty, being four stories 
 high, and is divided by a wall into two 
 parts: this middle wall, however, ex- 
 tends only to the top of the third story, 
 one side is covered by a plain and rude 
 barrel- vault, the other half appears to 
 have had a spire upon it : the whole 
 of the upper story may probably be an 
 addition. 
 
 The masonry is very rude and wide 
 jointed rag-work, with some herring- 
 bone, and with long-and-short work at 
 the angles : the doorways are round - 
 headed, with clumsy dripstones, and 
 rude sculptures over them ; that over 
 the middle doorway is a figure standing 
 in a shallow niche, holding a vesica, 
 probably intended to represent the 
 Trinity. 
 
 The south wall of the church and the 
 chancel- arch appear to be of the same 
 age as the tower. The arch is now built up in the wall which 
 forms the present east wall of the church : it has a square 
 dripstone terminated by sculptures of grotesque animals. The 
 mouldings of this chancel -arch have, however, more of the 
 usual Norman character, and the body of the church has 
 evidently been rebuilt, if not entirely, at least in great part, 
 at diiferent periods. The whole church is curious, and requires 
 careful study to make out its history. 
 
 The windows of the tower on the north and south sides are 
 small and round-headed, the head of each cut out of a single 
 stone, and the jambs each also formed of a single stone. In 
 the east wall is a curious double window with triangular heads, 
 
 Section of Towe 
 
 / 
 
88 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 the shafts ornamented with an imitation of Roman fluting, 
 and the capitals are merely cut into a series of small receding 
 square fillets. 
 
 This church is a valuable example of the supposed Saxon 
 class, the more so from the 
 circumstance of a stone hav- 
 ing been preserved -with an 
 inscription upon it recording 
 the erection of a church on 
 this spot by Duke Odda, who 
 lived in the reign of Edward 
 the Confessor. This stone, 
 which is now preserved a- 
 mong the Arundel ISIarbles 
 in Oxford, was dug up in 
 
 the last century on the site e^3, wmdow of Tower, Ceerhurst. 
 
 of the chancel, which had been destroyed in the time of the 
 civil war. 
 
 HFODDADVXIVSSIIIoNd5 
 Re GIAM AVIAMCONSTRV I 
 iATQV€ DGDeRIINHON O , 
 Re STRINITA11SPR0ANIMA©fl 
 
 mwisy I e l FRmeoeHo ci 
 
 lOSASV PTA e ALDReDVS VER O 
 ;ePSQVI eANDeiD IDCAVITII ID 
 ^BVSAPIXIIIIAVIANNOS REG 
 fADWA RDlReciSANGUOag 
 
 [Odda dux jussit lianc regiara aulam construi atque dudicari in lionore Sanctae 
 Trinitatis pro anima gerniani sui Elfrici, que de hoc loco assumpta, Eaddredus vero 
 episcopus qui candem dedicavit iij idibus Aprilis, xiiii autem anno S. regni Eadwardi 
 regis Angloruin.] 
 
 Earl Odtla ordered tliis royal building [cluirch] to be constructed and dedicated 
 in honour of tiio Holy Trinity for the [salvation of the] soul of his cousin ^Elfric, 
 who died at this place. It was Eaddred, the bishop, who dedicated it, on the 
 third of April, in the fourteenth year of Saint Edward, King of England. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 89 
 
 [The form of the letters is of the eleventli century, rather 
 later than the date mentioned, and the use of the letter S, in- 
 dicating Saint, before ' regni,' would not have been used in the 
 lifetime of the Confessor. But as all the circumstances men- 
 tioned are correct, its authenticity cannot be doubted. The 
 Saxon Chronicle records that Odda Avas appointed earl over 
 Devonshire and over Somerset, and over Dorset, and over the 
 Welsh in 1051, and died in 1056, Florence of Worcester 
 adds that he was a lover of churches, and died at Deerhurst, 
 and that he received the monastic habit at the hands of Bishop 
 Ealdred a short time before his death : so that it was probably 
 on that occasion he ordered this church to be built. AVe learn 
 from the same authority that Alfric, Odda's brother, died also 
 at Deerhurst in 1053, so that this place was probably the resi- 
 dence of the family. 
 
 This is the earliest dated churcb in England, and is very 
 little more advanced in style than any of the others of the Anglo- 
 Saxon type. We must therefore either assume that all the 
 churches built in England for five hundred years after the 
 departure of the Romans were in exactly the same style, and 
 that the art of building stood still for that long period, or we 
 must allow that we have scarcely any buildings remaining be- 
 tween the years 500 and 1000, because the habit of the people 
 was to build in wood only, as was the case with other nations 
 in. the same stage of civilization.] 
 
 22. CoRHAJViPTON Church, Hampshire. 
 
 Corbaiiipton Chxirch, Hair.psijire. 
 
 This is a singularly good example of long-and-short work, 
 wbicli occurs at every angle. The flat pilaster buttresses, and 
 
 N 
 
90 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 The doorway 
 
 the north doorway, have the same character 
 is built up, and a lan- 
 cet Avindow inserted 
 under it. The impost 
 and base of this are 
 good specimens of the 
 rude imitation of Ro- 
 man work which has 
 been before noticed. 
 The chancel - arch is 
 also of the same clumsy 
 work as has been no- 
 ticed in other exam- 
 ples, the imposts of 
 plain large stones and 
 the usual sort of rude 
 hoodmould. Part of 
 this church is Early 
 English, which is also 
 
 '"tTstTna'^BLr the case with several^ 
 
 others of this class. The font is a curious one, and seems early. 
 
 23. NORTHLEIGH ChURCH, OXFORDSHIRE. 
 
 Door, Corhampton. 
 
 Northleigb Cliurcb. Oxfordshire 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 91 
 
 The tower of this church appears, from its very thick walls 
 and rude balustre windows, to belong to the same class : it has 
 originally been a central tower, but the nave has been destroyed, 
 and the original chancel turned into the present nave, another 
 chancel having been added. 
 
 Arches of much later date have been pierced through the 
 thick rubble walls of the original tower in a very singular 
 manner, the original belfry-story above being preserved, and 
 a late battlement erected upon it. 
 
 24. Stanton Lacy Church, Shropshire. 
 
 Sianton Lacy Cburch, Shropshire. " 
 
 This church, though much altered, has preserved many of its 
 original features ; the pilaster 
 strips and the north doorway 
 possess very clearly the same 
 early character as the other 
 examples. 
 
 For further particulars re- 
 specting this church, see an 
 account of it by Mr. Petit in 
 the "Archaeological Journal," 
 vol. iii. p. 297 ; and some re- 
 marks upon it by Mr. Harts- 
 home, ib., p. 285. ..,<«»ftto,,.-^«^^:^^ 
 
 Doorway, Stanton Lacy. 
 
92 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 25. Church of St. Mary Bishop-hill Junior, York. 
 The tower of this 
 church has most of 
 the same features with 
 the others already de- 
 scribed. The upper 
 part has been rebuilt 
 of the old materials. 
 The original masonry 
 is, in parts, of herring- 
 bone work, and has 
 bricks or tiles of the 
 Roman shape built in. 
 The belfry windows 
 are of the usual rude 
 character, with some- 
 thing approaching to 
 long-and-short work 
 in the jambs, a clumsy 
 shaft carrying a long 
 impost, and a plain 
 square dripstone car- 
 ried on pilaster strips. 
 
 _ -.in. 
 
 South and East Windows of Tower, St. Mary Bishop-hiU Junior, Tork. 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 93 
 
 26. Dunham Magna, Norfolk. 
 
 The nave and central tower 
 of this church have the usual 
 features of the class. The tower 
 has long-and-short work at the 
 angles, small round-headed win- 
 dows, splayed inside and out, 
 and belfry windows, with a central 
 shaft supporting a long stone, as 
 in several other examples, but 
 the shaft has caps and bases of 
 Norman character. The tower- 
 arches are plain and massive, 
 the eastern arch has a rude cable- 
 moulding for the impost, and on 
 the west side has two hood- 
 moulds, the lower one springing 
 from the end of the impost 
 mouldings, the upper one from 
 short corbel shafts with round 
 caps rudely moulded : both these 
 hood-moulds are romid, and ap- 
 pear of ante-Norman character : 
 the western arch has the Norman 
 star ornament, the same as occurs 
 in the chaj)el of the White Tower, 
 London. At the west end is a 
 triangular canopy, over a square- 
 headed doorway, consisting of 
 a fillet with the edges cut into 
 a kind of square billet ornament, 
 and shafts ornamented in a similar 
 manner, the imposts of which 
 are of the same character as those 
 of the window at Deerhurst. 
 
 Geueral Vir;,v. 
 
 Dunliara Ma^na, Norfolk. 
 
94 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 27. Bradford-on-Avon, Wiltshire. 
 This church is a very remarkable example ; it is a small early 
 cruciform church, standing originally in the same churchyard 
 
 View and Plan of Bradford-ou-Avon Church. Wiltshire. 
 
 with a larger and later church, but this later church has some 
 portions of the work of the end of the twelfth century. The old 
 church (now used as a school-house) has most of the features of 
 the class supposed to be Anglo-Saxon, but the masonry is remark- 
 ably good, clean, and fine-jointed, and there is an arcade incised 
 in the surface of the wall round the outside of the chancel ; on 
 either side of the chancel-arch also were sculptured figures of 
 angels. We know that neither fine-jointed masonry nor sculp- 
 ture were in use either in England or Normandy before the 
 twelfth ccntur}', and it seems, on the whole, far more probable 
 that the inhabitants of a remote country village continued to 
 
ON ANGLO-SAXON ARCHITECTURE. 
 
 1)5 
 
 build after the fashion of their fathers, and that the actual 
 date of the construction of this church is the beginning of 
 the twelfth century, than that they were in advance of Prior 
 Conrad at Canterbury, or the builders of any other part of 
 Europe, which must have been the case if this church was built 
 in the eleventh century, or at any previous period. 
 
 [The following churches, or portions of churches, of similar 
 character, have been noticed as belonging to this class. It 
 may very possibly be found, on a careful examination, that some 
 of them do not strictly belong to it, w^hile further research will 
 probably bring other examples into notice. There is strong 
 ground for believing on historical evidence that several of these 
 are really of a date subsequent to the Conquest ; for instance, 
 Jarrow and Monk's Wearmouth are mentioned by Simeon of 
 Durham as rebuilt in his time ^. Such examples may neverthe- 
 less be properly classed as belonging to the Anglo-Saxon style, 
 as the Norman Conquest did not produce any immediate change 
 of style in building : — 
 
 Bedfordshire. 
 
 - *Clapham, tower (12). 
 Knotting. 
 
 Berkshire. 
 
 Cholsey, tower. 
 
 Wickham, tower and chancel-arch. 
 
 BUCKI>-GHAMSHIRE. 
 
 Caversfield, tower. 
 Iver. 
 
 Lavendon, towir. 
 
 Wing, nave and chancel, with poly- 
 gonal apse. 
 
 CAMBEIDGKSHrRE. 
 
 Cambridge, St. Giles's. 
 
 - * St. Benet's (13). 
 
 Cornwall, 
 Tintagel. 
 
 Derbyshire. 
 *Repton, east end (6). 
 
 DUBHAM. 
 
 Jarrow, walls of church, and ruins 
 near it. 
 
 Monk's Wearmouth, tower. 
 
 •> See Mr. Raine's Preface to " Tlie 
 Inventories and Account Rolls of Jarrow 
 and Monk's Wearmouth," published by 
 the Surtees Society, Durham, 1854. 
 
 Essex. 
 Boreham, church. 
 
 *Colchester, Trinity church tower (15). 
 Felsti ad, church. 
 ^ Great Maplesteud, north door. 
 
 Gloucestershire. 
 Daglingwortb, church. 
 
 - Deerhurst, tower. 
 Miserden, church. 
 Stretton, north doorway. 
 Upleaden, chancel-arch. 
 
 Hampshire. 
 - Boarhunt. 
 ' Corhampton, church. 
 
 - Headbourne Worthy. 
 Hinton-Ampner. 
 Little Sombourn. 
 Kilmeston, church. 
 Tichborne. 
 
 Hertfordshire. 
 St. Michael's, at St. Alban's. 
 
 - Part of St. Alban's Abbey. 
 
 HUNTINGDOU shire. 
 
 Woodstone, tower, (lately destroyed). 
 
 * Those marked * were first published 
 by Mr. Rickman, and most of them were 
 originally pointed out to him by W. 
 Twopeny, Esq. 
 
96 
 
 ON ANGLO-SAXON ARCHITECTURE. 
 
 Kent. 
 Dover, the ruined church in the castle. 
 Swanscombe, tower. 
 
 Leicesteeshiee. 
 Barrow-on-Soar. 
 Tugby. 
 
 LiNCOLNSHIEE. 
 Aiikborougli. 
 
 *I}arton-on-H umber, tower (4). 
 Branston. 
 Caburn. 
 Clee, tower. 
 Heapham. 
 Holton-le-Clay. 
 Lincobi, St. Benet's tower. 
 
 St. Peter's at Gowts. 
 
 St. Mary-le-Wigford. 
 
 Nettleton. 
 
 *Ropslev, west end (5). 
 
 Rothweil. 
 
 Scartho, tower. 
 
 Skellingthorpe. 
 
 Skillington, part of the church. 
 
 Springthorpe. 
 
 Stow, transepts. 
 
 Swallow. 
 
 Syston, tower. 
 
 Waith, tower. 
 
 Winterton. 
 
 Worleby (?). 
 
 Middlesex. 
 Kingsbury, part of the church. 
 
 NOEFOLK. 
 
 Beeston, St. Lawrence. 
 
 Dunham Magna, church tower. 
 
 Elmham. 
 
 Howe. 
 
 Newton, tower. 
 
 Norwich, St. Julian's. 
 
 NOETHAMPTONSHIEE. 
 
 *Barnack, tower (7). 
 
 *Brigstock (9). 
 
 ♦Brixworth (10). 
 
 ♦Earl's Barton, tower (11). 
 
 Green's Norton, west end. 
 
 Pattishall. 
 
 Stowe Nine Churches. 
 
 * Wittering (8). 
 
 NOETHUMBEBLAND. 
 Bolam, tower. 
 Bywell, St. Andrew. 
 Bywell, St. Peter. 
 Corbridge. 
 Hexham, crypt. 
 Ovinghani. 
 *\Vhittingham (1). 
 
 OxFOEDSniEE. 
 
 Northleigh, tower. 
 
 *Oxford, St. Michael's, tower (14). 
 
 RUTLANDSHIEE. 
 
 Market Overton, tower-arch. 
 
 Sheopshiee. 
 Barrow, chancel-arch. 
 Church Stretton. 
 Clce. 
 
 Stanton Lacy, nave and transept. 
 Stottesdon. 
 
 SOMEESETSHIEE. 
 
 Cranmore, a doorway. 
 Milbourne Port. 
 
 Suffolk. 
 Barham, part of church. 
 Claydon, part of cliurdi. 
 Debenham. 
 
 Flixton, near Bungay. 
 Gosbeck, part of church. 
 Hemingstone. 
 Ilketshall. 
 Leiston, 
 
 SUEEET. 
 Albury, church. 
 *Stoke d'Abernon (16). 
 
 Sussex. 
 Bishopstone, church. 
 Bosham, tower. 
 St. Botolpb, chancel-arch. 
 Burwash. 
 
 *Sompting, tower (20). 
 *Worth, a small part (19). 
 Yaptou. 
 
 Waewickshiee. 
 WootenWawen,substructureof tower. 
 
 WiLTSHIEE. 
 
 Bradford-on-Avon. 
 
 l^remhill, west end. 
 
 *Brytford, door (18). 
 
 *North Burcombe, east end (17). 
 
 Somerford Keynes, church. 
 
 WOECESTEBSHIEE. 
 
 Wyre Piddle, chancel-arch. 
 
 YORKSHIEE. 
 Bondsey. 
 
 *Kirkdale, west end (2). 
 Kirk Hamerton. 
 *Laughton-en-le-Morthen (3). 
 Maltby. 
 
 Ripon Minster, crypt. 
 York, St. Mary Bishop-hill Junior.] 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. 97 
 
 [Long-and-short work in the quoins or corners of a tower, or 
 in the jambs of a doorway or of a window, is by no means 
 always an indication of a very early date : it depends a good 
 deal on the nature of the building materials, and in this, as in 
 other things, it is highly probable that in remote country 
 villages the people long continued to build in the way of 
 their fathers in many little things, even when in the general 
 design they followed the fashion of the day. 
 
 Many churches and other buildings which unquestionably 
 belong to the Norman period still have details corresponding 
 with the buildings called Anglo-Saxon. Such are several of 
 the round towers in Norfolk and SuflPolk, which have windows 
 with straight-sided arches, as at Hadiscoe, Norfolk, and Her- 
 ringfleet, Suffolk ; these windows have shafts with the regular 
 Norman scolloped capitals of the twelfth centiuy. The pedi- 
 ments over an arcade in the north transept of Norwich Cathe- 
 di'al have much of the Saxon cha- 
 racter, and we know that they must 
 be Norman, for the cathedral was 
 rebuilt on a new site after the Con- 
 quest. 
 
 Towers were often built of a round 
 form, to avoid the necessity for ob- 
 taining square stones for the corners, 
 especially when the building mate- 
 rial was fliat. Some of these have 
 long-and-short work in the jambs, 
 and arches formed of tiles either 
 actually Koman or made after the 
 Roman fashion, large and thin and 
 flat. When these features are com- 
 bined, as at Tasburgh, Norfolk, we 
 may fairly conclude that it is a very 
 early example, in general probably 
 of the eleventh century \ Other 
 examples ' in which this sort of 
 mixture of early features occurs in later work are,— 
 
 Snailswell, Cambridgeshire. Kirby, Norfolk. 
 
 Southtase, Sussex. Blundeston, Norfolk 
 
 Piddiugton, Sussex. Rushmere, Suffolk. 
 
 Great Lees, Essex. Barsbam, Suffolk. 
 
 Hadiscoe Thorpe, Norfolk. Sylehaui, Suffolk. 
 
 Norton, Norfolk. Wejbread, Suffolk, 
 
 Tasburgh Cliurcb, Norfollt. 
 
 '' The belfry story of this tower is evi- 
 dently an addition of a uuich later period. 
 
 ' For this list we are indebted to 
 Mr. J. C. Buckler, whose indelaligable 
 
 researches during many years are well 
 known and justly ai)preciated. The list 
 might easily be enlarged, as such ex- 
 amples are numtrous. 
 
98 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 — rc_3. 
 
 Ileadbourn Worthy Church, near Winchester, is an example 
 of this kind; it has long-and- short work 
 at the angles and in the jambs of win- 
 dows, pilaster strips on the surface of the 
 walls, and an early doorway at the west 
 end, with a rude sculpture of the Cru- 
 cifixion over it. 
 
 The tower-arch of Leeds Church, Kent, 
 has on the western side very much the 
 appearance of the Anglo-Saxon character, 
 the work being rude, and square blocks 
 of stone used in the place of capitals; 
 but on comparing this with the eastern 
 side of the same arch, it is evident that 
 the work has only been left rough and wmdow. Head boum worthy. 
 unfinished, probably because it was not intended to be seen : 
 the eastern side is in the usual Norman style of the time of 
 Henry I., and the Augustinian Priory to which it belonged was 
 not founded until 1119. 
 
 The mouldings in churches of this character are a sort of 
 rude Norman, and the capi- 
 tals are merely rounded oflP, 
 not carved ; they approach so 
 closely to the mouldings and 
 capitals of buildings known to 
 be of the time of the Conque- 
 ror, such as Bishop Gundulph's 
 work at Hochester and Mailing, 
 that it is difficult to believe 
 there can be many years dif- 
 ference between them. Occa- 
 sionally there is some rude 
 sculpture at the springing of 
 the arch, as at St. Benet's, Cam- 
 bridge ; this is very shallow, 
 and such as 
 might be 
 worked with 
 the axe with- 
 out requiring 
 the use of 
 
 capital, Jano,v. tho chiscl. Impost. St Ben 
 
 A capital dug up in the ruins of Jarrow closely resembles that 
 at St. Benet's, Cambridge, and it seems more likely to belong 
 to tho rebuilding in 1075 (see p. 107), than to the original 
 work of Benedict IJiscop in 672.] 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. 99 
 
 [Previous to entering upon Mr. Hickman's definitions of the 
 styles of Medieval Architecture, it seems desirable to introduce 
 them by a few pages of historical matter, to enable the reader 
 to understand more clearly what follows, and to appreciate the 
 value of Mr. Rickman's labours in classifying and arranging 
 the buildings in such a manner as to enable the student to 
 recognise the period to which each part belongs by its archi- 
 tectural character alone. He was the first to reduce Medieval 
 Architecture into scientific order, and reclaim it from the state 
 of confusion in which it had been before the first pubKcation 
 of this work. 
 
 The buildings which were in use before the Norman Con- 
 quest had only attracted the attention of Mr. Rickman at 
 a later period, after the other styles had been arranged and 
 classified: he did not acknowledge the existence of an Anglo- 
 Saxon style, and threw them into an Appendix. But whether 
 they are considered as a distinct style or not, their natural 
 place is between the Roman and the Norman styles, and in 
 the present edition they are so arranged. 
 
 The buildings of this class have not yet been examined with 
 sufficient care to be arranged in chronological order, they may 
 be considered as generally belonging to the eleventh century, 
 and, like the buildings of any other century, might be sub- 
 divided into early, middle, and late; each succeeding gene- 
 ration, or an interval of about thirty years, having always made 
 a visible change in the style of building. There are, indeed, 
 a few buildings distinct from the Roman, and yet of early date, 
 constructed of rough stone, without mortar, such as the walls 
 and pits in the ancient town on Worle-hill, Somersetshire, and 
 others of the same class, supposed to belong to the early Britons : 
 there are several of these in Ireland, and in the western islands 
 of Scotland, but the age of them is much disputed, and is not 
 material for om^ purpose. The buildings of the beginning of 
 the eleventh century are of rough stone, but with mortar. 
 
 There is great reason to believe that Mr. Rickman was 
 mistaken in fixing so early a date as before the year 1000 to 
 this class of buildings, it would be more correct to say before 
 the time of the Conquest, or rather, perhaps, before the j^ear 
 1100. It is very difficult to find buildings in any part of 
 Europe belonging to the period between the fall of the Romans 
 and the end of the tenth century. But the beginning of the 
 eleventh century was everywhere a great building eraJ, the 
 
 J The clironicle of Eadulplius Glaber, monasteries which were building in all 
 
 who was living during the tirst half of countries, more especially in Italy and 
 
 the eleventh century, appears to be de- France, was so great, that the world 
 
 cisive evidence upon this point. He appeared to be pulling ofi' its old dingy 
 
 says that " the number of churches and attire, and putting on a new whit 
 
100 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 movement began at that period which went on in a rapidl^^ 
 increasing ratio for two or three centuries. The buildings of 
 the early part of the eleventh century are extremely rude 
 everywhere, and although there are no churches on the Conti- 
 nent exactly corresponding to the English type, there are seve- 
 ral which approach to it, and many which are verj' little more 
 advanced in the art of construction and of masonry. For a long 
 period the Barbarians built of wood only, and the earliest 
 attempts at the revival of the art of buikling in stone were 
 necessarily very rude, and clumsy, and unskilful ; the progress 
 made by each successive generation may be clearly traced. This 
 study is one of great interest, and closely connected with the 
 history of the country and the general history of civilization. 
 
 In England there is great reason to believe that the earliest 
 churches of this type are those which were built by order of 
 king Canute ^ after he became a Christian, when we are told by 
 the Chroniclers that he ordered churches to be built of stone 
 and lime in all the places where himself or his father had 
 burned the churches or minsters during their wars with the 
 Anglo-Saxons'. It is most probable that the churches burnt 
 by the Danes in their wars were of wood only, and that they 
 replaced them with stone, according to the fashion of the day, 
 and these are probably the earliest stone buildings now re- 
 maining in England after the time of the Romans. It is re- 
 markable that of the one hundred churches which have been 
 noticed as containing portions of this type, fully two-thirds 
 are in the eastern counties, where it is well known that the 
 Danes were settled ; and in Lincolnshire, which was the most 
 distinctly Danish county, they are far more numerous than 
 in any other. It seems very probable that the tribe of the 
 Northmen settled in England, whom we call Danes, would pos- 
 sess, and did possess, the same energy and spirit as the other 
 tribe of the same race settled in France, and called ISormans, and 
 as we know that the latter became great builders, why shoidd 
 not the former also ? In France there were more Roman build- 
 ings to copy from and to serve as types, and hence their buildings 
 were of a better style than those in England, where there were 
 only wooden buildings to copy from, but before the middle of 
 the eleventh century the frequent intercourse with Normandy 
 
 robe. Then nearly all the bishops' ' Barnacli, in Northamptonshire, (No. 
 
 seats, the churches, the monasteries, 7,) is recorded to have been ravaged 
 
 and even the oratories in the villasj^es, and laid waste by the Danes in 1013 : 
 
 were changerl for better ones." — Glabri the church was probably burnt at that 
 
 Radulph), HistoricB, lib. iii. cap. 4; ex time, and therefore would be one of 
 
 Bibl. Pithaji, fol. Francof., 1506, p. 27. those rebuilt by Canute after he be- 
 
 ^ William of Malmesbury, Sharpe's came a Christian. 
 Translation, p. 228. 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY, 
 
 101 
 
 led to an improvement in tlio style of the English buildings, 
 and this was accelerated by the increased intercourse following 
 on the Norman Conquest, but there is no reason to believe that 
 any great or violent change in the art of building was immedi- 
 ately produced by that conquest. 
 
 The only examples with inscriptions recording their date 
 which we have of this early 
 style all belong to near the 
 middle of the eleventh cen- 
 tury : these are Deerhurst, 
 Gloucestershire, Kirkdule and 
 Aldborough, Yoi'kshire, and 
 Postling, Kent, all of the time 
 of Edward the Confessor. The 
 inscription at Aldborough, 
 TJlflet arceran cyricefor hanunt, 
 for Gunham sauki, may be 
 translated, " Ulf caused this 
 church to be built for his own 
 and Gunthar's souls." Ulf 
 
 IS said to have lived m the inscription in Aldborougli Church, Yorkshire. 
 
 time of Edward the Confessor. This inscription is considered 
 by Professor Bosworth as rather Danish than Anglo-Saxon, 
 but there was very little distinction between the languages at 
 that period. The church has been rebuilt. 
 
 Towards the middle of the eleventh century the masonry 
 becomes much better, the stone is hewn and squared, but 
 
 Masonry from the early ■work at We.stmiuster, 
 A.D. 1066 
 
 
 -^-5S^^v^ 
 
 ^~ - 
 
 J^t 
 
 — 
 
 1 ii ii=-j - 
 
 . - i 
 
 -V__ - 
 
 _. 
 
 t I 1 ; 
 
 — I... 
 
 ■ 
 
 Window in the DoimiLory, 'Westminster, a.d. IOC 
 
10-Z ox THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 hamincr-dressed only, of which o^oorl examples remain in the 
 walls of the work of Edward the Confessor iu the cloisters at 
 Westminster. 
 
 No examples of long-and-short work are known in France, 
 but a little of it has been observed in Switzerland, as at Homain- 
 JMotier. There are many churches in France, Switzerland, and 
 Italy built of fragments of Roman temples or palaces, and the 
 greater part of them seem to belong to the early part of the 
 eleventh century, when the great revival of building began ; 
 and these have many features in common with our Anglo- 
 Saxon buildings of the same period. The belfry windows 
 especially, with the mid- wall shafts, are extremely common in 
 the churches of the Pyrenees, and other districts. 
 
 The church of St. ^Nlaurice, S's^'itzerland, in the valley of the 
 Rhone, rebuilt in 1014 of Roman fragments, has a tower with 
 belfry windows ha\ing very much the same appearance : these 
 have the shafts, or balustres, formed of Roman pillars cut in two 
 and parth' imbedded in the wall ; (see Arclueologia, vol. xxxvii.) 
 
 The west front of the cathedral of Treves, rebuilt b)^ Arch- 
 bishop Poppo 1016 — 1047, remains with little alteration, and 
 the principal walls of the present edifice belong to this period, 
 with portions of older work built in, and the ornamentation of 
 the interior entirely altered in the following century. The 
 construction is rude, but massive, solid, and durable. 
 
 The abbey church of Bernay, in Normandy, founded by Judith, 
 wife of Richard II., duke of Normandy, (Orderic. Vital., lib. iii. 
 p. 45) has a considerable part of the couatruction of the eleventh 
 century, and the triforium has a kind of rude balustre in the 
 opening, but the greater part of the ornamentation has been 
 entirely changed in the twelfth century. 
 
 The church of Ronceray at Angers, founded by Foulque, earl 
 of Anjou, in 1028, has preserved a considerable part of the co)i- 
 stnictio)} of this period, but Avith many Roman materials used 
 up, and the ornamentation altered at a subsequent period ; the 
 original parts are rude and massive. 
 
 The cathedral of Nevers, in the ancient duchy of Burgund}-, 
 founded in 1028, retains the western apse and the crypt under 
 it of the early character ; the capitals are exactly the same as 
 those in the crypt at Auxerre of the same date ; the arches are 
 square in section, the piers square and massive, with hea%y 
 shafts attached to them, carrying a large round moidding under 
 the soffit of the arch ; the vaults are groined without ribs, 
 and without transverse arches. The original church was small, 
 and of the form of the Greek cross, which may still be traced, 
 though much altered. 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. 103 
 
 The church of St. Remi at E.heiras was consecrated by Pope 
 Leo IX. in 1049, (Orderic. Yital., lib. v. p. 575.) The main 
 construction is of this period, with some Roman columns built 
 in as old materials, but the whole of the ornamentation has 
 been entirely altered in the twelfth and thirteenth centuries, 
 as is evident on a careful examination of the building. This 
 church is said to have been destroyed by fire in 1098, and restored 
 in 1100, {Gallia Christiana, and Mabillon, v. 397,) but it is plain 
 that the main walls were not destroyed, though the roofs were 
 burnt and the ornaments destroyed or damaged. Probably, as 
 in other instances, the pillars and capitals were so much in- 
 jured that they were obliged to be rebuilt ; any projecting 
 string or ornament was destroyed, but the triforium gallery 
 and the outer walls were protected by the vaults. All the ori- 
 ginal work is of the same plain massive character, with wide- 
 jointed masonry, and without any carving. The work is better 
 than in earlier churches, as might be expected from the date, 
 and is nearly the same as in the original work at Caen. 
 
 The early division of the Norman style comprises the 
 from 1060 to 1090, or from a 
 few years before the Norman 
 Conquest to the end of the 
 reign of William the Conqueror. 
 During this period it is certain 
 that many buildings continued 
 to be erected after the fashion 
 used by the Anglo-Saxons and 
 Danes before the Conquest. The 
 churches in the lower part of the 
 city of Lincoln are a good ex- 
 ample of this. The Danish in- 
 habitants had continued to oc- 
 cupy the Roman city on the hill, 
 the fortifications of which were 
 then perfect, and a portion of 
 them still remains : the Normans 
 took possession of nearly half 
 of this city for their castle and 
 cathedi'al ; the inhabitants then 
 drained a part of the fens at 
 the foot of the hill, and formed 
 a new town there, and several of 
 the churches then built remain, 
 tolerably perfect, especially the 
 
 period 
 
 Tower of St.Pcier's at Gowts, T.incolu. 
 
101 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 towers, of Avliich St. Peter's at Gowts (that is, at the drains or 
 sluices) is an cxaniiale. St. Mary le Wig-ford has also retained 
 the tower built at this period. St. Alban's Abbey, of which 
 the date (1077 — 1116) is recorded by good cotemporary evi- 
 dence, has in parts a considerable mixture of the style in use 
 before the Conquest. 
 
 The Norman style was introduced into England in the time 
 of Edward the Confessor ; the king himself founded the great 
 Abbey of Westminster, and many of the buildings were erected 
 
 Cbapel of the Pyx. part of the Substructure of the Dormitory of Westminster Abbey, ad. 1066. 
 
 in his time. Of this church he had completed the choir and 
 transepts, which were sufficient for the performance of divine 
 service, and it was then consecrated, Dec. 28, 1065, a few days 
 only before his death. The nave at that time was not built : 
 it is probable that a nave was built soon afterwards, but of this 
 church wo have no remains. The dormitory was in all proba- 
 bility building at the same time, as the monks who had to 
 perform the service in the church must have required a place 
 to sleep in. Of this dormitory the walls and the vaulted sub- 
 structure remain ; the work is rude and clumsy Norman, with 
 wide-jointed masonry, and the capitals left plain, to be painted 
 or carved afterwards. It is about as much advanced in style 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. 105 
 
 as the work in Normandy of the same period, and is said to 
 have been built by Norman workmen. 
 
 A considerable part of the walls of the refectory are also 
 still standing, and althongh the ornamentation was entirely 
 altered and A^andows inserted by Abbot Litlington in the 
 fourteenth century, the original ornamental arcade in the re- 
 fectory has been preserved "*. 
 
 
 Arcade, Refectory, Westminster Abbey, a b. 1066 — 1090 (')■ 
 
 It is remarkable that in the stone used in the Confessor's 
 work at Westminster the marks of the hammer are still dis- 
 tinctly visible, notwithstanding the blackness produced by the 
 London smoke, while the stone used by Abbot Litlington in 
 the fourteenth century, when the wall of the refectory Avas 
 altered and decorated afresh, is quite of a different character, 
 and has perished so much that it crumbles with a touch. 
 
 ■" This arcade had been built up with 
 rough stone foi" centuries in order to 
 receive the wainscoting; it was first 
 noticed by the Rev. T. \V. Weare and 
 Mr. J. H. Parker in the spring of 1861, 
 and two of the small arches were then 
 
 opened under the direction of Mr. G. 
 G. Scott, and the whole arcade may be 
 traced in the wall, though tilled up. 
 See " Gleanings ft-om Westminster 
 Abbey," by G. G. Scott and others. 
 8vo., 1861. 
 
106 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 WILLIAM I., A.D. 1066-1087. 
 
 During the latter part of the eleventh century the art of 
 building in stone made very rapid progress, but we have very 
 little work of the time of the Conqueror remaining, and that is 
 not much advanced beyond the work of the time of the Confessor, 
 which is the starting-point of the Xorraan style in England. 
 
 The buildings known to belong to this period, or the earliest 
 buildings in the Xornian style, are : — 
 
 A.D. 1070 — 1078. The church of St. Stephen in the Abbaie 
 aux Hommes at Caen, in Normandy, founded in 1070 and con- 
 secrated in 1078. The original part is chiefly concealed by later 
 work, the two western towers consist of three sides only, built 
 against the original west front, which exists behind them ". The 
 present west front is probably of the time of William Rufus. 
 It is e^ndent that Normandy was only a little in advance of 
 England at the time of the Conquest, and that the Norman 
 style was not imported bodily in perfection, but was gradually 
 developed in both countries during the century after the Con- 
 quest ; the great change of style, or period of transition, having 
 begun about a hundred years after the Conquest, in the time 
 of Henry II. In the Abbaie aux Dames, Caen, none of tlie 
 original work remains visible ; part of the construction is really 
 ancient, as was discovered during some recent repairs, but en- 
 tirely cased over and concealed by later work. These repairs 
 were conducted under the direction of M. Euprich-Robert, one 
 of the Government architects. 
 
 The original parts of these churches have the masonry of 
 almost exactly the same character as that at Westminster, the 
 stones large and squared, but hammer-dressed only, with wide 
 joints of mortar between them, and the upright joints are 
 frequently sloping instead of vertical : this mortar also is fre- 
 quently squeezed out so as to project considerably, and has be- 
 come harder than the stone itself. 
 
 A.D. 1070—1095. The abbey of Bury St. Edmund's, rebuilt 
 by Abbot Baldwin, assisted by the sacrists Thurstan and Tolin. 
 "The church of the monastery, consecrated in 1032, ha^-ing 
 been for the most part, like its predecessor, built of wood, 
 though not finibhed, was stiU unworthy both of St. Edmmid 
 
 " See two Memoirs on this subject Societe des Beaux -Arts, 1861, and by 
 recently published at Caen, by M. Hu- M. Bouet in the Bulletin Monumental, 
 prich-Kobert, in the Journal of the edited by M. De Caumont, 1862. 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. 107 
 
 and of an establishment endowed with such magnificent revenues 
 as St. Edmund's Bury. Accordingly, imder the auspices of 
 Abbot Baldwin, the sacrists Thurstan and Tolin demolished the 
 church which had been so recently constructed. King William 
 the Conqueror upon this occasion issued his precept to the 
 abbot of Peterborough, commanding that the abbot and con- 
 vent of St. Edmund should be permitted to take sufficient stone 
 for the erection of their church from the quarries of Barnack, 
 in Northamptonshire, granting at the same time an exemption 
 from the usual tolls chargeable upon its carriage from that place 
 to Bury." Baldwin was a monk of St. Denis at Paris, then Prior 
 at Deerhurst, in Gloucestershire (No. 21), a cell to St. Denis. 
 Lydgate says he was " greatly expert in craft of medicine.'' 
 King Edward the Confessor granted to him, for his monastery, 
 the privilege of a mint. He was also in great favour with 
 King \yilliam the Conqueror, under a charter from whom he 
 made considerable acquisitions for his monastery". The new 
 edifice was completed in 1095, and the body of St. Edmund was 
 translated into it in 1096 p. It is now a ruin, but portions of 
 the work of this period remain. 
 
 A.D. 1071—1074. Oxford Castle, built by Robert Doyly, 
 according to the Osney Chronicle. One 
 tower of it remains : it is built of rub- 
 ble, and very similar to the Anglo-Saxon 
 work ; it hatters (or slopes) considerably, 
 and has long -and -short work in the 
 upper part. 
 
 A.D. 1073 — 1088. Lastingham, or 
 Lestingham Church, Yorkshire, built 
 by Stephen, a monk of Whitby, who 
 was appointed abbot in 1078, but ob- 
 tained permission of the king to remove 
 the abbey to Lastingham, on account of 
 the incursions of the pirates. It is ex- 
 pressly stated that the monastery had 
 been entirely destroyed by the Danes, and Stephen immediately 
 began to rebuild it on his new site, but finding it still too near 
 the sea and exposed to the pirates, he finally obtained per- 
 mission to remove it to York in 1088. This seems to fix the 
 date of the crypt between 1078 and 1088 **. 
 
 ■A L. 
 
 Window, Oxford Castle. 
 
 " See Mon. Aug., vol. iii. p. 101, and 
 the extract from the register of the 
 abbey preserved in the office of the 
 Duchy of Lancaster, fol. 81, ibid., p. 162. 
 
 I' MS. Harl., 447; ap. Mon. Ang., 
 
 vol. iii. p. 102. 
 
 ■J Mon. Aug., i. 342. See Britton's 
 Architectural Antiquities, vol. v. p. 169, 
 for a fine engraving of the crypt. 
 
108 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 A.D. 1075 — 1083. The late Dr. Raine, of Durham, has shewn 
 by his very careful investigations 
 that the churches of Monk's Wear- 
 mouth and Jarrow were rebuilt by 
 the monks of Durham after 1075. 
 The chief authority for this is the 
 Chronicle of Simeon of Durham. 
 The church of Monk's Wearmouth 
 could not have been built on the 
 old site, for in the accounts of the 
 House at Wearmouth for the year 
 1360, tho old church is mentioned 
 incidentally as used for a barn or 
 storeliouse. The date of the pre- 
 sent church must tlierefore be 
 shortly after 1075, when the monk 
 Aldwin and his two associates were 
 placed there by Walcher, Bishop 
 of Durham : and " when the bishop 
 saw the monks wishful to rebuild 
 the church itself and the ruined 
 monastic dwelling-place, he gave 
 to them the vill of Jarrow with 
 its appendages, viz. Preston," &c. 
 The rebuilding of Jarrow was sub- 
 sequent to that of Wearmouth, 
 and if we assign the date of 1085 to it, we cannot be far 
 wrong. 
 
 A.D. 1075—1095, St. John's Church, Chester, was com- 
 menced by Peter, the first Norman bishop, for the cathedral 
 of the united dioceses of Chester, Lichfield, and Coventry ; but 
 the work was interrupted by the incursions of the Welsh, and 
 the site of the cathedral was removed to Coventry. The only 
 part built at Chester before the removal was the choir, which 
 was rebuilt about a century afterwards. The earliest parts now 
 remaining are the pier-arches of the nave, which are recessed ; 
 and though the piers are very massive, they have scolloped 
 capitals and moulded bases of the time of Henry I. The 
 beautiful triforium and clerestory are of about 1200. 
 
 A.D. 1076. Stow, Lincolnshire, converted into a Benedictine 
 monastery by Abbot Remigius. It had been a cathedral in the 
 Anglo-Saxon times, and parts of the transepts probably belong 
 to that period: the revenues were much augmented in 1091 
 by tho grant of Ensham Abbey, and the monks were removed 
 
 Tower of the supposed Saxon character, 
 Monk's Wearmouth. Durham, a.d, 1075 
 
ON THE BUILDINGS OF THP: ELEVENTH CENTURV. 109 
 
 to Ensham in 1109. The choir is good Norman, and was 
 probably rebuilt between these dates, or about 1100. 
 
 A.D. 1077 — 1107. Tlie genuine works of Bishop Gundulph, 
 the great builder of his time, are but little in advance of the 
 early work at Westminster : they consist of a small part of 
 the crypt and the north transept tower at llochester ; the lower 
 part of the west front of Mailing Abbey, Kent, founded by 
 
 Mailing Abbey. Kent. 
 The lower part a-d. 1090 — ^1103 ; the upper part c. 1150 and later. 
 
 him about 1090, and dedicated in 1103 ; and the early Norman 
 keep called St. Leonard's Tower, at Mailing (see p. 114), where 
 he appears to have chiefl}^ resided, as he kept the government 
 of the abbe}^ in his own hands. The White Tower, London, 
 with its chapel, is attributed to him, and may be his work, but 
 is of later character than his work in Kent. The present castle 
 of Rochester is half a century later than his time. The portion 
 of the crypt at llochester which is his work is at the west end 
 of the present extensive crj^t, the greater part of which is of 
 the thirteenth century. Gundulph's crypt is of two bays only, 
 and was under the original high altar, the church having been 
 much lengthened eastwards. This early crypt has a groined 
 
110 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 vault without ribs, and is low ; the detached pillars are mono- 
 lithic, with capitals of the plain 
 ciishion shape, that is, a cube 
 with the lower corners rounded 
 off,the simplest of allforms after 
 the mere square block ; the re- 
 sponds attached to the wall are 
 made of tufa in small stones 
 with wide joints. The capitals 
 are the same as those of the 
 detached pillars, and this capi- 
 tal seems to be the only one 
 used in Gundulph's work, ex- 
 cept in the chapel in the AVhite 
 Tower, London, said to have 
 been built by hira in 1081. 
 
 Darent Churchy in Kent, is 
 also supposed to have been 
 built or rebuilt by him ; it 
 was given by him to Rochester 
 Abbey "■, The east end of this 
 church is very remarkable : it 
 is divided into two stories, of 
 which the lower one forms the 
 chancel, and has a vault of 
 early character groined without ribs, as in the crypt of Ro- 
 chester and other buildings of this kind, and is lighted by 
 three small -vAdndows in the east wall : the upper chamber also 
 has three small windows, one blocked up ; these are different 
 from the lower ones, the central one round, the other two wide, 
 as if for bells to hang in, an arrangement which is not very 
 uncommon in a western gable, but which has not been observed 
 in an eastern one : this chamber may possibly have been a 
 
 Eespond from Gundulph's Crypt at Rochester. 
 
 ' Some land in this parish was given 
 to Rochester Priory before the Conquest, 
 hy Brihtric, and the curious Saxon 
 charter, or deed of gift, is printed in 
 Hasted's History of Kent : it is with- 
 out date, but is supposed to be of the 
 tenth century. Brihtric, son of Aethel- 
 ric, or Aegilric, is mentioned by Flo- 
 rence of Worcester as living in 1007, and 
 in the Saxon Chronicle he is recorded 
 as commanding a fleet of forty ships in 
 1009. This is supposed to be the same 
 person, but the fact is not very mate- 
 rial, as the church is not mentioned in 
 
 his gift, and is known from other evi- 
 dence to have then belonged to Can- 
 terbury. It was afterwards given to 
 Eochcster by Bishop Gundulph, whose 
 original charter is preserved among the 
 Cotton MSS , and is printed in the Mo- 
 nasticon, vol. i. p. 175. It is most pro- 
 bable that the church was rebuilt at 
 the time it was given, about lOSO, and 
 its architectural character agrees with 
 the other buildings of Guniiulph. But 
 it must be acknowledged that the his- 
 tory of this church is obscure and con- 
 fused. 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. HI 
 
 St End of Tiarent Cliarcb, Kent, c. 1080. 
 
 primitive belfry, or it may have been an upper chapel over the 
 chanccl,a sortof primitive rood- 
 loft, as at Compton, in Surrey, 
 and there are a few other rare 
 examples of this upper cham- 
 ber over the chancel. On the 
 exterior the lower windows are 
 worked with shallow ornament, 
 such as might be done with 
 the axe, the upper windows 
 are plain. There is no stair- 
 case or other approach to this 
 upper chamber, but the west- 
 ern part of the chancel has 
 been rebuilt towards the mid- 
 dle of the twelfth century, and 
 the rest of the church is con- 
 siderably later, but the west 
 end may possibly be early, 
 and has quoins formed of tiles. 
 The font is a remarkable one, covered with a series of figures 
 under arches, said to represent 
 the legend of St. Dunstan ; the 
 sculpture is of the time of 
 Henry I. 
 
 Darent - ford, or Dartford 
 Church, was also given by 
 Bishop Gmidulph to Rochester 
 Abbey, and the tower of this 
 church appears to be of his time, 
 though much altered ; the walls 
 are original, of rough work, and 
 there is an early doorway with 
 wide-jointed masonry. 
 
 A.D. 1077—1087. The cathe- 
 dral of Bayeux, Normandy, was 
 built from the foundation by 
 Bishop Odo. The only parts 
 remaining visible of this period 
 are the lower parts of the two 
 western towers, which are rude 
 and massive early Norman work. A considerable part of the 
 walls of the rest of the fabric may be of the same kind, but 
 if so, they are entirely concealed by the ornamentation of 
 a later period. 
 
 ,L_J1 
 
 Window in the East End of Darent Church. 
 
112 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 A.D. 1077—1093. St. Alban's Abbey Church, built by Abbot 
 Paul of Caen. The original parts are of very early character, 
 closely resembling the Anglo-Saxon work. The masonry is 
 wide-jointed, and a good deal of rubble walling is used, with 
 many Roman tiles, and balustre shafts. 
 
 A.D. 1079 — 1093. The crypt and transepts of Winchester 
 Cathedral, built by Bishop Walke- 
 lyn ^. The original parts are very 
 plain, of early masonry with wide 
 joints. The fall and rebuilding 
 of the central tower a few years 
 afterwards, in 1107, makes the 
 distinction between the early and 
 later work very evident ; the later 
 work has fine -jointed masonry. 
 The early work also has the plain 
 cushion capital, and the arch 
 square - edged, and not recessed, 
 both usually characteristic of the 
 eleventh century. 
 
 A. D. 1080. Wooten Wawen 
 Church, Warwickshire, given by 
 Robert de Tonei, standard-bearer 
 to William the Conqueror, as a 
 cell to the abbey of Conches in 
 Normandy. The style of the 
 building closely resembles those 
 called Anglo-Saxon, but there is 
 every probability that it was built 
 about the time it was given, as 
 this is almost invariably found to 
 be the case when the clnirch has 
 not been rebuilt at a subsequent 
 period. 
 
 A.I). 1083 — 1106. Ely conventual church, built by Abbot 
 Simeon, brother to AValkelyn, Bishop of Winchester. Parts of 
 the nave and transepts are of this date, and agree in character 
 with the early parts of Winchester. The nave was continued 
 in the same style, though not completed till near the end 
 of the twelfth century. 
 
 A.D. 1084 — 1089. Worcester Cathedral, rebuilt on a new site 
 
 of North Iranstpt, Winchester' 
 i.t. 2079 — 1093. 
 
 " Mon. A)iff., vol. i. p. 195, and 
 Willis's " Architectural History of Win- 
 chester Cathedral." 
 
 ' From Professor A\'illis's "Archi- 
 teetunil History of Winchester Ca- 
 thedral." 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. 113 
 
 by Bishop Wolstan. The crypt of this time remains, and is almost 
 identical with some 
 work of the Conqueror 
 at Caen. There are se- 
 veral varieties of bases 
 in Gundiilph's crypt at 
 Rochester also, and it 
 is remarkable that no 
 settled form of base 
 seems to have been 
 agreed upon at that 
 time, even though the 
 capitals are all alike. 
 In the crypt of "Wor- 
 cester there are six dif- 
 ferent forms of bases; 
 and in the small church 
 or chapel of La Paix, 
 at Caen, in Normandy, 
 said to have been built 
 in 1061, there are not 
 less than ten differ- 
 ent varieties of bases ; ^'yp^' worcesier. a.d. losi— ios9. 
 the date of this chapel is doubtfid, but it is evidently early 
 Korman work. 
 
 A.D. 1085 — 1108. Thorney Abbey, Cambridgeshire, rebuilt 
 by Abbot Gunter^. The pier-arches of the nave remain, though 
 much altered in appearance by the destruction of the aisles and 
 clerestory, and the insertion of Perpendicular windows. 
 
 The dates of the foundations of the numerous abbeys and 
 other monasteries are a very useful guide in one respect, we 
 know that there can be nothing there earlier than that date, 
 but we must be careful not to conclude that the existing build- 
 ings belong to the time of the original foundation : this is 
 a very common source of error, but it is obvious that the 
 churches may have been rebuilt many times, or not completed 
 till long after the time of the foundation, and a careful exami- 
 nation is necessary in each particular case. The abbeys of the 
 Benedictine Order are so numerous, and their foundations began 
 at so remote a period, that they are not much guide to the 
 architectural history : the original buildings were evidently of 
 wood only in most cases during the early period. The dates 
 of monasteries of the Cluniac, the Cistercian, the Augustinian, 
 
 " Annales Monasterii de Thorney, ap. 3Ion. Aug., vol. ii. p. 611. 
 Q 
 
114 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 and the other later Orders are far more valuable for the history 
 of architecture. 
 
 Especial care is necessary in examining the buildings of 
 monasteries foimdcd in the middle or latter part of the eleventh 
 century, because the work of that period was so substantial, and 
 at the same time so plain, tluit the main structui'e has often 
 been retained, when the whole of the ornamentation has been 
 entirely changed. It most frequently happens that this change 
 of the ornamentation was made in the twelfth century, when 
 from the resemblance of the style it is far more difficult to 
 detect it. This practice prevailed in France as much as in 
 England. The French churches of this period are generally 
 larger, more loft}^, and better built than the English, but the 
 difference is not so great as is commonly imagined ; the art 
 of construction or the style of architecture was not materially 
 different. The intercourse between the people of the two 
 countries was so close, that any improvement made in the one 
 was very speedily followed in the other. The character of 
 the masonry, and especially the width of the joints of mortar 
 between the stones, are the safest guides to distinguish the 
 work of the eleventh century from that of the twelfth. Some 
 of the work after the Conquest has the masonry almost as rude 
 as before, but early in the twelfth century, from the time of 
 Roger, Bishop of Salisbury, the masonry is almost entirely 
 fine-jointed. 
 
 The keep at Mailing, Sussex, mentioned as in all proba- 
 bilit}^ the work of Bishop Gundulph about 1080, has masonry 
 of a very rude description : it is range work, and not mere 
 random work or rubble, but the stones are rough, and the joints 
 
 Rabble Masonry, St. Leonard's, i!alliiiS, Kent. 
 
 Wide-jointed Masom-y. Chapel in the White Tower, 
 London, &.s. 1G81. 
 
 of mortar as wide as they well can be. In the White Tower, 
 London, also attributed to Gundulph, the masonry is bettor, 
 the stones are squared, but the joints of mortar arc still wide. 
 At Winchester we have an excellent opportunity of com- 
 
ON THE BUILDINGS OF THE ELEVENTH CENTURY. 115 
 
 paring the masonry of the two periods side by 
 
 ■walls of the transepts have 
 
 the joints of the masonry 
 
 almost as wide as those in 
 
 the White Tower, whereas 
 
 in the parts rebuilt after the 
 
 fall of the tower in 1107, 
 
 we have fine-jointed masonry 
 
 as good as at any later 
 
 period. 
 
 side, the 
 
 . 109(1. i.D 1120. 
 
 Winchester Cathedral, Transept, 
 
 The reign of William Rufus 
 is the commencement of the 
 great building era in the Norman style in England, but the 
 work of the last ten years of the eleventh century belongs in 
 style entirelj'' to the twelfth. It must be remembered that 
 the division into styles is entirely arbitrarj^, made for conveni- 
 ence, and to assist beginners in the study of the architecture 
 of the Middle Ages, the history of which is one of continual 
 progress and gradual change throughout, although the changes 
 are more marked and decided at one period than another. This 
 makes it necessary to allow a period of transition between each 
 of the styles. The most conspicuous of these is naturally the 
 time of change from the Romanesque, or Norman stjde, dis- 
 tinguished by its massive character and the general use of the 
 round arch, and the Gothic distinguished by its lightness, its pe- 
 culiar mouldings, and the general use of the pointed arch. But 
 the pointed ai'ch alone is a verj' unsafe guide, and beginners 
 are continually misled by the name of the Pointed style : the 
 pointed arch was used occasionall}' at all periods, and was in 
 very common use long before the Gothic style was established. 
 It was used in some countries much earlier than in others, and 
 in the south of France it appears to have been in common use 
 at the end of the eleventh century, although not accompanied 
 by any other features of the Gothic style. The building art 
 had made very rapid progress there up to a certain point, and 
 then stood still for above a century. This probably arose from 
 the political circumstances of the country, into which it is not 
 our purpose to enter, as it would lead into too wide a field of 
 discussion. On the other hand, round-headed doorways and 
 square-headed windows were used at all periods w^hen conveni- 
 ence called for them, especially in houses and castles, and it is 
 quite a mistake to suppose that the Gothic styles were confined 
 to churches ; all buildings of the same period were in the same 
 style, only the churches have been commonly preserved, because 
 no one would be at the expense of rebuilding them ; houses 
 
116 ON THE BUILDINGS OF THE ELEVENTH CENTURY. 
 
 have generally been rebuilt again and again, as the fashion 
 chanjjed, or the ideas of comfort and convenience were altered. 
 
 The great divisions into styles are extremely convenient, and 
 a wonderful help to the memory of the student, as is proved by 
 the rapid progress which the art has made since Mr. Hickman 
 first reduced its history into a system and an intelligible classi- 
 fication ; but where minute accuracy is required, and we wish to 
 ascertain within a few years the age of a building by its cha- 
 racteristic features, we must subdivide each of the styles into 
 three parts — early, middle, and late. 
 
 Churches of the eleventh century and the earl}^ part of the 
 twelfth were usually terminated at the east end by a semi- 
 circular apse, and the chancel was short ; this was commonly 
 lengthened at a subsequent period, and a square east end sub- 
 stituted,^ so that the round east end is a rare feature in Eng- 
 land ; while on the Continent the case is reversed, the apse is 
 the rule, the square east eud the exception. The small early 
 churches with a chancel of one bay only and an apse, have how- 
 ever escaped alteration in some districts, as at NeAvhaven, Sussex. 
 This example is probably of the twelfth century, but it gives a 
 good idea of the general aspect of an early Norman church.] 
 
NORMAN DOORWAYS. 
 
 117 
 
 West Uuor, litidy Cnurch, Osiordahire, c. Ili50 . 
 
 Norman Doorways. 
 
 There seems to have been a desire in the architects who suc- 
 ceeded the Normans to preserve the doorways of their prede- 
 cessors, whence we have so many of these noble, though, in most 
 cases, rude efforts of skill remaining. In many small churches, 
 where all has been swept away, to make room for alterations, 
 even in the Perpendicular style, the Norman doorway has been 
 suffered to remain. The arch is semicircular, and the mode of 
 increasing their richness was by increasing the number of 
 bands of moidding, and, of course, the depth of the arch. Shafts 
 are often used, but not always, and we find very frequently in 
 the same building one doorway with shafts and one without. 
 When shafts are used, there is commonly an impost-moulding 
 above them, before the arch-mouldings spring. These mould- 
 
118 THE NORMAN STYLE. 
 
 ings are generally mucli ornamented, and the wave or zig-zag 
 ornament, in some of its diversities, is almost universal, as is 
 a large round moulding, with heads on the outer edge, partly 
 projecting over this moulding. There are also mouldings with 
 a series of figures enclosed in a running ornament ; and at one 
 church, at York, these figures are the zodiacal signs. The 
 exterior moulding often goes down no lower than the spring of 
 the arch, thus forming an apparent dripstone, though it does 
 not always project so as really to form one. The door is often 
 square, and the interval to the arch filled with carvings. 
 Amongst the great variety of these doorways in excellent pre- 
 servation, Iflfley Church, near Oxford, is perhaps the best speci- 
 men, as it contains three doorways, all of which are different ; 
 and the south doorway is nearly unique, from the flowers in its 
 interior mouldings. South Ockenden Church, in Essex, has 
 also a doorway of uncommon beauty of design and elegance of 
 execution. Ely, Durham, Rochester, "Worcester, and Lincoln 
 cathedrals have also fine Norman doorways. In these door- 
 ways almost all the ornament is external, and the inside often 
 quite plain. 
 
 Almost every county in England contains many Norman 
 doorways; they are very often the only part which patching 
 and altering has left worth examining, and they are remarkably 
 varied, scarcely an}'- two being alike. In delicacy of execution 
 and' intricacy of design, the College Gateway at Bristol seems 
 equal, if not superior, to most ; and indeed is so well worked, 
 that some persons have been inclined to ascribe it to a later 
 date ; but an attentive examination of many other Norman 
 works will shew designs as intricate where there can be no 
 doubt of the date. 
 
 [These rich and elaborately worked Norman doorways all 
 belong to the latest division of the st3de, and are of the time 
 of King Stephen or Henry II. They have frequently been 
 inserted in earlier Norman work, as at Lincoln and Rochester. 
 These insertions can generally be distinguished without much 
 difficulty by the joints of the masonry : at Lincoln this is 
 especially the case, the early work being of the eleventh century, 
 with wide-jointed masonry, while the insertions have aU fine- 
 jointed masonry.] 
 
THE NORMAN STYLE. 
 
 119 
 
 Norman Windows. 
 
 The -windows In this style are diminutive doorways as to 
 their ornaments, except that in large buildings shafts are 
 more frequent, and often with plain mouldings. The size of 
 these windows is generally small, except in very large build- 
 ings; there are no mullions, but a double window divided by 
 a shaft is not uncommon [in belfries]. In small rich churches 
 the exterior is often a series of arches, of which a few are 
 pierced as windows, and the others left blank. The arch is 
 semicircular, and if the window is quite plain, has generally 
 sloped sides, either inside or out, or both. The proportions of 
 the Norman windows are generally those of a door, and very 
 rarely exceed two squares in height of the exterior proportions, 
 including the ornaments. 
 
 The existing Norman windows are mostly in buildings retain- 
 ing still the entire character of that style; for in most they 
 have been taken out, and others of later styles put in, as at 
 Durham, and many other cathedrals. 
 
 There are still remaining traces of a very few circular win- 
 dows of this style : the west 
 window at Iffley was circular, 
 but it has been taken out ; 
 there is one in Canterbury 
 Cathedral, which seems to be 
 Norman ; and there is one 
 undoubtedly Norman at Bar- 
 freston% rendered additionally 
 singular by its being divided 
 by grotesque heads, and some- 
 thing like mullions, though 
 very rude, into eight parts. 
 There seems to have been 
 little, if any, attempt at fea- 
 thering or foliating the heads 
 of Norman doors or windows. 
 
 [Early Norman windows are usually very small and narrow, 
 little more than loopholes ; they have very commonly been 
 
 * [See Glossary of Architecture, vol. iii. pi. 262.] 
 
 Circular Window, St. James's, Briatol. 
 
12U 
 
 THE NORMAN STYLE. 
 
 altered or enlarged, or replaced by larger windoAvs, still many 
 early windows remain, especially in belfry towers, where there 
 was less need to alter them. Simultaneously with these early 
 loop windows there was, however, another class, more in the 
 usual form of windows, that is, wider in proportion to their 
 height, as in the dormitory at Westminster. 
 
 mwm^ 
 
 Windo.T, Hrindbcrou^h. Osou, c. 1120 
 
 Belfry windows had always a different character from other 
 church windows, not being glazed, and having luffer or louvre 
 boards to keep cut the birds, and were commonly of two lights 
 from the earliest period. After the balustres and midwall-shafts 
 the sub-arches were carried by a slip of wall with shafts on 
 the face of it, and in the angles 
 or nooks, as at Bucknell, Oxford- 
 shire. In later Norman work the 
 windows generally are larger and 
 the shafts and mouldings lighter, 
 and in very late examples the head 
 is pierced with a small round open- 
 ing, as at St. Maurice's, York>'. 
 The openings of the triforium ar- 
 cade in tlie choir of Peterborough 
 Cathedral have the head also pierced, 
 and, although not actual windows, 
 only require to be glazed to be- 
 come so. This is the earliest step 
 towards tracery, that choir was con- 
 secrated in 1143, and these openings 
 are evidently part of the original 
 construction.] 
 
 5^ See Glossary, vol. iii. jil. 230 
 
 Bucknell, Oxforoshire, c. 1120. 
 
NORMAN WINDOWS. 
 
 121 
 
 West Window, Castle EisiDg, Norfolk, c. 1160. 
 
 Malmesbury Abbey, c. 1160 
 
 South Window, Iflley, c. 1160. 
 
122 
 
 THE NORMAN STYLE. 
 
 Norman Arches. 
 
 The early Norman arches are semicircular, and in many in- 
 stances this form of the arch seems to have continued to the 
 latest date, even when some of the parts were quite advanced 
 into the next style : of this the Temple Church is a curious 
 instance ; here are piers with some of the features of the next 
 style, and also pointed arches with a range of intersecting 
 arches, and over this the old round-headed Norman window. 
 But though the round arch thus continued to the very end of 
 the style, the introduction of pointed arches must have been 
 much earlier, for we find intersecting arches in buildings of the 
 purest Norman, and whoever constructed them, constructed 
 pointed arches ; but it appears as if the round and pointed 
 arches were, for nearly a century, used indiscriminately, as 
 was most consonant to the necessities of the work, or the 
 builder's ideas ^ Kirkstall and Buildwas Abbeys have all 
 their exterior round arches, but the nave has pointed arches 
 in the interior. There are some Norman arches so near a semi- 
 circle as to be only just perceptibly pointed, and with the 
 rudely carved Norman ornaments. 
 
 There are a few Norman arches of very curious shape, being 
 more than a semicircle, or 
 what is called a horse-shoe, 
 and in a few instances a double 
 arch. These arches are some- 
 times plain, but are much 
 oftener enriched with the 
 zigzag and other ornaments 
 peculiar to this style. 
 
 [The early Norman arches 
 are usuall}' square in section, 
 or profile, as in the chapel of 
 the AVliite Tower, London, 
 
 or merely recessed and still Hoiyweii church. Oxford, c noo. 
 
 square-edged, not moulded, as in Malvern Abbey Church. 
 
 * [This obsorvation of so careful an 
 observer as Mr. Rickman deserves more 
 attention tliau it lias received. It seems 
 clear that the pointed arch was in com- 
 mon use in England and many other 
 parts of Europe by the middle of the 
 
 twelfth century, and as the piers, capi- 
 tals, and mouldings of the early ex- 
 amples of the pointed arch are pure 
 Norman, it was not necessarily con- 
 nected with the change of style.] 
 
SOUTH SIDE or CHOIR. 
 
NORMAN ARCHES. 
 
 123 
 
12t 
 
 THE NORMAN STYLE. 
 
 Norman Piers. 
 
 Tliese are of four descriptions. 
 1st, The round massive columnar 
 pier, which has sometimes a round, 
 sometimes a square capital ; they are 
 generally plain, but sometimes or- 
 namented with channels in various 
 forms, some plain zigzag, some like 
 net- work, and some spiral, [as at 
 Durham, Lindisfarne, &c.] They 
 are sometimes met with but little 
 more than two diameters high, [as 
 at Malmesbury,] and sometimes are 
 six or seven. 
 
 2nd. A multangular pier, much 
 less massive, is sometimes used, gene- 
 rally octagonal, and commonly with 
 an arch more or less pointed, [as at 
 Oxford Cathedral]. 
 
 3rd. The common pier with shafts; 
 these have sometimes plain capitals, 
 but are sometimes much ornamented 
 with rude foliage, and occasionally 
 animals. The shafts are mostly set 
 in square recesses, [as at St. Albans] . 
 
 4th. A plain [square] pier, with 
 perfectly plain round arches, in two 
 or three divisions, [as at Winchester] . 
 
 In some cases the shafts are di- 
 vided by bands, [as at St. Peter's, 
 Northampton,] but the instances are 
 not many. 
 
 [Sometimes in early examples the 
 piers arc so massive and wide in 
 proportion to the arches, that they 
 are more like masses of wall with 
 arches pierced through, as at St. 
 Michael's, St. Albans.] 
 
 1st, Gloucester Catliedral. 
 
 
 3rd. Lady-chapel, Oxford Cathedral. 
 
NORMAN PIERS. 
 
 125 
 
 St Albam's Abbey, A.D. 1077 — 111 
 
 Winchester Cathedi-<d, a.d lo7d— 1093 
 
 Oxford Cathedral, c. 1160. 
 
 St. Peter's, Northampton, c. 1180. 
 
126 
 
 THE NORMAN STYLE. 
 
 Norman Buttresses. 
 
 These require little description ; they are [usually] plain, 
 broad faces, with but small projection, often only a few inches, 
 and running up only to the cornice tablet, and there finishing- 
 under its projection. Sometimes they are finished with a plain 
 slope, and In a few instances are composed of several shafts. 
 Bands or tablets running along the walls often run round the 
 buttresses. There are, however, in rich buildings, buttresses 
 ornamented with shafts at the angles, and in addition to these 
 shafts, small series of arches are sometimes used ; occasionally 
 a second buttress, of less breadth, is placed on the outside of the 
 broad flat one, [as at St. Cross Church, Hampshire ; see Plate] . 
 
 [Occasionally, but rarely, the buttresses are half rounds. 
 Such examples are rare In England, they are more common in 
 France, as at St. Remi, Rhelms, and they sometimes have capi- 
 tals and bases so as to appear like richly ornamented columns 
 attached to the wall ; this is especially the case on the exte- 
 rior of a semicircular apse in 
 French churches, but such 
 examples rarely, if ever, oc- 
 cur in England. 
 
 The usual Norman buttress 
 in England is the plain flat 
 buttress, but a half octagon 
 is sometimes used, as at 
 Fountains Abbey. The flat 
 Norman buttress frequently 
 terminates flush with the 
 parapet or corbel-table, but 
 is sometimes sloped ofi" at the 
 top, as at Iffiey, and in late 
 examples it sometimes termi- 
 nates in a sort of pediment, 
 as at Monk's Horton, Kent. 
 
 The horizontal strings a- 
 long the wall are sometimes 
 carried round the buttresses, 
 and in other instances are 
 stopped by them, and there 
 does not appear to be any 
 regular rule in this respect.] 
 
 Moak'a Hortou, Kaat, c. IIS 
 
NORMAN BUTTRESSES. 
 
 127 
 
 Iffley Cbmch, South Side, o ]160 
 
 Fountains Abbey, c. 1170. 
 
 Fountaius Abb-y, c. 1160. 
 
 Iffley Chiircli. East End, c. 1200. 
 
128 
 
 THE NORMAN STYLE. 
 
 Norman Tablets. 
 
 Corbel-table, Iffley, Ostoidsliire. c. lieO. 
 
 In treating of tablets, that which is usually called the cornice 
 is of the first consideration ; this is frequently only a plain face 
 of parapet, of the same projection as the buttresses ; but a row 
 of blocks is often placed under it, sometimes plain, sometimes 
 carved in grotesque heads, and in some instances the grotesque 
 heads support small arches, when it is called a corbel-table. 
 A plain string is also sometimes used as a cornice. 
 
 [The distinction which is here drawn between the cornice 
 and the corbel-table is not much attended to. It is more usual 
 to call all the cornices of the Norman style supported by blocks 
 or corbels, corbel-tables, and to confine the name of cornice 
 to the later styles.] 
 
 Corbel-table, Iffley, Osfordsliire, c. 1160. 
 
 [As the carving was commonly executed after the stones were 
 placed in position, it is sometimes of much later date than the 
 construction of the masonry, and frequently in corbel-tables the 
 square blocks have been left and not carved at all : good exam- 
 ples of this occur in the corbel-tables of Iffley Church, some of 
 which arc carved, others left in their original state, as merely 
 square blocks of stone.] 
 
NORMAN TABLETS. 
 
 129 
 
 The next most important tablet is the 
 dripstone, or outer moulding of windows 
 and doors ; this is sometimes undistin- 
 guished, but oftener a square string, fre- 
 quently continued horizontally from one 
 window to another, round the buttresses. 
 [When not so continued it is frequently 
 terminated by some grotesque ornament, 
 especially in the richer buildings, as at 
 Malmesbury Abbeys or with a kind of 
 foliage, as at Shoreham Church, Sussex.] 
 
 The tablets, under windows, are generally plain slopes above 
 or below a flat string. In the interior, and in some instances 
 in the exterior, these are much carved in the various ornaments 
 described hereafter. 
 
 Dripstone terrai nation, 
 Shoreham, Sussex. 
 
 Norman Niches, &c. 
 
 ^i^^li^;^' 
 
 There are a series of small 
 arches with round and often 
 with intersecting arches, 
 sometimes without, but of- 
 tener with shafts. Some of 
 these arches have their 
 mouldings much ornament- 
 ed. [These small orna- 
 mental arches are commonly 
 called wall- arcades.] 
 
 There are also other niches 
 of various shapes over doors, 
 in which are placed figures ; 
 they are generally of small 
 depth, and most of them 
 retain the figures originally 
 placed in them. 
 
 » See " Glossary of ArcLitecture," vol. ii. plate 52. 
 S 
 
 Leigh, Worcestershire, o 1120. 
 
.'50 
 
 the norman style. 
 Norman Ornaments. 
 
 Staircase, Canterbury, c, li 
 
 The ornaments of this stj'le consist principally of the different 
 kinds of carved mouldings surrounding doors and windows, or 
 
 Staircase, Canterbury. 
 
 Malmesbury Abbey. 
 
 used as tablets. The first and most frequent of them is the 
 zigzag or chevron moulding, which is generally used in great 
 profusion. The next 
 
 most common on door -^^^^^ ■:- — ^^ "^f^^i,:^'^ 
 
 mouldings is the beak- 
 head moulding, con- 
 sisting of a hollow 
 and a large roimd ; in 
 
 the hollow are placed T«»55a ' " "V ^^ 
 
 heads of beasts or o'm^^??^. ^^!s ^ 
 
 birds, whose tongues 
 or beaks encircle the 
 
 lUUUa. Baak-beads, Iffliy Cliui-ch. 
 
NORMAN ORNAMENTS. 
 
 131 
 
 iiSJl .. 
 
 -■■;|- .IJHIM 
 
 .',^:.""l|| 
 
 
 
 
 |;.^,^:--. 
 
 J^- — 
 
 — ■ 
 
 "y^illg 
 
 ^^^Hlfflffl^^pBHH 
 
 
 Malraeabury Abbey. 
 
 Colclieater Castle. 
 
 St. Etlielred'e, Norwich, 
 
 Eomsey , 
 
 Abacus and Strmg, Durham. 
 
 New Shorehatn, Susses 
 
 New? Shoreham, Sussex. 
 
 Dripstone, Durham. 
 
 Striug, Barfreston, Kent. 
 
 Strina, Barfreston, Kent, 
 
132 
 
 THE NORMAN STYLE. 
 
 After these come many varieties, almost every specimen 
 having some difference of composition ; a good collection of 
 them may be seen in the Arc/ncologia, King's Munimenta 
 Antiqua, [and in the " Glossary of Architecture ^" and a selec- 
 tion of them in the two preceding pages. When the zigzag 
 ornament is much used, it is a mark that the building is late 
 in the style. The billet was the earliest ornament used in the 
 Norman style.] 
 
 Part of South Door, Iffley Church, Oxfordshire, c. 1160. 
 
 There is one moulding which deserves mention, from its 
 almost constant occurrence, 
 very nearly of the same 
 pattern and proportions over 
 every part of the kingdom ; 
 this is the moidding of the 
 square abacus, over the 
 flowered or cut part of the 
 capital ; it consists of a broad 
 fillet and hollow, which are separated by a little sunk channel, 
 and it is sometimes continued as a tablet along the walls. 
 ^ Vol. ii. plates 7G— 82. 
 
 ,'jBii 
 
 iiiiujiiiiiini 
 
 St. Albaia's Abbey. 
 
NORMAN ORNAMENTS. 
 
 133 
 
 Peterborough CathBdral, Transept, A D. 1155. 
 
 [A plain round moulding callei a howtel is frequently used 
 as a horizontal string, or tablet, 
 in the Norman style, and com- 
 monly has over it a projecting 
 piece with the lower angle be- 
 villed or chamfered off, just like 
 the usual Norman abacus, as at 
 Peterborough. 
 
 Some of the Norman buildings are exceedingly rich and 
 profusely covered with ornament in almost every part ; these 
 examples are generally late in the style, but this does not ap- 
 pear to be an invariable rule, and the period at which particular 
 ornaments were first used is stiU undecided. The exterior of 
 Norman buildings is sometimes nearly covered with a series of 
 shallow niches or arcades, as in Castle Acre Priory, Norfolk ; 
 St. Peter's Church, Northampton ; the west end of Iffley Church, 
 Oxfordshire ; the towers of Norwich and Ely Cathedrals ; Castor 
 Church, Northamptonshire, &c. The interior is ornamented in 
 a similar manner, and sometimes portions of the surface of 
 the wall are covered with a kind of 
 hatched-work, or with interlaced pat- 
 terns or other enrichments, resem- 
 bling the diaper of a subsequent pe- 
 riod, as in Canterbury Cathedral, there- 
 mains of the chapter-house at Roches- 
 ter, St. Alban^s Abbey, Chichester Ca- 
 thedral, &c. Occasionally also a kind 
 of small roimd panels or paterae are 
 introduced in the jambs and soffits of 
 the arches for the sake of additional 
 ornament, as at Malmesbury Abbey. 
 
 As a general rule, early work is always shallow and late 
 work deeply cut : early ornaments are also of simple forms, 
 such as the billet and zigzag, and the sunk star ; foliage either 
 in imitation of the ancient Greek foliage, or a conventional imi- 
 tation of natural leaves, comes next ; and figures, especially the 
 human figure, last. Some rude grotesque figures of animals 
 are of rather earlier date, but nothing like sculpture occurs be- 
 fore the twelfth centur3\ The evidence of Gervase is distinct 
 that the chisel was not used in " the glorious choir of Conrad" 
 at Canterbury, consecrated in 1130, nor is any mark of the 
 chisel to be found in the existing remains of that choir; the 
 ornaments are all such as might very well be executed with 
 the axe or pick, and an examination of them shews that they 
 were so. Some of the capitals have been carved afterwards, 
 
 Malmesbury Abbey. 
 
134. 
 
 THE NORMAN STYLE. 
 
 where they were withm easy reach ; and this was evidently 
 a common custom, as may be seen very distinctly in the early 
 capitals of the piUars in the vaulted substructure of the dor- 
 mitory at ^Westminster, and in numberless instances both in 
 Eno-luud and France ; the difference between the parts that are 
 within reach and those which are out of reach, and between 
 those which were seen and those which were not seen, makes 
 this very evident. 
 
 Biiosop Churtli, Hercfordshiie. c. 1:50. 
 
 The space formed over the head of the doorway between 
 the flat head of the door itself and the semicircidar arch over 
 it, called the tympanum, is frequently filled with sculptm-e, 
 either of emblematical figures, or other ornaments in great 
 variety, as in Brinsop Church, Herefordshire, Sec. 
 
 The pillars are also sometimes covered with a kind of fluting, 
 or with zigzags, as at Durham Cathedral, AValtham Abbey, 
 the crypt at Canterbury, or with other sculptured ornament. 
 Amongst these ornaments the interlaced figure called Runic 
 — evidently an imitation of wicker-work — is of frequent oc- 
 currence, as well as on the fonts and crosses of this style ; at 
 what period this kind of ornament was first used is not easily 
 ascertained, but it continued in use to the end of the Norman 
 style. Occasionally, but rarely, the surface of the pillars is 
 entirely covered with rich carving, as at Shobdon, Hereford- 
 shire, a very remarkable example, and from its unusual cha- 
 racter supposed to be of foreign origin. 
 
NORMAN ORNAMENTS. 
 
 135 
 
136 
 
 NORMAN ORNAMENTS. 
 
 ^^^7/i^' 
 
 In some of the pillars of the crypt at 
 Canterbury the capitals are carved, others 
 are quite plain, nnd 
 in others the carv- 
 ing has been begun 
 but never finished, 
 from which it would 
 appear that the 
 monks amused 
 themselves with 
 carving them dur- 
 ing the interval 
 between the conse- 
 cration in 1130 and 
 the great fi_re in 
 1174, when their 
 whole attention was 
 required for more 
 
 Capital in the Cryj t, Cant^rtury. Important WOrk. In 
 
 a late Norman door- 
 way at Castle Ashby Church, North- 
 amptonshire, one of the capitals has 
 the pattern di*awn in outline in incised 
 lines with the chisel, but the carving 
 was never finished. Similar examples 
 are not of rare occurrence when they 
 are looked for, especially when they 
 are within reach without requiring a 
 scafibld. 
 
 Pillar in the C;;; 
 Camterbury Cathedral, 
 
 A few examples 
 of Norman gable 
 crosses have been 
 preserved, as at St. 
 Margaret's, York, 
 Saint Germain's, 
 in Cornwall, and 
 Othery, Somerset- 
 shire, but in gene- 
 ral these as well as 
 the parapets have 
 perished from ex- 
 posure to the wea- 
 ther.] 
 
 Othery, Somerset. 
 
 St. Gernoaiu's, 
 
THE NORMAN STYLE. 
 
 137 
 
 Norman Capitals. 
 
 The capitals of piers and shafts are often very rudely carved 
 in various grotesque devices of animals and leaves, but in all 
 the design is rude and the plants are unnatural. 
 
 [They are frequently quite plain, and in some cases appear 
 to have been ornamented with painting only. The earliest 
 form is a square block, with the lower angles rounded oflF, so 
 as to resemble a common wooden bowl, and frequently called 
 the cushion capital. This occurs almost invariably in all works 
 before 1090, whether in England or France, excepting when 
 they have been carved afterwards, and then the original outline 
 of the form is usually preserved. 
 
 Nearly simidtaneous with this is a sort of rude Ionic capital, 
 with imperfect volutes at the angles, and an attempt at imi- 
 tating the Corinthian or Com- 
 posite, a square projecting 
 piece being left uncarved in 
 the middle between the vo- 
 lutes, as if for the cauliculi ; 
 these were probably painted. 
 Capitals with this peculiar 
 feature occur in numerous in- 
 stances in work of the latter 
 part of the eleventh century. 
 
 The next capital is that 
 commonly called the scolloped ^'^'^ Tower. Loudon, c um. 
 
 capital, from the resemblance to the scollop shell; this is the 
 
 Stauley St. Leonard Gloucestershire, c. 1130. 
 
138 
 
 THE NORMAN STYLE. 
 
 capital commonly used in the time of "William II. and Henry T., 
 or from 1090 to 1135. 
 
 Both the cushion and the scollop capitals are, however, 
 frequently used afterwards, throughout nearly the whole of 
 the twelfth century. 
 
 The richly carved Norman capitals are all of the time of 
 Stephen and Henry II., or from 1135 to 1190. The carving 
 gradually becomes deeper and bolder as the style advances. The 
 abacus is generally square, with a plain chamfer or a hollow 
 under it ; in rich capitals the abacus is also ornamented with 
 scul]:)ture, but such examples are generally late in this style. 
 
 When the carvino: becomes free and the foliao:e curls over 
 at the point, as in the later part of the choir at Canterbury, 
 the work is of transitional character, and not earlier than about 
 1180. Another capital, which also belongs to the period of 
 transition, will be better understood by the engraving from 
 the Galilee of Durham Cathedral, than from any description. 
 The same form occurs frequently in Gloucestershire, as at 
 Slymbridge. 
 
 There is no doubt that in internal work Norman capitals 
 were usually painted and gilt, and 
 were intended to be so by the ori- 
 ginal architects who designed them. 
 Originally the painting was on the 
 plain surface of the cushion capital, 
 but it was soon found more conve- 
 nient, and to heighten the effect, to 
 have them partly carved and partly 
 painted. In the ruins of the abbey 
 of Jumioges, in Normandy, a remark- 
 able example occurs of an early capi- 
 tal of the rude Ionic form of the 
 eleventh century having been plas- 
 tered over to receive the painted 
 foliage of the twelfth. A similar ex- 
 ample in some respects occurs at St. 
 Remi, Ilheinis, at the west end of 
 the nave, where an early capital 
 of the eleventh century has been 
 covered with plaster or mortar in the p-^"^*^ '^^p^^^' J^™'''««'' Normandy. 
 twelfth, but in this instance the ornament is worked in relief 
 and the painting does not remain ; the mortar has become as 
 hard as stone, and the change was only discovered by accident 
 in the course of some recent repairs under the direction of 
 M.Viollet-le-Duc] 
 
North Transept,, Winchester Cathedral, a.d. 1079 — 1093. 
 
 Stourbridge, (."ambridAeshire, c. 1120 . 
 
140 
 
 THE NORMAN STYLE. 
 
 Norman Bases. 
 
 The bases frequently resemble a plain capital reversed ; they 
 often appear to be rude imitations of the Tuscan, and in late 
 examples bear a close resemblance to the Attic base. 
 
 [In early Norman work there is a singular variety in the 
 profiles of the bases, as in Gundulph's crypt at Hochester there 
 are three or four varieties ; in the crj-pt of Worcester Cathedral 
 there are six, and in the ruins of the small church called De 
 la Paix, at Caen, there are no less than ten varieties. 
 
 Winchester CathedraJ. a.d 1079 — 1099. 
 
 Postlip. Noithants, c.UoO. 
 
 St. Cross, Hampshire, c. 1160. 
 
 Iffley, Oxfordshire, c. 1 160. 
 
 The pedestal on which the pier stands being alwaj'-s square, 
 while the pier itself with its base-mouldings is often round, an 
 interval occurs at the angles which is frequently filled up with an 
 ornament consisting most commonly of rude foliage ; these are 
 usually called foot-ornaments, as at St. Cross, and Romsey Abbey.] 
 
THE NORMAN STYLE. 
 
 141 
 
 Norman Steeples. 
 
 The Norman steeple was mostly a massive tower, seldom 
 rising more than a square in height above the roof of the 
 building to which it belonged, and often not so much. They 
 are sometimes plain, but often ornamented by plain or inter- 
 secting arches, and have generally the flat buttress, but that 
 of St. Alban's runs into a round turret at each corner of the 
 upper stage ; and at St. Peter's, Northampton, there is a sin- 
 gular buttress of three parts of circles, but its date is uncertain''. 
 The towers of Norwich and Winchester Cathedrals, Caistor, 
 Northamptonshire, and Tewkesbury, Gloucestershire, are very 
 fine specimens of the Norman tower. It does not seem likely 
 that we have any Norman spires, but there are some turrets 
 crowned with large pinnacles, which may be Norman : such 
 is one at Cleeve, in Gloucestershire, and one of the towers 
 at the side of the west front of Rochester Cathedral. 
 
 Biedon, WorcesterbL.i.':. c, i Lto Bisnup'a i„i-_--_ .-.. ■_= . ..^i-.^ -L.i.--, c. ..r'J 
 
 ^ [This tower has been rebuilt of old materials, and raised in the fourteenth century.] 
 
142 
 
 THE NORMAN STYLE. 
 
 [One also crowns a stair - turret at St. Joseph's Chapel, 
 Glastonbury. The round pinnacles on the porch at Southwell, 
 Nottino-liamshire, have been restored, and therefore cannot be 
 depended on as examples.] 
 
 Iffley, Oxfordshire, c, I idu. 
 
 Cliiist (Jbuivh. Hampshii-e, c, 1 100. 
 
 Norman Battlements. 
 
 From exposure to weather, and various accidents, we find 
 very few roofs in their original state, and from the Aacinity of 
 the battlement we find this part also very often not original. 
 It seems difficult to ascertain what the Norman battlement 
 was, and there seems much reason to suppose it was only 
 a plain parapet : in some castellated Norman buildings a para- 
 pet, with here and there a narrow interval cut in it, remains, 
 and appears original; and this, or the plain parapet, was most 
 likely the ecclesiastical battlement. Many Norman buildings 
 have battlements of much later date, or parapets evidently 
 often repaired. 
 
THE NORMAN STYLE. 143 
 
 Norman Roofs. 
 
 The Norman wooden roof was often open to the actual frame- 
 timbers, as we see some remaining to this day, as at Rochester 
 and Winchester'^; but at Peterborough is a real flat-boarded 
 ceiling, which is in fine preservation, having lately been care- 
 fully repainted from the original. It consists of a sort of 
 rude mosaic, full of stiff lines ; and its general division is into 
 lozenges, with flowers of Norman character, and the whole 
 according in design with the ornaments of that style. This 
 kind of roof, particularly when the exterior was covered with 
 shingles, contributed much to spread those destructive fires we 
 so frequently read of in the history of early churches. 
 
 [This very remarkable Norman ceiling is flat in the tran- 
 septs, but canted in the nave. This has been raised two or 
 three feet in the fourteenth century, when the central tower 
 was rebuilt, and the tower-arches raised. The strip of wall on 
 each side between the original Norman cornice-moulding and 
 the Norman painted ceiling is also painted, but in quite a 
 different style, that is, in the style of the fourteenth century, 
 when the alteration was made, thus confirming the genuineness 
 of the earlier ceiling. This style of painted ceiling has been 
 introduced by Mr. Burges in Waltham Abbey Church among 
 the restorations in 1860 with very good effect. It seems the 
 most appropriate finish to a Norman church. A similar painted 
 ceiling, but far more rich and elaborate, has been restored in 
 Ely Cathedral by the indefatigable zeal of Mr. Styleman Le 
 Strange. 
 
 It is evident, from the weather-mouldings which frequently 
 remain on Norman towers, that the outer roofs of this style 
 were frequently of a high pitch, but they were sometimes very 
 low, and they appear to have generally, if not always, had tie- 
 beams, placed very near together, on the under side of which 
 a flat boarded ceiling was nailed. Such a roof was recently 
 destroyed in some restorations at Adel Church, Yorkshire, and 
 it may be doubted whether any example of this period now 
 remains, though we have sufficient evidence to shew what they 
 were in several instances. Portions of some very remarkable 
 wooden roofs of this style remain in the bishop's palace at 
 Hereford, and at Oakham, Rutland.] 
 
 <• [These have been destroyed since the roof at Peterborough above the 
 Mr. liickman wrote, and the framing of ceiling ia modern.] 
 
144. 
 
 THE NORMAN STYLE. 
 
 Of the Norman groined roof [or vault] we have very many 
 fine examples, principally in the roofs of crypts, and in small 
 churches ; they consist of cross-springers, and sometimes, but 
 not always, of a rib from pier to pier ; they are sometimes 
 plain, but oftener ornamented with ribs of a few bold mouldings, 
 and sometimes with these mouldiugs enriched with ziffzaor and 
 other carved work of this style. The ruins of Lindisfarne, on 
 the Northumberland coast, have long exhibited the great cross- 
 springer rib, over the intersection of the nave and transepts, 
 remaining while the rest of the roof is destroyed. 
 
 iiiWi mm imiinji^ yi/m//////^ mjii, iNi)lll//IJt/i/m'piW; 
 
 Groined Eoof of Aisle, Peterborough Ciithedi,il, a. a. 1U7- 1143. 
 
 [The earliest Norman vaults are quite plain, and of the 
 barrel form, as in the chapel of the White Tower, London ; in 
 tlie next stage they have flat arch-ribs only, they are then 
 groined, but still without ribs ; these plain groined vaults over 
 narrow spaces are often cotemporaneous with the barrel- vaults, 
 and belong generally to the eleventh century, but the Norman 
 architects did not venture to throw a vault over a wide space 
 until very near the end of the style, and the contrivances neces- 
 sary for vaulting over spaces of unequal width seem to have 
 led to the general use of the pointed arch.] 
 
lEAST r: 7 ST CROSS CIHIILIRCIHI^ 
 
 H A M-lPS HIRE, 
 
THE NORMAN STYLE. 
 
 ] 45 
 
 Norman Fronts. 
 
 St. Mary's Church, Porchester, Hampshire, a.d. 1133. 
 
 The greatest part of the Norman west fronts have been much 
 changed by the introduction of -svandows of later date, (mostlj^ 
 large Perpendicular windows). The ruins of Lindisfarne, how- 
 ever, present us with one nearly perfect. This consists of 
 a large door with a gallery or triforium over it, of which some 
 of the arches have been pierced through for windows ; and 
 above, one larger window. Rochester and Lincoln Cathedrals, 
 Castle Acre Priory, and Tewkesbury Church, all shew what the 
 Norman west fronts were, with the exception of the introduc- 
 tion of the large window. [The west front of the small church 
 in the castle at Porchester, Hampshire, is a very perfect and 
 good plain specimen.] 
 
 The east fronts much resembled the west, except the door ; 
 and in small churches we have both east and west fronts 
 perfect. Peterborough and Winchester Cathedrals furnish fine 
 examples (except the insertion of tracery to the windows) of 
 
146 
 
 THE NORMAN STYLE. 
 
 transept ends ; these generally rose in three tiers of windows, 
 and had a fine efiect, both interiorly and exteriorly. [The east 
 front of St. Cross Church, Hampshire, is also a fine example ; 
 see Plate.] There are a few large buildings, and many small 
 ones, with semicircular east ends ; and of these, the cast ends 
 of Norwich and Peterborough Cathedrals arc the finest remain- 
 ing, but in both, the windows are altered by the insertion of 
 tracery, and, in parts, of new windows. 
 
 Norman Porches. 
 
 There are many of these remaining to small churches ; they 
 are generally shallow, and the mouldings of the outer gate are 
 often richer than those of the inner. 
 
 [Some Norman porches are of large dimensions, and have 
 arcades on each side of the interior, as at Southwell INIinster, 
 Nottingham, and Sherborne Abbey, Dorsetshire. At Malmes- 
 bury Abbey is one 
 
 of surpassing rich- 
 ness, the profusion 
 of ornament used 
 in this porch ex- 
 ceeds that of any 
 other part of the 
 building. In many 
 instances, how- 
 ever, the Norman 
 porches are so 
 shallow as to have 
 little more projec- 
 tion than tlie but- 
 tresses, and to 
 make it almost 
 difiicult to say 
 Avhethcr they 
 sliould be called 
 shallow porches 
 or dee}) doorwa3S. 
 At Kelso in Scot- 
 land is a fine ex- 'i^ews ^^-u^v^i^^^.^ 
 ample of this kind k<:1so, scouaud. ad. nso. 
 of porch, though this is much more decided than many others ^] 
 
 * [See Glossary, vol. ii. pi. 115.] 
 
F Mackenzie del. 
 
 WTStarlmg- ic 
 
 sroiiRTiir ]?•" 
 
 sffiiarTETsnasx ssjeksteis. = 
 
THE NORMAN STYLE. 
 
 147 
 
 Norman Fonts. 
 
 Norman fonts are very numerous, perhaps as much so as 
 Norman doorways, and some are very curious, from the rude- 
 ness and intricacy of the decorations. 
 
 Ancaster, JjincolnsUire. c. 1110. 
 
 Chaddesley Corbett. Worceatetstiire, c 1110 
 
 Bolton, lincolusliire, c. 1160. 
 
 Ashby FolvUle, Leicestershii-e.c. 1160. 
 
148 THE NORMAN STYLE. 
 
 The general appearance of Norman buildings is bold and 
 massive. Very few large buildings remain without much 
 alteration and mixture with other styles ; perhaps the nave 
 of Peterborough and that of Rochester Cathedrals present as 
 little mixture as any, though in these the v>'indows have been 
 altered ; but of smaller churches, Barfreston in Kent, Stcwk- 
 ley in Buckinghamshire, and Adel in Yorkshire, have had 
 very little alteration. Tickencote in Rutlandshire, till within 
 a few years, was one of the most valuable remains in the 
 kingdom ; but it has been rebuilt sufficiently near in its like- 
 ness to the original to deceive many, and so far from it as 
 to render it not a copy, but an imitation; yet it is still 
 curious, and the interior of the chancel is original. The 
 interior arrangement of large Norman buildings is consider- 
 ably varied : sometimes the large circular pier is used alone, 
 as at Gloucester Cathedral ; sometimes mixed with the pier 
 composed of shafts, as at Durham ; and sometimes of that 
 pier of shafts only, as at Peterborough, Nor^\^ch, t^c. — The 
 triforia are various ; some, as at Southwell and ^Valtham 
 Abbey, a large arch quite open, but often er broken by small 
 shafts and arches, and the clerestory windows have often 
 an arch on each side of the window, forming a second gallery ; 
 of these galleries, which are partly pierced, the tower of 
 Norwich forms the best example. In many large churches 
 we find the Norman work remaining only to the string run- 
 ning over the arches, and later work above that; this is the 
 case at Canterbury and Hereford. The arrangement at Ox- 
 ford Cathedral is curious, as under the great arches, springing 
 from the piers, are other arches springing from corbels, and 
 between these two are shafts and arches as ornaments, but not 
 open as a gallery. In small churches the gallery is generally 
 omitted. 
 
THE NORMAN STYLE. 
 
 149 
 
 Norman Stain;a;3e, Canterbury, c. 1160. 
 
 Of this style, it will be proper to remark two buildings that 
 deserve attention ; the one for its simplicity and beauty of com- 
 position, the other from its being nearly unique, and being at 
 the same time a very fine specimen of ornament. The first is 
 the vestibule, or entrance to the chapter-house at Bristol, and 
 the other the staircase leading to the Registry at Canterbury 
 Cathedral. With respect to ornaments, few surpass those of 
 a ruined tower at Canterbury, generally called Ethelbert's, and 
 those on the front of Castle Acre Priory. 
 
150 THE NORMAN STYLE, 
 
 There are many fine Norman castellated remains ; of these 
 it may be enough to mention those of Rochester in Kent, 
 Hedingham in Essex, Connisburgh in Yorkshire, and Guild- 
 ford in Surrey. 
 
 [There are also a few Norman houses remaining, as the 
 Jews' House, and St. jNhuy's Guild, at Lincoln; Moyses Hall, 
 Bury St. Edmund's, Suffolk ; the old manor-house of Appleton, 
 Berks. ; the hall of Oakham Castle, Rutland ; two small houses 
 at Southampton ; others at Christ Church, Hampshire ; Minster 
 in the Isle of Thanet, Kent ; Boothby Pagnel, Lincolnshire *.] 
 
 Transition. 
 
 The transition from Norman to Early English was gradual, 
 and it is sometimes very difficult to decide on the character 
 of some remains ; in general, the square abacus to the capital 
 is the best mark, for the arch is none, many pure Norman 
 works having the pointed arch. The mouldings of later Nor- 
 man work approach very near to Early English. The Temple 
 Church, London, is one of those buildings which seems to 
 belong as much to one style as the other ; and two Lincolnshire 
 buildings, not far distant from each other, shew a curious cross- 
 ing of the marks of these two styles : — one, the front of the 
 hospital of St. Leonard, at Stamford, presents a semicircular 
 arch with pure Norman mouldings, but the shafts are in two 
 rows, stand free, and have a round abacus of several mouldings, 
 which are quite Earl}^ English. The other, part of Ketton 
 Church, has the square Norman abacus and semicircular arch 
 with Norman mouldings, and another pointed one on the side ; 
 but both these have a dripstone filled with the toothed orna- 
 ment, which also runs down by the shafts, which are banded 
 and have an Early English base. 
 
 ' For engravings of these see the "Domestic Architecture of the Middle 
 Ages," vol. i. 
 
THE NORMAN STYLE. 
 
 151 
 
 WILLIAM IL, A.D. 1087—1100. 
 
 [The first division of the Norman style, belonging to the time 
 of William the Conqueror, has been already described. 
 
 The second division comprises the reigns of William II. and 
 Henry I., and most of the buildings usually called early Norman 
 belong to this time. The peculiar features by which these divi- 
 sions may be readily distinguished have been described under 
 the head of doorways, windows, capitals, &c. ; it would cause too 
 much repetition to introduce them here. It will be sufficient to 
 say that during this second period the masonry is better finished, 
 and becomes fine-jointed, and the chisel comes into general use. 
 
 A.D. 1087. Hurley Priory, Berkshire, founded by Geoffrey 
 de Mandeville. The church is of plain early Norman woi"k, 
 and was probably built soon after the foundation e. 
 
 A.D. 1087 — 1092. Lincoln Cathedral was built on a new site 
 by Bishop Remigius, or of 
 St. Bemi. Part of the pre- 
 sent west front is his work ; 
 it has wide-jointed masonry, 
 and the original parts are 
 of very early character, but 
 of grand design, with three 
 lofty recessed arches, or shal- 
 low porches. In this work 
 doorways and capitals were 
 inserted by Bishop Alexander 
 in 1146^. The later work 
 can be distinguished by the 
 fine-jointed masonry. 
 
 A.D. 1089 — 1100. Glou- 
 cester Cathedral, built by 
 Abbot Serlo ; the first stone 
 was laid in 1089, and it was 
 dedicated in 1100. The 
 crypt of this period remains 
 with some alterations. The 
 arches are segmental,remark- 
 ably wide and flat ; and this ''"p"^' ^'"'^'^'^ °"*^;^^' ' ''^ '^' 
 
 seems to be a local peculiarity, as it occurs in a chapel in 
 
 8 See Lysons' Berkshire, vol. i. p. 
 300; Gentleman's Magazine, 1839, vol. 
 i. p. 257, where there is an engraving 
 of the church; and Mon. Ang., iii. 531. 
 
 ^ Roger de Hoveden, Annal., p. 280. 
 Fine engravings of this west front, from 
 drawings by Carter, were published by 
 the Society of Antiquaries. 
 
152 THE NORMAN STYLE. 
 
 the Deanery, of the twelfth century, and in some churches 
 of the neif^hbourhood, as at Bishop's Cleeve. The vaults are 
 groined without ribs, but the bays separated by the transverse 
 arches, which are square in section. Some of the capitals are 
 of the cushion form, others the rude Ionic. For engravings, 
 see Britton, &c. 
 
 A.D. 1092 — 1101. Carlisle Cathedral was commenced by 
 Baron "Walter at the former date, and consecrated at the latter ; 
 but this would have included the choir only, which was en- 
 tirelj'' rebuilt in the thirteenth century. The south transejjt 
 (excepting the clerestory) and the pier-arches of the nave are 
 early Norman work, built in continuation of the choir soon 
 after 1101. The triforium and clerestory of the nave, and the 
 clerestory of the south transept, are rather late Norman. It 
 was made a cathedral in 1133. 
 
 A.D. 1093. The church of Lindisfame, on Holy Island, 
 Durham, rebuilt from the foundations. The ruins shew that 
 it is constructed partly of the red sandstone of the neighbour- 
 ing coast, and partly of the whinstone of the island, agreeing 
 exactly with the minute description of Reginald of Dui'ham ", 
 who was living at the time. The style is earl}' Norman, with 
 massive piers and cushion capitals. (See an arch, p. 123.) 
 
 A.D. 1093 — 1099. The priory of Christ Church, in Hampshire, 
 built by Ralph Flambard, Avho was then made Bishop of Durham. 
 The nave and transepts are supposed to be his work, from their 
 close resemblance to Durham. But it is probable that the 
 Bishop retained the priory, and that these parts were not 
 erected until the time of Henry I., when the priory was richly 
 endowed bv Richard de Redvers, Earl of Devon ^. 
 
 A.D. 1093 — 1104.. Durham Cathedral. The choir built by 
 Bishop AVillium Carilcph. The first three stones were laid 
 by the Bishop, Malcolm King of the Scots, and Prior Turgot, 
 on the 3rd of August, 1093, and the work was so far com- 
 pleted as to receive the body of St. Cuthbert in 110^'. 
 
 A.D. 1096 — 1110. The choir of Canterbury entirely rebuilt, 
 more magnificently than before, by Prior Ernulf, who entirely 
 destroyed Lanfranc's work. A portion of the crypt of this 
 period remains. Ernidf was made Bishop of Rochester, and 
 was succeeded by Conrad in 1110 "\ 
 
 ' Reg. Dnnelm., cap. xxi. p. 45. Willis's "Architectural History of Can- 
 
 ^ See Mon. Ang., vi. 302. terbury Cnthedral," Svc, 1845 ; the 
 
 ' Roger de llovedeii, ^»»a/ej, p. 265. most \ahuil)le work on the history 
 
 " A full account of the rebuilding of architecture that exists in any lan- 
 
 of Canterbury Cathedral, at successive gua^e. 
 
 periods, will be found in Professor 
 
WILLIAM II., A.D. 1087 — 1100. 
 
 153 
 
 A.D. 1096—1119. Norwich Cathedral, built by Herbert 
 Losinga on a new site, the 
 see having been removed 
 from Tliettbrd by him. The 
 style is early Norman; most 
 of the capitals are of the 
 cushion shape, but some are 
 scolloped, and others are of 
 the rude Ionic form. The 
 church was left unfinished 
 by Bishop Herbert, and was 
 not completed until 1200. 
 
 A.D. 1097. "Westminster 
 Hall, built b)^ William Rufus. 
 The original walls remain for 
 the most part, but cased over 
 and hidden, and the orna- 
 mentation entirely altered. 
 Some of the original work 
 was uncovered during the 
 repairs made mider the di- 
 rection of Sir Robert Smirke, 
 and was carefully described 
 by his brother, Mr. Sydney 
 Smirke, in Arclueologia, vols, xxvi., xxvii., where several en- 
 gravings are given from drawings by Mr. Smirke and Mr. 
 Buckler. The masonry is wide-jointed, and the capitals of the 
 shafts are the plain cushion capitals. Some sculptured capitals 
 were also found built in the wall, and are engraved in the 
 ArcJueologia, but these evidently belong to a later period, towards 
 the end of the twelfth century. (See an arch from this palace, 
 p. 123.) 
 
 FoEEiGJT Examples of the same Period. 
 
 The French antiquaries call many buildings of the eleventh 
 century which a little investigation shews clearly to belong to the 
 twelfth. It is, in fact, not an uncommon practice in this country to 
 call each century by the name of the figiu'es which represent it, so 
 that the century from 1100 to 1199 is often called the eleventh 
 century. Although this is obviously a mistake, it is a very common 
 one, and in France more common than in England, and in Italy it is 
 universal ; the cinque cento means, in fact, the sixteenth century. In 
 reading foreign archaeological works it is quite necessary to bear this 
 in mind, as it is very easy to be misled by it. 
 
 A.D. 1096 — 1104. The abbey church of Vezelay, near Nevers, 
 founded and built by Abbot Arnaldus, who was elected in 1096, was 
 
 Capital, Norwicli Cathedral, a.d 1096— 1U9. 
 
15 1. THE NORMAN STYLE. 
 
 consecrated in 1104; (see the Gallia Christiana, torn. iv. p. 922). 
 This space of time is too short for anything? more than the choir to 
 have been built, and that was entirely rebuilt about a century after- 
 wards, 1198 — 120G, with the exception of a portion of the crj'pt and 
 the two western piers, now forming the two eastern piers of the nave 
 joining to the transept; these are of wide-jointed masonry of the usual 
 character of the period. The nave was added during the twelfth 
 century, and the splendid western porch, or narthex, at the end of the 
 twelfth or beginning of the thirteenth. (Viollet-le-Duc, Dictionnaire 
 de V Architecture, vol. ii. p. 184, figs. 21, 22, and p. 232, figs. 54, 5b, 
 Svo., Paris, 1854). 
 
 A.D. 1097. St. Stephen at Nevers, within a few miles of Vezelay, 
 remains very perfect, in a remarkably genuine state, and is of about 
 the same age as the original church at Vezelay, and affords one 
 of the best examples of the style of the end of the eleventh century 
 in this part of France. It has an apse and apsidal chapels, and 
 a cupola over the central space ; the vaults are groined, without 
 either ribs or transverse arches; the transepts have small round- 
 headed windows, with a circular window over them in the gable, and 
 an ornamental wall-arcade, the arches of which are alternatively round 
 and triangular ; the capitals are in the style of the eleventh century. 
 The nave is a little later than the choir and transepts, but not much ; 
 the bays of vaulting are divided by arches; the vaults of the tri- 
 forium are segmental, forming buttresses to the walls of the nave. 
 The whole of the work is very plain, and the style is not at all in 
 advance of Norwich, or other work of the same period in England. 
 
 A.D. 1097. The church of Montierneuf at Poitiers, consecrated by 
 Pope Urban II., is of the same plain massive early character, and not 
 in advance of English work of the same period. 
 
 The abbey church of St. Savin, near Poitiers, is another very re- 
 markable example of the style of the eleventh century, veiy massive 
 and gloomy, the aisles being nearly the same height as tlie central space, 
 and all three vaulted with barrel-vaults and having no clearstory. The 
 crypt has the curious original paintings on the walls which have been 
 published by the French Government, and are clearly of the eleventh 
 century. An altar in the crypt also has an inscription of that period. 
 (For a plan and section of St. Savin, see Diet, de VArchit., vol. ii. 
 p. 176.) 
 
 A.D. 1096 — 1100. The cathedi^al of Cahors, in the south of France. 
 The early parts are in the semi-Byzantine style usual in that part 
 of the country, with cupolas, and are more advanced in the prin- 
 ciples of construction than the churches of the north of the same 
 period. The capitals are of a veiy peculiar and marked type, which 
 is found also in several other churches in that district, as at Rodez, 
 but is little more advanced than the Norman cushion capital. The 
 church was altered and enlarged between 1150 and 1200, and one 
 doorway bears the date of 1119. (See Archceologia, vol. xxxvi.) 
 
THE NORMAN STYLE. 155 
 
 HENRY I., A.D. 1100—1135. 
 
 A.D. 1103 — 1121. Tewkesbury Abbey Church, Gloucestershire, 
 founded by Robert Fitz Haimon, and consecrated in 1121" ; but 
 this was probably the choir onlJ^ The grand west front and 
 the arches of the nave are in the style of the twelfth century, 
 and may be nearly as early as this. The work is very plain, 
 but the arches are more lofty than is usual at this period. 
 The great arch in the west front, extending the whole height 
 of the building, is believed to be imique, but the same idea 
 is carried out about a century later in the three arches of the 
 west front of Peterborough, forming, in fact, a magnificent 
 west porch. At an earlier period, also, the three great arches 
 recessed in the west front of Lincoln convey the same idea. The 
 grand western porches in France are often half the height of the 
 building, but not so lofty as these. At Tewkesbury it is evident 
 from the mass of masonry in the south aisle, near the west end, 
 that there either was an inner wall forming an actual porch or 
 Galilee, or else a tower. 
 
 A.D. 1103— 111 6. St. Botolph's Priory Church at Colchester, 
 Essex. Founded by Ernulph, or EjTiulph, a monk, afterwards 
 abbot of Peterborough in 1102, and supposed to have been com- 
 pleted about 1116, when a papal bull invested the prior}'- with 
 peculiar privileges". It is built chiefly of Roman bricks, as 
 are nearly all the churches of the town and neighbourhood ; 
 the Roman walls of the town having long served as a convenient 
 quarry in a district where stone is scarce. It is ornamented 
 with intersecting arcades, but the details are early, excepting 
 a rich doorway, which is evidently an insertion of a much later 
 date. (For engravings see the Monasticon and Britten's "Archi- 
 tectural Antiquities," vol. i. p. 2.) 
 
 1104 — 1133. Durham Cathedi-al. The nave and aisles were 
 built chiefly by Bishop Flambard, in the same stjde as the choir 
 built by his predecessor ; the work was completed by the monks 
 during the vacancy of the bishopric between 1128 and 1133i\ 
 The style is simple, grand, massive early Norman. (For en- 
 gravings, see Britton, Carter, &c.) 
 
 " Mon. Aug., vol. ii. p. 53 ; Annales ° Mon. Ang., vol. vi. p. 104, and the 
 
 Winton., ap. Ang. Sac, vol. i. p. 297, Papal Bull printed there, p. 106. 
 
 and the Chronica de TewTcesburye in p Some curious particulitrs descriptive 
 
 Bibl. Cotton., printed in Mon. Aug., of Durham Cathedral as it stood in the 
 
 vol. ii. p. 59; W. Malmesh., De Gestis middle of the twelfth ceutury, are given 
 
 Reg. Aug., p. 89; Petit's History of by Reginald of Durham, cap. Ixxxix. 
 
 Tewkesbury. p. 190. 8vo., Surtees Society, 1835. 
 
156 THE NORMAN STYLE. 
 
 A.D. 11 07. Fall of the central tower of Winchester Cathedral 'i. 
 The tower and part of the transepts were rebuilt soon after the 
 fall, and the difference in the character of the masonrj^ marks 
 the exact points of junction, and affords a useful guide for the 
 examination of other buildings. In the old walls the masonry 
 is wide-jointed, in the new work it is fine-jointed, shewing 
 a considerable advance in the art of construction in a few years. 
 Yet the enormous mass of masonry which was used to support 
 the new tower and ensure its not falling again, shews that the 
 art was far from having attained that degree of perfection which 
 it reached at the end of the century. (For details, see pp. Ill, 
 114, 137, 138.) 
 
 A.D. 1110 — 1139. Sherborne Castle, Dorsetshire, built 
 by Roger, Bishop of Salisbury ^ It is now a mere ruin, but 
 possesses many of the original Norman features, and the masonry 
 is fine-jointed. This improvement in the art of construction is 
 believed to have been first introduced by Bishop Roger, who 
 also in 1115 — 1139 built Malmesbury Abbey. 
 
 " He (Bishop Roger) was a prelate of great mind, and spared no 
 expense towards completing his designs, especially in buildings ; which 
 may be seen in other places, but more particularly at Salisbury and 
 Malmesbury ; for there he erected extensive edifices at vast cost, 
 and with surpassing beauty, the courses of stone heing so correctly 
 laid that the joint deceives the eye, and leads it to imagine that the 
 tohole wall is composed of a single block. He built anew the church 
 of Salisbury, and beautified it in such a manner that it yields to none 
 in England, but surpasses many : so that he had just cause to say, 
 * Lord, I have loved the glory of Thy house.' " (William of Malmes- 
 bury, Sharpe's Transl., p. 504.) 
 
 This passage of William of INIalmesbury is worthy of par- 
 ticular notice, as it seems that this mode of building with fine- 
 jointed masonry struck him as remarkable, from which we may 
 infer that it was not then in general use ; and in confirmation 
 of this it has been observed, that the work of a previous date has 
 generally wide joints between the stones, as in the older parts 
 of Winchester and Canterbury. 
 
 A.D. 111-3—1130. Rochester Cathedral. Ernulf, who had 
 been Prior of Canterbury and had begun to rebuild the choir 
 there, was made Bishop of Rochester % and carried on the 
 work which had been begun by Bishop Gundulph. His work 
 at Rochester may be traced by its exact resemblance to his 
 work at Canterbiiry. Precisely the same ornaments are used 
 in both churches, especially a peculiar kind of plain diaper 
 
 1 Annal. Winton. ' Godw-in, p. 273. 
 
 » See Godwin's Lives of the Bishops, 4to., 1601, p. 396. 
 
HENRY I., A.D. IIOO — 11 35. 
 
 157 
 
 Diaper Work in Passage to Crypt. 
 
 pattern on the walls, which occurs in the passage leading from 
 the north transept to the 
 crypt at Canterbury ; and 
 at Rochester in the ruins 
 of the chapter-house and 
 cloisters, and in the frag- 
 ments of the eastern hay 
 of the nave, which has 
 been rebuilt in the thir- 
 teenth centurj^, but the 
 old materials used up in 
 an internal buttress to 
 the central tower : also at 
 the west end of the aisles, 
 the central part of the 
 west front is of later date, 
 and the different bays of 
 the nave each of a differ- 
 ent date, the work being 
 continued through nearly 
 the whole of the twelfth 
 century ; the rich central doorway of the west front being part 
 of the later work. 
 
 A.D. 1117 — 1143. Peterborough Cathedral having been burnt 
 in the preceding year, a new one was begun from the founda- 
 tion by John de Seez, who formed the plan of the whole, and 
 in 1143 it was consecrated t. The style is good plain Norman 
 of rather early character. The date of consecration only proves 
 that the choir was ready for the daily service. The nave was 
 not completed until quite the end of the century. The tri- 
 forium arcade of the choir affords the earliest exaniple of plate 
 tracery in its most primitive form, small plain circular openings 
 pierced in the flat head over the sub-arches in one of the 
 bays. (For engravings, see Britton's " Cathedrals," or Stow's, 
 or Murray's.) 
 
 A.D. 1121. Reading Abbey, Berkshire, founded by King 
 Henry I. ^ The ruins which remain consist chiefly of enormous 
 masses of rubble and flint walls, the whole of the ashlar masonry 
 having been stripped off, but the extreme hardness and solidity 
 of these massive walls have defied the efforts of the destroyer. 
 Some fragments of Roman walls are built in as old material in 
 square masses. Some small portions of the ornamental stone- 
 
 ' Annal. Petribiirg., Mon. Aug., vol. 
 i. p. 351. 
 
 " Matt. Paris, p. 69 ; Mon. Aug., vol. 
 iv. p. 28. 
 
158 THE NORMAN STYLE. 
 
 work have been dug up, and arranged. The churches of Cholsey, 
 35erks., and Lcotninstor, Herefordshire, were cells to Reading 
 Abbey, and founded at the same time, 1123 — 1130. A con- 
 siderable part of Leominster Church remains as built at this 
 period. At Cholsey the choir has been rebuilt in the thirteenth 
 century, and but little of the original work remains ; but the 
 lower part of the tower is of early Norman character, and not 
 long after the foundation. 
 
 A.D. 1121. Kirkham Priorj', Yorkshire, founded by Sir 
 Walter Espee, and Adeline his wife, for Austin Canons ^. The 
 principal remains consist of a beautiful gateway, a fine Norman 
 doorway, and part of the cloisters. See Glossary, PI. 75. 
 
 A.D. 1121—1130. Bury St. Edmund's, Suffolk. The gate- 
 way tower of the Abbey (called St. James's tower) built by 
 Radulphus and Heraeus the sacrists >'. It is fine and rich Nor- 
 man work, but the ornament is of early character, shallow 
 and worked with the pick, except the rich doorway, which is 
 evidently an insertion of a much later date. (See p. 107.) 
 
 A.D. 1122. Kenilworth Prior}-, Warwickshire, founded for 
 Austin Canons by Geoffrey de Clinton, chamberlain and treasurer 
 to Henry I. The churches of Wotton, Warwickshire, Clinton, 
 Oxfordshire, Barton, Northamptonshire, and Stone, Stafford- 
 shire, were given to it by the founder ; Hathe and Stoneleigh, 
 Warwickshire, were given by King Henry I. ; Packington, 
 Leamington, Worm-Leighton, Herberbury, and Padford, War- 
 wickshire, Barton Seagrave, Northants ^-j and Stcwkley, Bucking- 
 hamshire, were given by Geoffrey, the son of the founder, about 
 1150 ; Hethe, Oxfordshire, by Lescelina, daughter of the foiinder, 
 about the same time ; Ifiiey, or Yffley, Oxfordshire, by Juliana 
 de St. Pemi, about 1160; and fifteen other churches by subse- 
 quent benefactors, which it is not necessary to enumerate : but 
 those mentioned are believed all to have portions of the original 
 work about the time of donation, and they are supposed to have 
 been built or rebuilt under the direction of the canons of Kenil- 
 worth. They are all of rich Norman work. Ifilcy is not men- 
 tioned in the Confirmation at the beginning of the reign of 
 Henry II., and was therefore given after that time. The church 
 at Kenilworth has a rich Norman doorway. 
 
 A.D. 1124. Caistor Church, Northamptonshire. A fine cruci- 
 form church, with a central tower of rich but not late Norman 
 work; the external ornament is all shallow, and such as would 
 
 * Moil. Ang., vol. vi. p. 207. ^ For engravings of Norman details 
 
 >■ Mon. Ang., vol. iii. p. U8. For from this church see " Churches of 
 
 engravings see Britton's " Architectural Nortliamptoushire," royal 8vo., 1849, 
 
 Autiquities," vol. iii. p. 8-i. p. 150. 
 
HENRY I., A.D. 1 lOO — 1135. 
 
 159 
 
 not require the use of tlie chisel. Some of the capitals in the 
 interior are carved with groups of figures obviousl}' requiring 
 the use of the chisel, but it is quite possible that these were 
 executed afterwards. 
 
 Over the south door of the chancel there is a niche with 
 a trefoil head, the upper part of which is cut out of one large 
 stone, bearing the following rude inscription. All the letters 
 are raised on the face of the stone, except those signifying 
 xxiiii, which are cut into it. 
 
 jiJJ,;^jljji:jtl(fliiiiiiiiiii'"i"i''iiiiiiiHli;il||ji||;iTjTj? 
 
 V 1 ^ 
 
 
 M:i€W'^ 
 
 Q'^C^p'^- 
 
 Ttfwiw^,, ' ''^^ — "Till'. 
 
 d>-«'>'l f" 
 
 Inscription. Caistor Church, Northamptonshire. 
 
 The tower of this church is rich Norman work, with the 
 square billet, the hatchet, and scolloped ornaments. Other 
 parts of the church are of the same period, and there is another 
 inscription cut in wood on the south door of the nave, which is 
 also of very early character : but the chancel has been in a great 
 degree rebuilt in the thirteenth century, preserving, however, 
 the Norman sedilia, and other parts of the Norman work, 
 among which is the inscription above given, and probably the 
 whole niche, for although the trefoil head is not usual in Nor- 
 man work, it is occasionally met with ; and this niche appears 
 ruder than the Early English doorway over which it is placed. 
 The edges are square and not moulded. 
 
 A.D. 1123—1133. The church of St. Bartholomew, Smith- 
 field, London. This was the church of the Augustinian priory 
 founded in 1123 by Habere, the king's jester or minstrel, and 
 he obtained a charter from the king in 1133, by which time 
 it is probable that the buildings were in an advanced state. 
 
160 
 
 THE NORMAN STYLE. 
 
 It is recorded that three Greek travellers of noble family- 
 were present at the foundation, and foretold the future import- 
 ance of the church '*. They were probably merchants from 
 Byzantium, and it has been conjectured that they were con- 
 sulted by the founder respecting the plan and architectural 
 character of the church. The aisle round the apse remains in 
 a very genuine state, and agrees with this period ; it is of rather 
 early Norman character, with transverse arches, which are of 
 the horse-shoe form, and the vaults are slightly domical, that 
 
 Capital of Apse, 
 
 Si. Bartholomew's, Smithfield, a.d. 1133. 
 
 Vousaoirs of Choir, 
 
 is, the centre of each bay is higher than the sides. The upper 
 part of the choir is of later date than this aisle ; the central 
 tower is not square, and the arches are transitional, two being 
 round and two pointed, with mouldings and details of much 
 later character than those of the aisle ; the nave has been 
 destroyed, and the vaults of the aisles have parts of modern 
 houses built upon them. Domes are the peculiar feature of the 
 liyzantine style, and buildings that are partly derived from 
 this style have their vaults of a domical form, though not high 
 enough to become actual domes. 
 
 A.D. 1127. St. Sepulchre's Church, Northampton, built by 
 Simon do St. Liz (Seynlyz, Senlis), the second Earl of North- 
 ampton, on his return from the first crusade, and presented by 
 
 ' Mon. Ang,, vol. vi. p. 294. 
 
HENRY I., A.D. iioo — 113J. 161 
 
 him to the priory of St. Andrew^s in that town : the gift was 
 confirmed by Hugh, Bishop of Lincoln, and King Henrj'- I. 
 Earl Simon died in the year 1127^. It is one of the round 
 churches built in imitation of the church of the Holy Sepulchre 
 at Jerusalem. The original part of the work is of rude and 
 early Norman character, but the arches are acutely pointed. 
 There is, however, great doubt whether these arches are ori- 
 ginal, the upper part of the wall is evidently late work, and 
 these arches appear to belong to the alteration made at that 
 time rather than to the original work. (For engravings, see 
 Britten's Arch. Ant., vol. i. p. 45.) 
 
 A.D. 1127. Furness Abbey, Lancashire, founded by Stephen, 
 Count of Boulogne and Mortain, afterwards King of England ^. 
 The magnificent ruins of this wealthy abbey are almost en- 
 tirely of subsequent periods, rebuilt or added in the thirteenth 
 and fourteenth centuries, but there are some small portions of 
 early Norman work remaining which were probably erected 
 soon after the foundation. 
 
 A.D. 1127 — 1134. Cormac's Chapel, on the rock of Cashel, 
 Ireland, commenced in 1 127 and consecrated in 1134"^. This 
 beautiful little chapel is a very remarkable piece of work 
 to be found in Ireland at that date. It is good and rich 
 Norman work, rather in advance of anything in England at the 
 same date, but its history seems well authenticated. The round 
 tower seems to have been built at the same time as a belfry to 
 it, though detached, and in the thirteenth century the cathe- 
 dral and castle were added, but the chapel not disturbed. 
 
 A.D. 1127—1144. The church of St. Eule (or St.Regulus), 
 at St. Andrew's, Scotland, built by Bishop Robert. There is 
 a remarkably tall tower, closely resembling some of the towers 
 supposed to be Anglo-Saxon, and still more some of those in Ire- 
 land. (For engravings see Billings' " Antiquities of Scotland.") 
 
 A.D. II28 — 1152. The abbey church of Kelso, Scotland, 
 founded and built by St. David, King of Scotland. The original 
 parts are good Norman work, not of late character. The pier- 
 arches of the nave and the windows are round-headed, and the 
 capitals are scolloped only ; there are intersecting arcades in 
 
 '' Hlo7i. Ang., vol. v. p. 192. Bridges' corthy, Ynes, or De Insula, in the diocese 
 
 History of Northamptonshire, vol. i. of Down, Ireland, 1183; Holy Cross, 
 
 ' Beck's History and Antiquities of in the diocese of Cashel, Ireland, 1183 ; 
 
 the Ahbey of Furness, pp. Ill, 112; Wythney, Ireland, 1188; Corkenrouth, 
 
 Mon. Ang., vol. v. p. 250. The cells or Ue Fetra Fertili, Ireland, 1197 ; 
 
 or daughter churches to this import- Russyn, in the Isle of Man, 1238 ; 
 
 ant abbey were, — Calder, Cumberland, De Surio, in the diocese of Lismore, 
 
 founded in 1134; Swyneseved, or Swine- Ireland, 1249. 
 
 shed, Lincolnshire, 1148; Fermoy, or ^ Petrie's Ecclesiastical Architecture 
 
 De Castro Dei, Ireland, 1170 ; Innis- of Ireland, vol. i. p. 283. 
 
162 THE NORMAN STYLE. 
 
 the side walls, and the tower-arches are pointed. (For engrav- 
 ings see Billings' "Scotland," and the ''Porch," p. 146.) 
 
 A.D. 1130. The cathedrals of Canterbury and Rochester were 
 both consecrated by Archbishop William Corboil, this year. 
 These two churches had been building simultaneously, and 
 the choirs of both were completed at the same time. At Can- 
 terbury the outer walls of this choir remain ; at Rochester 
 it was rebuilt and much enlarged about sixty years afterwards, 
 but ruins of the chapter-house and cloisters of this period re- 
 main. Ernulf, who had been prior of Canterbury, and had begun 
 the choir there, was at this time Bishop of Rochester, having 
 succeeded Rodolph, who was promoted to Canterbury in 1114. 
 (See p. 157.) 
 
 A.D. 1131. Rievaulx Abbey, Yorkshire, founded by Walter 
 Espee, who placed here some monks sent by St. Bernard from 
 the abbey of Clairvaux. It was the earliest Cistercian abbey 
 in Yorkshire^. (For engravings see the Mon. Aug.) 
 
 A.D. 113.2. Fountains' Abbey, Yorkshire, was founded in this 
 year. The buildings were burnt in 1140. The church was re- 
 built b}^ Abbot John of York, who laid the foundations in 1204 ^. 
 There are considerable remains of the domestic buildings of the 
 abbey remaining, of a good Norman style. (For engravings see 
 " The Abbeys of Yorkshire," folio, Sunter, York.) 
 
 A.D. 1133. Porchester Church, Hampshire". A priory of 
 canons of the order of St. Augustine was founded by King 
 Henry I. within the walls of Porchester Castle. The establish- 
 ment was removed about twenty years afterwards to Southwick, 
 but the church which they had built in the castle remains. It 
 is piu'e Norman, and the west front is a particularly good 
 example of a small Norman west front, in good preservation ; 
 (see p. 145.) The font is of the same jaeriod, ornamented with 
 intersecting arcades. 
 
 A.D. 1135 — IIGO. Buildwas Abbey, Shropshire, founded by 
 Roger, Bishop of Chester ^. There are considerable ruins of 
 these buildings ; nearly all the walls of the church remain ; the 
 chancel has been altered in the thirteenth century, but not 
 rebuilt ; and the nave has not been altered, the two sides of 
 it are not quite of the same date. It is evident that, as usual, 
 the choir was built first, and the nave by degrees afterwards ; 
 the nave has pointed arches, but the character of the work is 
 not late, probably about 1150. The arches are merely recessed 
 and not moulded, and the capitals are scolloped only. The 
 clerestory windows are round-headed. (For engravings see 
 Sharpe's " Parallels of Architecture.") 
 
 ' Mon. Ang., vol. v. p. 274. ' Ibid., p. 286. « Ibid., vol. vi. p. 213. 
 
 '■ Chron. Petrihurg. ; Mon. Ang., vol. v. p. 355. 
 
THE NORMAN STYLE. 163 
 
 STEPHEN, A.]). 1135—1154. 
 
 The reign of Stephen and the early part of that of Henry II. 
 is the period of the rich Norman style ; during the reign of 
 Henry I., as we have seen, the buildings were still of the class 
 which we usually call early Norman, massive and comparatively 
 plain. "NYe know from Gervase that the chisel was not used 
 in the " glorious choir of Conrad" and Ernulf, and a careful 
 examination of the remains of that choir and of many other 
 buildings of the same period shews that no marks of it are to 
 be found ; although a good deal of surface ornament began 
 to be used in the time of Henry I., yet it is all shallow, and 
 such as might be executed with the pick, until quite the end of 
 his reign. In the time of Stephen the chisel began to be freely 
 used, and many capitals and other ornaments which had been 
 erected before were now carved, especially such as were within 
 easy reach, as in the crypt and on the wall-arcades at Canter- 
 bury, where some of the capitals are still left in their original 
 form, the plain cushion ; others are elaborately carved, and some 
 are left half finished. (See p. 134.) 
 
 The buildings known to have been erected in this reign are 
 numerous, but they are chiefly a carrying on of works begun 
 in the two preceding reigns. There were, however, a con- 
 siderable number of new foundations, especially of the Cis- 
 tercians. 
 
 A.D. 1136. St. Cross Church and Hospital, near Winchester, 
 founded by Henry de Blois, Bishop of Winchester, brother to 
 King Stephen. This church has pointed arches throughout; 
 the nave is evidently of later date than the choir, and is con- 
 siderably more advanced in style, being quite of transitional 
 character, but the choir is pure Norman, and there seems no 
 reason to doubt that this part was built within twenty years of 
 the foundation. The triforium arcade of intersecting mouldings 
 forming pointed arches was supposed by Dr. Milner to have 
 been the origin of the pointed arch. (See Plate.) 
 
 A.D. 1140. Dorchester Abbej^, Oxfordshire, refounded by 
 Alexander, Bishop of Lincoln, for Austin Canons. The church 
 was rebuilt in the time of Edward I., but there are portions 
 of the Norman church remaining ; the chancel-arch and a door- 
 way from the north aisle of the choir into the cloister are 
 part of the original work built soon after this foundation. The 
 north wall of the nave, or at least the lower part of it where 
 
104 
 
 THE NORMAN STYLE. 
 
 the cloister has abutted against it, is also of about the same 
 period, though Deco- 
 rated windows have 
 been inserted in the 
 upper part of it. 
 
 A.D. 1141 — 1150. 
 Shobdon Church, near 
 Leominster, Hereford- 
 shire, built by Oliver 
 de Merlcmond, stew- 
 ard to the ^Mortimers, 
 of which a minute his- 
 tory is preserved and 
 printed in the Monas- 
 ticon *, in the original 
 Norman - French of 
 the period. It ap- 
 pears that the foun- 
 der went on a pil- 
 grimage to the shrine 
 of St. James of Com- 
 postella, in Spain, du- 
 ring the progress of 
 the work, and on his 
 return was hospitably 
 entertained in the mo- 
 nastery of St. Victor at Paris, with which he was so much 
 pleased, that when his church was completed he sent for two 
 monks from that monastery to serve it. The unusual richness 
 of the work makes it a fair conjecture that he brought home 
 with him from his travels cither di-awings or a remembrance 
 of what he had seen, and applied this knowledge to his 
 new building. It would be a curious matter of research to 
 ascertain where he found it : the monastery of St. Victor has 
 been entirely destroyed, but very similar work may be found in 
 Anjou and Foitou oi' the same period, and it is probable that he 
 would go through the English provinces in the west of France 
 on his way to Spain. The church of Notre Dame de Poitiers 
 is equally rich, especially the west front, and is probably of 
 about the same period. The establishment was removed to 
 \Vigmore in 1179 by Hugh de ]\Iortimer, and so richly endowed 
 that it became an important abbey of the Austin Friars. This 
 shews that the buildings remaining at Shobdon must be previous 
 to that date. (For details see p. 135.) 
 
 ' Mvn. Aiif)., vol. vi. p. 3i5. 
 
 Doorway. Dorchester Abbey, Oxon, a.d. lUO — 1150. 
 
STEPHEN, A.D. II35 — II54. 165 
 
 A.T>. 1145. LiUieshall Abbey, Shropshire. An abbey of 
 Aiigustinian Canons was founded here about this date, by 
 Richard and Philip de Balmeis'^, There are considerable re- 
 mains of the church and other buildings of this abbey ; their 
 style would give the idea of an earlier date than this, as they 
 appear to be rather early Norman. The plan is very peculiar — 
 a long narrow church without aisles, but with transepts, no 
 triforium, but a clerestory high up in the walls to allow for the 
 cloister and domestic buildings abutting against them ; the 
 nave is divided by transverse walls into three portions ; the 
 choir has chapels on the side ; the east window is Decorated, 
 and the west tower Perpendicular. There are considerable 
 ruins also of the refectory and the abbot's house. 
 
 A.D. 1146. Lincoln Cathedral, which had been much damaged 
 by a fire in 1141, was restored by Bishop Alexander; the 
 present rich west doorways are the work of Bishop Alexander 
 inserted in walls of earlier date. Some of the capitals of the 
 shafts of the large arched recesses are also insertions of the 
 same period. The original walls are of wide-jointed masonry; 
 the insertions are all fine-jointed. 
 
 A.D. 1147. Roche Abbey, Yorkshire. This abbey of the 
 Cistercian Order was founded by Richard de Busli and Richard 
 Fitz Turgis, the owners of the neighbouring soil ^. There are 
 considerable ruins of the choir and transept of the church, which 
 are in a style of early transition, massive and plain, the arches 
 pointed, but the windows round-headed. We have no date of 
 consecration, but the choir is not likely to have been built more 
 than twenty years after the foundation of the abbey. The stone 
 is of a remarkably durable nature, and although destroj'ed by 
 violence and exposed to the weather for centuries, the details 
 that remain are as perfect as the day they were carved. 
 
 A.D. 1148. St. Augustine's Priory, Bristol, founded by Robert 
 Fitz- Harding, Mayor of Bristol. The chapter-house and the 
 gateway of this priory remain, their date may probably be 
 twenty years after the foundation of the priory ; they are late 
 and rich Norman. 
 
 A.D. 1150. Birkenhead Priory, Cheshire, founded by Hamon 
 de Masii, third Baron of Dunham Massey. The Norman chapel 
 remains, and is probably not long after the time of the foundation. 
 
 A.D. 1152. Kirkstall Abbey, in the West Riding of Yorkshire, 
 was removed to a new site by Henrj'- de Laci, and the buildings 
 were completed before 1182"\ The style is Norman with pointed 
 arches. (See an arch from it, p. 122.) 
 
 '' Mon. Ang., vol. vi. p. 261. • Mon. Aug., vol. v. p. 501. 
 
 "' Mon. Ang., vol. v. p. o2G. 
 
166 
 
 FOREIGN EXAMPLES. 
 
 A.D. 1140 — 1144. The abbey church of St. Denis, near Paris, 
 rebuilt by the celebrated Abbot Sugcr". The whole of the interior 
 of the choir, with the clearstory and all above the vaults of the aisle, 
 was rebuilt 1228—1281, by the Abbots Odo, Clement, and Matthew 
 of Vendome, under Queen Blanche °, who took much interest in the 
 work. The portions which remain of the early period are the crypt 
 under the apse, the apsidal chapels, and the aisle, or procession-path, 
 within them, a part of the west front, and two western bays. The 
 arches of this early work are obtusely pointed, but the character of the 
 details and mouldings is not at all in advance of other buildings of 
 the same period. This is considered by the French anticpiaries as 
 the earliest germ of Gothic architecture ; and M. VioUet-le-Duc, a 
 very high authority on such a subject, says that the principle of 
 Gothic construction is first shewn in tliis work. It is, however, certain 
 that the pointed arch was in common use in the south of France long 
 before tliis date, as at St. Front at Perigueux, and other dated ex- 
 amples of the Byzantine style, described by M. Felix de Vemeilh 
 in his valuable work, " Byzantine Architecture in France," 4to., 1851. 
 And it appears more probable that English Gothic was gradually deve- 
 loped from the mixture of the Byzantine and the Romanesque, which 
 can be distinctly traced in the domical vaults of Anjou and Poitou. 
 
 A.D. 1140 — 1149. The new church of the Holy Sepulchre at 
 Jerusalem rebuilt by the 
 Crusaders. It was be- 
 gun by Fulke, Count 
 of Anjou, in 1140, and 
 consecrated by the Patri- 
 arch Fulcher in 1149. 
 Chapels were added in 
 1160—1169. The style 
 is entirely that of a 
 French church of the 
 same period, more in 
 the style of the churches 
 of Anjou than any other 
 country. The arches are 
 pointed, but that was not 
 unusual in the south and 
 west of France, or ra- 
 ther of Gaul, at the same 
 period, and the details 
 are quite French, or 
 what we call Norman P. 
 
 Cliaroh of the Holy Sepulchre at Jerusalem, 
 as built by the Crusaders ; firom Tojue. 
 
 " Gallia Christiana, torn. iv. p. 334. 
 
 ° Parv. Chron. S. Dion,, ad ann. 
 1281 : ap. Lebeuf, Hist, de Paris, vol. 
 iii. p. 182 ; Oall. Christ., vol. iv. p. 337. 
 
 P See the Cartulary of the Abbey of 
 the Holy Sepulchre published at Paris 
 
 in 1849 ; and for engravings, Les Eglises 
 de la Terre Sainfe, par le Comte Mel- 
 choir de Vogue, 4to., Paris, 1860, and 
 Professor W'illis's " Church of the Holy 
 Sepulchre," 8vo. 
 
THE NORMAN STYLE. 167 
 
 HENRY II., A.D. 1154—1189. 
 
 The early part of this reign is the period to which some 
 of our richest examples of the Norman style belong, such as 
 Ifflcy and Stewkeley ; and in Normandy the nave of Bayeux 
 Cathedral (1160 — 1183), and the chapter-house of St. George 
 de Bocherville (1157 — 1211), the rich western doorway of 
 which is well known by engravings, and corresponds very 
 closely with similar doorways in England. The naves of several 
 of our finest Norman cathedrals belong to this reign, but the 
 work being gradually and quietly carried on, we have com- 
 paratively little mention of it in history. All of these are late 
 Norman, and after the first twenty years of this reign the 
 approaching change becomes very evident. 
 
 The style which we in England properly call the Norman 
 style, and which our fathers called the Saxon style, is called by 
 the French antiquaries, with equal propriety, Anglo-Norman, 
 for it prevailed equally in Normandy as in England, and there 
 is scarcely any distinction in style until after the time of Henry 
 11. The style of Anjou and Poitou is very distinct from it, and 
 is called by some of the French antiquaries the Plantagenet 
 style, which is not very correct ; it is now more commonly called 
 the Angevine style, and although it is not confined to Anjou, 
 this is perhaps the best name for it. In considering the history 
 and progress of architecture, we should always remember the 
 extent of the dominions of Henry II., and the necessary inter- 
 course of the inhabitants of the different provinces of his 
 dominions. 
 
 A.D. 1155 — 1177. Peterborough Cathedral. The transepts 
 built by Abbot Waterville in continuation of the previous work 
 of the choir commenced in 1117, and in exact conformity with 
 it, in the pure Norman style. (For engravings see Britton, &c.) 
 
 A.D. 1160 — 1180. Christ Church Cathedral, Oxford, is a fine 
 example of late Norman and early transitional work. It was 
 consecrated in 1180, and was probably building for about twenty 
 years previously : the confirmation, by Pope Adrian IV., of the 
 charters granting the Saxon monastery of St. Frideswide to 
 the Norman monks was not obtained until 1158, and it is not 
 probable that they began to rebuild their church until their 
 property was secured. The prior at this period was Robert of 
 Cricklade, called Canutus, a man of considerable eminence, 
 some of whose writings were in existence in the time of Leland. 
 Under his superintendence the church was entirely rebuilt from 
 the foundations, and without doubt on a larger scale than be- 
 fore, as the Saxon church does not appear to have been destroyed 
 
168 THE PERIOD OF TRANSITION. 
 
 until this period. The design of the present structure is very- 
 remarkable ; the lofty arched recesses, which are carried up 
 over the actual arches and the triforium, giving the idea of 
 a subsequent work carried over the older work; but an ex- 
 amination of the construction shews that this is not the case, 
 that it was all built at one time, and that none of it is earlier 
 than about 1160. Precisely the same design occurs in a part of 
 Romsey Abbey church, Hampshire, and very similar ones may- 
 be seen in other places : lofty arched recesses occur in Dunstable 
 Priory church, Bedfordshire, where Perpendicular windows have 
 been inserted in the triforium, but the original design was the 
 same. (For engravings see Ingram's " Memorials of Oxford," 
 and details in the " Glossary of Architecture," and pp. 124, 125.) 
 
 A.D. 1165 — 1191. The hall of Oakham Castle, Rutlandshire, 
 built by Walkelin de Ferrers, is an excellent specimen of transi- 
 tion work. It retains a great deal of the Norman character, 
 but late and rich : the capitals are very similar to some of those 
 at Canterbury, and more like French work than the usual Eng- 
 lish character ; the tooth-ornament is freely introduced ; the 
 windows are round-headed within and pointed without, with 
 good shafts in the jambs, and the tooth- ornament down each 
 side of the shafts. (For engravings see the *' Glossary," and 
 the " Archaeological journal," vol. v.) 
 
 A.D. 1169. Llanercost Priory, Cumberland, was founded by 
 Robert de Yallebois, Lord of Gilsland, and the church was 
 dedicated in 1169 by Bernard, Bishop of Carlisle. The remains 
 are considerable, and although part has been rebuilt, the original 
 part is a good example of transitional work. (For engravings 
 see the Mon. Aug., See.) 
 
 A.D. 1174 — 1189. The nave of Ely Cathedral, carried on and 
 completed by Bishop Geoffrey, called Ridali. It is in con- 
 tinuation of the previous work, and in pure Xorman style. (For 
 engra^■ings see Bcntham's and Miller's Histories of Ely.) 
 
 A.D. 11,75 — 1184. The choir of Canterbury Cathedral has 
 long been considered as the tj-pe jyar excellence of the transition 
 in England, and a better example could not be desired. The 
 minute description of the progress of the work by Gervase, an 
 eye-witness of it, and the full corroboration of his history afforded 
 by a careful examination of the building itself as demonstrated 
 by Professor AVillis, afford together such undeniable evidence 
 as probably no other building possesses. The portions of the 
 old choir which have been preserved afford excellent oppor- 
 tunity for comparison and contrast with the new work, and the 
 descriptions of Gervase are borne out in every part. He 
 
 1 Godwin, p. 202. 
 
■flacker clel.lrom Slrctctru 1rv- GCattetmolr 
 
 CRXPTS. ATnjutT naapel Xo BCluiiv i-c 
 
HENRY II., A.D. 1154—1189. 
 
 109 
 
 expressly says that all the ornament of the old choir was 
 executed with the axe, and not with the chisel, and an examina- 
 
 Part of Arcade, Caniertury. shewing the juneUon of tlie old and new work. 
 
 tion of the ornamental arcades still remaining proves this to be 
 correct. ^^ And yet this choir was called the " Glorious Choir of 
 Conrad,'' and was the finest work that had been executed in 
 England in its day. The great progress that had been made 
 in the art of construction and in sculpture during the half 
 century which intervened between the completion of that work 
 and the great fire by which it was almost destroyed, is too 
 evident to be questioned. The precise words of Gervase are so 
 important that they must not be omitted : — 
 
 " ^l ^.'^s been stated that after the fire nearly all the old portions of 
 the choir were destroyed, and changed into somewhat new and of 
 a more noble fashion ; the difference between the two works may now 
 be enumerated. The pillars of the old and new work are alike in form 
 and thickness, but different in length; for the new pillars were 
 elongated by almost twelve feet. In the old capitals the work teas 
 plain, 171 the new ones exquisite in sculpture. There the circuit of the 
 choir had twenty-two pillars, here are twenty-eight. There the arches 
 and everything else was plain, or sculptured with an axe and not with 
 a chisel; but here, ahnost throughout, is appropriate sculptui'e. No 
 marble columns were there, but here are innumerable ones. There in 
 the cu-cuit around the choir the vaults were plain, but here they are 
 
170 
 
 THE PERIOD OF TRANSITION. 
 
 arch-ribbed, and have key-stones. There a ■wall set upon pillars divided 
 the crosses [transepts] from the choir, but here the crosses are separated 
 from the choir by no such partition, and converge together in one key- 
 stone, which is placed in the middle of the great vault, which rests upon 
 the four principal pillars. There, there was a ceiling of wood decorated 
 with excellent painting, but here is a vault beautifully constructed of 
 stone and light tufa. There was a single triforium, but here are two 
 in the choir, and a third in the aisle of the church. All which will be 
 better understood by inspection than by any description." 
 
 rn/ 
 
 
 WW' 
 
 A B. Pillar of old work. 
 
 C. Triforium passage, or 
 Clerestory gallery, in 
 old work. 
 
 D. Arch of old work. 
 
 E. Window of Crypt. 
 
 F. Window of Aisle. 
 
 G. Window of Triforium 
 in new work. 
 
 LL. Clerestory Window 
 
 of old work. 
 M M. Clerestory Window 
 
 of new work. 
 a b. Pillar of new work. 
 c. String'-course. 
 (1 c. Tabling of new work. 
 ef. Eaves of old work. 
 g. Roof of Aisle. 
 h i. Tabling under the 
 
 new Clerestory. 
 i k. Top of the old wall. 
 
 CoiDparttneut of tbe Corona, t.i' US4. 
 (From WUlib'B " Canterbury. ') 
 
C HacJcci' d^ 
 
 CANTEEBTJETT CAIHEDBAL CHUKCS. 
 
HENRY II., A.D. 11 54— 1189. 171 
 
 The history of Canterbury can hardly be understood without 
 reference to the views and plan of the crypt, in which the work 
 of William the Englishman (1180 — 1184) is printed in a lighter 
 tint than the older part. 
 
 A. View of the eastern part, 1175 — 1184. 
 
 B. View of the western part, 1073—1080. 
 
 Plan— Total length, 286 feet. 
 
 1, 1. Piers between the nave and aisles. 
 
 2, 3. Staircases from the north and south transepts of crypt to the church. 
 
 4. Stairs to the exterior of the building on the north side. 
 
 5. Niche or recess in the waU near these stairs. 
 
 6. Semicircular recess for an altar. 
 
 7. Chapel, said to be dedicated to the Virgin Mary, under the usual situation 
 of the liigh Altar. 
 
 8. Aisle round the chapel, within the original apse. 
 
 9. Tomb in a recess on south side. 
 
 10. Entrance to a dark chapel, or cell, on south side. 
 
 11. 11. Piers of modern masonry to support the floor above. 
 
 12. Doorway to a dark chapel, or cell, on north side. 
 
 13. Tomb of Archbishop Morton, between the piers of south aisle. 
 
 14. Window in south transept. 
 
 15. Recessed altar on east side of south transept. 
 
 16. 17. Staircases in old towers, north and south of original apse. 
 18, 19. Aisle of crypt under Trinity Chapel. 
 
 20, 20. Massive piers at the original termination of the church, now between 
 
 the two crypts. 
 A B. Stairs from church to crypt at west end. 
 
 C. Nave of the original crypt, 163 feet in length. 
 
 D E. Aisles of the original crypt, 83 ft. 6 in. in width across nave and aisles 
 wathin the walls. 
 
 F. North transept. 
 
 G. South transept. 
 
 H I K. Cells or chapels north and south of original east end. 
 
 L. Entrance or passage between the two crypts. 
 
 M N O. Nave and aisles of eastern crypt, 66 ft. 6 in. wide in widest part. 
 
 P. Vaulted room under Becket's crown. 
 
 Q. Poundation of a chapel on north side. 
 
 By Gervase's minute account of the work of each year Pro- 
 fessor "Willis was enabled, on carefully examining the build- 
 ing itself, to iind the joints in the masonry where the cessation 
 for the winter took place, and so to date every arch of the build- 
 ing, and almost every stone. It will be observed that the 
 central part only was rebuilt, the outer walls being preserved 
 up to a certain height and raised. The work began at the 
 west end next the transept, in 1175, and these arches are 
 semicircular, their mouldings and capitals are still Norman 
 although late; but before the completion of the work in 1184, 
 when the corona or extreme eastern chapel was built, the arches 
 have become pointed, and the details almost pure Early Eng- 
 lish. In the beginning of the fourth year from the commence- 
 
172 THE TERIOD OF TRANSITION. 
 
 ment of the work, that is, in 1179, the scaffolding gave way 
 under the architect, AYilliain of Sens, who fell from the height 
 of fifty feet ; but, though much injured, he was not killed, 
 and he continued for some months to direct the works from 
 his bed, with the help of a young monk whom he had 
 selected for the purpose, and who afterwards carried on the 
 work on his own responsibility, with the help of such advice 
 and instructions as he had received from the master. The 
 successor was called " William the Englishman." The change 
 of style became more rapid after this period, but there does 
 not seem ground for supposing that it would have been 
 otherwise, had William of Sens been able himself to complete 
 the work he had so well begun. Much of the credit, however, 
 must belong to his successor, who is described by Gervase as 
 " William by name, English by nation, small in body, but in 
 workmanship of many kinds acute and honest." As was fre- 
 quently the case, the pupil was in advance of his master ; but 
 William of Sens was much restricted by the necessity of making 
 his choir correspond with the old work preserved in the aisles, 
 whereas his successor was freed from this restraint, the old 
 work not extending to the eastern chapel, or corona ; and in 
 the transepts, which were out of sight from the choir, the 
 newer style was more freely adopted. — It would be a mistake 
 to suppose that the style of the new work at Canterbury was 
 at all unique, or much in advance of other buildings of the 
 same period. It would appear from Gervase's account that 
 when the monks in their first consternation at the calamity 
 which had befallen them called in the most eminent architects 
 of England and France for competition, they preferred AVilliam 
 of Sens rather because he was more conservative than the rest, 
 than because he was in advance of the age. The general voice 
 of the other architects recommended the entire pulling down of 
 the remains of the old building, and erecting a new one in its 
 place ; William of Sens undertook to preserve as much as possi- 
 ble of the old work, and restore it. The monks having a great 
 affection for their old " Glorious Choir," preferred this plan 
 and adopted it. He had previously rebuilt the choir of Sens 
 Cathedral, the pier-arches and vaulted side-aisles of which are 
 almost identical with Canterbury. 
 
 A.D. 1177 — . Byland Abbey, Yorkshire, which had been 
 founded in 1143, was removed to a new site in 1177. An 
 extract from the register of the abbey to this eflfect is printed in 
 Mon. Ang., vol. v. p. 343. The style is late Norman and tran- 
 sition ; the side windows are round-headed, the west front has 
 lancet windows and an Early English doorway. (For engrav- 
 ings see the "Yorkshire Abbeys" and Sharpe's "Parallels.") 
 
^Ljk^AA.AJL^JLJ|^ 
 
 DURHAM CATTn-'.DTi AT 
 Gaionin> plan 
 
^^^c 
 
 HENRY II., A.D. 11 54— 1189. 173 
 
 A.D. 1180—1197. Durham Cathedral. The galilee built by 
 Bishop Hugh de Puiset, corruptly Pudsey \ The style is of the 
 latest and lightest Norman, and in fact transitional, but the 
 arches are all round, not pointed. (For engravings see Carter, 
 ^ itton, &c.) 
 
 These large western porches are a common feature of this 
 period, both in England and France; they are believed to 
 have been for the use of the pilgrims, who, being penitents, 
 and ordered to make these pilgrimages to particular shrines as 
 a penance for their sins, were not at first admitted within the 
 church. The name given to these large porches was the Galilee 
 or the Narthex ; they are frequently an addition to the original 
 fabric, as at Ely and Durham. This arrangement will be 
 better imderstood by consulting the annexed plan of Durham. 
 
 A. Galilee, or great western porch, (a.d. 1180—1197,) divided into five aisles 
 by four rows of pillars, three in each row. 
 
 B. Vestibule, or space at the west end, called also the atrium, or narthex, and 
 supposed by some to be the same as the " parvise." 
 
 C C. Two western towers, height 143 feet ; the space under these seems to 
 
 have formed part of the atrium, or parvise. 
 D D. Nave, length 203 feet ; breadth between the pillars 37 feet 1 height 
 
 70 feet. (a.d. 1104—1133.) 
 E E. Aisles of nave ; breadth of nave and aisles together 82 feet. 
 
 F. North transept ; length 170 feet. 
 
 G. South transept: breadth 59 feet. 
 H. Central tower ; height 210 feet. 
 I 1. Eastern aisle of transept. 
 
 K. Choir; length 93 feet from organ-screen to altar-steps; breadth, with 
 
 aisles, 79 feet ; height 70 feet. (a.d. 1093—1104.) 
 L. The High Altar. 
 M M. Aisles of the Choir, 
 N. Modem Vestry. 
 
 0. The Chapel of the Nine Altars, or Lady-chapel, (a.d. 1220—1242.) 
 P. An apartment called by Mr. Carter the Parlour. 
 Q. The chapter-house. 
 
 E, U R R. The cloisters ; length, interior, 145 feet, breadth the same. 
 S. Remains of a laver, or conduit. 
 T T T. Small rooms, probably store-rooms. 
 U. Passage from the cloisters to the deanery. 
 W. Hall of the deanery. 
 XXX. Buildings of the Priory. 
 Y. Crypt of the private chapel. 
 Z Z Z Z. Basement of the refectory, 
 a. Great kitchen of the monastery. 
 b b. Kitchen ofiices. 
 
 c d e f g h Rooms under the large dormitory, 
 i k k k. Prebendal houses, gardens, &c. 
 
 Extreme length, 507 feet outside, 476 inside. Extreme breadth, 194 feet out- 
 side, 170 inside. 
 
 ' Godwin, p. 512. 
 
17-i 
 
 THE PERIOD OF TRANSITION. 
 
 1180—1200. Churcli of St. Thomas a Becket, Portsmouth. 
 From records in the possession of Thomas Thistlethwaite, Esq., 
 of Southwick Park, Hampshire, it appears that about the first 
 date John de Gisons granted to the church and canons of St. 
 Mary of Southwick, a pLice to erect a chapel in honour of 
 St. Thomas of Canterbury, on his land called Sudeweda, in the 
 island of Portsea, containing thirteen perches in length and 
 twelve in width. There is, beside, a charter of Richard Toclyve, 
 bishop of Winchester, addressed to Godfrey, prior of Southwick, 
 in which, among other things, he confirms to the priory the 
 chapel of St. Thomas the Martyr, w^hich they had hegun^ to build, 
 with the consent and advice of the said bishop, in their parish 
 of Portsea. Bishop Pdchard Toclyve was elected May 1, 1173, 
 and died in 1189. 
 
 A.D. 1185. The Temple Church, London. The round 
 
 part of the church was completed and dedicated in this year ; 
 the style is entirely transitional, with pointed arches, but 
 Norman details, and not very much advanced. The choir is 
 of later date, and in the Early English style. The following 
 inscription is preserved in the wall over the west door : — 
 
 ff^' 
 
 ^NNO-JE-INgUQfi 
 TIOW-DO^IINI. (D-etXXXV. 
 D€DICjq;i<*l3€C-€CaCSiIi[Nl30NO 
 I R€iBg;TC i^PRICjA-DNOGMCLIO-DCIG^- 
 r SCCR€S7RCCTI0NIS-€:CCL€SI€-PATRI 
 
 PCTOTBDCarmTA-SPCNITCTIALXDIGSINDVLSIT- 
 
 Mill., !.■: : fU'iUI. *• ^ J 
 
 A.D. 1185 — 1200. Glastonbury Abbey, Somersetshire, re- 
 built after the great fire which consumed all the previous 
 buildings. The walls of St. Joseph's Chapel are nearly perfect, 
 and a fine example of advanced transition. The remains of 
 the great church are in rather a later style, and for the most 
 part pm-e Early English. (For engravings see Vetusta Monu- 
 menta, vol. iv.) 
 
HENRY II., A.D, II54— I1B9. 175 
 
 It appears that the wooden church built by St. Dunstan 
 remained until the time of the great fire, as the early Norman 
 buildings of stone were always constructed in such a substantial 
 manner that it was difficult to destroy them, and they certainly 
 would not burn : and not a vestige of any early Norman 
 masonry or sculpture has ever been found at Glastonbur}'-, 
 although the buildings have now been in ruins for three cen- 
 turies, and if any early Norman work had been used up as 
 old material, it must have come to light before this time. 
 
 FoEEiGN Examples. 
 
 The reign of Henry II. is the chief period of the Transition, or 
 change of style in England and the English dominions, which then 
 comprised the whole of the western provinces of Gaul, or about one- 
 thii'd of the tenitory which is now united in one kingdom or empire, 
 and therefore properly called France, but which was then divided into 
 many distinct and independent provinces, each having its own national 
 character, and, as usual in all countries, having that distinct character 
 stamped upon its architecture. The most casual observer travelling 
 through France cannot fail to be struck with the great variety of style 
 in the medieval architecture of different parts ; the buildings of the 
 north and the south, the east and the west, are more distinct from each 
 other than several of them are from the buildings of England. The 
 divisions of the ancient provinces may often be traced by the different 
 character of the buildings still remaining ; the limits of each may be 
 traced by a distinct line of churches, each having its own national or 
 provincial character. 
 
 It shoidd be noticed that the plain round pillars with capitals in 
 imitation of the Eoman Composite continued in use in France for 
 a very long period, not only throughout the thirteenth century, as at 
 Chartres and at Amiens, but in later work also ; and the same idea 
 seems to be continued even in the Flamboyant work of the fifteenth 
 and sixteenth centui'ies, while in England we never find them after 
 the twelfth century. The square abacus also is continued in France 
 in all the styles, while with us it is a mark of JSTorman or transitional 
 work. The choir of the church of St. Germain des Pres at Paris, and 
 the cathedral of Mantes, were built at the same time, and are of the 
 same character with Notre Dame. The choir of the church of St. llemi 
 at Eheims, and the cathedi-als of Laon and Noyon, are also fine ex- 
 amples of transitional work ; and a great number of churches in the 
 country round Soissons, called the " Soissonais," are of this character. 
 
 The frequent use of the dome to cover churches of the eleventh and 
 twelfth centuries in Perigord is perhaps the most striking of their 
 provincialisms, and although at fii'st these seem to have been entirely 
 isolated and the work of a colony of Greek merchants from Byzantium, 
 or from Venice, then a city of the Greek empire, yet before the 
 end of the twelfth centuiy these domes exercised considerable in- 
 
17G 
 
 THE PERIOD OF TRANSITION. 
 
 fluence on the architecture of the neighbouring provinces. In the 
 south the dome itself is commonly used in place of a central tower 
 over the crossing of a cruciform church. In Anjou and Poitou the 
 vaulting is a mixture of the dome of Byzantium Tvith the debased 
 Roman or Norman vault ; the centre of each bay, or compartment, is 
 raised in a domical form, though these domes are low and do not ap- 
 pear above the roof ; this is called domical vaulting. We must bear in 
 mind that before this period the bmlders of the northern churches had 
 not ventured to consti'uct a vault over the wide central space. The 
 aisles had been vaulted for moi'c than half a century, while the central 
 space was still covered with a wooden ceiling, as at Peterborough. 
 The domes of Perigord and the domical vaults of Angers and Poitiers 
 were calculated to give courage to the northern builders, whilst they 
 retained their lofty walls and rejected the low massive walls and 
 
 H.iU of the Hospital at Angers, ad. 1177 — USl 
 
 enonnous squai'c buttresses of Anjou and Poitou, and introduced the 
 arch buttress to carry their new vaults. 
 
HENRY IL, A.D. II54 — 1189. 177 
 
 As Henry II. was hereditary Count of Anjou, and frequently held 
 his court at Angers, when the English nobles and bishops with their 
 attendants must have seen the new buildings canying on, such as the 
 Hospital at Angers, founded by Heniy II. himself, built in his reign, 
 and opened by him with great ceremony, it is only natural to conclude 
 that the style of building of that country had considerable influence 
 on that of England. The deed of foundation is dated 1177, William 
 de Passavant, Bishop of Le Mans, and Louis VII., King of France, 
 who died in 1179, being among the witnesses. The hospital was con- 
 secrated in 1184, by Ralph de Beaumont, Bishop of Angers ^ 
 
 There are some remains of a mill, and a very fine barn of the same 
 period is perfect; this was probably built at the time of the great 
 famine in Anjou, when Henry II. undertook to feed the people of 
 that province for three months with corn from England. 
 
 A.D. 1143 — 1163. The cathedral of Sens was consecrated by Pope 
 Alexander III. in 1163'. The date of the commencement of the 
 work is not recorded, but it was probably about twenty years in 
 building. The portions of this church which now remain are a 
 chapel on the east side of the north transept, the side walls of the 
 choir with the vaults of the aisles, and the arches of the choir with 
 their pillars and capitals, which are almost identical with those of 
 Canterbuiy. The present vault over the central space, and the large 
 clearstory windows, are of the thirteenth century, corresponding with 
 those of the nave of that period. 
 
 A.D. 1143 ? — 1182. A considerable part of the ancient cathedral, now 
 the chtirch of St. Peter, at Lisieux, in Normandy, is of very similar 
 character to Sens and Canterbury, and quite as much advanced in style, 
 
 ' "Ego autem pietate motus super the Congr&s Scientifique, 1858, vol. ii. 
 
 inopia et necessitate tam sanorum quara p. 182. During the recent repairs under 
 
 infirniorum inhabitantium in ipso Hos- the direction of M. VioUet-le-Duc, he 
 
 pitali, dedi eis et concessi, et praesenti ascertained by the construction that the 
 
 carta mea confirmavi exclusam lueam church had been raised, and the vault 
 
 Audegavensem, quam ex propriis meis rebuilt of the old materials, the old rib- 
 
 sumptibus feci, et a primo lapide fun- mouldings being used again, and made 
 
 davi habendam et tenendam in liberam good in places where it was necessary, 
 
 et perpetuam Eleemosiiiam sicut earn It was long suppose.! tliat this cathedral 
 
 melius habui cum omni emendatione had been much damaged, and the roof 
 
 quam ibi faceie poterunt tam moU-u- burnt in the great fire of 1184, which 
 
 diuorum quam aliarum rerum ad ean- consumed a great part of the city, but 
 
 dem exclusam pertinentium, quare volo M. Challe has shewn from contemporary 
 
 et flrmiter prsecipio quod prajdictum records that the fire was confined to 
 
 hoSpitali et pauperes Christi in eodem the lower part of the town, whilst the 
 
 habitantes, prseditam exclusam habeant cathedral is on the hill. The fact of the 
 
 et teneant in libera et perpetua eleemo- rebuilding of the vault is not afl'ected 
 
 sina,'' &c. — Hiret, Antiqtiites d' Anjou, by this ; the evidence of construction is 
 
 p. 265 ; see also " Gentleman's Maga- unanswerable. The vaults of the aisles 
 
 zine," 1859, vol. ccvi. p. 284, and Gal- are original, and are carried on round 
 
 Ua Christiana, vol. ii. pp. 136 and 517. arches. On the south side of the nave 
 
 ' Chronicle of the ]Monks Clarius and some of the old clearstory windows re- 
 
 Hiron, MS. preserved at Auxerre, and main in the wall, and are visible on the 
 
 printed by D'Achery in the second exterior. The west front has been 
 
 volume of his Spieilegium, quoted by partly rebuilt after the fall of the 
 
 M. Challe of Auxerre in the report of southern tower in 12'J0. 
 
178 THE PERIOD OF TRANSITION. 
 
 with pointed arches and transitional mouldings. It was built by 
 Amulf", who was bishop forty years; and the part which belongs to 
 this period comprises the western part of the choir and the transepts, 
 with the exceptions of the centi'al vault and clearstory, which, as at 
 Sens, have been added or rebuilt about half a century later. The 
 church at Lisieux was completed by Bishop Jordan du Hommet, 1197 
 — 1214: it was damaged by a fire in 1226, probably the roof was 
 burnt, and the clcai\stoiy and vault rebuilt, and the east end lengthened 
 by Bishop Fulco, who was buried in 12o4 before the high altar. 
 In the later parts we have lancet windows and Gothic mouldings, and 
 the roiind abacus is used, as in England. 
 
 A.D. 1152 The church of Saintes in Aquitainc. The rebuilding 
 
 was commenced at this time under a license from Pope Eugenius, the 
 bishop having endeavoured to stop it owing to a quarrel with the 
 monks. It is a fine example of transitional work. 
 
 A.D. 1153? — 1178. The church of Lessay, in Normandy, finished 
 and consecrated in 1178. The style is pure, unmixed Norman, with 
 round arches throughout, and no appearance of transition ^. 
 
 A.D. 1157 — 1183. The church of ISotre Dame, at Chalons sur 
 Mame, rebuilt by Bishop Boso ^, and consecrated by Bishop Guido in 
 1183. It is a fine example of transitional character. 
 
 A.D. 1157 — 1228. The cathedi-al of jSToyon, in Picardy, rebuilt ^ 
 The previous church had been destroyed in a great fire, which con- 
 sumed nearly the whole city in 1148. In 1157 mention is made 
 of the collection of money for the purpose of rebuilding the church, 
 and the first bishop who was biu'ied in it was Gerard Barochcs in 1223, 
 who is said to have enlarged and ornamented the choir. The five 
 previous bishops were buried in the monastery of Ourscamp, a few miles 
 distant. This cathedral is a fine example of the transition of styles in 
 this part of France, and the gradual development of tlie Early French 
 style. It is evident on examining the building that the work has been 
 carried on for a long period, but we have not sufiicient historical data 
 for fixing the exact history of each part. The arches and piers of the 
 choir are evidently the earliest ; and these are very like the same 
 parts of Lisieux and Canterbury, with round arches, but the choir has 
 been lengthened, the ai)se and apsidal chapels added, and here the 
 arches are pointed and the details later ; these are earlier than other 
 
 " Gallia Christiana, torn. ii. p. 6 19. some of these were in the monastery of 
 
 Robertus de Monte in appendice ad St. Victor at Paris, the same place where 
 
 Sigi'bertuni ad ann. 1182 : — " Arnulfus tlie founder of Shobdon Church had 
 
 Lexoviensis Episcopus cum per 40 annos taken refuge a few years before and 
 
 eandem ecclesiam rexisset, in aidilicando during the life of Arimlf. May not his 
 
 ecclesiani et pulcherrimas domes labor- very beautiful buildiuijrs have been the 
 
 asset, renunciavit Episcopatui, et per- models of the rich work at Shobdon? 
 rexit Parisius suos dies dimidiaturus '^ See De C'aumont, Histoire sommaire 
 
 apud S. Victorem in domibus pulcher- de V Architecture, p. 138 ; and Gaily 
 
 rimis, quas ibi ad opus suum construx- Kuight's Tour in Normandy, p. 98. 
 erat." It is remarkable that the chruni- y Gallia Christiana, tom. ii. p. 506. 
 
 cler should twice mention the beautiful * Ibid., tom. iii. p. 819. 
 
 houses which he had built, and that 
 
HENRY II., A.D. 11 54 — 1189. 179 
 
 parts of the building, so that it would appear the change of fashion or 
 of ritual, -which required a longer chancel with a procession-path and 
 apsidal chapels, took place dming the progress of the work, and still 
 during the period of transition. The choir has evidently been raised 
 also as well as lengthened, and is very lofty, with a large triforiuni 
 gallery vaulted, and an ornamental arcade over this between the top 
 of the arches and the windows of the clearstory ; an arrangement 
 common in these lofty French churches, but not found in England. 
 The transepts are a little later than the choir, and are also apsidal, 
 without aisles, and the arrangement different from that of either choir 
 or nave, and rather unusual, consisting of — 1. the pier-arches, which 
 are round; 2. a large blank arcade, the arches round in two bays, and 
 pointed in the five bays of the apse; 3, a triforium arcade of round 
 arches ; 4, and 5. a double clearstory, the lower windows pointed, 
 the upper ones round ; the vault with ribs nearly the same as the 
 choir; the capitals a little later. The nave consists of five double 
 bays of different periods ; the eastern one corresponds with the choir ; 
 the western bay between the towers, and the western transept, are also 
 earlier than the three other bays of the nave. The fine western porch, 
 or galilee, the cloisters, and the chapter-house, are all of later periods, 
 and the rich western doorways are of the fourteenth century, or much 
 altered at that time. The differences between the Early French and 
 the Early English styles begin to come out very distinctly in the later 
 transitional parts of this church, 
 
 A.D. 1160 — 1180. The church of St. Eemi at Rheims, was greatly 
 altered and partly rebuilt by Bishop Odo and Peter of Celles. The 
 choir was rebuilt and lengthened, and the apse with its aisles added. 
 The style of these parts of the building is transitional; the apsidal 
 chapels are of later character, and were probably built by Abbot 
 Simon, who also rebuilt the western part of the nave, and died in 
 1198. The vaults over the central spaces are modern, and of plaster, 
 but the vaulting-shafts are probably of this period. The aisles of the 
 transepts have transverse vaults, as at Tournus, but these belong to 
 the early church of the eleventh century; The choir of the canons 
 extended to, and included, the third bay of the nave, as it still does : 
 the vaulting- shafts throughout the choir on both sides of the transept 
 are carried on very bold corbels over the old capitals, which are partly 
 hid by them. In the nave the vaulting-shafts are carried on pillars 
 placed in front of the old piers; some of these pillars are antique 
 granite columns taken from a Roman building: a Roman arch or 
 gateway still remains at the entrance of the town. Some of the 
 Roman marble columns are also used in the triforium; the Roman 
 ruins having evidently served as a convenient quarry. The vaults 
 of the aisles are transitional work of the latter part of the twelfth 
 centiuy. The central part of the west front and two western bays 
 are in the style of the thirteenth century, with double columns. This 
 part replaces the ancient narthex, and was probably built by Abbot 
 Simon, but in the ^isles some of the work of the eleventh centuiy has 
 been preserved, with columns and capitals of that period, and a door- 
 way of the twelfth. The triforium arcade has been altered in the 
 
IbO THE TERTOD OF TRANSITION. 
 
 twelfth, the early arches and imposts remain, but the capitals of 
 the shafts have been carved. The early clearstory remains, having 
 a row of very plain round-headed windows, with small plain circular 
 windows over them. There were no vaults to the original church in 
 this part. Two of the capitals at the west end of the nave are of 
 a hard stucco only, put upon the early capitals of the eleventh century^ 
 and ornaments of the twelfth worked in the stucco. The choir has 
 been rebuilt and the apse added in the period of transition, the apsidal 
 chapels are later. The choir is divided into four stories as in the 
 transepts, by introducing a small arcade over the triforium and under 
 the clearstory. The apsidal chapels are in the style of the thirteenth 
 century, and are evidently later than the aisles of the choir, of which 
 the arcade and pillars are continued independently of them ; and in 
 the eastern chapel the vault is evidently built against the arches of 
 the earlier arcade. Some fine old painted glass of the end of the 
 twelfth century remains in the windows of the triforium and clear- 
 story of the choir, and some earlier figures apparently preserved from 
 the glass of the eleventh. 
 
 The south-west tower is part of the work of the eleventh century, 
 and the capitals are of the plain cushion form only, but some have 
 been carved afterwards. The north-west tower is rather later, or 
 at least the upper part of it. The buttresses are round ; those of 
 the nave and aisles smaller than those of the choir, and without 
 capitals. The flying buttresses are also different. 
 
 Abbot Simon was buried in the nave in 1198 ; the following are the 
 last two Knes of his epitaph : — 
 
 " Erexit, exit, dispersit, respicit, eruat, 
 Ecclesiaiu, monachos, danda, caveuda, Deum »." 
 
 It appears that in France, as in England, the buildings of the last 
 ten years of the twelfth century belong in style to the thirteenth. 
 
 A. D. 1161 — 1177. The cathedral of Senlis, in Picardy, rebuilt by 
 bishops " Almaricus et Henricus *"." The greater part of this fine church 
 is of the Early French Gothic style, and some of the later parts are 
 Flamboyant, but the original parts are tj^uite of transitional character : 
 the arches of the choir are small and pointed, but with square soffit, and 
 the piers alternately square masses with shafts attached, and plain round 
 massive pillars with transitional capitals ; the aisles and triforium are 
 vaulted, with very massive plain groined ribs, and the transverse arches 
 square in section. The most remarkable feature of the church is the 
 very fine tower and spire, but these are clearly later than the choir, and 
 belong to the work of the thirteenth century. There are considerable 
 remains of the other buildings of the abbey ; and in the town of Senlis 
 there are three other medieval churches, two of them desecrated, and 
 some small remains of the castle, parts of which are Eoman, with the 
 head of a doorway constructed of tiles so arranged as to form the zig- 
 zag pattern. 
 
 A.D. 1 1 63—1 1 85. Cathedral of Notre Dame, Paris. The choir and 
 apse built by Bishop Maurice de Sully. " Mauricius episcopus Pari- 
 
 » Gallia Christiana. ^ See Gallia Christiana, cd. 1656, toin. iii. p. 1018. 
 
HENRY IT., A.D. II 54 — 11 89. 181 
 
 siensis jam din est qui miiltura laborat et pcrfccit in jBdificationem 
 ecclesie predicte civitatis : cujus caput jam pcrfectum est, cxcopto 
 majori rectorio quod opus si perfectum fuerit, non erit opus citra 
 monies nee apte debeat compari'^." Bishop Maurice died in 1196, 
 and the west end ^svas not completed until 1223. This choir is a fine 
 example of transitional work, with massive round pillars and pointed 
 arches ; the capitals are very similar to those of Canterbury, and it is 
 not at all in advance of other English buildings of the same period. 
 
 A.D. 1165. The church of Breteuil, in Picardy, in the diocese 
 
 of Beauvais, was consecrated in this year. The character of the work 
 is the same as that of Norman work of the same period. (For engrav- 
 ings see Woillez, Ancien JSeauvoisis, folio, Paris, 1856.) 
 
 A.D. 1168? — 1175. An apsidal chapel at the end of the south tran- 
 sept of the cathedral of Soissons is frequently referred to as the type 
 of the corona or eastern chapel of Canterbury, and there is a certain 
 resemblance sufficient to make it probable that the architect of that 
 part of Canterbury had seen the chapel at Soissons, which belongs 
 to an earlier building than the present one, and was built between 
 1168 and 1175, during the episcopate of "Hugo de Champfleury II. 
 alias de Anfflia'^.'" The choir of Soissons was rebuUt on a larger 
 scale and more lofty, and the new building was completed in 1212, 
 as recorded by an inscription scratched on the wall at the time the 
 monks entered the choir; this later building is of advanced transitional 
 and Early French character. 
 
 A.D. 1170—1186. Church of St. Nicholas at Blois. The relics of 
 St. Lawrence, the patron saint of the monastery, were translated on 
 the 25th of May in 1186. The choir and transepts being then com- 
 pleted and ready for consecration, Count Thibault made a donation 
 on this occasion which enabled the monks to complete the nave in 
 1210. The church is a fine example of the Transition. 
 
 Itaxt. 
 
 A.D. 11 74 . The campanile, or leaning tower of Pisa, Tuscany, 
 
 built by Bonanno Pisano and William of Inspruck. Under the first 
 arcade, at the right side of the door, is the following inscription cut in 
 stone, which records its foundation : — a.d. mclxxiv. campanile hoc fvit 
 FVNDATV3I MEXSE AVGVSTi. Eanieri Grassi, in his work Falbriche 
 Principali di Pisa, and particularly in his Descrizione Storica e Ar- 
 tistica di Pisa, part i. pp. 97 — 109, has maintained, against the 
 opinion of modem writers, that its inclination is the result of a pre- 
 meditated plan, and not the consequence of its foundations having 
 sunk. This tower is covered with arcades of small semicircular arches, 
 and has no appearance of the pointed style. It is a good example of 
 
 « Sigeherti Chronicon, p. 147. style agrees better with this date. If 
 
 *• Gallia Christiana, torn. iii. p. 1051. the earlier date is correct, as is warmly 
 
 For a plan and engraving of this apse, maintained by M. Challe of Auxerre, 
 
 see VioUet-le-Duc, Diet., torn. ii. p. 19-i, and other local authorities, it is singu- 
 
 figs. 30, 31. He considers it to have lar that the bishop under whom it was 
 
 been commenced only in 1175, and the erected was an Englishman. 
 
182 THE PERIOD OF TRANSITION. 
 
 the Pisan style of the twelfth century, which was used throughout 
 the llepnblic of Pisa, and at Lucca, whicli was under its dominion. 
 This style has been ignorantly attributed to the ancient Lombards 
 some centuries before the period recorded in numerous inscriptions on 
 the buildings themselves. 
 
 A.D. 1174 — 1186. The cathedral, or duomo, of Monreale, in Sicily, 
 built by William II., King of Sicily. The bronze door, which is 
 riclily ornamented with small figures in compartments, is the work of 
 Bonanno Pisano, who completed it in 11 86 ^ " This cathedral is the latest 
 and most splendid 'of the works of the Xoi-man kings of Sicily. Latin 
 in its shape, Norman in its colonnade, Byz:intine in its mosaics, Greek 
 in its sculpture, Saracenic and Norman in many of its mouldings, 
 features, and details, it exhibits a most curious combination of styles, 
 and is one of the most splendid monuments of the middle ages*^." 
 Pope Lucius III. in a bull addi-esscd to the first archbishop of Monreale, 
 dated 1182, mentions it as a work unrivalled since the days of the 
 ancients. (See Gaily Knight's " Saracenic and Norman Remains in 
 Sicily," Plates xsiv. and xxv.) 
 
 A.D. 1180. The church of St. John the Baptist at Genoa has the 
 
 date of 1180 in the head of a doorway, and the tower is of transitional 
 character, with lancet windows, and is very much of the Prench type 
 of the same period. 
 
 In Italy, generally, the round arch and the Romanesque style 
 continued in use throughout the thirteenth century, with a few ex- 
 ceptions. The pointed arch occurs indeed in St. Mark's at Venice in 
 w^ork of the eleventh century, and in the aisles of the cathedral of 
 Pisa in the eleventh or twelfth, and in the Saracenic work at Palermo, 
 also in the twelfth ; but these are obviously exceptional cases. 
 
 GEKMAirr. 
 
 A.D. 1170 — 1196. The cathedral of Treves was pai'tly rebuilt and 
 greatly altered in appearance by the Archbishops Hillin and John. 
 A considerable part of the internal decoration, with the vaults of the 
 present edifice, belong to this period, and are in the style of transition, 
 with a mixture of French and German. (For engi-avings see Didron, 
 Annales ArcJieoJoffiques, and the separate work on this cathedral by 
 the Earon Ferdinand do Roisin, 4to., Paris, 1861.) 
 
 In Germany, the greater part of the churches near the Rhine are 
 of this period, as has been ably shewn by M. de Lassaulx : the Roman- 
 esque character is preserved in those churches down to about 1220, 
 or even 1250; for instance, the fine cathedral of Worms, built be- 
 tween 1242 and 1262, is still purely in the Romanesque style, a period 
 subsequent to some of our finest Early English work, such as Rishop 
 Hugh's work at Lincoln, Bishop Lucy's at "Winchester, Bishop Joceline's 
 at Wells ; and contemporary with Salisbury Cathedral.] 
 
 * Serradifalco, II Duomo di Monreale, &c., pp. 5 — 22, Plates i. — xiv. 
 ' Gaily Knight's Normans in Sicily, p. 2'JO. 
 
OF THE SECOIS^D 
 
 EARLY ENGLISH STYLE. 
 
 Early English Doors. 
 
 As the Norman doors may be said to be all of semicircular 
 arches, these may be said to be all pointed % at least all the 
 exterior ornamented ones ; for there are small interior doors 
 of this style with flat tops, and the sides of the top supported 
 by a quarter circle from each side. The large doors of this 
 style are often double, the two being divided by either one 
 shaft or several clustered, and a quatrefoil or other ornament 
 over them. The recess of these doors is often as deep as the 
 Norman, but the bauds and shafts are more numerous, being 
 smaller; and in the hollow mouldings they are frequently 
 enriched with the peculiar ornament of this style — a singular 
 toothed projection, which, when well executed, has a fine 
 effect. But although this ornament is often used, (and some- 
 times a still higher enriched moulding, or band of open-work 
 flowers,) there are many doors of this style perfectly j)lain ; of 
 this kind the door of Christchurch, Hants, is a fine specimen. 
 
 The dripstone is generally clearly marked, and often small, 
 
 » [This is the general rule, but there 
 are many exceptions; in some districts 
 Eiirly English doorways with semi- 
 circular arches are extremely common ; 
 thi-re is a good example with the ori- 
 ginal iron scroll-work on the wooden door 
 at Faringdon, Berkshire. The doorways 
 with flat tops, described by Mr. Hickman 
 as confined to the interior, are also fre- 
 quently found in small external doors, 
 especially on the south side of the chan- 
 cel, commonly called the priest's door. 
 The name of square-headed trefoil has 
 
 been given to this form, and is now gene- 
 rally understood as describing it. But 
 it hiis recently been called the shouldered 
 arch, and this as a popular name is very 
 expressive. It is said to have been 
 invented by the present Duchess of 
 Northumberland, and does credit to her 
 Grace's quickness of observation. The 
 figure of a man with his head cut ofl" 
 gives exactly the idea, and often the 
 proportions, of a small doorway of this 
 form.] 
 
184 
 
 THE EARLY ENGLISH STYLE. 
 
 \ -"^'2 
 
 ir'artLigciou. BcrkslnrcJ, c li:iOo. 
 
 Sc. Crosa, Harupshire. c I'A-O. 
 
EARLY ENGLISH DOORS. 
 
 185 
 
 and supported by a head. In many doors, a trefoil, and even 
 cinquefoil feathering is used, the points of which generally 
 finish with balls, roses, or some projecting ornament. The 
 principal moulding of these doors has generally an equilateral 
 arch, but from the depth and number of tlie mouldings, the ex- 
 terior becomes often nearly 
 a semicircle. In interiors, 
 and perhaps sometimes too 
 in the exterior, there are 
 instances of doors with a 
 trefoil-headed arch. 
 
 The shafts attached to 
 these doors are generally 
 roimd, but sometimes fil- 
 leted, and they generally, 
 but not always, stand quite 
 free. They have a variety 
 of capitals, many plain, but 
 many with delicate leaves 
 running up and curling 
 round under the cap-mould- 
 ing, often looking like Ionic 
 volutes. The bases are 
 various, but a plain round 
 and fillet is often used, 
 and the reversed ogee some- 
 times introduced. 
 
 The most prevalent base'', 
 and what is used not only 
 
 '' Wmcbester Cathedral, a.d. 1200. 
 
 to shafts, but sometimes 
 
 as a base tablet, is curious, from its likeness to the Grecian attic 
 
 ^ [\Ve have had occasion to observe 
 the great variety of bases used in Nor- 
 man work even from the earliest period, 
 but in the Early English style little 
 variety is used, a pattern seems to have 
 been arrived at by common consent, 
 and very generally adhered to : it occurs 
 even in the earliest examples of this 
 style, as in the transept and eastern 
 
 chapel of Canterbury in 1184, and in 
 De Lucy's work at Winchester in 1200, 
 (see the woodcut above,) and continued 
 in use for nearly half a century with 
 little alteration ; in the later examples 
 the hollow becomes filled up by a third 
 round moulding, and gradually merges 
 into the following style.] 
 
186 
 
 THE EARLY ENGLISH STYLE. 
 
 base : like that, it consists of two rounds, with a hollow between, 
 and that hollow is often deepened, so that if water gets into 
 it the water remains, and it is almost the only instance of 
 a moulding used in English work which will hold water, they 
 being in general so constructed as entirely to free themselves of 
 rain, and in a great measure of snow. 
 
 Base, Soutli Door, Stanwick, NortLampconshire, c. VAX) . 
 
 All these mouldings are cut with great boldness, the hollows 
 form fine deep shadows, and the rich bands of open-work leaves 
 are as beautiful as those executed at any subsequent period, being 
 sometimes entirely hollow, and having no support but the 
 
 iiiiiliii iiiiiiiia'iiiiiiiMiiiiiiiaiiM 
 
 Open Foliage, Tomb of Archbishop WaJter Gray. York, a k. 1;^ 
 
 attachment at the sides and the connection of the leaves them- 
 selves. These doors are not so numerous as the Norman, j^et 
 many still remain in perfect preservation : York, Lincoln, 
 
EARLY ENGLISH DOORS. 
 
 187 
 
 Chichester, and Salisbury ** have extremely fine ones, and 
 Beverley Minster one, of which the mouldings are bolder than 
 most others. 
 
 The door of the transept at York, and those of the choir- 
 screen at Lincoln, have bands of 
 the richest execution, and there is 
 a fine double door at St. Cross. (See 
 p. 184.) 
 
 [The west doorway of Higham 
 Ferrers Church, Northamptonshire, 
 is a very rich and fine example of 
 a double door : the smaller doors 
 have low segmental heads under 
 a lofty pointed arch, and the space 
 thus formed, called the tympan, is 
 filled with a series of small groups 
 of sculpture of great merit. (See 
 Plate.)] 
 
 Lichfield Cathedral presents a door 
 curious for its resemblance to some 
 foreign cathedrals "^ ; it is placed in 
 a shallow porch formed in the thick- 
 ness of the wall, the arch of which 
 is richly feathered, and otherwise 
 ornamented ; the interior aperture 
 
 is divided into two doorways by Doo™aymScreen,LmcolnCatliedra2,c.l200. 
 
 a pier of shafts, and this pier, as well as the side piers of both 
 the apertures, has a statue fixed against it, resting on a corbel 
 and crowned with a canopy. The recess is groined, and the 
 whole is worked with great delicacy, and full of rich ornament ; 
 the interior portion is in tolerable preservation, the exterior 
 much decayed ; the doors appear original, and are covered with 
 beautiful ramifications of scroll-work, in iron. Indeed, there 
 are many wooden doors, both of this style and Norman, 
 which seem to be of the same age as the stone- work. (See 
 p. 184.) 
 
 See Glossary, vol. ii. PI. 78. 
 
 d Ibid., vol. ii. PI. 79. 
 
188 
 
 THE EARLY ENGLISH STYLE. 
 
 Early English Windows «. 
 
 Polebrook, Northamptonshire, c. 1220. 
 
 These are, almost universally, long, narrow, and lancet-headed, 
 generally without feathering, but in some instances trefoiled. 
 
 A variety of appearance results from the combination of this 
 single shape of window. At Salisbury, one of the earliest 
 complete buildings remaining, there are combinations of two, 
 three, five, and seven. 
 
 « See Glossary, Pis. 226, 229, 230, 231, 233, 237—2^0, 242, 243, 255, 258, 263. 
 
EARLY ENGLISH WINDOWS. 
 
 189 
 
 
 Brealsall. Derbysbire, c. I'JOO. 
 
 —^'^0 JL/yll t .c 
 Oundle. Northamptonsbire. c. 1200. 
 
 Romsey Abbey, c. rj.M 
 
 Stanwick, Northamptonsbire, 0. 1220, 
 
190 
 
 THE EARLY ENGLISH STYLE. 
 
 Bartou Stacey, Northants, c, 1220. 
 
 Where there are two, there is often a trefoil or quatrefoil 
 between the heads ; and in large 
 buildings, where there are three or 
 more, the division is often so small 
 that they seem to be the lights of 
 a large window, but they are really 
 separate windows, having their heads 
 formed from individual centres, and, 
 in general, separate dripstones. This 
 is the case even at Westminster, 
 where they approach nearer to a 
 division by mvdlions, from having 
 a small triangle pierced beside the 
 quatrefoil, and a general dripstone 
 over all. It appears that the double 
 window, with a circle over it, some- 
 times pierced and sometimes not, began to be used early in the 
 style, for we find it at Salisbury ; and this continued the orna- 
 mented window till the latest period of the style : it was indeed 
 only making a double door into a window. [Of this kind the 
 west window of Raunds Church, Northamptonshire, is a very 
 fine example ; the lower part is now blocked up, but enough 
 remains to restore it perfectly in the drawing. (See plate.)] 
 In the more advanced period it was doubled into a four-light 
 window — at Salisbury, in the cloisters and chapter-house ; and 
 the east window of Lincoln Cathedral is of eight lights, formed 
 by doubling the four-light, still making the circle the ornament. 
 This window is, in fact, a Decorated window^, but together with 
 the whole of that part of the choir is singularly and beautifully 
 accommodated to the style of the rest of the building. In small 
 buildings, the windows are generally plain, with the slope of the 
 opening considerable ; and in some small chapels they are very 
 narrow and long. In large buildings they are often ornamented 
 with very long and slender shafts, which are frequently banded 
 
 ' Its actual date belongs to the Early 
 English period, but quite the close of 
 that style, at the end of the n ign of 
 Henry IIL, when the Dicorated style 
 was fast coming in; luid bar-tracery 
 
 being fully developed, the general ap- 
 pearance of the window is rather Deco- 
 rated than Early English, but the 
 mouldings still belong to the earlier 
 style. 
 
[RESTORED] 
 
EARLY ENGLISH WINDOWS. 
 
 191 
 
 [as at Polebrook, Northamptonshire, p. 188]. Most of our cathe- 
 drals contain traces of windows of this character, but some, as 
 at Durham, have tracery added since their original erection, 
 Salisbury, Chichester, Lincoln, Beverley, and York, still remain 
 pure and beautiful ; at York north transept are windows nearly 
 fifty feet high, and about six or eight wide, which have a very 
 fine effect. 
 
 [Some windows of this style are long and narrow, like the 
 usual lancet-shaped win- 
 dows, but with square 
 tops, and worked quite 
 plain, as in the chancels 
 of Cowley Church, Ox- 
 fordshire, and Tixover, 
 Rutlandshire. The same 
 form occurs at Ringstead, 
 Northamptonshire, with 
 an arched head over it, 
 trefoiled and ornamented, 
 but not pierced. Similar 
 loop windows, with square 
 tops, occur occasionally 
 also in Norman work.] 
 
 Although the archi- 
 tects of this style worked 
 their ordinary vrindows 
 thus plain, they bestowed 
 much care on their cir- 
 cles. Beverley Minster, 
 York and Lincoln, have 
 all circles of this style 
 peculiarly fine; that of 
 the south transept at York, usually called the marygold win- 
 dow, is extremely rich, but the tracery of the circles at West- 
 minster is of a much later date. [Mr. G. G. Scott has found 
 the pattern of the original tracery of this window on one of 
 the tiles in the chapter-house, (see " Gleanings from Westminster 
 Abbey"). The present tracery is much more recent, and com- 
 paratively poor.] 
 
 Winder of Tower, Ringsteaid, Nonhanw, c. 1200. 
 
192 
 
 EARLY ENGLISH WINDOWS. 
 
 Peterborougli Cathedral, c. lauO. 
 
 Stristou. Nortbamptoushire, c. 12£0 
 
 Har^rave, Northamptonshire, c. 1220, 
 
EART.Y ENGLISH WINDOWS. 
 
 193 
 
 There is in all the long windows of this stj^lo one almost 
 universal distinction : from the 
 straight side of the window open- 
 ing, if a shaft is added, it is mostly 
 insular, and has seldom any con- 
 nexion with this side, so as to 
 break it into faces, though the 
 shafts are inserted into the sides 
 of the doors, so as to give great 
 variety to the opening. [These 
 shafts are very frequently of the 
 dark -coloured marble called Pur- 
 beck, or Petworth, or Forest mar- 
 ble, which takes a high polish, and 
 is composed chiefly of shells, vary- 
 ing in size in diSerent specimens 
 from the same quarry, but there is 
 no real distinction between these 
 varieties.] 
 
 At Westminster Abbey there are 
 a series of windows above those of the aisles, which are 
 formed in spherical equila- 
 teral triangles. 
 
 [The clearstory windows 
 in small churches of this 
 style are sometimes plain 
 circles, as at Acton Burnel, 
 Shropshire, or a plain early 
 trefoil or quatrefoil, often en- 
 closed in a circle or a square 
 within, as at Hargrave, North- 
 amptonshire. They are com- 
 mon in that county and in the 
 northern part of Oxfordshire, 
 but in many parts of the 
 country such windows are 
 almost imknown, — the clearstory being most frequently an 
 addition of the Perpendicular style. Small lancet-shaped win- 
 dows may also be found, and spherical triangles similar to those 
 at Westminster, but plainer.] 
 
 c c 
 
 York Cathedral, a.u. 1227 
 
 na.er Abtey, a.d. 1250— latW 
 
191. 
 
 THE EARI.V ENGLISH STYLE. 
 
 Early English Archks. 
 
 T;;ijnuDa -iivade, North Transept, Westminster Abbey, a.d. 1250 — 1260. 
 
 The window- arch of this style being generally a lancet arch, 
 and some persons having considered the shape of the arch to 
 bo a very distinguishing feature of the different styles, it may 
 be necessary in this place to say a few words on arches gene- 
 rally. If we examine with care the various remains of the 
 different stj-les, we shall sec no such constancy of arch as has 
 been apprehended ; for there are composition lancet arches used 
 both at Henry the Seventh's Chapel, Westminster, and at Bath ; 
 and there are flat segmental arches in the Early English part 
 of York ; and upon the whole it will appear, that the architect 
 was not confined to any particular description of arch. The 
 onl}^ arch precisely attached to one period is the four-centred 
 arch, which does not appear in windows, &c., if it does in 
 composition, before the Perpendicular stjde ^. 
 
 f There are a few rjire exceptions to schools at Bristol, which has a four- 
 this rule, as the doorway to the city ceutred arch with pure Early English 
 
EARLY ENGLISH ARCHES. 
 
 19.5 
 
 Woodford, North amrlousbire. c 12£0 
 
 Norm Transept, Westminater Abbsy, a.d. 1350. 
 
 Arches. York Cathedral, a.d. 1227. 
 
196 
 
 THE EARLY ENGLISH STYLE. 
 
 In large buildings, the nave-arches of the Early English 
 style were often lancet, but in some large and many small 
 ones, they are flatter, some of one-third drop, and perhaps 
 even more, and sometimes pointed segmental. 
 
 At Canterbury, in the choir, are some curious pointed horse- 
 shoe arches ; but these are not common. 
 
 The architraves of the large arches of rich buildings arc 
 now beautifully moulded, like the doors, with deep hollow 
 mouldings, often enriched with the toothed ornament^. Of 
 this description, York transepts, and the nave and transepts 
 of Lincoln, are beautiful specimens ; Salisbury is worked 
 plainer, but not less reallj'- beautiful ; and AVestminster Abbey 
 is (the nave at least) nearly plain, but with great boldness 
 of mouldinsr. 
 
 Triforluin Arcade, Beverley Minster, c. IvXW. 
 
 The arches of the gallery [triforium] in this stj^le are 
 often with trefoiled heads, and the mouldinsrs running: round 
 the trefoil, even to the dripstone. Chester choir is a fine spe- 
 cimen ; and there are some plain arches of this description in 
 ^Winchester Cathedral which are very beautiful. 
 
 mouldings. In tlie crypt of St. Joseph's 
 Chapel lit (ilastoiibury, the Liidy-chapel 
 at Christ Church, Oxford, and the pier- 
 arches at Stanwick iii Northampton- 
 
 shire, are other early examples of four- 
 centred arches. 
 
 '' See Glossary, Pis. 121, 122. 
 
THE EARLY ENGLISH STYLE. 
 
 197 
 
 Early English Piers. 
 
 Of the piers of large buildings of this style, there are two 
 distinguishing marks : first, the almost constant division, by 
 one or more bands, of the 
 shafts which compose them ; 
 and secondly, the arrangement 
 of these shafts for the most 
 part in a circle. In general 
 they are few, sometimes only 
 four, sometimes eight, set 
 round a large circular one : 
 such are the piers of Salis- 
 bury and of Westminster 
 Abbey. There are sometimes 
 so many as nearly to hide 
 the centre shaft, as at Lin- 
 coln and York ; but the cir- 
 cular arrangement is still 
 preserved, and there arc 
 some few, as in the choir 
 at Chester, which come very 
 near the appearance of 
 Decorated piers. Amongst 
 other piers, one not very 
 common deserves to be no- 
 ticed ; it is found at Bever- 
 ley Minster, and in a few 
 other churches; it consists 
 of shafts, some of which are 
 plain rounds, others filleted 
 rounds, and some whose 
 plan is a spherical triangle, 
 with the edge outwards. At 
 E-uncorn Church, Cheshire, 
 is a pier consisting of four 
 of these triangidar shafts, with a handsome flowered capital, 
 which has altogether a very fine effect. 
 
 Traiisept, Beverley, c. 1320, 
 
198 
 
 EARLY ENGLISH TIERS. 
 
 y^' 
 
 Choir, Lincoln Catliedi-al. a.d. 1190 — 1200, 
 
 Choir, Westmiuster, a.d. 131i — 1200. 
 
 Nave. Selby. yorkehire, c. 1220. 
 
 Nave, St. John's, Cirencester, c. 1250. 
 
199 
 
 Netley AUey, c. liSO. 
 
 Nortii Transept, Westiniuster AL-bey, i i>. ijfiO, 
 
 Beverley Miustei, c. ii.0. 
 
 Liacoln Catliedi-ul, &.d. 1200. 
 
200 
 
 THE EARLY ENGLISH STYLE. 
 
 [The responds of half pillars attached to the -wall at each end 
 of an arcade frequently differ from the otlier piers, and the 
 original Early English responds often remain when the arches 
 and the other piers have been rebuilt in a subsequent style. 
 
 Whitby Abbey, Yorkshire, c. \220. 
 
 NeUey Abbey, Eampshire, c. 1250. 
 
 The vaulting-shafts or half pillars attached to the wall and 
 carrying either the ribs of the vault, or the side posts of 
 the open timber roof, are very characteristic features of this 
 style. They sometimes spring from the ground, and in such 
 cases the lower part of them is attached to the face of the pier, 
 often united in one base with it. In other instances they 
 spring from corbels projecting from the face of the wall, as at 
 Whitby; these are often placed in the spandrel formed by the 
 springing of two arches immediatel}' above the capital, as at 
 Netley. When they spring from corbels it is usually in order 
 to allow room for the canopies of the stalls, and indicates the 
 length of the choir of the monks or canons, which was often 
 extended to the second or third bay of the nave. In other cases 
 the vaulting- shaft is usually carried up from the ground, and is 
 sometimes introduced in front of older pillars. It does not 
 follow that because there are vaidting-shafts there was origi- 
 nally a stone vault ; these shafts are often used to carry a 
 wooden ceiling only, and these ceilings are sometimes in the 
 form of vaults, as at Warmington, Northamptonshire,] 
 
EARLY ENGLISH CAPITALS. 
 
 201 
 
 The capitals of these shafts 
 are various. In many, perhaps 
 the greater number of build- 
 ings, they are plain, consist- 
 ing of a bell with a moulding 
 imder it, and a sort of capping, 
 with more mouldings above ; 
 and these mouldings are often 
 continued round the centre pier, 
 so as to form a general capital, 
 [as at Stanwick, Northampton- 
 shire, "Westminster, and Bever- 
 ley]. The dividing bands are 
 formed of annulets and fillets, 
 and are often continued under 
 windows, &c. as tablets, and 
 are, like the capitals, sometimes 
 continued round the centre 
 shaft. Another and richer capi- 
 tal is sometimes used, which 
 has leaves like those in the 
 capitals of the door shafts. 
 This kind of capital is gene- 
 rally used where the shafts 
 entirely encompass the centre 
 one, as at York and Lincoln, 
 and has a very fine effect, 
 the leaves being generally ex- 
 tremely well executed. 
 
 [Occasionally heads, or birds, 
 or animals, are introduced among 
 the foliage, as in the beautiful 
 tomb of Archbishop Walter 
 Gray, in York Cathedral. In 
 this instance and at Romsey the 
 foliage is allowed to creep up 
 over the abacus, but in general 
 the abacus is allowed to stand 
 clear with its deep undercut 
 mouldings.] 
 
 Dd 
 
 Linccln Catbedral, ad. 12(0. 
 
202 
 
 EARLY ENGLISH CAPITALS. 
 
 North Transept. Lincola Cathedral, a.d. 1190 — 1200 
 
 North Transept. Romaey Abbey. 0. VMO. 
 
 Tomb of Abp Walter Gray. York. ad. 1-255 
 
 North Transept. York Cathedral. i.D 1250. 
 
EARLY ENGLISH BASES. 
 
 203 
 
 Beverley Minswr, c. 1320. 
 
 The bases used are frequently near approaches in contour to 
 the Grecian attic base, 
 but the reversed ogee 
 is sometimes employed. 
 There is another pier, 
 in buildings that ap- 
 pear to be of this style, 
 which is at times very 
 confusing, as the same 
 kind of pier seems to be 
 used in small churches, 
 even to a very late 
 date ; this is the plain 
 midtangular (generally 
 octagonal) pier, with 
 a plain capital of a few 
 very simple mouldings, 
 and with a plain sloped 
 arch. Piers of this de- 
 scription are very fre- 
 quent, and it requires 
 great nicety of observa- 
 tion and discrimination Jl 
 to refer them to their 
 proper date ; but a mi- 
 nute examination will 
 often, by some small 
 matter, detect their age, 
 though it is impossible 
 to describe the minutiae 
 without many figures. 
 In general the capitals 
 and bases will carry 
 in their character suf- 
 ficient marks to deter- 
 mine their date, except 
 in the transition from 
 Early English to De- 
 corated. 
 
 Choir, Lincolii Cathedi-al, a.d. 1200. 
 
 Selby, Torkslure, c. 1260. 
 
201 
 
 THE EARLY ENGLISH STYLE. 
 
 Early English IJuriKEssEs. 
 
 These are of four descrip- 
 tions : — 
 
 1st. A flat buttress is 
 often used, but it is not 
 always so broad as the Nor- 
 man ; its tablets are more 
 delicate, and it has often 
 the small shaft at the 
 angle, like the Norman. 
 [This kind of buttress gene- 
 rally terminates in a slope 
 under the cornice, as at 
 Ensham.] 
 
 2nd. A buttress not so 
 broad as the flat one, but 
 nearly of the same projec- 
 tion as breadth, and car- 
 ried up, sometimes with 
 only one set-ofi", and some- 
 times without any, and 
 these have often their edges 
 chamfered from the win- 
 dow tablet. They some- 
 times have a shaft at the 
 corner, and in large rich 
 buildings are occasionally 
 panelled. These buttresses 
 have also, at times, much 
 more projection than breadth, 
 and are sometimes, as at 
 Salisbury, filled with niches 
 and other ornaments. [They 
 frequently stand up clear 
 above the parapet, as at 
 Whitby.] 
 
 Eusham, Os.ou, c. 12 
 
 WbiLby Abbey, Yorkshire, c. 1220. 
 
EARLY ENGLISH BUTTRESSES. 
 
 205 
 
 3rd. A long slender 
 buttress, of narrow face 
 and great projection in 
 few stages, is used in 
 some towers, but is not 
 very common. 
 
 4tli. Towards the latter 
 part of this style, the 
 buttress in stages was 
 used, but it is not very 
 common, and is suffi- 
 ciently distinguished by 
 its triangular head, the 
 usual finish of this style, 
 which can hardly be 
 called a pinnacle, though 
 sometimes it slopes off 
 from the front to a point. 
 From the buttresses of 
 the aisles to those of 
 the nave, choir, &c., now 
 began to be used the 
 flying buttress, of which 
 Salisbury and Chiches- 
 ter Cathedrals present 
 various fine examples. 
 
 [Westminster Abbey 
 afibrds a remarkable ex- 
 ample, with the fl}^ng 
 arch broken into two 
 by an intermediate pin- 
 nacle. This arrangement 
 is common in France, 
 but very rare in Eng- 
 land.] 
 
 Westminster Abbey, i-c. 1360 
 
206 
 
 THE EARLY ENGLISH STYLE. 
 
 ^> --^ 
 
 The cornice is sometimes rich in mouldings, and often with 
 an upper slope, making the face of the parapet perpendicular 
 
 to the wall below. 
 
 There are cornices 
 of this style still re- 
 sembling the Nor- 
 man projecting 
 parapet, but they 
 consist of several 
 mouldings. The 
 hollow moulding of 
 the cornice is gene- 
 rally plain, seldom 
 
 containing flowers or carvings, except the toothed ornament, but 
 under the mouldings there is often a series of small arches 
 resembling the corbel- table. 
 
 Cornice, York. - 
 
 Corbel-table in Tower. Stanwick. Northamptonshire, c. 1220. 
 
 The dripstone of this style is various, sometimes of several 
 mouldings, sometimes only a round with 
 a small hollow. It is, in the interior, 
 occasionally ornamented with the toothed 
 ornament, and with flowers. In some 
 buildings, the dripstone is returned, and 
 runs as a tablet along the walls. It 
 is in general narrow, and supported 
 by a corbel, either of a head or a 
 flower; or a clump of characteristic fo- 
 liage, as at Swaton, Lincolnshire, or it is 
 sometimes merely curled round without any corbel. 
 
 Dripstone TermiDation, SwaioD, 
 Llucolushire. 
 
EARLY ENGLISH MOULDINGS. 
 
 207 
 
 Nortii Door. Kidliujton, c. I2'i0. 
 
 There are frequently, in large buildings, in the ornanientcd 
 parts, [horizontal] bands of 
 trefoils, quatrefoils, &c., some 
 of them very rich. 
 
 Although a sort of straight 
 canopy is used over some 
 of the niches of this style, 
 yet it does not appear to 
 have been used over win- 
 dows or doorways. In some 
 buildings where they are 
 found, they appear to be 
 additions. 
 
 The tablets forming the 
 base - mouldings are some- 
 times a mere slope, at others, 
 in large buildings, are of 
 several sets of mouldings, 
 each face projecting farther 
 than the one above it, [as 
 at Salisbury] ; but the re- 
 versed ogee is very seldom 
 used, at least at large and 
 singly. 
 
 [The arch-mouldings of 
 this style, whether of the 
 pier-arches or of doorwaj^s or 
 windows, are generally very 
 bold and deeply cut, and form 
 a very characteristic feature ; 
 they consist principally of 
 plain rounds, separated by 
 deep hollows : in very rich 
 examples these hollows are 
 sometimes filled with the 
 tooth-ornament, or with fo- 
 liage, and the rounds are often filleted ; the keel or pear- 
 shaped moulding is also frequently used.] 
 
 Arch of the Niva, Milton, Oxon, c. 1250 
 
208 
 
 EARLY ENGLISH MOULDINGS. 
 
 Section cf Porch, Hicham Ferrers, c 1220. 
 
 Arch of the North Dooi^^ay, iIUu>n. Oxon. c. 12C0. Moulding of Doorway, Woodford, NorthanM , 
 
EARLY ENGLISH NICHES. 
 
 209 
 
 The most important niches 
 are those found in chancels, 
 in the walls of the south 
 side, and of which the uses 
 do not yet appear to be de- 
 cided i. Of these there are 
 many of all stages of Early 
 English ; there are some- 
 times two, but oftener three, 
 and they are generally sunk 
 in the wall, and adapted for 
 a seat ; the easternmost one 
 is often higher in the seat 
 than the others. They have 
 sometimes a plain trefoil 
 head, and are sometimes or- 
 namented with shafts ; they 
 are generally straight- sided '^. 
 
 The statuary niches, and 
 ornamented interior niches, 
 mostly consist of a series 
 of arches, some of 
 them slope-sided, 
 and some with a small 
 but not very visible 
 pedestal for the statue. 
 [On the west front 
 of Peterborough Ca- 
 thedral is a series of 
 trefoil-headed arches, 
 which are alternately 
 filled with statues 
 and windows.] They 
 are often grouped two 
 under one arch, wath 
 an ornamental open- 
 ing between the small 
 arches and the lar»e 
 
 Sedile, Stanwicli, Norttisints, o. 1220. 
 
 ' The sedilia, see p. 52. 
 ** At Uffington, Berks., is a 
 fine example ; see Glossary, PI. 189. 
 
 Nicbe, West Front, Peterborough Cathedral, ad. laOO. 
 
 E e 
 
210 
 
 THE EARLY ENGLISH STYLE. 
 
 Piscina, Polebrook, Northamptonshire, c. 1220. 
 
 StaUa in Cbamcel, Denford, Northaraptonshii-e, c, 1250. 
 
EARLY ENGLISH ORNAMENTS. 211 
 
 one, like the double doors ; a straight- sided canopy is sometimes 
 used, and a plain finial. These niches, except the chancel stalls, 
 and the stoiip and water-drain, are seldom single, except in 
 buttresses, but mostly in ranges. 
 
 Early English Ornaments. 
 
 The first ornament to be described is that already noticed 
 as the pccxiliar distinction of this style, to which it seems 
 nearly, if not exclusively confined ; it is the regular progres- 
 sion from the Norman zigzag to the delicate four-leaved flowers 
 so common in Decorated English buildings. Like the zigzag, 
 
 Tooth-Ornament and Dripstone Termination, Piscina, North Transept, York Cathedral, a.D. 1245. 
 
 it is generally straight-sided, and not round like the leaves of 
 a flower, though at a distance, in front, it looks much like 
 a small flower. It is very difiicult to describe it, and still 
 more so to draw it accurately ; it may perhaps be understood 
 by considering it a succession of low, square, pierced p3'ramids, 
 set on the edges of a hollow moulding. This ornament is 
 used very profusely in the buildings of this style, in York- 
 shire and Lincolnshire, and frequently in those of other coun- 
 ties. [It is now generally known by the name of the tooth- 
 ornament. See above, and the capitals from York and Komscy.] 
 
212 
 
 THE EARLY ENGLISH STYLE. 
 
 Another ornament, whicli though not peculiar, in small 
 works, to this style, was seldom, but during its continuance, 
 practised to so large an extent, is the filling of the spaces above 
 the choir-arches with squares, enclosing four-leaved flowers, 
 [or other loaves, and usually called diaper- work]. This is 
 done at Westminster, at Chichester, and in the screen at 
 Lincoln, in all which the workmanship is extremely good, and 
 it has a very rich effect. 
 
 Choir and Transept. Westminstor Abbey, a d. 1240 — 1-250. 
 
 Higham Ferrers, Northanta. c. 1220 
 
 Ctioir-Screen, Liucclu Catlieiral. c. 1260. 
 
EARLY ENGLISH ORNAMENTS. 
 
 213 
 
 Foliage, Cloisteis, Westvniaater Abbey. 4 n l.oo 
 
 Foliage, Rom8ey Church, Hampshire, c. 1220 
 
214 
 
 THE EARLY ENGLISH STYLE. 
 
 jpmiii^ :, ;':^iil!lil!!ffl!!l]iP^ 
 
 Motley Abbey, BuckiuShamshiie, c 1220. 
 
 In many parts, as in the spandrels of door-arches, and other 
 spaces, circles filled with trefoils and quatrefoils, with flowered 
 points, are often intro- — 
 
 duced, [as at Raunds]. 
 
 These are of small depth, 
 
 and are used in many 
 
 buildings very freely. ^ 
 
 Sometimes instead of sunk 
 
 panels a sort of boss of 
 
 leaves and flowers is used, 
 
 of which there are some 
 
 fine examples in the Early 
 
 English part of York 
 
 Minster, [and in the ruins 
 
 of Notlcy Abbey. Elegant 
 
 scrolls of foliage of a very 
 
 marked character are also frequently used as ornaments in this 
 
 $ y 
 
 Sunk P.jut.1, Raunds, Korthants. c. 12C0. 
 
 Foliage. Tomb of Abp. Walter Gray, York, a.d. 1;^ 
 
3;:c;ii33i'jt5)Si cffinjXHCSi _- s'OSiiTiSL&Sia'Tai^SEitiss , 
 
EARLY ENGLISH ORNAMENTS. 
 
 215 
 
 style, as in the beautiful tomb of Abp. Walter Gray, at York, 
 and at "Westminster, Romsey, &c.] 
 
 In the early period of the style, crockets were not used, 
 and the finial was a plain 
 bunch of three or more 
 leaves, or sometimes only 
 a sort of knob ; but in 
 small rich works, towards 
 the end of the style, beau- 
 tiful finials and crockets 
 were introduced. [A pe- 
 culiar sort of knob or 
 lobe on the leaf is very 
 characteristic of the foli- 
 age in this style, and 
 often conspicuous on the 
 crockets. Gable crosses 
 of this style are not very 
 
 common : when found, crockets. Tomb of Abp. waiter Gray, a b. 1255 
 
 they partake of the usual character of the foliage.] 
 
 Cross. Morton, Lincolnshire. 
 
 Cics-s, little Poutxin, Liincolushxro 
 
 Early English Steeples. 
 
 The Norman towers were short and thick ; the Early English 
 rose to a much greater height, and on the tower they placed 
 that beautiful addition, the spire. 
 
216 
 
 THE EARLY ENGLISH STYLE. 
 
 Some of our finest spires are of this age, and the proportions 
 observed between the tower and spire are generally very good. 
 Chichester was clearly of this style ; and Salisbury, though 
 not erected till within the period of the Decorated style, is 
 yet in its composition so completely of Early English cha- 
 racter that it should be considered as such, notwithstandins: 
 the date and the advance of its ornaments : in beauty of pro- 
 portion it is unrivalled. The towers of Lincoln and Lichfield, 
 though perhaps not finished within the date of the style, are 
 yet of its composition ; the spires of Lichfield are of much later 
 date. Wakefield steeple is finely proportioned, though plain, 
 and it is singular for its machicolations in the top of the tower. 
 The towers are flanked by octagonal turrets, square flat but- 
 tresses, or, in a few instances, with small long buttresses ; and 
 generally there is one large octagonal pinnacle 
 at the corners, or a collection of small niches. 
 
 [Fine examples of pinnacles and turrets occur 
 at Peterborough Cathedral, some of which have 
 the tooth-ornament, and others have their arches 
 supported by clustered shafts I] 
 
 When there is no parapet, the slope of the 
 spire runs down to the edge of the wall of 
 the tower, and finishes there with a tablet ; 
 and there is a double slope to connect the 
 comers with the intermediate faces. The spire 
 is often ornamented by ribs at the angles, 
 sometimes with crockets on the ribs, and 
 bands of squares filled with quatrefoils, &c., 
 surrounding the spire at different heights. 
 There are many good spires of this style in 
 country churches. [Northamptonshire is espe- 
 cially celebrated for them, generally of the 
 class called broach spires, which have no para- 
 pet : Polebrook is a good example of the usual 
 character of these spires, (see Plate) ; at Raunds 
 perhaps the spire is rather disproportionate to ^'^^"^^^ Petert-orougb, 
 
 See Glossary, Plate 15i. 
 
r 
 
 m 
 
 [1 
 
 /\<¥VVV 
 
 IT 
 
 L Ma.'::Iajnzie . cU^ 
 
 sE^assis B'lr ^ '"■■'■ 
 
EARLY ENGLISH BATTLEMENTS. 217 
 
 the tower, but it is a very fine specimen, and the panel- 
 ling of the tower is very remarkable ■". St. Mary's, at Stam- 
 ford, in Lincolnshire, is another celebrated example : the spire 
 is of somewhat later date than the tower, but the general 
 character is well preserved and the proportions are good. It 
 is not unusual to find Decorated spires added to Early English 
 towers. (See Plate.)] 
 
 Early English Battlements. 
 
 During nearly the whole of this style, the parapet, in many 
 places plain, in others ornamented, continued to be used ; at 
 Salisbury it has a series of 
 
 arches and panels", and at -^-~-^ — ^ — - ^^- _-. . ( ^ 
 
 Lincoln quatrefoils in sunk IT,, / ' ^ ~~ 
 
 panels [in some parts, in ^_" '^, ^ ' . [,, ■ ' 7~^ ;. ., _"~^~] j|i||||||[j|}|j| 
 
 other parts plain, with a -- -;^'- ■' ; 7 -"--''v.' W--^-_— T-„r''''«iJH 
 
 rich cornice under it]. Per- -'-^-:::^:_— :-' - -^ii*^--^" -\'-\ft i 
 haps some of the earliest '■ 1 |^^^^^^^^^^^^^d|l 
 battlement is that at the ,,„,/::!,[!:. .:.,^.1,.....,Jmi. ,,.w.v i 
 west end of Salisbury Ca- 
 
 *' . Lincoln Cathedral. 
 
 thedral, plain, of nearly 
 
 equal intervals and with a plain capping moulding : but it may 
 be doubted if even this is original. In small ornamented works, 
 of the latter part of this style, a small battlement of equal 
 intervals occurs. [In some instances the parapet is pierced 
 with trefoils or quatrefoils, or open panels with trefoil heads 
 similar to the sunk panels at Salisbury : the latter occur at 
 Bayeux,] 
 
 ^ [Oxford Cathedral has one of the tion of cruciform churches, which gives 
 earliest examples in England of a spire them great elevation, and a fine effect ; 
 ■which is short, with pinnacles at the at Bampton, figures of angels are used 
 angles of the tower : these and the upper as pinnacles. The spire-lights both here 
 part of the spire have been clumsily re- and at Oxford are good and character- 
 built. Witney and Bampton, Oxford- istic, with open trefoils in the head.] 
 shire, have very fine spires of this style " See Glossary, Plate 139. 
 rising from the towers at the intersec- 
 
 Ff 
 
218 
 
 THE EARLY ENGLISH STYLE. 
 
 Early English Roofs. 
 
 The roof of the nave of Salisbury Cathedral ° presents the 
 best specimen of an Early English groined roof; it has cross 
 springers, and the rib from pier to pier, but it has no rib 
 running longitudinally or across at the point of the arches. 
 Another description of groining, also peculiar to Early English 
 works, is one with an additional rib between the cross springer 
 and the wall, and between the cross springer and the pier rib ; 
 this has a longitudinal and cross rib at the point of the arches, 
 but it does not run to the wall, being stopped by the intermediate 
 rib. The old groining, in a passage out of the cloisters, at 
 Chester, is a very good specimen of this roof Another variety 
 is found at Lichfield, where there is no pier rib, but the two 
 intermediate ribs are brought nearer together, and the longi- 
 tudinal rib runs between them. 
 
 The rib mouldings of these groins are not very large, and 
 consist of rounds and hollows, 
 and often have the toothed orna- 
 ment in them, and at Lichfield 
 a sort of leaf. The bosses in 
 these roofs are not many or 
 very large, the intersections 
 being frequently plain, but some 
 of the bosses are very well 
 worked. Those in Lincoln Ca- 
 thedral are very beautiful spe- 
 
 C. l-'-Xi 
 
 cimens. 
 
 There do not appear to be any Early English wooden 
 roofs [remaining entire] which can clearly be distinguished 
 to be such. 
 
 North Aisle of Navr 
 
 " [See Glossary, Tlate 220. Strictly 
 speaking, the inner covering of a church, 
 whether of stone, or wood, or phxster, is 
 a ceiling, protected from the weather 
 by an external roof; and even wliat are 
 called open timber roofs are in reality 
 
 only another kind of ornamental ceiling, 
 as these also are commonly protected 
 by an external roof, and are seldom 
 open to the actual external timbers, ex- 
 cepting in modern copies of old I'oofs.] 
 
EARLY ENGLISH ROOFS. 
 
 219 
 
 [But there is reason to believe that a few do still remain in 
 our country churches, especially in Sussex, though they are 
 usually plain and without any very marked character ; they 
 are of steep pitch, and either canted, or of a circular form like 
 a barrel vault, and had generally tie-beams. The nave of Hales 
 Owen Church, Shropshire, is an example of this kind. One of 
 the aisles of Rochester Cathedral has a lean-to roof with moulded 
 beams of clear Early English character ; and at Old Shoreham 
 in Sussex is a tie-beam with the tooth-ornament cut on the 
 angles of it. Portions of roofs of this style occur more fre- 
 quently, and though generally mutilated yet retain enough of 
 their original character to mark their date. In South Moreton 
 Church, Berk- 
 shire, the tie- 
 beams and 
 braces remain ; 
 and in Pamber 
 Church, Hamp- 
 shire, the ori- 
 ginal circular 
 braces remain 
 
 above a flat 
 plaster ceil- 
 ing. 
 
 At Bradfield, Berk- 
 shire, and Upmarden, 
 Sussex, the wall-plate 
 has moiddings of this 
 style; the other timbers 
 are plain, canted, and 
 probably of the same 
 date. At Llan Tysilio 
 in the Isle of Anglesey 
 is a very good small 
 Early English roof, with 
 the nail-head ornament 
 cut at intervals upon the 
 beams. 
 
 At Warmington, Northamptonshire, is a very beautiful 
 wooden ceiling, in imitation of a stone vault, all the details 
 of which are of Early English character, very rich and late in 
 the style, approaching fast to the Decorated : it may indeed be 
 called transition. (P. 220). 
 
 The cloisters of Lincoln also have a genuine Early English 
 
 Upmarden, Sussex, c. 1220, 
 
 Part cf Roof, LUn Tysilio. An^les^y c, 12:o. 
 
220 
 
 THE EARLY ENGLISH STYLE. 
 
 wooden ceiling in imitation of stone vaulting ; and there is 
 reason to believe, from vestiges remaining here and there, that 
 
 Wooden Groined Boof, or Ceilmfi, Warmiuiton, Northamptonshire, c. 1260. 
 
 such groined wooden ceilings were not uncommon, the corbels 
 and springers being of stone, although alwaj's intended to be 
 carried out in wood, which has either been destroyed or never 
 completed.] 
 
^j^^asi-iL^-is 
 
 ^(HmrSM Tr3E-&^S3]P:ir _ BE'TlSIBXiJEX SffESrSTTJElB. . 
 
THE EARLY ENGLISH STYLE. 
 
 221 
 
 Early English Fronts. 
 
 e UAKt< M4 
 
 Strixlon, NortbaraptonsMre, c. 1220. 
 
 There is, perhaps, a greater variety in the Early English 
 fronts than in those of any other style. The west front of 
 Salisbury is, no doubt, the finest; but the transept ends of 
 Salisbury, York, and Beverley (see Plate), are very fine, and 
 all difierent in composition. The ruins of Tynemouth Priory, 
 Yalle Crucis Abbey, Byland Abbey, and Whitby Abbey, aU 
 exhibit the remains of excellent work. Of the smaller works 
 
222 THE EARLY ENGLISH STYLE. 
 
 the east end of the Lady-chapel at Salisbury, the extreme 
 east end of Hereford Cathedral, and the north transept of 
 Headon Church, near Hull, deserve attention. In general, 
 the west fronts and transept ends have a door, and one, two, 
 three, or even four ranges of niches, windows, and arches over 
 them. The transepts of Westminster Abbey are very fine, but 
 much of the work is not original. The west front of Lincoln 
 Minster deserves minute examination for its details : the old 
 Norman front is encompassed by Early English, the workman- 
 ship of which is very superior ; and a large feathered circle 
 over the great door is nearly unique, from the exquisite work- 
 manship of its mouldings, which consist of open-work bands of 
 flowers. The west front of Peterborough Cathedral is different 
 from all the rest ; it consists of three large arches, forming 
 a sort of screen to the front. These arches have piers of many 
 shafts, and fine architraves, and the gables enriched with much 
 small work of circles and arches, and a profusion of the toothed 
 ornament over the whole. 
 
 [The west_ front of Wells Cathedral is one of the richest ex- 
 amples of this style in existence, being covered with a profusion 
 of sculpture from the basement to the coping. Although on a 
 small scale compared to some of the large foreign cathedrals, 
 such as Amiens, &c., it affords an excellent example of the Eng- 
 lish style as contrasted with that of all foreign countries ; in 
 place of the largo and rich French doorways or porches, with 
 comparatively plain work above, we have here miimportant 
 doorways, with the ornament carried regularly over the whole 
 front. The west front of Salisbury was nearly equally rich, but 
 the sculpture has been destroyed, as is unfortunately the case in 
 most English churches. 
 
 Many small parish churches of this stjde have east or 
 west fronts deserving attention : in the east front there is most 
 frequently a triplet of lancet lights ; and the same arrangement 
 is usual in the fronts of the north and south transepts, and at 
 the west end also when there is no tower. Sometimes the 
 lancets are small, and have a small window over them in the 
 gable, as at Strixton, Northamptonshire (p. 221), which is a valu- 
 able specimen of plain Early English work throughout. In later 
 examples, the window is usually of three or more lights, sepa- 
 rated only by mxdlions, with circles in the head, either with 
 or without foliation, as at Raunds, Northamptonshire, and 
 
EARLY ENGLISH FRONTS. 
 
 223 
 
 Acton Burnel, Shropshire. The Tvest front of Nun-Monkton 
 Church, Yorkshire P, affords a very singular example of the 
 combination of a small tower with the west gable, over a fine 
 triple lancet window, and a rich doorway or shallow porch of 
 transition character. New Shorehara Church, Sussex, has a fine 
 east front of good design, very early in this style; the west 
 front of St. Edmund's Chapel, Gateshead, Durham, is another 
 fine example.] 
 
 P See an engraving of this front, with details, in the Archaeological Jour- 
 nal, vol. iv. 
 
224) THE EARLY ENGLISH STYLE. 
 
 Early English Porches. 
 
 Of tliese, which are in general larger than the Norman 
 porches, it will be sufficient to mention two ; one the north 
 porch of Salisbury Cathedral, and the other the south porch at 
 Lincoln. The first is attached to the north side of the nave, 
 of which it occupies one division, rising as high as the aisles. 
 It consists of a noble plain arched entrance, over which are two 
 double windows, close together, resting on a tablet ; and quite 
 in the peak of the gable, two small niches close together resting 
 on another string. The interior is groined in two di\dsions, 
 and its walls ornamented with sunk panelling. The porch at 
 Lincoln is placed in a singular situation, running westerly 
 from the west side of the south transept. The lower part is 
 a rich piece of groined work, with three entrances — north, 
 south, and west, over which is a small room ; the whole of 
 this porch, both interior and exterior, is well worked, and 
 richly ornamented. 
 
 [There are also fine Early English porches at Barnack, 
 Northamptonshire, and Skelton, Yorkshire '^, and at Woodford, 
 Northamptonshire, (see p. 225,) both the outer and inner door- 
 ways of which are richly moulded, and have numerous banded 
 shafts in the jambs ; the outer arch is rather acutely pointed, 
 the inner one is of the rounded trefoil form. The shallow 
 west porch of Higham Ferrars Church, Northamptonshire, (see 
 Plate,) is also deserving of especial mention from its extreme 
 richness, the whole surface of the wall being covered with 
 sculpture and diaper-work, except where the crucifix has been 
 removed. The west porch of St. Alban's Abbey Church is an- 
 other very fine example, though the outer arch is Decorated ; but 
 perhaps the most gorgeous porch of this style in existence is 
 the galilee at the west end of Ely Cathedral : this magnificent 
 specimen of the Early English style must be seen to be duly 
 appreciated ; it combines the most elegant general forms with 
 the richest detail. A very happy effect is produced by the double 
 
 •* See Glossary, PI. 162. 
 
-^^^^ 
 
 
 T.3EE WIESTEmiT ®®ffi3R^^^_ME©isL&sa ffHffiffilEIRS CMJSMCM 
 
EARLY ENGLISH PORCHES. 
 
 225 
 
 arcade on each side, one in front of the other, with detached 
 shafts, not opposite but alternate,] 
 
 South. Porcii axid Door, Woodford, Northamptonshire, c. 1220. 
 
 Early English staircases (except round ones in towers) are 
 not common; it is proper therefore to remark a small one, of 
 rich character, at Beverley Minster : it leads from the north 
 aisle of the choir to some adjacent building, and consists of 
 a series of arches rising each higher than the former, with 
 elegant shafts and mouldings. (See Plate.) There is another in 
 the E-efectory (now a grammar-school) at Chester, leading up to 
 a large niche or sort of pulpit for the reader. 
 
 [This kind of staircase, let into the thickness of the wall, and 
 leading up to a rostrum or reading-pulpit on one side of the 
 refectory, is a feature generally fomid in the remains of monas- 
 teries of this period. The well-known beautiful example at 
 BeauUeu, Hampshire, belongs to the transition from this style 
 
 G g 
 
EARL? ENGLISH fOKTd. 
 
 Twylord 
 
 Hexhara, Noiixiuuibeilaud. 
 
 St. George's. Canterbury. 
 
 Bar-cack. Ncrth-iraptonsliire. 
 
 WeUow, Someisci. 
 
EARLY ENGLISH FONTS. 227 
 
 to the next. Other examples occur at Walsino^hara Priory, 
 Norfolk ; St. IMary's Abbey, Shrewsbury ; Fountains and liic- 
 vaulx Abbeys, Yorkshire, &c. There is a very elegant stair- 
 case of this period in the refectory of St. Martin des Pres, in 
 Paris, (now a public librarj^,) perhaps one of the lightest build- 
 ings ever executed in stone.] 
 
 There appear to be fewer Fonts of this style remaining than 
 of any other, at least of such as can be clearly marked as be- 
 longing to the style. [But there are many plain, square, and 
 circular fonts, of which it is difficult to say whether they belong 
 to the commencement of this or the end of the preceding stjde "■. 
 The richer fonts are usually ornamented with the characteristic 
 foliage in high relief, or with the tooth- ornament, and the stem 
 is frequently surrounded by detached shafts,] 
 
 The general appearance of an Early English building is mag- 
 nificent, and rich rather from the number of parts than from its 
 details. In those buildings where very long windows are used, 
 there is a grandeur arising from the height of the divisions ; in 
 smaller buildings there is much simplicity of appearance, and 
 there is a remarkable evenness in the value of the workmanship. 
 There is much of the other styles which appears evidently to be 
 the copy by an inferior hand of better workmanship elsewhere ; 
 this is remarkably the case in Perpendicular work, but is hardly 
 anywhere to be found in Early English work : all appears well 
 designed and carefully executed. 
 
 Of this style we have the great advantage of one building 
 remaining, worked in its best manner, of great size and in 
 excellent preservation ; this is Salisbury Cathedral, and it gives 
 a very high idea of the great improvement of this st3'le on the 
 Norman. Magnificent without rudeness, and rich, though simple, 
 it is one uniform whole. The west front is ornamented, but by 
 no means loaded, and the appearance of the north side is per- 
 haps equal to the side of any cathedral in England, (See Plate 
 
 ' [Mr. Twopeny's Preface to Simp- of which may always be depended on. 
 son's Series of Ancient Baptismal It contains a list of sixty-five Early 
 Fonts, a valuable work, the accuracy English Fonts.] 
 
228 THE EARLY ENGLISH STYLE. 
 
 of one Compartment, exterior and interior.) The west front of 
 Lincoln is fine, but the old Norman space is too visible not to 
 break it into parts. Peterborough and Ely have perhaps the 
 most ornamented fronts of this style. As interiors, after Salis- 
 bury, the transepts of York are perhaps the best specimens, 
 though there are parts of many other buildings deserving much 
 attention. 
 
 In the interior arrangement of large buildings we find the 
 triforium a very prominent feature ; it is large in proportion to 
 the work above and below it, and is generally the most orna- 
 mented part of the work. In small churches the triforium is 
 generally omitted. Among the greatest beauties of this style 
 are some of the chapter-houses, of which Lincoln and Lichfield, 
 both decagons, but of very different arrangement, and those of 
 Chester and Oxford, both parallelograms, deserve particular 
 attention ; but that of Salisbury, a regular octagon, and of 
 a character quite late in the style, is one of the most beautiful 
 buildings remaining. Its composition is peculiarly elegant, and 
 its execution not excelled by any. 
 
 Not much has been done in either restoring or imitating 
 this 8t3de ^ ; it is certainly not easy to do either well, but it 
 deserves attention, as in many places it would be peculiarly 
 appropriate, and perhaps is better fitted than any for small 
 country churches. It may be worked almost entirely plain, 
 yet if ornament is used, it should be well executed ; for the 
 ornaments of this style are in general as well executed as any 
 of later date, and the toothed ornament and hollow bands equal, 
 in difiiculty of execution, the most elaborate Perpendicular 
 ornaments. 
 
 In this style ought to be noticed those beautiful 'monuments 
 of conjugal affection, the crosses of Queen Eleanor. Of these, 
 three remain sufficiently perfect to be restored, if required, and 
 to do which little would be wanted to two of them. One at 
 Geddington, in Northamptonshire, is comparatively plain, but 
 
 " [Since this was written many at- this style, but very few have been at all 
 tempts have been made at imitating successful.] 
 
t^OTEJEKE CIR.OSS-HffiKiriHL&Mff'ECSiHSffilElEEi 
 
TRANSITION FROM EARLY ENGLISH TO DECORATED. 229 
 
 those of Northampton and Waltham are peculiarly rich, and of 
 elegant composition ; there is enough of Early English cha- 
 racter in them to mark their date, and enough of Decorated 
 richness to entitle them to be ranked as buildings of that style ; 
 that of Northampton is the most perfect (see Plate), but that at 
 Waltham is, on the whole, the most beautiful in its details. 
 
 If the transition from Norman to Early English was gradual, 
 much more so was that from Early English to Decorated ; and 
 we have several curious examples of this transition on a large 
 scale. Westminster Abbey, though carried on for a long time *, 
 
 Compartment of the Cloisters, Westminster, c. 1260. 
 
 appears to have been carefully continued on the original design ; 
 and except a very few parts, some of which are quite modern, 
 may be considered good Early English throughout ; but in the 
 cloisters there is much gradation. 
 
 Ely Cathedral presents Early English of several dates, from 
 
 ' [The nave was not built until the 
 fifteenth century, and although the 
 general appearance of the Early Eng- 
 
 lish style is very well preserved, the 
 mouldings are Perpendicular.] 
 
230 THE TRANSITION FROM THE EARLY ENGLISH 
 
 just clear of Norman to almost Decorated character. The nave 
 of Lichfield, though clearly Early English in composition, has 
 the windows of tlie aisles as clearly Decorated. Perhaps the 
 finest piece of accommodation between the styles is the Lady- 
 chapel at Lincoln, which is evidently Decorated, but executed 
 so as beautifully to harmonize with the work about it **. 
 
 [There is a large class of windows of which the style is much 
 disputed : they consist of two, three, or more lights, with mul- 
 lions, and with circles in the head, sometimes plain, in other 
 instances cuspated ; they are often clearly Early English in 
 date, having precisely the same mouldings as the lancet-shaped 
 windows in the same church, but the construction does not 
 agree with the strict definition of the Early English style ; 
 each light does not form a separate window, and the use of 
 mullious as well as foliation belongs rather to the Decorated 
 style. Perhaps they are best classed as transitional specimens, 
 belonging to the earlier style in actual date, but to the later 
 one in the principle of construction. 
 
 The cusps in these early examples are formed in a difierent 
 manner from those of later periods ; they 
 are not generally cut out of the same 
 stone, but are let into the tracery in sepa- 
 rate small pieces, and the}^ spring from 
 the flat soffit, not from the outer mould- 
 ings. This will be better understood by 
 the annexed example from Haunds Church, 
 Northamptonshire. Such cusps have often 
 been cut out by the glaziers to save trou- 
 ble in fixing the glass ; this may have 
 been the case in the head of the window at Acton Burnell, 
 p. 223 : but in the earlier examples the circles were not 
 cuspated. 
 
 Another class of windows, which may also be considered as 
 transitional specimens, consist of three or five lancet-shaped 
 lights, divided by actual mullions, not by mere strips of wall, 
 as in the earlier examples ; and with the spandrels in the head 
 pierced, instead of being left solid ; and the whole comprised 
 under one common arch, not merely surmounted by a dripstone. 
 A comparison of the window at Oundlc, engraved on page 189, 
 with that at Irthlingborough, page 231, will clearly explain 
 this distinction.] 
 
 " Its date corresponds to the period and forms the present east end of the 
 of tr;»nsition between these two styles. cathedral. 
 It was built between 1256 and 1280, 
 
TO THE DECORATED STYLE. 
 
 231 
 
 East WLudo'.v. Haunds, JNoitbLixnpiousiiu^, c. iJ7v;. 
 
 ActOQ Baruell. Sb.iopsJtm 
 
 Irthlingborough NoitLamptoushire, c. 1270. 
 
232 
 
 THE EARLY ENGLISH STYLE. 
 
 EICHARD I., A.D. 1189—1199. 
 
 [a.d. 1190—1199. Chichester Cathedral, eastern part. The 
 church was much injured by a fire in 1186, and restored by 
 Bishop SefFrid the Second. Tlie lady-chapel and the vaulting 
 of the choir, with the vaulting shafts, are of this period". 
 (For engravings see AVillis's "Architectural History of Chiches- 
 ter," 4to., 1861.) 
 
 A.D. 1190 — 1200. Lincoln Cathedral. Choir and north 
 transept, and part of the south, built by St. Hugh, Bishop 
 of Lincoln. 
 
 " His church of Lincoln he caused to be 
 new built from the foundiition ; a great and 
 memorable worke, and not possible to be 
 perfonued hy him without infinite lielpe. 
 . . . He died at London on November 17th, 
 in the year 1200. . . . His bodj' was pre- 
 sently conveyed to Lincolne . . . and biu'ied 
 in the body of the east part of the church, 
 above the high aulterJ." 
 
 It is therefore plain that this por- 
 tion of the building was completed, and 
 a careful examination enables us to dis- 
 tinguish clearly the Avork completed in 
 the time of Bishop Hugh, which com- 
 prises the choir with the eastern side 
 and north end of the transepts. The 
 central tower fell down in 1240, and 
 was restored in the same style with so 
 much care that the junctions of the 
 work can only be seen by careful ex- 
 amination. The nave is a subsequent 
 work continued in the same style, and 
 the presbytery eastward of the choir is 
 still later, and in a later style, (see 
 A.D. 1260—1280). This agrees with 
 the recorded history of the building, 
 and therefore leaves no doubt of the 
 genuineness of the work ascribed to St. Hugh. Nothing can 
 well exceed the freedom, delicacy, and beauty of this work ; 
 indeed, there is an exuberance of fancy which leads us almost 
 to think that the workmen ran wild with delight, and 
 it became necessary to sober them down and chasten the 
 
 Lmcoln Cathedral, a.d. 1190 — 1200 
 Pillar of Choir. 
 
 * Mon. Aug., vi. 1162; Godwin, p. 
 385; Willis's Architectural History of 
 Chichester Cathedral, 4to., 1861. 
 
 y Godwiu's Catalofruc of the Bishops, 
 4to., Load. 1601, p. 237. 
 
RICHARD I., A.D. I189 — 1199. 233 
 
 character of the work afterwards : for instance, in the double 
 arcade which covers the lower part of the walls there is a waste 
 of labour, which is avoided in the subsequent work of the nave, 
 without material injurj' to the effect. In the early work there 
 is not only a double arcade, one in front of the other, but in 
 some parts there are actually three shafts in a line, one in front 
 of the other, so as only to be seen sideways and with difficulty : 
 this arises from the vaulting-shafts being brought in front of 
 the double arcade, when the new vault was built after the fall 
 of the tower. The foliage of the capitals is exquisitely beautiful, 
 (see p. 202,) and though distinguished technically by the name 
 of stiff-leaf foliage, because there are stiff stalks to the leaves 
 rising from the ring of the capital, the leaves themselves curl 
 over in the most graceful manner, with a freedom and elegance 
 rot exceeded at any subsequent period. The mouldings are also 
 as bold and as deep as possible, and there is scarcely a vestige 
 of Norman character remaining in any part of the work. The 
 crockets arranged vertically one over the other behind the de- 
 tached marble shafts of the pillars, are a remarkable and an 
 uncommon feature, which seems to have been in use for a very 
 few years : it occurs also in the west front of Wells Cathedral, 
 the work of Bishop Joceline, a few years after this at Lincoln. 
 
 St. Hugh has long had the reputation of having been a great 
 builder of churches, and it is recorded that he assisted in the 
 work of his cathedral with his own hands, probably in order 
 to excite the enthusiasm of the people ; but it appears that he 
 was not the architect of his cathedral. The name of the archi- 
 tect, " constructor ecclesia?," was Geoffrey de Noyers \ 
 
 The large circular windows of plate tracery at the end of 
 the north transept is believed to be quite unique in England, 
 whereas windows of a similar character are common in France 
 in work of the early part of the thirteenth century. This 
 seems to give countenance to the theorj'- of Professor "Willis, 
 that the architect was a Frenchman, and his name also adds 
 to the probability of this, although that cannot be considered 
 as decisive, as he may have belonged to a French family settled 
 in England. On the other hand, M. Yiollet-le-Duc, a very high 
 authority on such a question, says that the work at Ijincoln is 
 purely English, that there is nothing French about it, and he 
 does not believe that the architect was a Frenchman ; but 
 he also disbelieves the early date assigned to this work, which 
 he thinks cannot be before 1220. The evidence that St. Hugh 
 did build a choir here is too strong to be contraverted, it rests 
 
 ' See the Metrical Life of St. Hugh, and Gcntlem.iu's Mngazine, vol. ccix. 
 (Nov. 1860), p. 459. 
 
 Hh 
 
234 
 
 THE EARLY ENGLISH STYLE. 
 
 on the recorded testimony of eye-witnesses, and his own testa- 
 mentary directions 7espeetinff his hnrial in it. That this choir 
 
 T"^.r;»fr|iiiiriiiiiiiiiiiiiriiiiT 
 
 Circular \Vmdo-.T, -Liticolu Cathedral, c. i 
 
 was not entirely destroyed and rebuilt twenty years after his 
 death, appears also to be proved by the repairs and the new 
 vault of the choir. It is singular that the highest living 
 English authority should consider this work as French, and the 
 highest living French authority should consider it as English. 
 
 A.n. 1192. Clee Church, Lincolnshire, was consecrated by 
 St. Hugh, as recorded in the following inscription : — 
 
 iiecem ^cdjcata ^rr mi)omj{.^ 
 
 >ln.ii0^jc/lfiNAcroN"eDJMr (PCKCii 
 TepOl\£RrC/lRD; RcGIS 
 
RICHARD I., A.D. 1189 — 11 99. 235 
 
 This inscription is inserted in one of the western pillars of 
 the nave, which is early Norman, and this was long considered 
 as evidence of the late continuance of the Norman style. But 
 the small square stone on which the inscription is cut has 
 evidently been inserted in an earlier pillar, and the part of the 
 church rebuilt at that time was the chancel and transepts, 
 which are of transitional character, closely approaching to 
 Early English, and resembling St. Hugh's work at Lincoln. 
 
 A.D. 1192 — 1200. St. Giles's Church, Oxford, was also conse- 
 crated by St. Hugh, and a considerable part of the church is 
 probably of that period. — The chapter-house of Oxford Cathe- 
 dral is a parallelogram divided into two parts by a wall of the 
 time of the Commonwealth. It is pure Early English work, 
 with lancet windows and detached shafts very similar to the 
 north aisle of St. Giles's, and is very probably of the time 
 of St. Hugh. (For engravings see Ingram's " Memorials of 
 Oxford.") 
 
 A.D. 1195 — 120-4. Winchester Cathedral. The presbytery 
 and Lady-chapel, built by Bishop Godfrey de Lucy. The style 
 is pure Early English. (For engravings see Britton, &c., and 
 a doorway from it, p. 185.) 
 
 A.D. 1195 — 1214. St. Alban's Abbey. Western arches of the 
 nave and part of the west porch, built by xVbbot John de Celles. 
 The style is pure Early English. (For engravings see Buckler's 
 " Historv of St. Alban's.") 
 
 A.D. 1198—1215. Ely Cathedral. The galilee, or large 
 western porch, built by Bishop Eustace^. The style is pure 
 Early English, with lancet-shaped and trefoil-headed windows. 
 (For engravings see Bentham, &c.) 
 
 FoBEiGN Examples. 
 
 A.D. 1190 — 1195. The choir of the abbey church of Vezelay, in 
 Burgundy, rebuilt. The style is advanced transition. (See a.d. 109G.) 
 
 A.D. 1190 — 1198. The choir and apsidal chajjels and the two 
 western bays of the nave of the church of St. Remi, at Rheims, 
 rebuilt by Abbot Simon, who died in 1198, and was buried in the 
 nave, the appearance of which was made to harmonize with the 
 choir by an entire change of the ornamentation, although the walls 
 and arches of the chmch of the eleventh century were preserved. (See 
 A.D. 1160, p. 179.) 
 
 A.D. 1190 — 1210. The cloisters of St. Paul's-without-the-Walls, at 
 Rome, built at this time, as recorded by an inscription on the cornice. 
 The style is the Italian Romanesque, with round-headed arches; it 
 is richly ornamented with mosaics of Roman pattern ^. 
 
 * Anglia Sacra, tom. i. p. 634. 
 
 '' D'Agincourt, Histoire de V Art par lea Mormmens, vol. i. plates 22, 23. 
 
236 
 
 THE EARLY ENGLISH STYLE. 
 
 A.D. 1194. The cathedral of Chartres destroyed by fire. The only 
 parts of the buildings which existed before the great fire are the crypts, 
 of the eleventh and twelfth centuries, and the western doorways with 
 the lower part of the towers ; these are of the latter half of the twelfth, 
 probably built during the episcopate of John of Salisbury, 1168 — 1182, 
 or his successor, Peter I., 1182 — 1187. The fire is recorded by four 
 diflPerent contemporary writers — Rigord, William of Brittany, William 
 of ^Newbridge, liobert d'Auxerre. The damage done by the fire is 
 thus described in an ancient poem in the Romance language, written 
 in 1262: — 
 
 " A Cluu'tres fuest en la cite, 
 Uu feu qui ne fu pas a gens, 
 Car trop fu grand et doinniagens. 
 La villc ardi don feu esprise 
 Dout arse fu toute I'eglise, 
 Dout il fu mervelleus donuuage 
 Ni remet vostc u' autre estagc, 
 Tres et soulires coufoncU ; 
 L'ardeur du feu le plon foudi ; 
 Trebucliiereut murs et metieres ; 
 Brisereut cloches et verrieres : 
 Tretout torua a descepliue 
 Ou par arson ou par ruine 
 Moult fu graud douleur don veoir 
 Telle eghse ardoir et cheoir. 
 
 Or conviut quel fust ameudee 
 On falloit moult grand consterneut 
 Quil couvint dusque au foudemeut 
 
 Tretout abattrc ct depicier 
 Et ane noveille drecicr 
 Et I'eghse faire uouvclle. 
 
 Mes quant les mens et las metieres 
 
 Et la pie qui le susteuait 
 
 Eurent cheu, il couvenoit 
 
 Quelle ne fust ])as rcpareillce 
 
 Mes tout de nef ecUfiee, 
 ***** 
 
 Mestre Jehan le marcheant 
 
 Ceste oeuvre a jusqua chief cerchice 
 MU deux cent Ixij aus 
 
 Ou sexaute deux en Septembri 
 ***** 
 
 Eut cette besogne achevee." 
 
 A.D. 1195 . Laon Cathedral is a very fine example of transi- 
 tion, and the Early French style. The earliest parts are the five western 
 bays of the choir, and the north transept ; these are of a transitional 
 character, but lighter and more advanced than the choir of Notre 
 Dame at Paris. At the end of this transept is a large rose window of 
 plate-tracei-y, very similar to the one in the same position at Lincoln. 
 In the cloisters there are also round windows of plate- tracery, even 
 more like to the one at Lincoln, but the details ai'e not quite the same. 
 The five eastern bays of the choir are evidently an addition, and quite 
 of the Early Erench style. The east end is square, after the English 
 fashion, with a triple lancet window and a large rose over it, and over 
 this a small arcade of open-work, and two corner tuiTcts of open-work 
 also : the style of this part is that of the middle of the thirteenth 
 century, with rich carving. The nave is also of the thirteenth : 
 chapels and flying buttresses have been added in the fourteenth. 
 The original plan was to have had six corner towers of open-work, 
 and a central lantern ; if it had been completed it Avould have been 
 one of the finest churches ever built. The situation, on the summit 
 of an isolated hill, also increases the grand eft'ect of this magnificent 
 structure. The exact date of the difterent parts of this very fine 
 church have not been ascertained. A previous church was destroyed 
 
RICHARD I., A.D. 1189 — H99. 
 
 237 
 
 by fire in 1112, during a tumult in which the bishop was killed : this 
 Eishop "Walter was an Englishman, and had been Keeper of the Privy- 
 Seal {Referendarius) to King Henry I. The next bishop, Bartho- 
 lomew de Yire, rebuilt (?) or repaired (?) the cathedral in two years, 
 and dedicated it afresh in 1114. The present magnificent church has 
 been said to be the church then built in two years ! This is absurd ; 
 to say nothing of the style, the mere size of the building makes it 
 almost impossible: but as this bishop lived until 1150, and is recorded 
 on his tombstone to have founded the church, it is probable that he 
 first built a chapel for the daily service, — perhaps the one in the 
 bishop's palace, which is also mentioned on his tombstone, and 
 the style of this chapel agrees with his time, — and then began the 
 present grand cathedral, which must have been carried on for many 
 years. Walter de Mortaigne II., who was b shop from 1155 to 1174, 
 is recorded in the Chronicle of Laon to have distinguished himself 
 by much building'^. Bishop Anselm, 1223 — 1248, is also mentioned 
 as a builder, and some of the later parts are probably his work. 
 
 A.D. 1196 — 7. The Chateau-Gaillard, on the Seine above Eouen, 
 was built by Richard Cceur-de-Lion in one year, a whole army being 
 employed upon it, and was justly considered one of the wonders of the 
 age. Richard is said to have been his o-mi architect, or engineer, 
 and to have profited largely by his experience in Palestine. It was 
 the most perfect castle which had then been built in Europe. The 
 ruins of it are very fine, the masonry is admirable, and so far as it has 
 any architectural character it is Early Gothic and not NoiTQan'*. 
 
 •= Gallia Christiana, torn. ii. p. 622. 
 M. Viollet-le-Duc considers that the 
 plan of the present cathedral is en- 
 tirely of one design, and that the foun- 
 dations of this building were not laid 
 until alter the peace in 1191. {Diction- 
 naire de V Architecture, vol. ii. p. 305.) 
 The square east end, which is so un- 
 usual in France, he says might be at- 
 tributed to the intercourse of the bishops 
 with England, but that the custom of 
 building square east ends did not be- 
 gin in England until after that time. 
 This is surely an oversight of this ex- 
 cellent author. It is difficult to find 
 any other than a square east end in 
 any church in England after the middle 
 of the twelfth century. 
 
 ** " One year had sufficed for Richard 
 to finish all these enormous works and 
 the whole system of defences which was 
 attached to them. ' Is she not fair, my 
 daughter of a year ?' exclaimed the 
 monarch, when he beheld his great 
 undertaking finished. At the close of 
 the twelfth century the Norman fortifi- 
 cations had nothing in common with 
 
 the forms adopted in the construction 
 of the Chateau-Gaillard ; we may thei'e- 
 fore safely conclude that Richard was 
 alone the author of them, and that he 
 had himself planned and marked out 
 certain arrangements of defence which 
 denote a profound experience in the 
 military art. Had Richard brought 
 back from the East acquirements so far 
 in advance of his age ? It is hard to 
 s;iy. Were they the last remains of 
 Roman tradition ? Or rather, had this 
 prince, as the result of practical observa- 
 tion, found in his own genius the ideas 
 of which he then made so remarkable 
 an application ? .... In all these works 
 no sculpture is to be seen, or mouldings 
 of any kind; everything has been sacri- 
 ficed to the defence: the niiisonry is 
 good, and composed of a rubble of silex 
 bedded in excellent mortar and revetted 
 (or faced) with carefully executed face- 
 work in small courses, here and there 
 having alternate courses of red and 
 white stone." — Viollet-le-Duc, Military 
 Architecture of the Middle Ages, 8vo 
 1860, pp. 87— yO. 
 
23S THE EARLY ENGLISH STYLE. 
 
 JOHN, A.D. 1199—1216. 
 
 Befoke the time of John the Early English stj'le had been 
 fully established, and the buildings of this reign belong entirely 
 to the earlier division of that style, with lancet windows, and 
 shafts often detached and banded. It is remarkable that popular 
 tradition assigns more of our older castles and domestic build- 
 ings to King John than to any other monarch. It is difficult 
 to account for this tradition, for we have very few buildings 
 recorded as being erected in this reign, and the number of 
 monastic foundations is very small. There is, however, no 
 doubt that many buildings commenced in the latter half of the 
 twelfth century were carrying on during this reign. Numerous 
 castles are attributed to this period, but we have very little real 
 historical evidence relating to them. St. Briavel's Castle, Mon- 
 mouthshire, is one of those said to have been rebuilt in this 
 reign, and is pure Early English in style : it was the residence 
 of one of the lords marchers of the AVelsh borders, and partakes 
 as much of the domestic as of the military character, having 
 fireplaces and chimneys to almost every room : the gatehouse 
 is the only part perfect, the rest is in ruins. 
 
 A.D. 1200 . The Augustinian Priory of Haverfordwest, 
 
 Pembrokeshire, founded. The church is a large and fine one ; 
 the chancel and other original parts are pure and good Early 
 English, probably built, as usual, within twenty years after the 
 foundation. The nave has been much altered, and has a clear- 
 story and roof of Perpendicular work. 
 
 A.D. 1202. The tomb of Abbot Alan in Tewkesbury Abbey 
 Church is a fine example of Early English work with trefoil 
 arches ^. 
 
 A.D. 1203 — 1218. The choir of the cathedral of "Worcester, 
 which had been burnt down in 1202, was rebuilt at this period. 
 The dedication took place on June 7, 1218, in the presence of 
 the young king, Henry III., five bishops, and many abbots 
 and barons ^. The style is pure Early English, very light and 
 elegant ; the windows have been originally triple lancets with 
 detached banded shafts, but the exterior has been cased in the 
 fifteenth century, and the windows filled up with Perpendicular 
 tracery. 
 
 A.D. 1204 . The abbey of BeauHeu, in Hampshire, 
 
 e ilfon. ^»^., vol. ii. p. 54. Sacra, torn. i. p. 484; Mon. Ang., 
 
 ' Cltronicon Fetriburgensi ; Anglia vol. i. p. 578. 
 
JOHN, AD. 1199 — 12l6. 239 
 
 founded by King John ^. The church has been destroyed, and 
 the refectory turned into a parish church : this contains the 
 celebrated pul^iit of ver}^ elegant Early English work corbelled 
 out from the wall, with a staircase and passage to it in the 
 thickness of the Avail, as usual in monastic refectories of this 
 period : the windows are simple lancets ; but the date of tin's 
 refectory is probably fifty years later than the foundation. 
 (For engravings see Weale's " Quarterly Papers/' vol. ii., 4to., 
 London, 1844.) 
 
 A.D. 1205 — 1246. Fountains Abbey, Yorkshire. The choir 
 of the church rebuilt. Abbot John of York laid the foundations 
 and began the fabric, raising some of the pillars of it. John 
 Pheed, the next abbot, carried on the work ; and John of Kent, 
 his successor, finished the structure. The style is pure and fine 
 Early English ^. (For engravings see the " Yorkshire Abbeys.") 
 
 A.D. 1213 . Dunstable Priory Church, Bedfordshire, 
 
 consecrated by Hugh II., Bishop of Lincoln ^ All that now 
 remains of this church is the nave with its aisles, and west 
 front ; these are chiefly Norman, but a part of the west front is 
 Early English and very fine ; one of the doorwa3'S is remarkably 
 rich, equal to anything that we have in this style ; an enriched 
 tooth-ornament is particularly worthy of notice. 
 
 A.D. 1215. Hales Owen Abbey, Shropshire, founded by King 
 John ^. There are considerable remains of the chapter-house 
 and other buildings, of fine Early English character, with lancet 
 windows, &c. 
 
 Foreign Examples. 
 French. 
 
 A.D. 1200 ?— 1212. The refectory of the abbey of St. Michael-on-the- 
 Mount, in Normandy, built by Abbot Jourdain, who died in this j'car, 
 having completed the refectory, with the dormitory over it, and the 
 cells under it. The other buildings of the abbey were carried on and 
 completed by his successor. On the top of the building is a cloister, 
 the details of which are remarkably like English work. On the wall of 
 this cloister is an inscription of the period recording the date, a.d. 1228. 
 The monastery was burnt by the Bretons during the war between John 
 as Duke of Normandy, and Philip Augustus of France, and restored 
 under the Abbot, largely assisted by the French King ^ 
 
 A.D. 1202 . The abbey of Beauport, in Brittany, was founded"*. 
 
 K Chron. Fetrihurg., and Mon. Ang., For an excellent set of lithographic 
 
 vol V. p. 680. plates of this very remarkable series of 
 
 '' 3Ion Ang., vol. v. p. 286. buildings, see Hi^toire de Mont Saint- 
 
 ' Annal. de Dunstapl. ; Mon. Ang., Michel, par M. Le Hericher, dessins de 
 
 vol. vi. p. 241. M. G. Boaet, publiee par Ch. Bourdon, 
 
 •' Mon. Ang., vol. vi. p. 926. folio, Caen, 1848. 
 
 ' Qall'ui Christiana, torn, i v. p. 642. "' Oallia Christiana, torn. iv. p. 158. 
 
210 THE EARLY ENGLISH STYLE. 
 
 There are considcralile remains of the churdi and of the other build- 
 ings of tliis abbey, forming a fine and extensive ruin. The earlier 
 parts are quite of transitional character; these include a portion of the 
 cboir witli round arelies, and of the west end with a round-headed 
 doorway, and a window of four lights with plain circular openings in 
 the head of jdate tracer^-; the rest of the church is later, and more de- 
 cided Early French work, and the otlicr buildings, which arc of con- 
 siderable interest, including the cloi-ter and the chapter-house, arc 
 chiefly Early French, and early in the style. 
 
 A.D. 1206—1231. The chapel of the Hotel Dieu, at Bayeux, Nor- 
 mandy, built by Robert d'Ableches, IJishop of Bayeux. It is a very 
 elegant specimen of the Early French style, with lancet windows and 
 groined vault ; the plan is a simple oblong, but the east end is made 
 to have the appearance of an apse inside by the aiTangemcnt of the 
 vaults. 
 
 A.D. 1207 — 1234. The cathedral of Rouen, N'ormandy, rebuilt from 
 the design and under the direction of Ingelram, who also built the 
 abbey church of Bee. The previous cathedral, consecrated in 1062, 
 was so ranch damaged by a great fire in 1200 that it was necessary to 
 rebuild the greater part of it. The lower part of the west front and 
 of tlie north-western tower of St. Remain, with the two side doors, be- 
 long to the old church. In 1207 a Papal rescript was addressed to 
 Archbishop Walter (of Coutances), ordering this church to be rebuilt 
 on pain of ecclesiastical censures. The new church was consecrated 
 by Archbishop Maurice, who died in 1234, and was buried in it". 
 Part of the choir and the north transept belong to this period, and 
 the style of these parts is pure and fine Early French. 
 
 A.D. 1208. Notre Dame, P;iris. Odo, Mho died in this year, was 
 buried in the middle of the choir, the usual place for the founder : he 
 was the first bishop who Avas buried in the church, and this shews 
 that the choir was built in his time". (See a.d. 1257.) 
 
 A.D. 1210?— 1226. The church of Eu, Normandy, rebiiilt. Lau- 
 rence, Archbishop of Dublin, died in the monastery at Eu in 1181, 
 and being considered a saint, his body was taken up in 1186, and 
 found uncorrupted. In the same year the rebuilding of the church 
 was commenced, and his body was finally translated to the new 
 building in 1226 p. It is a very fine church of the earliest Gothic 
 style, with considerable remains of Norman work, but lofty and 
 elegant, with some peculiar features in the design''. 
 
 " Gallia Christiana, torn. i. p. 586. was prol)ably copied from that : it occurs. 
 
 For an e.\ci-lleiit plan of this cathudral, also in England in Kochestcr Cathedral, 
 
 see Yiollct-le-Duc, 2>ic<., tome ii. p. 362. where it is part of the original design 
 
 ■ ° Gallia Christiana, torn. i. p. 441. of the twelfth century, and in Waltham 
 
 P Gallia Christiana. Abbey Church, where the floor or vault 
 
 1 The most remarkable feature is the appears to have been cut away. In 
 
 omission of any vault to the aisle, or later churches the triforium gallery of 
 
 floor to tlie triformm, the aisle being the same width as the aisle is seldom 
 
 the height of these two stories of the used, the more lofty aisle having taken 
 
 building, but the triforium arcade is the ])lace of it ; but in Wells Cathedral 
 
 retained. This unusual arrangement and Westminster Abbey Church this 
 
 occurs also in Hoiien Cathedral, and Ku feature is retained. 
 
JOHN, A.D. 1199 — 12l6. 541 
 
 A.D. 1211 — 1241. The Cathedral of Rheims, rebuilt under the 
 direction of the celebrated architect, Robert de Coucj' ^. Engravings of 
 tliis cathedial are innumerable, but the most remarkable are those 
 made at the time it was building, by Wilars de Honccort, partly taken 
 from the designs of the architect, which were never carried out. The 
 work was suspended for some years for want of funds, and resumed 
 about 1240. The apsidal chapels, which were originally round, were 
 made polygonal after a certain height, when the work was resumed; 
 probably in order to have a flat surface for the windows, which have 
 bar-tracery, and belong to the later part of the work. 
 
 Italy. 
 
 1206. The church of St. Mary at Toscanella was conse- 
 
 crated in 1206, as recorded on a contemporary inscription still preserved 
 on part of the building : the arches are all semicircular, but the tooth- 
 ornament occurs ; the capitals are very similar to those at Canterbuiy 
 and Oakham, and all the details are of transitional character. (For 
 engravings see Gaily Knight's "Italy.") 
 
 Geemant. 
 
 Many churches in Germany are attributed to this period by the best 
 German antiquaries : they almost invariably retain the round arch, 
 but in other respects are quite of advanced transitional character, and 
 many of the details quite Gothic. Amongst these are — 
 
 The cathedral of Limburg, published by Moller and attributed by 
 him to this time. ^ 
 
 A.D. 1208. The church of St. Quirin, at Neuss. 
 
 A.D. 1210. The church of Sinzig, on the Rhine. 
 
 A.D. 1210 — 1233. The choir of the abbey church of Heisterbach, 
 on the Ahr. 
 
 A.D. 1212. The nave, central tower, and cupola of St. Gereon's, at 
 Cologne. 
 
 Engravings of these will be found in Boisseree's "Rhine Churches," 
 and the dates are those given by M. de Lassaulx after careful inves- 
 tigation ; his valuable Notes will be found translated at the end of 
 Dr. Whewell's work on the German Churches. 
 
 A.D. 1210 — 1220. The choir of the church of Gelnhausen, in the 
 electorate of Hesse-Cassel. 
 
 A.D. 1215. Church of St. Sebald, at Nuremburg. 
 
 A.D. 1215 — 1220. The porch and cloisters at Maulbrom, in the 
 kingdom of Wurtemburg. Engravings of these are given by Kallcn- 
 bach, with the dates, in his valuable work the Chronologie der Deutsch 
 Mittelalterlichen BauTcunst. They are all of transitional character. 
 
 ' Chronicon I^icaisianum, quoted by London, 1859, p. 218. For a plan and 
 Marlot, iTjiioiVe de ifeim*, 4to., Paris, engravingsof various details, see VioUet- 
 18i3. See Wilars de Honecort, 4to., le-Duc, Lict., tome ii. p. 316, &c. 
 
 I i 
 
243 THE EARLY ENGLISH STYLE. 
 
 HENRY III., A.D. 1216—1272. 
 
 During this long reign, of which the architectural remains 
 form the chief glory, great progress was made in the art of con- 
 struction, and towards the close of it the highest point of per- 
 fection to which it has ever attained was reached. Window 
 tracery, which is perhaps of all others the most distinguishing 
 feature of Gothic architecture, was worked out and brought to 
 perfection in this reign, and by this means the large windows 
 wliich are a blot and a deformity in all the Classical styles, (not 
 being suited to the climate of the countries in which those 
 styles were developed,) are made the most conspicuous and 
 ornamental features of the Gothic. At the beginning of this 
 reign the windows were still, in general, merely of the lancet 
 shape, and the only approach to tracery consisted of small 
 round or trefoil openings pierced through the flat plates of 
 stone which formed the head of a window of two or more 
 lights under one common arch or dripstone. These openings 
 had began to be used nearlj^ a century before, as in the tri- 
 forium of the choir of Peterborough in a.d. 1140, but the 
 efiect which they were ultimately to produce was not at all 
 foreseen, and they crept into more general use almost imper- 
 ceptibly both in England and France. The openings were 
 gradually enlarged and made more numerous, and the sub- 
 stance of the stone between them was more and more cut away, 
 until the result was a mere bar, often not thicker than a bar of 
 iron might have been ; and when these were fully developed, the 
 Decorated style came in, of which bar-tracery is the special 
 characteristic. This change took place quite at the close of 
 the reign of Henry III. : the earliest examples of bar- tracery 
 when it consists only of circles in the head, with or witliout 
 cusps, are considered as still belonging to the Early English 
 style, and the mouldings were not materially altered until 
 a further change of tracery had come in, which was not until 
 the time of Edward I. 
 
 A.D. 1220—1258. The most celebrated example of the Early 
 English style is Salisbury Cathedral, which is undoubtedly the 
 most complete and perfect in all its parts, and therefore the 
 finest as a whole ; although, if the diiFerent parts are taken 
 separately and compared with other examples, they are by 
 no means so fine. The west fronts of Peterborough and Wells, 
 the cast ends of Lincoln and Durham, the transepts of York 
 and Beverley, the porches of Ely and Lincoln, are all finer 
 
SALISBURY CATHEDRAL. 
 
 K.£L£Mr/OA/ or EXTEff/Off. 
 % Tke Jba>zeUea._Pa.>^a.jbec ^JVa.J/e. 
 h.TAe Corni.ce of diiio. 
 
 . SuiiT-e^s of Clear- siory. 
 dL..T7ie Zriforzu^n-. 
 
 e Clear-sZt»T/ Wzndoft^. 
 
 i.jRoefo/Msle. 
 
 IT Pcwajbet send Cornici of^isle 
 
 h . Aisle ^uit?^ssj: 
 
 1 , ffa.ll of Aitle. 
 
 K £a,sif7nen£ JkTouidin^j, or TaJ/lefJ: 
 
 -S,.S£CT/OA/ OF /A/TE/fJOfl. 
 
 a a,. SheU of Vhcult. 
 
 \i..3oss of VaieZi. 
 
 C . Cietzr- story Windayir. 
 
 d. Tfte T?'i/oriu.m, 
 
 e . Doerivaif. 
 i.Hoof ofMsle. 
 
 v. Sie/bj- froT'n, ^/v/^. 
 \i I^ierior of dziio. 
 \.£a~fe?n,eKi Jl'IouZcii/z.g's. 
 k ya.t<Zi ^ Aisle. 
 
4f. 
 
HENRY III., A.U, 1216 — 1272. 
 
 243 
 
 't^^^Wjn=^3^U^=^V^:^^^:^^=^yMJ^jPyW=''^J^:^ 
 
 than the corresponding parts of Salisbury ; but none of these 
 are complete examples of the style as a whole, and although 
 Salisbury is not on so grand a scale nor so rich as some of 
 them, the style is remarkably pure and unmixed with any 
 other, and it gives the best general idea of an English cathedral 
 of this period. It was commenced by Bishop Richard Poore in 
 1220, who finished the choir and was buried in it in 1237. 
 The work was completed by his successor, Bishop Giles de 
 Bridport, and consecrated in 1258. 
 
 A.D. 1222—1235. The King's Hall at Winchester rebuilt ^ 
 This hall remains 
 nearly perfect, and. 
 is still the King's 
 Hall of Justice, but 
 the interior is badly 
 disfigured by the ar- 
 rangements for the 
 modern Law Courts. 
 The outer walls are 
 entire, and. the style 
 is good and pure 
 Early English ; the 
 windows are of two 
 lights with a pierced 
 quatrefoil of plate- 
 tracery in the head, 
 and small sunk panels 
 of lancet shape be- 
 tween the windows 
 on the exterior ; the 
 buttresses die into 
 the wall under the 
 corbel-table. 
 
 A.D. 1223. St. 
 Mary's Church, Do- 
 Ter Castle. A mandate from the King in this year orders that 
 this church be repaired. The chancel is of this period, though 
 sadly mutilated \ 
 
 A.D. 1223 — 1239. Pershore Abbey, Worcestershire, was de- 
 stroyed by fire this year ". In the same year there are mandates 
 from the King for timber from the forests of Alweston, Fecham, 
 
 CasUe Kail, Wincliescer, «.d. 1223—1235. 
 
 » See the Ripe Rolls of the period, 
 and the extracts from thein given by 
 Mr. E. Smirke in the Proceedings of 
 the Archaeological Institute at Win- 
 
 chester in 1845. 
 
 ' Rot. Lit. Claus., p. 551. 
 
 " Worcester Annals ; Anjlia Sacra^ 
 torn. i. p. 486. 
 
244. 
 
 THE EART.Y ENGLISH STYLE. 
 
 and Kcnefare, towards the restoration of the cliurch ^, &c. The 
 church was dedicated in 1239 J". It was again nearl}^ destroyed 
 by fire in 1288^. The beautiful ruins contain portions of 
 both these periods. 
 
 A.D. 1224 . Nuttley, or Notley Abbey, Bucks. There is 
 
 a mandate from the King to allow timber to be carried through 
 Windsor forest for the fabric of tliis church ''. There are some 
 ruins of the church, with very beautiful and rich details, now 
 converted into a barn. (See a fine corbel-table Irom it, p. 214.) 
 
 A.D. 1224 — 1244. The cathedral of Elgin, Scotland, was 
 founded by Bishop Andrew de Moravia in 1224, and partly 
 ruined in 1244. The western doorway belongs to this period, 
 and is very fine rich Early English work. (For engravings, 
 see Billings' " Scotland.") 
 
 A.D. 1225—1239. Wells Cathedral, built by Bishop Joce- 
 line de Welles, who was buried in the choir in 1242. He also 
 built the Bishop's Palace adjoining, which is still the residence 
 
 i-v- 
 
 i'-°---^ 
 
 I utenor 
 Window. Bishop's Pa!ace, Wells, c. 1'23''>. 
 
 of the Bishop of Bath and Wells, and has remarkably beautiful 
 windows, and a substructure with groined stone vaults of this 
 
 * Hot. Lit. Clam., p. 554. 
 y An J. Sac , toin. i. p. 41)1. 
 
 ^ Ibid., p. 509. 
 
 * Rot. Lit. Claits., p. 595. 
 
HENRY III., A.D. 1216 — 1272. 245 
 
 period. The cathedral was consecrated in 1239 ^ and althou<?h 
 that ceremony usually took place as soon as the choir was ready 
 for divine service, it would seem in this instance that nearly the 
 whole of the cathedral Avas completed by that time. The whole 
 of the foundation must have been laid at once, for there is no 
 break or junction in the masonry throughout the nave and the 
 west front, up to the height of about ten or twelve feet from 
 the ground : above that level a change takes place, as if the work 
 had been suspended for a time, probably from lack of funds. 
 The evidence quoted by Godwin from a contemporary MS. is 
 remarkably distinct, and as Godwin was himself a prebendary 
 of Wells, he had every opportunity of verifying it : — 
 
 "Moreover in building he bestowed inestimable summes of money. 
 He built a stately chappell in his palace at Welles, and another at 
 Owky <^, as also many other edifices in the same houses : and lastly, the 
 church of Welles itselfe being now ready to fall to the ground, not- 
 withstanding the great cost bestowed upon it by Bishop Robert, he 
 pulled down the greater part of it, to witte, all the west ende, and 
 built it a-new from the very foundation, and hallowed or dedicated it 
 October 23rd, 1239. Having continued in this bishopricke 37 yeeres, 
 he died at last November 19, 1242, and was buried in the middle of 
 the quier that he had built, under a marble tombe, of late yeeres 
 monsterously defaced'*." 
 
 This leaves no doubt that the west front and the nave were 
 at least begun by him, but there are some appearances in the 
 building which seem to shew a change of plan during the pro- 
 gress of the work, as if it had been commenced on too ambitious 
 a scale, and the design afterwards reduced and modified ; the 
 nave is remarkably plain as compared with the very rich west 
 front, and at first sight looks earlier, but it must in fact have 
 been built a few years later, and not all at once, but at short 
 intervals ; there are changes in the work, but very slight. As 
 usual, it was begun at both ends, and the central bays are tlie 
 latest ; the junction and change in the work can be distinctly 
 seen in the triforium gallery on the south side, although in the 
 nave itself it is hardly perceptible. The east end of the choir 
 was rebuilt a few years afterwards in order to lengthen it and 
 add the beautiful Lady-chapel and chapter-house, and the work 
 was carried on till near the end of this century ^. 
 
 "" Nic. Trivet. Annal., Anglia Sacra, the work at Wells, 
 
 pars i. p. 564; Mon. Aug., vol. ii. p. "^ Godwin, p. 297. 
 
 277; Godwin's Catalogue of the Bi- <^ For engravings see Britton, &e., 
 
 shops, 4to., p. 296. and a fine set of lithographic drawings 
 
 f There are some fragments of tlie of the sculpture, with an explanation, 
 
 palace of Owky, or Wokey, still n-main- by Professor Cockerell, 4to., 1851. 
 iug, and these agree in character with 
 
246 THE EARLY ENGLISH STYLE. 
 
 A.D. 1225— 1239. Rochester Cathedral. " The choir from the 
 north and south wings" was rebuilt by William de IIoo, Sacrist, 
 afterwards Prior, " with the offerings made at St. William's 
 shrine K" The style of this part of the church is pure and 
 fine Early English ; the transepts and central tower are in 
 the same style, and the two eastern bays of the nave were 
 rebuilt along with the tower, and a large internal buttress is 
 built up at the north-west angle of the tower, of the old materials 
 of the Norman work, the ornamental surface of which is ex- 
 posed in some of the stones and not in others, as if this buttress 
 had been built very hastily, probably because the tower was in 
 danger of falling. It would seem from the entry in the 
 register that this part had been rebuilt before the choir ; in 
 either case it is a continuation of the same work, and there is 
 no difference of style. 
 
 A.D. 1227 — 1240. The south transept of York Cathedral, 
 built by Archbishop Walter Grey ^. The style is very fine 
 Early English, the windows lancet-shaped, the celebrated Five 
 Sisters, with their original glass, being at the end of it ; the 
 glass is of the colourless or grey kind called by the French 
 grisaille, which seems to have been commonly used at this period. 
 The mouldings of the windows and arches are very fine, and 
 the tooth-ornament is abundantly used. 
 
 A.D. 1228. The church of St. Mary-le-Wigford, at Lincoln, 
 was building at this time, as appears from the Liberate Roll of 
 the 11th Henry III. It is a good plain Early English parish 
 cliurch, and the east end in particidar is an excellent example 
 of a small east front of this style. 
 
 A.D. 1227 — 1232. Ilinton Charterhouse, Somersetshire, a Car- 
 thusian Priory founded by Ela Longespee, Countess of Salis- 
 bury '\ This is now in ruins, but the remains are considerable 
 and interesting. The chapel, of two stories, is perfect ; it is 
 unusually small, and more like a domestic chapel of the same 
 period than the chapel of a monastery. There are remains of 
 other buildings attached to it ; the style is pure Eaidy English. 
 The present Manor-house is built out of the ruins, which pro- 
 bably served as a quarry, and only so much was pulled down as 
 was required for the purpose. 
 
 A.D. 1232 — 1238. Lacock Abbey, Wiltshire, also founded by 
 
 ' Registrum Roffense, Bibl. Cotton, 1240. {Ibid., p. 3i9.) 
 
 Vespasian, A 22, quoted in Mon. Aug., « Fabric KoUs of York Minster, i)ub- 
 
 vol. i. p. 158, and Hasted's Kent, vol. ii. lislied by the Surtees Society, 8vo., 
 
 p. 23. The now clioir was sutficiently Durham, 1859, p. x. 
 
 advanced for the /«^roi^K* of the monks '' Triveti Annates, p. 182; Mon. 
 
 to take place in 1227. {A»g. Sac, vol. Ang., vol. vi. p. 3. 
 i. p. 317.) The dedication took place in 
 
HENRY III., A. D. 1216—1272. 247 
 
 Ela Longesp^e, Countess of Salisbury ', who was afterwards 
 abbess of it, and was buried in the church in 12G3. The remains 
 of this nunnery are considerable, and part of them belong to the 
 original structure, probably built soon after the foundation. 
 
 A.D. 1232—1250. Ketton Church, Rutland. Hugh de 
 Welles, Bishop of Lincoln, by a deed dated on the 9th of August 
 of this year, granted an indulgence, a release of twenty da)'s' 
 penance, to all those who should contribute anything to the 
 building or reparation of the church of the Blessed Mary at 
 Ketton, at that time ruinous ''. The general style of the church 
 is Early English, but with a curious mixture of Norman forms 
 and details. It is probable that parts of the previous building 
 were retained and the old materials used when this rebuilding 
 or reparation took place. 
 
 A.D. 1233 — 1235. Part of the nave of Lincoln Cathedral. 
 Bishop Hugh de Welles leaves by his will to the cathedral 
 a hundred marks, and all the timber which he might possess 
 at his death throughout the whole of his diocese ^ It appears 
 from this that the roof of the nave was then in progress, or at 
 least in preparation. 
 
 A.D. 1233 — 1294. Southwell Minster, Notts.; the choir, &c. 
 Funds being required for the completion of the fabric of the 
 church, begim some time before. Archbishop Walter Grey 
 granted an indulgence to all contributors, a like indulgence 
 having been previously granted by the Pope ™. This must relate 
 to the fine Early English choir. There are several later notices, 
 proving that building was going on till towards the end of this 
 century; some of these probably relate to the chapel on the 
 east side of the north transept, now used as a library. This 
 chapel is intermediate in date between the choir and the chapter- 
 house; the latter is mentioned in 1294, when certain fines are 
 assigned " ad fabricam novi capituli." This choir and chapter- 
 house contain some of the richest and most beautiful details of 
 Early English and early Decorated work that we have remain- 
 ing anywhere °. 
 
 A.D. 1233 . Ripon Minster, Yorkshire. Archbishop 
 
 Walter Grey granted an indulgence in this year to all con- 
 
 • Nee. Triveti Annates, p. 184 ; Mon. York Archives, § 276. 
 
 Ang., vol. vi. p. 500. " See Mr. Dimock's history of this 
 
 '' Roll of Hugh de Welles in the church in the Journal of the Archseo- 
 
 Registry at Lincoln, quoted in Blore's logical Association, January, 1853, and 
 
 History of Rutland, p. 183. Mr. Petit's Memoir in the Proceedings 
 
 ' This will is preserved in the Archives of the Archajological Institute at Lin- 
 
 of the Dean and Chapter at Lincoln. coin, 1848, accompanied by a plan and 
 
 ■" Rot. Maj. of Archbishop Grey, engravings. 
 
248 THE EARLY ENGLISH STYLE. 
 
 tributors to the funds for the fabric of this church o. Other 
 indulgences were granted in 1284 by Archbishop "Wickwarre, 
 and in 1287 by Arclibishop Roinaine, and again in 1354 p. 
 A considerable part of tliis very fine church is in the Early 
 English style, agreeing with the period. 
 
 A.D. 1235 — 1252. The presbytery of Ely Cathedral, built by 
 Bishop Hugh Northwold'f. 
 
 " This man is much commended for his house keeping and liberality 
 unto the poore, which may well secme strange, considering the infinite 
 dtale of money spent by him in building of his chiu'ch and houses. 
 The presbyterj' of the cathedrall church he raised from the very founda- 
 tion, and built a steeple of wood towards the galilee at the west end 
 of the church. This noble worke he finished in seventeene yeeres, 
 with the charge of 5,3507. 18*. 8d. ; and the seventeene daie of Septem- 
 ber, 1253, he dedicated it in the presence of the King, and his soime 
 Prince Edward, &c., &c.' " 
 
 The sum expended on this building is very large, being equal 
 to nearly 100,000/. of our money, and the result is certainly 
 a very rich and magnificent piece of work, forming the present 
 east end of the cathedral, the style of which is pure Early 
 English. 
 
 A.D. 1235— 1241. Ashbourn Church, Derbyshire. The date 
 of dedication is recorded on a brass plate in this church. 
 
 mh&MmmmGmmhMii 
 
 mm<pKimmQt^^'GSTMcsccm 
 
 
 I 'RlS:XVEneRHB[Ll:paTRe:l)OMlP Q: 
 
 W6'0NQ:tH:PJlS[SWL-C0VejTrR€H^f 
 
 i flpl^aopo: 
 
 'liililillllllll »..l"H..'"M 
 
 ■'''""'"'"'ff' ■■■'"I- . -i 
 
 luscription in Ashbourn Church, Derbyshire, a.d. 1241. 
 
 Hugh dc Patishull was consecrated Bishop of Coventry and 
 
 " Eot. Maj. of Archbishop Grey, ■> Mon. Aug., vol. i. p. 463 ; Ben- 
 York Archives, § 276. thain's History of Ely, p. 148. 
 
 P See ^V:^lbran's Guide to Ripon, ■■ Godwin's Catalogue of the Bishops, 
 
 Jl/bn^n^r., vol. vi. 1368, &c. p. 208. 
 
HENRY III., A.D. I2l6 — 1272. 
 
 2i9 
 
 Lichfield Jul}' 1, 1240, and died Dec. 8, 1241. The style of 
 the original parts is Early English, with triple lancet windows ; 
 but there are considerable alterations of later periods. 
 
 A.D. 1237. At the Council of London it was ordered that all 
 churches not yet consecrated must be so within two years. 
 Man}^ churches were consecrated according to this order, some 
 of which had been built long before, especially in the enormous 
 diocese of Lincoln. Amongst these were Peterborough Cathedral, 
 and Ramsey and Sawtrey Churches, Lincolnshire. 
 
 A.D. 1239. Netley Abbey, Hampshire, was begun this year 
 by the executors of Peter de Roche, Bishop of Winchester, who 
 had bequeathed funds for this purpose*. These beautiful 
 ruins are chiefly in the Early English style. The choir was 
 probably begun at this time. 
 
 A.D. 1240. The new choir of the Temple Church, London, 
 being finished, the whole was re-consecrated in the presence of 
 the King and many of the chief nobility K This part of the 
 church consists of three parallel aisles of equal height, with 
 groined vaults and rib- mouldings, carried on pillars of Purbeck 
 
 Mouldings from the Choir of the Temp: 
 
 ;n ,, L.. liJJO. 
 
 marble ; the windows are triple lancets. It was restored, in- 
 cluding the painting of the vaults and the painted glass, a few 
 years since. 
 
 A.D. 1242 — 1265. Einchale Priory, Durham. The new church 
 was begun in 1242, and was probably finished about 1265". 
 The ruins are fine Early English, but quite plain work. 
 
 " See Charters of Fincbale Priory, 
 published by the Surtees Society, 8vo., 
 Durham, 1839. 
 
 ' Waverley Annals, sub anno. 
 
 ' Matt. Paris, Hist., p. 236; Mon. 
 Ang., vi. 317 ; Stow's Survey of Lon- 
 don p. 754. 
 
 Kk 
 
250 THE EARLY ENGLISH STYLE. 
 
 A.D. 1242—1290. The cliapel of the Nine Altars at the east 
 end of Durham Cathedral was built during this period, as ap- 
 pears from the accounts and contracts still preserved among the 
 archives of the cathedral. The design was probably given by 
 Bishop Poore, who issued indulgences to raise money for it in 
 1237^; the style is of the finest Early English, with lancet 
 windows ; the vault of the nave is also of this period, Thomas 
 de Melsonby was prior during the early part of the work. 
 
 A.D. 1242 — 1258. Glasgow Cathedral, choir. In the Provin- 
 cial Council of the Scottish Church held at Perth in 1242, it was 
 ordered that the indido;cnce for raising funds for this cathedral 
 should be hung up in every church, and the people exhorted to 
 contribute annually during Lent ; the money to be paid through 
 the rural deans, and no money to be collected for any other pur- 
 pose during the same period^. In 1277 materials were collected 
 for building a campanile and a treasur}^, shewing that the main 
 fabric of the church was then completed. The st3'le of the 
 whole church is pure Early English, with lancet windows, and 
 might perhaps be an imitation of Salisbur}', as Bishop Burding- 
 ton introduced the Salisbury Use into Glasgow at the same 
 time. (For engravings see Billings, &c.) 
 
 A.D. 1244 . Chetwode Church, Buckinghamshire. The 
 
 Austin Priory, of which this was the conventual church, was 
 founded in 1244, by Sir Ralph de Norwich ^ The chancel 
 remains in a tolerably perfect state, and is a fine specimen of 
 the Early English style, with lancet windows, five at the east 
 end and triplets at the sides, good sedilia and piscina, and some 
 of the original painted glass. (For engravings see Lysons' 
 Magna Britannica.) 
 
 A.D. 1244. St. Bartholomew's Hospital, M^ithout the town of 
 Sandwich, in Kent, rebuilt and enlarged by Sir Henrj^ de 
 Sandwich". The chapel is beautiful Early English work, and 
 contains the tomb of Sir Henry with his effigy in ring-armour. 
 
 A.D. 1245 — 12G9. Westminster Abbey Church. The choir 
 and transepts rebuilt on a larger scale and a more elegant 
 form by order of King llenrj^ III., and at his own expense''. 
 The Lady-chapcl had previously been added in 1220 — 1240, 
 
 * Hist. Dutielm. Scriptores tres, 8vo., ^ Chart. Aberdeen ; Wilkins' Concilia. 
 
 Surtees Society, p. 41 ; Godwiu's Cata- ' Mon. Aug., \ol. vi. p. 498. 
 
 logue of Bishops, p. 519 ; Kaine's His- • Husteii's History ot Kent, vol. iv. 
 
 tory of Durham Cathedral, and Pro- p. 270. 
 
 ceediiigs of the Archajological Institute ^ iMatt. Paris, Hist., p. 661; Mon. 
 
 at Newcastle in 1852, vol. i. p. 238 : Aug., vol. i. p. 273 ; Gleanings Iroui 
 
 and for engravings see Billings' Dur- Westminster Abbey, by G. G. Scott and 
 
 Lam Cathedral, 4to. others, 8vo., 1861. 
 
HENRY III., A.D. 1216 — 1272. 251 
 
 "but was entirely rebuilt by Henry YII. The work executed in 
 the time of Henry III. may be distinguished on examination, 
 although it was so well copied that at first sight the whole ap- 
 pears to be one piece of building, and the original design was 
 faithfully carried out. The parts erected at this period were the 
 choir and transepts and the chapter-house. The latter has 
 windows of three lights divided by regular mullions, with bar- 
 tracery in the head, and this is believed to be the earliest ex- 
 ample in England of the use of this peculiar feature, which 
 then came rapidly into fashion. (An ancient Roll of the date 
 of 1253 preserved in the Public Eecord Office, and printed in 
 the " Gleanings," p. 92, mentions canvas for covering the win- 
 dows of the chapter-house, which shews that they were then 
 finished and waiting for the glass. The first service in the 
 new church was in 1269, when the relics of Edward the Con- 
 fessor were translated into the new shrine ''.) 
 
 A.D. 1247. Skelton Church, Yorkshire. " There is a tradi- 
 tion in the parish that this church was built with the stones 
 that remained after the south transept of York Minster was 
 completed.^' The character of the work corresponds very closely, 
 and in 1247 there is an entry on the Roll of Archbishop Walter 
 Grey, confirming a donation from " Master E. Hageton, trea- 
 surer of York, to John de Ledes, clerk of the chapel of Skel- 
 ton," which shews that the chapel was completed at that time. 
 
 A.D. 1248—1264. The Lady-chapel of Wells Cathedral, built 
 by Bishop William Bitton, who died in 1266 and was buried 
 in if^. The style of the earliest part is Early English, but late 
 in the style, with bar-tracery and very rich : part of it is evi- 
 dently of later date, and as Godwin also states that the chapter- 
 house was built in the time of Bishop William de Marchia, 
 1292—1302, and the two works are clearly of the same period, 
 the probability is that both were begun in the time of Bishop 
 Bitton, and completed in the time of Bishop de Marchia : the 
 lower part of the chapter-house belongs distinctly to the earlier 
 period, and is some years earlier than the upper part. 
 
 A.D. 1250—1260. The north transept of York Cathedral, built 
 by Johannes Romanus, treasurer of the church^. The style is 
 pure Early English, but rather more advanced than the north 
 transept, and the triforiura arcade has foliated circles in the 
 heads of the arches ; these are of plate-tracery, but the round 
 window in the gable at the end has bar-tracery, though thick 
 
 <^ Wikes' Chron., sub anno. For en- 4to., p. 298. 
 gravings of details, see pp. 193, 194, « Ibid., p. 470; lion. Ang., vol. vi. 
 
 197,198,199,205,213. p. 1175 j Britton, &c. 
 
 •^ Godwin's Catalogue of the Bishops, 
 
253 THE EARLY ENGLISH STYLE. 
 
 and early-looking, whereas the lancet windows of the north 
 transept are separated by strips of wall not yet reduced to 
 raullions. 
 
 A.D. 1253—1258. The tomb of Bishop Robert Grosse-teste, 
 erected in Lincoln Cathedral. The style is pure Early English, 
 with shafts and capitals corresponding with the nave, and the 
 panels ornamented with qiiatrefoils. 
 
 A.D. 1254—1260. The tomb of Bishop Hugh de Northwold, 
 erected in the south aisle of Ely Cathedral. The style is very 
 rich Early English ; the shafts have capitals of foliage inter- 
 spersed with heads of ecclesiastics and birds. 
 
 A.D. 1255—1260. The tomb of Archbishop Walter Grey in 
 York Cathedral. The style is fine and rich Eai-ly English, with 
 trefoil arches, foliated capitals, crockets and finials ^. 
 
 A.D. 1255 — 1281. Crowland Abbey, Lincolnshire. Part of 
 the west front having been blown down in a storm, was re- 
 paired by Abbot Ralph de Marche ^. The very beautiful Early 
 English sculpture in the west front belongs to this period, and 
 though mutilated, a good deal of it remains. It was in immi- 
 nent danger of falling in 1860, but was skilfully repaired by 
 Mr. G. G. Scott. 
 
 A.D. 1257. St. Alban's Abbey Church. The east end taken 
 down and rebuilt this year, according to Matthew Paris, p. 634. 
 The style of this part of the church is fine Early English, rather 
 late in the style, agreeing well with this date. 
 
 A.D. 1260 — 1280. The presbytery or eastern part of Lincoln 
 Cathedral built. In the year 1256 the Dean and Chapter of 
 Lincoln obtained permission from King Henry III. to take 
 down part of the city wall and enlarge the church eastwards ; 
 this work was begun soon afterwards, and completed before 
 1280, when the relics of St. Hugh were translated to his new 
 shrine in this part of the church, built to receive them^. The 
 style is Early English, but of the ricliest and latest work con- 
 sistent with that style ; the windows have bar-tracery : the 
 mouldings and sculpture also are still of this style, though ap- 
 proaching to the next. It is one of the most beautiful exam- 
 ples of the best period of English art '. 
 
 ' For engravings of some of these sistent with his definition of the styles 
 
 details, see pp. 21 i, 215. in other respects, and not at all eon- 
 
 K Crowland Annals, MS. Vespasian, sistent with the dates in his chrono- 
 
 bk. xi. logical table. There is, however, no real 
 
 '' Pat. 40 Hen. IH., m. 22 in dorso; break or line of distinction between the 
 
 Mon. Aug., vol. vi. p. 1278. styles, they run into each other and 
 
 ' Mr. Hickman himself has classed overlap frequently. Such buildings as 
 
 this east front of Lincoln a-nong his this may be called by either name — the 
 
 Decorated fronts, but this is hardly con- end of the Early P^nglish or the be- 
 
HENRY III., A.D. 1216—1272. 253 
 
 A.D. 1263. The tomb of Bisliop Giles de Bridport in Salis- 
 bury Cathedral is a fine example of the later division of this 
 style, with foliated circles in the heads of the arches. The style 
 of the chapter-house and the details of the workmanship corre- 
 spond so exactly with this tomb, that there can be no doubt it 
 was building at the same time ^. 
 
 A.D. 1265 . Burnham Abbey, Buckinghamshire, founded 
 
 by Hichard, King of the Romans ^ There are some ruins only 
 of the abbey ; the windows are lancet-shaped, but the mouldings 
 are late and approaching to the Decorated style. 
 
 A.D. 1268. The tomb of Bishop Peter de Aquablanca in 
 Hereford Cathedral. The style is of the richest Early English, 
 ■with foliated circles of bar-tracery. 
 
 A.D. 1270—1301. Part of St. Alban's Abbey Church was 
 built during this period™, comprising the western division of 
 the nave with its aisles and the west porch. The stjde is tran- 
 sitional from Early English to Decorated. The work was pro- 
 bably continued by Abbot John de Berkhampstead, who died in 
 1301, and was Varied before the high altar. 
 
 A.D. 1271—1292. St. Mary's Abbey at York. The first stone 
 in the foundation of a new choir was laid in 1271 ^, at a depth 
 of nine feet ; in places the foimdation was twenty-four or twenty- 
 six feet deep. The first stone of the columns was not laid until 
 1273. The campanile threatening to fall, was taken down in 
 1278. The whole church was completed within twenty-four 
 years by Simon de Warwick, who died in 1296. This very 
 beautiful ruin is fine and rich Early English, late in the style. 
 
 There is a very common popular delusion that Gothic archi- 
 tecture was used for churches and chapels and monasteries 
 only ; but this is altogether a mistake, arising from the fact 
 that our houses have generally been rebuilt by each succeeding 
 generation according to their own ideas of comfort and con- 
 ginning of the Decorated style. The chapter-house and of this tomb in Brit- 
 end of the first and beginning of the ton's "Cathedrals." The tomb is Plate 
 second great division of Gothic archi- XXVI., and is erroneously lettered as 
 tecture coincides generally with the Bishop Bingham's ; the error is cor- 
 reign of Edward I. in England : this rected in the letterpress, 
 is the period of the most perfect and ' Mon. Ang., vol. vi. p. 545. 
 
 beautiful Gothic buildings, when English " By Abbot Roger de Northone, who 
 
 art attained to the highest eminence also built the infirmary, now destroyed. 
 it has ever yet reached. For a fine Mon. Ang., vol. ii. p. 194; Carter's and 
 series of engravings of the sculpture. Buckler's History of St. Alban's, p. 2. 
 see Professor Cockerell's paper in the ° Mon. Ang., vol. iii. p. 544 ; MS. 
 
 Proceedings of the Archasological Insti- Chronicle of St. Mary's, York, in Bod- 
 tute at Lincoln, 1848. leian, fol. 127, 131, and 163. 
 
 ^ There are good engravings of the 
 
254 
 
 THE EARLY ENGLISH STYLE. 
 
 venience, while our churches hare remained as they were built, 
 to a great extent. In consequence of this error, whenever a 
 Gothic window is seen in any old building or ruins, it is im- 
 mediately called a church or chapel window, although it is 
 quite as often the window of the hall ; there is, in fact, no 
 difference externally between the window of a church and of 
 a hall of the same period. Internally there are usually seats in 
 the recess of the window, for ladies to sit and work at their 
 tapestry ; this is often the only distinction between a hall and 
 a chapel when the traces of the altar have been destroyed. 
 "Within the precincts of the great monastery of Peterborough, 
 in the most retired part, close to the east end of the infirmary 
 chapel, there still remains a small Early English house of about 
 1220, nearly perfect, with windows having remarkable plate- 
 tracerj' in the heads. It is supposed by Professor Willis to 
 have been the " House of Honour," or the guests' house ; or it 
 may have been the house of the Infirmarer, who was an im- 
 portant officer in the larger abbej's. The house is divided into 
 two parts by a partition wall, on one side of which is the hall, 
 which is the whole height of the building ; the other half is 
 divided into two stories by a floor, and this is part of the 
 original design, as shewn by the doors and windows. 
 
 ^l-eteudal House, Peterborough, c. 1220. 
 
HENRY III., A.D. 12l6 — T272. 255 
 
 FoKEiGN Examples. 
 Fkench. 
 
 A.D. 1217 — 1254. Cathedral of Le Mans. The choir and transepts, 
 with the apse and apsidal chapels, are of this period. The windows 
 were filled with painted glass by Bishop Gaufrid de Loudon II., who 
 died in 1255 °. The style is pure Early French Gothic. 
 
 A.D. 1218 — 1223? Noti'e Dame, Paris; part of the west front of 
 the cathedral. The church of St. Stephen, which was situated to the 
 west and south of Notre Dame, was pulled down in 1218, and the pre- 
 sent west front commenced p. The style is jjui-e and fine Early French 
 Gothic. 
 
 A.D. 1220 — 1288. The cathedral of Amiens. It was begun in 1220, 
 by the celebrated architect Hobert de Luzarches, who gave the de- 
 sign. The nave was built first, in 1220 — 1228: this deviation from 
 the usual practice was caused by the choir of the older chui^h being 
 retained for use as long as possible. The choir was consecrated in 
 1244, and there is the date of 1248 on the glass of one of the clear- 
 story windows. The work was continued by Thomas de Cormon, and 
 completed by his son Renaud in 1288 1. This splendid building is by 
 many considered the finest cathedral in Europe, and certainly served as 
 a type for many others. It was begun in the same year as Salisbury, 
 and is usually compared with it, and said to be in a moi-e mature 
 style '" and a much finer building. But the comparison is hardly a fair 
 one ; it must have cost at least double the money, and was continued 
 for a much longer time ; dui'ing that period of rapid progress the 
 additional twenty years would naturally give a more mature style to 
 those parts of the building : a more fail" comparison would be with 
 the east front of Lincoln or the west front of Wells. It does, how- 
 ever, afiPord a fair example of the contrast between the French and 
 English styles of the same period. The greater height of the French 
 churches gives great magnificence to the interior, but at the expense 
 of the exterior, which is always lumpy and badly proportioned ; and 
 from the great height to which the vaults have to be carried, they require 
 a regular scaftblding of stone to support them, which hides the windows 
 and spoils the effect of the exterior. The choir of Amiens, with the apse 
 and chapels and the clearstory, has foliated circles in the heads of the 
 windows, of bar-tracery, similar to the chapter-houses of Westminster 
 and Salisbury ; and as this choir was consecrated in 1244, these windows 
 must be of about 1240, which is a few years earlier than any dated 
 example in England of this important feature of Gothic architectui'e. 
 
 " Gallia Christiana, torn. ii. p. 517 ; De Caumont, Cours d'Antiquites Mo- 
 
 Diet, de I'Archit., torn. ii. p. 355 j De numtntales, vol. vi. p. 398 j Bourasse, 
 
 Caumont, Bourasse, &c. Cathedrales de France, pp. 20, 21 ; 
 
 P Gallia Christiana ; De Caumont ; VioUet-le-Duc, Diet., &c. 
 
 Bourasse, Cathedrales de France; ■" Dr. Whewell's Architectural Notes, 
 
 VioUet-le-Duc, Diet., &c. pp. 239, 245. 
 
 ■1 Gallia Christiana, torn. ii. p. 100 ; 
 
256 THE EARLY ENGLISH STYLE. 
 
 It seems clear that in this particular the French were a few years in 
 advance of the English. Whether in the earliest development of 
 Gothic, with lancet windows united in two, three, or five lights into 
 one window, they were also in advance, is more doubtful. The tri- 
 foriiim arcade at Amiens has plate-tracery onlj-, and as this would 
 naturally be executed before the windows, it marks the exact period 
 when this change took place in France. The chapel windows between 
 the buttresses are insertions of the fourteenth centui'y ; the rose 
 windows are of the fifteenth. The west front, though chiefly original 
 work, has been more or less altered in the fiJ'teenth century. The arms 
 of Canon Dumas, c. 1510, are inserted in the gable of the central 
 porch ^ 
 
 A.D. 1225 — 1270. The choir and apse of Beauvais Cathedral re- 
 built. There is very little of the work of this period remaining, but 
 the design was probably given from the first in rivalry with Amiens, 
 the attempt of the architect being to overtop his rival and build a still 
 more lofty structure. He was rather too ambitious for the means at his 
 command, and calculated too much on the skill of his workmen ; ac- 
 cording to the received history, the vaulting fell in as soon as the church 
 was finished, and was rebuilt in 1272. Twelve years afterwards it 
 again fell in, and forty yeai's more were employed in rebuilding it in 
 the manner in which it now stands. This brings us to 1324 for the 
 completion of this choir. The pillars and arches, and vaults of the 
 aisles, appear to be of the thirteenth century ; they are commonly tall 
 and narrow : the arches were originally double their present width, 
 and each intermediate pillar was introduced when the central vault 
 fell down. The clearstory windows and the central vault are of the 
 fourteenth centxiry. A central tower seems to have been attempted, 
 and to have fallen down and not been rebuilt. The pier at the north- 
 east corner of the central tower has evidently been rebuilt in the 
 fifteenth century, and some other repairs rendered necesstuy at that 
 period *. The transepts are Flamboyant work of the fifteenth or six- 
 teenth century. The nave never was built; the original low early 
 nave remains, and is called the Basse- QHuvre ; it appears to be late 
 Roman work, with a west front added in the twelfth centm-y ". 
 
 A.D. 1245 — 1257. The Sainte Chapelle, at Pai'is, (or chapel of the 
 royal palace, now the "Palais de Justice," or Law Courts,) was built 
 from the design and under the direction of Pierre de Montercau, who 
 died in 1266, and was buried in the Lady-chapel of the church of 
 St. Germain des Pres, with an inscription on his tomb recording his 
 works. He was the most celebrated architect of his day, and is said 
 
 ' For a plan and various details, see this edition lias been passing through 
 
 VioUet-le-Duc, Diet., torn. ii. p. 327, the press. Mr. Nestield's drawings are 
 
 and Specimens of Medieval Architec- very caret\dly executed on stone by 
 
 ture, from Sketches made in France Messrs. Day. 
 
 and Italy, by Mr. E. Nesfield, folio, ' Gallia Christiana, torn. ii. p. 394; 
 
 London, 1862. Many of the foreign Bourasse ; Whewell's Notes, 
 buildings mentioned in this volume are " For a plan, see Diet, de I'Archit., 
 
 illustrated in Mr. Nesfield's work, which t. ii. p. 334. 
 Las appeared very opportunely while 
 
HENRY III., A.D. 12l6 — 1272. 257 
 
 to have also built the refectory of the abbey of St. Martin des Champs, 
 (now a public library,) which is perhaps the lightest and most elegant 
 specimen of Gothic architecture that exists in any country. The 
 Sainte Chapelle is too well known as one of the glories of France to 
 need much description. It is of two stories, both vaulted and richly 
 decorated, and has lately been restored with much care and taste. 
 The upper and lower chapels were both consecrated together on April 
 23, 1248, by Eudes de Chateauroux, Bishop of Tuscidum, the Papal 
 legate, and Philip Berruier, Archbishop of Bourges. This chapel is 
 usually considered as the earliest example of the fully developed 
 Gothic, and is the first certain instance of the use of bai'-tracery in the 
 windows. 
 
 A.D. 1250 — 1280. Chartres Cathedral. The magnificent north and 
 south porches were erected at this time, as is proved by the figures of 
 persons living at that time being introduced in the sculpture as donors ; 
 the same figures are repeated in the painted glass above, with their 
 armorial bearings. These porches are among the finest examples of the 
 Early French st^de. (See a. d. 1194.) The cathedral was consecrated 
 in 1260, on the 17th of October, which date has been recorded in the 
 Breviaries of the diocese ever since the fourteenth century^. 
 
 A.D. 1257 . The south transept of the cathedral of Notre Dame, 
 
 Paris, built from the design and under the direction of Jean de Challes. 
 There is an inscription along the basement on the exterior of this 
 transept, recording the date of the commencement of the work and the 
 name of the architect. This south transept, with its fine doorway, and 
 the chapels adjoining on either side, and the upper part of the west 
 front, are the work of this period. They are fine Early French, but 
 not in advance of other buildings of the same time. (See a.d. 1208.) 
 
 Belghtm. 
 
 A.D. 1221 — 1270. The church of St. Mai-tin, at Tpres, commenced 
 in 1221, consecrated in 1270. The nave is said to have been begun 
 in 1254, but it is probable that the choir only was finished at the 
 time of the consecration, according to the usual custom of the Middle 
 Ages. The style of the chancel is Early Flemish Gothic ; the nave 
 is Decorated ^. 
 
 A.D. 1226. The church of St. Gudule, at Brussels, rebuilt by Henry, 
 first Duke of Brabant, but left long unfinished. Parts of the present 
 choir and nave are of this period, and the style is the Early Flemish 
 Gothic. 
 
 A.D, 1240 — 1260. The church of the Dominicans at Ghent, erected 
 at this period, was a very remarkable example of the early Gothic 
 of Flanders; it was unfortunately destroyed in 1860. It consisted of 
 
 » For illustrations, see Nesfield's and M. Schayes's Treatise on the 
 Specimens. Pointed Style in Belgium, in Weale'a 
 
 y Flanderia Illustrata, torn. i. p. 357, Quarterly Papers, vol. i. p. 56. 
 
 l1 
 
258 THE EARLY ENGLISH STYLE. 
 
 a simple parallelogram, 53 feet wide in one span and 167 feet long, 
 with chapels of two stories between the buttresses. This large space 
 left clear was admirably adapted for the purpose of preaching in. The 
 Dominicans were called the Preaching Friars. (For engravings, see 
 the "Gentleman's Magazine," vol. ccxii., March, 1862.) 
 
 Geemant. 
 
 A.n. 1216. The church of St. Sebald, at Nuremberg, built. The 
 style is Komanesque and transitional \ 
 
 A.D. 1216 — L220. The chapter-house of the abbey of Rammcrsdorf, 
 near the Khine, built. The style is transitional, with more of the 
 early German Gothic character ". 
 
 A.D. 1219 . The vaulting of the Church of the Apostles at 
 
 Cologne erected. The style is transitional ^. 
 
 A.D. 1219 . The church of St. Leonard, at Frankfort-on-the- 
 
 Maine, commenced. "The ground on which this church is built 
 is said to have been given to the city by the Emperor Frederic the 
 Second, in the year 1219, in order to erect, as the document of this 
 donation has it, a chapel in honour of the Blessed Vii'gin Mary and St. 
 George, whose figures are seen in the field of the arched gatew;iy *=." 
 The style is transitional: the doorway is round-headed: the capitals and 
 ornaments partake of the Early German Gothic character. 
 
 A.D. 1220 — 1272. Freiburg Minster, in the Breisgau, built. The 
 style of the original parts is the Early German Gothic, but the 
 windows have foliated circles in the head, and parts of the church, in- 
 cluding the very beautiful and celebrated spire of open-work, are 
 evidently of later date. (See Moller's Denkmaler.) 
 
 A.D. 1221 . Sion Church, at Cologne, begun. The style is 
 
 transitional, but advanced, and partaking more of the Early German 
 Gothic ''. 
 
 A.D. 1222—1243. Church of St. Mary, at Treves. Style, Early 
 German Gothic ^. 
 
 A.D. 1230 — 1240. The choir of the church of the Dominicans, at 
 Halle, built. Style, Early German Gothic ^. 
 
 A.D. 1235 — 1283. The church of St. Elisabeth, at Marburg, built. 
 The style is pure Early Gennan Gothic, and Moller considers this the 
 earliest building in Germany in which this style is consistently main- 
 tained. (For engravings, see Moller's Denkmaler.) 
 
 A.D. 1240 . Tiie cathedral of Bamberg is said to have been 
 
 built by Wilars de Honecort, the architect of Picardy, whose Sketch- 
 book is preserved in the Imperial Library in Paris, and was carefully 
 engraved under the directions of the late M. Lassus, and published 
 
 • Kallenbach, Chronologie. vol. ii. p. 112. 
 
 » De Lassaulx's Notes, &e., pp. 190, '' Gclenius, De Sao: et Civil. Magnit. 
 
 191 ; Boisseree, Denkmaler, PI. Iviii. Colon., p. 529 ; and lioisseiee, Denk- 
 
 ^ Ue Lassaulx's Notes, pp. 211, 212 ; malei; p. 38. 
 
 and Boisseree's Engravings. " De Lassaulx's Notes, p. 208. 
 
 "= Al oiler, Denkmaler, p. 14, PI. xi. ; ' KuUenbacli, Chronologie. 
 Von Lessuer's Frankfurter Chronik., 
 
HENRY III., A.D. 12 t6 — 1272. 259 
 
 after his death by M. Darcel in Paris, and Professor Willis in London. 
 M. Darcel also states that Wilars built the cathedral of Laon (?), as 
 well as that of Cambray : the latter M^as destroyed in the Revolution, 
 about 1790, but di-awings of it have been preserved, and are engi-aved 
 in this volume. The design is evidently copied in a great degree from 
 Bheims. Wilars is known, fi'om his own memoranda on his draw- 
 ings, to have travelled in Hungary, and is said to have built other 
 churches there. 
 
 A.D. 1248. The church of St. Cunibert, at Cologne, finished and 
 
 consecrated. The style is transitional and Early German s. 
 
 A.D. 1248 . Cologne Cathedral, hegun by Archbishop Conrad 
 
 of Hochstctten. " Cologne Cathedral is the unrivalled glory of build- 
 ings of this class, the most splendid and perhaps the earliest (?) ex- 
 hibition of the beauties of the complete Gothic style ''." The style is 
 so thoroughly French, in close imitation of Amiens or Beauvais, that 
 there can be no doubt the design was given by a French architect. 
 The plan was too magnificent for the means at command, and the 
 choir only was completed, and that was not consecrated until after 
 1320. The tracery of the windows and the details of sculpture would 
 naturally be among the latest parts of the work to be executed, and the 
 workmen always followed the fashion of their OAvn day in details, 
 attending to the original design only so far as the general efl'ect 
 rendered necessary. The west front was also begun at the same time 
 that the choir was building, but remained unfinished until about 1850, 
 and the nave is not yet completed. Archbishop Conrad was the prin- 
 cipal Elector who appointed Kichaid, Earl of Cornwall, brother of 
 Henry III., to be King of the llomans. Richard was considered the 
 wealthiest man in Europe in his day, and paid large sums, equal to 
 at least 40,000Z. of oui' money, as fees or bribes to the electors, and 
 it is probable that a considerable part of this English money went 
 towards the building of the cathedial, according to the usual custom 
 of that age, when the building of churches was the usual mode of 
 spending and displaying wealth. Richard afterwards, in 1268, mar- 
 ried Beatrice, the niece of the Archbishop, and as his chaplain, Walter 
 de Merton, accompanied him to Cologne on that occasion, and must 
 have seen the cathedral then building, it has been conjectured that 
 this had some influence on the style of his chapel in Oxford, which 
 was building at the same time, his college having been founded in 
 1264. There is a general resemblance in the style, especially in the 
 windows, but not so minute as has been supposed. 
 
 Italy. 
 
 A.D. 1220 . The church of St. Dominic, at Siena, commenced. 
 
 It is Early Gothic, with a square east end and no aisles, and a plain 
 wooden roof. 
 
 e De Lassaulx's Notes, p. 213 ; and on German Churches, Svo., Cambridge, 
 Boisseree, Plates Lxvii. — Ixxii. 1842, p. 128; De Lassaulx's Notes, p. 
 
 ^ Dr. Whewell's Architectural Notes 20i. 
 
260 THE EARLY ENGLISH STYLE. 
 
 A.D. 1220 . The Baptistery of Parma commenoed, as recorded 
 
 by an inscription over the door. The style is llomauesque, with 
 a number of small arcades in the Pisan style. 
 
 A.D. 1228 — 1230. The church of St. Francis, at Assissi, built. 
 It is a church of two stories, or a double church, one over the other, 
 in the Early Gothic style, and had orij^inally single-light lancet win- 
 dows, the same as in the chui'ch of St. Clara in the same towu, 
 built by the same architect a few years afterwards. But at St. Francis 
 the lower church has been considerably altered ; a series of small side 
 chapels have been thrown out between the buttresses, the original 
 windows removed, and arches introduced to open into these chapels, 
 which have windows of two lights, with quatrefoils in the head, of 
 plate-tracery. This change was probably made about fifty years after 
 the church was built, and at the same time the original single narrow 
 windows of the upper church were taken out and larger windows of 
 two lights introduced, to correspond with those in the side chapels 
 below. In order to do this the original small arcade under, the win- 
 dows in the interior was cut away, but portions of it remain both at 
 the east and at the west ends. This alteration is concealed by the 
 thin coat of plaster over the whole interior, to receive the beautiful 
 paintings of Giotto with which the whole of the interior of the upper 
 church is covered, and which are of the beginning of the fourteenth 
 century. The paintings on the vaults of the lower church are of 
 earlier character, and are attributed to Cimabue. The tower, which 
 is i^art of the original church, is quite of Komanesque character. 
 
 A.D. 1235. The cloister of St". Scholastica, at Subiaco, finished. 
 
 An inscription on the cornice records the names of the architects. 
 Cosmos and his sons, and of the Abbot Landi. The style is transitional : 
 the arches are round, but on slender pillars with elongated capitals ; 
 and under the tower there are pointed arches. 
 
 A.D. 1238. The chui'ch of St". Maria, at Randazzo, in Sicily, 
 
 finished, as recorded by an inscription on one of the walls ; and another 
 inscription gives the name of the architect, Leo Cumier '. 
 
 A.D. 1256 . The church of the Dominicans, at Florence, called 
 
 " Santa Maria Novella," commenced by the friars Sisto and llistoro, 
 but not completed until the foiu'teenth century. It is one of the best 
 Gothic churches in Italy, and chiefly in the early style, with a good 
 deal of French character ; but it has no clearstory. The choir has 
 a square east end and no aisles, and there are square chapels on the 
 east side of the transept.] 
 
 ' Gallj Knight's Normans iu Sicily, p. 76. 
 
OF THE THIED 
 
 DECORATED ENGLISH STYLE. 
 
 Decorated English Doorways. 
 
 The large doorways of the last style are mostly double, 
 and there are some fine ones of this, but they are not so 
 common, there being more single doorways, which are often 
 nearly as large as the Early English double ones, and indeed 
 but for the ornaments they are much alike, having shafts and 
 fine hollow moiddings. The small doorways are frequently 
 without shafts, but the arch-mouldings run down the side, and 
 almost to the ground, without a base, [as at Kislingbury, 
 p. 262, and Bampton, p. 264,] — the mouldings being set upon 
 a slope, and frequently, when the base- tablets consist of two seta 
 of mouldings with a face between, it is only the lower one 
 which runs into the architrave to stop the mouldings. The 
 shafts do not in this style generally stand free, but are parts 
 of the sweep of mouldings ; and instead of being cut and set 
 up lengthways, all the moiddings and shafts are cut on the 
 arch-stone, thus combining great strength with all the appear- 
 ance of lightness, [as at North Mirams, p. 263] . The capitals 
 of these shafts differ from the Early English, in being formed 
 of a woven foliage, and not upright leaves ; this, in small 
 shafts, generally has an apparent neck, but in larger ones 
 often appears like a round ball of open foliage, [as at York 
 and Finedon, p. 285]. There are also, in many good build- 
 ings, plain capitals without foliage ; these have an increased 
 number of mouldings from those of the last style, and they 
 generally consist of three sets, — one which may be considered 
 
262 
 
 THE DECORATED ENGLISH STYLE. 
 
 the abacus, then a hollow and another set, then the bell of 
 the capital, and then the mouldings forming the astragal ; 
 and both in plain and flowered capitals, where the shaft is 
 filleted, it is common for the fillet to run through the astra- 
 gal, and appear to die into the bell. Of these plain capitals, 
 the cathedral of Exeter [p. 283] and the cloisters of Norwich 
 [p. 285] furnish very fine specimens. The bases to these shafts 
 mostly consist of the reversed ogee, but other mouldings are 
 often added, and the ogee made in faces. Although the door- 
 ways in general are not so deeply recessed as the Norman 
 and Early English, yet in many large buildings they are very 
 deep. The west doorways of York are of the richest execu- 
 tion, and very deep. 
 
 Doorways. EisUugbury, NortbanLs. c 13\!0 
 
 To the open-work bands of the last style succeeds an orna- 
 ment equally beautiful, and not so fragile ; this is the flowered 
 moulding, [as at Kislingbury] ; there are often three or four in 
 one doorway, and to the toothed-ornament succeeds a flower of 
 
DECORATED ENGLISH DOORWAYS. 
 
 263 
 
 four leaves, in a deep moulding, with considerable intervals be- 
 tween, [see p. 294]. This flower in some buildings is used in 
 
 North Mimms, Herltord shirs, c. 1300, 
 
 great profusion to good effect. Over these doorways there are 
 several sorts of canopies ; the dripstone is generally supported 
 by a corbel, which is commonly a head ; in some instances a 
 plain return is used, but that return seldom runs horizontall3^ 
 The canopy is sometimes connected with the dripstone, and 
 sometimes distinct. The common canopy is a triangle, the space 
 between it and the dripstone is filled with tracery, and the 
 exterior ornamented with crockets and crowned with a finial. 
 The second canopy is the ogee, which runs about half up the 
 dripstone, and then is turned the contrary way, and is finished 
 in a straight line running up into a finial, [as at the very beauti- 
 ful entrance to the chapter-house at Howden, Yorkshire, (see 
 Plate)] . This has its intermediate space filled with tracery, &c., 
 
264 
 
 THE DECORATED ENGLISH STYLE. 
 
 Mackwortta. Derbystiire, c 1320. 
 
 Cloisters, Norwich, c 132i). 
 
DECORATED ENGLISH DOORWAYS. 
 
 265 
 
 and 18 generally crocketed, [as at Norwich, p. 264] . Anotlier 
 sort of canopy is an arch running over the doorway, and un- 
 connected with it, which is doubly foliated ; it has a good effect, 
 but is not common. On the side of the doorways small but- 
 tresses or niches are sometimes placed, [as at Christ Church, 
 York, and at Howden (see Plate)]. 
 
 Ciinst. Churcb, Yoik. c. 13-0. 
 
 In small churches there are often nearly plain doorways, 
 having only a dripstone and a round moulding on the interior 
 edge, and the rest of the wall a straight line or bold hollow, 
 and in some instances a straight sloping side only. In some 
 doorways of this style a series of niches with statues are 
 carried up like a hollow moulding; and in others, doubly 
 foliated tracery, hanging free from one of the outer mouldings, 
 gives a richness superior to any other decoration. The south 
 doorway of the choir at Lincoln is perhaps hardly anywhere 
 equalled of the first kind, and a doorway in the cloisters of 
 Norwich of the other. 
 
 M m 
 
266 
 
 DECORATED ENGLISH DOORWAYS. 
 
 Little Addinjton, Northamptonshire, c. )3£0. 
 
 Ayiiho, Isorthaoiptonshire, c. 1350. 
 
THE DECORATED ENGLISH STYLE. 
 
 267 
 
 Decorated English Windows. 
 
 In these the clearest marks of the style are to be found, and 
 they are very various, yet all on one principle. An arch is 
 divided, by one or more muUions, into two or more lights, and 
 these mullions branch into tracery of various figures, but do 
 not run in perpendicular lines through the head. In small 
 churches, windows of two or three lights are common, but in 
 larger four or five lights for the aisles and clearstory windows, 
 five or six for transepts and the end of the aisles, and in the 
 east and west windows seven, eight, and even nine lights, are 
 used. Nine lights seem to be the extent, but there may be 
 : windows of this style containing more. The west window of 
 York and the east window of Lincoln Cathedrals are of eight 
 lights each ; the west window of Exeter Cathedral and the east 
 window of Carlisle Cathedral are of nine, and these are nearly, 
 if not quite, the largest windows remaining. 
 
 There may be observed two descriptions of tracery, and al- 
 though, in different parts, they may have been worked at the 
 same time, yet the first is generally the oldest. In this first 
 division, the figures, such as circles, trefoils, quatrefoils, &c., 
 are all worked with the same 
 moulding, and do not always 
 regularly join each other, but 
 touch only at points. This may 
 be called geometrical tracery ; 
 of this description are the win- 
 dows of the nave of York, the 
 eastern choir of Lincoln, and 
 some of the tracery in the clois- 
 ters at Westminster Abbey, as 
 
 well as most of the windows at LitUe Addlugton, Northamptonshire, c. 1280. 
 
 Exeter. 
 
 [In Kent a peculiar description of tracery is used, the trefoils 
 and quatrefoils being doubly foliated, and the cusps often 
 terminated by knobs forming a sort of crocket. This pecu- 
 liarity, called Kentish tracery, will be better understood from 
 the example at Chartham, p. 268, than by any description.] 
 
268 
 
 THE DECORATED ENGLISH STYLE. 
 
 Passage leading to the cjii^ptpr-bouse, York, c iil80. 
 
 Chartbam. Kent. c. l.!»0. 
 
DECORATED ENGLISH WINDOWS. 
 
 269 
 
 %||g?ft*i#ffi®Sli|] 
 
 ii'ji.iuij;'. 1' - 
 Meopliarn. Kent, c. I'JfcO 
 
 (_bada-;sif-i). D.-il vshn 
 
 Leuminster, Herefordshire, c. 13^0. 
 
270 
 
 THE DECORATED ENGLISH STYLE. 
 
 Piddiujlou . Oxfoidahire, c , 1280. 
 
 Bampton. Oxfordshire, c. 1280. 
 
DECORATED ENGLISH WINDOWS. 
 
 271 
 
 Araport, Hampshire, c. 1320 
 
 The second division consists of what may be truly called 
 floH-ing tracery. Of this 
 description, York Min- 
 ster, the Minster and 
 St. Mary's, at Beverley, 
 Newark Church, and 
 many northern churches, 
 as well as some south- 
 ern churches, contain 
 most beautiful speci- 
 mens. The great west 
 window at York and 
 the east window at Car- 
 lisle are perhaps the 
 most elaborate. In the 
 richer windows of this 
 style, and in both di- 
 visions, the principal 
 moulding of the mullion 
 has sometimes a capital 
 and base, and thus be- 
 comes a shaft. One 
 great cause of the beauty 
 of fine flowing tracery is the intricacy and delicacy of the 
 mouldings ; the principal moulding often running up only one 
 or two mullions, and forming only a part of the larger design, 
 and all the small figures being formed in mouldings which 
 spring from the sides of the principal. The architraves of 
 windows of this style are much ornamented with mouldings, 
 which are sometimes made into shafts. The dripstones and 
 canopies of windows are the same as in the doors, and have 
 been described under that head. Wherever windows of this 
 style remain, an artist should copy them ; the varieties are 
 much greater than might be supposed, for it is very difficult 
 to find two alike in different buildings ^ 
 
 [There are some examples of flowing tracery without cusps, 
 and with the ogee arch, as at Finedon, Northants., (see Plate)]. 
 
 Little Adding, tou, N ortiiamptouBhire, c. ia^O 
 
 " [A large collection of examples has 
 been published by Mr. E. A. Freeman 
 
 in his work on Gothic Window Tracery. 
 8vo., 1851.] 
 
DECORATED ENGLISH WINDOWS. 
 
 Bliu^, Harnpsbiiie, c. 1320. 
 
 Si- ilary'8, Beverley, c. 
 
 Beverley ^ mster, c i^^ijO, 
 
 Irtbiin^boroufih. Northatnpcousbire. c. 1350. 
 
DECORATED ENGLISH WINDOWS. 
 
 273 
 
 Dorchester, Oxon, c. 1350. 
 
 It docs not appear that the straight horizontal transom 
 
 was much, if at all, used ^ -^ - ^^ __, ^.,„^^- .., — 
 
 in windows of this style; 
 wherever it is found there 
 is generally some mark of 
 the window originating after 
 the introduction of the Per- 
 pendicular style ; but it may 
 have been used in some 
 places, and there are a very 
 few instances of a light 
 being divided in height by 
 a kind of canopy or a qua- 
 trefoil breaking the mul- 
 lion; the church of Dor- 
 chester, in Oxfordshire, has 
 some very curious windows 
 of this kind, (see p. 274). In 
 some comities, where flint 
 and chalk are used, the drip- 
 stone is sometimes omitted. 
 The heads of the windows 
 of this style are most com- 
 monly the equilateral arch, 
 though there are many ex- 
 amples both of lancet and 
 drop arches ; but the lancet 
 arches are not very sharp. 
 There are a few windows 
 of this style with square 
 heads, (as at Dorchester) ; 
 but they are not very com- 
 mon ; [except in particular 
 districts, especiallj^ in Lei- 
 cestershire. Examples not 
 unfrequently occur of win- 
 dows with segmental heads, 
 as at Over, Cambridgeshire.] 
 
 N n 
 
 Over. Cambrid^ebhire, c, 1350. 
 
274 
 
 THE DECORATED ENGLISH STYLE. 
 
 Ths Jesse Window. Dorchester, Oxfordsbirc, o. 13W. 
 
DECORATED ENGLISH WINDOWS. 
 
 275 
 
 The circular windows of this style are some of them very 
 fine ; there are several very good ones in composition at Exeter 
 and Chichester, and the east window of old St. Paul's was 
 a very fine one ; but perhaps the richest remaining is that of 
 the south transept at Lincoln, which is completely flowing. 
 [There is also a very fine example in the old church at 
 Cheltenham.] 
 
 Ferington St. John's. Norfolk, c 13'20 
 
 Stratford- on- A von, c. 1350. 
 
276 
 
 THE DECORATED ENGLISH STYLE. 
 
 [The windows of the clearstory in this style offer some pecu- 
 liarities, for thougli in large buildings the}' are frequently very 
 large and fine, and of similar character to those of the body of 
 the church, yet in ordinary parish churches they are frequently 
 very small, and appear little more than openings pierced 
 through the wall. The general forms of these are the spherical 
 triangle, the circle and square ; these are sometimes filled with 
 tracery, but more frequently only trefoiled or quatrefoiled. 
 The label is frequently carried all roimd the opening. The 
 inside is generally deeply and widely splayed, and frequently of 
 a different form from the outer opening. 
 
 "'J'""i"'.i": .TyiTiiiiii:'" 
 
 '''''■'''5ii|g|ii'iii|§ 
 
 Great Milton, Oxfordshire, c. 1300. 
 
 i^r- 
 
 Crauford St. Andresr, NortUarnptonshire, c 1320. 
 
 Barton Segrave, NoithamptoDahire, c 1320. 
 
DECORATED ENGLISH WINDOWS. 
 
 277 
 
 Belfry windows, and other windows in towers, have usually 
 a distinct character, and 
 are frequently partially 
 filled up with stonework, 
 as at Aynho, Northamp- 
 tonshire. Sometimes they 
 may be called twin-win- 
 dows, consisting of two 
 single lights coupled to- 
 gether, with a niche for an 
 image between them, as at 
 Irthlingborough, and at 
 Bloxham, Oxfordshire, (see 
 Plate) . The openings filled 
 with tracery, but not 
 glazed, which are found in 
 some districts, especially 
 in Norfolk, and there com- 
 monly called Sound-holes, 
 sometimes occur in this 
 style, as at Great Ad- 
 dington, though they are 
 more common in Perpen- 
 dicular work. 
 
 Aynbo, Nortbanoptxjnahlre, o. 1360. 
 
 
 Irthlingborough. Northamptonshire, c. 1350. 
 
 Great Addinjton, Northamptonshire, c. 1350. 
 
278 
 
 THE DECORATED ENGLISH STYLE. 
 
 ThenaraeofSound- 
 lioles is not very ap- 
 plicable, as they are 
 more strictly air- 
 holes; they are not 
 used in the bell- 
 chamber, but in the 
 ringing-loft to give 
 air to the ringers. 
 Those belonging to 
 this style are gene- 
 rally smaller than in 
 the next. They are 
 sometimes diamond 
 shaped, but more fre- 
 quently square. 
 
 Triangular -win- 
 dows are likewise fre- 
 quently used in the 
 points of gables over 
 large windows. Some- 
 times the common 
 straight-sided tri- 
 angle, more often the 
 spherical triangle, as 
 at Alberbury, Shrop- 
 shire, and the Maison 
 Dieu at Dover. In 
 the later examples 
 these openings are 
 filled with bar -tra- 
 cery, the same as 
 in windows of other 
 forms and sizes. 
 
 A tendency to the 
 Flamboyant style of 
 tracery is frequently 
 observable in the tra"^- 
 cery of Decorated 
 windows, in the later 
 period of the style, as 
 in Bolton Abbey, and 
 at Beverley Minster 
 and Irthlingborouffh, 
 (p. 272). 
 
 Alberbury, Shropshire, c 1300. 
 
 Maison Dieu. Dover, c. 1300. 
 
 Bolton Abbey. Yorkshire, c. ISiO. 
 
DECORATED ENGLISH WINDOWS. 
 
 279 
 
 Windows in spires, or spire-lights as they are usually called, 
 are more frequent in this style than in any 
 other. The broach-spires of ]Srorth;nii[)toiishire 
 and some other districts are 
 generall)'^ ornamented 
 in this manner, as at Pole- 
 brook, (see Plate,) and more 
 commonly belong to this 
 style, though they are fre- 
 quently Early English, and 
 occasionally Perpendicular. 
 Windows in staircases, or 
 stair-lights, are also of a 
 distinct character in all 
 stjdes. They are frequently 
 mere loops or small open- 
 ings of various forms, and 
 not glazed, but in this style 
 chey are more usually orna- 
 mented with foliation, and 
 sometimes have tracery, as 
 at St. Marj^'s, Beverley.] 
 Towards the end of this 
 style, and perhaps after the commencement 
 of the next, we find windows of most beau- 
 tiful composition, with parts like the Perpen- 
 dicular windows, and sometimes a building 
 has one end Decorated, the other Perpendicular ; such is JMel- 
 rose Abbey ^ whose windows have been extremely fine; and 
 indeed the great east window of York, which is the finest Per- 
 pendicular window in England, has still some traces of flowing 
 lines in its head. 
 
 This window has also its architrave full of shafts and mould- 
 inffs, which kind of architrave for windows is seldom continued 
 far into the Perpendicular style ; and therefore when a Perpen- 
 dicular window has its architraves so filled with mouldings, it 
 may be considered early in the style. 
 
 1 re beater, Koitlid 
 c 13,0. 
 
 St, Mary's. Beverley. 
 c. 1350. 
 
 *> [Melrose Abbey is a fine example of 
 Scottish architecture as distinct from 
 either Enghsh or French, and consist- 
 ing in some degree of a mixture of the 
 two; some of the windows are a curious 
 
 combination of the French Flamboyant 
 with the English Perpendicular : most 
 of this work is late. See the Gentle- 
 man's Magazine, March, 1862.] 
 
280 THE DECORATED ENGLISH STYLE. 
 
 Decorated English Arches. 
 
 Though the arch most commonly used for general pui'poses 
 in this style is the equilateral one, yet this is by no means 
 constant. At York, [and at St. Mary's, Beverley (see Plate),] 
 this arch is used, but at Eh' a drop-arch. 
 
 E!y Ca;hed 
 
 The architrave mouldings of interior arches do not differ 
 much from those of the last style, except that they are, perhaps, 
 more frequently continued down the pier without being stopped 
 at the line of capitals, and that the mouldings composing them 
 are of larger size and bolder character, tliough in large build- 
 ings still consisting of many mouldings; of this, one of the 
 finest examples is the architrave of the choir-arches at Lich- 
 field, which is one of the best specimens of the different com- 
 binations of mouldings in this style. 
 
ST MJfs.m'SrS - 3;E"^Em!LIS-2". 
 ;RCH h. SCRFEN-NORTH SIDE OF CHOiR. 
 
DECORATED ENGLISH ARCHES. 
 
 281 
 
 The distinc- 
 tion between the 
 Early English 
 small multiplied 
 mouldings and 
 the bold Deco- 
 rated ones may 
 be well observed 
 at Chester, where 
 the arch between 
 the choir and 
 Lady - chapel it 
 very good Early 
 English, and the 1^ - — 
 
 arches of the navt 
 as'good Decorated i 
 work ; and these ' 
 two also shew the 
 difference of character of 
 the two descriptions of 
 pier. 
 
 The dripstones are of 
 delicate mouldings, gene- 
 rally supported by heads. 
 The arches of the [tri- 
 forium] galleries are often 
 beautifully ornamented i^ 
 with foliated heads and 
 fine canopies ; and in 
 these arches the ogee 
 arch is sometimes used, - 
 as it is freely in compo- 
 sition in the heads of 
 windows. [The same 
 features occur in the 
 arcades along the side 
 walls of the aisles, as in 
 Beverley Minster, many 
 of which have very rich 
 work.] 
 
 ^^ 
 
 ""'"M I 
 
 Tiirorium Arcade. GuisborouSh, Yorkahlia, 
 
 o -JEW! r 1 
 13i0. 
 
 ^ 
 
 Aicade, iacveriey lu-ujukdr, c io«jO. 
 
 O 
 
282 
 
 THE DECORATED ENGLISH STYLE. 
 
 Decorated English Piers. 
 
 A new disposition of shafts marks very 
 decidedly this style in large buildings, 
 they being arranged diamondwise, with 
 straight sides, often containing as many 
 shafts as will stand close to each other 
 at the capital, and 
 only a fillet or 
 small hollow be- 
 tween them. The 
 capitals and bases 
 of these shafts are 
 much the same as 
 those described in 
 the section on door- 
 ways. Another pier 
 of the richest efiect, 
 but sold om executed, 
 is that at York 
 Minster, where the 
 centre shaft is laro-er 
 than those on each 
 side, and the three 
 all run through to 
 the spring of the 
 roof. Three also 
 support the side of 
 the arch ; these shafts are larger in pro- 
 portion than those of Exeter, &c., and 
 stand nearly close without any mould- 
 ing between. The shaft which runs up 
 to support the roof often springs from 
 a rich corbel between the outer archi- 
 trave mouldings of the arches; Exeter 
 and Ely are fine examples. 
 
 Dorchester. Oson, c. 1300. 
 
 '■"^i 
 
 Vaulting-shaft, Exeter, c. 1300. 
 
DECORATED ENGLISH PIERS. 
 
 283 
 
 Another pier, common 
 towards the end of this 
 style and the beginning of 
 the next, is composed of 
 four shafts, about two- 
 fifths engaged, and a fil- 
 let and bold hollow half 
 as large as the shafts be- 
 tween each ; this makes 
 a very light and beau- 
 tiful pier, and is much 
 used in small churches, 
 [as at Silk Willoughby, 
 p. 284]. 
 
 All these kinds of piers 
 have their shafts some- 
 times filleted, and the 
 architrave mouldings are 
 often large ogees. 
 
 In small country 
 churches the multangular 
 flat-faced pier seems to 
 have been used, [as at 
 Long Compton] . 
 
 I.ou$ Coinpton, Warwickshire, c. 13fO 
 
 Exeter Cathedral, c. 1300. Guisborougb, Yorkshire, c. 1300. 
 
284 
 
 THE DECORATED ENGLISH STYLE. 
 
 Little Addingtou, Nonhauts, c. 1330 
 
 Finedon, Northarnptoualuxe, c 1310 
 
 Dorchester. Oxfordshire, c. 1300 
 
DECORATED ENGLISH PIERS. 
 
 285 
 
 York Catbedral, c. 1330 
 
 Cloisters, Norwich, c. 1300. 
 
 FmedOD, Northaroptonshire, c 1320. 
 
 York Minster, o. 1320. 
 
286 
 
 THE DECORATED ENGLISH STYLE. 
 
 Decorated English Buttresses. 
 
 These, tliougli very various, are 
 all more or less worked in stages, 
 and the set-ofFs variously orna- 
 mented, some plain, some moulded 
 slopes, some yvith. triangular heads, 
 and some with panels ; some with 
 niches in them [as at Great Mil- 
 ton, Oxfordshire, p. 287], and with 
 all the various degrees of ornament. 
 The corner buttresses of this style 
 are often set diagonally. In some 
 few instances small turrets are used 
 as buttresses. The buttresses are 
 variously finished; some slope un- 
 der the cornice [as at Beaulieu, 
 Plampshire], some just through it; 
 some run up through the battle- 
 ment, and are finished with pin- 
 nacles of various kinds, [as at Brid- 
 lington, Yorkshire]. 
 
 Of rich buttresses there are three 
 examples which deserve great atten- 
 tion ; the first is in the west front 
 of York Minster, and may be con- 
 sidered in itself as a magazine of 
 the style ; its lower part, to which 
 it ascends without set-ofi", consists 
 of four scries of niches and panel- 
 ling of most delicate execution; 
 above this part it rises as a but- 
 tress to the tower, in four stages of 
 panels, with triangular crocketed 
 set-offs. The first of these stages 
 contains a series of statuary niches, 
 
 BeauUcu, Hampshire, c. 1300. 
 
 Bridlington. Yorkshire, c. 1300 
 
DECORATED ENGLISH BUTTRESSES. 
 
 287 
 
 the rest are only panelled. This 
 buttress finishes under the cornice 
 with an ornamented panel and 
 crocketed head; the projection of 
 the lower part of this buttress is 
 very great, and gives to the whole 
 great boldness as well as richness. 
 The second is a ruin — the east end 
 of Howden Church, Yorkshire ; it 
 has also some niches, but not so 
 many as that at York. The third 
 is also a ruin — the east end of the 
 priory at Walsingham, in Norfolk ; 
 this is very late, and perhaps may 
 be considered as almost a Perpen- 
 dicular work, but it has so much 
 of the rich magnificence of the De- 
 corated style, that from its great 
 plain spaces it deserves noticing as 
 such; it is, in fact, a flat buttress 
 set up against one face of an octa- 
 gonal turret, and terminates in a 
 fine triangular head richly crock- 
 eted. The buttresses of the aisles 
 of the nave of York Minster are 
 small compared with those at the 
 west end, but their composition is 
 singular, and of very fine efiect; 
 they run high above the parapet, 
 as a stay for the flying buttresses, 
 and are finished by rich pinnacles. 
 [The buttresses with niches to 
 the south aisle of St. Mary Mag- 
 dalen Church in Oxford, said to 
 have been built by order of Ed- 
 ward II., are well-lcnown exam- 
 ples, and justly admired ; they are 
 very similar to those at Great 
 Milton.] 
 
 Over. Carobridgesliire, c. 1303 
 
 Great Milton, Oxfordstiire, c. 1320. 
 
288 
 
 THE DECORATED ENGLISH STYLE. 
 
 Decorated English Tablets. 
 
 The cornice is very regular, and though in some large 
 buildings it has several mouldings, it principally consists of 
 a slope above, and a deep 
 sunk hollow, with an astra- 
 gal under it ; in these hol- 
 
 lows, flowers at regular dis- _ '^yHF*"^" ^^T^llJlA^ 
 
 tances are often placed, and '"'- ' f i 
 
 in some large buildings, Comice, Souldem. Oxfordshire, c im 
 
 and in towers, &c., there are frequently heads, and the cornice 
 almost filled with them, [as at Dorchester, Oxfordshire, and 
 Merton College Chapel] . 
 
 Cornice. Ircbester. Northamptonshire, c 1330. 
 
 Cornice, Merton College Chapel, a.o. 1377, 
 
 Cornice, Queen's Crosa, NoiXhampton, 
 
DECORATED ENGLISH TABLETS. 
 
 289 
 
 The dripstone is of the same de- 
 scription of mouldings, but smaller, 
 and this too is sometimes enriched 
 with flowers. 
 
 The small tablet running under 
 the window has nearly the same 
 mouldings, and this sometimes runs 
 round the buttress also. 
 
 The dripstone very seldom, if 
 ever, runs horizontally, though in 
 a few instances a return is used in- 
 stead of the common corbel-head. 
 And here another singularity with 
 respect to tablets may be men- 
 tioned; it is common in Early 
 English work for the dripstone to 
 be carried horizontally after the 
 return at the spring of the arch, till 
 stopped by a buttress, &c., and some- 
 times it is even carried round the 
 buttress : — and the same arrange- 
 ment is common in Perpendicular 
 work, but very rarely, if ever, is it 
 80 used in the Decorated style. 
 
 The general base -tablet of this 
 style is an ogee, under which is 
 a plain face, then a slope and an- 
 other plain face; and it is not 
 common to find real Decorated 
 buildings with more tablets, al- 
 though both in the Early English 
 and Perpendicular styles, three, 
 four, and even five are sometimes 
 used. [There are, however, many 
 examples of good Decorated base- 
 ments which have more numerous 
 members.] 
 
 pp 
 
 Dripstone Termination, Bi-anclon, Suffolk, 
 c 1300. 
 
 Basement, Ewerby, c. 1300. 
 
200 
 
 THE DECORATED ENGLISH STYLE. 
 
 Decxdrated English 
 Niches. 
 
 These form one of 
 the greatest beauties of 
 the style, and are very 
 various, but may be 
 divided into two grand 
 divisions, which, if ne- 
 cessary, mif;ht be again 
 variously divided, such 
 is their diversity ; but 
 these two may be suffi- 
 cient. 
 
 The first are panelled 
 niches, the fronts of 
 whose canopies are even 
 with the face of the wall 
 or buttress they are sot 
 in, [as at Peterborough, 
 and Piddington, Oxford- 
 shire]. These have their 
 interiors either square 
 with a sloping side, or 
 are regular serai-hexa- 
 gons, &c. In the first 
 case, if not very deep, 
 the roof is a plain arch ; 
 but in the latter case, 
 tlio roof is often most 
 delicately groined, and 
 sometimes a little shaft 
 is set in the angles, 
 or the ribs of the roof 
 are supported by small 
 corbels. The pedestals 
 are often high and much 
 ornamented. 
 
 NicLe, i'.dtULiiloa, Ozt^riaLii/e. c, I'MJ- 
 
 FJaclna, Potorixirouju CalhodiiU c. 1280. 
 
Dia.dUA'I'i;!) KNCfJSH NKIII'.S. 
 
 2!) I 
 
 Tlio otlwr (liviKion of ih'cIkh Iiuh [)r<))(;(;t,ing (iunopit'.H ; Uioho 
 
 UrC! of VluioUS hIiIIJX'H, 1 
 
 Horru! conical lil<(! a Hpin;, 
 Homo liko H()V(!ral trian- 
 gular cuiioi)i(!H joined at 
 the c(lg(;H, and Horrx; with 
 ogoo heads ; and in Homo 
 very rich buildings arc 
 iiichcH with th(! canoj)y 
 hcnding f'orwardH in a 
 Hliglit ogee, an w<ll uh 
 itH contour hcing an ogei;; 
 IhcHc arc generally crown - 
 I'd with V(!ry lai-gf! rich 
 finialH, and v(!ry highly I;'"' 
 
 enriched, [as at Lichfield av iijl' 
 
 C/athedral, and at I)or- 
 chcHter, (^xl'ordHhiro, (p. 
 292)]. There were alHo, 
 at the latter part of thin 
 Htyl((, Homc! inHtanccH of 
 
 the niclic with a flat- *' ,% 
 
 headed canopy, which ho- - •, 
 
 camo 80 common in th(j i-iwiirm, w-,, .,;>»■//) 
 
 next Htyle, [aw at Cirafion Underwood, Northantw., (p. 202)]. 
 Tlicso projecting nichcH have all Home projecting baHc, either a 
 largo corbel, or a baHcinent j)odeHtal carried up from thf; ucxi, 
 projecting face below. All thcHO nic,heH are occaHionally flanked 
 by nmall buttrcsBeH and jjinnaclcH; thone of tlie fJrHt kind havfj 
 very often }>eautlful Hhaftn. 
 
 The chancel Htall.s of thiHHtyle are many of th«!m uncommonly 
 rich, their whole faces being often covered with ornamental 
 carving. 
 
 [The sedilia, or Roats for the officiating miniHterH, — usually 
 three, for the pricHt, deacon, and nub-deacon, — which we \'iry 
 frequently find on tlie south side of the altar in our old churclnH, 
 are commoidy placed in niclicH or under canopie.H, uh at l)or- 
 chest<ir, (p. 292). The piscina, or water-drain, is also commonly 
 placed in a nich(;, as at l^eterborough, Ac] 
 
292 
 
 Sedilia. Grafton Underwood, Northamptonaiiire. c ISiii 
 
DECORATED ENGLISH NICHES. 
 
 293 
 
 Under this head, though not strictly niches, may be men- 
 tioned what appears to be very rare ^ some wood carvings of 
 a screen of this style; they consist of ten or more divisions 
 of panelling in the church of Lancaster ; part form at present 
 a screen for a vestry, &c., and part are in a gallery as a lining 
 to the wall ; their composition is alike and simple, being an 
 arched head panel with a triangular canopy between two but- 
 tresses crowned with pinnacles ; they are, however, extremely 
 rich, and varied in their details ; the buttresses are panelled 
 with diversified tracery, and the arch is an ogee canopy doubly 
 feathered, and filled with tracery, as is the space between the 
 ogee canopy and the triangular one, and both canopies are 
 crocketed and crowned by rich finials ; though they may be 
 late in the style, yet the diversity of tracery and boldness of 
 character, combined with simplicity of composition, so difierent 
 
 Screen, St.Jolm's, Winchester, c. 1350. 
 
 from the elaborate and gorgeous screen- work of Perpendicular 
 date, seem to mark them clearly as of the Decorated style. 
 
 " [Subsequent research has brought 
 to light many examples of Decorated 
 screen-work. The very beautiful work 
 now in the church at Lancaster is said 
 
 to have been brought from Cartmael 
 Abbey ; it evidently does not belong to 
 the church in which it stands, and is 
 earlier.] 
 
294 
 
 THE DECORATED ENGLISH STYLE. 
 
 Decorated English Ornaments. 
 
 As the word Decorated is used to designate this style, and 
 particularly as the next has been called Florid, as if it were 
 richer in ornament than this, it will be necessary to state, 
 that though ornament is often profusely used in this style, yet 
 these ornaments are like Grecian enrichments, and may be left 
 out without destroying the grand design of the building, while 
 the ornaments of the next are more often a minute division of 
 parts of the building, as panels, buttresses, &c. than the carved 
 ornaments used in this style. In some of the more magnificent 
 Avorks, a variety of flowered carvings are used all over, and yet 
 the building does not appear overloaded ; while some of the 
 late Perpendicular buildings have much less flowered carvings, 
 yet look overloaded with ornaments, from the fatiguing recur- 
 rence of minute parts, which prevent the comprehension of the 
 general design. 
 
 The flower of four leaves in a hollow moulding has already 
 been spoken of, and in these hollow mould- 
 ings various other flowers are introduced, 
 as well as heads and figures, some of them 
 very grotesque ; and the capitals are very 
 seldom foimd two alike. The foliage form- 
 ing the crockets and finials is also ex- 
 tremely rich, and the pinnacle, in its various 
 forms, is almost constantly used. The spandrels of ornamental 
 arches are sometimes filled with beautiful foliage. 
 
 An ornament almost as peculiar to the Decorated style 
 as the toothed ornament to the Early Eng- 
 lish, is a small round bud of three or four 
 leaves, which open just enough to shew 
 a ball in the centre ; this is generally 
 placed in a hollow moulding, and has a 
 beautiful efiect, [and is commonly called 
 the ball-flower] . 
 
 Four-leavcd i?iuwer. 
 
DECORATED ENGLISH ORNAMENTS— MOULDINGS. 295 
 
 Dorchester, OxfordsLiire, c. 1300. 
 
 Bray, Berkshire, c. X300. 
 
 Great Addington. Northamptonshire, c. 1300. 
 
 Dorchester, Osfordahire, c. 1300. 
 
296 DECORATED ENGLISH ORNAMENTS— MOULDINGS. 
 
 Baunds. Ncrthamptonahire, c. 1320 
 
 Dorchester, Osfordsliire. c. 1300. 
 
 St Aiijuatme's, Canterbury, c. 1320. 
 
 ^dr:^^c.-^^w^^^mm^m 
 
 Cornice, or Wall Plate of Roof, Beckley, 
 Oxfordsliire. c. 1320. 
 
 =1 
 
 Ein^thorpe. Northamptonshire, c. 1350. 
 
 Wooden Screen. Dorchester. Oxfordshire, c. 1320 
 
DECORATED ENGLISH ORNAMENTS — DIAPER. 297 
 
 Geddin^tou Cross, Northamptonshire, c. 1295 
 
 Q q 
 
298 DECORATED ENGLISH ORNAMENTS— DIAI'ER. 
 
 Lincoln Cathedral, c. 1290. 
 
 St. Albaa's Abbey, c. 130a 
 
 Lincoln Oatbedra], c. 12y0, 
 
 \\e8lmiu9t.;r Abbt-y 
 
 Cimierbury Catbadral. c. ISiO. 
 
DECORATED ENGLISH ORNAMENTS— CROCKETS. 299 
 
 Winchester Cathedral, c. 1320. 
 
 Kidlinjion. Oxfordshrre, c. 13S0. 
 
 Winchester CathedraJ, c. i3i0. 
 
 
 Exeter Cathedral, c. 1300. 
 
 Beverley Minsler, c. 1320. 
 
300 
 
 DECORATED ENGLISH ORNAMENTS. 
 
 On the steeple of Salisbury, knobs are used very profusely in 
 many parts as crockets ; these are plain, but are so most likely 
 on account of the distance from the eye ; these and some other 
 details shew the Decorated date of this steeple, though its com- 
 position is assimilated to the Early English building it is raised 
 upon. It is seldom safe to judge of date solely by the character 
 of the ornamental carvings, yet in many instances these will be 
 very clear distinctions. 
 
 It is extremely difficult to describe, in words, the different 
 characters of Early English and Decorated foliage, yet any 
 one who attentively examines a few examples of each style 
 will seldom afterwards be mistaken, unless in buildings so 
 completely transitional as to have almost every mark of both 
 styles. There is in the Early English a certain unnatural 
 character in the foliage, which is extremely stiff, when com- 
 pared viith. the graceful and easy combinations, and the natural 
 appearance of most of the well-executed Decorated foliage ; in 
 no place can this be examined with better effect than at the 
 cathedrals of York and Ely, both of which contain very ex- 
 cellent examples of each style. 
 
 Wincbester Cathedral, c 13J0 
 
 Debenham, Suffolk, c. 1320. 
 
IS'UH'HlSxEiK' CnnjiaCJBi -SrOliTSC- WAy rrsi , 
 
THE DECORATED ENGLISH STYLE. 301 
 
 Decorated English Steeples. 
 
 At the commencement of this style, several fine spires were 
 added to towers then existing, and in after times many very 
 fine towers and spires were erected. Grantham, Newark, and 
 several other Lincolnshire spires are very fine. These are gene- 
 rally flanked with buttresses, many of which are diagonal, and 
 are generally crowned with fine pinnacles. 
 
 Of these spires, Newark deserves peculiar attention ; it rises 
 engaged in the west end of the church, and the lower parts 
 are Early English, but it is the upper story of the tower and 
 the spire which are its principal beauties. This story rises 
 from a band (which completely surrounds the tower) of sunk 
 panels. The story consists of a flat buttress of not much pro- 
 jection on each side, thus making eight round the tower ; 
 these are in three stages, the two lower plain, with small plain 
 set-ofis, the upper panelled with an ogee head, and an ogee 
 canopy, above which is a triangular head to the buttress richly 
 crocketed, which finishes the buttress under the cornice. Be- 
 tween these buttresses are two beautiful two-light windows, 
 with rich canopies on the dripstone, and a general canopy over 
 both, crocketed, and finishing in a rich finial; in the point 
 of this canopy, between the heads of the windows, is a statue 
 in a small plain niche, and on each side of the windows are 
 other statues in niches with ogee crocketed canopies. The 
 tracery of these windows is very good, and the architraves, 
 both of windows and niches, are composed of shafts. The 
 cornice is filled with flowers and other ornaments at small 
 intervals, and from the corners rise short octagonal pedestals, 
 on which are beautiful pinnacles finishing in statues for fiuials. 
 The parapet is enriched with sunk quatrefoil panels, and the 
 spire has plain ribs and additional slopes on the alternate 
 sides ; there are four heights of windows in alternate faces, all, 
 except the top row, richly crocketed. On the whole, perhaps 
 there are no specimens superior in composition and execution, 
 
302 
 
 THE DECORATED ENGLISH STYLE. 
 
 and few equal. [St. Mary's Church at Stamford is another fine 
 example of a Decorated spire on an Early English tower, 
 (see Plate.)] There are many small towers and spires which 
 appear to be Decorated ; but there are so many of them altered, 
 and with appearances so much like the next style, that they 
 require more than common examination before they are pro- 
 nounced absolutely Decorated ; and there does not appear (as 
 far as the author has been able to examine) any rich ornamented 
 tower of large size remaining that is a pure Decorated build- 
 inor. The west towers of York Minster come the nearest to 
 purity, though the tracery of the belfry windows and battle- 
 ments are decidedly Perpendicular. 
 
 Decorated Engltsh Battlements. 
 
 A parapet continues frequently to be used in the Deco- 
 rated style, but it is often pierced in various shapes, of which 
 quatrefoils in circles or without that inclosure are very com- 
 mon, but another not so common is more beautiful ; this is 
 a waved line, the spaces of which are trefoiled ; it is well 
 executed at the small church of St. Mary Magdalen, at Oxford \ 
 Pierced battlements are become very common ; of these the 
 nave of York presents a fine specimen ; the battlement is an 
 
 ^?==^=^ 
 
 ^>'S^"'^>lSl^"^ r/^^~'^j^\^, r.<x%"^'V5S^^ 
 
 Gr^cik Addiu^ton, NortLdUi^toushire, c, 13u0. 
 
 imjf" 
 
 arch trefoiled or cinquefoiled, and the interval a quatrefoil 
 in a circle, the whole covered with a running tablet which 
 
 [See Glossary, Plate 139.] 
 
J2Ei®2aiit3£ S3riinR.CS, ■DSBP'UISa&SESjEB , 
 
DECORATED ENGLISH ROOFS. 
 
 303 
 
 runs both horizontally and vertically. This round quatrefoil 
 is sometimes exchanged for a square quatrefoil, as at Melrose 
 Abbey. The plaiu battlement most in use in this style is 
 one with small intervals, and the capping moulding only 
 horizontal ; but there may be some battlement perhaps of this 
 date with the capping running both vertically and hori- 
 zontally. In some small works of this style a flower is oc- 
 casionally used as a finish above the cornice, but it is by no 
 means common. 
 
 Decorated English Roofs. 
 
 The Decorated groined roof [or vault] has an increase on 
 the last style in the number of ribs ; those of the simj)lest kind 
 consisted of the longitudinal and crossing rib at the point of 
 the arches, with the cross- springers and pier-rib, with also an 
 intermediate rib between the cross- springers and the pier-rib 
 and the wall-arch ; and these intermediate ribs, increased in 
 number and adorned ^vith small ribs formino: stars and other 
 figures by their inter- 
 sections, give a variety 
 to the groining almost 
 equal to the tracery 
 of windows. In this 
 style, the rib-moidd- 
 ings are generally an 
 ogee for the exterior, 
 and hollows and rounds, 
 with different fillets, 
 towards the ceiling ; 
 in some few instances 
 a principal and second- 
 ary rib are employed. 
 The bosses are placed 
 at all the intersections, ^"' °'°"'^- ''°"^"''' '■ '^'°- 
 
 and are often most beautifully carved. Exeter Cathedral is a 
 
304 
 
 THE DECORATED ENGLISH STYLE. 
 
 fine example of the plain roof, and the nave of York of the 
 richer description, as is also the chapter-house of York. 
 
 There are buildings in which, though the upper roof is 
 shewn, there is a preparation for an inner roof; such is Chester 
 Cathedral, where only the Ladj'-chapel and the aisles of the 
 choir are groined, and the whole of the rest of the church is 
 open ; but on the top of the shafts is the commencement 
 springing of a stone roof. There is a chapel [or vestry] in 
 a church in Cambridgeshire, Willingham, between Ely and 
 
 WUlm^bam, CambriJfieahire. c. 1320, 
 
DECORATED ENGLISH ROOFS. 
 
 305 
 
 Eoof of Chancel, Polebrook, Northaroptonsbire, c. 1330. 
 
 Roof of Nave, R^tuuda, Morthamptonshire, r. 1350. 
 
 11 r 
 
306 
 
 THE DFXORATED ENGLISH STYLE. 
 
 Cambridge, which has a very singular roof; stone ribs rise like 
 the timber ones, the intervals are pierced, and tlie slope of the 
 roof is of stone ; it is high pitched, and the whole appears of 
 Decorated character. 
 
 Bradenstoke Priory, or Clack Abbey. Wiltshire, c. 1320. 
 
 There remain a few roofs, which appear to be of Decorated 
 character, that are open to the roof framing, and have a sort 
 of panelled work in ogee quatrefoils in timber, between the 
 principals, which have arched ornamental work ; of this kind 
 is the roof of Eltham Palace. These are getting very scarce, 
 
■)r©j£js:s.mii2!t3E 
 
DECORATED ENGLISH FRONTS. 307 
 
 as they are hardly ever repaired but by new work, of a totally 
 diiFerent kind ^. 
 
 Decorated English Fronts. 
 
 The east fronts of Decorated buildings consist so often of 
 one large window for the chancel or choir, and two smaller 
 ones for the aisles, if there be any, that little need be said 
 of their composition, as all its variation in general depends 
 on the variety of buttresses, &c., used as finishings. Of these 
 it may be sufficient to mention three, the east ends of Lincoln 
 and Carlisle Cathedrals, and Howden Church, [see Plate] . The 
 first consists of a centre, and side aisles divided, and flanked by 
 tall buttresses without set-offs, but panelled, with canopy heads 
 and small corbels, the angles finished with shafts, and the 
 tops of the buttresses with a triangular crocketed head ; under 
 the windows, along the whole front, runs a line of panels 
 divided by small shafts, and above them a tablet. The great 
 centre window has been described before; it has eight lights, 
 has over it one of five lights, flanked by arch-headed panels, 
 and the gable has an ornamented crocketed capping, and 
 a cross ; behind the buttresses rise octagonal pinnacles with 
 rich finials : the windows of the aisles are of three lights, and 
 over them the gables are filled with three tiers, of panels and 
 a circle, plain capping, and a cross at the point. This front 
 has a very fine effect, and is almost the only east front of 
 a cathedral which can be seen at a proper distance. The 
 
 e [Decorated timber roofs are not so but fortunately a drawing of it was 
 
 uncommon as they were supposed to be preserved by Mr. Blore, and engraved 
 
 when Mr. Rickuian wrote. Many ex- in the Glossary of Architecture. The 
 
 amples have been found in parish example from Rauuds is late in the 
 
 churches, as well as in monastic and style, and there are several specimens 
 
 domestic buildings. The example from in the same part of Northamptonshire 
 
 Clack Abbey, ou the preceding page, is of roofs very similar to this, which 
 
 perhaps one of the best remaining of are of transition or early Perpendicular 
 
 the class described by Mr. Rickman. character. See Glossary of Architec- 
 
 Another very fine one at Malvern was ture, vol. i. p. 399, and vol. ii. PI. 173 — 
 
 wantonly destroyed a few years since, 176.] 
 
308 THE DECORATED ENGLISH STYLE. 
 
 east end of Carlisle is evidently a Decorated wall added to 
 an Early English building ; its aisles are different from each 
 other, but all the buttresses are rich ; its great beauty is the 
 east window, which is of nine lights, and in the composition 
 of the tracery is superior even to the west window of York, 
 to which the centre muUion gives a stiffness not visible at 
 Carlisle. At Ilowden, the tracery of the great window is 
 destroyed, and the whole in ruins ; but enough remains to 
 shew the symmetry of the composition and the richness and 
 delicacy of the execution. 
 
 The east end of Lichfield Cathedral is a semi-hexagon, with 
 very fine long windows of rich tracery ; this is late in the 
 style, and seems to have been much repaired at a still later 
 date. Of west fronts one only need be mentioned, but that 
 must be allowed to be nearly, if not quite, the finest west front 
 in the kingdom ; it is that of York: its towers and buttresses 
 have already been spoken of, and it only remains to say, that 
 the three doorways are the finest specimens of Decorated 
 doorways in the kingdom ; its great window is only excelled 
 b}' that of Carlisle. The central part over the window finishes 
 by a horizontal cornice and battlement, above which rises the 
 pierced canopy of the window, and at some distance behind the 
 gable of the roof rises with a front of fine tracery and a pierced 
 battlement. It is to be regretted that this beautiful front is 
 surrounded by buildings so near that no good view can be 
 obtained of it, as, from the eye being brought too near, tlie 
 fine elevation of the towers is almost lost. Of smaller churches, 
 the east end of Trinity Church, Hull, deserves attention ; the 
 windows are verj^ fine, but the centre one has a trace of Per- 
 pendicular work in it : [see Plate] . 
 
 [Tlie west front of Lichfield Cathedral, with its two spires, 
 central window, and series of niches, is one of the richest 
 specimens of this style in existence. The spire-lights are 
 so numerous and so close to each other as to give nearly the 
 effect of panelling. The pinnacles clustering round the base of 
 the spire are a ver}^ elegant feature of this st^de, and the three 
 sunk porches, with the double doorway in the centre, add much 
 to the riclmess of the composition. 
 
 l*erhaps one of the most elegant examples of a Decorated 
 
r\^rkcDxi*7*cwiaJ*BeA c^PH T 
 
 
 iS[<S)TU(&2ErT©Sr ILE IDi^IE ClSLiinE.(nEI _ iy(0)SS.:?©juS^ 
 
DECORATED ENGLISH FRONTS. 
 
 309 
 
 English front to a small building that we have remaining 
 is the west fi-ont of the chapel at Ilaughton-in-the-Dala, 
 Norfolk: (see Plate).] 
 
 Wc3C Front Of Lichfield Cathedral, c. 1320. 
 
310 THE DECORATED ENGLISH STYLE. 
 
 Decorated English Porches. 
 
 There are not many of these remaining, but under this head 
 should be noticed three beautiful gate-houses, which are in 
 some degree assimilated to porches ; these are the gates of the 
 abbey at Bury St. Edmund's, of Thornton Abbey ^ in Lincoln- 
 shire, [see Plate,] and of St. Augustine's monastery at Canter- 
 bury ; they have all rich and beautifully ornamented gateways, 
 with rooms over them, and their fronts ornamented with niches, 
 windows, &c., and at St. Augustine's, two fine octagonal towers 
 rise above the roof. These three are of very varied compo- 
 sition, but all contain very valuable details. 
 
 [The St. Ethelbert's gateway to the Close at Norwich is 
 also a fine example of this style, and affords an early and 
 beautiful specimen of flint and stone panelling, with rich sculp- 
 ture, and a good scries of niches with pedimentcd canopies. 
 
 Decorated English porches, though comparatively micommon, 
 are not so rare as Mr. Rickman appears to have supposed. 
 Some fine examples remain, both of stone and wood : at Over, 
 Cambridgeshire, is a very remarkable one of stone ; the whole 
 of the church to which this is attached is worthy of attentive 
 study : at Ilorsemonden, Kent, is a very fine one of wood, with 
 rich barge-boards : at Bin field, Berkshire, is one worthy of 
 notice, and some other examples are given in the " Glossary 
 of Architecture." At Merrow, Surrey, is a stone porch with 
 wooden barge-boards belonging to this style. The west porch 
 of llushden Church belongs also to this style, and the manner 
 in which the canopy is connected with the buttresses of the 
 tower is very remarkable : there are other examples of porches 
 of similar general arrangement, though few more elegant. The 
 south porch of St. Mary's, Beverley, is another fine example, 
 with buttresses and pinnacles, and a very rich doorway with 
 ogee canopy, crockets, and finials, and hanging foliation : (see 
 Plate).] 
 
 ' [The gate -house of Thornton Ahhey a scries of ornamental niches, and the 
 is very hite iu this style, and partly inner front lias a very fine oriel win- 
 transition to the next ; the two sides of dow, (see p. 310) : for other details of 
 it are very dillcrent, though of the it, see the Archaeological Journal, vol 
 same date, and hoth are good in tlieir ii. p, 357.] 
 way ; the exterior is fortified, but has 
 
n 
 
 % 
 
 r- 
 
 -^•J 
 
 I 
 
 3??jT3L eoecei ©1? J-? I'jL.-'iSru:? ss^'mirE^ESTJSs^.EY. 
 
311 
 
 
 Metro w, Surrey, c. 1350. 
 
 Over Cambndgeabire c 1330 
 
Eushden Noitbaiupu>nshire c a_U 
 
 Horaemondcn. Kent, c. 13*), 
 
niE DECORATED ENGLISH STYLE. 
 
 313 
 
 Decorated English Fonts. 
 
 ThougTi not so numerous as the Norman or Perpendicular 
 fonts, yet tliere are many good fonts of this style remaining, 
 and at Luton, in Bedfordshire, is erected round the font a beau- 
 tiful chapel or baptistery, of very fine composition. 
 
 Stip'.ake, Oxfordshire, c. 1320. 
 
 Bloxham, Oxfordshire, c. 1350. 
 
 Cotterstock, Northamptonshire, c. 13£0. 
 
 St Peter's. Northamptonshire, c. 1320. 
 
 S S 
 
314 THE DECORATED ENGLISH STYLE. 
 
 The general appearance of Decorated buildings is at once 
 simple and magnificent ; simple from the small number of 
 parts, and magnificent from the size of the windows, and 
 easy flow of the lines of tracery. In the interior of large 
 buildings we find great breadth, and an enlargement of the 
 clearstory windows, with a corresponding diminution of the 
 triforium, which is now rather a part of the clearstory opening 
 than a distinct member of the division. The roofing, from 
 the increased richness of the groining, becomes an object of 
 attention. 
 
 Though we have not the advantage of any one large build- 
 ing of this style in its pure state, like Salisbury in the last 
 st3de, yet we have, beside many detached parts, the advan- 
 tage of four most beautiful models, which are in the highest 
 preservation. These are at Lincoln, Exeter, York, and Ely; 
 and though differently worked, are all of excellent execution. 
 Of these, Exeter and York are far the largest, and York, 
 from the uncommon grandeur and simplicity of the design, 
 is certainly the finest ; ornament is nowhere spared, yet there 
 is a simplicity which is peculiarly pleasing. Lincoln has already 
 been spoken of as assimilated to the Early English work 
 around it ; and El)' has, from the same necessity of assimila- 
 tion to former work, a larger triforium arrangement than com- 
 mon : though not so bold in its composition as the nave of 
 York, the work at Ely is highly valuable for the beaut}' and 
 delicacy of its details. 
 
 Amongst the many smaller churches. Trinity Church, at 
 Hull, deserves peculiar notice, as its Decorated part is of 
 a character which could better than any be imitated in modern 
 work, from the great height of its piers, and the small- 
 ness of their size, [see Plate] . The remains of Melrose Abbey 
 are extremely rich, and though in ruins, its parts are yet 
 very distinguishable. [But comparatively a small portion of 
 them belongs to this style ; the greater part is later, and has 
 the same mixture of the English Perpendicular and the French 
 Flamboyant which is used in Scotland.] 
 
JElirE,IL c 
 
THE TRANSITION FROM DECORATED TO PERPENDICULAR. 315 
 
 
 Thornton Abbey Gatehouse, c. 1360. 
 
 Sandford, Oxfordshire, c. I3o0. 
 
 South Aisle of Choir, York, i.u. 1382 — 1405. 
 
 ,1 o...,.,-^Ti;!l 
 
 Cleaisiory of Presbytery, York, 4.0. 1371—1333. 
 
316 THE TRANSITION FROM THE DECORATED 
 
 Oriel Window in Gatehouse, Thornton Atbey. c. 1360 
 
 Door. King's Sutton, Northamptonshire, c. 1360. 
 

TO THE PERPENDICULAR STYLE. 317 
 
 In imitations of this style, great delicacy is required to 
 prevent its running into the next, wliich, from its straight 
 perpendicular and horizontal lines, is so much easier worked ; 
 whatever ornaments are used should be very cleanly executed 
 and highly finished. 
 
 As an example of transition from this style to the next, the 
 choir of York may be cited; the piers and arches retain the 
 same form as in the Decorated work in the nave, but the 
 window [see p. 315], the screens, and, above all, the east end, 
 are clearly Perpendicular, and of very excellent character and 
 execution. The windows still retain shafts and mouldings in 
 the architraves, and the east window has a band of statuary 
 niches as part of its architrave. 
 
 [The transition from the Decorated to the Perpendicular 
 style is less obvious than in the earlier styles, but examples 
 of it are perhaps quite as numerous, though more frequent 
 in some districts than in others. In Norfolk they are especially 
 abundant, some of the finest churches in that county, as Wor- 
 stead, Ingham, &c., having been built just at the period when 
 this change was taking place, — the latter half of the fourteenth 
 century : in Oxfordshire and Northamptonshire numerous ex- 
 amples may also be found. The tower and spire, and some 
 other parts of King's Sutton Church, Northamptonshire, afford 
 a good specimen of this transition : the north door is Perpen- 
 dicular in form with Decorated details. In many of these cases 
 the tracery partakes a good deal of the French Flamboyant 
 character.] 
 
 There are many fine castellated remains of this st5de ; of 
 these, it may be enough to mention Caernarvon Castle, and 
 the noble gateway to Lancaster Castle. 
 
 [Castles of the Edwardian period are very numerous, and all 
 belong to this style ; most of the Welsh castles begun by Ed- 
 ward I. were not completed until the time of Edward II., and 
 sometimes later. There are also numerous remains of monastic 
 buildings of this period, especially gatehouses. The gatehouse 
 of Thornton Abbey, Lincolnshire, is a remarkably fine example 
 of the transition from the Decorated to the Perpendicular style ; 
 the two sides are quite different in design, though of the same 
 date ; the exterior is fortified ; in the interior there is a re- 
 markably fine oriel window ; (see Plate) .] 
 
318 
 
 THE DECORATED ENGLISH STYLE. 
 
 EDWARD I., A.D. 1272—1307 
 
 Head of Edward I., from his coins. 
 
 AiTEs of Edward I. 
 
 [a.d. 1273—1278, St. Ethelbert's Gatehouse at Norwich 
 built ; also part of the walls and the cathedral repaired, after 
 the riots in which 
 they had been seri- 
 ously damaged. 
 Tliis gatehouse is 
 a fine example of 
 early Decorated, 
 with flint and stone 
 panelling in geo- 
 metrical patterns s. 
 
 A.D. 1275—1282. 
 Hereford Cathedral. 
 The nortli transept, 
 the chapter-house, 
 and part of the 
 cloisters are attri- 
 buted to Bishop 
 Cantilupe, and 
 agree in character 
 with his tomb, or 
 shrine, which is 
 Early English, but 
 ver}^ rich, and late 
 in the style. The 
 arcades of the shrine 
 have trefoil and 
 
 cinquefoil arches ; the arches of the transept are straight-sided, 
 and enriched witli the tootli-ornament ; the windows have tracery 
 
 K Godwin, p. 347; Mon. Aug. ; Britton, &c. 
 
 
 .^^^ 
 
 '4 
 
 ifij^tlit^s^*''^" 
 
 St. Ethelbert's Gatehouse, Norwich, a.u, 1273 — 1278. 
 
EDWARD I., A.D. 12/2 — 1307. 319 
 
 consisting of foliated circles and quatrefoils. It is in style rather 
 behind other buildings of the same period. 
 
 A.D. 1275 — 1.290. The church of Stoke Golding, or Golding- 
 ham, in Leicestershire, built, as recorded by an inscription on 
 the wall of the north aisle : — 
 
 Robert . de . Campania . miles . et . Margareta . uxor . ejus . 
 riLiA . E.0GER1 . DE . Stoke . militis . fundaverunt . hanc . ecclesiam . 
 
 IN . HONORE . S. MaRGARETAE . ViRGINIS . TEMP. Ed. I. 
 
 This Robert de Charapaigne was witness to a charter of Edward 
 I,, in 1275. A fac-simile of the inscription is given in Pegge's 
 Sylloge, and engravings of it in Weale's " Quarterly Papers," 
 vol. i. The style is early Decorated, with geometrical tracery. 
 A.D. 1275—1291. The tomb of King Henry III., in West- 
 minster Abbey, executed by " Master William Torel." This 
 efhgy, and that of his queen, Eleanor, are among the most 
 beautiful that we have remaining. The inscription round the 
 verge of the tomb is also remarkable for the elegant form of 
 the letters, which have been generally received as the best 
 
 ^ 
 
 i^^^^M^^^^^^^i^^^^i^^^^^^^ 
 
 
 model for an alphabet of the thirteenth century. The tomb is 
 engraved in Gough's "Sepulchral Monuments" and Blore's 
 *' Monumental Remains." 
 
 A.D. 1274—1277. Merton College Chapel, Oxford. The choir 
 and arches of the transept built by Walter de Merton, Bishop 
 of Rochester and Lord High Chancellor of England, the founder 
 of the college ^, who had also been chaplain to Richard King of 
 the Romans, and probably accompanied him to Cologne at the 
 time the cathedral was building there. The stjde is early De- 
 corated, with geometrical tracery. (See Plate.) 
 
 *> See Arch. Jo., vol. ii. p. 137, and Gent. Mag., vol. ccv. Janiuirv 1858, vol. ccviii. 
 January 18G0, and the authorities there cited. 
 
320 
 
 THE DECORATED ENGLISH STYLE. 
 
 Part of the choir and 
 
 A.D. 1279-1291. Exeter Cathedral, 
 transepts commenced under 
 Bishop Peter Quivil ', con- 
 tinued under Bishop Button, 
 and finished under Bishop 
 Stapledon in 1318. The 
 windows were glazed be- 
 tween 1317 and 1320. The 
 style is Decorated, with geo- 
 metrical tracery. 
 
 A.D. 1280 — 1292. The 
 hall of the Bishop's Palace 
 at Wellsj and Acton Burnell 
 Castle, Shropshire, built by 
 Bishop Robert BurneU''. The style is fine early Decorated, with 
 geometrical tracery. 
 
 Corbel-heads, transept, Exeter Cathedral. 
 
 Window from the Hall of the Bishop's Palace at Wells, a.d. 12S0 — 1292. 
 
 c. 1280—1300. Dorchester Abbey Church, Oxfordshire. The 
 choir and aisles are of this period, although no distinct record 
 of their construction has been found; the armorial bearings 
 found in the windows, with the form of the shields, indicate 
 
 ' The Fabric Eolls are preserved, 
 and are quoted in Mon. Ang., vol. ii. 
 p. 516, Britton's Cathedrals, &c. 
 
 '' Godwin's Catalogue of the Bishops, 
 p. 299 J Dom. Archit., vol. i. p. 354. 
 
EDWARD I., A.D. 1272 — 1307. 
 
 321 
 
 Arms of Edmund. Earl 
 of Cornwall. 
 
 this date ; among the arms are those of Edward I. and Queen 
 Eleanor, Edmund Earl of Cornwall, the Earl 
 of Lancaster, and most of the principal 
 barons of that time. For further particulars 
 see the account of this church, with numer- 
 ous engravings, published by the Oxford 
 Architectural Societj'' in 1845, 8vo. 
 
 A.D. 1281. Somerton Castle, Lincolnshire, 
 built by Antony Beck, who obtained the 
 licence to fortify it in this year : the re- 
 mains of it agree with this period ; one of the corner towers 
 has a good groined vavdt with a central pillar, like a chapter- 
 house. (See " Domestic Architecture," vol. i. p. 172, and vol. 
 ii. p. 238.) 
 
 A.D. 1288—1304. The Lady-chapel of Chichester Cathedral 
 built by Bishop Gilbert de Sancto Leofardo K The style is early 
 Decorated. 
 
 " It deserves careful study, not only for its excellent details and 
 the varied tracery of its windows, but because it is one of the very 
 few dated examples that we possess. From the phrase employed in 
 Eeade's Register, * construxit a fundamentis capeUam Beatae Mariae in 
 Ecclesia Ciccstr.,' it must be inferred the work was executed during 
 his official Hfe ■"." 
 
 A.D. 1291—1294. The Eleanor 
 Queen Eleanor in Westminster 
 Abbey. The accounts of the 
 executors of Queen Eleanor 
 have been printed in the vo- 
 lume on the " Manners and 
 Household Expenses of Eng- 
 land in the Thirteenth and 
 Fifteenth Centuries," presented 
 to the Roxburgh Club by 
 Beriah Botfield, Esq., in 1841, 
 and very carefully edited by 
 the late T. Hudson Turner. These accounts leave no room 
 for doubt as to the dates of these structures and that they were 
 chiefly the work of English artists. Master William Torel, 
 the head sculptor, was conjectured by Mr. Turner to be the 
 same with William the Florentine, a painter much employed in 
 England towards the end of the reign of Henry III., but there 
 is no distinct e\ddence of this ; and the names of other artists 
 
 • Bishop Eeade's Register, quoted by Willis, p. 31; Dallaway's History, p. 51; 
 Godwin, p. 387 ; Mon. Ang., vol. vi. p. 1162. ™ Willis's Chichester Cathedi al. 
 
 1 t 
 
 Head emd Arms of Queen Eleanor, from her Tomb 
 in Westminster Abtey. 
 
322 
 
 THE DECORATED ENGLISH STYLE. 
 
 are plainly English, and one is from Ireland. The Irish appear 
 to have been always skilful sculptors, and 
 are so to the present day. Nine crosses 
 are mentioned in the accounts — at Lin- 
 coln, *Northarapton, Stony Stratford, Wo- 
 burn, Dunstable, St. Alban's, *"Waltham, 
 Cheap and Charing in London. Of these 
 the only two remaining areTTaltham and 
 Northampton, (see Plate,) but there is 
 another, at Geddington, which is in more 
 perfect preservation than either of the 
 others, and although this is not mentioned 
 in the accounts, it is most probable that 
 part of these are missing. The crosses 
 were erected at all the places where the 
 body rested for the night, and the distance 
 from Lincoln to Northampton is more 
 than double that of any of the other sta- 
 tions, and Geddington is on the direct 
 line between the two. 
 
 A.D. 1291 . Stoke Say Castle, 
 
 Shropshire, built by Laurence de Ludlow ; 
 the licence to crenellate, or fortify, it Avas 
 obtained in this year ; it remains nearly 
 perfect and a beautiful example of a house 
 of this period, just so far fortified as the 
 necessities of the time required, but evi- 
 dently intended for a dwelling-house, and 
 not a mere fortress. (For engravings see 
 " Domestic Architecture," vol. i.) 
 
 A.D. 1291—1345. The nave of York 
 Cathedral, commenced under Archbishop 
 John le Remain, and finished under John de Thorcsby. The 
 Fabric Rolls are preserved, and have been published by the 
 Surtecs Society in 1859, carefully edited by the Rev. James 
 Raine, jun. The Architectural History of this cathedral, by 
 Professor "Willis, was published by the Archa3ological Institute 
 in the volume of their Proceedings at York, 1846. There 
 is also a very elaborate history of the cathedral, with a fine 
 series of engravings, by John Browne, 2 vols., 4to., 1847. It 
 is contained also in Britten's " Cathedrals," and a large number 
 of other works relating to it have appeared from time to time ; 
 the bold etchings of Halfpenny, published at the end of the 
 last century, are very fine, and still unsurpassed for giving the 
 general eifect. (See capitals, p. 285, and windows, p. 268.) 
 
 Qaeen KlticLuor, trom tue Crotis, 
 
 Geddington, Northamptonshire, 
 
 A.D. 129i. 
 
EDWARD I., A.D. 1272 — 1307. 323 
 
 A.D. 1292. A great fire occurred at Carlisle, in which the 
 cathedral was burnt ; this destroyed the timber roof over the 
 central space of the choir, but the vaulted roofs of the aisles 
 preserved the outer walls frora injury : the burning timbers of 
 the roof, in falling, damaged the piers so much that they were 
 obliged to be rebuilt ; this was skilfully done without disturb- 
 ing the arches or the vaults, and the consequence of this is that 
 Early English arches and vaults now rest on Decorated piers. 
 The eastern wall is evidently an addition, and the magnificent 
 east wTindow, generally allowed to be the finest in England, 
 belongs to this small portion, which was probably added tor 
 wards the middle of the fourteenth century. (For engravings 
 see Billing's " Carlisle Cathedral.") 
 
 A.D. 1292 . The Redclifie Church, Bristol, commenced. 
 
 The beautiful south porch is the only part remaining of this 
 period. (For engravings see Britton's " History of the Red- 
 clifie Church.") 
 
 A.D. 1292. The tomb of Archbishgp John Peckham in Can- 
 terbury Cathedral is a fine example of early Decorated, of 
 geometrical character, and has the four- leaved flower in the 
 mouldings. (For engravings see Britton's " Cathedrals," and 
 Blore's " Monumental Remains.") 
 
 A.D. 1293 . Bray Church, Berkshire, rebuilt at this 
 
 period, as appears by the Court Rolls still preserved, an extract 
 from which is entered, by the Rev. G. C, Gorham, Yicar in 
 1836, at the beginning of the parish register ; an example well 
 worthy of imitation. Considerable part of the church is in the 
 early Decorated style, but parts are Early English, as if the 
 rebuilding had been partial only ; and the tower is an addition 
 of the fifteenth century. 
 
 A.D. 1296. The tomb of Robert de Yere, fifth Earl of Oxford, 
 in Earl's Colne Church, Essex. The style is Decorated, its 
 sides are richly ornamented with sculpture, figures in niches, 
 and it is surmounted by a cornice and battlement. (For a beau- 
 tiful engraving of it see Blore's " Monumental Remains.") 
 
 A.D. 1296. Lincoln Cloister : the south side was finished and 
 the other parts were in progress at this time, as appears from 
 Bishop Sutton's Memorandum in the Bishop's Registry at 
 Lincoln, fol. 154 b. The style is Decorated, with a wooden 
 ceiling in imitation of a stone groined vault, and with stone 
 springers ; the whole of original work, 
 
 A.D. 1302. Hitchin Church, Hertfordshire, is mentioned as 
 newly built in Bishop D'Alderby's Memoranda, fol. 44 b, in the 
 Bishop's Registry at Lincoln. The piers and arches of this 
 date remain ; the exterior is Perpendicular. 
 
324 
 
 THE DECORATED ENGLISH STYLE. 
 
 A.D. 1303. Peterborough, the gatehouse to the bishop's 
 palace, formerly to the abbot's house, was built in this year by 
 Abbot Godfrey de Croyland". The style is Decorated, but early 
 in the style : the 
 mouldings of several 
 M-indows in the ca- 
 thedral correspond 
 exactly with this 
 gatehouse. 
 
 A.D. 1304—5. In 
 Canterbury Cathe- 
 dral the following 
 works were done 
 under Prior Henry 
 de Eastry: — ''Ee- 
 paratio totius chori, 
 cum tribus novis 
 ostiis, et novo pul- 
 pito, et reparatio 
 capituli, cimi duobus 
 novis gabulis°." The 
 2nilpitum means the 
 rood-loft, now the 
 organ- gallery, which 
 is of this period. The 
 style of all these 
 works is pure Deco- 
 rated ; the screen and 
 the doorwaj's in it 
 are good examples of 
 the stj'le. (For fur- 
 ther particulars see Willis's " Architectural History of Canter- 
 bury Cathedi-al," ch. vi,, and Britton, pp. 38 — 51.) 
 
 A.D. 1305 — 1336. Chichester Cathedral. The southern 
 transept lengthened and partly rebuilt by Bishop John de 
 Langton p : 
 
 " This south wall contains a magnificent flowering Decorated window 
 of enormous magnitude, surmounted by an elegant rose of the same 
 date. . . . The tomb of Langton, as usual with founders or benefactors, 
 is placed in the interior, within a handsome monumental arch and 
 canopy, forming part of his owj;i wall, beneath the window at the 
 south-eastern corner of the transept ''." 
 
 Cboir-scieen, Canterbuiy. &J>. 1301 
 
 " Mon. Ang., vol. i. p. 358. 
 
 P Mon. Ang., vol. vi. p. 12G8. 
 
 MS. Cotton. Galba, E. iv. fol. 103. 
 •1 Willis's Chichester, p. 32. 
 
EDWARD I., A.D. 12/2 — 1307. 325 
 
 Godwin says (p. 387) that he also " builded a costly window in 
 the south part of the church." 
 
 A.D. 130G — 1311. Lincoln Cathedral. The register of Bishop 
 D'iUderby records some new work going on at this time ; 
 the precise part of the building is not mentioned, but it has 
 been conjectured to apply to the completion of the central 
 tower and the cloister. As he was buried in the south transept, 
 it is probable that the south end with the great rose window is 
 of this period. This window has Decorated tracery. The lower 
 part of the central tower had been rebuilt long before, but it 
 may have been finished at this time ^. 
 
 FoEEiGN Examples. 
 Feench. 
 
 A.D. 1277 — 1289. Auxerre, St. Germain's. The choir rebuilt, as 
 recorded in documents quoted by the Abbe Lebeuf in his History of 
 Auxerre, It is very fine early Decorated work; the windows have 
 geometrical tracery, chiefly trefoils. 
 
 A.D. 1277 — 1318. Strasburg Cathedral. The west front and the 
 tower begun from the design of Erwin de Steinbach ; after his death 
 in 1318 they were continued by his son John for twenty years, but 
 the tower was not completed until 1439, when John Hulz, of Culogne, 
 erected the spire 8. The style is chiefly Decorated, with a wonderful 
 spire of open filigree-work in stone ; the later parts are quite Flam- 
 boyant. 
 
 A.D. 1278 — 1328. The cathedral of Sainte Croix, at Orleans, re- 
 built •■. The only parts remaining of this period are the chapels of the 
 apse and the side doorway called "Porte de I'Eveque." The style is 
 French Decorated, the other parts are imitated from these at a very 
 late period, and notwithstanding the faults of detail, the general effect 
 is surprisingly good, 
 
 A.D. 1280. The cathedral of Bourges. The vault of the nave 
 
 built by John and Guy de Sully, (Guy died in this year). The dedica- 
 tion took place in 1324. 
 
 A.D. 1280 — 1297. Dijon Cathedral; the choir rebuilt. It is a fine 
 example of the later division of the Early French style, or it may be 
 called early Decorated; this part of the church is rather later and 
 richer than the nave ; the capitals have crumpled foliage ; the windows 
 have foliated circles and trefoils in the head, in fact, early geometrical 
 tracery, very similar to the chapter-house at Salisbury. 
 
 "■ Bp, D'Aldarby's Memoranda, folio Sevue Archif., col. 195. 
 
 101, and Chapter Acts, 1305 to 1320, ' Monographie de S. Croix, pp. 16 — 
 
 in the Bishop's Registry at Lincoln. 20 ; Bourasse, p. 308. 
 
 ' Bourasse, Cathedrales, p. 211 ; Daly, 
 
326 
 
 THE DECORATED ENGLISH STYLE. 
 
 A D. 1280- 
 
 1308. Caen, St. Pierre. The choir and nave are said 
 to have been built at this time, with the fine west 
 tower and spire ". The style is Early French, but 
 late in the style, and the windows have Decorated 
 tracery : the spire is pierced with small openings, 
 some round, others trefoils, and the surface is cut in 
 imitation of wooden shingles, or tiles ; these features 
 are common in France. (For engravings see Pugin, 
 Cotman, &c.) 
 
 A.D. 1282 — 1480, The cathedral of Albi, com- 
 menced by Bishop Bernard de Castanet in the foi-mer 
 year, but not consecrated until 1480, by Bishop Louis 
 d'Amboise I., who was buried in it". It is a won- 
 derful structure, built entirely of brick, of vast di- 
 mensions, with a vault of enormous span, and no 
 aisles ; the buttresses are of great projection, but are 
 concealed by the chapels built between them. It 
 is chiefly of the Decorated style of the fourteenth 
 century ; but the choir is inclosed by a stone screen 
 of very elaborate Flamboyant work, and the whole of 
 the interior is covered with rich painting of the end 
 of the fifteenth century ; this and the screen are pro- 
 bably of the time of Bishop d'Amboise. 
 
 A.D. 1284 . Cathedral of Troyes; the nave 
 
 and western doorways. This cathedral is of various 
 Spire, St. Peters, Caen, pgi^Q^jg j^nd was uexcT fiuishcd, but coutaius some 
 fine portions, and the parts here recorded are good examples of the 
 period. 
 
 A.D. 1285—1295. The cathedral of Quimpcr, in Brittany. The 
 choir is of this period; the nave about a century later, and there is 
 a veiy remarkable difference in the orientation of the two. 
 
 A.D. 1286. Aries. The cloister is said to have been completed in 
 this year by Abbot Eocquard Desbac ; it is in fijie preservation, w^th 
 round arches and coupled shafts, as usual in Italy and the south of 
 France. The new cathedral is incidentally mentioned in the Gallia 
 Christiana as begun about this time by Archbishop Bi rnard de Lan- 
 gaiisel. It has a very rich west front, and doorways quite Italian "'. 
 
 A.D. 1294. The cathedral of Sens. The clearstory windows of the 
 choir are recorded as erected at this date. 
 
 A.D. 1295. Rheims Cathedral. The work was continued at this 
 time, as mentioned in contemporary records. 
 
 A.D. 1296. Paris, Notre Dame. The apsidal chapels finished, 
 and in 1307 — 1337 the sculpture on the screen round the choir 
 executed. 
 
 A,D. 1297 — 1324. The abbey church of Ardennes, near Caen, re- 
 
 " Gaily Kniglit's Tour in Normandy, p. 63. ^ Bourassc, p. 46; Gallia 
 
 Christiana, vol. ii. pp. 84 — 86. * Gall. Christ., vol. ii. p. 60. 
 
EDWARD I., A.D. 1272 — 1307. 327 
 
 stored by John le Blond *. The west front is of this period, and is 
 a very rich and fine example of the early Decorated of Normandy, 
 
 A.D. 1302—1320. Rouen Cathedral. The Lady-chapel rebuilt y. 
 The style is early French Decorated, the windows have geometrical 
 tracery. 
 
 Italy. 
 
 A.D. 1278 . Pisa. The Campo Santo, or cloister round the 
 
 cemetery, built from the design and under the direction of Giovanni 
 Pisano, as appears from the following inscription placed on the right 
 side of the principal entrance : — Axno Doiiixi mcclxxviii. Tempoke 
 Domini Federigi Aechxepiscopi Pisani : Domini Terlati Potestatis : 
 Opeeario Orlando Sardella : Johanne Magistro ^dificante ^ The 
 style is thoroughly Italian Gothic, with flat segmental arches, but with 
 Decorated geometrical tracery. 
 
 A.D. 1278 . Florence. The church of Santa Maria Novella, 
 
 begun from the design of Fra Sisto da Firenze and Fra Ristoro da 
 Campi, two Dominican friars^. It is a fine example of the Italian 
 Decorated Gothic. 
 
 A.D. 1295—1327. Sienna. The chapel of the Palazzo Publico, 
 built by Angelo and Agostino of Siena. The interior agrees with this 
 period ; the exterior is in the style of the Renaissance in the beginning 
 of the sixteenth century *'. 
 
 A.D. 1296—1336. Messina. The church of "La Madonna della 
 Scala," built by Frederick of Arragon, King of Sicily '^. " This 
 building in no wise resembles the fourteenth century buildings of 
 France and England. It has no deep mouldings, and in all its orna- 
 ments and accessories the Greek touch and the Greek character are 
 conspicuous." 
 
 A.D. 1298 . Florence. The cathedral, or " duomo," com- 
 menced from the design and under the direction of Amolfo di Cambio 
 da Colle, as recorded in the following inscription : — 
 
 •i» ANNIS . MILLENIS . CENTV BIS . OTTO . KOGENIS 
 
 VENIT . LEGATUS . EOMA . BONITATE . DOTATVS 
 QVI . lAPIDE . KXIT . FVNDO . SIMVL . C BNDIXIT 
 
 PEESVLE . FEANCISCO . GESTANTI . POXTIFICATT 
 ISTTD . AB AENtTLFO . TEPLV . EVIT . EDIFICATVM 
 
 HOC OPVS . INSIGNE . DEC0EAN3 . FLOEETIA . DISNE. 
 EEGINE . CELI . C0N3TEVXIT . MENTE . FIDhLI 
 
 QTA TV . VIEGO PIA . SEMp . DEFENDE . MAEIA. 
 
 '^ Nettstria Pia,-p.707 ; De Caumont, ' Gio Villani, Chron., lib. vii. cap. 
 
 Arch. Set., p. 424. 6 ; and Marchese, Memoire di piu in- 
 
 y Gaily Knight's Tour in Normandy, siffni pittori, scultori et architetti 
 
 p. 29; VioUet-le-Duc, Diet., vol. ii. p. Dominicani, vol. i. p. 51. 
 364. '' Spielberg, Olen Capelle in Siena, 
 
 ^ Rosini, Campo-Santa di Pisa, and folio, Berlin, 1862. 
 Grassi, Descrizione Sforica e Artistica "^ Gaily Knight's Normans in Sicily, 
 
 di Pisa, part ii. p. 111. p. 126, 
 
328 
 
 THE DECORATED ENGLISH STYLE. 
 
 Sweden. 
 
 A.D. 1287. The cathedral of Upsal, in Sweden, begun. Estienne 
 de Bonneuil set out from Paris in this year, accompanied by ten master 
 masons and ten apprentices, to build it, as appears from the Registers 
 of the Prevote of Paris, quoted by D'Agincourt, Hist, de V Art, torn, 
 i. p. 74. The cathedral of Upsal is built on a plan similar to that of 
 Notre Dame at Paris, in the construction of w hich Stephen de Bon- 
 neuil was probably employed under Eudcs de Montreuil. 
 
 EDWARD II., A.D. 1307—1326. 
 
 A.D. 1308—1326. St. Alban's Abbey. The Lady-cbapel built 
 by Abbot Hugh de Eversdon'^. The style is Decorated, with 
 flowing tracery. 
 
 A.D. 1310—1321. Lichfield Cathedral. The Lady-chapel 
 was built by Bishop Walter de Langton, who laid the founda- 
 tions about 1310 : he died in 1321, before it was completed, 
 and bequeathed a sum of money for its completion \ It is 
 A'ery rich and beautiful Decorated work. (For engravings see 
 Britton.) 
 
 A.D. 1310. The vestry of Merton College Chapel, Oxford, 
 (now the brewhouse,) was 
 built in this year, as appears 
 by the Bursars' Rolls still 
 preserved in the Treasury 
 of the College, quoted in 
 the " Arch geological Jour- 
 nal," vol. ii. p. 141. The 
 stjde is Decorated, with 
 flowing tracery ; the mould- 
 ings of the windows of this 
 building are precisely the 
 same as those of the chapel 
 itself, although it is evi- 
 dently an addition, being 
 built against the original 
 buttresses on the south side 
 of the altar. 
 
 A.D. 1310 — 1325. St. 
 John's Chapel (now the 
 school-house) at Norwich, 
 built by John Salmon, 
 
 ^ The. Walsingham, Hist. Ang., edit. 1574, p. 79; Mon. Aug., vol. ii. p. 195. 
 ' Godwiu, p. 261. 
 
 Window of VesUy, Merton College. Oxford, ad. 1310. 
 
EDWARD II., A.D. 1307 — 1326. 329 
 
 Bishop of Nor-svich *". The style is Decorated, with geometrical 
 tracery, and some very rich iron-work remains on the door. 
 
 A.D. 1310 . Markingfield Hall, Yorkshire. This house 
 
 remains nearly perfect, and a remarkable example of this 
 period. (For engravings see " Domestic Architecture," vol. ii. 
 p. 231.) 
 
 A.D. 1311—1332. The Abbey Chui-ch (now the Cathedral) 
 of Bristol, or a considerable part of it, was built in the time of 
 Abbot Edmund Knowle. ''During his government he built 
 the church which is now standing from the ground, with the 
 vestrj^ &c., and furthermore procured of the King a confirma- 
 tion of all the possessions of the monaster)^, dated 10 Edw. 
 II. s " The choir with its aisles and the vestry, are evidently 
 of this date, fine and rich Decorated work. The nave has been 
 destroyed, but the ground is left vacant, ready for some wealthy 
 Bristol merchant, actuated with the same Christian spirit as his 
 predecessor Canninge, to rebuild it. 
 
 A.D. 1315 . Meopham Church, Kent, built by Simon de 
 
 Meopham, afterwards Archbishop of Canterbury : it was re- 
 paired by Archbishop William Courtenay, 1381— 1396 h. The 
 style of the original parts is early Decorated, with the peculiar 
 Kentish tracery, but a considerable part is Perpendicular. 
 
 A.D. 1316 . The house or castle of Aymer de Valence 
 
 at Bampton, Oxfordshire. There are some small remains of 
 this house engraved in " Domestic Architecture," vol. ii. p. 260. 
 
 A.D. 1317. Little Kimble Church, Buckinghamshire, conse- 
 crated by licence of Bishop D'Alderby ^ It is a small church in 
 the Decorated style. 
 
 A.D. 1318 — 1329. Gloucester Cathedral. The south aisle 
 of the nave built by Abbot John Thokey ^. The style is Deco- 
 rated, with geometrical tracery, very richly ornamented with 
 a profusion of the ball-flower. A great profusion of this orna- 
 ment generally indicates the time of Edward II. or the begin- 
 ning of Edward III. It is also rather characteristic of Glou- 
 cestershire and Herefordshire. 
 
 A.D. 1318 — 1337. The south aisle, or the Lady-chapel, of St. 
 Mary Magdalen Church, Oxford, is said to have been built by 
 Edward II. as the chapel of the Carmelites, to whom he had 
 given his palace of Beaumont, near to this church. It is men- 
 
 ' Godwin, p. 348; Britton, p. 39, and pp. 716—724. 
 
 Plates 21, 22. ' Memorandii, fol. 331 b, in the 
 
 s Abbot Newland's Roll, quoted in Registry at Lincoln. 
 
 Willis's Mitred Abbeys, vol. i. p. 227 ; '' Carter's Account of Glouc( ster Ca- 
 
 Biitton, p. 48. tliedral, p. 4; Britton, p. 20; Moii. 
 
 *• Hasted's History of Kent, vol. iv. Anff., vol. i. p. 534. 
 
 L" U 
 
Cl ik, ^J.J.— S Ll 
 
 330 THE DECORATED ENGLISH STYLE. 
 
 tioned in 1337 as "the new chapel '." The style is good Deco- 
 rated, with rich biittresscs and an open parapet of the wavy line 
 pattern ; the windows have flowing tracery. The south aisle of 
 St. Aldate's Church, in the same city, is pro- 
 bably copied from this, or built by the same 
 architect. It was also a chantry chapel, built 
 by Sir John do Diicklington in the 9th Edward 
 III., 1335 ■". This Sir John was a wealthy 
 fishmonger, and several times Mayor of Ox- 
 ford ; he probably built the very rich north 
 aisle or chapel in Ducklington Church, Oxford- 
 shire, a remarkably fine example of the Deco- '^^--^^Sd.^ 
 rated style, with a number of small groups of 
 figures, well sculptured, let into the wall in 
 panels. 
 
 A.D. 1320 — 1337. The central tower of "Wells Cathedral raised 
 upon the old piers, and the straining-arches introduced at the 
 latter date to save the tower from falling. All this part is in 
 the Decorated style. (For engravings see Britton, &c.) 
 
 A.D. 1321 — 1349. The Lady-chapel of Ely Cathedral was 
 begun under Bishop Hotham, and finished during the episcopate 
 of Simon de Montacute ^. The style is very fine and rich Deco- 
 rated, with a beautiful series of sculptures. 
 
 A.D. 1323 — 1336. The octagonal central tower, or lantern, of 
 Ely Cathedral, built from the design of Alan de Walsingham, 
 sacristan and afterwards prior. The old square Norman tower 
 fell down in 1 322, and he took advantage of the opportunity to 
 erect the present elegant structure, the upper part of which is 
 of wood o. 
 
 A.D. 1323 . Part of the south aisle of the nave of St. Albania 
 
 Abbey Church fell down in this year, and made it necessary to 
 rebuild five bays in the middle of the south side, in the Decorated 
 style, as they now appear. 
 
 A.D. 1324. The tomb of Aymer de Valence, Earl of Pem- 
 broke, in Westminster Abbey ; a very beautiful example of the 
 Decorated style, with rich pyramidal canopy and pinnacles. 
 (For engravings see Neale's " Westminster Abbey," Blore's 
 " Monumental llemains," &c.) 
 
 ' Wood's History of the City of Ox- Oxfordshire, 
 ford, by Pesliall, 4to. ; and Ingrain's " Mon. Ancf., vol. i. p. 4G 1. 
 
 Memorials. " Godwin, p. 212; Bentham's Ely, 
 
 "" Peshall, p. 116. For engravings p. 221, &c. 
 of Uucklinjrtou Church see Skelton's 
 
EDWARD II., A.D. 1307 — 1326. 331 
 
 FoEEiGN Examples. 
 Fkance. 
 
 A.D. 1319 — 1514. The churcli of St. Ouen at Eoucn, in Normandy, 
 •was begun by Abbot John Macdargent ; carried on by his successors, 
 but not brought to its present state till 1514 p. Style Decorated, 
 with Flamboyant additions. "In the pointed style, Rouen may boast 
 of the possession of one of the most perfect specimens that exist. I 
 know of nothing which, in beauty or in taste, excels the church of St. 
 Ouen. It is the very triumph of the pointed style ''." 
 
 A.D. 1320—1334. The Palace of Pope John XXII., at Cahors. 
 built by his brother, Bishop William de Labron '. It is a good ex- 
 ample of the domestic architecture of that part of France in the four- 
 teenth century. 
 
 A.D. 1324. The cathedral of Limoges greatly improved by Bishop 
 Peter II. ^ This part of the church is fine Decorated work, and the 
 tomb of the Bishop is a beautiful piece of sculpture in white marble in 
 the same style. 
 
 Italy. 
 
 A.D. 1307—1380. The "Palazzo dei Tribunali" at Palermo begun 
 for his own private habitation by Manfred di Chiaramonte, Count of 
 Modica, in 1307; but not completed till the year 1380'. "This 
 building is on an immense scale. It is a lofty, sqiiare pile, built round 
 a large court. The windows are large, pointed, and divided into two 
 and three compartments by slender pillars. The arches of the windows 
 are plain, with two sinkings, but no mouldings. The space between 
 the arch and the windows itself is decorated with Saracenesque pat- 
 terns in red and black stone." 
 
 A.D. 1308. The present choir and presbytery of the cathedral of 
 Lucca built ^. 
 
 A.D. 1308. The cloister of St. Matthew at Genoa built, as appears 
 from the following inscription on the abacus of the capital of one of its 
 columns : — a . d . m . ccc . viii . kl . apeilis ^ 
 
 A.D. 1325. The belfiy of the Town-hall of Siena, begun by Angelo 
 and Agcstino ; the Town-hall itself is a few years earlier. It is a fine 
 example of the ci\'il architecture of Italy at this period. (For 
 engravings see Yerdier et Cattois, Archit. Civile.) 
 
 P Neustria Pia, p. 35; and Dawson ' GaUy Knight's Normans in Sicily, 
 
 Turner's Tour in Normandy, pp. 169 — pp. 295, 296. 
 
 179. " Memorie per servire all' 1st. Luc- 
 
 •i Gaily Knight's Tour in Normandy, chese, torn. viii. p. 12. 
 
 p. 24. '^ De Caumont, Hist, de V Architect, 
 
 ' Gallia Christiana, tom. ii. p. 473. Relig., p. 426. 
 
 ' Ibid., p. 532. 
 
332 
 
 THE DECORATED ENGLISH STYLE. 
 
 Belgium. 
 
 A.D. 1311 . The church of Notre Dame at Huy commenced y. 
 
 It is a lofty and elegant structure, in the Decorated style of Belgium. 
 
 A.D. 1315—1329. Belfry of the Hotel de Ville, at Ghent. A fine 
 example of the civil architecture of Flanders at this period. 
 
 Geemany. 
 
 A.D. 1317. The chapel of All Saints in the cathedral of Mayonce 
 built by Archbishop Peter von Stein ^ Style early Decorated, with 
 geometrical tracery. 
 
 EDWARD III., A.D. 1327—1377. 
 
 Arms of Edward III. 
 
 AiTns of John of Gaunt. 
 
 The buildings of the time of Edward III. belong for tlio 
 most part to the later division of the Decorated style, with 
 flowing tracery, and many of them are of transitional character, 
 having a considerable mixture of the following style, which was 
 pretty well established by the end of this reign, though many 
 buildings of the time of Richard 11. still have considerable 
 mixtiire of the earlier style. On the other liand, some few 
 buildings of the earlier part of the reign of Edward III. shew 
 considerable tendency to the following style ; for instance, the 
 
 y Delvaux, Diction, de la Province de 
 Likge, p. 123. 
 
 ^ MoUer's Memorials of German 
 Gothic Archit., trausl. by Leeds, p. 72. 
 
EXETER CATHEDRAL. 
 
 t yi>z,-n a. cZe ^ ■ J'TiUli. 
 
 A. Torch . «l .Iriforiviynr and Music (xallery. 
 
 e . StcLU-case lUrreC. e . Aisle 
 
 f . Clea.r-s'tort/ M>tdo^: £ ■ A JiZia,^ qf cke JiTave 
 
EDWARD III., A.D. 1327 — 1377. 
 
 333 
 
 vault and panelling of the choir of Gloucester Cathedral, built 
 before the middle of this reign, have qviite the principle and the 
 look of the Perpendicular style, although the mouldings are 
 Decorated. 
 
 A.D. 1327 . The abbey gatehouse at Bury St. Edmund's, 
 
 Suffolk, rebuilt after the destruction of the old gatehouse by the 
 townsmen. It is a very remarkable and beautiful specimen of 
 the Decorated style, combining ornament with a very ingenious 
 system of defence. 
 
 A.D. 1327 — 1399. Melrose Abbey rebuilt during this period. 
 A grant was made by Robert Bruce for the fabric of the new 
 church of £2,000, the whole of which, however, was not paid 
 even so late as 1399 % and a considerable part of the present 
 fabric belongs to the fifteenth century and the beginning of 
 the sixteenth ^. 
 
 A.D. 1329—1334. The tomb of Edward II. in Gloucester 
 Cathedral has a very rich, light, and elegant 
 canopy of the Decorated style. (For engrav- 
 ings of it see Carter's " Gloucester Cathe- 
 dral," Plates 16 and 17.) 
 
 A.D. 1331. The central tower and spire of 
 Salisbury Cathedral built upon the old piers ; 
 it was in danger of falling in 1387, when the 
 straining-arches were introduced to strengthen 
 it, and several other contrivances were added 
 subsequently to give additional security ; this 
 was done with much ingenuity and judgment, 
 and without offending the eye. 
 
 A.D. 1331—1350. Exeter Cathedral. The nave built by 
 Bishop John de Grandison, in the Decorated style, with great 
 variety of tracery and ornament : the rich screen of the west 
 front, filled with sculpture, is of somewhat later date ^. 
 
 A.D. 1335. Naworth Castle, Cumberland, built by Ralph de 
 Dacre, who obtained the licence to crenellate it in this year. 
 Some of the towers and outer walls of this period remain. 
 
 A.D. 1337. Shottesbrooke Church, Berkshire, built by Sir 
 William Trussel '^. It is a fine example of a cruciform church 
 without aisles, with a central tower and spire, and in a very 
 perfect state. The tombs of the founder and his wife are in 
 sepulchral recesses under the window at the end of the north 
 transept. They are altar-tombs, with rich canopies. A set of 
 
 Head of Edward II., from 
 hia tomb at Gloucester. 
 
 " Mr. Robertson ia Quarterly Re- 
 view, No. 169; and Wade's History 
 of Melrose Abbey, 8vo., 1861. 
 
 '' See the Gentleman's Magazine, 
 
 March, 1862. 
 
 •= Fabric Rolls, quoted by Britton, 
 p. 93. 
 
 ■^ Lysons' Berkshire, p. 362. 
 
334! THE DECORATED ENGLISH STYLE. 
 
 engravings of this church, from drawings by Mr. Butterfield, 
 was published by the Oxford Architectural Society in 1845. 
 
 A.D. 1338. York Cathedral. The great west window com- 
 pleted and glazed ^ : it is one of the finest Decorated windows 
 that we have remaining. The window in the gable and two 
 other windows were glazed the same year. A great deal of the 
 beautiful painted glass of this period has escaped destruction, 
 notwithstanding all the perils to which it has been exposed. 
 Several of the parish churches of York have also very fine 
 painted glass of this time. The chapter-house must have been 
 building at the same time as the nave ; for on the parapet 
 of it are several bears, the device of Francis Fitz-Urse, who 
 became treasurer in 1337. (For engravings see Mon. Aug. ; 
 Britten's "York Cathedi-al;" Browne's "History of York 
 Minster," &c.) 
 
 A.D. 1339 . Battle Abbey, Sussex. The abbot obtained 
 
 a licence to fortify and embattle the monastery in this year. The 
 gatehouse and adjoining building, and the outer walls, remain 
 perfect, and the architectural character agrees with this date. 
 See A.D. 1392. 
 
 A.D. 1340 . The gatehouse and wall of enclosure of the 
 
 bishop's palace at Wells bviilt by Bishop Kalph of Shrewsbury; 
 the licence to crenellate it is dated in this year. It is a good 
 plain example of a gatehouse of this period, and remains quite 
 perfect. 
 
 A.D. 1341 . The hall of Penshurst, Kent, built by John de 
 
 Pulteney. The licence to crenellate it is of this date, but most 
 of the present buildings are later. It is a very fine example of 
 a baronial hall of the period ; the windows have the peculiar 
 tracery known as Kentish tracery. See a.d. 1392. 
 
 A.D. 1341. Great Bookham Church, Surrey, built by John 
 de lluthcrwyke. Abbot of Chertsey, as appears from the follow- 
 ing inscription given by Pegge in his Sylloge, PI. xvi., who saj^s 
 it was "on a plain free-stone, inserted on the wall at the east 
 end of the chancel :" — 
 
 ^fmj:JnMRwyt/r>#f$ ob j^ru^^iyj^VoW 
 
 jmro~mlt( np_mi0^o 'bis<^: tJ^ ^fJio 
 
 VRitfio XP f~ ^i ^J^Rgjo \tm^ y^t>jnt RfnjL^i 
 
 ' Melton's Register, ap. Fabric Rolls of York, p. xii. 
 
EDWARD III., A.D. I 327— 1377. 335 
 
 A.D. 1341 — 1374. The great west window in Durham Cathe- 
 dral, built by Prior John Fossor ^ 
 
 1342 — 1396. St, Cuthbert's screen, in St. Alban's Abbey 
 Church, erected by Abbot Thomas de la Mare, who new-paved 
 the nave with tiles, of which a few still remain, and adorned the 
 church more richly than any of his predecessors. lie was buried 
 before the steps of the altar, and a splendid brass laid down to 
 his memory, which is still preserved, though removed from its 
 place, and now built up against a blank wall in the presbytery ^. 
 
 A.D. 1345. Maxstoke Castle, Warwickshire, built by Wil- 
 liam de Clinton, Earl of Huntingdon, for his nephew John, as 
 mentioned in the royal licence to crenellate it at this date. 
 There are considerable remains of this period, though parts are 
 later. (See ''Dom. Arch.," vol. ii. p. 246.) 
 
 A.D. 1346. St. Peter's Church at Ingoldmels, Lincolnshire. 
 Money was bequeathed in this year by Thomas Beck, Bishop of 
 Lincoln, for the repairs of the rectory-house, the chancel, and 
 nave, and bell-tower of the church^. The chancel is destroyed, 
 and the arches of the nave are Norman, but the aisles, the 
 south doorway and porch, the tower, and the font are late 
 Decorated. 
 
 A.D. 1348. Whalley Abbey, Lancashire. The royal licence 
 to crenellate the church and close was obtained in this year. 
 There are considerable ruins, part of which belong to this 
 period. 
 
 A.D. 1348. York Cathedral. Thomas Sampson, Canon, in 
 this year bequeathed twenty pounds to the fabric, on condition 
 that the work should be efficiently begun within one year of 
 the bequests This seems to shew that the work had been 
 suspended for a time from want of funds. 
 
 A.D. 1348. Buckland Church, Hertfordshire, built by Nicho- 
 las de Buckland, as recorded by the following inscription, under 
 the figure of a knight, in the north window near the pulpit : — 
 
 "NiCHOLAI DE BOKELAND, QUI ISTAM ECCLESIAM CUM CAPELLA 
 BeAT^ MaRI^ CONSTRUXIT, anno DOM. MCCCXLVIII ^" 
 
 A.D. 1349 — 1364. St. Stephen's Chapel, Westminster, rebuilt. 
 It appears from the Patent Boll of Ji3 Edward III. that the 
 foundations of the new chapel were laid in that year, — "De 
 fundatione capelliTe S. Stephani in palatio Westmonasterii," — 
 and it seems to have been completed in about fifteen years, as 
 
 f Historlm Ditnelm. Scriptores Tres, ' Test. Ebor. 
 
 p. 131; and J/oHa^^/co??, vol. i. ]). 230. ^ Pepge's Syllo^e, p. 41; and Sal- 
 
 B Carter's Account of St. Alban'sAb- mon's Hist, of Hertfordshii-e, pp. 304, 
 
 bcv, p. 13, PI. xvi. 305. 
 
 '^ Test. Ebor. 
 
8S6 
 
 THE DECORATED ENGLISH STYLE. 
 
 another Roll of the 37th of the same king gives directions for 
 the painting of it. The crypt of this period is still preserved 
 amidst all the new buildings. A beautiful series of engravings, 
 and a complete restoration of this chapel, most carefuUj' and 
 conscientiously made out by the late F. Mackenzie, was pub- 
 
 Mouldings, St. Stephen's Cbapel, VTestmiuster. 
 
 lished by the Government in 1844, royal folio. Mr. INIackenzie 
 was the best architectural draughtsman of his day, and some 
 of his drawings are as accurate as photographs. 
 
 A.D. 1350—1386. Lincoln Cathedral. The vaults of the three 
 towers built by John de AVelburn, treasurer i. 
 
 A.D. 1351. Part of Donnington Church, Lincolnshire. Henry, 
 Lord Percy, bequeathed SI. in this year to the works then going 
 on in this church ™. The nave and aisles are of about this time, 
 and a fine example of the Decorated style, with lofty arches 
 and large clearstory windows ; the aisles, which are the later 
 part, are transitional. 
 
 A.D. 1352. Chatteris Church, Cambridgeshire, consecrated. 
 The convent was destroyed by fire in 1310, and entirely re- 
 built ; the church was completed about this time. The style is 
 Decorated throughout nearly the whole of the church, but the 
 south aisle, which is one of the later parts, is transitional to 
 the Perpendicular. (See Mon. Aug., vol. ii. p. 614.) 
 
 A.D. 1352 — 1361. Edington Church, Wiltshire. A small mo- 
 nastery was founded here by "U'illiam de Edington, Bishop of 
 Winchester ; the first stone of the church was laid in 1352, 
 
 ' Register of bis charters in the Record-room of the Dean and Chapter. 
 "' Test. Ebor. 
 
EDWARD III., A.D. 1327 — 1377. 
 
 337 
 
 and the churcli was dedicated in 1361. Bishop Edington died 
 in 13G6". A valuable specimen of the transition from the 
 
 West Froiit ci ijaiue 
 
 i.o6e^ Oiiuicb, WilLS., , 
 
 Decorated to the Perpendicular style. It is a fine cruciform 
 church, and one of the earliest dated examples of this transition. 
 A.D. 1352—1395. Carlisle Cathedral. The east end of the 
 choir, the triforium, and the clearstory built by Bishops Walter 
 and Appleby. The eastern bay of each of the choir-aisles is 
 a curious mixture of the Early English and Decorated styles, 
 evidently added on to the original Early English choir after 
 the fire in 1292 ; the lower part of the great east window is 
 also of that time, but the upper part with the tracery is con- 
 siderably later — not earlier than 1360, and probably the work of 
 Bishop Appleby after 1363. The painted glass in the head, 
 and what remains in the clearstory, is dated, by the arms of 
 Hichard II. and his queen, Ann of Bohemia, between 1382 and 
 1394. (See p. 323.) 
 
 ° Leland, Itin., vol. vi. fol. 51 ; Mon. 
 Aug., vi. 536. The bishop obtained a 
 pardon from Edward III. for the Rec- 
 tor and brethren for having fortified 
 
 their house without having previously 
 obtained the royal licence to crenellate 
 it. (See Dom. Arch., vol. iii. p. 416.) 
 
 X X 
 
338 THE DECORATED ENGLISH STYLE. 
 
 A.D. 1354 — 1378. Merton College Library, Oxford, built, as 
 appears from the Bursars' Rolls, preserved in the college. In 
 the former year, 28th Edward III., is an entry, " Pro uno car- 
 pentario ad faciendum Palatiani Librarioo, et alia necessaria 
 Ebdm, xs," The masonry of the lower part of the wall to the height 
 of about ten feet from the ground, that is, the wall of the cham- 
 bers under the library, is evidently of earlier character than the 
 upper part, and the work appears to have been suspended for 
 several years. It is most probable that the lower parts of the 
 walls of the whole of this original quadrangle (of which the 
 library forms two sides of the upper story) were built by the 
 founder, whose sudden death caused the suspension of this work 
 as well as of the chapel, and that the college gradually com- 
 pleted them as they could obtain funds. The library is usually 
 attributed to \yilliam Reade, who was a fellow of the college at 
 that period, and became Bishop of Chichester in 1369. It is 
 probable that he contributed to the fund for this purpose. 
 
 Godwin (p. 388) says that 
 
 " He was sometime Fellow of Merton College in Oxford, where he 
 gave himself most part to the study of mathematikes, and that to so good 
 purpose, as he hath the reputation of the most excellent mathematician 
 of his age. In his riper years he fell to divinity, and proceeded Doctor 
 in that faculty. He built the castle of Amberly from the ground, left 
 his pictures, many tables, and astronomical instruments to Merton Col- 
 lege, where (I hear) they are yet kept." 
 
 The style is transitional from Decorated to Perpendicular ; the 
 windows are single lights, with trefoil heads and a square sunk 
 panel over. Some of them contain the original painted glass of 
 the fourteenth century, and some of the ornamented paving-tiles 
 are still in use. The two wings of the library are of ditierent 
 dates; the later one a.d. 1377-8, and it was much altered in 
 the time of James I. 
 
 A.D. 1355. The wooden vaulted ceiling or roof of the nave 
 of York Minster given by Abp. Thoresby ; the walls had been 
 completed in 1345". 
 
 A.D. 1355. The tomb of Haymo de Heathe, (now Hythe,) 
 Bishop of Rochester, in Rochester Cathedral p. 
 
 A.D. 1355. The tomb of Lady Elizabeth de Montacute in 
 Christ Church Cathedral, Oxford. She died " on Tuesday after 
 the Feast of the Blessed Virgin, 1355^." The chapel in which 
 
 " Raine's Fabric Rolls, p. xiv. 
 
 P See Gough's Sepulchral Monuments, vol. i. p. 103, PI. xxxvii. 
 
 1 Dugdale's Baronage, vol. i. pp. 410, 727. 
 
EDWARD III., A.D. 1327 — 1377. 
 
 339 
 
 this tomb is situated is in the same style and was built by this 
 lady ; it is a fine example of a Decorated chapel, with a groined 
 
 Panel, from the Tomb of Lady EUzabetii de Montacute. Christ Church. Oxford, i.e. 1355. 
 
 vault, the bosses of which are beautifully carved. The but- 
 
 II 
 
 Bosses from Lady MoDtacute's Chapel, Christ Church, Oxford. i.D. 1355. 
 
 tresses and parapet and the side windows also remain perfect, 
 but the east window has been long destroyed, and had been 
 replaced by an ugly window of the time of Chaides II. ; this 
 was removed in 1860, and replaced by one in the style of the 
 
340 
 
 THE DECORATED ENGLISH STYLE. 
 
 Gothic of the north of Italy. It is doubtful whether this was any 
 improvement, as the new window does not harmonize with the 
 old work any better than the one ^^•hich it has replaced, and 
 this defers to the next generation the task of restoring the east 
 window of this beautiful chapel to its original form, which will, 
 however, be easy so long as the side windows are suffered to 
 remain as models to copy from. 
 
 A.D. 1356—1369. Norwich Cathedral. The spire built by 
 Bishop Percy : repaired in 1463. 
 
 A.D. 1356. Norborough Hall, Northamptonshire, built by 
 Geoffrey de la Mare about this 
 date. It is one of the most beau- 
 tiful examples of domestic archi- 
 tecture in the Decorated style that 
 we have remaining '. 
 
 A.D. 1359— 1373. WindsorCas- 
 tle. A considerable part of the 
 buildings in the uj^per ward are 
 of this period, built under the 
 direction of William of AVyke- 
 ham, as clearly appears from the 
 Public Records, both in the great 
 Poll of the Pipe and the Close 
 Polls, and many of the builders' 
 accounts are preserved. The 
 parts which remain most perfect 
 are the gatehouse of the upper 
 ward, commonly called the Nor- 
 man Gate, and the range of 
 vaulted chambers underneath the 
 royal apartments. These pro- 
 bably always were, and still are, 
 the servants' rooms ; this ar- 
 rangement being also preserved 
 in Warwick Castle, and other 
 medieval houses. At Windsor the exterior has been cased, but 
 the interior is comparatively little altered, and the long series 
 of vaulted rooms agrees with the other works of Wykeham. 
 The vaults are groined, and have ribs of simple character, and 
 bosses of roses or other foliage. 
 
 A.D. 1360 — 1366. The first two windows on the north side 
 of the west end of Winchester Cathedral, and the first window 
 on the south side of the same, with their corresponding but- 
 
 Chimney, Norboroujh H.iU. 
 Northamptonshire, c. 1356. 
 
 Sec Bridges' Nortbamptonsliiro, vol. ii. p. 527; ami Doiii. Arch., vol. ii. p. 254. 
 
EDWARD III., A.D. 1327 — 1377. 
 
 341 
 
 The great 
 
 A Panel from tlie work of Bp Edingtoa, at the 
 'Vest end of Winchester Cathedral. 
 
 tresses, &c., built by Bishop William of Edington. 
 
 west window is also part of the 
 
 same work, altliough the parapet 
 
 and pinnacle over it were added by 
 
 Wykeham ; the difference may be 
 
 distinguished by the mouldings, 
 
 and by the flowered points to the 
 
 cusps, which are not found in AVj^ke- 
 
 ham's work at Winchester, though 
 
 they do occur at New College. 
 
 A.D. 1361—1372. York Ca- 
 thedral. The presbytery or Lady- 
 chapel built by Archbishop John 
 de Thoresby, and the Percy chan- 
 try begun in 136.2 by his permis- 
 sion^ He was buried before the 
 altar of the chapel which he had built, according to the usual 
 custom of the period. The choir proper was commenced as 
 soon as the presbytery, or eastern portion, was completed, and 
 the work was carried on until 1405, when the roof was finished. 
 The style is early and rich Perpendicidar, and the arch mould- 
 ings are transitional from Decorated to Perpendicidar. 
 
 A.D. 1362 — 1386. The college hall, and part of the abbot's 
 house, now the deanery, of Westminster Abbey built by Abbot 
 Nicholas Litlington, who likewise finished the south and west 
 sides of the great cloister*. The Jerusalem Chamber was also 
 part of his work, but this has been so much altered that it can 
 hardly be recognised. 
 
 A.D. 1363 . Ely, Holy Cross. The new parish church, 
 
 on the north side of the Minster, was dedicated in this year by 
 Bishop Langham". This appears to be the very beautiful 
 church on the north side of the choir, still used as a parish 
 church, and now called Trinity Church, but always supposed 
 to have been the Lady-chapel. 
 
 A.D. 1363 . Wells. The Vicar's Close founded by Ralph of 
 
 Shrewsbury, Bishop of Bath and Wells ^. The only part remain- 
 ing of this period is part of the gatehouse with the hall over it, 
 the kitchen, and the porch of the staircase "". The rest of the 
 buildings of this Close were built by Bishop Beckington and 
 
 ' Raine's Fabric Rolls, p. xxiv. ; God- 
 win, p. 474 ; Browne, p. 148. 
 
 ' Archives of the Church ; Smith's 
 History of Westminster Abbey, vol. i. 
 pp. 199, 200; and MonaMcon, vol. i. 
 p. 275. 
 
 " Ely History, iu Anglia Sacra, vol. 
 
 i. p. 663. 
 
 ' Pegge's Sylloge, p. 72 ; Brittou, 
 p. 39, &c. 
 
 " There is a curious little muniment- 
 room over this porch, but it belongs to 
 the later period. 
 
342 
 
 THE DECORATED ENGLISH STYLE. 
 
 his executors in the fifteenth century, and the hall was consider- 
 ably altered in the time of Henry VIII. 
 
 A.i). 1366 — 1386. WeUs Cathedral ; the south-west tower 
 built by Bishop John de Hare well, who also gave 100 marcs to 
 the glazing of the west window ''. The upper part of this tower 
 is early Perj^endicular, and there is a Perpendicular open parapet 
 on the sill of the west window within. 
 
 A.D. 1367. Hull, Trinity Church. The tomb of the 
 
 founder. Sir William de la Pole, is of this date, and the church 
 was probably finished about this time. (See Plate, p. 314.) 
 
 "It is a large and fine building; its east end to the street is 
 Decorated, and of good composition : it is a cross church, and in the 
 centre has a Tcry lofty and beautiful tower : the western part is Per- 
 pendicular, of good character, remarkably light and with very small 
 piers. The transepts are of very early Decorated work, and the great 
 window of the south transept is very curious from its tracery and 
 mouldings. Only part of the nave is pewed ; the chancel is open, and 
 has a very fine eftect ; there is in it a Decorated monument [of Sir W. 
 de la Pole] with rich canopy and buttresses, and some niches and 
 stalls ; there is also some wood screen- work. The font is large and 
 much enriched." 
 
 There is a fine engraving of the tomb in Blore's " Monumental 
 Remains." 
 
 A.D. 1367—1373. 
 Ely Cathedral. Bi- 
 shop John de Bernet 
 made three windows 
 on the south side of 
 the presbytery and 
 two on the norths. 
 These windows are 
 in the Decorated 
 style. 
 
 A.D. 1368 . Poy- 
 
 nings Church, Sussex. 
 Michael, Lord Poy- 
 nings, by his will 
 dated this year gave 
 200 marcs towards 
 the building of the 
 new church, and the 
 same sum was given 
 in the following year 
 
 * Wells History, in Anglia Sacra, 
 vol. i. p. 570. 
 
 \> 
 
 Window. Poyuiugs, Sassez, *.d. 1368. 
 
 •' Ely History, in Anglia Sacra, vol. 
 i. p. 6Gk 
 
EDWARD III., A.D. 1327 — 1377. 
 
 343 
 
 by Joan, his widow ^. This church is a mixture of the Deco- 
 rated and Perpendicular styles, the latter preponderating. 
 
 A.D. 1368 — 1371. Patrington Church, Yorkshire, probably 
 built by Robert de Patrington, treasurer of York Minster ^. " It 
 is a large cross church, with a fine spire. Many portions of this 
 church are fine Decorated work, and others good Perpendicular.' ' 
 
 A.D. 1368 — 1380. The prior's kitchen at Durham was com- 
 menced in the former year, as appears from the Fabric Rolls, 
 and was probably finished before the latter year. The very 
 remarkable groined vault with its louvre is probably the finest 
 thing of the kind now remaining. The building is nearly per- 
 fect, the internal fittings only being modern ^. 
 
 A.D. 1369 . The prior and convent of "Worcester obtained 
 
 the royal licence to crenellate their priory 
 and the adjacent buildings. Several of these 
 buildings still remain ; the beautiful guests' 
 hall of this period was pulled down in 1862. 
 
 A.D. 1369. The tomb of Philippa, queen 
 of Edward III. in Westminster Abbey ". 
 
 A.D. 1369. The tomb of Lewis Charlton, 
 Bishop of Hereford, in his cathedral '^. 
 
 1370—1390. Wimington Church, Bed- 
 fordshire, built by John Curteys, lord of 
 the manor, as appears by the following 
 inscription in brass on his tomb ; he died 
 in 1391: — "IIic jacet Johannes Curteys dominus de Wy- 
 
 MYNGTON quondam MAIOR STAPLE LANARII CaLESII ET AlBREDI 
 
 ux. ej. qui istam ecclesiam de novo construxerunt," &c. 
 The style is Decorated, but late in the style ^. 
 
 A.D. 1371—1379. The chapel of St. Nicholas, at Lynn, Nor- 
 folk, built K The heads of Edward III. and Philippa, and their 
 armorial supporters, are there used as ornaments. 
 
 A.D. 1372. The tomb of Nicholas Lord Cantilupe, in Lincoln 
 Cathedral ^. 
 
 A.D. 1373. Nunney Castle, Somerset, built by Sir John de 
 
 Head of Queen Philippa, 
 from her tomb. 
 
 ^ Dugdale's Baronage, vol. 11. p. 134. 
 See also an account of this church, with 
 a plan and elevation, by the Rev. J. L. 
 Petit, in the Archaeological Journal, vol. 
 vii. p. 143. 
 
 " Raine's Fabric Rolls, p. xix. 
 
 ^ See Billing's Durham; and Doni. 
 Arch., vol. il. 
 
 « See Blore's Monumental Remains. 
 
 * See Gough's Sepulchral Monu- 
 ments, vol. i. p. 123, PI. xlvli. ; and 
 
 Blore's Monumental Remains. 
 
 ^ See Lysons' Magna Britannica, vol. 
 i. p. 151 ; Architectural Topography — 
 Bedfordshire, No. 35 j and Brandon's 
 Parish Churches. 
 
 ' Parkin's History of Norfolk, p. 595 ; 
 and Britten's Architectural Antiquities, 
 vol. iii. p. 70. 
 
 8f See Gough's Sepulchral Monuments, 
 and Wild's Lincoln Cathedral, p. 36, 
 
 PI. XV. 
 
344 
 
 THE DECORATED ENGLISH STYLE. 
 
 la INIare, who obtained the royal licence in this j^car. The 
 walls are nearly perfect, and it is a regular fortress of the 
 period, surrounded by the moat. The style 
 is transitional from Decorated to Perpen- 
 dicular. 
 
 A.D. 1375. Selby Abbey, Yorkshire. The 
 royal licence was obtained this year to for- 
 tify and crenellate their church, cloister, 
 and manse ^. This probably gives the date 
 of the completion of the very beautiful 
 Decorated choir. 
 
 A.D. 1376. The tomb of Edward the 
 Black Prince, in Canterbury Cathedral \ 
 
 n<_T,i of E 1 
 
 Pnncr frLUi 
 
 Foreign Examples. 
 
 France. 
 
 The Decorated style in France does not diifer so materially from the 
 same style in England as to reqxure a separate description. There are 
 comparatively few large buildings of this style in France ; it appears 
 that the greater part of their cathedrals were rebuilt in the thirteenth 
 century, or at least the rebuilding was commenced in the early part of 
 that century, and continued rigorously in imitation of the same stylo 
 throughout. In many instances where the cathedral itself is of earlier 
 date, the chapels between the buttresses, with their large windows of 
 the Decorated style, were introduced in the fourteenth century. It is 
 worthy of notice that the ball-flower ornament, which is almost as 
 characteristic of the Decorated style in England as the tooth-ornament 
 is of the Early English, is also rai'cly found in France, and then not 
 in Decorated work, but in transitional work of the end of the twelfth 
 century, and this more especially in Anjou and Poitou. 
 
 The enlarged windows, which led on in both countries to the 
 Decorated style, appeared apparently at an early period, as parts of 
 Amiens have real Decorated windows ; but it is not so absolutely 
 clear that they are so early as the walls, for many practical reasons 
 might occur to defer the windows, the tracery at least, till a later 
 period. However this may be, there seems to have been a rather 
 abrupt assumption of windows with geometrical tracery, much of 
 which, from the large size of the churches, is very beautiful ; and 
 very soon appeared the glory of the French large churches, their 
 
 ^ Abb. Sot. Orig., Eecord Commission, p. 341. 
 ' See Hlore's Monumental Remains. 
 
EDWARD III., A.D. 1327 — 1377. 
 
 345 
 
 Window. Bayeus. Cathedral. 
 
 magnificent wheels. In this particular we cannot compete vrith France. 
 I am not certain that we have 
 twenty wheel windows in Eng- 
 land, which, for size and tra- 
 cery, can well be named ; while 
 in most of the cathedrals in 
 France there are one, often 
 two, and sometimes three ; and 
 they are of all dates, from Early 
 French to the latest Flamboy- 
 ant, and from their size are 
 often very elaborate ; and many 
 of their large windows have 
 wheels of very rich character 
 in their heads. The advance 
 of flowing tracery not Flam- 
 boyant does not seem to have 
 taken place in France so com- 
 pletely as in England, the tra- 
 cery continuing apparently lon- 
 ger of a geometrical character, 
 and then almost at once becom- 
 ing Flamboyant. 
 
 There appear to be not many 
 pure Decorated buildings, that 
 is, buildings the style of which 
 is without a tendency either backwards or forwards, but there are 
 many_ portions ; and one chancel of a small chui-ch, Tour en Bessin, 
 near Bayeux, is so beautiful, and so completely harmonizes with 
 our best English Decorated work, that it deserves especial notice. 
 It is a cross church, the nave Norman, the aisles destroyed, and 
 the arches built up ; with a central tower and transept. The tower 
 and spire seem earlier than the chancel, which has very large win- 
 dows above a lofty arcade. In this arcade (now very much muti- 
 lated, and part converted into cupboards and shut up) there have 
 been two rich piscinas and three stalls; there may have been more 
 stalls, but they are not now visible; above this arcade a band of 
 quatrefoils ran under a cornice and pierced parapet, with a passage 
 between it and the windows. The chapel is beautifully groined, 
 and has had a south door, the outside of which remains. All 
 this work is of the punst character, and the mouldings bear a great 
 analogy in character and combination to some of our best English 
 Decorated work. 
 
 At Tours, another and much more elaborate composition is exhibited. 
 Here we have the east end di\-ided into three arches, the middle one 
 containing a very fine five-light Decorated window, and each side arch 
 having three sides of an octagon outwards ; two of them with two- 
 light windows, and the other with a one-light window, all with good 
 and varied Decorated tracery. The arcade which is inside the side 
 windows also rtms inside of these polygonal portions, and is separately 
 
346 THE DECORATED STYLE. 
 
 groined from its own shafts, and then the principal space again 
 groined; the intricacy and beauty of this roof altogether I have 
 seldom seen exceeded. 
 
 A.n. 1335 — 1340. Evrcux Cathedral. The choir rebuilt and en- 
 larged by Bishop Gaufrid Fare III. '' This part of the church is fine 
 Decorated work, with a good clearstory, flying buttresses, and open 
 parapet ; the transepts are also partly of this style, and the lower part 
 of the beautiful octagonal lantern over the intersection. 
 
 A.D. 1339 — 1366. Eoucn Cathedral, the transepts and Lady-chapel. 
 These parts of the church are very fine Decorated work ; at the end 
 of each transept is a m:ignificent rose window, with a triforium gallery 
 of open work under it, and below, a series of figures in niches forming 
 a kind of rich panelling. The Lady-chapel is of the same height as 
 the aisles, is of three bays and an apse, and has five large windows 
 with geometrical tracery ; those of the apse are long and narrow : 
 there is also some blank panelling and an ornamental arcade round 
 the lower part of the wall. The roof has a groined vault, as usual in 
 France, and there are sedilia, which are not so common in France as 
 in England. 
 
 A.D. 1350. St. Jacques, Dieppe. Chapels finished. The west end, 
 triforium, and vault of the nave are Decorated work, and probably 
 belong to the work said to have been finished at this time. Most 
 of the chapels are later. 
 
 A.D. 1364. The .church of St, Michel-aux-Lions, at Limoges, built'. 
 A considerable part of the church is Decorated work of this period ; 
 it consists of three parallel aisles of equal height, without either tri- 
 forium or clearstory; it has light clustered pillars with capitals of 
 foliage, and a good simple vault; the windows are chiefly of two 
 lights, with simple tracery of trefoils and quatrefoils. The tower 
 appears earlier, the lower part of it is square, the upper part octagonal, 
 with light turrets at the angles, and a plain spire. 
 
 A.D. 1368. The cathedral of Mcnde, commenced by Pope Urban V., 
 who was also Bishop of Mende ; and completed by his successors in 
 that see, towards the end of the fourteenth century"". The walls 
 of this church are of the twelfth century, but much altered at this 
 period, in the Flamboyant style, but plain and poor, though it is 
 a large and lofty church. 
 
 A.D. 1370. The tower of Montmajor, near Ai-les, built". There is 
 also a Decorated cloister, which is probably of this date. 
 
 A.D. 1370. The chapel of the college of Beauvais in Paris commenced : 
 the first stone was laid in this year by the king, Charles V. This 
 chapel remains in tolerable preservation, and is a neat specimen of the 
 French Decorated style. 
 
 A.D. 1379. Poitiers Cathedral; the west front completed and the 
 church re-dedicated. The windows in the west ii-ont are Decorated, 
 and the three porches probably belong to the work completed at this 
 
 ^ Gall. Christ., vol. ii. p. 576. '" Bourasse, Cathedrales de France, 
 
 ' De Caumont, Sist. de V Architect. p. 362. 
 Melig., p. 425. " Bulletin Monum., vol. xi. p. 115. 
 
EDWARD III., A.D. 1327 — 1377. 347 
 
 time, but the greater part of the church is considerably earlier, and the 
 square east end is attributed to Hcury II. 
 
 A.D. 1379. Vincennes ; the chapel dedicated. It is a fine Decorated 
 chapel, one of the imitations of the Sainte ChapeUe of Paris. 
 
 Itvlt. 
 
 A.D. 1330. Palermo. The palace of Matthew, Count of Sclafano 
 and Aderno, now the "Osjjedale Grande," built and finished in the 
 course of a single year, as recorded by the following inscription : — 
 
 FELIX MATTHAEUS SCLAFANUS MEMOEIA DIGNTJS 
 FABRICAM HANG FECIT NOBILEM PIUS BENIGNUS; 
 UT NE MIREEIS MODICO TAM TEMPORE FACTAM 
 VIX ANNUS FLUXERAT QUAM CERNIS ITA PERACTAM. 
 
 ** This edifice is on a still larger scale than the Chiaramonte Palace. 
 It is an enormous pile to have been raised, in any country, in any age, 
 within so short a space of time. The general plan is the same as the 
 above-mentioned — a square building round a court, with arcades and 
 open galleries above. On the outside the fabric is plain below, but 
 ornamented above with a series of large interlacing arches. The win- 
 dows are pointed, and divided by a single pillar"." 
 
 A.D. 1330 — 1375. Verona; the tombs of the Scaligers. 
 
 A.D. 1332 — 1419. Florence. The cathedral, commenced in 1298, 
 was carried on by Giotto, T. Gaddi, Orcagna, and Filippo di Lorenzo. 
 
 A.D. 1333. Perugia. The Palazzo Publico, or Town-hall, built by 
 Broignate. It is a fine example of the civil architecture of Italy at 
 this period, though somewhat mutilated. 
 
 A.D. 1337. Florence. The foundation laid of the new '^ Loggia 
 d' Or San Michele" of which, according to Vasari, Taddeo Gaddi gave 
 the design p. It was completed under the direction of Andrea Orcagna. 
 
 A.D. 1339 — 1389. Siena Cathedral; the west front and the dome. 
 It is a very beautiful example of the Italian Decorated style. The 
 original plan was only partially carried out, but the portion which 
 "was completed forms one of the finest churches in Europe, and the best 
 example of a Gothic dome that has ever been built. 
 
 A.D. 1350 . Venice. The ducal palace. The arcade of the 
 
 front next the canal and six arches of the front towards the Place of 
 St. Mark are of the fourteenth century, the other arches and the upper 
 part are later. 
 
 A.D. 1361 — 1396. Venice. The campanile of the church of the 
 Frari. An inscription on the base of this tower gives the date of 1361, 
 and this is the earliest part of the existing church. 
 
 A.D. 1362. Venice. Campanile of the church of St. Paolo. This 
 date is given by an inscription upon it, though the general appearance 
 is more like the twelfth century, or would be so in the North ; it is 
 ornamented with a series of shallow round-headed panels. 
 
 A.D. 1375 . Eome. St. Maria Sopra la Minerva. The only 
 
 Gothic church in Rome. 
 
 ° Gaily Knight's Normans in Sicily, p. 297, and Illustrations, plate 25. 
 P Carteggio d'Artisti, torn. i. p. 50. 
 
348 THE DECORATED STYLE. 
 
 Belgium. 
 
 A.D. 1331 and 1337. The parish church of Aerschot. The anterior 
 part was constructed in 1331, and the chancel, as appears by the 
 follo-n-ing inscription placed on the side of the sacristry, in 1337. 
 The latter part only bore the name of the architect, James Pickart, 
 but it may faii'ly be presumed that the whole church was built from 
 the designs of the same artist : — 
 
 M SEMEL, X SCEIBIS TER, TER, ET V SEMEL, I BIS, 
 DUM CHORUS ISTE PIE FUNDATITR HOXORE MARIE. 
 SAXA BASIS PRIMA JULIANI LUX DAT IN IMA, 
 PICKART ARTIFICE JACOBO, PRO QUO ROGITATE "f. 
 
 A.D. 1341 — 1409. Hal. The church of Notre Dame. It is one 
 of the most graceful edifices of the Decorated style in Belgium. 
 
 A.D. 1345, vel circa. Malines. The cathedral built. The chancel 
 was consecrated in 1366; but the nave was not completed for more 
 than a century afterwards. 
 
 A.D. 1377. Bruges. The hotel de ville built by Louis, the last 
 Count of Flanders. " An edifice remarkable for the splendour of its 
 architecture." 
 
 Geemany. 
 
 A.D. 1343 — 1386. Prague, Bohemia. The cathedral commenced 
 by Matthias of Arras, and finished by Peter, son of Henry Arter, of 
 Boulogne-sur-Mer. These two architects were brought from France by 
 the Emperor Charles IV., then King of Bohemia, and to them several 
 other buildings in that kingdom are attributed ^ 
 
 A.D. 1354 — 1 513. Freiburg. The choir of the Minster built from the 
 design of Hans Iliesenberger of Gratz. The fii-st stone was laid in 1354. 
 At fii'st the works proceeded very slowly, but after 1471 they were 
 carried on with diligence, and the new choir was consecrated in 1513 '. 
 
 A.D. 1354. Nuremberg. The Moritz Chapel built by the Mendels : 
 
 A.D. 1355 — 1361. Nui-emberg. The Frauenkirche, or St. Mary's 
 Church, and several other works in that city, are attributed to G. and 
 T. Ilupprceht, at this period ; amongst them the ver}^ beautiful fountain : 
 
 A.D. 1361 — 1377. Nuremberg. The choir of the church of St. Se- 
 bald, and the font in which King Wenceslaus was baptized : 
 
 A.D. 1362. Nuremberg*. The cloister of the Carthusians, built by 
 M. Mendel. All these buildings are very beautiful examples of the 
 German Decorated Gothic. 
 
 A.D. 1376 — 1398. Koningsburg, in Prussia. The church of St. 
 Stephen built of brick in a pure Gothic style ". 
 
 1 Schayes's Treatise on the Pointed ' For engravings of the buildings at 
 
 Style in Belgium, in Neale's Quarterly Nuremberg, see VoHstandige Sammlung 
 
 Papers, vol. ii. pp. 4, 5, 8, 16. aller Baudenkmale, Monumente, Sfc. 
 
 ■■ Dusomraerard, Les Arts an Mot/eti Niirnberg's, von Wolff and Mayer, 
 
 Age — Architecture, chap. v. p. 36. 2 vols, small 4to. 
 
 * MoUer's Memorials of German " Adler, Mittelalterliche Bachstein 
 
 Gothic Architecture, transl. by Leeds, BauioerJce des Preussischen Staates, 
 
 p. 143. folio, Berlin, 1862. 
 
OF THE FOUETH 
 
 OR 
 
 PERPENDICULAR STYLE. 
 
 Perpendicular English Doorways. 
 
 The great distinction of Perpendicular doorways from those 
 of the last style is the almost constant square head over the 
 arch, which is surrounded by the outer moulding of the archi- 
 trave, and the span- J 
 drel filled with some 
 ornament, and over 
 all a dripstone is 
 generally placed. 
 
 This onamented spandrel in a square head 
 occurs in the porch to Westminster Hall, one 
 of the earliest Perpendicular buildings, and 
 is continued to the latest period of good execu- 
 tion, and in a rough way much later. In large, 
 very rich doorways, a canopy is sometimes 
 
 ..,,... , , , . Spandrel, i 
 
 mcluded in this square head, and sometimes chnst church, Oxford 
 niches are added at the sides, as at King's College Chapel, 
 Cambridge. This square head is not always used interiorly, 
 for an ogee canopy is sometimes used, or panels down to the 
 arch, as at St. George's, Windsor ; and there are some small 
 exterior doorways without the square head. The shafts used in 
 these doorways are small, and have mostly plain capitals, which 
 are often octagonal, and the bases made so, below the first 
 astragal. But there are still, in the early part of the style, 
 some flowered capitals ; and in those to the shafts of piers, in 
 small churches, it is common for the capital to have in its 
 hollow one or two square flowers. 
 
350 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 f/^x ~/,;;~i 
 
 St.JohQ's College, Oxford, i.e. 1437 
 
PERPENDICULAR ENGLISH DOORWAYS. 
 
 351 
 
 ^v" \ 3'>-^ 
 
 Christ Church Hall Staircase, Oxford, ad 1528. 
 
352 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 The mouldings of the capitals often contain (more particularly 
 in the later dates of this style) a member which is precisely 
 the cyma recta of Grecian work. In small works, the bases 
 of shafts have many mouldings, repetitions of ogees are mostly 
 used, intermixed A\dth hollows or straight slopes. The architraves 
 of these doorways have generally one or more large hollows, 
 sometimes filled with statuary niches, but more often plain ; 
 this large hollow, in the architraves of both doorways and 
 windows, is one of the best marks of this style. 
 
 [The gateway of St. John's College, Oxford, p. 350, is re- 
 markable from having the dripstone carried on shafts which 
 project from the face of the wall, and are not recessed, as is 
 usually the case in Gothic work. 
 
 Several of the colleges in Oxford and Cambridge have good 
 doorways and gateways of this style.] 
 
 Wesunmster Abbey, a.d. 13 
 
 Lincoln Cathedral, c. H6C'. 
 
THE PERPENDICULAR ENGLISH STYLE. 353 
 
 Perpendicular English Wint)ows. 
 
 These are easily distinguished by their mullions running 
 in perpendicular lines, and the transoms, which are now 
 general. The varieties of the last style were in the disposi- 
 tion of the principal lines of the tracery ; in this, they are rather 
 in the disposition of the minute parts : a window of four or 
 more lights is generally divided into two or three parts, by 
 strong midlions running quite up, and the portion of arch be- 
 tween them doubled from the centre of the side division. In 
 large windows the centre one is again sometimes made an arch, 
 and often in windows of seven or nine lights the arches 
 spring across, making two of four or five lights, and the 
 centre belonging to each. The heads of windows, instead 
 of being filled with flowing ramifications, have slender mullions 
 rimning from the heads of the lights, between each prin- 
 cipal muUion, and these have small transoms till the window 
 is divided into a series of small panels; and the heads being 
 arched, are trefoiled or cinquefoiled. Sometimes these small 
 mullions are crossed over each other in small arches ; leaving 
 minute quatrefoils, and these are carried across in straight 
 lines. Under the transom is generally an arch ; but in 
 Yorkshire, Lincolnshire, and Nottinghamshire, and perhaps 
 in some other parts, there is a difierent mode of foliating 
 the straight line without an arch, which has a singular ap- 
 pearance. 
 
 In the later windows of this style, the transoms are often 
 ornamented ^vith small battlements, and sometimes with flowers, 
 which, when well executed, have a very fine efiect. Amidst so 
 great a variety of windows, (for perhaps fuU half the windows 
 in English edifices over the kingdom are of this style,) it is 
 difiicult to particularize ; but St. George's, Windsor, for four 
 lights, and the clearstory windows of Henry the Seventh's Chapel 
 for five, are some of the best executed. For a large window, 
 the east window of York has no equal, and by taking its parts, 
 a window of any size may be formed. 
 
 zz 
 
354 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 
 it,. 
 
 
 Clearstory, Choir, York Calliedral, a.d. 1405. 
 
 I 
 
 Beaucbamp Chapel, Waxwiok. a.d. 1439. Clearstory, Henry VII 'a Chapel, Westminster, a.d. 1503. 
 
PERPENDICULAR ExXGLISH WINDOWS. 
 
 355 
 
 ilinster Lovell, Oxfordshire, c. 1460. 
 
356 THE PERPENDICULAR ENGLISH STYLE. 
 
 There are some good windows, of which the heads have the 
 muUions alternate, that is, the perpendicular line rises from the 
 top of the arch of the panel below it. The windows of the 
 Abbey Church at Bath are of this description. The east win- 
 dow of the Beauchamp Chapel at "Warwick is extremely rich, 
 and has, both within and without, many singularities. (See p. 
 354.) The muUions which divide it into three parts have a 
 part of the great hollow for their moulding, which on the inside 
 is filled with very rich statuary niches ; the centre part of this 
 window is divided into very minute panellings in the upper part. 
 
 It is necessary here to say a little of a window which may 
 be mistaken for a Decorated window ; this is one of three 
 lights, used in many country churches; the muUions simply 
 cross each other, and are cinquefoiled in the heads, and quatre- 
 foiled in the three upper spaces ; but to distinguish this from 
 a Decorated window, it will generally be necessary to examine 
 its arch, its mullion mouldings, and its dripstone, as well as its 
 being (as it often is) accompanied by a clearly Perpendicular 
 window at the end, or connected with it so as to be evidently of 
 that time. Its arch is very often four-centred, which at once 
 decides its date; its mullion mouldings are often small, and 
 very delicatolj^ worked; its dripstone in many instances has 
 some clear mark, and when the Decorated tracery is become 
 familiar, it will be distinguished from it by its being a mere 
 foliation of a space, and not a flowing quatrefoil with the 
 mouldings carried round it. 
 
 Large circular windows do not appear to have been in use 
 in this style ; but the tracery of the circles in the transepts of 
 Westminster Abbey appear to have been renewed during this 
 period. At Henry the Seventh's Chapel a window is used in the 
 aisles which seems to have led the way to that wretched sub- 
 stitute for fine tracery, the square-headed windows of Queen 
 Elizabeth and King James the First's time. This window is 
 a series of small panels forming a square head, and it is not 
 flat but in projections, and these, with the octagonal towers 
 used for buttresses, throw the exterior of the building into 
 
PERPENDICULAR ENGLISH WINDOWS. 357 
 
 fritter, ill-assorting with the boldness of the clearstory win- 
 dows. In most of the later buildings of this style, the window 
 and its architrave completely fill up the space between the 
 buttresses, and the east and west windows are often very 
 large : the west window of St. George's, "Windsor, has fifteen 
 lights in three divisions, and is a grand series of panels, 
 from the floor to the roof ; the door is amongst the lower 
 ones, and all above the next to the door is pierced for the 
 window. The east window at Gloucester is also very large, 
 but that is of three distinct parts, not in the same line 
 of plan. 
 
 "When canopies are used, which is not so often as in the last 
 style, they are generally of the ogee character, beautifully 
 crocketed. 
 
 ["V^Tien a Perpendicular window is of five lights, which in 
 the larger windows is very frequently the case, the central 
 light is a continuous panel from top to bottom, and from the 
 mullions of this the sub-arches spring on either side, as in 
 the clearstory of York and in Henry the Seventh's Chapel. 
 This arrangement does not occur in any other style. In de- 
 based Perpendicular work the window -arch often becomes 
 round, or the point is scarcely perceptible. 
 
 The cvisps in the tracery of Perpendicular windows are 
 formed in rather a different manner from those used in the 
 earlier styles ; they seem to grow more naturally out of the 
 mullions, and are not so much like insertions ; while in some 
 examples of the Early English style they actually are worked 
 on separate pieces and let into a groove in the mullion ; this 
 would be impossible with the Perpendicular cusps. The points 
 of the cusps are sometimes ornamented with roses or foliage, as 
 in the west front of Winchester Cathedral, and in a few of the 
 original windows at New College, Oxford. In Perjjendicular 
 screens, and other wood-work, this sort of floriated cusp is 
 very common. 
 
 Not only the transoms, as already mentioned, but the sills 
 also of M'indows of this style are often battlemented, as in the 
 west window of Merton College Chapel, Oxford. This is one 
 of the instances of the abuse of the battlement by using it too 
 profusely as an ornament in this style. The Tudor -flower 
 ornament is almost equally abused in the later examples of 
 this style ; it is used on the transoms of windows, and instances 
 may probably be found of its use on the sills also.] 
 
358 THE PERPENDICULAR ENGLISH STYLE. 
 
 Perpendicular English Arches. 
 
 Althougli the four-centred arch is much, used, particularly 
 in the latter part of the style, yet, as in all the other styles, we 
 have in this also arches of almost all sorts amongst the orna- 
 mental parts of niches, &c., and in the composition lines of 
 panels are arches from a very fine thin lancet to an almost flat 
 segment. Yet, with all this variety, the four-centred arch 
 is the one most used in large buildings, and the arches of 
 other character, used in the division of the aisles, begin to 
 have what is one of the great distinctions of this style, — the 
 almost constant use of mouldings running from the base all 
 round the arch, without any stop horizontally, by way of 
 capital ; sometimes with one shaft and capital, and the rest 
 of the lines running ; the shafts in front running up with- 
 out stop to the roof, and from their capitals springing the 
 groins. In window arches, shafts are now very seldom used, 
 the architrave running all round, and both window arches 
 and the arches of the interior are often inclosed in squares, 
 with ornamented spandrels, either like the doors, or of panel- 
 ling. Interior arches have seldom any dripstone when the 
 square is used. 
 
 Another great distinction of these arches, in large build- 
 ings, is the absence of the triforium or gallery, between the 
 arches of the nave and the clearstory windows; their place 
 is now supplied by panels, as at St. George's, Windsor, [and 
 the nave of Canterbury,] or statuary niches, as at Henry the 
 Seventh's Chapel ; or they are entirely removed, as at Bath, 
 and Manchester Old Church, &c. 
 
 [The ogee arch, although used in the Decorated style, is per- 
 haps more common in the Perpendicidar, especially in the heads 
 of niches and in canopies over sedilia, &c. The elliptical arch 
 is also occasionally, but rarely, used.] 
 
w 
 
 n'bvKiiutchjr. s cr. . 
 
 '■SI; 
 
 HUIHIEB CHAPEL 
 
 ON THE SOUTH SIDE OF THE CHURCH OF ST LAT-TRENCE-EVESHAM . 
 
PERPENDICULAR ENGLISH ARCHES. 
 
 359 
 
3G0 THE PERPENDICULAR ENGLISH STYLE. 
 
 Perpendicular English Piers. 
 
 The massive Norman round pier, lessened in size and ex- 
 tended in length, with shafts set romid it, became the Early 
 English pier ; the shafts were multiplied, and set into the face 
 of the pier, which became, in its plan, lozenge, and formed the 
 Decorated pier. We now find the pier again altering in shape, 
 becoming much thinner between the arches, and its proportion 
 the other way, from the nave to the aisle, increased, by having 
 those shafts which run to the roof, to support the springers of 
 the groins, added in front, and not forming a part of the mould- 
 ings of the arch, but having a bold hollow between them : this 
 is particularly apparent at King's College Chapel, Cambridge, 
 St. George's, Windsor, and Henry the Seventh's Chapel, the 
 three great models of enriched Perpendicular style; but it is 
 observable in a less degree in many others. In small churches, 
 the pier mentioned in the last style, of four shafts and four 
 hollows, is still much used, [as at Rushden, Northants.] ; but 
 many small churches have himable imitations of the mag- 
 nificent arrangement of shafts and mouldings spoken of above. 
 There are still some plain octagonal, &c. piers, in small churches, 
 which may belong to this age. 
 
 Though filleted shafts are not so much used as in the last 
 style, the exterior moulding of the architrave of interior arches 
 is sometimes a filleted round, which has a good efiect [as at 
 St. Andrew's, Plymouth] ; and in general the mouldings and 
 parts of piers, architraves, &c. are much smaller than those 
 used in the last style, except the large hollows before mentioned, 
 [as at Plymstock, Devon.] 
 
 [The shalloM'ness of the mouldings, which is generally one 
 of the characteristics of the Perpendicular style, is perhaps 
 more conspicuous in the piers than anywhere else; the deep 
 cutting of the earlier styles is quite lost, (excepting the one 
 wide and deep hollow, as at Plymstock,) and the surface of the 
 pier is often worked in a wavy line, forming a sort of shallow 
 ogee, as at Totncs.] 
 
PERPENDICULAR ENGLISH PIERS. 
 
 361 
 
 Totnea. Devonshire. 
 
 Rushden, NortUamptonahire, 
 
 St. Andrew, Plymouth, Devonshire. 
 
 Plymstock, Devonshire. 
 
 3 A 
 
362 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 Perpendicular English Buttresses. 
 
 These differ very little from those of the last style, except 
 that triangular heads to the stages are much less used, the 
 
 set-offs being much more 
 
 often bold projections 
 
 of plain slopes; yet 
 
 many fine buildings have 
 
 the triangular heads. 
 
 In the upper story, the 
 
 buttresses are often very 
 
 thin, and have diagonal 
 
 faces. There are few 
 
 large buildings of this 
 
 style without flying but- 
 tresses, and these are 
 
 often pierced ; at Henry 
 
 the Seventh's Chapel 
 
 they are of rich tracery, 
 
 and the buttresses are 
 
 octagonal turrets. At 
 
 King's College Chapel, 
 
 Cambridge, which has 
 
 only one height within, 
 
 the projection of the but- 
 tresses is so great as to allow chapels between the wall of the 
 nave, and another level with the front of the buttress. At 
 Gloucester, and perhaps at some other places, an arch or half- 
 arch is pierced in the lower part of the buttresses. There are 
 a few buildings of this style without any buttresses. All 
 the kinds are occasionally ornamented with statuary niches, 
 and canopies of various descriptions, and the diagonal corner 
 buttress is not so common as in the last style ; but the two 
 buttresses often leave a square, which runs up, and sometimes, 
 
 Soatb Moretou, Berks. 
 
 Eeuton, Devon. 
 
PERPENDICULAR ENGLISH BUTTRESSES. 
 
 363 
 
 Winchester Cathedral, i.e. 139i and 13b0. 
 
 as at the tower of the Old Church at Manchester, is crowned 
 with a third pinnacle. 
 
 [The buttresses and pinnacles to the aisles of the nave at 
 Winchester are good examples of this style, and the change 
 between the one at the angle, built by Bishop Edington in 
 1360, which is almost Decorated, and those built by Wykeham 
 in 1394, shews the gradual progress that was then going on; 
 but after this time it is often difficult to find any distinction be- 
 tween early and late Perpendicular work.] 
 
364 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 Although pinnacles are used very freely in 
 this style, yet there are some buildings whose 
 buttresses run up and finish square without 
 any ; of this description is St. George's, ^Yind- 
 8or, and the Beauchamp Chapel. The but- 
 tresses of the small eastern addition at Peter- 
 borough Cathedral are curious, having statues 
 of saints for pinnacles. 
 
 In interior ornaments, the buttresses used 
 are sometimes small octagons, sometimes pa- 
 nelled, sometimes plain, and then, as well as 
 the small buttresses of niches, are often banded 
 with a band different from the Early English, 
 and much broader. Such are the buttresses 
 between the doors of Henry the Seventh^s Chapel. 
 
 The small buttresses of this style attached 
 to screen-work, stall-work, and niches, are 
 different from any before used, and they form 
 a good mark of the style. The square pedes- 
 tal of the pinnacle being set with an angle 
 to the front, is continued down, and on each 
 side is set a small buttress of a smaller face 
 than this pedestal, thus leaving a small staff 
 between them; these buttresses have set-offs, 
 and this small staff at each set-off has the 
 moulding to it, which being generally two 
 long hollows, and a fillet between, has on 
 the staff an appearance of a spear-head. It 
 is not easy to describe this buttress in words, 
 but when once seen, it wiU be easily re- 
 cognised ; and as almost every screen and 
 tabernacle niche is ornamented with them in 
 this style, they need not be long sought. The 
 niches in front of Westminster Hall, (one 
 of the best and earliest Perpendicular ex- 
 amples,) and the niches imder the clearstory 
 windows of Henry the Seventh's Chapel, (one uerZ^iZu.^. 
 of the latest,) have them almost exactly similar. Westminster. 
 
THE PERPENDICULAR ENGLISH STYLE. 
 
 365 
 
 Perpendicular English Tablets. 
 
 The cornice is now, in large buildings, often composed of 
 several small mouldings, sometimes divided by one or two 
 considerable hollows, not very deep ; yet still, in plain build- 
 ings, the old cornice mouldings are much adhered to ; but 
 it is more often ornamented in the hollow with flowers, &c., 
 
 Coruice, Rushden, Northamptonsbii-e. 
 
 Cornice, Kenton, Devonahu-e 
 
 and sometimes with grotesque animals ; of this the churches 
 of Gresford and Mould, in Flintshire, are curious examples, 
 being a complete chase of cats, rats, mice, dogs, and a 
 variety of imaginary figures, amongst which various grotesque 
 monkeys are very conspicuous. In the latter end of the 
 style something very analogous to an ornamented frieze is 
 perceived, of which the canopies to the niches in various 
 works are examples, and the angels so profusely introduced 
 in the later rich woi'ks are a sort of cornice ornaments. 
 These are very conspicuous at St. George's, Windsor, and 
 
366 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 Henry the Seventh's Chapel, 
 hollows, and a round be- 
 tween with fillets, both up- 
 per and under surface nearly- 
 alike. 
 
 The dripstone of this 
 style is, in the heads of doors 
 and some windows, much 
 the same as in the last style, 
 and it most generally finishes 
 by a plain return ; though 
 corbels are sometimes used, 
 this return is frequently con- 
 tinued horizontally. [These 
 corbels are frequently heads, 
 see p. 372.] 
 
 Tablets under the win- 
 dows are like the dripstone, 
 and sometimes fine bands 
 are carried round as tablets. 
 Of these there are some fine 
 remains at the cathedral, and 
 at the tower of St. John's, 
 Chester. 
 
 The basement mouldings 
 ordinarily used are not ma- 
 terially diSerent from the 
 last style, reversed ogees 
 and hollows, variously dis- 
 posed, being the principal 
 mouldings; but in rich build- 
 ings several mouldings and 
 alternate faces are used. 
 
 At Bath is a cornice of two 
 
 Di-ipatoue teriiiiuin,iou, 
 Tack-ley. Oxon. 
 
 Baaeraeat, Bolton Abbey, Yorkstuie. 
 
KM»j£*Dxw./f0VR.J%«fim«y m/ O.J«vtitc. 
 
 3©CS[rEIE.S -AUaCJET _ IRTUSJSIiSS'i^"' CiSLTLm-dHLo 
 
THE PERPENDICULAR ENGLISH STYLE. 367 
 
 Perpendicular English Niches [and Screens]. 
 
 These are very numerous, as amongst them we must in- 
 clude nearly all the stall, tabernacle, and screen-work in the 
 English churches : for there appears little wood- work of an 
 older date, and it is probable that much screen-work was 
 defaced at the Reformation, but restored in Queen Mary's 
 time, and not again destroyed ; at least the execution of much 
 of it would lead to such a supposition, being very full of minute 
 tracery, and much attempt at stiffly ornamented friezes. 
 
 The remains of oak screen- work and tracery are much greater 
 than would be conceived possible, considering the varied de- 
 structions of the Reformation and Civil War. Most of our cathe- 
 drals, and ver}'- many smaller churches, contain tabernacle and 
 screen- work in excellent condition, and of beautiful execution ; 
 and amongst this kind of work should be reckoned the great 
 number of stalls with turn-up seats and benches ; these, though 
 many of them are of abominable composition, are by no means 
 all so ; the ceremonies of the Church, legends, and, above all, 
 figures of animals, flowers, and foliage, admirably designed 
 and executed, make up by far the greater number. At St. 
 Michael's Church, Coventry, are many of the best character. 
 The benches before these stalls present, in their ends and 
 fronts, combinations of panelling and flower-work of great 
 beauty. As an instance how late wood-work was executed in 
 a good stjde, there is some screen-work in the church at 
 Huyton in Lancashire, in which the date is cut in such a way 
 as to preclude any doubt of its being done at the time ; 
 and the date is corroborated by armorial bearings carved 
 on the same work; this date is 1663, a time at which all 
 idea of executing good English work in stone seems to 
 have been lost. 
 
 Many niches are simple recesses, with rich ogee canopies. 
 
368 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 and others have over-hanging square-headed canopies, with 
 many minute buttresses and pinnacles, crowned with battie- 
 
 st Mary Magdalen Church, Oxford. 
 
 raents ; or, in the latter part of the style, with what has been 
 called the Tudor flower, an ornament used instead of battlement 
 as an upper finish, and profusely strewed over the roofs, &c. of 
 rich late buildings. Of these niches, those in Henry the Seventh's 
 chapel, between the arches and clearstory windows, are perhaps 
 as good a specimen as any. Of the plain recesses, with ogee 
 canopies, there are some fine ones at Windsor. 
 
 The whole interior of the richer buildings of this style is 
 more or less a series of panels ; and therefore, as every panel 
 may, on occasion, become a niche, we find great variety of shape 
 and size ; but like those of the last style, they may generally be 
 reduced to one or other of these divisions. 
 
THE PERPENDICULAR ENGLISH STYLE. 
 
 369 
 
 Perpendicular English Ornaments. 
 
 The grand source of ornament, in this style, is panelling ; 
 indeed, the interior of most rich buildings is only a general 
 series of it ; for ex- 
 ample, King's Col- 
 lege Chapel, Cam- 
 bridge, is all panel, 
 except the floor ; for 
 the doors and win- 
 dows are nothing but 
 pierced panels, in- 
 cluded in the general 
 design, and the very 
 roof is a series of 
 them of different 
 shapes. The same 
 may be said of the in- 
 terior of St. George's, 
 Windsor ; and still 
 further, Henry the 
 Seventh's chapel is so 
 both within and with- 
 out, there being no 
 plain wall all over 
 the chapel, except 
 the exterior from 
 below the base mould- 
 ing, all above is orna- 
 mental panel. All 
 
 the small chapels of late erection in this style, such as those 
 at Winchester, and several at Windsor, are thus all pierced 
 
 panel. 
 
 3 B 
 
 FiinelUng, Telvertoft, Northaiaptonshire, c. IcOO. 
 
370 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 St. Michael Coslaney, Norwich, may be noticed as a very 
 fine specimen of Norfolk building in flint and stone, which 
 prevails in a great number of the churches in that district ; and 
 at a short distance the effect is good. 
 
 
 St. Michael Coslaney. 3^'orwich. c. loOO 
 
 The tracery mouldings, some real, some apparent, and the 
 ornaments, small battlements, Tudor flowers, and other embel- 
 lishments, are cut in stone, and the interstices representing the 
 sunken parts filled up with flint. 
 
PERPENDICULAR ENGLISH ORNAMENTS. 
 
 371 
 
 In this church a portion of the chancel is built in this 
 way, and the work being well executed and very minute, 
 its effect is very curious. This portion of the church is Per- 
 pendicular, and the design very good. It may be well to state, 
 that in some churches this mixture is found of Decorated 
 character, with the elegant forms of that style beautifully 
 made out, and it is possible there may be some of it of a still 
 earlier date \ 
 
 Exclusive of this general source of ornament, there are a few 
 peculiar to it ; one, the battlement to transoms of windows, 
 has already been mentioned; this, in works of late date, is 
 very frequent, sometimes 
 extending to small tran- 
 soms in the head of the 
 window, as well as the 
 general division of the 
 lights. Another, the Tu- 
 dor flower, is, in rich 
 work, equally common, 
 and forms a most beau- 
 tiful enriched battlement, 
 and is also sometimes used 
 
 on the transoms of windows in small work. Another peculiar 
 ornament of this style is the angel cornice, used at Windsor 
 and in Henry the Seventh's chapel ; but though according with 
 the character of those buildings, it is by no means fit for 
 general use. These angels have been much diffused, as sup- 
 porters of shields, and as corbels to support roof- beams, &c. 
 Plain as the Abbey Church at Bath is in its general execu- 
 tion, it has a variety of angels as corbels, for different 
 purposes. 
 
 A great number of edifices of this style appear to have been 
 executed in the reign of Henry the Seventh, as the angels so 
 profusely introduced into his own works, and also his badges, 
 — the rose and portcullis, — and sometimes his more rare 
 
 Tador Flower, Henry the Seventh's Chapel. 
 
 * [These remarks of Mr. Rickman on 
 flint and stone panelling were in the Ap- 
 
 pendix of the third edition, but seem to 
 come more appropriately here.] 
 
372 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 Angel Bracket, Henry VI I. 'a Chapel, Westminster. 
 
 Crocket, Solihull. 
 
 of the bishop 
 
 Ante-Chapel, Merton College. 
 Oxford, A.D. 14!^ 
 
 cognizances, are abun- 
 dantly scattered in build- 
 ings of this style. 
 
 Flowers of various kinds 
 continue to ornament cor- 
 nices, &c., and crockets 
 were variously formed : to- 
 wards the end of the style 
 those of pinnacles were 
 often very much projected, 
 which has a disagreeable 
 effect ; there are many of 
 these pinnacles at Oxford, 
 principally worked in the 
 decline of the st3de. 
 
 [The corbels used to ter- 
 minate the dripstones in the 
 early part of this style are 
 frequently heads, those of 
 a king and a bishop being 
 the most common. They 
 are generally well carved, 
 and the costume of these 
 heads is often useful as a 
 guide to the date of the 
 building. The tall mitre 
 general a safe and easy 
 mitres are always low, it 
 the fifteenth century that 
 tall. The heads of kings 
 are supposed to be intended to represent 
 the reigning sovereign, and those of bi- 
 shops the bishop of the diocese of the 
 time ; these heads certainly vary consider- 
 ably at different periods, and a sort of 
 rude resemblance to the heads on the 
 coins or the great seal of particidar kings 
 may be fomid ; but there is the same con- 
 ventional character at each period, and it 
 is doubtful whether the heads of bishops 
 have any pretence to being portraits.] 
 
 Crocket, Lavenham, Suffolk. 
 
 especially is in 
 guide ; early 
 is not until 
 they become 
 
PERPENDICULAR ENGLISH CAPITALS. 
 
 373 
 
 [The capitals of pillars iii this style are most commonly 
 formed of mouldings only, but in rich buildings they are 
 frequently ornamented with 
 sculpture, either of foliage 
 or figures, generally angels. 
 Devonshire especially a- 
 bounds with these enriched 
 capitals. The mouldings 
 are more of an angular 
 character than those of the 
 previous styles, and the 
 foliage is also very differ- 
 ent, more shallow, and less 
 natural, without either the 
 freedom and boldness of 
 the Early English, or the 
 peculiar crumpled character 
 of the Decorated, and with 
 a certain squareness of out- 
 line, which the eye soon 
 detects. The capitals are 
 sometimes formed sepa- 
 rately for each shaft, in 
 which case they scarcely 
 differ from those of the 
 shafts of doorways before 
 mentioned. In other cases, 
 and especially in Devon- 
 shire, the capitals are con- 
 tinued round the whole 
 cluster of shafts, as at Ken- 
 ton, so that there is only 
 one large capital to each 
 pillar, instead of four small 
 ones separated by hollows, 
 as is more commonly the 
 practice in this style. When 
 figures are used they are 
 
 sometimes lying horizon- stoke-m-Teignhead. Devonshire, c. ISOO. 
 
 tally in hollow mouldings, 
 
 in other cases erect, and these sometimes have canopies over 
 
 them, as at Stoke-in-Teignhead.] 
 
374 THE PEPENDICULAR ENGLISH STYLE. 
 
 Perpendicular English Sieeples. 
 
 Of these there remain specimens of almost every descrip- 
 tion, from the plain short tower of a country church to the 
 elaborate and gorgeous towers of Gloucester and Wrexham. 
 There are various fine spires of this style, which have little 
 distinction from those of the last, but their age may be gene- 
 rally known by their ornaments, or the towers supporting 
 them. Almost every conceivable variation of buttress, bat- 
 tlement, and pinnacle is used, and the appearance of many 
 of the towers combines in a very eminent degree extraordinary 
 richness of execution and grandeur of design. Few counties 
 in England are without some good examples ; besides the 
 two already mentioned, Boston in Lincolnshire, All Saints 
 in Derby, St. Mary's at Taunton (see p. 376), St. George's, 
 Doncaster, are celebrated ; and the plain but excellently pro- 
 portioned tower of Magdalen College, Oxford, deserves much 
 attention. 
 
 Amongst the smaller churches there are many towers of 
 uncommon beauty, but few exceed Gresford, between Chester 
 and Wrexham ; indeed, the whole of this church, both in- 
 terior and exterior, is worth attentive examination. Paun- 
 ton, near Grantham, has also a tower curious for its excellent 
 masonry. There are of this style some small churches with 
 fine octagonal lanterns, of which description are two in the 
 city of York ; and of this style is that most beautiful composi- 
 tion, the steeple of St. Nicholas, at Newcastle-upon-Tyne, — 
 a piece of composition equally remarkable for its simplicity, 
 delicacy, and excellent masonic arrangement. Early in this 
 style also is the steeple of St. Michael at Coventry, which, 
 but for the extreme destruction of its ornaments, in conse- 
 quence of the nature of the stone, would be nearly unequalled. 
 To notice all the magnificent towers of this style would take 
 
.2 S '2iirJXi;2:_2"'ii'iE.'SSi^3"i:.'TS"3.T.K^J?. 
 
New College, Oxford, i.u. 14uO. 
 
 MaJdalpD Cbuii.h, Oxford, ad. 1617. 
 
 HuisLi bpi&copi. bOLUex'&ct c l-ibO 
 
 Cljip^Lug UetinpCLen, tjiOUCebUIlaUUe. C. lOt'O. 
 
376 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 St. Mary's, Taunton. Somerset, c. IfOO. 
 
PERPENDICULAR ENGLISH STEEPLES. 
 
 377 
 
 a volume, but the cathedrals at Canterbury and York must 
 not be omitted. At Canterbury the central tower, which 
 has octagonal turrets at the corners, is a very fine one; and 
 the south-west tower, which has buttresses and fine pinnacles, 
 though in a difierent stjde, is little inferior. At York, tlie 
 centre tower is a most magnificent lantern ; its exterior looks 
 rather flat, from its not having pinnacles, which seem to have 
 been intended by the mode in which the buttresses are 
 finished ; but its interior gives, from the flood of light it pours 
 into the nave and transepts, a brilliancy of appearance equalled 
 by very few, if any, of the other cathedrals. 
 
 [In many towers of this style we find in the middle story, 
 where the ringers' loft is usually situated, an opening for 
 air, which can hardly be considered as a window, since it 
 is often so much filled up with tracery as to give little light 
 and is not glazed. These 
 have been already men- 
 tioned as found occasion- 
 ally in the Decorated 
 style, and called in Nor- 
 folk 'sound-holes;' but 
 this name is modern, 
 and seems not so appro- 
 priate as aii*-holes or 
 tower-lights. They are 
 particularly abundant in 
 the east of England, and 
 much more frequent in 
 the Perpendicular style 
 than in the Decorated, 
 although the tracery is 
 often so much of the 
 
 flowing character as to Xowerlight, Cromer, Norfolk. 
 
 appear at first sight like Decorated work. The patterns are, 
 in fact, quite Decorated, and in some cases it is only by the 
 mouldings that their real date can be ascertained.] 
 
 3c 
 
378 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 Perpendicular English Battlements. 
 
 Parapets still continue to be used occasionally. The tro- 
 foiled panel with serpentine line is still used, but the dividing 
 line is oftcner straight, making the divisions regular triangles. 
 
 Of panelled parapets, one of the finest is that of the Beau- 
 champ Chapel, which consists of quatrefoils in squares, with 
 shields and flowers. [See the window, p. 35-1.] 
 
 Of pierced battlements there 
 are many varieties, but the 
 early ones frequently have 
 quatrefoils, either for the lower 
 compartments, or on the top 
 of the panels of the lower, 
 to form the higher ; the later 
 have often two heights of 
 panels, one range for the lower, 
 and another over them form- 
 ing the upper ; and at Lough- 
 borough is a fine battlement 
 
 of rich pierced quatrefoils, in Tower, Merton CoUege, Oxford. 
 
 two heights, forming an indented battlement. These battle- 
 ments have generally a running cap-moulding carried round, 
 and generally follow- 
 ing the line of bat- 
 tlement. There are 
 a few late buildings 
 which have pierced 
 battlements, not with 
 straight tops, but va- 
 riously ornamented : 
 such is the tomb-house 
 at Windsor, with point- 
 ed upper compart- 
 ments ; and such is the 
 battlement of the east- ^ " '^ 
 
 ern addition at Peterborough, and the great battlement of King's 
 
PERPENDICULAR ENGLISH BATTLEMENTS. 
 
 379 
 
 College Chapel, Cambridge, and also that most delicate battle- 
 ment over the lower side-chapels ; this is perhaps the most 
 elegant of the kind. Sometimes on the outside, and often 
 within, the Tudor flower is used as a battlement, and there are 
 a few instances of the use of a battlement analogous to it in 
 small works long before : such is that at Waltham Cross. 
 Of plain battlements there are many descriptions : — 
 1st. That of nearly equal 
 intervals, with a plain cap- 
 ping running roimd with 
 the outline. 
 
 2nd. The castellated bat- 
 tlement, of nearly equal 
 intervals, and 2 sometimes 
 with large battlements and 
 small intervals, with the 
 cap-moulding running only 
 horizontally, and the sides 
 cut plain. 
 
 3rd. A battlement like 
 the last, with the addition 
 of a moulding which runs 
 round the outline, and has 
 the horizontal capping set 
 upon it. 
 
 4th. The most common 
 late battlement, with the 
 cap-moulding broad, of seve- 
 ral mouldings, and running 
 round the outline, and thus 
 often narrowing the inter- 
 vals, and enlarging the bat- 
 tlement. To one or other 
 
 of these varieties most bat- St. George a Chapel, Wmdsor. 
 
 tlements may be reduced ; but they are never to be depended on 
 alone, in determining the age of a building, from the very 
 
 St. Michael, Sporrier Gate, York. 
 
 frequent alterations they are liable to. 
 
380 
 
 THE PERrENDICUT.AR ENGLISH STYLE. 
 
 Perpendicular English Roofs, 
 
 These may be divided into three kinds ; first, those open to 
 the roof framing, as at Trunch ; second, those ceiled flat or 
 nearly so ; and thirdly, the regular groined roof. 
 
 Roof, Trauch, Norfolk, c. 15C0. 
 
 Of the first kind are those magnificent timber roofs, of 
 which Westminster Hall is one of the finest specimens. The 
 beams, technically called principa/s, are here made into a sort 
 of trefoil arch, and the interstices of the framing filled with 
 
c ifiu:"ieiiiie-A-/7r. a <^r4vl iHPH D^Uino 
 
 Bl^3)3F ®y 'ynrSiT^Sf^^SCABfi S2I7JS.:rs: - 2?(D2UF3)jr*!K , 
 
PERPENDICULAR ENGLISH ROOFS. 
 
 381 
 
 pierced panellings ; there are also arches from one principal 
 to another. Crosby Hall in Bishopsgate-street is another 
 roof of this description, as is the hall of Christ Church, 
 Oxford, and many others ; this roof is not often found in 
 churches. 
 
 The second is common m churches, and is the Perpendicular 
 ordinary style of ceiliDg, rich, though easily constructed ; a rib 
 crossed above the pier, with a small flat arch, and this was 
 
 Rusbden, Nortttamptonshire, c. 1500. 
 
 crossed by another in tbe centre of the nave, and the spaces 
 thus formed were again divided by cross ribs, till reduced to 
 squares of two or three feet : and at each intersection, a flower, 
 shield, or other ornament was placed. This roof was some- 
 times in the aisles made sloping, and occasionally coved. In 
 a few instances, the squares were filled with fans, &c. of small 
 tracery. A. variety of this roof which is very seldom met with, 
 is a real flat ceiling, like the ordinary domestic ceiling of the 
 present day ; of this, the post room at Lambeth Palace ofiers 
 one specimen, and a room attached to St. Mary's Hall, at 
 
382 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 Coventry, another; both these have small ribs crossing the 
 ceiling, and dividing it into several parts. At Coventr\', the 
 intersection of these ribs in the centre^ and their sjoring from 
 the moulding, which runs round from the side walls, are orna- 
 mented with carvinfrs. 
 
 The third, or groined roof, is of several kinds. Of this 
 it may be well to notice, that the ribs in this style are fre- 
 quently of fewer mouldings than before, often only a fillet 
 and two hollows, like a plain muUion. We see in tlie groined 
 roofs of this 8t3de almost every possible variety of disposition 
 of the ribs, and in the upper part of the arch they are in 
 manj^ instances feathered ; and these ribs are increased in 
 the later roofs, till the whole is one series of net-work, of 
 which the roof of the choir at Gloucester is one of the most 
 complicated specimens. The late monumental chapels and 
 statuar}^ niches mostl}^ present in their roofs very complicated 
 tracerv. 
 
 Christ Church Hall, Uilord, i.D. 1S28. 
 
 We now come to a new and most delicate description of 
 roof, that oi fan tracery, of which probably the earliest, and 
 certainly one of the most elegant, is that of the cloisters at 
 Gloucester. In these roofs, from the top of the shaft springs 
 a small fan of ribs, which doubling out from the points of the 
 panels, ramifj^ on the roof, and a quarter or half-circular rib 
 forms the fan, and the lozenge interval is formed by some of 
 the ribs of the fan running through it, and di-s-iding it into 
 portions, which are filled with ornament. King's College 
 
r.r-^adcffau* ^t-om. a. ^"Ker.-r. ii- H^'D-laoimi 
 
 s? ffSTrsias 5aL*.>^c:E.(C3?'r _Tf®3i';',r::cm< 
 
PERPENDICULAR ENGLISH ROOFS. 383 
 
 Chapel, Cambridge, Henry the Seventh's Chapel, and the Abbey 
 Church at Bath, are the best specimens, after the Gloucester 
 cloisters ; and to those ma}^ bo added the aisles of St. George's, 
 Windsor, and that of the eastern addition to Peterborough. To 
 some of these roofs are attached pendants, which, in Henry the 
 Seventh's Chapel, and the Divinity School at Oxford [see 
 Plate], come down as low as the springing-Iine of the fans. 
 
 The roof of the nave and choir of St. George's, Windsor, is 
 very singular, and perhaps unique. The ordinary proportion 
 of the arches and piers is half the breadth of the nave ; this 
 makes the roof compartments two squares, but at Windsor the 
 breadth of the nave is nearly three times that of the aisles, and 
 this makes a figure of about three squares. The two exterior 
 parts are such as, if joined, would make a very rich, ribbed 
 roof; and the central compartment, which runs as a flat arch, 
 is filled with tracery panels, of various shapes, ornamented with 
 quatrefoils, and forming two halves of a star ; in the choir, the 
 centre of the star is a pendant. This roof is certainly the most 
 singular, and perhaps the richest in effect of any we have ; it is 
 profusely adorned with bosses, shields, &c. 
 
 There still remains one more description of roof, which is 
 used in small chapels, but not common in large buildings. This 
 is the arch roof; in a few instances it is found plain, with 
 a simple ornament at the spring and the point, and this is gene- 
 rally a moulding with flowers, &c., but it is mostly panelled. 
 Of this roof, the nave of the Abbey Church at Bath is a most 
 beautiful specimen. The arch is very flat, and is composed of 
 a series of small rich panels, with a few large ones at the centre 
 of the compartments formed by the piers. The roofs of the 
 small chapels, on the north side of the Beauchamp Chapel, at 
 Warwick, are also good examples ; and another beautiful roof 
 of this kind is the porch to Henry the Seventh's chapel ; but this 
 is so hidden, from the want of light, as to be seldom noticed. 
 
 The ribbed roofs are often formed of timber and plaster, but 
 are generally coloured to represent stone-work. 
 
 There may be some roofs of difierent arrangements from any 
 of these ; but in general they may be referred to one or other of 
 the above heads. 
 
38'i THE PERPENDICULAR ENGLISH STYLE. 
 
 Perpendicular English Fronts. 
 
 The first to be noticed of these, and by far the finest west 
 front, is that of Beverley Minster, a building much less known 
 than its great value merits it should be. AVhat the Avest front 
 of York is to the Decorated style, this is to the Perpendicular, 
 with this addition, that in this front nothing but one style is 
 seen — all is harmonious. Like York Minster, it consists of 
 a very large west -window to the nave, and two towers for 
 the end of the aisles. This window is of nine lights, and the 
 tower windows of three lights. The windows in the tower 
 correspond in range nearly with those of the aisles and clear- 
 story windows of the nave ; the upper windows of the tower 
 are belfry windows. Each tower has four large and eight 
 small pinnacles, and a very beautiftd battlement. The whole 
 front is panelled, and the buttresses, which have a ver}-^ bold 
 projection, are ornamented with various tiers of niche- work, 
 of excellent composition and most delicate execution. The 
 doors are uncommonly rich, and have the hanging feathered 
 ornament ; the canopy of the great centre door runs up above 
 the sill of the window, and stands free in the centre light, with 
 a very fine effect. The gable has a real tj-mpanum, which is 
 filled with fine tracery. The east front is fine, but mixed with 
 Early English. The west fronts of "Winchester, Gloucester, 
 Chester, Bath, and Windsor, are all of this style, and all of 
 nearly the same parts, — a great window and two side ones, 
 with a large door and sometimes side ones ; Chester has only 
 one side wdndow. Though in some respects much alike, they 
 are really very different. Winchester has three rich porches 
 to its doors ; Gloucester a very rich battlement, with the can- 
 opy of the great window running through it ; Chester a very 
 fine door with niches on each side ; Bath, a curious repre- 
 sentation of Jacob's dream, the ladders forming a sort of but- 
 
PERPENDICULAR ENGLISH FRONTS. 385 
 
 tresses, and angels filling the space about the head of the great 
 window ; Windsor is plain, except its noble window and beau- 
 tiful pierced parapet and battlements : but it is curious that 
 in all these examjjles the nave is flanked by octagonal towers ; 
 at Winchester and Gloucester, crowned with pinnacles; at 
 Chester and Windsor with ogee heads, and at Bath by an open 
 battlement. The ends of King's College Chapel, Cambridge, 
 are nearly alike, but that one has a door and the other not ; 
 these also are flanked with octagonal towers, which are finished 
 with buttresses, pinnacles, and an ogee top. Of east ends, 
 York is almost the only one which preserves the whole eleva- 
 tion, and this is the richest of all ; it is highly ornamented 
 with niches in the buttresses, and has octagonal turrets which 
 finish in very tall pinnacles, of a size equal to small spires, but 
 which, from the great elevation of the front, do not appear 
 at all too large. Of small churches, the west end of St. 
 George's, Doncaster, and Trinity Church, Hull, are fine ex- 
 amples ; as are the east ends of Louth Church in Lincolnshire, 
 and Warwick Church, as well as its beautiful companion the 
 Beauchamp Chapel. 
 
 [It is remarkable that scarcely any distinction can be drawn 
 between the fronts of the earliest and the latest examples of this 
 style. The west front of Winchester Cathedral, and the east 
 front of Warwick Church mentioned here amongst the last, 
 are in actual date among the earliest, being built in the time 
 of Richard the Second, as recorded, and as farther shewn, in the 
 instance of Warwick, by the tomb of the founder standing in 
 the middle of the chancel, the details of which agree with those 
 of the east front. The Beauchamp Chapel follows this a few 
 years later in actual date, but scarcely later in style, for the 
 east front of the chancel is one continual series of panels. 
 The west front of St. George's, Windsor, is of the time of 
 Edward the Fourth. The west fronts of Bath Abbey Church, 
 and King's College Chapel, are of the time of Henry the 
 Eighth, yet the design of all of them is to a great extent the 
 same, a continual series of panels.] 
 
 3 D 
 
8S6 THE PERPENDICULAR ENGLISH STYLE. 
 
 Perpendicular English Porches. 
 
 Of these there are so many that it is no easy matter to choose 
 examples, but three may be noticed : first, that attached to the 
 south-west tower of Canterbury Cathedral, which is covered 
 with fine niches; secondly, the south porch at Gloucester, 
 which has more variety of outline, and is nearly as rich in 
 niches ; the third is the north porch at Beverley, and this is, as 
 a panelled front, perhaps unequalled. The door has a double 
 canopy, the inner an ogee, and the outer a triangle, with beau- 
 tiful crockets and tracery, and is flanked by fine buttresses 
 breaking into niches, and the space above the canopy to the 
 cornice is panelled ; the battlement is composed of rich niches, 
 and the buttresses crowned by a group of four pinnacles. The 
 small porches of this style are many of them very fine, but few 
 equal those of King's College Chapel, Cambridge. 
 
 [The west porches of Winchester Cathedral are very re- 
 markable, especially on account of their early date for this 
 style ; they are said to be part of the Avork of Bishop Edington, 
 and the vaulting is rather of transitional detail, though the 
 general aspect is decidedly Perpendicidar. 
 
 There is frequently a room over the porch, the use and name of 
 which is much disputed ; it is now comraonl}' called the Parvise, 
 but this is entirely a modern and erroneous application of that 
 name ; the parvis in French is a term still in use for the open 
 space around the principal entrance of a cathedral or large 
 church : for instance, the space in front of the north transept 
 at Rouen is called the Parvis. 
 
 The original use of this chamber is not clear ; in some cases 
 it seems to have been intended and used for the parish muni- 
 ment-room, and in the time of James I. it was often converted 
 into the place of a parish library ; in some instances there is an 
 original fireplace and chimney to this chamber, and it is sup- 
 posed to have been the residence of a recluse — a purpose to 
 which the room over the vestry on the north side of the chancel 
 was also applied. 
 
 Many tine gatehouses of this style have been preserved in 
 various parts of the country. The gatehouse is the portion 
 most commonly preserved of our ancient abbeys or other mo- 
 nastic establishments, and also of the houses of the nobility 
 and gentry of the fifteenth or sixteenth century.] 
 
THE PERPENDICULAR ENGLISH STYLE. 
 
 387 
 
 Perpendicular English Fonts. 
 
 The fonts of this style are very numerous, and of all sorts of 
 workmanship, from the roughest description to that most ela- 
 borate specimen at Walsingham Church in Norfolk. To some 
 of these remain font-covers of wood, of which a few are com- 
 posed of very good tabernacle-work. 
 
 Wymondham, Norfolk, c. 1500. 
 
 [The fonts are generally raised upon steps, when in their 
 original position, and these steps are sometimes richly orna- 
 mented with panelling. The fonts themselves are also most 
 commonly panelled, and the panels are often filled with sculp- 
 ture, representing the Evangelistic symbols, the seven sacraments 
 of the Iloman Church, the emblems of the Passion, angels bear- 
 ing shields, heraldic and other devices. The bowl is frequently 
 supported by angels, and round the stone are figures under 
 canopies, or lions. 
 
388 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 These rich Perpendicular fonts are particularly abundant 
 in Norfolk and Suffolk, but they are also common in other 
 parts of England, especially in Somersetshire and Devonshire. 
 At Trunch in Norfolk the font is placed in a kind of baptistery 
 of rich Perpendicular wood- work ; and at St. Peter Mancroft, 
 Norwich, is another example, similar but not so fine, and much 
 mutilated.] 
 
 ajiv^ " 
 
 East Dereham, Norfolk, c. 1500 
 
'^p ^f j Af^ rint -fi^nr- 
 
 ©iULIClSlKS- Se ff®H1l? SSS ^Sy®mSTIE3!i) SHnffIS.Gm_SJ®EIF®a:!S, 
 
THE PERPENDICULAR ENGLISH STYLE. 389 
 
 Of the Perpendicular English Styi>e. 
 
 The appearance of Perpendicular buildings is very various, 
 so much depends on the length to which panelling, the great 
 source of ornament, is carried. The triforiura is almost entirely- 
 lost, the clearstory windows resting often on a string which 
 bounds the ornaments in the spandrels of the arches, but 
 there is not unfrequently under these windows, in large build- 
 ings, a band of sunk or pierced panelling of great richness. 
 
 Of this style so many buildings are in the finest preserva- 
 tion, that it is difficult to select; but, on various accounts, 
 several claim particular attention. The choir at York is one 
 of the earliest buildings; indeed it is, in general arrange- 
 ment, like the nave, but its ornamental parts, the gallery 
 under the windows, the windows themselves, and much of its 
 panelling in the interior, are completely of Perpendicular cha- 
 racter, though the simple grandeur of the piers is the same 
 as the nave. The choir of Gloucester is also of this style, and 
 most completely so, for the whole interior is one series of open- 
 work panels laid on the Norman work, parts of which are cut 
 away to receive them; it forms a very ornamental whole, but 
 by no means a model for imitation. 
 
 Of the later character are three most beautiful specimens, 
 King's College Chapel, Cambridge, Henry the Seventh's Chapel, 
 and St. George's, Windsor ; in these, richness of ornament is 
 lavished on every part, and they are particularly valuable for 
 being extremely difierent from each other, though in many 
 respects alike. Of these, undoubtedly St. George's, "Windsor, 
 is the most valuable, from the great variety of composition 
 arising from its plan ; but the roof and single line of wall of 
 King's College Chapel, Cambridge, deserves great attention, 
 and the details of Henry the Seventh's Chapel will always com- 
 mand it, from the great delicacy of their execution. 
 
390 THE PERPENDICULAR ENGLISH STYLE. 
 
 Of small churches, there are many excellent models for 
 imitation, so that in this style, with some care and exami- 
 nation, scarcely anything need be executed but from absolute 
 authority. The monumental chapels of this style are pecu- 
 liarly deserving attention, and often of the most elaborate 
 workmanship. 
 
 The castellated remains of this style are generally much 
 altered, to render them habitable : parts of Windsor Castle are 
 good ; the exterior of Tattershall Castle, in Lincolnshire, re- 
 mains nearly unaltered. 
 
 [The houses of this style which remain to us in a nearly per- 
 fect state, so far at least as the exterior is concerned, are still 
 numerous, though they are disappearing every year ; these 
 houses are in general very slightly fortified, and in the late ex- 
 amples the fortifications appear to be intended more for show 
 than for use. Somersetshire is the richest county for houses 
 of this class ; Dorsetshire and Wiltshire also are rich in them, 
 and they are scattered about in other parts of the country. 
 A number of them are engraved in the third volume of the 
 "Domestic Architecture of the Middle Ages," and detailed 
 drawings, with plans of several of them, are contained in 
 Pugin's and Walker's " Examples of Gothic Architecture." 
 The houses of the abbots and priors of the monasteries have 
 frequently been preserved and turned into gentlemen's houses, 
 now generally degenerated into farm-houses. 
 
 The Deanery at Wells is a very fine house of this style ; the 
 exterior is nearly perfect, and the interior only disguised by 
 modern partitions which could easily be removed. 
 
 At Muchelney, the abbot's house is nearly perfect, and a fine 
 example of a nobleman's house of the time of Henry VII. and 
 VIII. In the same parish is a small vicarage-house of the 
 same period, quite complete, with the hall, the cellar, and the 
 solar, and on the opposite side of the passage, or screens, 
 the kitchen and offices, but all on a small scale — a diminutive 
 gentleman's house. 
 
 At South Petherton is a fine manor-house of the time of 
 Henry VI., in which the arrangement is more in accordance 
 with modern usages, having a dining-room with a drawing- 
 room over it, with a magnificent bay-window of two stories ; 
 it is quite complete, even to the timbers, but these are in 
 a very dilapidated state from neglect. 
 
THE PERPENDICULAR ENGLISH STYLE. 
 
 391 
 
 The abbot's house at Wenlock, in Shropshire, is a very 
 complete and curious example ; the arrangement here also is 
 more like the modern custom — a house of two stories without 
 any great hall. 
 
 Crosby Hall is a well-known example of a merchant's house 
 of this style, and St. Mary's Hall at Coventry is another, re- 
 markably complete, with its kitchen and offices, and small 
 apartments, as well as the great hall. The Guildhall in London 
 retains its original walls and lower chamber of this style, but 
 the great hall has been spoiled by a modern roof.] 
 
 Gaorge Inn, Glasloobury. 
 
39- 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 EICHARD II. A.D. 1377—1399. 
 
 :5^ 
 
 Arms and Baidges of Riclaard II 
 
 [a.d. 1377. Shirburn Castle, Oxfordshire, built by Martin de 
 risle. The outer walls are nearly perfect, and are early Per- 
 pendicular ; the interior is entirely modernized. 
 
 A.D. 1377. The tomb of Edward III. in Westminster Abbey. 
 The stjde is Perpendicular, but early in the 
 style ; the canopy has a panelled parapet 
 surmounted by a row of the Tudor-flower 
 ornament. (For engravings see Blore's 
 "Monumental Remains," Neale's "West- 
 minster Abbey," &c.) 
 
 A.D. 1378 — 1411. Canterbury Cathedral ; 
 the nave and western transepts rebuilt in 
 the Perpendicular style, with panelling*. 
 (See one bay of it, p. 359.) 
 
 A.D. 1380. Bolton Castle, in Wensleydale, 
 Yorkshire, built by Richard le Scrope, Lord Chancellor, who 
 obtained the royal licence to crenellate it in this year. The 
 walls are nearly perfect, and it is a very fine and lofty build- 
 ing in a mixed style. 
 
 A.D. 1380. Couling Castle, Kent, built by John de Cobham, 
 who obtained the royal licence to crenellate his manor-house 
 {mansum manerii) at this date. The walls of the gatehouse re- 
 main nearly perfect. 
 
 A.D. 1380 . Canterbury, Holy Cross Church, rebuilt on 
 
 a new site^. This church contains a mixture of the Decorated 
 and Perpendicular styles. 
 
 • See Professor Willis's Architectural History, pp.117 — 123; and for engrav- 
 ings, Britton's Cathedrals, Murray's Handbooks, &c. 
 ° Somner's Canterbury, p. 168 ; and Appendix, p. 87. 
 
 Head of Edward III., 
 from his Tomb. 
 
ES'TmAsrcE or® Tmm 
 
 ' SE _ HO'WlBjaES" 
 
RICHARD II., A.D. 1377 — 1399. 393 
 
 A.D. 1380 — 1407. The chapter-house of Howden, Yorkshire. 
 Henr}^ Smith, clerk, prebendary of this church, bequeaths in 
 this year 10/. to the fabric of the chapter-house ^. This work 
 and the tower were carried on from 1389 to 1407 by Walter 
 Skirlawe, Bishop of Durham : — 
 
 " Construxit etiam Campanile do Hoiildon in comitatu Eboraccnsi, 
 Bummje magnitudinis, quod quidam pro incolis ejusdcm loci de Houl- 
 don, si fortuito aquarum inimdatio eveniret, tanquam rcfugium fecit, 
 magnos sumptus in reparationc predictae ecclesia? cffniidebat ; ubi quo- 
 quo domum capitularem porpulchram, eidem ecclesiso conjunctam, con- 
 struxit^." 
 
 This chapter-house is octagonal, of Peipendicular date, but early 
 in the style ; it is unroofed, but the walls and details are nearly 
 perfect. (See Plate.) 
 
 A.D. 1380. A column in the south aisle of Ropsley Church, 
 near Grantham, in Lincolnshire, has this inscription on it : — 
 
 Btft coluna facta ati lim. Sti .{lW(cl)ts anno Bni JJl". ®.(I.®.°. ILXXX. ct nomc 
 factoris Crf)omas tittle Dc dTorlip. 
 
 The details of this column are Decorated, but it is inserted 
 
 under an Early English arch. 
 
 A.D. 1380—1386. New College, Oxford, built by William 
 of Wykeham, " laying the first stone of the same himself, 
 March 5, 1379 [1380], and dedicating it unto the honor of 
 God and the blessed virgin Mary. Being finished, the first 
 warden and fellowes all together took possession of it April 14, 
 1386, at the thii-d hour [i.e. nine o'clock] in the morning^." 
 
 A.D. 1380 — 1401. The choir of Campden Church, in Glou- 
 cestershire, rebuilt by William Greville, woolstapler, who is 
 buried in the chancel, where a fine brass representing him 
 and his wife is still to be seen. The nave and tower are later. 
 
 A.D. 1381. The tomb of Thomas Hatfield, Bishop of Dur- 
 ham, in his cathedral ^. 
 
 1381 — 1396. Mepham or Meopham Church, in Kent, re- 
 paired and in a great degree rebuilt by William Courtenay, 
 Archbishop of Canterbury ^. 
 
 A.D. 1381—1396. Saltwood Castle, Kent, enlarged by William 
 Courtenay, Archbishop of Canterbury ^. 
 
 A.D. 1381—1391. St. Mary's Church at Warwick rebuilt by 
 Thomas Beauchamp II., Earl of Warwick, in execution of the 
 will of Thomas I., his father. The chancel of this period 
 remains, and is early Perpendicular ' ; and the tomb of Thomas 
 
 <: Test. Ehor. s Godwin's Catalogue of the Bishops 
 
 d Hist. Dunelm. Script, tres, p. 144. of Englnnd, p. 106. 
 
 •= Godwin's C:italogue of the Bishops '' Hasted's Hist, of Kent, iii. 405. 
 
 of England, p. 186j and Lowth's Life ' Dugdalc's Warwickshire, p. 288; 
 
 of William of Wykeham, pp. 181, 182. No', ices of the Churches of Warwick- 
 
 ^ See Blore's Monumental Remains. shire; and Archa^ol. Journ., ii.l09 — 112. 
 
 3 E 
 
394 
 
 THE TERPENDICULAR ENGLISH STYLE. 
 
 Bcauchamp, Earl of Warwick, and his Countess, remain in the 
 middle of the choir J. 
 
 East Window of Chancel, St. Mary's OUurch. Warwick. 
 
 V 
 
 X.U 
 
 Section of Mouldings. 
 
 J See Dugdale's Warwicksliire, p. 283; Gougb's Sepulchral Mouuments; and 
 Blore's Monumental Kemains. 
 

 
 
 
 \»^, 
 
 i 
 
 r J' Jm^^.^^^m^>^^ 
 
 N 
 
 ^ 5 
 
 1i 
 1 
 
 
 
 lH H 
 
 a 
 
RICHARD II., A.D. 1377 — 1399. 395 
 
 1381 — 1412. Tlie cloisters of Gloucester Cathedral, com- 
 pleted betTveen this period by Abbot AYalter Froucester. They 
 had been commenced, and carried as far as the door of the 
 chapter-house, by his predecessor Thomas de Horton, who re- 
 signed his office in 1377, and died soon afterwards^. 
 
 A.D. 1381. Gisburne Priory, Yorkshire. William Lord 
 
 Latimer in this year directs his executors to complete the vault- 
 ing of the north aisle of this church as he had begun it, and 
 bequeaths 500 marcs to build a bell-tower^ The ruins of this 
 priory are chiefly Decorated. (The east end is engraved in 
 Mon. Aug., vol. vi.) 
 
 A.D. 1382— 1388. Thornton Abbey, Lincolnshire. The abbot 
 and convent obtained this year the royal licence to crenellate 
 "a certain new house" there in 1382 ; without doubt the beauti- 
 ful gatehouse, which still remains quite perfect, and of which 
 we have given engravings and some account of the architectural 
 details at pp. 315 — 317. The licence is repeated on the Rolls 
 six years afterwards, probably when it was completed. (See 
 Plate.) 
 
 A.D. 1385. Bodyam Castle, Sussex, built by Sir Edward 
 Daljmrigge, who obtained the royal licence this year. It is 
 described in the Roll, both as the family manor-house and as 
 a castle for defence of the coast against invaders. The walls 
 are nearl}^ perfect, and it is a fine example of a castle in the 
 early Perpendicular style, with most of the offices remaining. 
 
 A.D. 1385. Donington Castle, Berkshire, built by Richard 
 Alberbury, as she-wn by the licence to crenellate it. The shell 
 of the gatehouse remains, and is fine early Perpendicular. 
 
 AD. 1386. Etchingham Church, Sussex, built by William, 
 first Baron of Etchingham ™. " It is a curious church with 
 a tower in the centre, partly Decorated, with some good win- 
 dows, and partly Perpendicidar." 
 
 A.D. 1387—1393. Winchester College, built by Bishop Wil- 
 liam of Wykeham. The foundation-stone was laid on the 26th 
 of March, 1387, and on the 28th of March, 1393, the warden 
 and society made their solemn entrance into the buildings ". 
 
 A.D. 1389 — 1407. The central tower or lantern of York 
 Cathedral, built by Walter Skirlawe, Bishop of Durham. " Hie 
 etiam magnam partem campanilis vulgo Lantern Minsterii 
 Eboracensis construxit, in medio cujus operisarma sua posuit°." 
 
 ^ Monasticon, vol. i. p. 542; and " Godwin's Catal. of the Bishops of 
 
 Britten's Hist, of Gloucester Cath., pp. England, p. 186 ; and Low th's Life of 
 
 26, 27, PI. xiv. William of Wykeham, p. 191. 
 
 ' Test. JEbor. " Sist. Dunelm. Script, tres, p. 144. 
 
 "' Eeclesiologist, Oct. 1857. 
 
390 THE PERPENDICULAR ENGLISH STYLE. 
 
 A.D. 1390—1392. The great east window of Exeter Catlie- 
 dral reconstructed P. 
 
 A.D. 1 390—1400. The chancel of Balsham Church, in Cam- 
 brido;eshire, built and " stalled with twenty-one stalls of good 
 oak/' by John 81eford, rector, who died in 1400, and was buried 
 in the middle of it, under a slab with his figure, and the follow- 
 ing inscription engraved on a brass plate : — 
 
 3iof)anncs 5lcforl3 Tiictus rector muntfoq. rclictus, 
 13ursa non strictus, jacct bic sub mnrmorc pictus, 
 JFautor iustorum constans, ultor bictorum, 
 ^urm rci lEtJtoarDus tiilcxcral, atJ mala tartius. 
 Ciarl3iobam rciit illiiis Jjum bene fatrit, 
 lEctlcsiam struxit banc, nnnquam postca luxit. 
 "Sec fecit stalla, large funflcnsque metalla''. 
 
 This church is a mixture of the Decorated and Perpendicular 
 styles. (See " Archit. Topography, Camb.," No. 144.) 
 
 A.D. 1391 — 1411. The chapter-house at Canterbury re- 
 paired and partly rebuilt by Prior Thomas Chillenden, with the 
 assistance of the Archbishops William Courtenay and Thomas 
 Arundel^ The name of Prior Chillenden is on the great 
 western window, which was probably constructed by him. The 
 arms of Archbishops Courtenay and Arundel are also in some 
 parts of the stone- work. 
 
 A.D. 1392. Penshurst, Kent. A licence to crenellate the manor- 
 house was granted in this j^ear to John Devereux. Another 
 licence had previously been granted in 1341 to John de Pulte- 
 ney, and there is some doubt as to which period belongs the 
 fine baronial hall, which remains perfect, and is by far the 
 finest part of the house ; the stjde seems rather to belong to the 
 former period. (For an engraving of this hall see " Dom. 
 Arch.," vol. ii. p. 378, and the interior as the frontispiece to the 
 same volume ; see also Nash's " Mansions of the Olden Time.") 
 
 A.D. 1392. "NVardour Castle, Wiltshire, built by John Lord 
 Lovell, as his manor-house. The walls are nearly perfect, and very 
 fine early Perpendicular ; they are unusuall}^ lofty, and quite con- 
 tradict the popular idea that medieval houses were always low. 
 
 A.D. 1394. The tomb of Sir John Ilawkwood, in Sible 
 Hedinghatn Church, Essex ^ 
 
 A.D. 1394. The tomb of King Pachard II., and Anne his 
 queen, in Westminster Abbey Church, erected for both by 
 Richard himself at the death of his wife. The gilding alone of 
 
 p Britton's Hist, of Exeter Catbe- Lysons' Magna Britannia, vol. ii. pt. i. 
 
 dral, p. 95, from the Fabric Rolls and p. 85. Lysons says be died in 1401. 
 
 the Acts of the Chapter. ■• Britton's Hist, of Canterbury Ca- 
 
 1 Pf gge's Sylloge, p. 109 ; Blome- thedral, p. 38, PI. xv. 
 
 tijld's Collect. Cantab., p. 202; and ' Gougb'sSepul.Monuiu.,vol.i. p. 153. 
 
RICHARD II., A.D. 1377 — 1399. 
 
 397 
 
 the two bronze figures placed upon it is recorded to have cost 
 upwards of four hundred marcs ^ 
 
 Heads of Ricbard II. and Queen Anne of Bohemia, from tbeir Tomb 
 
 A.D. 1394 — 1410. The nave and aisles of Winchester Cathe- 
 dral remodelled, (with the exception of the portion begun by- 
 Bishop Edington, as mentioned under a.d. 1360J by Bishop 
 William of Wykehara, who dying in 1404, before the works 
 were entirely finished, left a large sum of money to be applied 
 for their completion ". 
 
 A.D. 1395 . Maidstone College and Church, in Kent, 
 
 built by William Courtenay, Archbishop of Canterbury, on the 
 site of the old hospital founded there in 1260 by Archbishop 
 Boniface ^. 
 
 A.D. 1396. Colmouth Church, Bedfordshire, built by- 
 Gerard Braybrook, knight. Lord of Woodhull, described as just 
 finished and ready for consecration in Bishop Buckingham's 
 Memoranda, fol. 430, in the bishop's registry at Lincoln. The 
 church is in the Perpendicular style, consisting of chancel and 
 nave without aisles, and west tower with a lofty spire, and an 
 original vestry on the north side of the chancel. 
 
 A.D. 1397 — 1399. Westminster Hall repaired. The walls 
 were carried up two feet higher ; the windows altered ; a stately 
 porch and a new roof constructed, according to the design of 
 Master Henry Zeneleyy. 
 
 A.D. 1396 and 1398. Penrith Castle, Cumberland. A licence 
 to crenellate his house here was granted to William Strickland 
 in the former year, and to make additions to it in the latter. 
 It is described as in the marches of Scotland. There are some 
 ruins of it, but not very important. 
 
 A.D. 1398. The abbot and convent of Chester obtain the 
 royal licence to crenellate their manor-houses of luce, Saighton, 
 and Sutton. Of the first there are considerable remains ; the 
 walls of the hall are perfect. Of the second there are also por- 
 
 * Smith's History of Westminster 
 Abbey, vol. i. p. 206. 
 
 " Lowth's Life of William of Wyke- 
 ham, pp. 210 — 214. 
 
 * Godwin's Catal. of the Bishops of 
 
 England, p. 106; Monasticon, vol. vi. 
 p. 1394 ; and Hasted's Hist, of Kent, 
 vol. ii. p. 214, and vol. iv. p. 724. 
 
 y Smith's Antiquities of Westminster, 
 p. 53. 
 
398 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 tions of this date, but part is earlier, includini^ a very elegant 
 gatehouse. At Sutton there are also some remains, now a farm- 
 house. This licence is repeated in the 11th Henry IV., a.d. 
 1410, probably -when the buildings were completed. 
 
 HOUSE OF LANCASTER, a.d. 1399—1460. 
 
 Aims and Badge of Jolm of Gaunt. 
 
 Collar of Henry IV. 
 
 Henry IY., a.d. 1399—1413. 
 
 A.D. 1399 — 1401. Headon Church, Yorkshire. The central 
 tower built by Hugh 
 de Hedon, treasurer 
 of York Minster ^ It 
 is a lofty and fine Per- 
 pendicular tower. 
 
 A.D. 1401 —1411. 
 Tong Church, Shrop- 
 shire, rebuilt by Isa- 
 bel, widow of Sir Fulke 
 Penbrugge^. It is a 
 fine cruciform church, 
 with a central tower 
 and spire, the whole 
 of early Perpendicular 
 character, except a 
 small portion of the 
 south aisle of the nave, 
 which belongs to an 
 earlier church. The 
 chancel retains the 
 fine early woodwork. 
 
 A.D. 1*401. Carlisle 
 Cathedral. The north 
 transept rebuilt by 
 Bishop Strickland in 
 the Perpendicular style. 
 
 " Raine's Fabric Rolls, p. xix. pp. 1- 
 
 '' See Arcbjcological .Journal, vol. ii. cited. 
 
 Suuth Aisle. Tong Crnux;li, ».D. i401 — Uil. 
 
 -13, and the authorities there 
 
HENRY IV,, A.D. 1399—1413. 399 
 
 A.D. 1401—1414. St. Mary's Hall, Coventry. It is now the 
 Town-hall, but was originally the hall of St. Mary's Guild, and 
 is a very perfect house of the period, with its kitchen and offices, 
 and cellars and small apartments, as well as the great hall itself ; 
 all fine early Pei'pendicular. The date is ascertained from the 
 city records. 
 
 A.D. 1403 . The tower of Howden Church, Yorkshire, 
 
 completed soon after this date ; Walter Skirlawe, Bishop of Dur- 
 ham, bequeathed " 40/. in fabricatione campanilis ecclesise de 
 Howden"^." (See a.d. 1380.) This tower is fine early Perpen- 
 dicular work. 
 
 A.D. 1403. Sleaford Church, Lincolnshire, partly rebuilt at 
 this date, as appears from an inscription at the east end, en- 
 graved in Pegge's SijUoge, p. 73. The style of this part of the 
 church is Perpendicular. 
 
 A.D. 1404. The shrine or monumental chapel of William 
 of Wykeham, Bishop of Winchester, erected in his cathedral. 
 Godwin ("Catalogue," p. 187) says that "this tomb had been 
 long before provided for him." It is fine and rich Perpen- 
 dicular, carved with panelling. (For engravings see Blore's 
 " Monumental Remains," Lowth's " Life of Wykeham," &c.) 
 
 A.D. 1404 — 1447. Winchester Cathedral continued by Bishop 
 Beaufort, whose bust and armorial bearings are carved in the 
 bosses of the nave. 
 
 A.D. 1405 — 1408. The great east window of York Cathedral 
 set up with painted glass by John Thornton of Coventry, 
 glazier, as appears by the indenture preserved among the 
 Chapter Records, and transcribed among Torre's MSS. ^ This 
 magnificent window is well known as one of our finest ex- 
 amples of the Perpendicular style. The mutilated body of 
 Archbishop Scrope was buried in the choir in this year. 
 
 A.D. 1408. The tomb of John Gower in St. Saviour's Church, 
 Southwark, in the Perpendicular style. (It is engraved in 
 Blore's " Monumental Remains," &c.) 
 
 A.D. 1411. Little Chart Church, Kent. 
 
 "John Darell bought Calehill in this parish in 12 Hen. IV., beau- 
 tified and glazed the north part of the church. The eastern part of 
 the north aisle was parted off by a screen, and formed a chapel, which 
 was the bimal-place of the fixmily from this period for two or three 
 centuries. The steeple is said to have been built by Sir John Darell 
 in the reign of Henry VII. ® " 
 
 " Mom. Aug., vol. vi. p. 1473. vol. vi. p. 1175 j and Britton, p. 81. 
 
 ^ This indenture is printed by Eaine, ^ Hasted's Hist, of Kent, vol. iv. 
 
 Fabric Rolls, p. 29 ; and in Mon. Ang., pp. 224—226. 
 
400 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 A.D. 1410—1427. The rcbiiilcHn^^ of St. Michael's Chapel in 
 Canterbury Cathedral, begun by Prior Thomas Chillenden, and 
 finislied by his successor John 
 Wodnesberg ^. On the bosses of 
 the vault of an apartment above 
 this chapel are three heads, with 
 the names of the persons repre- 
 sented, inscribed on labels ; the 
 eastern one has Thomas Chii>l . . , 
 Prior ; the middle one JonSJs 
 W(TDNUSBERGH Prior ; the west- 
 ern one WiLLMs s Molasch Disci- 
 PULUS. William Molasch, who, 
 in 1427, succeeded John Wodnes- 
 berg, had probably under this 
 prior the superintendence of the work. 
 
 A.D. 1411 . The Guildhall, London, commenced. It is 
 
 a fine building in the Perpendicular style, of two stories, the 
 great hall on the upper story, with the usual vaulted chamber 
 below, which is very little altered. The hall itself is much 
 spoiled by a vile modern roof, but might easily be restored to 
 its pristine beauty. Its present state is a disgrace to the taste 
 of the citizens of London. Let any one compare it with St. 
 Mary's Hall at Coventry, or with Crosby Hall ; the difference 
 will be seen at once, and the inferiority of the Guildhall in its 
 present state at once acknowledged. 
 
 A.D. 1412. Catterick Church, Yorkshire, built : the contract 
 for building it was published by the llev. J. Raine, 4to., 1834. 
 
 B'lss in the vault of a cuapel at Canterbury. 
 
 Henry V., a.d. 1413—1422. 
 
 A.D. 1413. The tomb of Henry IV. in Canterbury Cathe- 
 dral, in the Perpendicular st^de, with a flat canopy surmounted 
 
 Lcliimrs Itiii., vol. vi. fol. 3. 
 
HENRY v., A.D. 1413 — 1422. 
 
 401 
 
 by a prominent row of the Tudor- flower. (It is engraved in 
 Blore's " Monumental Ecmains," Britton, &c.) 
 
 Henry IV., from his tomb at Canterbury. 
 
 Joan of Navarre, Queen of Henry IV. 
 
 A.D. ]415. The tomb of Thomas Fitzalan, Earl of Arundel, 
 in Arundel Church, Sussex. A fine Perpendicular tomb. (En- 
 graved in Blore's " Monumental Remains.") 
 
 A.D. 1420 — 1431. The church of St. Laurence, at Ipswich, 
 built by John Bottold, as recorded in the following inscription 
 on a stone over his grave : — 
 
 SUBJACET HOC LAPIDE JoKN BOTTOLD, VTR PROBUS IPSE: 
 IpSIUS ECCLESIjE PKIMTJS INCEPTOB FUIT ISTE : 
 CUJUS AXIM^ D03IIXE MISERERIS TU BOXE ChEISTE. 
 
 Obiit m.cccc.xxxi. liteea Dominicalis G. ^ 
 
 A.D. 1420 — 1437. The west front and south porch of Glou- 
 cester Cathedral, built by Abbot John Morwent ^. 
 
 A.D. 1420 — 1440. The ceiling of the choir, the windows of 
 the aisles, and a rich monumental chapel in St. Alban's Abbey, 
 built by Abbot John de Wheathamsted\ 
 
 1422 . The college at Higham Ferrars, in Northamp- 
 tonshire, founded by Henry Chicheley, Archbishop of Canter- 
 bury ^. The chapel and several parts of the domestic buildings 
 remain. 
 
 A.D. 1422 . The collegiate church, now the cathedral, 
 
 at Manchester, founded by Thomas West, Lord de la Warre. 
 It is a fine Perpendicular church. 
 
 8 Pogge's SyUoge, p. 47. 
 
 •• Willis's Mitred Abbeys, vol. i. p. 
 116 ; and Carter's Account of the Catb. 
 of Gloucester, p. 9, PI. v. 
 
 ' Carter's Account of the Abbey 
 Church of St. Alban, pp. 3, 4. 
 
 '' Monasticon, vol. vi. pp. 1424, 1425. 
 
 3f 
 
402 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 Henry VI., a.d. 1422—1461. 
 
 Head of Henry VI., Margaret of Anjou, 
 
 From his Great Seal. From painted glass of the period, now in 
 
 a window in the Bodleian Library. 
 
 A.D. 1424. The transepts of Merton College Chapel being 
 finished, the church was re-dedicated in this year. The style of 
 this part is fine Perpendicular. The tower was added in 1448 
 — 1450, built upon the old arches ; the builder's account is pre- 
 served among the college archives '. (For engravings see 
 Ingram's " Memorials of Oxford.") 
 
 A.D. 1424— 14:33. The church of St. Mary, at Bury St. 
 Edmund's, Suflblk, rebuilt '". 
 
 "It is a Perpendicular building, not so rich outside as St. James's, 
 but some portions of the interior are fully equal, and the wood roof of 
 the nave is a very rich and fine one. The tower is low and massive ; 
 it stands partly in the north aisle, and the lower part seems of earlier 
 date. There is a fine Decorated north door, and a porch of later date 
 with a singular and beautiful roof." 
 
 A.D. 1427 — 1455. The upper part of the chapter-house of 
 Exeter Cathedral rebuilt by Bishop Edmund de Lacy. The 
 panelled ceiling, which is of wood, and still retains the original 
 painting, has, besides the arras of this prelate, those also of 
 Bishop Bothe, who occupied that see from 1465 to 1478, and 
 is very likely the work of the latter ". 
 
 A.D. 1480. The cloisters of Norwich Cathedral, completed by 
 Bishop "William Alnwyk °. 
 
 1 Wood's Hist, by Gutch, p. 18; In- 
 gram's Memorials, vol. i., &c. 
 
 "■ Beauties of England, p. 72 ; and 
 a Monograph of this church with numer- 
 ous engravings has been published by 
 
 Mr. S. Tymms, F.S.A., 1854. 
 
 " I?ritton's Hist, of Exeter Cath., pp. 
 97, 1)8 ; PI. xviii. 
 
 » lUometield's Hist, of Norfolk, vol. 
 ii. p. 3. 
 
HENRY VI., A.D. 1422 — 1461. 
 
 403 
 
 A.D. 1430—1440. The chancel of Luton Church, Bedford- 
 shire, built by John de Wheathamsted, Abbot of 8t. Alban's p. 
 
 A.D. 1430, rel circa. The tower of Iron Acton Church, Glou- 
 cestershire, built by Robert Poyntz, as appears from tlie folloAving 
 inscription round his monumental brass in the same church : — 
 
 Ijcre btl) IRoticrt ^Ponnt? 
 
 lEorlf of Ercnacton anti t!)iis stcpnl I)crc inafectj, toljo tjcnljc 
 
 t\)t fwftcnc Dn» of junnc 
 
 x\ft Bccr of otore lEort m cccc xx .... of h)I)os soule gotf i)abc mcrcn '^imcn. 
 
 He died in 1437^. This church is of Perpendicular character. 
 
 A.D. 1431. The west part of Balliol College Library, Oxford, 
 built by Thomas Chace, Master of the college ^ 
 
 A.D. 1433 —1455. South Wingfield Manor-house, Derbyshire, 
 
 built by Ralph Lord Cromwell, Lord High Treasurer of England 
 under Henry VI. It remains nearly perfect, and is a fine ex- 
 ample of a nobleman's house in the Perpendicidar style ^ Lord 
 Cromwell's badge, a bag or purse, was carved in stone over 
 the gateway, and in some of the wood-work '. 
 
 p Hist, of Luton, in Bibl. Topograph. 
 Sritan., vol. iv. 
 
 "1 Atkins' History of Gloucestershire, 
 p. 105. 
 
 "■ Wood's Hist, of the Colleges and 
 Halls in the Univ. of Oxford, p. 80. 
 
 ' See Doni. Archit., vol. iii. pp. 89 
 
 and 222. 
 
 ' See The History of South Wing- 
 field, by T. Blore, (4to. London, 1793,) 
 p. 86 ; Camden's Bntannia ; Leland's 
 Itinerary, vol. i. p. 25, and vol. vi. p. 31 ; 
 Lysons' Derbyshire. 
 
404 
 
 THE PERPENDICULAR ENGLISH STYLE- 
 
 A.D. 1433 — 1455. Tattershall Castle, Lincolnsliire, built also 
 by tlie Lord Treasurer Cromwell, whose arras occur in several 
 places in the work. It is a fine tower-built house of brick ". 
 A considerable part of the church adjoining is of the same 
 period. In his will", dated Dec. 1451, he gives direction for 
 his body to be removed to the chancel, when the new chui'ch 
 was built. In a codicil dated Michaelmas-day, 1454, he leaves 
 direction for the new edifying and constructing the body of the 
 church and the collegiate buildings, which shews that the choir 
 was then finished. This interesting church remains much in 
 the same state as it was left by him and his executors. 
 
 A.D. 1434. The south aisle of the abbe}" church of Pershore, 
 Gloucestershire, built by Abbot William de Ne^^ynton, as re- 
 corded by the following inscriptions carved upon some old wood- 
 work which, a century ago, patched a partition between the chan- 
 cel end of the church, and a small chapel on the north side : — 
 
 rfcT c bis tiino. tripUi i. ntilirrc quarto 
 ^nno aClillms tint i^ctonton fee' abbas. 
 
 A.D. 1435 
 
 ~. Fotheringhay Church, Northamptonshire, 
 
 Fotheringiiay Utiuicii. ^luruuinui, a.d. 1435 
 
 <= See Dora. Archit., vol. iii. pp. 10 and 229. * Test, Elor., vol. ii. pp. 197, &c. 
 
 y Pegge's Sj/lloje, pp. 75, 76, PI. xviii. ; and Monasticon, vol. ii. p. 412. 
 
HENRY VI., A.D. 1422— 1461. 4-05 
 
 built. The contract entered into in this year for buildinp^ 
 the nave, aisles, and tower, to correspond with the chancel 
 previously erected in 1415, is printed in the Mona.sfico>i, vol. vi. 
 p. 1414, and reprinted separately by the Oxford Architectural 
 Society, 8vo., 1841, with woodcuts of the details corresponding 
 with the contract. 
 
 A.D. 1435—1440. AYarkworth Castle, Northumberland. The 
 keep was rebuilt at this time bj'- Henry Percy, on the founda- 
 tions of the Norman keep. It is a fine and remarkable example 
 of a nobleman's mansion of the period. (See Hartshorne's 
 "Castles of Northumberland" in the Newcastle volume of the 
 Archaeological Institute ; and " Domestic Architecture," vol. iii., 
 p. 203, for engravings and plans.) 
 
 A.D. 1435. The west tower of the church of St. Andrew at 
 AVanborough, Wiltshire, built by Thomas Polton and Edith 
 his wife, as appears by the following inscription on a brass 
 plate in the tower : — 
 
 ©rate p. CTboma |9oIton ft 1EUttl)a uiorc ejus Ucfunctis jWagtstro ^piitltppo 
 ■arcf)itjiatano Glouccstris ^gncti ct itfa. aliis cor' W' tsm Bobt" lEbcrartt 
 bicario ct orb. I)us pocf)ianis q' f)oc capanilc scipcrt ?l. tini JW.Cr®®®.XXXF. 
 
 There is also an inscription on a brass plate in the south aisle to 
 the memory of this Thomas Polton and Edith his wife, who were 
 buried there. Style — the tower is Perpendicular ; and there are 
 similar western towers added on to the church of Purton, and 
 some others in the same neighbourhood, the character of which 
 is so similar that they are probably the work of the same 
 builder. 
 
 A.D. 1437. St. Bernard's College, now St. John's, Oxford, 
 founded by Henry Chicheley, Archbishop of Canterbury^. 
 The gateway tower, and some other parts of the first quad- 
 rangle, are of this period. The entrance gateway is very 
 peculiar, the mouldings and shafts standing out beyond the 
 face of the wall. In the upper part of the tower the figure of 
 a saint still remains in a niche. 
 
 A.D. 1437. Ewelme Hospital, or God's House, in Oxfordshire, 
 founded by William de la Pole, Earl (and afterwards Duke) of 
 Sufiblk. In the adjoining church, on the south side of the 
 altar, the founder's wife is buried, under a rich tomb of ala- 
 baster, with her image thereon, and in Leland's time with this 
 epitaph, since destroyed : — 
 
 Orate pro anima serenissimse principissse Aliciae 
 Ducissfe Suffolcise, hujus ecclesise patronfe, et primse 
 Fundatricis liujus elemosynarife ; quae obiit xx. die 
 Measis Mali, an. mcccclxxv, litera dominicali A. 
 
 * Insram's Memorials of Oxford. 
 
406 THE PERPENDICULAR ENGLISH STYLE. 
 
 The merit of founding this hospital is liore attributed to her, 
 but belongs really to her husband, as appears from the charter 
 of Henry VI., granting to him the licence for its foundation*. 
 
 A.D. 1437. St. Martin's Church in Conjmg-street, York. The 
 tower was built at this date by Robert Semer, minister of this 
 church, according to an inscription in a window which remained 
 in Drake's time^. The church is good, but late Perpendicular. 
 
 A.D. 1437—1442. All Souls' College, Oxford, founded by 
 Archbishop Chicheley. The foundation-stone was laid in 
 February, 1437, and the chapel was consecrated in 1442'=. 
 
 A.D. 1439. The Beauchamp Chapel at Warwick begun, and 
 also the tomb of Richard de Beauchamp, Earl of Warwick, 
 by whose last will they were erected. The contract entered 
 into in this year for the building of this chapel in accord- 
 ance with the will of the founder, is reprinted, from Dugdale's 
 " Warwickshire," in Blore's " Monumental Remains." The 
 tomb is the work of John Borde of Corfe, marbler. (For en- 
 gravings see Britten's "Arcliit. Antiq.," vol. iv. ; see also 
 a window Irom it, p. 354.) 
 
 A.D. 1439. Wolverhampton Church. There is an order from 
 the King in this year in the Patent Rolls (17 Hen. YI., fol. 2) to 
 furnish sufficient stone for building this church. Part of it is 
 of this date, but part of the interior is earlier, and part of the 
 exterior later. It was not finished in 1457, when John Ber- 
 ningham, treasurer of York Cathedral, bequeathed 100 shillings 
 to the fabric of the church of Wolverhampton '^ 
 
 A.D. 1440. King's College Chapel, Cambridge, begun ^. 
 
 A.D. 1440 — 1500. The three chapels at the east end of Peter- 
 borough Cathedral, commenced by Abbot Richard Aston, and 
 completed by Abbot Robert Kii-ton^ They are rich and late in 
 the style, with i'an-tracery roofs, &c. 
 
 A.D. 1441 — 1522. Eton College. The buildings appear to 
 
 « See Monasticon, vol. vi. pp. 716, intended the erection of both these 
 
 717; Lehmd's Itiii., vol. ii. pp. 5 — 7; churches, as there are jieculiarities be- 
 
 and Pegge's Sylloge, j). 51 ; Historical longing to the churches in Sullblk ob- 
 
 Notices of the Parishes of Swynconibe servable at Ewehne, (particularly in the 
 
 and Ewehne, by the Hon. and llev. H. arrangement of the tlint-and-stone- 
 
 A. Napier, Ito., Oxford, 1858, p. 54. work,) which are not generally adojitcd 
 
 This work contains numerous lithogra- in ecclesiastical buildings in Oxfbrd- 
 
 phic plates of the hospital and church shire." — p. 56. 
 of Ert-elme, and of the church of Wing- ** Drake's York, p. 329. 
 
 field in SulTolk, for comparison, drawn •= Ingram's jNIemorials of Oxford, 
 
 by Joseph Clarke, F.S.A. Wingiield "^ Ttst. Ehor., vol. ii. 
 
 was the family scat of the De la Poles, •^ It was not finished until the time 
 
 and Mr. Clarke considers that Ewelme of Henry VIII. See A.D. 1508. 
 church is copied from the church of ' Britton's Hist, of Peterborough 
 
 Wingfield. " It is also his opinion that Cath., pp. 26 and 57. 
 the same master of the works super- 
 
HENRY VI., A.D. 1422 — 1461. 407 
 
 have been actually commenced in the former year, but were 
 interrupted in consequence of the death of the founder, Henry 
 VI., and a dispute with the dean and canons of Windsor, which 
 was not settled until 1476. The works were then re-assumed, 
 and at last, in 1522, the college was finished^. The chapel is a 
 good specimen of the style of Henry the Seventh's time, and is 
 one of the chapels of two stories ; but the lower part seems 
 never to have been used as a crypt, consisting mainly of cellars 
 to keep the chapel itself clear above the floods, to which the 
 situation is liable. 
 
 A.D. 1442. Crumwell Church, Nottinghamshire. By will this 
 year, William Walter bequeaths forty shillings towards the 
 building of the campanile of this church^. It is a good speci- 
 men of a Perpendicidar \-illage tower. 
 
 A.D. 1442. The Redclifie Church, Bristol, repaired and partly 
 re-edified by William Canninge, merchant, and sometime mayor 
 of Bristol. (See Britton's Essay relating to Redclifie Church, 
 with plans, views, and architectural details.) 
 
 A.D. 1443. Staverdale Priory Church, Somersetshire. Nave, 
 choir, and chantry-chapel, consecrated \ 
 
 A.D. 1443—1445. The chancel of St. Mary's Church, Oxford, 
 built by Walter Lyhart, or Hart, then Provost of Oriel College, 
 afterwards Bishop of Norwich : he died in 1472^'. 
 
 A.D. 1444. The south transept of Melrose Abbey completed. 
 On one of the bosses of the vault are the arms of Andrew 
 Hunter, abbot, and confessor to King James II. of Scotland — 
 three horns, a crozier, and his initials A. H. (For engravings 
 see Billing's "Scotland," and Wade's " Melrose Abbey," 8vo., 
 1861.) 
 
 A.D. 1445 — 1449. Sherborne Abbey Church, Dorsetshire. 
 The eastern part of this church was rebuilt by Abbot William 
 Bradford, who died in 1449 ; the previous church had been 
 burnt in 1445, in a tumult between the abbey and the towns- 
 men. The western part of the church was rebuilt from the 
 foundations by Abbot Peter Bampisham, 1475 — 1509. He 
 built also a chapel adjoining to the south side of the old Lady- 
 chapel. The nave of the abbey church was the parish church 
 until 1445, after which a separate parish church, dedicated to 
 AU Saints, was built to the west of the abbey church, but after 
 
 e Britton's Arcbit. Antiq., vol. iL pp. cancello Ecclesiae Conventualis de Sta- 
 
 95—98. verdale quos Johannes Stourton rejEdifi- 
 
 •" Register of AVills, York. care et construi fecit." MS. Harl. 6066, 
 
 ' Mon. Ang., vol. vi. p. 460. " 4 Jun. p. 55 ; Button's Collect. The word can- 
 
 1443. Commissio Job. nuper Olen. epi- cello here means a chantry-chapel. 
 
 scope ad dedicand. navem cum choro et ^ Ingram's Memorials of Oxford. 
 
408 THE PERPENDICULAR ENGLISH STYLE. 
 
 the dissolution tliis was destroyed, and the abbey church again 
 became the parish church^. It is a magnificent structure, vaulted 
 throughout, the walls, arches, and pillars covered with panel- 
 ling, which is continued even to the ground without anj- break. 
 This church has recently been restored \^■ith much taste and 
 skill, including the colouring of the vault of the choir, which is 
 eminently successful. 
 
 A.D. 1445 — 1454. The Divinity School, Oxford, built. One 
 of the principal benefactors was the good Duke Humphrey of 
 Gloucester, who also built the public library over it, afterwards 
 enlarged by Sir Thomas Bodley. The ground was obtained so 
 early as 1427, but the work does not appear to have been begun 
 before 1445™. In the very rich vault of fan -tracery the arms 
 of the principal benefactors are carved on the bosses, a list of 
 which is given in the " Handbook for Oxford,'' p. 100, (8vo., 
 1858). Amongst them are those of John Kempe, Archbishop 
 of Canterbury 1452 — 1454, several times repeated, shewing that 
 the work was done in his time. (See Plate.) 
 
 A.D. 1446. The tomb of Humphrey, Duke of Gloucester, in 
 St. Alban's Abbey Church. (See Blore's " Monumental Re- 
 mains.") 
 
 A.D. 1446. York. The Guildhall, in Conyng-street, built in 
 this 5'ear, as appears from the city records". It is a fine Per- 
 pendicular room, divided into a nave and aisles by two rows of 
 octagonal wooden pillars, with moulded caps and bases and 
 four-centred arches. The roof is of good open timber-work, 
 with arches across both nave and aisles ; the walls are of stone, 
 and the windows good plain Perpendicular. 
 
 A.D. 1446 — 1490. Posslyn Chapel, Scotland, commenced by 
 "William St. Clair, Earl of Orkney, in 1446, but not completed 
 in his lifetime : he died in 1479. His successors made some 
 additions to the building °. This very remarkable building is 
 in the richest and latest style of Gothic, and quite of foreign 
 character, more resembling the Spanish Flamboyant than any 
 other. The founder is said to have travelled much, and resided 
 long abroad. Part of the work is of the sixteenth century, as 
 shewn by an inscription. 
 
 A.D. 1447 — 1486. Winchester Cathedral continued by Bishop 
 Waynflete ; his well-known device, the lily, occurs on the bosses 
 of the nave. 
 
 A.D. 1448—1450. The tower of Merton College, Oxford, 
 
 ' Pat. 24. Hen. VI., fol. 1; Tanner; iii. p. 19. 
 
 Lcland, Itiu., ii. 47, and iii. 90; Mon. " Drake's York, p. 339. 
 
 Anff., i. 335. ° Britton's Architectural Antiquities, 
 
 ■" Ingram's Memorials of Oxford, vol. vol. iii. p. 51. 
 
HENRY VI., A.D. 1422— 1461. 
 
 409 
 
 built upon the old arches, as appears from the builders' accounts 
 preserved in the treasury of the college. 
 
 A.D. 1449 — 1468. The Lady-chapel, now called the Dean's 
 chapel, in Canterbury Cathedral, built by Prior Thomas Gold- 
 stone p. 
 
 A.D. 1450. St. George's, Stamford. By will this year 
 William Burgess, Garter King of Arms, directs his executors 
 to complete this church in leading, glazing, paving, and 
 furniture 'I. The chancel is of this period, together with the 
 eastern bay of the nave and the clearstory. 
 
 A.D. 1450 — 1465. Wells. The west side of the cloister, with 
 the school and master's 
 house and the exchequer 
 over it, also the walls and 
 gatehouse of the Close, 
 built by Bishop Becking- 
 ton, and his own monu- 
 mental chapel in the cathe- 
 dral. He also bequeathed 
 a large sum to be employed 
 in building by his exe- 
 cutors, who built houses 
 for the vicars-choral and 
 the chapel in the Vicar's 
 Close. All these works are 
 good examples of the Per- 
 pendicular of Somerset- 
 shire. These executors 
 also built or rebuilt the 
 parsonage-house of Con- 
 
 gresbury, Somerset, in the porch of which is a curious example 
 of an imitation of the Early English tooth-ornament. The 
 arms of Bishop Beckington and his executors are carved on this 
 porch, and on the houses in the Yicar's Close'". 
 
 A.D, 1450 — 1472. Norwich Cathedral. The roof of the nave 
 and the roodloft-screen built by Bishop Walter Lyhart, whose 
 rebus appears in several parts of the work ''. 
 
 A.D. 1450. Ptyarsh, Kent. The church tower built, as ap- 
 pears by the will of W. Wj'xy, vicar, who bequeathed money 
 in this year to the campanile. It is a fair specimen of the 
 
 Details of Porch, Congrestury. 
 
 p Willis's Archit. Hist, of Canterbury 
 Cath., p. 123. 
 
 1 Peck's Stamford : this will contains 
 many curious particulars, 
 
 "• See Geut. Mag., vol. ccx. (1801), 
 
 p. 496. 
 
 ^ Godwin's Catal. of the Bishops of 
 England, p. 354 ; and Britton's Hist, of 
 Norwich Cath., p. 64. 
 
 3g 
 
410 THE PERPENDICULAR ENGLISH STYLE. 
 
 Kentish Perpendicular, with a pyramidal wooden spire covered 
 with oak shingle \ 
 
 A.D. 1451. St. John's, Stamford, completed before this year, 
 as proved by inscriptions remaining in the windows in Peck's 
 time. It is a fine Perpendicidar church, with a good screen, 
 and roofs, and font, all of the same period. 
 
 A.D. 1454. The tomb of Archbishop John Kempe in Canter- 
 bury Cathedral. 
 
 A.D. 1454 — 1457. The central tower of Gloucester Cathedral, 
 built by Abbot Thomas Seabroke, the finishing of which he com- 
 mitted, on his death, to Robert Tull}^, one of the monks, and 
 afterwards Bishop of St. David's. The fact is perpetuated in the 
 following lines within the choir, over the great arch ; — 
 
 15oc quolj tfigcstum spcculnris opusqiic politum 
 STuUii ^JEc ci'oncrc Scatirofec nbbatc Jufacntc. 
 
 The name, motto, and arms of this abbot are still remaining 
 on many of the tiles which formed the old pavement of the 
 choir ". 
 
 A.D. 1456 — 1474. Winchcombe Parish Church. Leland 
 says,— 
 
 " In King Henry Y. tyme, the paroch ehyrch of the tonne was kept 
 in the body of the church of the monastery. But in King Henry VI. 
 tymc one William Winchcombe, abbot, began with the consent of the 
 tonne a paroch church at the west ende of the abbey, . . . and made 
 the east ende of the church. The parishioners had gathered 2001. 
 and began the body of the church : but that snmme being not able to 
 performe soe costly a work, Rafe Boteler, Lord Sudeley, helped them, 
 and finished the worke ''." 
 
 It is a fine Perpendicular church, ^dth some peculiarities. This 
 Ralph Butler was the builder of Sudeley Castle, a considerable 
 part of which remains perfect, and is a fine example of a 
 nobleman's house of this period. (See " Domestic Architecture," 
 vol. iii. p. 262.) 
 
 A.D. 1457 — 1498. The Lady-chapel in Gloucester Cathedral, 
 begun by Abbot Richard Hanlcy, and finished by his successor, 
 Abbot William Farleigh. 
 
 " Claustrura illud magnificum ct cliorus una cum sacello illo spatioso 
 
 ' This will is preserved in the Ecgistrj' much respected Vicar, the Rev. Lambert 
 
 at Rochester; it is dated February 8, B. Larking. 
 
 1150-1, in which he l)cqueaths 3s. id., " Monasticon, vol. i. p. 536; and 
 
 and a reversion of 6s. 8d., and the re- Carter's Account of Gloucester Cathe- 
 
 sidue of his personal estate, " ad opus dral, p. 6. 
 
 Campanil de Reiersh." For this re- " Leland, Itin., vol. iv. p. 74; Mon. 
 
 ference we arc indebted to the present Ang., vol. ii. p. 2'J9. 
 
HENRY VI., A.D. I422 — 1461. 411 
 
 dciparoc yirgini dcdicato, a Ricardo Ilanleus hie etiam abbate fundato, 
 na^'i ecclesia3 adjunguntur y." 
 
 A.D. 1458. The nave of Northleaeh Church, in Gloucester- 
 shire, built by John Fortey, wool-merchant, who died this year. 
 The roof was constructed after his decease, as appears from the 
 inscription on his tomb in the same church '. The south chapel, 
 and perhaps the porch also, were built by William Bicknel in 
 1489. It is a fine Perpendicular church, with very large clear- 
 story Mandows. 
 
 A.D. 1459. Ripon Minster; the central tower. An indul- 
 gence was granted this year by Abbot Booth for rebuilding the 
 central tower \ 
 
 A.D. 1460. The sepulchral chapel of Abbot Wheathamsted, 
 in St. Alban's Abbey Church. 
 
 A.D. 1460, vel circa. The chapel on the north side of Luton 
 Church, Bedfordshire, built by Sir John Wenlock, as appears 
 from the following inscription, preserved in a MS. in the British 
 Museum, (Harl. MSS. No. 1531) :— 
 
 " Jesu Christ most of myght, 
 Have mercy on Jolm Le Weulock knight. 
 And on his wife Elizabeth, 
 "VVho out of this world is past by death, 
 "VVliich founded this chapel here. 
 Help them with your hearty prayer. 
 That they may come to that place. 
 Which ever is joy and solace." 
 
 This inscription and the portrait of Sir John, afterwards Lord 
 Wenlock, were formerly in the east window, but are no longer 
 there. 
 
 A.D. 1460 — 1470. Crowland Abbey ; the north-west tower. 
 Towards the close of his life, (he died in January, 1470,) Abbot 
 John Litlyngton bought five bells for this tower, then newly 
 built ''. This is the Perpendicular tower still standing. 
 
 y Memoriale EccL Cath. Olouc. Com- ^ Lysoiis' Gloucestershire Antiquitie?, 
 
 pendiarium ex codd. MSS. penes Decan. p. 15, PI. xli. 
 
 Eccl. Cath. Glouc. ; imd Moiiasticon, " Walbran's Ripon. 
 
 vol. i. pp. 564 and 536. '' Crowliind History, Gale, i. 5 10. 
 
412 
 
 THE PERrENDICULAR ENGLISH STYLE. 
 
 THE HOUSE OF YORK, a.d. 1461—1485. 
 Edward IY., a.d. 1461—1483. 
 
 BADGES OF THE HOD3E OF YORK. 
 
 Falcon and i-'acterloci. 
 
 White Rose in Soleil. 
 
 P'.ume of Feitlier 
 
 ^1^ 
 
 Edward IV., from bis Great Seal. 
 
 Arms of ii.dward IV. 
 
 A.D. 1461 — 1490, The church and tower of Ashford, in Kent, 
 rebuilt by Sir John Fogge ". 
 
 A.D, 1461. Winscombe Church, Somersetshire; this date re- 
 mains on a piece of original painted glass in the chancel, and 
 probably gives the date when the chui'ch was finished : it is 
 a good example of the fine Perpendicular churches with whicli 
 this part of the country abounds. 
 
 A.D. 1462. Tenterden Steeple, Kent. By will this year 
 Thomas Petlesden bequeathed 100 marcs to the steeple of this 
 chui'ch, at that time building^. 
 
 A.D. 1465. Bishop Beckington's monumental chapel iuAYells 
 CathedraL (For engravings of the monument see Gough's 
 ** Sepulchi'al Monuments.") 
 
 Hasted's Hist, of Kent, vol. iii. p. 264 ; and Pes^ge's Sylloge, p. 52. 
 '' liast^d"8 Kent, vol. iii. p. 100. 
 
EDWARD IV., A.D. I461 — 1483. 413 
 
 A.D. 1465 — 1491. The choir of the church of Stratford-on- 
 Avon, Warwickshire, built by Thomas Balsall, D.D., dean of 
 the collegiate church '^. In the Perpendicular style. (For en- 
 gravings see Neale's " Views of Churches.") 
 
 A.D. 1470. Crosby Hall, London, built l)y Sir John Crosby, 
 who obtained a lease of the ground in 1466, and died in 1475. 
 The hall has a fine open timber roof. (A full account, with 
 a series of engravings of this fine house, was published by II. 
 J. Hammon, Architect, 4to., 1844.) 
 
 A.D. 1470 — 1486. The vestry of Lavenham Church, in Suf- 
 folk, built by Thomas Spring, as recorded in the following in- 
 scription, placed on a monument in the vestry itself : — 
 
 Okate pro animabus TnoMiE Spring, qui hoc vestibulum fieri 
 
 FECIT IN vita sua, ET MaRGARET^E UXORIS EJUS; QUJ QUIDEM ThOMAS 
 OBIIT SEPTIMO DIE MENSIS SePTEMBRIS, A.D. MiLLIMO CCCC LXXXVI. ET 
 PR.EDICTA MaRGARETA OBIIT . . . DIE . . . A.D. MiLLlMO CCCC LXXX. . . QUOR' 
 ANIMABUS PROPICIETUB, DeUS. AmEN ^. 
 
 (A series of engravings of details of this church was pub- 
 lished in 1796, under the title of " Specimens of Gothic Orna- 
 ments selected from the Parish Church of Lavenham, Suffolk," 
 on forty plates, quarto size. The family of the De Veres, earls 
 of Oxford, were connected with this parish, and a porch was 
 added about 1529 by John, the foui'teenth carl, as shewn by 
 the quarterings of the coat of arms carved upon it. Of the 
 whole of Lavenham Church there is a good plan in the " Gen- 
 tleman's Magazine," May 1787, vol. Ivii. p. 378.) 
 
 A.D. 1470 — 1524. The Lady-chapel of Winchester Cathedral, 
 rebuilt by Th. Ilunton and Th. Silkstede^ 
 
 A.D. 1472. The restoration of York Minster was completed 
 and the church re-dedicated in this year ^. The screen was 
 erected by William Hjmdeley, treasurer, and not completed till 
 some years after this dedication ; his badge, a hind lodged, 
 occurs among the carving. 
 
 A.D. 1472 — 1499. Norwich Cathedral. The clearstory and 
 vault of the choir, with the flying buttresses, built by Bishop 
 Goldwell in the Perpendicular style. 
 
 A.D. 1473. Tuxford Church, Nottinghamshire. This parish 
 church was building at this time, as appears from the will of 
 John Smyth, dated Sept. 1, 1473^. The chancel was built by 
 Thomas Gunthorp, Prior of Newstead in 1495, according to an 
 inscription in a v\ indow in Thoroton's time ^. 
 
 '^ Dugdale's Warwickshire, p. 478. ' Raine's FaLric liolls, pp.77 and .\x. 
 
 '' Pcgge's Sylloge, p. 114. « York Register of Wills. 
 
 •^ Miliier's Hist, of Winchester, vol. '' Thoroton's Notts., p. 383. 
 ii. pp. 63, 64. 
 
414 THE PERPENDICULAR ENGLISH STYLE. 
 
 A.D. 1475—1480. Mufrdalon College, Oxford, built by Wil- 
 liam of Waynfleet, Bishop of AVinchestor. The contracts be- 
 tween the founder and his master mason, William Orchyerde, are 
 still preserved in the college archives \ The chapel, the tower- 
 gatehouse, and a part of the cloister are of this period ; the 
 tower is some years later, see a.d. 1492. 
 
 A.D. 1476 — 1484. The altar-screen in St. Alban's Abbey 
 Church, most probably the work of Abbot Wheathamsted, 
 whose arms are upon it ^. Very rich work. 
 
 A.D. 1478 — 1519. Great St. Mary's Church, Cambridge, re- 
 built ^ The walls are covered with panelling. 
 
 A.D. 1479 — 1515. Charing Church, Kent. The tower was 
 begun this year, but not finished before 1545. The chapel on 
 the south side of the chancel was built, or building, in 1501 ™. 
 Both are in the Perpendicular style. 
 
 A.D. 1480. The gatehouse at Knowle, Kent, which is now 
 between the two quadrangles of the Earl of Dorset, 1603 — 1612, 
 was originally the gatehouse of the archbishop's palace, built by 
 Archbishop Bourchier {c. 1460), and it is fortified with machi- 
 coulis, evidently intended not merely for show, but for use in 
 case of need, to enable the defendants to throw down missiles 
 on the heads of assailants tr3ang to force the gate; but twenty 
 years afterwards, c. 1500, Archbishop Morton threw out an oriel 
 window, which renders the machicouUs perfectly useless, shew- 
 ing that all idea of such fortification was then at an end. 
 
 A.D. 1481 — 1508. St. George s Chapel, Windsor, begun by 
 Edward IV. and finished by Henry VII. 
 
 " King Edward lY., (whose inclination to and kindness for this 
 place was extraordinarj^,) finding upon survey that the former founda- 
 tions and walls of the chapel of St. George were in his time very much 
 decaj'ed and consumed, and esteeming the fahrick not large or stately 
 enough, designed to build one more noble and excellent ; to this pur- 
 pose he constituted liichard Beauchamp, Bishop of Salisbury, master 
 and surveyor of the work. With what diligence and sedulity, and 
 how well the Bishop performed this office and employment, appears 
 from the testimonj' given him by the King, in the preamble of the 
 patent by which he shortly after constituted him Chancellor of the 
 Garter: 'That out of meer love towards the order, he had given him- 
 self the leisure dailij to attend the advancement and progress of the 
 goodly fabrick".' " 
 
 ' Ingram's Memorials of Oxford. "' Hiisted's Kent, vol. iii. pp. 214 — 
 
 '' Carter's Account of St Alban's 218. 
 Abbey Church, p. 5, and PI. xvii. " Pote's History of \\'indbor Castle, 
 
 ' Cooper's Annals of Cambridge, vol. p. 50. 
 i. p. 224. 
 
THE PERPENDICULAR ENGLTSII STYLE. 
 
 415 
 
 Edward Y., a.d. 1483. 
 
 Arras ot Edaaid V. 
 
 Richard III., a.d. 1483-1485. 
 
 Richard III., from his Great Seal 
 
 Arms of Richard III. 
 
 Badge of Richai-d III. 
 
 1483 . Hawton, near Newark, Notts. The tower of 
 
 the church was building in this year, as appears from the will 
 of Henry Sutton °. It is a good specimen of the Nottingham- 
 shire Perpendicular tower, though hardly equal to the magni- 
 ficent Decorated chancel. 
 
 ° York Ke^ister of Wills. 
 
416 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 THE TUDORS, a.d. 1485—1547 
 Henry VII., a.d. 1485—1509. 
 
 Hfcad of Henry VII. 
 
 Elizabeth of York, Qaeen of Henry VII. 
 
 Arms of Henry VII. 
 
 A.D. 1486. The south porch of Ropsley Church, Lincolnshire, 
 built, as appears from this inscription therein : — 
 
 ^.» IBnl JW." ffi.ffi.eC.®." lEXXXFE." istfi porta fa fuit. 
 
 A.D. 1487. The chancel of Stratton St. Michael's, Norfolk, 
 rebviilt by John Cowal, rector, as recorded in the inscription 
 on brass, on his tombstone in the middle thereof i'. 
 
 A.D. 1488. The nave and aisles of St. Mary's Church, Ox- 
 ford, built by public subscription. The arms of the principal 
 benefactors, including King Henry VIT. and most of the bishops, 
 as well as the chief nobility of the period, were emblazoned in 
 the church, and a list of them has been preserved by Wood, 
 
 ^ Wcever's Funeral Monuments, p. 814 ; and Peggc's Si/llo(je, p. 55. 
 
HENRY VII., A.D. I485 — 1509. 417 
 
 (Hist, of the City of Oxford, edit, by Peshall, pp. 63-66) : no 
 less than eighty-one different shields are enumerated. 
 
 " The architect was Sir Reginald Bray, then High Steward of the 
 TTnivcrsity : the arms of John Ilussel, Bishop of Lincoln, Chancellor of 
 England, and first perpetual Chancellor of tliis University, are still 
 to be seen in the spandrels of the doorway under the great west 
 window ^." 
 
 A.D. 1489 . Chelmsford, Essex. The church repaired 
 
 or rebuilt at this time ^ It is a large Perpendicular church, 
 with a tower and spire, and a large south porch. 
 
 A.D. 1490 — 1500. Bishop Alcocke's Chapel, in Ely Cathedral. 
 
 " He lyeth in a chapell of his owne building, on the north side of 
 the presbytery, where is to be scene a very goodly and sumptuous 
 tombe, erected in memory of him ^" 
 
 A.D. 1490 — 1517. The central tower, or Angel Steeple, of 
 Canterbury Cathedral, built by Thomas Goldstone the second, 
 who was appointed prior in the year 1495, and died in 1517. 
 
 " TuiTim satis excelsam, Angyll Stepyll vulgariter nuncupatam, 
 testudine pulcheirima concameratam, ac opere decenti artificiose undi- 
 que sculptam ct dcauratam, cum fenestris vitreatis satis amphs et 
 ferramentis, ope et auxilio . . . Eev. Patris J. Morton Cardinalis, 
 necnon et Dom W. Sellyng Prioris, in medio ecclesise, videlicet inter 
 chorum et navem ecclesia?, egregie erexit, et magnifice consummavit. 
 Duos etiam arcus, sive fomices, opere lapideo subtilitcr incises cum 
 quatuor aliis minoribus ad sustentationem dicta) turris columnis eandem 
 turrim supportantibus satis industrise et prudenter annexit '." 
 
 '■ By erecting this tower is plainly meant only that part which rises 
 above the roof, for the fact that he added the buttressing arches to the 
 piers shews that the piers were there before^." 
 
 On the cornice over the arches stretching from the south- 
 west pillar to two others north and west of it, is this inscrip- 
 tion : — 
 
 NGN NOBIS DOMIXE NGN NOBIS — SED NOMINI TUO DA GLORIAM. 
 
 And in the middle of the line after the second nobis, between 
 the letters T.P. in gold, signifying Thomas Prior, is a shield 
 charged with three gold stones, indicating his surname, Go/d- 
 stone : from which it appears that this work was finished when 
 
 1 Ingram's Memorials of Oxford. Hist, of Ely Cathedral, p. 183, PI. xxi. 
 "■ Weaver, p. 641. ' Anffl. Sac, t. i. p. 147. 
 
 ^ Godwin's Catalogue of the English " WiUis's Archit. Hist, of Canterbury 
 
 Bishops, p. 222. See also Bentham's Oath., p. 126. 
 
 3h 
 
418 
 
 THE PERPENDICULAR ENGLISH STYLE. 
 
 he was ^rrior. The following is a specimen of the inscrip- 
 tion : — 
 
 A.T). 1492—1505. Magdalen College tower, Oxford. The 
 first stone was laid on the 9th of August, 1492, by Richard 
 Mayew, then President, and the college accounts shew that 
 suras of money were constantly expended upon it until 1505. 
 Wolsey, afterwards the celebrated Cardinal, was bursar in 
 1498, and tradition has given him the credit of the design. 
 It was originally intended to stand alone, detached from the 
 other buildings on the east and west of it ^. 
 
 A.D. 1493. Hillesdon Church, Buckinghamshire, built ''. A 
 fine and rich specimen of the Perpendicular style. 
 
 A.D. 1500 — 1503. The hall, or manor-house, and chapel of 
 Athelhampton, corruptly Admiston, in Dorsetshire, built by 
 Sir William Martin, who died in 1503, and was buried in the 
 chapel ^. A good specimen of the domestic work of this date. 
 
 1500 — 1539. Bath Abbey Church built. It was commenced 
 by Bishop Oliver King, who died in 1503 ; Priors Bird and 
 Gibbs carried on the works, and the church was nearly finished, 
 when the dissolution of the abbey took place, in 1539. (See the 
 account of this church, prefixed to the Plan, Elevation, Sections, 
 &c., of the same, published by the Society of Antiquaries, Lon- 
 don, 1798.) 
 
 A.D. 1501 — 1515. The steeple of Louth Church, Lincolnshire, 
 built. The pai'ish accounts for building this steeple a}id repair- 
 ing the church are printed in the Archceologia, vol. x. pp. 70 — 
 98, and reprinted in Britton's " Architectural Antiquities," vol. 
 iv. pp. 1 — 7, with engravings. 
 
 1502 — 1504. The sepulchral monument of Arthur Tudor, 
 Prince of "Wales, son of Henry VII., in Worcester Cathedral ■'. 
 
 1503 — 1520. Henry the Seventh's Chapel in AYestminstcr 
 Abbey, built on the site of the Lady-chapel of Henry III. ^ 
 The will of King Ilenrj^ VII., who died in 1509, contains 
 
 ^ Ingram's Memorials of Oxford, 
 vol. i. 
 
 y Lj'sons. 
 
 ^ Hutchins's Hist, of the County of 
 Dorset, vol. ii. p. 180; and Dom. Arch., 
 vol. iii. p. 19k 
 
 * Wyld's Illustration of Worcester 
 Cathedral, p. 24, PI. x. ; and Britton's 
 
 History of the same cathedral, p. 19, 
 PI. X. ' 
 
 ^ Ackcrmann's Hist, of Westminster 
 Abbey, vol. i. pp. 218 — 221 ; and vol. 
 ii. pp. 135 — 149. For engravings see 
 Cottingham's Henry the Seventh's 
 Chapel, folio. 
 
HENRY VII., A.D. 148^ — 1^09. 419 
 
 minute directions for the completion of this buildings, which 
 were carried into effect by his executors under the superin- 
 tendence of Wniiiim Bolton, Prior of St. Bartholomew, appointed 
 master of the works by the King himself. It is very richly 
 ornamented with panelling. 
 
 1505. Piddleton Church, Dorsetshire, completed at this date, 
 as stated by an inscription which is preserved in it. 
 
 1505 . The hospital of the Savoy, in the Strand, London, 
 
 rebuilt and endowed by King Henry YII.'^ The chapel, built at 
 this period, and converted into a parish church by Queen Eliz- 
 abeth, remains in a tolerably perfect state. Its ceiling is very 
 rich : the east end has been ornamented with tabernacle- work, 
 of which one niche remains, but the greater part has been cut 
 away to make place for some monuments and a pseudo- Grecian 
 altar-screen. 
 
 A.D. 1505. The nave of Melrose Abbey Church, Scotland. 
 This date is cut on the south-western buttress, with the arms 
 of James lY. of Scotland : the west end has never been com- 
 pleted, as the toothing-stones remain perfect ; the style of 
 this part of the church is more like the English Perpendicular 
 than any other. The eastern part is more like the French 
 Flamboyant style, and it appears that the architect was a 
 Frenchman ; see a.d. 1444. 
 
 A.D. 1506. Bablake Hospital at Coventry, founded by Thomas 
 Bond, a wealthy citizen ; and often called Bond's Hospital. It 
 is a fine example of rich Perpendicular wood- work. 
 
 1507 — 1520. The groined vault of the choir of St. George's 
 Chapel, Windsor, constructed. John Hylmer and William 
 Vertue, freemasons, agreed by indenture dated June 5, 1507, to 
 construct this vaulting for 700/., and to complete it by Christmas, 
 1508 : it appears, however, that part of the works were not 
 finished in 1519, when a subscription among the Knights of the 
 Garter was entered into to defray the expense of their com- 
 pletion. 
 
 A.D. 1508 — 1515. The stone vaulting of King's College 
 Chapel, at Cambridge, with its exterior towers, turrets, finials, 
 &c., built by Henry YII. and his executors. The indentures 
 for the different parts of the work are preserved in the college, 
 and printed in Britton's " Architectural Antiquities," vol. i. 
 pp. 27 — 36, with several engravings. 
 
 •^ Monasticon, vol. vi. p. 726. 
 
420 THE PERPENDICULAR ENGLISH STYLE. 
 
 Henry VIII., a.d. 1509—1547. 
 
 Henry VIII., from his Great Seal. 
 
 
 
 Arms of Henry VITI. 
 
 Catharine Parr. 
 
 Anna Boleyne. 
 
 
 Queen Mary. 
 
 A.D. 1509 — 1532. The cathedral of Bangor (with the excep- 
 tion of the choir) built by Bishop Thomas Skevyngton. On 
 the outside of the tower is the following inscription : — 
 
 ^bomns Slubnngton TEpistopus ISinctoric I)oc campanile ct ccclcsiam fieri fecit 
 ■a°, partus ITirgtnci i^lCCCCCCCCdXXXIIE." 
 
 " Pegge's Sylloge, p. 62. 
 
HENRY VIII., A.D. 1509— 1547. 421 
 
 A.D. 1510 — 1528. The chapel on the south side of Col- 
 lumpton Church, Devon, built by John Lane, merchant, as 
 appears from the inscription on his tomb therein ^. 
 
 A.D. 1511 — 1522. Thornbury Castle, Gloucestershire, built by 
 Edward Stafford, Duke of Buckingham, as appears from an in- 
 scription over the entrance gate, but left incomplete at his death 
 in 1522, in which state it still remains. The walls are for the 
 most part in a perfect state, but without a roof, which appears 
 never to have been put on. It is a fine specimen of the baronial 
 mansions of that age, built for magnificent display rather than 
 for defence. 
 
 A.D. 1512 — 1521. Brasenose College, Oxford, the hall and 
 gateway-tower included, built by William Smith, Bishop of 
 Lincoln, and Sir Robert Sutton °. 
 
 A.D. 1513 — 1517. The quadi^angle of Corpus Christi College, 
 Oxford, built by Richard Fox, Bishop of Winchester'^. The 
 buildings of this college remain nearly in their original state. 
 A room over the entrance gateway is particularly worthy of 
 attention, still retaining the wainscoting and very rich plaster 
 ceiling and cornice of the time of the founder. 
 
 A.D. 1517. The chancel of Darton Church, in the West Riding 
 of Yorkshire, rebuilt, and at this date finished by Thomas 
 Tykyll, Prior of Monk Bretton monastery in the same county, 
 and patron of the church, as recorded by the following inscrip- 
 tion round the wall- plate of the choir ^ : — 
 
 a:OBS6Pttl?It5 DIi0^a5CB:RBI-L.PBXOF 
 
 Qor2ot$5a:Bii c^oBi^BBi^aEMo^eitJ 
 
 " Ad laudem Dei et omnium sanctorum, istam cancellam de 
 novo construxit Thomas Tj'kyll Prior monasterii Monk Bri- 
 tannic et hujus ecelesie patronus et eundem complete finivit 
 anno Domini milleno quintengeno decimo septimo." 
 
 '' Pegge's Sylloge, pp. 92, 93. "• Ibid. 
 
 '' Ingram's Memorials of Oxford. « Pegge's Sylloge, pp. 89, 90. 
 
422 THE PERPENDICULAR ENGLISH STYLE. 
 
 A.D. 1517. The church of Barton under Neeclwood in Staf- 
 fordshire, built by John Taylor, Ai'chdcacon of Derby and 
 Buckingham, and Master of the Rolls temjJ. Henry Ylll., as 
 appears from the inscriptions over every other pillar of the 
 north and south sides of the nave ^ The windows are mostly 
 square-headed. (Engravings of the inscriptions, and a view of 
 the church, are given in Pegge's Si/IIoge, Plates xii. and xiii.) 
 
 A.D. 1519 vel circa. Great Ponton, or Pounton Church, in 
 Lincolnshire, completed at the expense of Anthony Ellis, mer- 
 chant, who lies interred in the north side of the chancel^ : — 
 
 " Pounton Church has a veiy large fair tower steeple, strong* and 
 very well lay'd; built, as the inhabitants have received by tradition, 
 by one Ellys, merchant of the staple at Calais ; who, as they also re- 
 port, built Basingthorpe-hall, Swinshead-hall, Holland : and the hall 
 at Pounton. Mr. Ellys, the builder, is reported to have sent his wife 
 a cask inscribed ' Calais Sand,' without any further mention of its con- 
 tents : at his return to Pounton, he asked what she had done with it, 
 and found she had put it in the cellar. He then acquainted her that 
 it contained the bulk of his riches ; with which (being issueless) they 
 mutually agreed to build a church, in thanksgiving to God for ha^'ing 
 prospered them in trade. The arms of Ellys, and the motto Tht^tke 
 AND Thanke God for all, are caiwed in various parts of the tower." 
 
 A.D. 1520. Westenhanger Church, in Kent, built by Sir 
 Edward Poynings, Knight of the Garter, as recorded in an 
 inscription given in Stukeley's Itincmriion Cnriosum, vol. ii. 
 p. 132, and reprinted in Pegge^s Si/I/oge, p. 61. 
 
 A.D. 1520 rel circa. Layer Marney Hall, Essex, built by Sir 
 Henry, afterwards Baron Marney'^. A good specimen of the 
 mansion of this period, and of the beginning of the style of 
 the Renaissance in England. (For engravings see " Domestic 
 Architecture," vol. iii.) 
 
 A.D. 1520 rel circa. Compton Winyate House, Warwickshire, 
 built by Sir William Compton, who was keeper of Fulbroke 
 Castle, which being demolished, many of the materials were 
 appropriated to this new building'. This splendid mansion is 
 in fine preservation, and affords an excellent specimen of the 
 style of that age. " Over the arch of the entrance porch are 
 the royal arms of England, beneath a crown, supported by a 
 greyhoxmd and griffin, and on each side is a rose and crown in 
 panels." These are the arms of Henry Vll., but were also used 
 
 ' Plot's Natural History of StaBford- •" Salmon's Hist, of Essex, p. 448. 
 
 shire, p. 296. ' Britton's Architectural Antiquities, 
 
 fc' Turuor's Hist, of Grantham, p. 127. vol. ii. p. 104. 
 
HENRY VIII., A.D. 1509 — 1547. 
 
 423 
 
 by Henry YIII. during the early part of liis reign. The 
 chimney shafts are variously ornamented, and the gables have 
 good barge-boards. 
 
 A.D. 1520 rel circa. The south side chancel or chapel of St. 
 Mildred's Church, Canterburj^^ built by Thomas Atwood, " for 
 a peculiar place of sepulture for himself and his family ''." 
 
 A.D. 1525—1538. Hengrave Hall, in Suffolk, built by Sir 
 Thomas Kytson, sometime Sheriff of London ^ 
 
 A.D. 1529. The hall of Christ Church, Oxford, built by Car- 
 dinal Wolsey, and finished at this date "\ 
 
 A.D. 1530 — 1541. The monumental chapel of Margaret Plan- 
 tagenet, Countess of Salisbury, in the church of Christ Church, 
 Hants., erected in her lifetime. She was beheaded at the age of 
 seventy years, by order of Henry VIII., in 1541 ^. A rich and 
 beautiful specimen of the Perpendicular style. 
 
 A.D. 1532. The tomb of Archbishop WiUiam Warham in 
 Canterbury Cathedral °. Late Perpendicular, but rich and fine. 
 
 A.D. 1534. Whiston Church, in Northamptonshire, built by 
 Antony Catesby, Esq., lord of the manor, Isabel his wife, and 
 John their son, as may be gathered from the following remains 
 of an inscription on one of the windows therein : — 
 
 ©rntc pro . . . "antonii CTiitcsbn 'armigrri ct Esabdln uroris ejus ©omini . . . 
 SoTjannisDunioris gcncrosi cjusDcm^ntonii .... qui quittcm 'Slntontus, lEsabclIa 
 ct3oF)anncs ^anclEcclcsiam conUilicruiU . . quingcntcsimo triccsimo quarto . . .p 
 
 A small but perfect specimen of the Tudor style. 
 
 A.D. 1536. The steeple of Aughton Church, near How^den in 
 Yorkshire, erected by Christopher, the second son of Sir Robert 
 Ask, as appears from an inscription on the south side of the 
 same, placed under the armorial bearings of the Ask family, Or, 
 three bars azure 1. 
 
 '' Somner's Antiquities of Canterbury, 
 p. 166 ; and Pegge's Sylloge, pp. 62, 63. 
 
 ' Gage's History and Antiquities of 
 Hengrave, p. 15. 
 
 "' Ingram's Memorials of Oxford, vol. 
 i. p. 51. 
 
 " See Blore's Monumental Remains. 
 
 " See Blore's Monumental Remains, 
 and Britton's Hist, of Canterbury Cath., 
 p. 69, Plates viii. and xxiv. 
 
 P Bridges' Hist, of Northampton- 
 shire, vol. i. pp. 389, 390. 
 
 1 Gentleman's Magazine for 1754, 
 p. 359, and Pegge's Sylloge, p. 63. 
 
424 
 
 FOREIGN EXAMPLES OF THE SAME PERIOD. 
 
 FlarQboyant Mouldings, Villequier, Normandy. 
 
 Feance. 
 
 I now proceed to the last, or Flamboyant style. Like our Perpen- 
 dicular style, it seems to have come out nearly at once, as we see 
 little transition from Decorated to it; though the nave of St. Ouen is 
 such in some degree, but perhaps in a greater degree an adaptation 
 of the later style to the character of the choir. 
 
 Like the Perpendicular style, its piers are often without capitals, 
 the mouldings running into the 
 arches; like the Perpendicular, 
 it has a variety of bases to its 
 piers, and also a variety of small 
 buttresses to its niches; and it 
 has also that interpenetration of 
 mouldings, and piers with bases 
 taking one set of mouldings and 
 missing another, which is so 
 common in the English Perpen- 
 dicular, It has its mouldings 
 flattened and with large hollows, 
 like English later work ; but 
 with these points the agreement 
 nearly ends, and the styles are in other points curiously contrasted. 
 Although the Perpendicular style 
 admits of great richness, we find it 
 often worked very plain, yet re- 
 taining all the real character of the 
 style ; while plain Flamboyant seems 
 very uncommon in France. 
 
 Its essence seems to be elaborate 
 and minute ornament, and this con- 
 tinues till the forms and combina- 
 tions are sadly debased, and a strange 
 mixture of Italiaiiism jumbled with 
 it. Its combinations in the earlier 
 part of the style, for richness, ela- 
 borate ornament, and magnificent 
 design, arc admirable ; and no one 
 can visit Houen, where there are 
 many churches still used and others 
 now desecrated, and contemplate 
 leisurely the beautiful church of St. 
 Maclou, without feeling the value 
 of the style, and also the value of 
 that fine stone which seems to have 
 encouraged the Flamboyant ai'chi- 
 tects to vie with each other in ela- 
 borate decoration. The portals of Flamboyant Wmdow. Hameur. 
 
THE FLAMBOYANT STYLE. 
 
 425 
 
 Abbeville, Beauvais, St. Riquicr, Evreux, and St 
 parts of Caudcbec Church, .^ — , 
 
 and various other churches, 
 are some of the finest speci- 
 mens of this style. 
 
 The combination of tracery 
 called Flamboyant is not 
 easy to express in words, and 
 we have very little like it 
 in England. An example or 
 two exhibited will be the 
 best explanation. 
 
 Some of the towers of this 
 style are very fine, but too 
 often mutilated ; the spire 
 of one of the western towers 
 of the cathedral of Chartrcs 
 may also be mentioned as a 
 fine specimen. I might add 
 Harfleur, and some other 
 smaller churches. 
 
 As in England, during 
 this style a material alter- 
 ation took place in the arches 
 of doors, windows, &c., and 
 in the same direction, viz. to 
 become flatter; but it is cu- 
 rious that it took an entirely different direction 
 four - centred arch kept getting 
 flatter and flatter, till it became 
 a mere turn for the small arch 
 and a straight line for the larger 
 one, it still preserved a point, and 
 even when flattened so as to rise 
 only a few inches, still preserved 
 its character; of which arch I 
 can find no distinct trace in 
 France, though I will not say 
 it does not exist : but its French 
 companion, the flattened arch of 
 the Flamboyant style, which is 
 used as much as our four-centred 
 arch, is a very simple one, con- 
 sisting of an absolute straight line 
 in the centre, and the angles 
 rounded off with a quarter cii'clr, 
 giving more or less height to the 
 arch as the radius of the quarter 
 
 circle is greater or smaller. In Po,cb, Hfrfleur. 
 
 3 I 
 
 Maclou at Rouen, 
 
 Window, St. Germain, Pont Audemer. 
 
 While the English 
 
426 
 
 FOREIGN EXAMPLES. 
 
 Section of Pier, Abbeville. 
 
 domostic work the aperture often becomes a straight line with a drip, 
 
 or other orn.iraental moulding or canop}' 
 
 over it. This style is exhibited in /^^ 
 
 wooden domestic work in many parts 
 
 of France, gradually adopting more and 
 
 more Italianism till they overpower all 
 
 traces of Gothic. 
 
 In churches it is not so easy to trace the 
 debasement, but pai'ts of some churches 
 at Caen shew it clearly. 
 
 Of the details of this style I have 
 little more to say; but I must notice 
 two very disagreeable piers which are 
 not uncommon in this style. One is, 
 a series of eight hollows and eight rounds 
 without fillets; this pier has a capital 
 to each round, but it looks vciy poor 
 and meagre from the want of fillets ; 
 it is used at Beauvais and some other 
 places. 
 
 The other is a plain round pier 
 with no capital, but the mouldings 
 juinping out of the pier side, as if 
 they had been soft, and the pier 
 stuck up into them. I know not 
 that we have anything like these in 
 England. 
 
 I have heretofore noticed the very 
 capricious omission and insertion of 
 the drip-moulding in all the French 
 styles, and both inside and out. In 
 England, the nature of the material, 
 or some other apparent reason, occurs 
 for this omission; but in France I 
 can discover no law or local reason 
 for its use in some instances and its 
 omission in others. I may also notice 
 that the flat character of the primi- 
 tive Norman arch faces, with per- 
 haps a large bead for the only 
 moulding, continues to appear to a 
 late date, and in some degree to ope- 
 rate till the two hollows of the Flamboyant style supersede the 
 flatness. 
 
 From the very great height of the large churches this character will 
 be little noticed ; but a good telescope (which is especially required to 
 sec many things in the French churches) will soon discover the absence 
 of those rich suits of mouldings so common in the arches of our large 
 churches. 
 
 Pier, St. Lo, Normandy. 
 
THE FLAMBOYANT STYLE. 
 
 427 
 
 Open Parapet, St. Gervaise, Palaise. 
 
 The entire absence of the battlement as an ornament in Franco has 
 been already noticed ; in place of 
 it pierced parapets are very abun- 
 dant and of great beauty. 
 
 As one more characteristic of 
 the Flamboyant style, may be no- 
 ticed the use of a small number 
 of very large crockets in the cano- 
 pies of large portals ; the effect 
 produced is very fine, but very 
 different from any of our Perpendicular combinations. 
 
 There are other remarks which might be made on the minutiae of 
 the progress of architecture within any assigned limits, both in Eng- 
 land and France, but I hope I have said enough to induce those who 
 may have time and opportunity to study the styles of architecture in 
 different countries, not as contradictions, but as members of the same 
 family with local differences. 
 
 If this is done with a basis of extensive English knowledge, (for I 
 still think that in England will be found the most clearly marked 
 features of each style in its purity,) then will every succeeding essay, 
 gi^•ing details of buildings in any part of Eui'ope, be eminently useful, 
 and lead the way to what is much wanted — a general statement of the 
 progress of architectui'e in Europe. 
 
 A.B. 1380 . Caen; the church of St. Michael, in the subiu'b 
 
 of Vaucelles : the nave. The style is Flamboyant. 
 
 A.D. 1402. Amiens Cathedral. Some of the chapels formed between 
 the buttresses of the nave-aisles. The windows of these have Deco- 
 rated tracery; two were given by Charles V. a few years eaiiier, 
 others are later ; the great rose-windows are of the fifteenth century, 
 and Flamboyant work. 
 
 A.D. 1407 — 1409. JS'otreDame, Paris; the Porte Eouge. Flamboyant. 
 
 A.D. 1422 — 1461. The fountain of the Holy Cross, Eouen, con- 
 structed. It is in the Flamboyant stj'le. (For engravings see Pugin's 
 " Specimens of the Architectural Antiquities of Normandy," 4to.) 
 
 A.D. 1423 — 1438. St. Germain I'Auxerrois, Paris ; the nave vaulted. 
 The style is Flamboyant. The west porch is a little later than the 
 nave, bxiilt by Master Jean Gaussel, 1435 — 1438. 
 
 A.D. 1426 — 1515. Caudebec Church, Normandy. A good example 
 of the Flamboyant style, viiih. a fine spire, and a good deal of the ori- 
 ginal painted glass. (For engravings see Cotman, Pugin, &c.) 
 
 A.D. 1430 — 1440. Tours Cathedral; the west front and part of 
 the nave : these are Flamboyant ; the choir is earlier, chiefly of the 
 thirteenth century, and there is a small portion of still earlier work ; 
 but part of the nave is later, it was continued down to 1500. 
 
 A.D. 1432 — 1500. Church of St. Maclou, Eouen. A veiy fine and 
 rich example of Flamboj'ant, one of the chief glories of that style. 
 
 A.D. 1434 — 14 81. The nave, aisles, west front, and portals of the 
 cathedral of Nantes, rebuilt. The followiiig inscription, placed on the 
 
428 FOREIGN EXAMPLES. 
 
 principal doorway, records the time in wliich these works were com- 
 menced : — 
 
 L'aii mil quatre cent trente quatre 
 
 A my Avril sans moult raLattre 
 
 Au portail de ceste eglise 
 
 Fut la premiere pierre assise. 
 
 These parts of the church are fine Flambo5-ant. The choir is of the 
 twelftli century ', but so much cased Avith modern work tliat the ori- 
 ginal fabric can scarcely be seen. 
 
 A.D. 1439 — 1491. Eouen Cathedral; the transept. This part is 
 Flamboyant, though the greater part of this fine cathedral is earlier, 
 part Early French and part Decorated. 
 
 A.D. 1440 . St. Jacques, Dieppe; the choir vaulted. This part 
 
 of the church is Flamboyant. 
 
 A.D. 1447 . Toul Cathedral; the porch built from the design 
 
 and under the direction of Jacquemin de Commercy, in the Flamboyant 
 style. 
 
 A.D. 14.50 . The choir of the abbey church of St. Michael on 
 
 the Mount, Normandy, commenced. The work was suspended two 
 years afterwards, and not resumed for a long period ; but the design 
 appears to have been carried out. It is good Flamboyant work. (For 
 engravings see Bouet, &c.) 
 
 A.D. 1450 . Lisieux; the Lady-chapel added, in the Flam- 
 boyant style. The church is chiefly fine Early French. 
 
 A.D. 1451 — 1464. Eu Church ; the Flamboyant portion. 
 
 A.D. 1464 — 1467. Evreux Cathedral ; the south transept and Lady- 
 chapel added in the Flamboyant style ; the side chapels and rich 
 screens with their fine iron-work also belong probably to this period. 
 
 A.D. 1464 — 1500. Itouen; the church of St. Laurent, built in the 
 Flamboj'ant style : the windows have fine painted glass. 
 
 A.D. 1468 — 1481. Eouen Cathedral ; the north-west tower called the 
 "Tour de S. liomain," (built on a base of the twelfth century,) the 
 north porch, and the " Cour des Libraires" built; the south-west tower 
 was rebuilt in 1485 — 1507, by Archbishop Robert de Croixmaro, and 
 called " La Torn* de Beurre." AU these portions are in the Flamboyant 
 style. 
 
 A.D. 1474 — 1479. Tarbes; the Cathedral rebuilt by Bishop Menaud 
 d'Aure, in the Flamboyant style'. 
 
 A.D. 1483 — 1548. Audi; the cathedral rebuilt. The second date 
 is that of its consecration '. It is one of the finest edifices in the 
 south of France. Its painted glass, executed in 1513, by Aruaud de 
 Moles, and the carved wood- work of the choir, are of great richness 
 and beauty. 
 
 A.D. 1486 . Metz Cathedral; the choir rebuilt in the Flam- 
 boyant style. 
 
 A.D. 1486 — 1540. The chateau of Fontaine- Henry, near Caen, Nor- 
 
 ' Bourasse, Cathedrales de France, ' Bourasse, Cathcdrales de France, 
 
 p. 135. pp. 168, 1G9. 
 
 •^ Bulletin Monumental, vol. x. p. 427. 
 
THE FLAMBOYANT STYLE. 429 
 
 mandy, commenced by Jean d'Harcourt, and finished by Jean Charles 
 de Morais, his son-in-law". 
 
 A.D. 1488—1534. The nave and western fagado of the church of 
 St, Wulfrand, Abbeville, built : it is rich late Flamboyant =". 
 
 A.D. 1489 — 1495. Paris; St. Severin, the choir. The new part 
 of the church, with the high altar, and those of several chapels, were 
 dedicated by Jean Simon, Bishop of Paris, on the 30th of March, 1495. 
 The style is Flamboyant. 
 
 A.D. 1490 — 1516. Sens; the transepts of the cathedral, with their 
 portals, built from the design of Martin Chambiges ^. These parts are 
 Flamboyant. 
 
 A.D. 1490 — 1530. Rouen; the remaining buildings of the nunnery, 
 or abbey of St. Amand ^ The arms of Thomasse and Isabel Daniel, and, 
 Mary d'Annebaut, three of the abbesses of that nunnery at the period 
 above mentioned, shew the age of these buildings. (For engravings 
 see Jolimont, Monuments de la Normandie ; and Pugin's " Specimens 
 of the Architectural Antiquities of Normandy.") 
 
 A.D. 1493— 1499. Kouen; the "Palais de Justice" built. The 
 " Salle des Procm'eui's," which is a wing of the same building, was the 
 first part of it erected * ; — a beautiful specimen of civil architecture of 
 this age. (For engravings see Pugin and Cotman.) 
 
 A.D. 1496 . Fecamp; the Lady-chapel of the abbey church: 
 
 it is good Flamboyant. 
 
 A.D. 1495 — 1530. Rouen; the Hotel du Bourgtheroulde, com- 
 menced by Gillaume le Roux, and finished by his son*". (For en- 
 gravings see Pugin's " Specimens of the Architectural Antiquities 
 of Normandy.") 
 
 A.D. 1506 — '1522. Beauvais; the choir of the church of St. Etienne 
 built: the high altar was consecrated in 1522". This part is Flam- 
 boyant. The nave and transepts are of the twelfth century; and 
 there is some beautiful painted glass. 
 
 A.D. 1508 — 1522. Paris; the tower of " Saint-Jacques de la Bou- 
 cherie." See the History of this church by the Abbe Villain, from the 
 original documents, published in 1758. This tower is a rich and elegant 
 specimen of the Flamboyant style. It has recently been restored and 
 thrown open to view. 
 
 A.D. 1509 — 1530. Rouen; the western fagade of the cathedral, com- 
 menced by Cardinal George d'Amboise, in 1509, and completed in 1530 ^. 
 It is Flamboyant, late and overloaded with ornament ; the same archi- 
 
 " De Caumont, Hist. somm. VArchi- p. 30. 
 teeture au Moyen Age, pp. 351, 352. '' Delaquerriere, Description hist, des 
 
 ^ De Caumont, Hist, de I'Archit., p. Maisons de Souen, torn. i. pp. 210 — 234, 
 
 456. PI. 16 ; and De Caumont, Hist. somm. 
 
 y Quantiu, Notice hist, sur la Ca- de I' Architecture au Moyen Age, p. 423. 
 thedral de Sens, pp. 22 — 32. ' S, de St. Germain, Notice hist, et 
 
 ^ Delaquerriere, Description histo- descript. sur VEglise de St. Etienne de 
 
 rique des Maisons de Souen, torn. i. Beauvais, p. 14. 
 p. 202. '' Gilbert, Description historique de 
 
 " Gaily Knight's Tour in Normandy, la Cathedrale de Eouen, p. 28. 
 
430 FOREIGN EXAMPLES. 
 
 tect appears to have altered other parts of the exterior of this fine 
 cathedral, aud much injured the effect. 
 
 A.D. 1510—1523. the abbot's lodge at St. Michael's Mount, Nor- 
 mandy, built by William de Lampe, with the bridge connecting it with 
 the church. It is a good and picturesque piece of llamboyant work. 
 He also built the choir and apse of the church in 1523. (For en- 
 gravings see Bouet, &c.) 
 
 A.D. 1526. The hotel de ville at Beaugency, built from the design 
 of the architect, Yiart d'Orleans''. The hotels de ville of Courtrai 
 and Audenarde are of the same period, and all of late Flamboyant. 
 
 A.D. 1530 — 1533. Amiens; the tower of the cathedral, designed 
 and built by Louis Cordon, a carpenter of the village of Cottenchy, near 
 that city ^ 
 
 A.D. 1533 — 1541. Limoges; the cathedral finisbed in the manner 
 it stands at present, by Bishop John de Langeac ^. The rood-loft, in 
 the llenaissance style, is of this period. The choir is fine Decorated 
 work, of which the fii'st stone was laid in 1273, and it was completed 
 in 1327. This fine cathedral well illustrates the manner in which our 
 grand medieval churches were carried on, and the length of time during 
 ■which the original idea was persevered in. The first thing built was 
 the choir for the daily ser^'ice ; then the west fi'ont with the belfry- 
 tower, which was necessary for announcing the time of service ; the 
 nave was left to be constructed afterwards, as means allowed, and de- 
 pended on the zeal of the laity, to whom this part of the church 
 belonged. The choir was often rebuilt by the monks in a new style 
 before the laity had constructed their nave, and an awkward gap is 
 thus left betw^een the choir and the western tower, of which Cologne 
 Cathedral was the most notorious example. At Limoges the original 
 belfry-tower remains, begun as early as 1012, when the work was sus- 
 pended for a long period, and the upper part added in 1242, damaged 
 in the war with the English, and repaired by them in 1349. The por- 
 tion of the nave which is completed was built in 1460 — 1490, and in 
 the Flamboyant style: the western doorways were added in 1515 — 
 1530 ^ 
 
 A.D. 1538. The old hotel de ville of Caen, Normandy, built by 
 Nicholas de Yalois, lord of Ecoville '. (For engravings sec Jolimont, 
 Monuments de la Mormandie.) 
 
 <= De Caumont, Hist, sommaire de respecting the history of Limoges Ca- 
 
 l' Architecture au Moyen Age, p. 417. thedral we are indebted to the re- 
 
 f Bourasse, Cathedrales de France, searches of M. I'Abbe Arbelot, of that 
 
 p. 32. city. 
 
 K Qall. Christ., torn. ii. col. 539. ' De Caumont, Rist. sommaire de 
 
 '' For these interesting particulars V Architecture au Moyen Age, p. 424. 
 
THE FLAMBOYANT STYLE. 431 
 
 Italt. 
 
 A.D. 1386. Milan; the cathedral, or " duorao," bc<];un, according 
 to the following inscrii)tion, cut on a stone of the wall behind the apse : 
 — " El PRTjrciPio dil domo di Milano fu nel anxo 1386." The high 
 altar was consecrated by Pope Martin V. in October, 1418''. The 
 choir was probably completed at that time, but the vast nave and aisles 
 were not competed until modem times. (For architectural details see 
 D'Adda, La MetropoJitana di Milano.) 
 
 A.n. 1390, vel circa. Ferrara; the castle built by Nicolas d'Estc, 
 as a place of refuge, after the conspiracy of 1385. Bertolino Piotti of 
 Novara was the architect, but it afterwards received some modifications 
 from Albert Schiatti and Jerome Carpi. There are some fresco paint- 
 ings of the fifteenth century on the walls. 
 
 A.D. 1394 . Siena; the library built by Cardinal Francis 
 
 Piccolomini '. It is a very fine example of Italian domestic archi- 
 tecture. 
 
 A.D. 1396 — 1542. The Certosa, near Pavia. The foundation of it 
 was laid by Giovan Galeazzo Yisconti, Duke of Milan, in 1396, but the 
 works were not entii-cly finished until 1542 ™. The fagade of this mag- 
 nificent building was begun in 1473, from the design of Ambrogio da 
 Fossano ". 
 
 A.D. 1417. Rome; the brick campanile of the church of " Quatro 
 Santi incoronati," built or rebuilt at this date, as recorded in an in- 
 scription upon it. It has a pointed tower-arch and belfry-windows, 
 but is in the general style of the campaniles of Rome. 
 
 A.D. 1461. Ferrara; the church of the Carthusian Friars built 
 by Borso d'Este. It is in the style which in England would be con- 
 sidered of the twelfth century, with round-headed ornamental arcades. 
 It is now converted into the cemetery chapel. 
 
 A.D. 1468. Rome; the church of St. Mark was rebuilt at this date. 
 It is in the style of a Basilica, with antique marble columns and gilt 
 capitals, and a flat painted ceiling; the windows have round arches, 
 with Gothic Decorated tracery. At the east end the old tribune, or 
 apse, is preserved, with the mosaic picture erected in 833, as recorded 
 in an inscription in the mosaics. These ancient tribunes with their 
 mosaic pictures have generally been preserved in Rome when the rest 
 of the church has been rebuilt. 
 
 A.D. 1497 — 1506. Milan; the church and monastery of St, Mau- 
 rizio built. (For an account of the church, with plan, elevation, and 
 sections, sec Gruner's " Fresco Decorations of Churches and Palaces," 
 p. 63, PI. xi.) 
 
 ■* Latuada, Descrizione di Milano, "' Gruner's Fresco Decorations of 
 
 torn. i. pp. 24 and 107. Churches and Palaces, p. 49, Plates 
 
 ' Gruner's Fresco Decorations of i. — x. 
 
 Churches and Palaces, p. 65, PI. xii. " Ibid., pp. 51, 52. 
 
432 FOREIGN EXAMPLES. 
 
 Geema-nt. 
 
 A.D. 1377 — 1478. TJlm ; the cathedral built from the design of 
 Matthew Ensingor, "who having died in 1463, Matthew Eoblinger 
 carried on the work till its completion ". (For engravings of the tower 
 and its details, see MoUer's Denkmdler der Deutschen BauTcunst, 
 Plates Ivii. and Iviii.) 
 
 A.D. 1441, Cologne; the house Giirzenich built p. 
 
 A.D. 1506 — 1519. Nuremberg; the tomb of St Sebald, executed 
 by Yischer ''. A rich piece of iron-work. 
 
 A.D. 1 524, vel circa. Cologne ; St. Peter s Chui'ch built ^ " It 
 possesses, besides the well-known disagreeable picture by Kubens, re- 
 markably good glass paintings of 1528 and 1539 ; also a metal baptismal 
 basin of 1569. 'Ihe adjoining cloister with its wooden ceiling will 
 shew every sensible man how agreeable an impression may be conveyed 
 by the most simple construction." 
 
 A.D. 1439 — 1477. I^uremberg; St. Laurence's Church. The door- 
 way and tower erected and the choir enlarged, it was vaulted in 
 1514 — 1568. The style is the German Flamboyant. 
 
 A.D. 1488 — 1493. jSTuremberg ; the towers of St. Sebald's Church 
 built in the German Flamboyant style. 
 
 A.D. 1513 — 1515. Nui'emberg; oriel window in the Pfarhoff built 
 by M. Pfinzing. 
 
 Spain. 
 
 A.D. 1407. Toledo; the Dominican monastery completed. 
 
 A.D. 1476—1477. Toledo ; the church of St. John built by Ferdinand 
 and Isabella, in the Spanish Flamboyant style. (For engravings see 
 Momimentos Arguitectonicos de Es2)ana, published by the Spanish 
 Government, royal folio, Madrid, 1861.) 
 
 A.D. 1508 — 1518. Toledo; chapel of the college of St. Ildephonso, 
 in the Complutensian University, and the cliapter-house of the cathe- 
 dral, built by Peter Gamiel, and ornamented with sculpture executed 
 in the style of the Eenaissance. 
 
 " Frik's Beschreihung der Miinster f De Lassaulx's Notes, &c., p. 221. 
 
 zu Vim, p. 12 ; and Leeds's Note to 'i Bulletin Monumental, vol. x. p. 
 
 MoIUt's Jlemorial of German Gothic 265. 
 Architecture, pp. 78, 79. ' De Lassaulx's Notes, &c., p. 211. 
 
THE FLAMBOYANT STYLE. 433 
 
 BELGnjM. 
 
 A.i). 1402 — 1443. Bnissels; the hotel dc ville built, in the Flam- 
 boyant style. The great tower over the principal doorway was erected 
 in 1444 by Charles le Hardi, Count of Charolois, afterwards Duke of 
 Burgundy, and finished in 1454'. 
 
 A.D. 1421 — 1483. Bniges; the nave of " K'otre Dame de la 
 Chapelle" rebuilt, in the Flamboyant style'. A fine house close to 
 the tower of this church is worthy of notice, though of rather 
 later date. 
 
 The Palais de Justice in the same town is a fine building in the 
 style of the Renaissance, with a remarkable fireplace built by the 
 Emperor Charles V. in 1529, with figures of himself and his family. 
 A considerable part of the cathedral is Flamboyant work of the fif- 
 teenth century ; part is earlier, of the thirteenth and fourteenth, biiilt 
 of brick, with stone dressings. 
 
 The hospital of St. John is a large semi-monastic establishment, 
 with a Flamboyant cloister ; it also contains a picture-gallery, in which 
 is the celebrated shrine of St. Ursula, painted by Hemling. 
 
 The hotel de yille is said to have been begun in 1370, but the style 
 is rather Flamboyant than Decorated, with considerable resemblance 
 to that of LouvaLn : it contains a remarkable wooden ceiling of the end 
 of the fourteenth century. The old custom-house is also a fine Flam- 
 boyant house of the sixteenth century, with a rich porch. 
 
 A.D. 1440— 1480. Ghent; the church of "St. Michel" built". A 
 fine church, cruciform, with apse, in the Flamboyant style. 
 
 A.D. 1453. Ghent; the ancient butchers' market is a Flamboyant 
 building, much mutilated, but with a gable-end perfect, with its 
 windows, and an interesting painting of the school of Van Eyck, 
 representing Philip the Good and his family. This has been restored, 
 but much of the old work remains, and the heads appear to be portraits. 
 There is an inscription with the above date. 
 
 The hotel dc ville is rich Flamboyant work, with picturesque 
 dormer windows and chimneys, and fijie tall bay windows apparently 
 for a great hall, of which the other windows are of two stories with 
 panels between'; but the internal arrangements have been altered : near 
 the bay window is an external pulpit for addressing the people, it is 
 of rich Flamboyant work. 
 
 The belfry is another public building of the fifteenth century, with 
 a Flamboyant tower, and a spii'e recently restored in iron. There are 
 several other fine houses of the fifteenth and sixteenth centuries in the 
 Flamboyant style. 
 
 ' Schayes's Treatise on the Pointed ' Schayes's Treatise on the Pointed 
 
 Style in Belgium, in Weale's Quarterly Style in Belgium, in Weale's Quarterly 
 
 Papers, voL ii. See also De Caumont, Papers, vol. i. 
 
 Hist. Somm. de l' Architect, au Moyen " Diericx, Memoires sur la ville de 
 
 Age, p. 400, PI. xxx. Gand, vol. i. chap. 7. 
 
 3k 
 
434 FOREIGN EXAMPLES. 
 
 A.D. 1479. Antwerp; the chtirch of "St. Jacques" begun. The 
 chancel was finished in 1507 *. 
 
 The cathedral, with its five aisles and beautiful spire, is a well- 
 known and celebrated example of the Flamboyant style of the fifteenth 
 century, and almost all the churches in the town are of the same st5-le 
 and date. There are many houses of the seventeenth century, and 
 some of the sixteenth, but few earlier. One fine mansion, called the 
 "Maison des Templiers," should be noticed; it is of the fifteenth cen- 
 tury, built of brick, with good corner stair-turrets, and is altogether 
 a fine example of a Flamboyant house. 
 
 A.D. 1522—1538. Liege; the church of " St. Jacques" built. It 
 is a very fine, perfect, and complete example of the Flamboyant style, 
 with the old painting. (For architectural details sec Weale's "Quarterly 
 Papers," vol. ii., and Hope's " History of Ai-chitecture.") 
 
 The cathedral is a fine structure of the thirteenth and fourteenth 
 centuries, but with many Flamboyant windows inserted, and the 
 cloister and chapter-house are altogether Flamboyant work of the 
 fifteenth century ; the painting of the vault of the church is of the 
 sixteenth, partly renewed in 1855. 
 
 Louvain; the town-hall, or hotel de ville, is one of the finest in 
 Europe : it is in the Flamboyant style of the fifteenth century, the 
 exterior particularly rich, the interior plainer, but with some very 
 good and original ceilings, and a curious series of corbels carved %\ath 
 numerous figures relating to the history of the town. 
 
 The market-hall is another fine Gothic building, of much plainer 
 character, but by no means to be despised ; chiefly of the sixteenth 
 century. 
 
 The cathedral is a fine example of the Flamboyant style of the 
 fifteenth and sixteenth centuries, with more simplicity than is usual 
 in this style, but with a very rich roodloft and tabernacle-work. The 
 exterior is poor and mutilated, or unfinished.] 
 
 * Schayes's Treatise on the rointed Style in Belgium, in Weale's Quarterly 
 Papers, vol. ii. 
 
MISCELLANEOUS REMARKS 
 
 ON 
 
 BUILDINGS OF ENGLISH ARCHITECTURE. 
 
 Having now given an outline of the details of the different 
 styles, it remains to speak of a few matters which could not so 
 well be previously noticed. As one style passed gradually into 
 another, there will be here and there buildings partaking of 
 two, and there are many buildings of this description whose 
 dates are not at all authenticated. 
 
 There is one building which deserves especial mention, from 
 the singularity of its character, ornamentS;, and plan ; this is 
 Roslyn Chapel. It is certainly unclassable as a whole, being 
 unlike any other building in Great Britain of its age (the 
 latter part of the fifteenth century) ; but if its details are 
 minutely examined, they will be found to accord most com- 
 pletely, in the ornamental work, with the style then prevalent, 
 though debased by the clumsiness of the parts and their want 
 of proportion to each other. There seems little doubt that the 
 designer was a foreigner, or at least took some foreign build- 
 ings for his model. 
 
 It will be proper to "add a few words on the alterations and 
 additions which most ecclesiastical edifices have received, and 
 some practical remarks as to judging of their age. The general 
 alteration is that of windows, which is very frequent ; very 
 few churches are without some Perpendicular windows. We 
 may therefore pretty safely conclude that a building is as old 
 as its windows, or at least that part is so which contains 
 
436 
 
 MISCELLANEOUS REMARKS 
 
 the windows ; but we can by no means say so with respect- 
 to doorways, which are often left much older than the rest of 
 the building. 
 
 A locality of style may be observed in almost every county, 
 and in the districts where flint abounds it is sometimes almost 
 impossible to determine the date of the churches, from the 
 absence of battlements, architraves, and buttresses ; but where- 
 ever stone is used, it is seldom difficult to assign each part 
 to its proper style ; and with due regard to do the same with 
 plates of ordinary correctness, a little habitual attention would 
 enable most persons to judge at once, at the sight of a plate 
 or drawing, of its correctness, from its consistency, or the con- 
 trary, with the details of its apparent style. 
 
 In a sketch like the present, it is impossible to notice every 
 variety ; but at least the author now presents the world with 
 a rational arrangement of the details of a mode of architecture 
 on many accounts valuable, and certainly the most proper 
 for ecclesiastical edifices. Still further to enable the reader to 
 distinguish the principles of Grecian and English architecture, 
 he adds a few striking contrasts, which are formed by those 
 principles in buildings of real purity, and which will at once 
 convince any unprejudiced mind of the impossibility of any 
 thing like a ffood mixture. 
 
 Classical Architecture. 
 
 The general running lines 
 are horizontal. 
 
 Gothic Architecture. 
 
 The general running lines 
 
 are vertical. 
 
 Arches not necessary. 
 
 Arches an essentially fun- 
 damental principle, and no 
 pure English building or or- 
 nament can be composed with- 
 out them. 
 
 An entablature absolutely 
 necessary, consisting always 
 of two, and mostly of three 
 
 No such thing as an en- 
 tablature composed of parts, 
 and a cornice bears no real 
 
ON BUILDINGS OF ENGLISH ARCHITECTURE. 
 
 437 
 
 Classical. 
 distinct parts, having a close 
 relation in the character and 
 ornaments determined by the 
 columns. 
 
 Gothic. 
 relation to the shafts which 
 may be in the same building. 
 
 The columns can support 
 nothing but an entablature, 
 and no arch can spring di- 
 rectly from a column. 
 
 The shafts can only sup- 
 port an arched moulding, 
 and in no case a horizontal 
 line. 
 
 A flat column may be called 
 a pilaster, which can be used 
 as a column. 
 
 Nothing analogous to a 
 pilaster ; every flat orna- 
 mented projecting surface 
 is either a series of panels 
 or a buttress. 
 
 The arch must spring from 
 a horizontal line. 
 
 No horizontal line neces- 
 sary, and never any but the 
 small cap of a shaft. 
 
 Columns the supporters of 
 the entablature. 
 
 Shaft bears nothing, and 
 is only ornamental, and the 
 round pier still a pier. 
 
 No projections like but- 
 tresses, and all projections 
 stopped by horizontal lines. 
 
 Buttresses essential parts, 
 and stop horizontal lines. 
 
 Arrangement of pediment 
 limited. 
 
 Pediment only an orna- 
 mented end wall or gable, 
 and may be of almost any 
 pitch. 
 
 Openings limited by the 
 proportions of the column. 
 
 Openings almost unlimi- 
 
 ted. 
 
438 MISCELLANEOUS REMARKS 
 
 Classical. Gothic. 
 
 Regularitj'' of composition Regularity of composition 
 
 on each side of a centre seldom found, and variety of 
 
 necessary. ornament universal. 
 
 Cannot form good steeples, From its vertical lines, 
 
 because they must resemble steeples may be carried to 
 
 unconnected buildings piled any practicable height, with 
 
 on each other. almost increasing beauty. 
 
 In the foreofoinor details we have said little of castellated or 
 domestic architecture ; because there do not appear to be any 
 remains of domestic buildings, so old as the latest period of the 
 English style, which are unaltered ; and because the castellated 
 remains are so uncertain in their dates, and so much dilapidated 
 or altered, to adapt them to modern modes of life or defence, 
 that little clear arrangement could be made, and a careful study 
 of ecclesiastical architecture will lead any one, desirous to form 
 some judgment of the character of these buildings, to the most 
 accurate conclusions on the subject which can well be obtained 
 in their present state. 
 
 [Since the time when Mr. Rickman wrote, the remains of the 
 castles and houses of the Middle Ages have been more carefully 
 examined, and it has been found quite practicable to classify and 
 arrange them according to Mr. Rickraan's styles. In fact, the 
 royal licence to crenellate or fortify a house having long been 
 required, and such licences being always entered on the Public 
 Records, or Rolls as they are called, they afford often the best 
 authenticated dates that we have of any buildings. These form 
 the groundwork of the " Domestic Architecture of the ^liddle 
 Ages," by the late T. Hudson Turner and Mr. J. H. Parker, 
 published in 1851 — 59, in four volumes, 8vo., with numerous 
 illustrations by 0. Jewitt.] 
 
 Nor has anything been said of monuments, because, should 
 they bear the name of the deceased, and the date of his death, 
 they were often erected long after ; thus Osric's tomb at 
 Gloucester, and that of King John at Worcester, are both of 
 Perpendicular date, if their style may be considered as any 
 guide. Most of the monuments which are valuable, will have 
 
ON BUILDINGS OF ENGLISH ARCHITECTURE. 439 
 
 their style ascertained by what has been said of larger erections. 
 There are many which deserve much attention, for the excel- 
 lence of their workmanship and composition : of these may be 
 noted those of Aymer de Valence, Earl of Pembroke, in West- 
 minster Abbey, and a curious monument in Winchelsea Church, 
 Sussex ; the monument of the Percies at Beverley; that of King 
 Edward the Second at Gloucester, and that of Richard Beau- 
 champ, Earl of "Warwick, in the centre of the Beauchamp Chapel; 
 with several at Canterbury, York, and Winchester. 
 
 There are two which are so singular, and so different from 
 the style in use at the time of their erection, that they require 
 particular remark : these are, the shrine of Edward the Con- 
 fessor, and the tomb of Henry the Third, both erected near the 
 same time, and probably by the same artist, who has been stated 
 to be an Italian ; and this may account for the style of these 
 monuments, where, with some few traces of the Early English, 
 (the style in use at the time of their erection,) there is much 
 close resemblance to Roman work ; added to which they are 
 covered with mosaic work, which has been much used in Italy. 
 
 [In the former editions of this work a number of churches in 
 each county were described in the Appendix, the intention being 
 that they should be a selection of the best examples ; but the 
 changes which have taken place since the last revision, in 1825, 
 rendered a fresh survey necessary for the correction of these 
 notes ; and after a careful examination, it was thought better to 
 omit them from the fifth edition published in 1848, with a view 
 to incorporate them in a general work on the Ecclesiastical and 
 Architectural Topography of England. Of this work seven 
 counties were published in 1848 — 1855, completing the dioceses 
 of Oxford and Ely, to enable the students of the two Univer- 
 sities to make the architecture of their own country a part of 
 their studies, if so disposed. Every church in each of those 
 seven counties was surveyed for the purpose by competent 
 persons, and large materials were collected for other counties, 
 including the unpublished notes of Mr. Rickman, in addition 
 to those already published. But the work did not meet with 
 sufficient encouragement from the public to enable the editor 
 to go on with it, and it was necessarily suspended until another 
 turn of the wheel of fashion may call for it again.] 
 
CHEONOLOGICAL TABLE. 
 
 For the use of the student a table is subjoined, shewing the 
 duration of the styles of English architecture, and the kings 
 reigning in each period. To render this list more useful, it is 
 printed in duplicate, that one may be cut out, and serve as 
 a table for the more readily consulting other works. 
 
 Kings. 
 
 Date. 
 
 WillumI 10661 
 
 William II 10S7 
 
 Henry 1 1100 
 
 Stephen 1135 to 1154^ 
 
 HENRYlI.«....115itollS9 
 
 Richard 1 11S9' 
 
 John 1199 
 
 Henry III. ...1216 to 1272 
 
 Stifle. 
 
 NORiLVN. 
 
 Transition. 
 
 Early 
 English. 
 
 MetnarTcs. 
 
 Prevailed little more than. 
 
 121; years ; no remains 
 
 REALLY KNOWN to be more 
 
 than a few years older than 
 
 Lthe Conquest. 
 
 Prevailed about 100 years. 
 
 Edward I. \ . . .1272Ito 1307 Transition. 
 
 Edward IT 1307 
 
 Edward 111.= 1327 to 
 
 130/) 
 1377/ 
 
 RichajidII. ...1377 to 1399 
 
 Henry IV 1399") 
 
 Henry V 1413 
 
 Henry VI 1422 
 
 Edward IV 1461 
 
 Edward V 1483 
 
 Richard III 1483 
 
 Henry VII 1485 
 
 Henry Vni....l509 to 1546 j 
 
 • [The reigns of Henry II. and Richard I. 
 comprise the chief period of the Transition 
 from the Norman to the Early English style. 
 
 >> The reign of Edward I. was included by 
 Mr. Rickman in the Early English style, but 
 the Transition from the Early English to the 
 Decorated style took place chiefly before and 
 during his rei?n. The Eleanor crosses belong 
 to the latter style. 
 
 ' In the latter part of the long reign of 
 Edward III. the Transition from the Deco- 
 rated to the Perpendicular style began, and 
 was almost completed by the time of the ac- 
 cession of Richard II. Some buildings of the 
 
 Decorated 
 English. 
 
 Transition. 
 
 Perpendicu- 
 lar, English. 
 
 I Prevailed about 70 years. 
 
 f Prevailed about 169 
 years. 
 
 Eew, if any, whole build- 
 ings executed in this style 
 -j later than Henry VIII. 
 This style used in addi- 
 tions and rebuilding, but 
 often much debased, as 
 Llate as 1630 or 1640. 
 
 Decorated style may be found of his reign, 
 but the works of William of Wykeham, West- 
 minster llall, and many other buildings of 
 this period, are of very decided Perpendicular 
 character. Perhaps one of the earliest and 
 best authenticated examples of this Transition, 
 shewing a curious mixture of the two styles, 
 is Edington Church in Wiltshire, founded by 
 Bishop William of Edington in 1352, and con- 
 secrated in 1361. The same Bishop, who died 
 in 1366, commenced the alteration of Win- 
 chester Cathedral into the Perpendicular style, 
 ■which was continued by William of Wykeham.] 
 
GLOSSARIAL AND GENERAL INDEX. 
 
 * refers to Woodcids. 
 
 AuACrs, the flat member on the top of 
 ii capital, originally a square tile, and 
 in the Classical styles always square, 
 10; this form is retained in the 
 Norman, 132*, and in French Go- 
 thic, but in English Gothic it is 
 usually round and sometimes octa- 
 gonal : Early English, 201* ; Deco- 
 rated, 283* ; Perpendicular, 373*. 
 
 Adams', the style of the, 6. 
 
 Air-hole, Perpendicular, 377*. 
 
 Aisles, the, 47. 
 
 Angel-corbels, 371, 372*. 
 
 Angel-cornice, peculiar to Perpendicular, 
 371. 
 
 Anglo-Saxon architecture, 55 — 116. 
 
 from MSS., 85*. 
 
 Anne of Bohemia, Queen, head of, 397*. 
 
 Apophyges, 14*. 
 
 Aecade, a series of arches, usually ap- 
 plied to the small ornamental arches 
 only : early Norman, 105*, 109* ; late 
 Norman, 130* ; intersecting, 116*, 
 147*; A.D. 1128, pp. 161,162; Early 
 English, 196* ; Decorat. d, 281. 
 
 Aeches, diagriims of various forms, 49; 
 Roman, 60*, 71* ; Anglo-Saxon, 62*, 
 69*, 70*, 79«, 81*; straight-sided, 
 62*, 67*, 88* ; early Norman, 105*, 
 112*; Norn.'an semicircular, 122*, 
 123* ; horse-shoe, 122 ; pointed, 
 123* ; segmental a Gloucestershire 
 feature, 151 ; segmental occur also at 
 Nevers in 1097, p. 154 ; intersecting, 
 45 ; pointed, 44 ; form of, no guide to 
 date or style, note, 46; pointed, at 
 St. Denis, near Paris, in 1140, p. 166 ; 
 church of the Holy Sepulchre at 
 Jerusalem in 1140, p. 166; pointed at 
 St. Cross in 1136, p. 163 ; Roche Abbey 
 in 1147, p. 165; Kirkstall in 1152, p. 
 165; Early English, 194, 195*; seg- 
 mental. Early Ei;glish,194; Decorated, 
 280* ; of Decorated windows, 273 ; 
 Perpendicular, 358*, 359* ; ogee. 
 Perpendicular, 358 ; four-centred, 
 Perpendicular, 358. 
 
 Architecture defined, 1. 
 
 Architrave, 9, 10; Early English, 196 ; 
 Decorated, 280; Perpendicular, 352. 
 
 Archivolt, 10. 
 
 Arms of Edward I., 318* ; Edmund 
 
 Earl of Cornwall, 321* ; Queen Elea- 
 nor of Castile, 321*; Edward HI., 
 332* ; John of Gaunt, 332* ; Richard 
 II., 392*: Henry VI., 402*; Ed- 
 ward IV., 412*; Edward V., 415*; 
 Richard III., 415 ; Henry VII., 416* ; 
 Henry VIII., 420*. 
 
 Ashlar, squared or hewn stone, as dis- 
 tinguished from rubble or rough 
 stone, 56, 57*. 
 
 Astragal, or bead, 14*. 
 
 Attic, 11. 
 
 Ball-flower ornament, 264*, 269*, 294*, 
 296*. 
 
 Baluster, 11 ; in windows, 60, 62*, 64*, 
 67*, 74*, 77*, 92*. 
 
 Balustrade, 11. 
 
 Bands, 51 ; Norman, 125*. 
 
 Base, 9; Tuscan, 17; Ionic, 29; early 
 Norman, 110*, 113* ; Norman, 140* ; 
 Early English, 185*, 203*, Deco- 
 rated, 283*, 289*. 
 
 Basement mouldings. Decorated, 289*; 
 Perpendicular, 366*. 
 
 Battlement, 49 ; Norman, 142 ; Early 
 English, 217; Decorated, 302*, 333*; 
 Perpendicular, 378*; pierced, 378; 
 varieties of, 379* ; on transoms, pe- 
 culiar to Perpendicular, 371. 
 
 Bead, a small round moulding, 14* ; 
 also used for an ornament resembling 
 a row of beads, as at Shobtion, 155* ; 
 and Wootton, 139*. 
 
 Beak-head ornament, 130*. 
 
 Bed-mould, 10. 
 
 Bell of the capital, 10. 
 
 Billet, an ornament much used in the 
 Norman style, as at Mahnesbury, 
 131* ; there are several varieties of it. 
 
 Birds'-beak moulding, 15*. 
 
 Blind-story, the trifbrium, as con- 
 trasted with the clearstory above it, 
 as at Salisbury, 212*. 
 
 Bonding-tiles, 57. 
 
 Boss, a projecting ornament : Early 
 English, 2i4, 218* ; Decorated, 303* ; 
 Perpendicular, A.D. 1410, p. 400*. 
 
 Bosses and panel. Decorated, a.d. 1355, 
 p. 339*. 
 
 Bowtel, Norman, 133*. 
 
 Brackets, 11. 
 
 3 L 
 
44- 
 
 GLOSi-ARIAL AXD GENERAL INDEX. 
 
 Bricks, Roman, 57 — 63, 8t; RouKin 
 used at Colchester, 155. 
 
 British arcliitecture, 3. 
 
 Broach, a spire without a parapet at 
 its base, shewing the junction of the 
 octagonal spire to the square tower, 
 as at Stamford, 217*. 
 
 Buckle, or Mask, a kind of corbel, as at 
 Stanwick, 206«. 
 
 BUTTUKSSES, supports to the wull, 19 ; 
 Norman, 120,127*; Early Enulish, 
 201«, 212*, 213*; Decorated, 286*, 
 287*; Perpendicular, 362*, 363*, 
 364*. 
 
 Cabling the flutes, 12. 
 
 Canopy, 51, the head of a niche over an 
 image, as at Dorchester, 292*; also 
 the ornamental moulding over a door, 
 as at Xorwich, 261*; or window, as 
 at Howden, 307*; or tomb, usually 
 eni'iched with crockets and a linial, 
 as at Beverlej% 310* ; Early English, 
 207 ; Decorated, 263, 
 
 Cantaliver, 11. 
 
 Canute, churches built by, 100. 
 
 Capitals, 9; Composite, 39; Corin- 
 tliian, 3 1 ; divisions of, 10 ; scalloped, 
 160* ; Tuscan, 20; Anglo-Saxon, 81*, 
 98*; cushion-shape, 152, 153, 163; 
 early Norman, lOl*, 105*, 110*, 
 137*, 151*, 153*, 169*; late Norman, 
 139, 160; often inserted in early 
 Norman walls, as at Lincoln, 151 ; 
 often carved long afrer their erection, 
 as at Canterbury, 163 ; painted, 138; 
 Early English, 185, 201* ; Deco> ated, 
 183*, 185* ; their difference from Early 
 English, 261 ; Perpendicular, 373*. 
 
 Castles, Norman, 150; Decorated, 317 ; 
 Perpeniiicular, 390. 
 
 C.mlicoli, 9. 
 
 Cavetto, 13. 
 
 Ceilings, Norman, 143; of wooden 
 groinin.s Early Engl.sh, 220* ; Per- 
 pi ndicular, 381*. 
 
 Chancel, 48. 
 
 Chancel-arch, 61. 
 
 Chapel of two stories, 246. 
 
 Cliapels, 47. 
 
 Chapter-liouse, 48; Early Enelish, 228. 
 
 Chimney, Decorated, A.D. 1356. p. 340*. 
 
 Choir, the, 47. 
 
 Chuonological Table, 440. 
 
 Citiqnefiiil, 51*. 
 
 C assical style, 5. 
 
 Classical Auchitecture, chief cha- 
 racteristics of, '136. 
 
 Clerestory, or Clearstory, the upper 
 &tory of a church, as distinguished 
 
 from the blind-story, or triforium, as 
 at Salisbury, 242* ; Early English, 
 212*; Decorated, 276*, 333*. 
 
 Cloisters, 48. 
 
 Colonnade, 16. 
 
 Column, 9; Tuscan, 17; Doric, 21; 
 Composite, 39. 
 
 Comparison of Classical and Go hie 
 Styles, 436. 
 
 Composed orders, 41. 
 
 Composite order, 8, 9, 39 — 13 ; arch 
 of Septimus Severus, 36*. 
 
 Console, 11. 
 
 Contrasted arch, 50*. 
 
 Coebel, a projection to carry a weight, 
 usually carved, 51 ; a row of corbels 
 carrving the projecting eaves of the 
 roof is call" d a corbel-table : Nor- 
 man, 128* ; Early English, 200, 206, 
 214*; Decorated, 300*; Perpendicu- 
 lar, 372*. 
 
 Corbel-heads, A.D, 1279, p. 320* ; a.d. 
 1355, p. 330*. 
 
 Corinthian order, 34 — 39; Greek. 8, 
 9; *Arch of Hadrian, Athens, 36; 
 * Temple of Vesfa, Tivoli, 36; ♦Tem- 
 ple of Jupiter Olympius, Athens, 36; 
 moiHUion, 4*. 
 
 Cornice, 9, 51; lon'c, 29; Corinthian, 
 35; Composite, 40; Early English, 
 206*, 242* ; Decorated, 288* ; Per- 
 pendicular, 365*. 
 
 Corona, 10, 14. 
 
 Crest, Decorated, 333*. 
 
 Crocket, an ornament peculiar to the 
 Gothic styles, usually resembling a 
 leaf half opened projecting from the 
 upper edge of a canopy or jjyramidal 
 covering, 52; sometimes a series of 
 crockets are connected by a running 
 stem ; the form generally resembles 
 a shepherd's crook, which is supposed 
 to be the origin of the name : Early 
 Enghsh, 215*; Decorated, 299 ; Per- 
 pendicular, 372*. 
 
 Cross, or transept, 47. 
 
 Crosses, Norman, 136 ; Early English, 
 215. 
 
 Crypt, 52, a vault beneath a church, 
 generally under the chancel only, and 
 frequently the altar platform only ; 
 it was sometimes used for the ex- 
 hibition of relics, and had two stair- 
 cases from the church, for the descent 
 and ascent of worshippers : at Char- 
 tres, 236 ; at Canterbury, 169*. 
 
 Cusp, an ornament used in the tracery 
 of windows, screens, &,c., to form folia- 
 tion, 51* ; it was at tirst solid, then 
 pierced, 230*,sonietimes enriched with 
 carving ; Early English, 230. 
 
GLOSSARIAL AND GENERAL INDEX. 
 
 443 
 
 Cyuia recta, 14*. 
 C.vnia revtrsa, 14*. 
 Cymatiuiu, 10. 
 
 Dado, 9*. 
 
 Deca style portico, 16. 
 
 Decorated style, beginning of, 4; the 
 second Gothic style, 5t; geneml ap- 
 pearance of, 314; foreign examples 
 of, 325—327. 
 
 French style, 314. 
 
 Dentils, 11*. 
 
 Diaper, ornamental work cut on the 
 surface of the wall, originally painted 
 in imitation of hangings; Norman, 
 157*, 161*; Early English, 212*; 
 Decorated, 297*, 298*. 
 
 Die, 9. 
 
 Dioclesian's Palace, 4. 
 
 Domestic Buildings, examples of, see the 
 Topographical Index. 
 
 DooiiWATS, Anglo-Saxon, 62*, 66*; 
 Norman, 117*, 16 1* ; Early English, 
 183; Decorated, 261, 324* ; examples 
 of Decorated, 262*, 263*, 264*, 265*, 
 266*; Perpendicular, 349, 350*, 351*, 
 352* ; Perpendicular, a.d, 1380, p. 
 393*. 
 
 Doric Ordee, 21,28; Geecian,8; from 
 the Temples of Theseus at Athens, 
 and of Apollo at Delos, 22* ; Roman, 
 26 ; from the Theatre of MarccUus at 
 Rome, and Modern, T. Rickman, 22*. 
 
 Dripstone, 51, the projecting moulding 
 over a door or a window, to throw 
 off the wet ; but it is also used in the 
 interior over arches, and is sometimes 
 called the hoodmould, or, when it is 
 square, the label: Norman, 129*; 
 Early English, 206* ; Decorated, 281, 
 289* ; Perpendicular, 366*. 
 
 *Drop arch, 50. 
 
 Early English style, the first Gothic 
 style, beginning of, 4, 53; general 
 appearance of, 227. 
 
 Early French style. 255. 
 
 Edward the Confessor, examples in his 
 time of the Anglo-Saxnn style, as at 
 Deerhurst, 87* ; and of the early 
 Norman style, as at Westminster, 
 104*. 
 
 Edwai-d I., the Queen Eleanor crosses 
 built by, 321 ; the early division 
 of the Decorated style, with geome- 
 trical tracery, prevailed throughout 
 his reign, 318, 327. 
 
 Edward II., the later division of the 
 Decorated style, with flowing tracery, 
 prevailed in his reign, 328 — 332 ; 
 head of, 333*. 
 
 Edward III., the later division of the 
 Decorated style, with flowing tracery, 
 continued throughout the greater 
 part of this reign. Examples, 332 — 
 311. ; foreign examples, 315 — 318. 
 Rut the Perpendicular style was gra- 
 dually coming in during this reign, 
 337 ; head of, 392* ; arms of, 332*. 
 
 Edward IV., head, badges, and arms of, 
 412*. 
 
 Edward V., arms of, 415*. 
 
 Edward the Black Prince, head of, 
 344*. 
 
 Eleanor Crosses, 228, 229* ; history of, 
 321. 
 
 Eleanor, Queen, image of, 322*. 
 
 Elizabeth of York, Queen, head of, 
 416*. 
 
 Elizabethan style, 5. 
 
 Elliptical arch, 50. 
 
 English Gothic, 44; divisions of, 46. 
 
 Enriched mouldings, 16. 
 
 Entablature, 9 ; the Tuscan, 20; Corin- 
 thian, 35 ; Composite, 39. 
 
 Equilateral arch, 49*. 
 
 Fan-tracery vaulting, a rich kind of 
 vaulting mnch used in the Perpen- 
 dicular style, and peculiar to England, 
 382*. 
 
 Fascia, 14*. 
 
 Feathering, or foliation, 51. 
 
 Fill'^t, a small square band on the face 
 of a moulding, 14*. 
 
 Finial, the ornament which finishes the 
 top of a pinnacle, a canopy, or a spire, 
 usually carved into a bunch of foliage, 
 52. 
 
 Flamboyant style, 424 ; mouldings, 
 424* ; windows, 424*, 425* ; porch 
 and doorway, 425* ; piers, 426* ; 
 pierced parapet, 427*. 
 
 Flint and stone panelling. Decorated, 
 318* ; Perpendicular, 370. 
 
 Flower of four leaves, 294* ; ball-flower 
 ornament, ib. 
 
 Flowers, Perpendicular, 372. 
 
 Flowing tracery, 50. 
 
 Flutes, 12 ; cabled, 12. 
 
 I'luting, Anglo-Saxon, 88*. 
 
 Foils, 51. 
 
 Foliage, sculptured ornament in imita- 
 tion of the leaves of plants: Early 
 English, 213*; Decorated, 300*. 
 
 Foliated, this term is applied to window 
 tracery, &c., which has cusps, 51. 
 
 circles, at York in 1250, p. 251. 
 
 Foliation, 51. 
 
 Font, baptismal, 48 ; Norman, 147* ; 
 Early English, 226 ; Decorated, 313*. 
 
 Frieze, 9, 14 ; Corinthian, 35. 
 
444 
 
 GLOSSARIAL AND GENERAL INDEX. 
 
 Fronts, Aiiirlo-Suxnn, 89*, 91*, 91*; 
 Noriiian, 1 15 ; Early Knglisli, 221* ; 
 Decorated, 307*, 309*; Perpeuilicu- 
 lai-, 387*, 388*. 
 
 Galilee, or western porch, at Durham 
 and Ely, 173 ; at Vezelay, 154. 
 
 Galleries," Decorated, 281. 
 
 Gatehouse, Decoratfd, 317*, 318*; early 
 Perpendicular, a.d. 1382, p. 395*. 
 
 Gothic, name of, defended, note, 15. 
 
 Gothic architecture, chief characteristics 
 of, 136. 
 
 Grecian architecture, 1, 6, 7. 
 
 Groined roof, Xornian, 111*. 
 
 Groining, Early English, 218. 
 
 Hawksmoor, Nicholas, style of, 6. 
 
 Henry IV., head of, 401*. 
 
 Henry V., badge of, 400*. 
 
 Henry VI., bead of, 402*; arms of, 
 
 402*. 
 Henry VII., head of, 416* ; arms of, 
 
 416*. 
 Henry VIII., head, badges, and arms 
 
 of, 420*. 
 Hexa style portico, 16. 
 Horse-shoe arch, 49*, 122*. 
 Houses, Perpendicula-, 390. 
 Hypocaubt, llomau, 58. 
 
 Impost, the point from which an arch 
 springs, 10 ; Aufflo-Saxon, 09*, 81*, 
 90* ; Norman, 132*. 
 
 loxic order, 28—33; Greek, 8, 9; 
 *capital after Palladio, 28; Erec- 
 theum, Athens, 32* ; Temple on the 
 Ilissus, ib. ; Roman Aqueduct of 
 Hadrian, Athens, ih. ; Temple of 
 Fortuna Virilis, Rome, ih. 
 
 Jesse window, 27i*. 
 
 Joan of Navarre, Queen, head of, 401*. 
 
 Jones, Inigo, style of, 5. 
 
 Kentish tracery, 267, 268*. 
 Key-stone, 10. 
 
 Label, 51, note. 
 
 Lady-chapel, 47. 
 
 * Lancet-arch, 50 ; windows, 189*. 
 
 Lantern, 49; Perpendicular, a.d. 1435, 
 
 p. 401*. 
 Locality of style, 436. 
 Long-aud-sho'rt work, 60, 63*. 64*, 
 
 66*, 68, 75*, 76, 77», 78*, 80*, 83*, 
 
 97, 102. 
 
 Machicolations, 49, 
 
 Margaret of Anjou, Queen, head of, 
 422* 
 
 Mask, or Buckle, an ornament nsed on 
 corbels in the thirteenth and f.-tir- 
 teenth centuries : when looked at in 
 front it resembles a buckle, but the 
 shadow of it on the wall is tlie profile 
 of a human face, 206*. 
 
 Jlasonry, Roman, 57, 60*, 71* ; Anglo- 
 Saxon, 63* ; rag work and rubble, 
 86*; wide-jointed. 111*; at Caen, 
 106; Rochester, 110*; Lincoln, 151* ; 
 Westminster Hall, 153; Vezelay, 154 ; 
 Winchester, 156. 
 
 Metope, Doric, 23. 
 
 * Mixed arch, 50. 
 
 Modillion, 11*. 
 
 Mouldings 9, 10, 12, 13, 51 ; Roman, 
 mode of working. 15 ; Grecian, mode 
 of working, 15; enriched, 16; Nor- 
 man, 131* ; Early English, 186, 
 207*, 208*; Temple Church, 249; 
 of arches. Decorated. 280 ; Decorated, 
 295*, 296*, 336; tlowered. 262; of 
 Perpendicular capitals, 352; large 
 hollow. Perpendicular, ih. ; Perpen- 
 dicular, A.D. 1381, p. 394*. 
 
 Mullions, the vertical bars of a window, 
 50 ; Peroendicular, 356. 
 
 Mutules, 11*. 
 
 Nave, the, 47. 
 
 Neck of a capital, 10. 
 
 Niche, or tabernacle, a recess for an 
 
 image, with a canopy over it, 51 ; 
 
 Norman, 129* ; Early English, 209 ; 
 
 Decorated, 290*, 291*, 292*, 322* ; 
 
 Perpendicular, 367, 368*. 
 Norman castles, 4. 
 Norman Style, 53 ; described, 117 — 
 
 150; historical examples of, 151 — 
 
 166. 
 
 Octo style portico, 16. 
 
 Ogee, moulding, 15*; arch, 50*; canopy, 
 263; arch, Perpendiculai-, 358. 
 
 Order, 7 ; Tuscan, according to the 
 Pall.idio. 18*; according to Vitru- 
 vius, 18*. 
 
 Oriel window, 316. 
 
 Ornament:ition, change of, at Lincoln, 
 151; Westminster^H-.ill, 153; Nor- 
 man, 130*, 131*; Early English, 
 211*, 213*; Decorated, 294*; Per- 
 pendicular, 369*, 373*. 
 
 Ovolo, the Greek, 13 ; the Roman, ib. 
 
 Pallidio, style of, 6. 
 
 Panel and bosses. Decorated, a.d. 1355, 
 
 p. 339* ; early Perpendicular, a.d. 
 
 1366, p. 341* ; Perpendicular, 359*. 
 Panelled parapets, 378. 
 Panelling, Early English, 229* ; of Hint 
 
GI.OSSARIAI, AND GENERAL INDEX. 
 
 445 
 
 aiid stone. Decorated, 318* ; Perpen- 
 dicular, 309*, 370*. 
 
 Parapet, the low wall at the top of a 
 l^uildin^^ 49 ; Earlv Enfflisli, 242 ; 
 Decorated, 302*, 333* ; Perpendicu- 
 lar, 378* J Flamboyant, 427*. 
 
 PatersE, Xorman, 133. 
 
 Pedestal, 9; proportions of, 12; Tus- 
 can, 17 ; Ionic, 29; Corinthian, 35. 
 
 Pediment, 12. 
 
 Perpendictjlae Style, beginning of, 
 5; tracery, 50; the latest English 
 style, 54 ; described, 349 — 391 ; 
 general appearance, 389; examples 
 of, 392—423. 
 
 Pliiiippa, Queen, head of, 343*. 
 
 Piers, or pillars, 48; Early Norman, 
 104*, 110*; Norman, 124*, 125*, 
 136* ; Transitional, 176* ; Early Eng- 
 lish, 197* ; Decorated, 282, " 283*, 
 284* ; Perpendicular, 360, 361*. 
 
 Pilaster, 11*. 
 
 Pillars. See Piers. 
 
 Pinnacle, a small spire usually ter- 
 minating a buttress, 52 ; Norman, 
 141* ; Early English, 216 ; Decorated, 
 333* ; Perpendicular, 363*. 
 
 Piscina, or water-drain, 52 ; Early Eng- 
 lish, 210* ; Decorated, 290*. 
 
 Plan, Wells, 47*; LillieshaU Abbey, 
 peculiar, 165 ; Canterbury, 171* ; 
 Durham, 173*. 
 
 Plate - tracerv, the earliest kind of 
 tracery, 233, 234*. 
 
 Plinth, the projecting member forming 
 the lower part of a base, or of a 
 wall, 10. 
 
 Porches, 48 ; Norman, 146* ; at Lincoln, 
 151 ; at Tewkesbury. 155 ; Eai-ly Eng- 
 lish, 224; Decorated, 310*, 311*, 
 312*, 333*; Perpendicular, 386; 
 A.D. 1133, p. 403*. 
 
 Portico, 16. 
 
 Presbytery, Ely, 248 ; Lincoln, 252. 
 
 Quatrefoil, 51*. 
 Quirk, 15. 
 Quirked ogee, 16*. 
 
 Quoins, corner stones, long and short, 
 60—63*. 
 
 Rag-work, 86*. 
 
 Reading-pulpit, Early English, 225. 
 
 Reedings, 16. 
 
 Respond, a half-pillar against a wall : 
 
 Early English, 200. 
 Rib, a band or moulding projecting from 
 
 the surface of a vault : Early English, 
 
 218 ; Decorated, 303. 
 Richard IL, examples in his reign, 392 
 
 —398; arms and badge of, 392*; 
 head of, 397*. 
 
 Richard III., head, badge, and ai-ms of, 
 415*. 
 
 Roman architecture, 2, 7 ; buildings in 
 England, 4 ; of debased character, 
 56 ; bricks or tiles, 57 ; hypocaust, 
 58* ; walls remaining in England, 59; 
 masonry, 60*. 
 
 Roodloft, 52. 
 
 Roof-shatts, Decorated, 282. 
 
 Roofs, Norman, 143; Early Engli.-li, 
 218; wooden. Early English, 219 ; 
 Decorated, 303*, 305*, 306* ; Per- 
 pendicular, 380*, 382*. 
 
 Rubble-work, 86*, 99, 114*. 
 
 Runic ornament, 134, 135*. 
 
 Rustic-work, 12. 
 
 Saxon or Anglo-Saxon Style, 55 — 116. 
 
 Scotia, 15*. 
 
 Screen, 47; Decorated, 293*, 321*; 
 
 Perpendicular, 367*. 
 Sections of piers. Decorated, 284* ; 
 
 Perpendicular, 361*. 
 Sedilia, the seats for the officiating 
 
 priests, on the north side of the 
 
 altar, 52; Early English, 210*; 
 
 Decorated, 292*. 
 ♦Segmental arch, 49, 196. 
 
 * Semicircular arch, 49. 
 Set-offs, 49. 
 
 Shafts, 9 ; Ionic, 29 ; Anglo-Saxon, 81* 
 85*, 88*, 92* ; Norman, 101*, 105*, 
 112*, 113*, 121*, 125*; Early E.g- 
 lish, 185; a.leted, 197, 360;' trian- 
 gular, 197; clustered, 198*; roun ', 
 198*; vaulting, 200*; Decorated, 
 282 ; Perpendicular, 358, 364*. 
 
 Soffit, 11. 
 
 Sound-holes, 277 ; Perpendicular, 377*. 
 
 * Spandrels, 50; Early English, 214* ; 
 
 Perpendicular, 349. 
 
 Spherical triangle, 193*, 197. 
 
 Spire-lights, Decorated, 279*. 
 
 Spires, 49 ; Early English, 216 ; Deco- 
 rated, 301*; Foreign Decorated, 326* ; 
 Perpendicular, 374*. 
 
 Staircase, Norman, 149; Early English, 
 225, 226*. 
 
 Stalls, 52; Decorated, 291. 
 
 Statue, Early English, 209*. 
 
 Steeples, 48 ; Norman, 141 ; Early Eng- 
 lish, 215; Decorated, 301*; Per- 
 pendicular, 374*. 
 
 Stiff-leaf foliage, 233. 
 
 Stoup, a basin for holy water, 52. 
 
 String, a horizontal moulding : Perpen- 
 dicular, 366*. 
 
 Style, 7; detined, 53; Anglo-Norman, 
 167 ; Planlagenet, ib. ; Angevine, ib. 
 
44^ 
 
 GI.OSSARIAL AND GENERAL INDEX. 
 
 Slink panels, Early English, 214. 
 Siuba,-c, 9. 
 
 Tabernacle-work, 52. 
 
 Tablets, 51 ; Norman, 128* ; E irly En<?. 
 li-h, 207; Decorated, 2^8*, 289*; 
 Perpendicular, 365*. 
 
 Tetra style portico, 16. 
 
 Thro; e, 52. 
 
 Tile, 10. 
 
 Tiles, bonding, 57. 
 
 Tooth-ornaiiient, an ornament resem- 
 bling a row of teeth, somei lines called 
 dog's tooth and sliark's tooth, 169*, 
 206, 211*. 
 
 Torus, 13. 
 
 Tower, 48; Anglo-Saxon, 64*, 67*, 75* 
 76*, 77*. 83*, 87*, 92* 93* ; Early 
 Norman, 97, 103*, 108* ; Late Nor- 
 man, 109*, 116* ; Early English, 
 216; Decorated, 302 ; Pt rpendicular, 
 374*, 375*, 376* ; a.J). 1435, p. 404*. 
 
 Tower-light, Perpendicular, 377*. 
 
 'Jriicery, 50; plate, 233; pkte, at Assissi, 
 260 ; plate, at Winchester, a.d. 1222, 
 p. 243*; plate, at Wells, a.d.1230, p. 
 241*; earliest beginning of, 242; bar, 
 242 ; bar at Amiens in 1240, p. 255 ; 
 two descriptions of, 267 ; geometrical, 
 267* ; geometrical, a.d. 1274, p. 319; 
 geometrical, A.D. 1280, p. 320 ; flo.v- 
 ing, 271* ; Kentish, 267, 268* ; Per- 
 pendicular, 353 J fan, 382* ; Flamboy- 
 ant, 278*. 
 
 Transept, or cross, 47; Early English 
 at York, 251. 
 
 Tbansition, from Norman to Early 
 English, 45, 150*, 169, 170*, 176 ; 
 from Norman to Gothic, 167, 168, 
 176 ; probably originated in An jou 
 under Henry II.,175; at Canterbury 
 in 1175 — 1184, p. 170; at the Temple 
 C'hnrch, London, in 1185, p. 174; at 
 Sens in 1163, p. 177 ; at Lisieux in 
 1182, p. 177; at Monreale, Sicily, in 
 1174 — 1186, p. 182; at Treve's in 
 1170— 1196, p. 182; arches, peculiar 
 at Christ Church, Oxford, 168; from 
 Early English to Decorated, 230; 
 from Decorated to Perpendicular, 
 315*, 316; A.D. 1352, p. 337. 
 
 Transom, the horizontal bar across a 
 window, 51 ; Decorated, 273 ; Per- 
 pendicular, 353. 
 
 Trefoil, 51*; Early English, 214. 
 
 Triforinm, or blind-story, the middle 
 story in a church, over the pier-arches 
 and under the clearstory : Early Eng- 
 lish, 191*, 228, 242*; absent "in the 
 Perpendicular style, 358. 
 
 Triglyphs, 8 ; Doric, 23. 
 
 Truss, 11». 
 
 Tudor arch, 50*. 
 
 Tudor-flower, 368, 371*. 
 
 Turrets, 49 ; Norman, 142* ; Early 
 English, 216. 
 
 Tuscan order, 8, 16—21. 
 
 Tympanum, 12; Norman, 131*. 
 
 Vanbrush, Sir J., style of, 6. 
 
 Vase of the capital, 10. 
 
 Vault, early Norm;m, 104* ; Norman, 
 144; groined without ribs an early 
 form, 152; barrel shaped the earliest 
 form, and common in the south of 
 France, 154; domes at liyzantium 
 and Venice, and in Perigord in 1050, 
 p. 175; domical in Anjou in 1150, p. 
 176* ; transitional, 176* ; transverse 
 at Tournus and at St. Remi, Kheims, 
 179; Perpendicular, A.D. 1454, p. 
 408. 
 
 Vaulting-sharts, Early English, 200* j 
 Decorated, 182. 
 
 Vitruvian type, 17. 
 
 Vitruvius, 17. 
 
 Volutes, Ionic, 9. 
 
 ^Tieel window. Early Enslish, 192*. 
 
 Windows, Anglo-Saxon, 82*, 88*, 92* ; 
 Norman, 101*, 107*, 111*, 119*, 
 120«, 121*; Early English, 188; 
 lancet, 189; with square top, 191; 
 of hall, have seats, 254 ; Je.sse, 274* ; 
 circular, 233, 234*, 275 ; Decorated, 
 267 ; examples of, 268*, 269*, 270*, 
 273*; segmental-headed,273; square- 
 beaded, lb. ; clearstory, 276 : tri- 
 angular, 278* ; of spires, 279 ; of 
 towers, 279* ; with flowing tracerj', 
 A.D. 1310, p. 328* ; transition from 
 Decorated to Perpendicular, A.D. 1386, 
 p. 342*; French, 345*; Perpendicular, 
 353, 354*, 355*. 
 
 Wren, Sir C, style of, 5. 
 
 Zizgag ornament, 132* ; from Dio- 
 clesi:in"s palace, 4*. 
 
TOrOGEAPHICAL INDEX, 
 
 WITH EEFERENCE TO ENGRAVINGS DENOTED BY AN ASTERISK. 
 
 Abbeville, St.Wulfrancl'sClmrch, a.d. 
 
 1188 — 153 1, p. 429; portal, 425; 
 
 Si ction of pier, 426*. 
 Acton Burnel Church, clearstory win- 
 dow, 193; front, 223*; window, 
 
 230*, 231*. 
 
 Castle, A.D. 1280—1292, p. 320. 
 
 Addiiis;ton (Great) Church, sound-hole, 
 
 277*; moulding, 295*; parapet, 302*. 
 (Little) Church, doorw..y, 260*; 
 
 window-head, 267*, 271*; section of 
 
 pier, 284*. 
 Adel Church, 143, 148. 
 ^i^esta. Temple at, 25. 
 jEgina, Temple of Jupiter Panhellenius, 
 
 25. 
 Aerschot, Church of, a.d. 1331—1337, 
 
 p. 348. 
 Agrigentum, Temples of Concord and 
 
 Juno Lucina, 25. 
 Alberbury, triangular window, 278*. 
 Albi Cathedral, A.D. 1282, p. 326. 
 Aldborough, inscription, 101*. 
 Amiens Cathedral, 175, 222; choir, A.D. 
 
 1230—1244, p. 255; nave, a.d. 1220 
 
 — 1228, p. 255 ; west porch, a.d. 1510, 
 
 p. 256; chapels, a.d. 1402, p. 427; 
 
 tower, A.D. 1530—1533, p. 430. 
 Amport, window-head, 271*. 
 Ancaster, font, 117*. 
 Anger~, Church of Ronceray, A.D. 1028, 
 
 p. 102. 
 Hospital, A.D. 1177— 1184, p. 
 
 177; hall of the hospital, 176*. 
 Antwerp Cathedral, 434. 
 " St. Jacques' " Church, a.d. 1479, 
 
 p. 431. 
 Appleton, Manor-house, 150. 
 Apthorp Church, 54. 
 Aquitaine, Church of Saintes, a.d. 1152, 
 
 p. 178. 
 Arlfs Cathedral, cloister, a.d. 1286, 
 
 p. 326. 
 ■ IMontmajor, tower, A.D. 1370, p. 
 
 346. • 
 Arthuret Church, SI. 
 Arundel Church, tomb of Thomas Fitz- 
 
 ahm, A.D. 1415, p. 401. 
 
 Ashbourn Church, inscription, a.d. 1211, 
 p. 248*. 
 
 Ashby FolviUe, font, 147*. 
 
 Ashford Church, a.d. 1461— 1490, p. 412. 
 
 Assissi, St. Francis' Church, a.d. 1228 
 —1230, p. 260. 
 
 Athelliampton, manor-house, a.d. 1500 
 —1503, p. 418. 
 
 Athens, Agora portico, 25, 28. 
 
 Aqueduct of Hadrian, column, 31, 
 
 32*, 33. 
 
 Arch of Hadrian, column, 36*, 37. 
 
 Choraglc monuments of Lysicrates 
 
 and Thrasyllus, 37 
 
 Erectheum, columns, 12*, 28, 32*. 
 
 Parthenon, column, 12*, 25, 26. 
 
 Propylffia, 25. 
 
 Stoa, or portico, at, 37. 
 
 Temples, in the Acropolis, 31 ; 
 
 Jupiter Olympius, column, 36* ; on 
 tlie Ilissus, colnuni, 32*; of Pan- 
 drosus, 43 ; of Theseus, columns, 2'!*, 
 25, 26 ; of the Winds, 43. 
 
 Audi Cathedral, a.d. 1483- 1548, p. 428. 
 
 Aughton Church, steeple, a.d. 1536, 
 p. 423. 
 
 Auxerre, crypt, a.d. 1028, p. 102. 
 
 St. Germain's, a.d. 1277 — 1289, 
 
 p. 325. 
 
 Aynho Church, doorway, 266*; belfry- 
 window, 277*. 
 
 Balsham Church, chancel, a.d. 1390 — 
 1400, p. 395. 
 
 Bamberg Cathedral, a.d. 1240, p. 258. 
 
 Bauipton Church, spire, 217 ; doorway, 
 261; west door, 261*; window, 270*. 
 
 House of Aymer de Valence, 
 
 A.D. 1316, p. 329. 
 
 Bangor Cathedral, A.D. 1509—1532, 
 p. 420. 
 
 BarCreston Church, 148; circular win- 
 dow, 119 ; string, 131*. 
 
 Barnack, tower-arch, 69*; staircase an 
 addition, 84; church burnt in 1013, 
 p. 100; quarries, 107; porch, 224; 
 font, 226*. 
 
 Barton Church, a.d. 1122, p. 158. 
 
448 
 
 toi'0(;raphical index. 
 
 Barton -on- 1 1 umber, St. Peter's, 55; 
 
 door at, 62*; tower, 67*; balustres, 
 
 71. 
 Barton Seagrave Church, a.d. 1150, 
 
 p. 158; clearstoi'y window, 276*. 
 Barton Stacej', window, 190*. 
 Barton-undt'r-Xeedwood Church, a.d. 
 
 1517, p. 422. 
 Bath Abbey Church, windows, 356; 
 
 cornice, 366 ; anp^els, 371 ; roof, 383 ; 
 
 west front, 384-5; built, a.d. 1500 
 
 —1539, p. 418. 
 Battle Abbey, a.d. 1339, p. 334. 
 Baveux Caihcdral, a.d. 1077 — 1087, p. 
 
 ill; nave, a.d. 1160—1183, p. 167; 
 
 parapet, 217; window, 345*. 
 Ciiapel of the Hotel Dieu, a.d. 
 
 1206—1231, p. 240. 
 walls of, 56. 
 
 Beausency, Hotel de Ville at, a.d. 1526, 
 
 p. 430. 
 Beaulieu Abbey, founded A.D. 1201, p. 
 
 238 ; staircase, 225 ; buttress, 2S6*. 
 Beauport Abbey, founded a.d. 1202, 
 
 p. 239. 
 Beauvais, Basse ffiuvre, 56, 57, 62. 
 Cathedral, choir and apse, a.d. 
 
 1225—1270, p. 256 ; portal, 425. 
 St. Etienne's Church, choir, a.d. 
 
 1506—1522, p. 429. 
 Beckley, cornice, 296*. 
 Beneventum, Arch of Trajan, 39. 
 Bernay Abbey Church, 102. 
 Beverley ^Minster, section of pier, 169*; 
 
 door, 187 ; windows, 191 ; triforium 
 
 arcade, 196*; pillar, 199*; capital, 
 
 201; base, 203*; transept ends, 221; 
 
 staircase, 225; transepts, 242; flow- 
 ing tracery, 271; window, 272*; 
 
 arcade, 281*; capital, 285*; crocket, 
 
 299*; west front, 384; monument 
 
 of the Percies, 439. 
 St. Mary's, flowing tracery, 271; 
 
 window, 272*; spire-light, 279*; 
 
 porch, 310. 
 Binficld, porch, 310. 
 Birkenhead Priory, founded A.D. 1150, 
 
 p. 165. 
 Bishop's Clceve, turret, 141* ; arches, 
 
 152. 
 Bishopstone. battlement, 379*. 
 Blois, Church of St. Nicholas, a.d. 1170 
 
 —1186, p. 181. 
 Bloxham, belfrv-window, 277; font, 
 
 313*. 
 Bocherville, St. George, A.D. 1157 — 
 
 1211, p. 167. 
 Bodyam Castle, A.D. 1385, p. 395. 
 Bolton Abbey, fjiit, 147*; tracery, 
 
 278*; basenieiit. 366*. 
 Castle, A.D. 1380, p. 392. 
 
 Bookhani (Great) Church, inscription, 
 
 A.D. 1341, p. 334*. 
 Boothby Pagnel, 1 50. 
 Boston, tower, 374. 
 Bourges Cathedral, nave, A.D. 1280, 
 
 p. 325. 
 Bradenstoke Priory, roof, 306*. 
 Bradfield, roof, 219. 
 Bradford-on-Avon, Church and ground- 
 plan, 94*. 
 Brandon, dripstone termination, 289*. 
 Bray Church, moulding, 295*; rebuilt 
 
 A.D. 1293, p. 323. 
 Breadsall, window, 189*. 
 Bredon, turret, 141*. 
 Breteuil Church, A.D. 1165, p. 181, 
 Bridlington, buttress, 286*. 
 Brigstock. chancel-arch, 70* ; tower, 83. 
 Brinsnp Church, tympanum, 134*. 
 Bristol Abbey Church, a.d. 1311—1332, 
 
 p. 329; chapter-house, 149. 
 
 College gateway, 118. 
 
 Redclifle Church, porch, a.d. 
 
 1292,p.323; repaired A.D.1442, p. 407. 
 St. Augustine's Priory, founded 
 
 A.D. 1148, p. 165. 
 
 St.James',c Tcular window,119*. 
 
 Brit ford Ciiurch, arch, 79*. 
 Brixworth Cliurch, plan and elevation, 
 
 71*; 79; tower, 83. 
 Bruges, Hospital of St. John, 433. 
 Hotel de Ville, a.d. 1377, pp. 
 
 348, 433. 
 Xotre Dame de la Chapelle, a.d. 
 
 1421 — 1483, p. 433. 
 
 Palace de Justice, 433. 
 
 Brussels, Hotel de Ville, a.d. 1402— 
 
 14-43, p. 433. 
 St. Gndule's Church, part a.d. 
 
 1226, p. 257. 
 Bucklaiid Church, a.d. 1318, p. 335. 
 Bucknell Church, window, 120*. 
 Buildwas Abbey, arches, 122; founded 
 
 A.D. 1135—1160, p. 162. 
 Burgh Castle, Roman masonry, 57*. 
 Burnham Abbey, founded a.d. 1263, 
 
 p. 253. 
 Burrough, font, 226*. 
 Bury St. Edtuuiid's, Abbey of, a.d. 1070 
 
 — 1095, p. 106; gatehouse, a.d. 1327, 
 
 pp.310, 333; tower, A.D. 1121— 1130, 
 
 p. 158. 
 
 — Afoyses' Hidl, l.-)0. 
 
 St. Mary's Church, a.d. 1121 
 
 —1133, p. 402. 
 Byland Abbey, A.D. 1177, p. 172; ruins, 
 '221. 
 
 Caen, A'lbaie aux Dames, 100. 
 
 Ardennes Abbey Cliurch, a.d. 1297 
 
 —132*, p. 326. 
 
TOPOGRAPHICAL INDEX. 
 
 449 
 
 Caen, Church de la Paix, 140. 
 
 Hotel de Ville, a.d. 1538, p. 
 
 430. 
 
 St. Michael's Church, nave, a.d. 
 
 1386, p. 427. 
 
 St. Peter's, a.d, 1280—1308, p. 
 
 32G*. 
 
 St. Stephen's Church, or Abbaie 
 
 aux houimes, a.d. 1070—1078, p. 106. 
 
 Caernarvon Castle, 317. 
 
 Caerwent, Roman masonry, 57*. 
 
 Cahors Cathedral, a.d. 1096 — 1100, p. 
 154. 
 
 Palace of Pope John XXII., a.d. 
 
 1320—1334, p. 331. 
 
 Caistor Church, tower, 141 ; inscription, 
 A.D. 1124, p. 159*. 
 
 Cambridge, Great St. Mary's Church, 
 AD. 1478— 1519, p. 414. 
 
 King's College Chapel, door- 
 way, 349; piers, 360; buttresses, 
 362 ; panelling, 369 ; battlement, 
 379; roof, 383; ends, 385; porch, 
 386 ; roof, &c., 389 ; begun a.d. 1440, 
 p. 406; vaulting, a.d. 1508—1515, 
 p. 419. 
 
 St. Benct's Church, 76 j tower. 
 
 77* ; impost, 98*. 
 
 St. Peter's College, 54. 
 
 Campden Cliurch, choir, a.d. 1380 — 
 14fll, p. 393. 
 
 Canterbury Cathedral, circular window, 
 119 ; Norman ornaments, 130* ; choir 
 of Conrad, 133 ; crypt, 134 ; pillars 
 in, 136*; choir, a.d. 1096—1110, 
 pp. 138, 152; A.D. 1175 — 1184, 
 p. 168 ; crypt and aisles of choir, 
 A.D. 1130, p. 162; capital, 139*; 
 St. Ethelbert's tower, 149 ; Norman 
 staircase, 149* ; diaper- work, 157, 
 298* ; part of arcade, 169* ; com- 
 partment of corona, 170* ; ground- 
 plan, 171 ; arches, 196, 359* ; tomb 
 of Abp. Peckham, A.D. 1292, p. 323 ; 
 doorway in choir screen, a.d. 1304 — 
 1305, p. 324* ; head of Edward the 
 Bbick Prince, from his tomb, a.d. 
 1376, p. 344*; panels, nave, 358; 
 porch, 386 ; nave and west transepts, 
 A.D. 1378—1411, p. 392; chapter- 
 house, A.D. 1391—1411, p. 396; St. 
 Michael's Chapel, A.D. 1410—1427, 
 p. 400 ; head of Henry IV., from his 
 tomb, A.D. 1413, p. 401*; Lady-chapel, 
 A.D. 1449—1468, p. 409; tomb of 
 Abp. Kempe, a.d. 1454, p. 410; 
 angel steeple, a.d. 1490 — 1517, p. 
 417; tomb of Abp. Warham, a.d. 
 1532, p. 423 ; monuments in, 439. 
 
 Holy Cross Church, a.d. 1380, 
 
 p. 392. 
 
 Canterbury, St. Augustine's, moulding, 
 296* ; porch, 310. 
 
 St. George's, font, 226*. 
 
 St. Mildred's Clmrch, a.d. 
 
 1520, p. 423. 
 Carlisle Cathedral, nave, A.D. 1092 — 
 1101, p. 152 ; e.st window, 267, 271 ; 
 
 east end, a.d. 1352—1395, pp. 307, 
 
 337; burnt a.d. 1292, p. 323; north 
 
 transept, a.d. 1401, p. 398. 
 Cashel, Cormac's Chapel, a.d. 1127 — 
 
 1134, p. 161. 
 Castle Acre Priory, 133, 145, 149. 
 Castle Ashby Church, doorway, 136. 
 Castle Rising, west window, 121*. 
 Castor Church, 133. 
 Catterick Church, a.d. 1412, p. 400. 
 Caudebec Church, a.d. 1426 — 1515, 
 
 pp. 425, 427. 
 Cerne Abbas, niche, 368*. 
 Chaddesden, window, 269*. 
 Chaddesley Corbett, font, 147*. 
 Chalons-sur-Marne, Church of Notre 
 
 Dame, ad. 1157—1183, p. 178. 
 Charing Church, a.d. 1479 — 1515, p. 
 
 414. 
 Chart, Little, Church, a.d. 1411, p. 399. 
 Chartham, window, 268*. 
 Chartres Cathedral, pillars, 175 ; burnt, 
 
 A.D. 1194, p. 236; porches, a.d. 1250 
 
 —1280, p. 257 ; spire, 425. 
 Chateau Gaillard, a.d. 1196, p. 237. 
 Chatteris Church, a.d. 1352, p. 336. 
 Chelmsford Church, rebuilt a.d. 1489, 
 
 p. 417. 
 Cheltenham, circular window, 275*. 
 Chester Cathedral, choir, 196, 197; roof, 
 
 218, 304; staircase, refectory, 225; 
 
 chapter-house, 228; arch, 281; west 
 
 front, 384, 385. 
 St. John's Church, a.d. 1075 — 
 
 1095, p. 107 ; tablet, 366. 
 Chetwode Church, choir, a.d. 1244, p.250. 
 Chichester Cathedral, doors, 187 ; win- 
 dows, 191 ; flying buttress, 205 ; 
 
 diaper-work, 212 ; spire, 216 ; eabtei-n 
 
 part, A.D. 1190—1199, p. 232 ; circu- 
 lar window, 275; Lady-chapel, a.d. 
 
 1288—1304, p. 321 ; south transept, 
 
 A.D. 1305—1336, p. 324. 
 Cholsey Church, A.D. 1123 — 1130, p. 
 
 158. 
 Christ Church, Priory of, turret, 142* ; 
 
 nave, A.D. 1093—1099, p. 152 ; door, 
 
 183. 
 
 Norman house at, 150. 
 
 ■ monumental chapel of 
 
 Margaret Plantagenet, a.d. 1530 — 
 
 1541, p. 423. 
 Cirencester, section of pier, 198*. 
 Clack Abbey, see Bradenstoke Priory. 
 
 3 M 
 
45© 
 
 TOPOGRAPHICAL INDEX, 
 
 Clapham Church, tower, 56, 75, 76. 
 Clce Church, inscription, A. D. 1192, 
 
 p. 234". 
 CHuton Church, A.n. 1122, p." 158. 
 Colchester Castle, moulding, 131*. 
 . St. Botolph's Priory, a.d. 1103 
 
 —1116, p. 155. 
 
 Trinity Church, 78. 
 
 Collumpton Church, a.d. 1501 — 1528, 
 
 p. 421. 
 Colmouth Church, A.D. 1396, p. 397. 
 Cologne Cathedral, a.d. 1248—1320, 
 
 p. 259. 
 . Church of the Apostles, vaulting, 
 
 A.D. 1219, p. 258. 
 ■ house, Giirzenich, A.D. 1441, p. 
 
 432. 
 
 Sion Church, a.d. 1221, p. 258. 
 
 St.Cunibert's Church, A.D. 1248, 
 
 p. 259. 
 
 St. Gereon's Church, A.D. 1212, 
 
 p. 241. 
 
 St. Peter's Church, a.d. 1524, 
 
 p. 432. 
 Compton, roodloft, 111. 
 ■ Winyate House, a.d. 1520, 
 
 p. 422. 
 Conches, Abbey of, 112. 
 Congresbury, details of porch, A.D. 1460 
 
 —1465, p. 409*. 
 Connisburgh Castle, 150. 
 Corhampton Church, 89* ; impost, &c., 
 
 of door, 90*; door, 90*. 
 Corinth, temple at, 25. 
 Cotterstock, font, 313*. 
 Couling Castle, a.d. 1380, p. 392. 
 Coventry Cathedral, 108. 
 • Bablake Hospital, A.D. 1506, 
 
 p. 419. 
 St. Mary's Hall, A.D. 1401— 
 
 1414, pp. 382, 391, 399. 
 
 St.Michael's, 367; steeple, 374. 
 
 Cowley Church, window, 191. 
 
 Cranford St. Andrew, clearstory win- 
 dow, 276*. 
 
 Cromer, tower-light, 377*; parapet, 
 378*. 
 
 Crowland Abbey, west front, A.D. 1255 
 —1281, p. 252 ; tower, a.d. 1460— 
 1470, p. 411. 
 
 Crumwell Church, A.D. 1442, p. 407. 
 
 Darent Church, 110, 111* ; window, 
 
 east end. 111*. 
 Dartford Church, 111. 
 Darton Church, inscription, A.D. 1517, 
 
 421*. 
 Debenham, Decorated ornament, 300*. 
 Decrhurst, section of tower, 87* ; east 
 
 window of tower, 88* ; inscription, 
 
 88*, 101. 
 
 Delos, column of temple, 22. 
 
 Portico of Philip, 25. 
 
 Temple of Apollo, 25. 
 
 Denford, stalls in chancel, 210*. 
 
 Derby, All Saints, tower, 374. 
 
 Dieppe, St. Jacques', a.d. 1350, p. 346 ; 
 
 choir, vaulted, a.d. 1440, p. 428. 
 Dijon Cathedral, choir, a.d. 1280—1297, 
 
 p. 325. 
 
 Domestic Btjildinqs. 
 
 iVbrmart. 
 1065. Westminster Abbey, refec- 
 
 tory and dormitory, 104. 
 Westminster Hall, 153. 
 1097. Lincoln, Jews' House, 150. 
 
 Bury St. Edmund's, Moyses 
 
 Hall, 150. 
 Appleton, Berks., manor- 
 house, 150. 
 Southampton, two houses, 
 
 150. 
 Christ Church, Hants., 150. 
 Minster, Isle of Thanet, 
 
 150. 
 Boothhy Pagnel, Lincoln- 
 shire, 150. 
 1110-35. Sherborne Castle, Dorset, 
 
 156. 
 1145. Lillieshall Abbey, Shrop- 
 
 shire, 165. 
 1165. Oakham Castle, hall, 168. 
 
 1177-84. Angers, hospital of St. 
 John, 176. 
 Early English. 
 
 Staircases at Beverley Min- 
 ster, refectory at Chester, 
 &c., 225. 
 1215. Hales Owen Abbey, 239. 
 
 1200-1212. Abbey of St. Michael-on-the 
 
 Mount, Normandy, 239. 
 1202. Abbey of Beauport, Brit- 
 
 tany, 239. 
 1220. Prebendal House, Peter- 
 
 borough, 254*. 
 1222-35. King's Hall at Winchester, 
 
 243*. 
 1225-39. Bishop's Palace at Wells, 
 
 244*. 
 1227-32. Hinton Charterhouse, Som- 
 erset, 216. 
 1232-38. Lacock Abbey, Wilts., 246. 
 1265. Burnham Abbey, Bucks., 
 
 253. 
 Decorated, 317. 
 1273-78. Norwich, St. Ethelbert's 
 
 gatehouse, 318*. 
 1280-92. Hall of Bishop's Palace, 
 
 Wells, 320*. 
 1281. Somerton Castle, Lincoln- 
 
 shire, 321. 
 
TOPOGRAPHICAL INDEX. 
 
 451 
 
 1291. 
 
 Stoke Say Castle, Shrop- 
 
 
 shire, 322. 
 
 1310. 
 
 Markingfield Hall, York- 
 
 
 shire, 329. 
 
 1316. 
 
 Banipton, Oxfordshire, 329. 
 
 1327. 
 
 Bury St. Edmund's, gate- 
 
 
 house, 333. 
 
 1310. 
 
 Wells, gatehouse, 334. 
 
 1341. 
 
 Penshurst, Kent, hall, 334. 
 
 1351-78. 
 
 Oxford, aierton College 
 
 
 Library, 338. 
 
 1356. 
 
 Norborough Hall, North- 
 
 
 amptonshire, 34^. 
 
 1359-73. 
 
 Windsor Castle, servants' 
 
 
 apartments, 340. 
 
 1362-86. 
 
 Westminster College Hall, 
 
 
 341. 
 
 1363. 
 
 Wells, hall of Vicars' Close, 
 
 
 341. 
 
 Perpendicular. 
 
 
 Houses in Somerset, Dor- 
 
 
 set, and Wilts, 390. 
 
 
 Wells, deanery, 390. 
 
 
 Muchelney, abbot's house. 
 
 
 390. 
 
 
 South Petherton, manor- 
 
 
 house, 390. 
 
 
 Wenlock, abbot's house. 
 
 
 391. 
 
 
 Glastonbury, George Inn, 
 
 
 391*. 
 
 1377. 
 
 Shirburn Castle, Oxford- 
 
 
 shire, 392. 
 
 1380. 
 
 Bolton Castle, Yorkshire, 
 
 
 392. 
 
 1380. 
 
 Couling Castle, Kent, 392. 
 
 1380-96. 
 
 Oxford, New College, 393. 
 
 1381-96. 
 
 Saltwood Castle, Kent, 393. 
 
 1382-88. 
 
 Thornton Abbey, Lincoln- 
 
 
 shire, gatehouse, 395*. 
 
 1385. 
 
 Bodyam Castle, Sussex, 395. 
 
 1385. 
 
 Donington Castle, Berks., 
 
 
 395. 
 
 1387-93. 
 
 Winchester College, Hants., 
 
 
 395. 
 
 1392. 
 
 Penshurst Castle, Kent, 
 
 
 396. 
 
 1392. 
 
 Wardour Castle, Wilts, 396. 
 
 1395. 
 
 Maidstone College, Kent, 
 
 
 397. 
 
 1397-99. 
 
 Westminster Hall, 397. 
 
 1398. 
 
 Ince Manor-house, Cheshire, 
 
 
 397. 
 
 1401-14. 
 
 Coventry, St. Mary's Hall, 
 
 
 399. 
 
 1422. 
 
 Higham Ferrars, North- 
 
 
 amptonshire, college, 401, 
 
 1431. 
 
 Oxford, Balliol CoUege Li- 
 
 
 brary, 403. 
 
 1433-55. 
 
 South Wingfield Manor- 
 
 
 house, Derbyshire, 403*. 
 
 1433-55. 
 
 1437. 
 
 1437. 
 
 1437. 
 
 14U-1522. 
 1446. 
 1450-65. 
 1450-65. 
 
 1470. 
 1475-80. 
 
 1480. 
 
 1500-1503. 
 
 1506. 
 
 1511-22. 
 
 1520. 
 
 1520. 
 
 France. 
 1320-34. 
 1486-1540. 
 
 1493-99. 
 
 1510-28. 
 
 1526. 
 
 1538. 
 
 Italy. 
 1307-80. 
 1325. 
 1330. 
 
 1333. 
 
 13.37. 
 1350. 
 
 1390. 
 1394. 
 
 1396-1542. 
 Germany 
 1441. 
 
 1513-15. 
 
 Belgium. 
 1370, 1377. 
 
 Tattershall Castle, Lincoln- 
 shire, 404. 
 
 Oxford, St. Bernard's, now 
 St. John's College, 405. 
 
 Ewelme Hospital, Oxford- 
 shire, 405. 
 
 Oxford, All Souls' College, 
 406. 
 
 Eton College, Berks., 406. 
 
 York, Guildhall, 408. 
 
 Wells, Vicars' Close, 409. 
 
 Congresbury, Somerset, Vi- 
 carage-house, 409*. 
 
 Crosby Hall, London, 413. 
 
 Oxford, Magdalen College, 
 414. 
 
 Knowle, Kent, gatehouse, 
 414. 
 
 Athelhampton Hall, Dor- 
 set, 418. 
 
 Bablake Hospital, Coventry, 
 419. 
 
 Thornbury Castle, Glouces- 
 tershire, 421. 
 
 Compton Winyate House, 
 Warwickshire, 422. 
 
 Laver Marney Hall, Essex, 
 422. 
 
 Cahors, palace, 331. 
 
 Caen, Fontaine- Henry, cha- 
 teau, 428. 
 
 Rouen, Palais de Justice, 
 429. 
 
 St. Michael's Mount, ab- 
 bot's lodge, 430. 
 
 Beaugency, hotel de ville, 
 430. 
 
 Caen, old hotel de ville, 
 430. 
 
 Palermo, palace, 331. 
 Siena, town-hall, 331. 
 Palermo, " Ospedale 
 
 Grande" 347. 
 Perugia, Palazzo Publico, 
 
 347. 
 Florence, Loggia, 347. 
 Venice, ducal palace, part 
 
 of arcade, 347. 
 Ferrara, castle, 431. 
 Siena, library, 431. 
 Pavia, the Certosa, 431. 
 
 Cologne, house of Giirze- 
 
 nich, 432. 
 Nuremberg, oriel window 
 
 in the Pfarhoff, 432. 
 
 Bruges, hotel de ville, 348, 
 433. 
 
452 
 
 TOPOGRAPHICAL INDEX, 
 
 1402-13. Brussels, hotel de ville, 433. 
 1453. Glien^, butchers' market, 
 
 433. 
 
 hotel de ville and 
 
 belfry, 433. 
 L'uvain, hotel de ville, 434. 
 1529. Brufjes, Palais de Justice, 
 
 433. 
 
 Doncaster, St. George's, tower, 374 ; 
 
 west end, 385. 
 Donington Castle, a.d. 1385, p. 395. 
 Donnington Church, part of, A.D. 1351, 
 
 p. 336. 
 Dorcliester Abbey, refoundcd A.D. 1140, 
 p. 163; doorwiiy, 164* ; windows, 269*, 
 273* ; Jesse window, 274* ; vaulting- 
 shaft, 282* ; sections of piers, 284* ; 
 capital, 285* ; cornice, 288 ; string, 
 289*; sedilia, 292* ; mouldings, 295*; 
 screen, 296*; parapet, 302* ; choir 
 and aisles, A.D. 1280—1300, p. 320. 
 Dover Castle, St. Mary's Church, A.D. 
 1223, p. 213. 
 
 Maison Dieu, triangular window, 
 
 278*. 
 Dunham Magna, tower, 93* ; section, 
 
 93*. 
 Dunstable, Eleanor cross, 322. 
 
 ■ Priory Church, A.D. 1213, 
 
 p. 239. 
 Durham Castle, capital, 139*. 
 Cathedral, doorways, 118 ; pil- 
 lars, 124, 134 ; abacus and string, 
 131*; dripstone, 131* ; gallery, 138; 
 capital, 139*; pier, 148; choir, a.d. 
 1093—1104, p. 152 ; nave, a.d. 1104 
 — 1133, p. 155; ground-plan, a.d. 
 1180—1197, p. 173; east end, 242; 
 Chapel of Nine Altars, A.D. 1242— 
 1290, p. 250 ; west window, A.D. 1341, 
 p. 335 ; tomb of Thomas Hatfield, A.D. 
 1381, p. 393. 
 
 Prior's kitchen, A.D. 1368 — 
 
 1380, p. 343. 
 
 Earl's Barton, window, 74* ; tower, 75*. 
 Earl's Colne Church, tomb of Robert de 
 
 Vere, a.d. 1296, p. 323. 
 East Dereham, font, 388*. 
 Edington Church, a.d. 1352—1356, p. 
 
 54 ; west front, 337*. 
 Elgin Cathedral, a.d. 1224—1244, p. 
 
 244. 
 Eling, window, 272*. 
 Elthara Palace, roof, 306. 
 Ely Cathedral, Lady-chapel, A.D. 1321 
 
 —1349, pp.48, 330; doorway, 118; 
 
 arcades, 133 ; painted ceiling, 143 ; 
 
 uave,A.D. 1170—1189, p. 168; Galilee, 
 
 A.D. 1198—1215, pp. 224, 235 ; front, 
 
 228 ; Early English of several dates, 
 229; porch, 242; presbyterv, a.d. 
 1235—1254, p. 218; tomb of Bishop 
 Northwold, a.d. 1251— 12G0, p. 252; 
 arch, 28()« ; vaulting-shafts, 282 ; 
 foliage, 300 ; triforium, 314 ; central 
 tower, A.D. 1:523—1336, p. 330 ; part 
 of presbytery, a.d. 1367—1373, p. 
 342. 
 Ely Conventual Church, a.d, 1083— 
 
 1106, p. 112. 
 Ensham Abbey, 108; buttress, 204*. 
 Etchinc;ham Church, a.d. 1386, p. 395. 
 Eton College, a.d. 1441—1522, p. 406. 
 Eu Church, rebuilt, a.d. 1210—1226, 
 240; part, A.D. 1451—1461, p. 428. 
 Evrcux Cathedral, choir, A.D. 1335 — 
 1340, p. 346; portal, 425; Lady- 
 chapel, A.D. 1464—1467, p. 428. 
 Ewelme Hospital, A.D. 1437, p. 405. 
 Ewerby, basement, 289*. 
 Exeter Cathedral, 314; capitals, 262 
 west window, 267; windows, 267 
 circular window, 275 ; vaulting-shaft 
 282*; piers, 283*; crocket, 299* 
 roof, 303 ; choir and transepts, A.D 
 1279—1291, p. 320; corbel-heads 
 320* ; nave, a.d. 1331—1335, p. 333 
 east window, a.d. 1390—1392, p 
 395 ; chapter-house, a.d. 1427—1455 
 p. 402. 
 
 Falaise, St.Gervaise, open parapet, 427*. 
 Faringdon Church, door, 184*. 
 Fecamp Abbey Church, Lady-chapel, 
 
 A.D. 1496, p. 429. 
 Ferington, St. John's, circular window, 
 
 275*. 
 Ferrara Castle, a.d. 1390, p. 431. 
 Church of the Carthusian Friars, 
 
 A.D. 1461, p. 431. 
 Finchale Priory, a.d. 1242—1265, p. 
 
 249. 
 Finedon Church, flowing tracery, 271 ; 
 
 sections of piers, 284* ; capital, 285* ; 
 
 moulding, 295*. 
 Florence Cathedral, A.D. 1298, p. 327; 
 
 continued a.d. 1332, p. 347. 
 Church of Santa Maria No- 
 vella, A.D. 1278, p. 327. 
 
 Dominican Church, a.d. 1256, 
 
 p. 260. 
 
 Loggia d'Or San Michele, a.d, 
 
 1337, p. 347. 
 Fontaine-Henry, chateau, a.d. 1486 — 
 
 1516, p. 428. 
 Fotheringhay Church, a.d. 1435, p. 
 
 101*. 
 Fountains Abbey, buttresses, 126, 127* ; 
 
 staircase, 227; choir, A.D. 1205 — 
 
 1246, p. 239. 
 
TOPOGRAPHICAL INDEX. 
 
 453 
 
 Frantfort-on-the-Maine, St. Leonard's 
 
 Church, A.D. 1219, p. 258. 
 Freiburg Miuster, a.d. 1220—1272, p. 
 
 258 ; choir, a.d. 1354—1513, p. 348. 
 Furness Abbey, founded a.d. 1127, p. 
 
 161. 
 
 Gateshead, St. Edmund's Chapel, 223. 
 Geddingtou, Eleanor Cross, 228 ; diaper, 
 
 297* ; statue of Queen Eleanor, from 
 
 the cross, 322*. 
 Gelnhausen Church, choir, a.d. 1210 — 
 
 1220, p. 241. 
 Genoa, St. John Baptist's Church, a.d. 
 
 1180, p. 182. 
 . St. Matthew, cloister, a.d. 1308, 
 
 p. 331. 
 Ghent, belfry, 433. 
 Butchers' Market, a.d. 1453, 
 
 p. 433. 
 
 Church of the Dominicans, A.D. 
 1240—1260, p. 257. 
 
 Hotel de Ville, 443 ; belfry of. 
 
 A.D. 1315—1329, p. 332. 
 
 St. Michel's Church, a.d. 1410— 
 
 1480, p. 433. 
 
 Gisburne Priory, a.d. 1381, p. 395. 
 
 Glasgow Cathedral, choir, a.d. 1242 — 
 1258, p. 250. 
 
 Glastonbury Abbey, A.D. 1185—1200, 
 p. 174. 
 
 George Inn, 391*. 
 
 i St. Joseph's Chapel, 142, 
 
 196. 
 
 Gloucester Cathedral, pillar, 124* ; pier, 
 148; built A.D. 1089—1100, p. 151; 
 south aisle, a.d. 1318—1329, p. 329; 
 choir, 333, 389; head of Edw. II., 
 from his tomb, A.D. 1329, p. 333*; east 
 window, 357 ; feu-tracery, cloisters, 
 382; west front, a.d. 1420—1437, 
 pp. 384, 385, 4fll ; cloisters, a.d. 1381 
 — 1412, p. 394; central tower, a.d. 
 1454—1457, p. 410; Lady -chapel, 
 A.D. 1457—1498, p. 410; Osric's 
 tomb, 438; monument of Edw. II., 
 439. 
 Grafton-Underwood, sedilia, 292*. 
 Grantham, spire, 301. 
 Gresford, cornice, 365 ; tower, 374. 
 Guildford Castle, 150. 
 Guisborough, triforium arcade, 281*; 
 pier, 283*. 
 
 Hal, Notre Dame, a.d. 1341—1409, 
 
 p. 348. 
 Hales Owen Abbey, founded a.d. 1215, 
 
 p. 239. 
 
 Church, roof, 219. 
 
 Halle, choir of Dominican Church, A.D. 
 
 1230—1240, p. 258. 
 
 Handborough Church, window, 120*. 
 
 Harfleur, window, 424* ; porch, 425*. 
 
 Hargrave, circular window, 192*, 193. 
 
 Hathe Church, a.d. 1122, p. 158. 
 
 Haughton - in - the - Dale, west front, 
 309. 
 
 Haverfordwest, Augustinian Priory, a.d. 
 1200, p. 238. 
 
 Hawton Church, tower, a.d. 1483, p. 
 415. 
 
 Headbourn Worthy, window, 98*. 
 
 Headon Church, north transept, 222 j 
 central tower, a.d. 1399 — 1401, p. 
 398. 
 
 Hedingbam Castle, 150. 
 
 Heisterbach Abbey Church, choir, a.d. 
 1210—1233, p. 241. 
 
 Hengrave Hall, a.d. 1525—1538, p. 
 423. 
 
 Herberbury Church, a.d. 1150, p. 158. 
 
 Hereford, Bishop's Palace, 143. 
 
 Cathedral, 148; east end, 222 ; 
 
 tomb of Bp. Aquablanca, A.D. 1268, 
 p. 253 ; north transept, a.d. 1275- — 
 1282, p. 318 ; tomb of Lewis Charl- 
 ton, a.d. 1369, p. 343. 
 
 Hethe Church, a.d. 1150, p. 158. 
 
 Hexham, font, 226*. 
 
 Higham Ferrers Church, west door, 
 187 ; section of porch, 208* ; diaper- 
 work, 212* ; west porch, 224. 
 
 • College, A.D. 1422, 
 
 p. 401. 
 
 Hillesdon Church, a.d. 1493, p. 418. 
 
 Hinton Charterhouse, a.d. 1227 — 1232, 
 
 p. 246. 
 Hitchin Church, a.d. 1302, p. 323. 
 Horsemonden, porch, 310, 312*. 
 Howden Church, canopy, 263 ; buttress, 
 287 ; west front, 307 ; tracery, 308 ; 
 chapter-house, A.D. 1380 — 1407, p. 
 393 ; tower, ad. 1403, p. 399. 
 Hull, Trinity Church, 314; east end, 
 308 ; tomb of Sir William de la Pole, 
 A.D. 1367, p. 342 ; west end, 385. 
 Hurley Priory, A.D. 1087, p. 151. 
 Huy, Church of Notre Dame, a.d. 1311, 
 
 p. 332. 
 Huyton, screen-work, 367. 
 
 Iffley Church, west door, 117, 118*; 
 south window, 121* ; buttresses, 
 127*; corbel-tables, 128*; beak- 
 heads, 130* ; part of south door, 
 132*; west end, 133; base, 140*; 
 stair-turret, 142* ; a.d. 1160, p. 158 ; 
 rich Norman, 167. 
 
 luce, manor-house, a.d. 1398, p. 397. 
 
 Ingham Church, 317. 
 
 Ingoldmels, St. Peter's Church, A.D. 
 1346, p. 335. 
 
454 
 
 TOPOGRAPHICAL INDEX. 
 
 Inscriptions : — 
 
 c. 1057 Deerhurst, 88*. 
 c. 10()0 Aklborougli, 101*. 
 A.D. 1060 Kirkdale, fio*. 
 
 „ 1121 Caistor, 159*. 
 
 „ 1185 London, Temple, 174*. 
 
 „ 1192 Clee, 231*. 
 
 „ 1211 Ashbourne, 218*. 
 
 „ 1275 Stoke Goldins, 319. 
 
 „ „ Tomb of Henry III., 319*. 
 
 „ 1298 Florence, 327. 
 
 „ 1278 Pisa, 327. 
 
 „ 1341 Great Bookhara, 334*. 
 
 „ 13 18 Auckland, 335. 
 
 „ 133G Palermo, 347. 
 
 „ 1331 Aerschot, 348. 
 
 „ 1386 Kopsley, 393. 
 
 „ 1390 Balsham, 395. 
 
 „ 1420 Ipswich, 401. 
 
 „ 1 130 Iron Acton, 403. 
 
 „ 1 131 Pershorc, 401. 
 
 „ 1 135 Wanborough, 405. 
 
 „ 1437 Ewelme, 405. 
 
 „ 1454 Gloucester, 410. 
 
 „ 1460 Luton, 411. 
 
 „ 1470 Lavenhani, 413. 
 
 „ 1486 Balsham, 416. 
 
 „ 1500 Canterbury, 418*. 
 
 „ 1517 Darton, 421*. 
 
 „ 1534 Whiston, 423. 
 
 „ 1434 Nantes, 428. 
 Ipswich, St. Laurence Church, A.D. 
 
 1420—1431, p. 401. 
 Irchester, spire-liglit, 279*. 
 Iron Acton Church, tower, a.d. 1430, 
 
 p. Am. 
 Irthliui^borough, window, 231*, 272; 
 belfry-window, 277*. 
 
 Jarrow, capit.al, a.d. 1075, p. 98; re- 
 built A.D. 1085, p. 108. 
 
 Jerusalem, Church of the Holy Sepul- 
 chre, A.D. 1140— 11 19, p. 166. 
 
 Jumidges, painted capital, 138*. 
 
 Kelso Abbey Church, porch, 146* ; 
 
 A.D. 1128—1152, p. 161. 
 Kenil worth Priory, a.d. 1122, p. 158. 
 Kenton Church, doorway, 351* ; but- 
 tress, 362*; cornice, 365*; capital, 
 
 373*. 
 Ketton Church, doorway, 150; repaired 
 
 A.D. 1232—1250, p. 217. 
 Kidliiigton Chui-ch, moulding, 207* ; 
 
 crocket, 299* ; window, 355*. 
 Kimble, Little, Church, a.d. 1317, p. 
 
 329. 
 King's Sutton, door, 316* ; tower and 
 
 spire, 317. 
 Kingsthorpe, moulding, 296*. 
 Kirkdale, inscription, 65*, 101. 
 
 Kirkham Priory, a.d. 1121, 158. 
 Kirkstall Abbey, 122; arch, 123* j A.D. 
 
 1152— 1182,' p. 165. 
 Kislingbury, doorways, 262*. 
 Knowle, gatehouse, a.d. 1480, p. 414. 
 Koningsburgh, St. Stephen's Church, 
 
 A.D. 1376—1398, p. 348. 
 
 Lacock Abbey, A.D. 1232—1238, p. 246. 
 
 Lambetli Palace, roof, 381. 
 
 Lancaster Church, screen, 293. 
 
 Castle, gateway, 317. 
 
 Laon Cathedral, a.d. 1195, pp. 175, 236. 
 
 Lastingliam Church, a.d. 1073 — 1078, 
 p. 107. 
 
 Laughten-en-le-Morthen, door, 66*. 
 
 Lavenham Church, crocket, 372* ; ves- 
 try, A.D. 1470—1486, p. 413. 
 
 Layer Marney Hall, a.d. 1520, p. 422. 
 
 Leamington Church, 158. 
 
 Leeds Church, a.d. 1119, p. 98. 
 
 Leicester, Jews' Wall, 59 ; Koman ma- 
 sonry, 60*. 
 
 Leigh, tabernacle with figure, 129*. 
 
 Le Mans Cathedral, choir, a.d. 1217 — 
 1254, p. 255. 
 
 Leominster Church, a.d. 1123—1130, 
 p. 158 ; window, 269*. 
 
 Lessay Church, a.u. 1153 — 1178, p. 178. 
 
 Lestingham Church, 107. 
 
 Lichfield Cathednil, door, 187; spires, 
 216; roof, 218; chapter-house, 228; 
 nave, 230 ; niches, 291 ; east end, 
 308; west front, 309* ; Lady-chapel, 
 A.D. 1310—1321, p. 328. 
 
 Liege Cathedral, a.d. 1522—1538, p. 
 434. 
 
 "St. Jacques" Church, 434. 
 
 Lillebonne, Theatre of, 56, 57. 
 
 Lillieshall Abbey, founded a.d. 1145, 
 p. 165. 
 
 Limburg Cathedral, 241. 
 
 Limoges Cathedral, A.D. 1324, p. 331 ; 
 roodloft, A.D. 1533—1541, p. 430. 
 
 St. Michel-aux -lions Church, 
 
 A.D. 1364, p. 346. 
 
 Lincoln Cathedral, doorway, 118 ; west 
 front, 145; built A.D. 1087—1192, 
 p. 151; capital, 151*; restored a.d. 
 1146, p. 165; doorway, 187*; east 
 window, 190 ; windows, 191 ; nave 
 and transepts, 196 ; pier, 197 ; sec- 
 tion of pier, 198* ; pillar, 199* ; ca- 
 pitals, 201*, 202*; base, 203*; diaper- 
 work, 212*; towers, 216; parapet, 
 217* ; boss, 218* ; wooden ceiling, 
 219; west fi-ont, 222, 228; south 
 porch, 224: chapter-house, 228; 
 Ladv-chapel, 230; choir and tran- 
 septs, A.D. 1190—1200,232; pillar of 
 choir, 232* ; circular window, 234* ; 
 
TOPOGRAPHICAL INDEX. 
 
 455 
 
 east end, 212 ; part of nave, a.d. 1232 
 — 1235, p. 247 ; presbytery, a.d. 1260 
 —1280, p. 252; tomb of Bishop 
 Grosse-teste, a.d. 1253 — 1258, p. 252 ; 
 east front, 255 ; south doorway, choir, 
 265 ; windows, choir, 267 ; east win- 
 dow, 267 ; diaper-work, 298* ; east 
 end, 307 ; cloister, a.d. 1296, p. 323 ; 
 tower (?), A.D. 1306—1311, p. 325; 
 vaults of tower, a.d. 1350 — 1386, p. 
 336; tomb of Nicholas Lord Canti- 
 lupe.A.D. 1372, p. 3 13; doorway, 352*. 
 
 Lincoln, Eleanor Cross, 322. 
 
 Jews' house, 150. 
 
 Eoman gate, 3. 
 
 St. Mary's Guild, 150. 
 
 St. Marv le Wigford, tower, 
 
 104; church of, a.d. 1228, p. 246. 
 
 St. Peter at Gowts, tower, 
 
 103*. 
 Lindisfarne Priory, arch, 123*; pier, 
 
 124; ruins, 144, 145. 
 
 Church, rebuilt A.D. 1093, 
 
 p. 152. 
 
 Lisieux, Church of St. Peter, A.D. 1145 
 
 — 1182, p. 177; Lady-chapel, a.d, 
 
 1450, p. 428. 
 Llanercost Priory, a.d. 1169, p. 168. 
 Llan Tysilio, parts of roof, 219*. 
 London, Covent-garden Church, 17, 20. 
 Crosby Hall, a.d. 1470, pp. 381, 
 
 391, 413. 
 
 •^ Eleanor Cross, 322. 
 
 Guildhall, a.d. 1411, pp. 391, 
 
 400. 
 
 Hanover-square Church, 33. 
 
 Inner Temple, 54. 
 
 Lincoln's Inn, 54. 
 
 Savoy Hospital Chapel, A.D. 
 
 1505, p. 419. 
 
 St.Bartholomew'sChurch, Smith- 
 field, apse, A.D. 1123—1133, p. 159. 
 
 St. Dunstan's, 5. 
 
 St. Mary Aldennary, 5. 
 
 Temple Church, 150; inscrip- 
 
 tion, A.D. 1185, p. 174* ; mouldings of 
 choir, A.D. 1240, p. 249. 
 
 Whitehall, 5. 
 
 White Tower, a.d. 1081, pp. 
 
 109, 110, 122, 124; masonry, 114*; 
 
 capital, 137*. 
 Long Compton, pier, 283*. 
 Longleat House, 5. 
 Louth Church, east end, 385; steeple, 
 
 A.D. 1501—1515, p. 418. 
 Louvain Cathedral, 434. 
 
 Market-hall, 434. 
 
 To«n-hall, 434. 
 
 Low Ham Church, 54. 
 Lucca Cathedi'al, choir, 
 
 331. 
 
 A.D. 1308, p. 
 
 Luton Church, 48; baptistery, 313; 
 
 chancel, A.D. 1430 — 1440, p. 403; 
 
 chapel, A.D. 1460, p. 411. 
 Lynn, St. Nicholas Chapel, a.d. 1371 — 
 
 1372, p. 343. 
 
 Mackworth, dnorway, 264*. 
 Maidstone College and Church, A.D. 
 
 1395, p. 397. 
 
 Malines Cathedral, A.D. 1345, p. 348. 
 
 Mailing Abbey, a.d. 1090—1103, gene- 
 ral view, 109*. 
 
 keep at, 114; rubble masonry 
 
 at, 114*. 
 
 Malmesbury Abbey, window, 121*; 
 arch, 123*; piers, 124; dripstone, 
 129 ; mouldings, 130*, 131* ; Norman 
 ornament, 133* ; porch, 146. 
 
 Malvern Abbey Church, 122. 
 
 Manchester Cathedral, a.d. 1422, p. 401. 
 
 Old Cliurch, 363. 
 
 Mantes Cathedral, 175. 
 
 Mai'burg, St. Elisabeth's Church, a.d. 
 1235—1283, p. 258. 
 
 Markingfield Hall, a.d. 1310, p. 329. 
 
 Maulbrom, porch and cloisters, A.D. 
 1215—1220, p. 241. 
 
 Mayence Cathedral, chapel, A.D. 1317, 
 332. 
 
 Melrose Abbey, windows, 279 ; parapet, 
 303; remains, 314; rebuilt A.D. 1327 
 —1399, p. 333 ; south transept, a.d. 
 1444, p. 407 ; nave, a.d. 1505, p. 419. 
 
 Mende Cathedral, a.d. 1368, p. 345. 
 
 Meopham Church, window, 269* ; A.D. 
 1315, p. 329; repaired A.D. 1381— 
 
 1396, p. 393. 
 
 Merrow Church, porch, 311*. 
 Messina, Church of La Madonna della 
 
 Scala, A.D. 1296—1336, p. 327. 
 Metapontum, Temple of, 25. 
 Metz Cathedral, choir, a.d. 1486, p. 428. 
 Milan Cathedral, begun a.d. 1386, choir 
 
 completed a.d. 1418, p. 431. 
 Church and Monastery of St. 
 
 Maurizio, a.d. 1497 — 1506, p. 431. 
 Miletus, Temples of Apollo Didymasus, 
 
 31, 33 ; Priene and Branchyda?, 29. 
 Milton (Great) Church, door, 184*; 
 
 sections of arch, 207*, 208 ; clearstory 
 
 window, 276*; buttress, 287*. 
 Minster, Isle of Thanet, 150. 
 
 Lovell, window, 355*. 
 
 Monk's Horton, buttress, 126*. 
 Wearmouth, tower, a.d. 1075 — 
 
 1083, p. 107*. 
 Monreale Cathedral, a.d. 1174^1186, 
 
 p. 182. 
 Morton Church, cross, 215*. 
 Mould Church, cornice, 365. 
 Muchelney, Abbot's house, 390. 
 
456 
 
 TOPOGRAPHICAL INDEX. 
 
 Mylassa, Temple at Jackly, near, 37 
 
 Nantes Cathedral, nave, a.d. 1434— 
 
 1181, p. 127. 
 Naworth Castle, a.d. 1335, p. 333. 
 Netley Abbey, pillar, 199* ; vaulting- 
 shaft, 200* ; choir, A.D. 1239, p. 249. 
 Neuss, St. Quirin's Church, a.d. 1208, 
 
 p. 241. 
 Nevers Cathedral, A.D. 1028, p. 102. 
 
 St. Stephen's, a.d. 1097, p. lol. 
 
 Newark, flowing tracery, 271 ; spire, 
 
 301. 
 Newcastle - upon - Tyne, St. Nicholas, 
 
 steeple, 274. 
 Newhaven Church, 116*. 
 Norborough Hall, a.d. 1356, chimney, 
 
 p. 340*. 
 Northampton, Eleanor Cross, 229, 322 ; 
 
 cornice, 288*. 
 . St. Peter's Church, 124, 
 
 133, 141; pillar, 125*; font, 313*. 
 St. Sepulchre's Church, 
 
 A.D. 1127, p. 160. 
 North Burcombe, long-and-short work, 
 
 78*. 
 Northleach Church, A.D. 1458, p. 410. 
 Northleigh Church, 90*. 
 North Mimms Church, doorway, 261, 
 
 263*. 
 Northmoor, windows, 270*. 
 North Moreton, piscina, 291*. 
 Norwich Cathedral, tower, a.d. 1096 — 
 
 1119, pp. 133, 141; east end, 146; 
 
 piers, 148; capital, 153*, 262; door- 
 way, 264* ; capital, cloisters, 285* ; 
 
 boss, 303*; spire, a.d. 1356—1369, p. 
 
 340; cloisters, A.D. 1430, p. 402 ; roof 
 
 of nave and roodloft-screen, a.d. 1450 
 
 —1472, p. 409 ; vaulting, A.D. 1472— 
 
 1499, p. 413. 
 St. F^thelbert's gatehouse, a.d. 
 
 1273—1278, pp. 310, 318*. 
 
 St. Ethelred's, mouhiing, 131*. 
 
 St. John's Chapel, a.d. 1310 — 
 
 1325, p. 328. 
 
 St. Margaret's, 48. 
 
 • St. Michael Coslaney, panelling, 
 
 370*. 
 
 St. Peter Mancroft, font, 388. 
 
 Notley Abbev, corbel-table, 214*; a.d. 
 
 1221, p. 244. 
 Noyon Cathedral, 175; a.d. 1157 — 
 
 1228, p. 178. 
 Nun-Monkton Church, west front, 
 
 222. 
 Nunney Castle, a.d. 1373, p. 313. 
 Nuremberg, Moritz Chapel, A.D. 1351 — 
 
 1377, p. 348. 
 — Pfarhoff, oriel window, a.d. 
 
 1513—1515, p. 432. 
 
 Nuremberg, St. Laurence's Church, a.d. 
 
 1439—1477, p. 432. 
 St.Sebald's Church, A.D. 1216, 
 
 p. 258; tower, a.d. 1488—1193, p. 
 
 432 ; tomb of St. Sebald, a.d. 1506 
 
 —1519, p. 432. 
 Nuttley Abbey. See Notley. 
 
 Oakham Castle, hall, a.d. 1165—1191, 
 
 pp. 150, 168; roof, 143. 
 Orleans, Sainte Croix Cathedral, A.D. 
 
 1278—1368, p. 325. 
 Othery Church, cross, 136*. 
 Oundle Church, window, 189*, 230; 
 
 string, 366*. 
 Over Church, window, 273* ; buttress, 
 
 287*; porch, 310, 311*. 
 O.xford, All Souls' College, a.d. 1437— 
 
 1442, p. 406. 
 Balliol College, library, a.d. 
 
 1431, p. 403. 
 
 Brasenose College, a.d. 1512 — 
 
 1521, p. 421 
 Castle, A.D. 1071 — 1074, win- 
 dow, 107*. 
 
 C.ithedral, Lady-chapel, 48, 196 
 
 pillars, 124*, 125* ; arches, 148 ; built 
 A.D. 1160—1180, p. 167; spire, 217 
 chapter-house, 228, 235 ; panel and 
 bosses from tomb of Lady Monta 
 cute, A.D. 1355, p. 339*; spandrel 
 349* 
 
 Christ Church, hall, doorway 
 
 351* ; roof, 381 : springing of fan 
 tracery, 382* ; finished a.d. 1529, p 
 423. 
 
 Corpus Christi College, a.d. 1513 
 
 —1517, p. 421. 
 
 Divinity School, pendant, 383; 
 
 built A.D. 1445, p. 408. 
 
 Holywell Church, arch, 122*. 
 
 Jesus CoUegt', 54. 
 
 Lincoln College, ib. 
 
 ilagdalen College, built A.D. 
 
 1475 — 1480, p. 414 ; tower, a.d. 
 
 1492—1505, pp. 374, 418. 
 Merton College Cliapel, cornice, 
 
 288*; choir, a.d. 1274—1277, p. 
 
 319 ; vestry window, a.d. 1310, p. 
 
 328* ; west window, 357 ; corbel, 
 
 372* ; parapet, 378* ; transept, a.d. 
 
 142 1, p. 402 ; tower, a.d. 1448— 
 
 1450, p. 408. 
 
 Merton College Library, a.d. 
 
 1354—1378, p. 338. 
 
 New College, built A.D. 1380 — 
 
 1386, p. 395; windows, 357. 
 
 Oriel College, 54. 
 
 Schools, 5, 54. 
 
 St. Aldate's Church, south aisle. 
 
 a.d. 1335 ; corbel, 330*. 
 
TOPOGRAPHICAL INDEX. 
 
 457 
 
 Oxford, St. Bernard's College, a.d. 1437, 
 
 p. -405. 
 St. Giles' Church, A.D. 1192— 
 
 1200, p. 235. 
 
 St. John'sCollege gateway, 350*, 
 
 352. 
 
 St. Mary's Church, chancel, a.d. 
 1443—1445, p. 407 ; nave, A.D. 1488, 
 p. 416. 
 
 St. Mary Magdalen Church, 
 
 buttresses, 287 ; parapet, 302 ; south 
 aisle, A.D. 1318—1337, p. 329 ; niche, 
 368* ; tower, 375*. 
 
 St. Michael's Church, 62 ; tow-er. 
 
 77*. 
 
 Wadham College, 54. 
 
 Packington Churi h, a.d. 1150, p. 58. 
 Psestrum, Temples at, 25, 26. 
 Palermo, " Ospedale Grande," a.d. 1830, 
 
 p. 347. 
 " Palazzo dei Tribunali," A.D. 
 
 1307—1380, p. 331. 
 Pamher Church, Early English braces, 
 
 219. 
 Paris, Abbey Church of St. Denis, A.D. 
 
 1140—1144, p. 166. 
 Beauvais CoUege Chapel, A.D. 1370, 
 
 p. 346. 
 Church of St. Germain des Pr^s, 
 
 175. 
 St. Germain I'Auxerrois, nave, A.D. 
 
 1423—1438, p. 427. 
 
 Luxembourg, 20. 
 
 Notre Dame Cathedral, choir, a.d. 
 
 1163—1185, p. 180; choir completed, 
 
 A.D. 1208, p. 240; west front, A.D. 
 
 1218, p. 255 ; south transept, a.d. 
 
 1257, p. 257 ; choir-screen, a.d. 1296, 
 
 p. 326; Porte Rouge, a.d. 1407— 
 
 1409, p. 427. 
 Sainte-Chapelle, a.d. 1245—1257, 
 
 p. 256. 
 " St. Jacques de la Boucherie," 
 
 tower, A.D. 1508—1522, p. 429. 
 St. Martin des Pres, staircase, 
 
 227. 
 St. Severin, choir, a.d. 1489 — 
 
 1495, p. 429. 
 Parma, Baptistery of, A.D. 1220, p. 260. 
 Patrington Church, a.d. 1368—1371, 
 
 p. 343. 
 Paunton, tower, 374. 
 Pavia, the Certosa, a.d. 1396—1542, 
 
 p. 431. 
 Penrith Castle, AD. 1396—1398, p. 
 
 397. 
 Penshurst Hall, a.d. 1341, p. 334; A.D. 
 
 1392, p. 396. 
 Persliore Abbey, a.d. 1223—1239, p. 
 
 243. 
 
 Pershore Church, south aisle, a.d. 1434, 
 p. 404. 
 
 Perugia, Palazzo Publico, A.D. 1333, 
 p. 347. 
 
 Peterborough Cathedral, triforium 
 arcade, 120 ; moulding, 133* ; ceil- 
 ing, 143, 176 ; groined roof, 14-4* ; 
 east end, 146; nave, 148; choir, A.D. 
 1117—1143, p. 157; transepts, a.d. 
 1155 — 1177, p. 167 ; circular window, 
 192*; niche, 209*; pinnacle, 216*; 
 front, 228; Prebendal house, 254; 
 west front, 242 ; consecrated a.d. 
 1237, p. 249; piscina, 290*; battle- 
 ment, 378; east end, a.d. 1440 — 
 1500, p. 406. 
 
 gatehouse to Bishop's 
 
 Palace, A.D. 1303, p. 324. 
 
 Piddiugton Church, window, 270* ; 
 niche, 290*. 
 
 Piddleton Chutch, a.d. 1505, p. 419. 
 
 Pisa, campanile of, a.d. 1174, p. 181, 
 
 Campo Santo, A.D. 1278, p. 327. 
 
 Plymouth, St. Andrew's, section of pier, 
 361*. 
 
 Poitiers Cathedral, west front, A.D. 1379, 
 p. 346. 
 
 Church of Monticrneuf, a.d. 
 
 1097, p. 154. 
 
 St. Savin Abbey Church, 154. 
 
 Polebrook Church, window, 188*, 191 ; 
 
 piscina, 210* ; spire, 216 ; spire-lights, 
 
 279 ; roof, 305*. 
 Pont-Audemer, St. Germain, window, 
 
 425*. 
 Ponton (Little), cross, 215*. 
 Porchester Church, Norman front, 145*; 
 
 founded a.d. 1133, p. 162. 
 Portsmouth, St, Thomas' Church, a.d. 
 
 1180—1208, p. 174. 
 Postlip Church, base, 140*. 
 Pountou Church, a.d. 1519, p. 422. 
 Poynings Church, window, A.D. 1368, 
 
 p. 342*. 
 Prague Cathedral, a.d. 1343 — 1386, 
 
 p. 348. 
 Priene, Temple of Minerva Polias, 31, 33. 
 
 Quimper Cathedral, A.D. 1285—1295, 
 p. 326. 
 
 Radford Church, A.D, 1150, p. 158. 
 Rammersdorf Abbey, chapter -house, 
 
 A.D. 1216—1220, p. 258. 
 Ramsey Church, consecrated, A.D. 1237, 
 
 p. 249, 
 Randazzo, Church of Santa Maria, a.d. 
 
 1238, p. 260. 
 Raunds Church, west window, 190; 
 
 section of west porch, 208* ; sunk 
 
 panel, 214*; spire, 216; window. 
 
 3n 
 
458 
 
 TOPOGRAPHICAL INDEX. 
 
 222 ; cusp, 230* ; east window, 231» ; 
 moiiUliiicr, 2y5« ; roof, 305*. 
 
 Reading Abbiy, founded A.D. 1121, p. 
 157. 
 
 Eepton Churcli, cast end, 68. 
 
 Rheims Catli.dnil, rebuilt A.D. 1211— 
 1211, p. 211; A.D. 12'J5, p. 326. 
 
 St. Reuii's Cliurch, ad. lOlO, p. 
 
 103 ; buttress, 126 ; cboir, 175 ; 
 altered, a.d. 1160—1180, p. 179; 
 choir rebuilt, A,D. 1190—1198, p. 235. 
 
 Ricliborough Castle, 59. 
 
 Rievaulx Abbey, fouuded A.D. 1131, p. 
 162 ; staircase, 227. 
 
 Ringstead Church, window, 191*. 
 
 Ripon Minstir, a.d. 1233, p. 217 ; tower, 
 A.D. 1459, p. 411. 
 
 Roctie Abbey, founded A.D. 1147, p. 
 165. 
 
 Rochester Abbey, 111. 
 
 Castle, 109. 
 
 Cathedral, 118 ; chapter- 
 house, 133 ; Gundulph's crypt, 140 ; 
 respond, ibid., A.D. 1080, p. 110* ; 
 tower, 141 ; I'oof, 143 ; west front, 
 145 ; nave, 148 ; ErnuU's work, a.d. 
 1115 — 1130, p. 156; consecrated, 
 162; roof, 219; unusual arrange- 
 ment in, 240 ; choir, A.D. 1225 — 
 1239, p. 246; tomb of Haymo de 
 Heathe, A.D. 1355, p. 338. 
 
 Rome, arches, of the Goldsmiths, 40; 
 Septimus Severus, 40 ; column from, 
 36* ; Titus, 40 ; Trajan, 39. 
 
 Basilica of Antoninus, 37. 
 
 Baths of Dioclesian, 38, 40. 
 
 Columns of Trajau and Antonine, 
 
 17. 
 
 Forum of Nerva, 38. 
 
 " Quatro Santi incoronati," cam- 
 panile, A.D. 1417, p. 431. 
 
 Pantheon, 38. 
 
 Portico of Severus, 38. 
 
 St. Maria Sopra la Minerva, A.D. 
 
 1375, p. 347. 
 
 St. Mark's Church, A.D. 1468, p. 
 
 431. 
 
 St. Paul's Church, 4, 39. 
 
 St. Paul-without-the- Walls, clois- 
 ter, A.D. 1190—1210, p. 235. 
 
 Temples of Antoninus and Faus- 
 tina, 38 ; Bacchus, 40 ; Concord, 33 ; 
 Fortuna Virilis, 29, 31 ; columns, 
 ibid., 32*, 33 ; Jupiter Stator, 38 ; 
 Jupiter Tonans, 38 ; Mars the 
 Avenger, 37 ; Vesta, 37. 
 
 Theatre of Marcellus, column, 
 
 22*, 27, 28. 
 
 Villa Papa Julia, 20. 
 
 Romsey Abbey Church, moulding, 131*; 
 foot-ornameuts, 140 ; design of, 168 ; 
 
 window, 189* ; capital, 202* ; tooth- 
 ornament, 211 ; foliage, 213*, 215. 
 
 Ropsley Church, a.d. 1380, pp. 68, 393 ; 
 south porch, A.D. 1486, p. 416. 
 
 Rosslyn Chapel, a.d. 1446—1490, pp. 
 408, 435. 
 
 Rouen, Abbey of St. Amand, a.d. 1490 
 —1530, p. 429. 
 
 Cathedral, rebuilt A.D. 1207 — 
 
 1234, p. 240; Lady-chapel, A.D. 1302 
 —1320, p. 327 ; ditto, A.D. 1339— 
 1366, p. 3 16 ; transept, a.d. 1439— 
 1191, p. 428; north-west tower, a.d. 
 1168—1 181, p. 428 : west front, a.d. 
 1509—1530, p. 429. 
 
 Fountain of Holy Cross, A.D. 
 
 1422—1461, p. 427. 
 
 Hotel du Bourgtherouldc, a.d. 
 
 1495—1530, p. 429. 
 
 Palais de Justice, A.D. 1493 — 
 
 1499, p. 429. 
 
 St. Germain's Church, 56. 
 
 St. Laurent's Church, ad. 1464 
 
 —1506, p. 428. 
 
 St. Maclou's Church, a.d. 1432 
 
 —1500, pp. 424, 425, 427. 
 
 St. Ouen's Church, A.D. 1319- 
 
 1514, p. 331. 
 Runcorn Church, pier, 197. 
 Rushden Church, west porch, 310, 312*; 
 
 window, 355*; section of pier, 361* ; 
 
 cornice, 365* ; roof, 381*. 
 Ryarsh Church, tower, a.d. 1450, p. 
 
 409. 
 
 Saighton, Manor-house, A.D. 1398, p. 
 397. 
 
 Salisbury Cathedral, 227; window, 190; 
 piers, 'l97; buttress, 204, 205 ; base- 
 moulding, 207*; spire, 216; parapet, 
 217 ; roof, 218 ; west front, 221, 222; 
 Lady-chapel, 222; north porch, 224; 
 chapter-house, 228; A.D. 1220—1258, 
 p. 242 ; tomb of Bp. Bridport, a.d. 
 1263, p. 253; crockets, 300; tower 
 and spire, a.d. 1331, p. 333. 
 
 Salonica, Incantada, 37. 
 
 Saltwood Castle, a.d. 1381—1396, p. 
 393. 
 
 Sandford, window, 315*. 
 
 Sandwich, St. Bartholomew's Hospital, 
 A.D. 1244, p. 250. 
 
 Sawtrey Church, consecrated a.d. 1237, 
 p. 249. 
 
 Selby Abbey Church, section of pier, 
 198*; base, 203* ; diaper-work, 212*; 
 arch, 280* ; choir, A.D. 1375, p. 
 314. 
 
 Selinus, Temple of Jupiter, 25. 
 
 Senlis Cathedral, a.d. 1161—1177, p. 
 180. 
 
TOPOGRAPHICAL INDEX. 
 
 459 
 
 Sens Cathedral, A.B. 1113—1163, p. 
 
 177; clearstory, a.d. 1291, p. 32G; 
 
 transepts, a.d. 1190—1516, p. 429. 
 Sherborne Abbey Church, porch, 146 ; 
 
 eastern part, a.d. 1445 — 1449, p. 407 ; 
 
 western part, a.d. 1475 — 1509, ib. 
 
 Castle, A.D. 1110—1139, p. 
 
 156. 
 
 Shiplake, font, 313*. 
 
 Shirburn Castle, a.d. 1377, p. 392. 
 
 Shobdiin Church, carvhi^, 135*; built 
 
 A.D. 1141—1150, p. 164. 
 Shoreham, dripstone termination, 129*. 
 
 (Xew) Church, mouldings, 
 
 131*; east front, 223. 
 
 (Old), tie-beam, 219. 
 
 Shottesbrooke Church, a.d. 1337, p. 
 
 333. 
 Shrewsbury, St. Martin's Abbey, 227. 
 Sible Hedingham Church, tomb of Sir 
 
 John Hawkwood, A.D. 1394, p. 396. 
 Siena Cathedral, dome, A.D. 1339—1389, 
 
 p. 347. 
 
 Library, a.d. 1394, p. 431. 
 
 St. Dominic's Church, a.d. 1220, 
 
 p. 259. 
 Town Hall, belfry, a.d. 1325, p. 
 
 331. 
 Chapel of the Palazzo Publico, a.d. 
 
 1295—1327, p. 327. 
 Silk Willoughby, section of pier, 284*. 
 Sinzig Church, A.D. 1210, p. 241. 
 Skelton Church, a.d. 1247, p. 251; 
 
 porch, 224. 
 Sleaford C hurch, a.d. 1403, p. 399. 
 Slymbridge, capital, 138. 
 Soissons Cathedral, chapel, A.D. 1168 — 
 
 1175, p. 181. 
 Solihull, crocket, 372*. 
 Sooicrton Castle, a.d. 1281, p. 321. 
 Sompting Church, hing-and-short work, 
 
 80*; tower-arch, 81*; impost, ib. 81*; 
 
 details of tower, 82* ; tower, 83*. 
 Souldern, cornice, 288*. 
 Southampton, houses at, 150. 
 South Moreton Church, tie-beams, 219 ; 
 
 buttress, 362*. 
 South Ockenden Church, 118. 
 South Petherton, Manor-house, 390. 
 Southwark, tonib of John Gower in 
 
 St. Saviour's Church, a.d. 1408, p. 
 
 399. 
 Southwell Minster, pinnacles, 142; 
 
 porch, 146 ; triforium, 148 ; choir, 
 
 &c., A.D. 1223—1294, p. 247. 
 South Wingfield, porch, a.d. 1433— 
 
 1455, p. 403*. 
 Spalato, Palace of Dioclesian, 3, 38. 
 St. Alban's Abbey Church, A.D. 1077 — 
 
 1116, p. 104; A.D. 1077—1093, p. 
 
 112; shafts, 124; pillar, 125*; mould- 
 
 ing, 132* ; steeple, 141 ; west porch, 
 224; east end, a.d. 1257, pp. 252, 
 253; part of nave, a.d. 1195—1214, 
 p. 235; ditto, a.d. 1270—1301, p. 
 253; diaper- work, 298*; Lady-chapel, 
 A.D. 1308— 1326, p. 328; south aisle, 
 A.D. 1323, p. 330 ; screen, A.D. 1342, 
 p. 335 ; tomb of Humphrey, Duke 
 of Gloucester, a.d. 1446, p. 408; 
 sepulchral chapel of Abbot Wheat- 
 hamsted, a.d. 1460, pp. 401, 411. 
 St. Alban's, Eleanor Cross, 322. 
 
 St. Michael's Church, 124. 
 
 Roman wall, 59. 
 
 Stamford, Hospital of St. Leonard, 150. 
 St. George's, a.d. 1456, p. 409. 
 
 St. John's, A.D. 1451, p. 410, 
 
 St. Mary's spire, 217, 302. 
 
 St. Andrews, St. Rule's Church, a.d. 
 
 1127—1144, p. 161. 
 Stanley St. Leonard's, capital, 137*. 
 Stanton Harold, debased church, 54. 
 Stanton Lacy Church, 91*; doorway, ib. 
 Stanwick Church, base, 186* ; window, 
 
 189*; pier-arches, 196; capital, 201*; 
 
 corbel-table, 206* ; scdile, 209*. 
 Staverdale Priory Church, a.d. 1443, 
 
 p. 407. 
 St. Briavel's Castle, 238. 
 St. Cross Church, buttress, 126 ; base, 
 
 140* ; east front, 146 ; founded, a.d. 
 
 1136, p. 163; door, 184*, 187. 
 Stewkley Church, a.d. 1150, pp. 148, 
 
 158, 167. 
 St. Germain's, cros«, 136*. 
 Sr. Lo, pier, 426*. 
 St. Maurice, Church of, a.d. 1014, p. 
 
 102. 
 St. ]Michael-on-the-Mount, Xormandy, 
 
 Abbey of, refectory, a.d. 1200—1212, 
 
 p. 239; choir, a.d. 1450, p. 428; 
 
 Abbot's lodge, a.d. 1510—1528, p. 
 
 430. 
 Stoke D'Abernon Churih, 78. 
 Stoke Golding Church, a.d. 1275—1290, 
 
 p. 319. 
 Stoke-in-Teignhead, capital, 373*. 
 Stoke Say Castle, a.d. 1291, p. 322. 
 Stone Church, A.D. 1122, p. 158. 
 Stonehenge, circle of stones, 3. 
 Stoneleigh Church, a.d. 1122, p. 158. 
 Stourbridge, capital, 139*. 
 Stow, A.D. 1091—1100, p. 108. 
 Strasburg Cathedral, a.d. 1277—1318, 
 
 p. 325. 
 Stratford-on-Avon, circular window, 
 
 275*; choir, a.d. 1465—1491, p. 
 
 413. 
 Stratton St. Michael, chancel, a.d. 1487, 
 
 p. 416. 
 St. Riquier, portal, 425. 
 
460 
 
 TOPOGRAPHICAL INDEX. 
 
 Strixton Church, circular window, 192*; 
 
 front, 221*. 
 Subiaco, St. Scholastica, A.D. 1235, p. 
 
 260. 
 Suninm, Temple of Minerva, 25, 26. 
 Sutton, Manor-house, A.D. 1398, p. 397. 
 Swaton, dripstone termination, 206. 
 Syracuse, Temple of Minerva, 25. 
 
 Tacklcy, dripstone termination, 366*. 
 Tarbes Cathedral, A.D. 1474—1179, p. 
 
 428. 
 Tasburgh Church, tower, 97*. 
 Tattershall Castle, A.D. 1433—1455, pp. 
 
 390, 404. 
 Taunton, St. Mary's, tower, 376*. 
 Teuterden, steeple, a.d. 1462, p. 412. 
 Teos, Temple of Bacchus, 31, 33. 
 Tewkesbury Abbey Cliurcli, tower, 141 j 
 
 A.D. 1103—1121, p. 155; tomb of 
 
 Abbot Alan, a.d. 1292, p. 238. 
 Thoricum, Temple of Minerva, 25. 
 Thornbury Castle, A.D. 1511 — 1522, p. 
 
 421. 
 Thorney Abbey, a.d. 1085— 1108, p. 113. 
 Thornton Abbey, porch, 310; window, 
 
 315* ; oriel window, 316* ; gatehouse, 
 
 317; A.D. 1382—1388, p. 395. 
 Tickeucote Church, 148. 
 Tivoli, columns, Temple of Vesta, 34, 
 
 36*, 37, 40. 
 Tixover Church, window, 191. 
 Toledo, Dominican monastery, a.d. 1407, 
 
 p. 432. 
 St. Ildephonso College Chapel, 
 
 A.D. 1508—1518, p. 432. 
 
 St. John's Church, A.D. 1476 — 
 
 1477, p. 432. 
 Tong Clmrch, south aisle, A.D. 1401 — 
 
 1411, p. 398*. 
 Toscanella, St. Mary's Church, A.D. 1206, 
 
 p. 241. 
 Totnes, section of pier, 361*. 
 Toul Cathedral, porch, a.d. 1447, p. 428. 
 Tours Cathedral, west cud, a.d. 1 130 — 
 
 1440, p. 427. 
 Treves Cathedral, a.d. 1016—1047, p. 
 
 102; altered, a.d. 1170—1196, p. 182. 
 St. Mary's Church, a.d. 1222 — 
 
 12 13, p. 258. 
 Troyes Cathedral, A.D. 1281, p. 326. 
 Trunch Church, font, 48, 388; roof, 
 
 380*. 
 Tuxford Church, A.D. 1473—1495, p. 413. 
 Twyford, font, 226*. 
 Tynemouth Priory, ruins, 221. 
 
 Uffington Church, door, 181*; niche, 
 
 209. 
 Ulm Cathedral, a.d. 1377— 1478, p. 431. 
 Upmarden, part of roof, 219*. 
 
 Upsal Cathedral, A.D. 1287, p. 328. 
 
 Valle Crucis Abbey, ruins, 221. 
 Venice, Ducal Palace, a.d. 1350, p. 
 
 347. 
 campanile of Church of Frari, 
 
 A.D. 1361 — 1396, p. 347. 
 
 St. Mark's, 182. 
 
 Verona, tombs of the Scaligers, a.d. 
 
 1330—1375, p. 347. 
 Versailles, orangery, 20. 
 Vezebiy Abbey Clmrch, a.d. 1096 — 
 
 1104, p. 153 ; choir rebuilt A.D. 1190 
 
 —1195, p. 235. 
 Villequier, Fhimboyant moulding, 421*. 
 Viucennes Chapel, a.d. 1379, p. 347. 
 
 Wakefield, steeple, 216. 
 
 Walsingham Church, font, 387. 
 
 Priory, staircase, 227 ; but- 
 tress, 287. 
 
 Waltham Abbey Church, piers, 134 ; 
 triforium, 148. 
 
 l^leanor Cross, 229, 322 ; bat- 
 tlement, 379. 
 
 Wanborough, St. Andrew's Church, west 
 tower, A.D. 1435, p. 405. 
 
 Wardour Castle, a.d. 1392, p. 396. 
 
 Warkton, doorway, 350*. 
 
 Wark worth Castle, a.d. 1435—141-6, 
 p. 405. 
 
 Warmington Church, ceiling, 200, 219, 
 220. 
 
 Warwick, Beauchamp Chapel, window, 
 354* ; pinnacles, 36 1 ; east end. 385 ; 
 panelled parapet, 378; a.d. 1439, p. 
 406; monument of Kichard Bc-au- 
 champ, 439. 
 
 St. Mary's Church, east end, 
 
 385 ; A.D. 1381—1391, p. 393 ; sec- 
 tion of mouldings, 394*. 
 
 Waier-Eaton Chapel, 54. 
 
 Wellow, font, 226*. 
 
 Wells, Bishop's Palace, a.d. 1225 — 
 1239, window, 244* ; window of the 
 hall, A.D. 1280—1292, p. 320*; gate- 
 house, A.D. 1340, p. 334. 
 
 Cathedral, west front, 222, 232, 
 
 242, 255; nave, a.d. 1225— 1239, p. 
 244.; Lady-chapel, a.d. 1218— 1261, 
 p. 251 ; central tower, a.d. 1320 — 
 1337, p. 330; south-west tower, A.D. 
 1366—1386, p. 342; cloister, a.d. 
 1450—1165, p. 409; Bp. Beckiiig- 
 ton's Monumental Chapel, A.D. 1465, 
 p. 412. 
 
 Deanery, 390. 
 
 Vicars''^Close, a.d. 1363, p. 341. 
 
 Wenloek, Abbot's house, 391. 
 
 Westenhanger Church, a.d. 1520, p. 
 422. 
 
TOPOGRAPHICAL INDEX, 
 
 461 
 
 Westminster Abbey, choir, 48; masonry 
 and window, 101* ; Chapel of the 
 Pyx, A.D. 1065, p. 104« ; arcade, 
 105*; dormitory, 120, 131. ; window, 
 193* ; triforium arcade, 191* ; arch, 
 195*; architrave, 196; sections of 
 pier, 197*, 198* ; pillar, 199* ; capi- 
 tal, 201*; flying buttresses, 205*; 
 diaper-work, 212* ; foliage, 213*, 
 215; transepts, 222; compartment 
 of the cloisters, 229* ; choir, a.d. 
 1245—1269, p. 250 ; cloisters, 267 ; 
 diaper-work, 298* ; tomb of Henry 
 III., inscription, a.d. 1275 — 1291, p. 
 319* ; tomb of Queen Eleanor, head 
 and arms, a.d. 1291—1291, p. 321* ; 
 tomb of Aymer de Valence, a.d. 1324, 
 pp. 330, 439 ; Litlingtoii's work, A.D. 
 1362—1386, p. 341 ; head of Queen 
 Philippa, from her tomb, a.d. 1369, p. 
 343* ; doorway, 352* ; windows, 356 ; 
 head of Edward III., from his tomb, 
 A.D. 1377, p. 392* ; heads of Richard 
 II. and Queen Anne of Bohemia, from 
 their tomb, a.d. 139 1, p. 397*. 
 
 Hall, A.D. 1097, p. 153; re- 
 paired A.D. 1397—1399, p. 397 ; span- 
 drel, 349 ; roof, 380. 
 
 Henry the Seventh's Chapel, 
 
 194, 354, 358, 360, 362, 389 ; a.d. 
 1503—1520, p. 418 ; buttress, 364* ; 
 niches, 368; panelling, 369; Tudor 
 flower, 371*; angel-bracket, 372*; 
 roof, 383. 
 
 Palace, arch, 123*. 
 
 St. Stephen's Chapel, a.d. 
 
 1349—1364, mouldings, 336« 
 
 Whalley Abbey, a.d. 1348, p. 335. 
 
 Wheatley, Roman hypocaust at, 58*. 
 
 Whiston Church, a.d. 1534, p. 423. 
 
 ^Vhitby Abbev, vaulting-shafts, 200*; 
 buttress, 204* ; ruins, 221. 
 
 WHiittingham Church, tower, 61, 64* 84. 
 
 Willingham, roof, 304*. 
 
 Winiington Church, A.D. 1370—1390, 
 p. 343. 
 
 Winchcoinbe Church, A.D. 1456 — 1474 ; 
 p. 410. 
 
 Winchelsea Church, monument, 439. 
 
 Winchester, Castle hall, a.d. 1222 — 
 1235, p. 243*. 
 
 Cathedral, interior, north 
 
 transept, a.d. 1079—1095, p. 112 
 masonry, 115* ; pillar, 125* ; capital 
 139* ; ' base, 140* ; tower, 141 
 roof, 143 ; fall of tower, a.d. 1107; 
 p. 156; arch, 185*; arches, 196 
 presbytery, a.d. 1195— 1204, p. 235 
 crockets, 299* ; Decorated ornament 
 300*; partofnave, A.D. 1360— 1366 
 p. 340; panel, 341*, 384, 385 
 
 west front, 357 ; arch, 359* ; but- 
 tresses, 363* ; west porches, 386 ; nave 
 and aisles, a.d. 1394— 1410, p. 397; 
 shrine of William of Wykeham, A.D. 
 1404, p. 399 ; nave continued, a.d. 
 1447—1486, p. 408; Lady-chapel, 
 rebuilt a.d. 1470—1524, p. 413; 
 monuments, 439. 
 
 Winchester College, A.D. 1387—1393, 
 p. 395. 
 
 St. John's, screen, 293*. 
 
 Windsor Castle, 390; part of upper 
 ward, A.D. 1359—1373, p. 340. 
 
 St. George's, 349, 353 ; west 
 
 window, 357*; panels, 358, 360; 
 buttress, 364 ; cornice ornaments, 
 365; panelling, 369; battlement, 
 379*; roof, 383; west front, 384, 
 385, 389; chapel, a.d. 1480— 1508, 
 p. 414 ; vault of choir, chapel, a.d. 
 1507—1520, p. 419. 
 
 Wiuscombe Church, A.D. 1461, p. 412. 
 
 Witney, spire, 217. 
 
 Wittering Church, 69. 
 
 Wobm-n, Eleanor Cross, 322. 
 
 Wolverhampton Church, a.d. 1439, p. 
 406. 
 
 Woodford Church, arches, 195*; mould- 
 ing of door, 208* ; south porch, 225*. 
 
 Wooteu Wawen Church, a.d. 1080, p. 
 112. 
 
 Woofcton Church, capital, 139*. 
 
 Worcester Cathedral, rebuilt, a.d. 1084 
 —1089, p. 112 ; pillar, crypt, 113* ; 
 doorway, 118 ; crypt, 140 ; choir, a.d. 
 1203—1218, p. 238; monument of 
 Arthur Tudor, A.D. 1502—1504, p. 
 418 ; tomb of King John, 438. 
 
 Priory, a.d. 1369, p. 343. 
 
 Worle-hill, 99. 
 
 Wonu-Leighton Church, A.D. 1150, p. 
 158. 
 
 Worms Cathedral, a.d. 1242—1262, p. 
 182. 
 
 Wor stead Church, 317. 
 
 Worth Church, 80. 
 
 Wotton Church, A.D. 1122, 158. 
 
 Wymoudham, font, 387*. 
 
 Yelvertoft, panelling, 369*. 
 
 York Cathedral, circular window, 191 ; 
 windows, 193*, 268*, 315*; arches, 
 195*; transepts, 196; piers, 197, 
 282; capitals, 202*; cornice, 206*; 
 tooth-oiiiument, 211*; foliage, 214*; 
 transept ends, 221 ; south transept, 
 A.D. 1227—1240, p. 246 ; north tran- 
 sept, A.D. 1250—1260, p. 251 ; tomb 
 of Abp. Gray, a.d. 1255—1260, p. 
 252 ; crockets on tomb of Abp. Gray, 
 215* ; open foliage, tomb of Abp. 
 
462 
 
 TOPOGRAPHICAL INDEX. 
 
 Gray, 186* ; west doorways, 262 ; 
 west window, a.d. 1538, pp. 267, 
 334 ; windows of nave, 33 1 ; flow- 
 ing tracery, 271 ; capitals, 285* ; 
 buttres-!, 286; folin^e, 300; west 
 towers, 302; roof, 301; west front, 
 308; choir, 317; nave, a.d. 121)1— 
 1315, p. 322; part, a.d. 1318, p. 
 335 ; wooden ceiling, a.d. 1355, p. 
 338; Lady-cliapel, a.d. 1361— 1372, 
 p. 341 ; east window, a.d. 1405 — 
 1408, pp. 353, 399 ; clearstory win- 
 dow, 354*, 357; east end, 385; 
 choir, 389; central tower, a.d. 1389 
 — 1407, p. 395; screen, a.d. 1472, 
 p. 413; monuments, 439. 
 
 York, Christ Church, door, 265*. 
 
 Guildhall, A.D. 1446, p. 408. 
 
 St. I\Iargaret's Church, 136. 
 
 St. Martin's Church, a.d. 1437, 
 
 p. 406. 
 
 St. Mary's Abbey, a.d. 1271 — 
 
 1292, p. 253. 
 
 St. Mary, Bishop-hill Junior, 
 
 Saxon tower, 92* ; windows of tower, 
 92*. 
 
 St. Maurice's Church, 120. 
 
 St. Michael, Spurricr-g.ite, battle- 
 ment, 379*. 
 
 Yprcs, St. Martin's Church, a.d. 1221 
 —1270, p. 257. 
 
 1 
 
 Omiffed above : — Campden Church, tower, 375* ; Huish Episcopi, tower, 375* ; 
 Oxford, New College, tower, 375*. 
 
 ENGLISH COUNTIES. 
 
 Bedfordshire, vide Clapham, Col- 
 mouth, Dunstable, Luton, Wiming- 
 ton, \\'oburn. 
 
 BjiKKSniKE, ride Appleton, Binfield, 
 Bradfield, Cholsey, Donington, Eton, 
 Faringdon, Hurley, North Moreton, 
 Reading, Shottesbrooke, South More- 
 ton, Uffington, Windsor. 
 
 Buckinghamshire, vide Burnham, 
 Chetwode, Hillesdon, Kimble, Xot- 
 ley, Stewkley. 
 
 Cambridgeshire, vide Balsham, Cam- 
 bridge, Chatteris, Ely, Over, Stour- 
 bridge, Thoruey, Willinaham. 
 
 Cheshire, vide Birkenhe;id, Chester, 
 Ince, Runcorn, Saighton, Sutton. 
 
 Cornwall, vide St. Germain's. 
 
 Cumberland, vide Arthuret, Carlisle, 
 Llanercost, Naworth, Penrith. 
 
 Derbyshire, vide Ashbourn, Bread- 
 sail, Chaddesdon, Derby, Mackworth, 
 Repton, South Wiiigtield. 
 
 Devonshire, vide Colliunpton, Exeter, 
 Kenton, Plymouth, Plymstock, Stoke- 
 in-Teignhead, Totnes. 
 
 Dorsetshire, (•<rfeAtlielliampton,Cerne 
 Abbas, I'iddleton, Sherborne. 
 
 Durham, r/f/e Durham, Finchale, Gates- 
 head, Jarrow, Lin(li^farne, Monk's 
 VVearmouth. 
 
 Essex, vide Chelmsford, Colchester, 
 Earl's Colue, Hedingham, Layer 
 
 Marney, Sible Hedingham, South 
 Ockeiiden, Waltham. 
 
 Flintshire, vide Gresford, Mould. 
 
 Gloucestershire, vide Bishop'sCleevc, 
 C]ieltenh;ini, Chipping Campden, Ci- 
 rencester, Deerhurst, Gloucester, Iron 
 Acton, Slyuibridge, Stanley St. Leo- 
 nards,Tewkesbury,Thornbury, Winch- 
 combe, Wootton. 
 
 Hampsiiire, vide Aniport, Beaulicu, 
 Christehurcb, Corlianipton, Eling, 
 Headbouru Worthy, Net ley, Pam- 
 ber, Porehrster, Portsmouth, Rom- 
 sty, Southampton, St. Cross, Win- 
 chester. 
 
 Herefordshire, vide Brinsop, Here- 
 ford, Leominster, Shobdon. 
 
 HERTFORDsuiRE,«irf.Buckland,lIitcliin, 
 St. Alban's. 
 
 Kent, reWe Ashford, Barfreston, Can- 
 terbury, Charing, Chartham, Chart, 
 Couling, Darcnt, Dartford, Dover, 
 Eltham, Horsemonden, Minster, 
 Knowle, Leeds, Maidstone, Mailing, 
 Meopham, Monk's Horton, Pens- 
 hurst, Richborough, Rochester, Ry- 
 arsh, Saltwood, Sandwich, Tenterden, 
 Westenhiinger. 
 
 Lancashire, vide Furness, Huyton, 
 Lancaster, Manchester, Whalley. 
 
TOPOGRAPHICAL INDEX. 
 
 463 
 
 Leicestershire, vide Asliby Folville, 
 Burrough, Leicester, Stanton Harold, 
 Stoke Golding, Twyford. 
 
 LiNCOL>"sniEE, vide Ancaster, Barton- 
 on-HumbHr, Bolton, Bootliby Pagnel, 
 Boston, Clee, Crowland, Donning- 
 ton, Ewerby, Grantbani, Ingoldmels, 
 Lincoln, Louth, Morton, I'auuton, 
 Ponton, Pounton, Ramsey, RopsUy, 
 Sawtrey, Silk Willougbby, Sleaford, 
 Somerton, Stamford, Stow, Swaton, 
 Tattershall, Thornton, 
 
 Middlesex, vide London, Westmin- 
 ster. 
 MoNMorTHSHiEE, vide St. Briavel's. 
 
 NoEEOLK, vide Burgh, Castle Acre, 
 Castle Rising, Cromer, Dunham mag- 
 na. East Dereham, Ferington, Haugh- 
 ton-in-the-Dale, Ingliam, Lynn, Nor- 
 wich, Stratton St. Micliael, Tasburgh, 
 Truncb, Walsingham, Worstead, VVy- 
 mondham. 
 
 NoRTHAMPTONSHiEE, vide Addington 
 (great), Addington (little), Apthorp, 
 Ayuho, Barnack, Barton, Barton Se- 
 grave, Brigstoek, Brixworth, Caistor, 
 Castle Ashby, Castor, Cotterstock, 
 Cranford St. Andrew, Denford, Earl's 
 Barton, Finedon, Geddington, Graf- 
 ton Underwood, Hargrave, Higham 
 Ferrers, Irchester, Irthlingborough, 
 King's Sutton, Kingstborpe, Kisling- 
 bury, Norborough, Northampton, 
 Oundle, Peterborough, Polebrook, 
 Postlip, Raunds, Ringstead, Rushden, 
 Stanwick, Strixton, Warkton, War- 
 mington, Whiston, Wittering, Wood- 
 ford, Yelvertoft. 
 
 NoETHUMBEELAND, Vide Hexham, New- 
 castle-upon-Tyne, Tynemouth, Wark- 
 worth, Whittingham. 
 
 NoTTiNGHAMSHiEE, vide Crumwell, 
 Hawton, Newark, Southwell, Tux- 
 ford. 
 
 OxFOEDSHiEE, vlde Bamptou, Beckley, 
 Bloxham, Bucknell, Clinton, Cowley, 
 Dorchester, Ensham, Ewelme. Hand- 
 borough, Hethe, Itfiey, Kidlington, 
 Milton, Minster Lovell, Northmoor, 
 Oxford, Piddiugton, Saudford, Ship- 
 
 lake, Sbirburn, Souldern, Tackley, 
 Water-Eaton, Wheatley, Witney. 
 
 Rutlandshire, vide Oakham, Tickeu- 
 cote, Tixover. 
 
 Shropshire, vide Acton Burnel, Alber- 
 bury, Buildwas, Hales Owen, Lil- 
 liesball, Shrewsbury, Stanton Lacy, 
 Stoke Say, Tong, Wenlock. 
 
 Somersetshire, vide Bath, Bristol, 
 Congresbury, Glastonbury, Hinton, 
 Huish Episcopi, Low Ham, Muchelnev , 
 Nunney, Othery, South Petherton, 
 Staverdale, Taunton, Wellow, Wells, 
 Winscombe, Worle-hill. 
 
 Staffoedshire, vide Barton -under- 
 Needwood, Lichfield, Stone, Wolver- 
 hampton. 
 
 Suffolk, vide Brandon, Bury St. Ed- 
 mund's, Debenham, Hengrave, Ips- 
 wich, Lavenham. 
 
 SuEEET, vide Compton, Great Book- 
 ham, Guildford, Lambeth, Merrow, 
 Southwark, Stoke D'Abernon. 
 
 Sussex, vide Arundel, Battle, Bishop- 
 stone, Bodyam, Chichester, Etching- 
 ham, Newhaven, Poynings, Shore- 
 ham, Sompting, Upmarden, Win- 
 chelsea. Worth. 
 
 Waewickshiee, vide Compton-Win- 
 yate, Coventry, Hathe, Kenilworth, 
 Leamington, Long Compton, Pack- 
 ington, Radford, Solihull, Stoneleigh, 
 Stratford-on- Avon, Warwick, Wooteu- 
 Wawen, Worm-Leighton, Wotton. 
 
 Wiltshire, vide Bradenstoke, Brad- 
 ford - on - Avon, Britford, Edington, 
 Lacock, Malmesbury, North Bur- 
 combe, Salisbury, Stoneheuge, Wan- 
 borough, Wardour. 
 
 Woecesteeshiee, vide Bredon, Chad- 
 desley Corbet, Leigh, Malvern, Per- 
 shore, Worcester. 
 
 Yoekshiee, vide Adel, Aldborough, 
 Aughton, Beverley, Bridlington, By- 
 land, Catterick, Connisburgh, Darton, 
 Doncaster, Fountains, Gisburne, Guis- 
 borough, Headon, Howden, Hull, 
 Kirkdale, Kirkham, Kirkstall, Last- 
 ingham, Laughten - en - le - Morthen, 
 Markingfield, Patrington, Rievaulx, 
 Ripon, Roche, Selbv, Skelton, Wake- 
 field, Wliitby, York. 
 
 WALES, vide Bangor, Caernarvon, Caerwent, Haverfordwest, Llan Tysilio. 
 SCOTLAND, vide Elgin, Glasgow, Kelso, Melrose, Rosslyn, St. Andrew's. 
 IRELAND, vide Cashel. 
 
464 
 
 TOPOGRAPHICAL INDEX. 
 
 FOREIGN COUNTRIES. 
 
 Asia Minoe, vide Miletus, Mylassa. 
 
 Belgittm, vide Aerschot, Antwerp, 
 Bruges, Brussels, Ghent, Hal, Huy, 
 Liege, Louvain, Malines. 
 
 Feaxce, vide Abbeville, Albi, Amiens, 
 AngiTS, Aquitaine, Aries, Auch, Aux- 
 erre, Biiyeux, Beaugency, Beaupoit, 
 Beauvais, Bernay, Blois, Bourges, 
 Breteuil, Caen, Cahors, Caudebec, 
 Chalons-sur-I\Iarne,Chartres,Conclies, 
 Uiejipe, Dijon, Eu, Evreux, Falaise, 
 Fecamp, Fontaine Henry, Harfleur, 
 Jumi&ges, Laon, Le Mans, Lessay, 
 Lillebonne, Limoges, Lisieux, Mantes, 
 Mende, Metz, Nantes, Nevers, Noy- 
 on, Orleans, Paris, Poitiers, Pont 
 Audemer, Quimper, Rheiins, Kouen, 
 Senlis, Sens, Soissons, St. Lo, St. 
 Michael-on-thc-Mount, Strasbnrg, St. 
 Riquier, Tarbes, Toul, Tours, Troves, 
 Versailles, Vezelay, Villequiers, Viu- 
 cennes. 
 
 Germany, vide Bamberg, Cologne, 
 Frankfort -on - the - I^Iaine, Freiburg, 
 Gelnhausen, Halle, Heisterbach, Ko- 
 ningsburg, Limburg, Marburg, Maul- 
 brom, Mayence, Neuss, Nuremberg, 
 Prague, Rammersdorf, Sinzig, Treves, 
 Ulm, Worms. 
 
 Greece, vide Mg'ma, Athens, Corinth, 
 Delos, Priene, Salouica, Sunium, Tecs. 
 
 ISTEIA, vide Spalato. 
 
 Italy, vide Assissi, Beneventum, Fer- 
 rara, Florence, Genoa, Lucca, Mes- 
 sina, Metapontum, Milan, Pajstum, 
 Parma, Pavia, Perugia, Pisa, Ran- 
 dazzo, Home, Siena, Subiaco, Tivoli, 
 Toscanella, Venice, Verona. 
 
 Palestine, vide Jerusalem. 
 
 Sicily, vide ^Egesta, Agrigentum, Mon- 
 
 reale, Palermo, Sclinus, Syracuse. 
 Sweden, vide Upsal. 
 
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