. . \ 
 
 
 
 
 
 
 

AN ANALYSIS 
 
 or 
 
 GOTHICK ARCHITECTURE: 
 
 ILLUSTRATED BY A SERIES OF UPWARDS OF SEVEN HUNDRED EXAMPLES OF 
 
 DOORWAYS, WINDOWS, ETC. 
 
 ACCOMPANIED WITH REMARKS 
 
 ON THE 
 
 SEVERAL DETAILS OF AN ECCLESIASTICAL EDIFICE. 
 
 BY 
 
 RAPHAEL AND J. ARTHUR BRANDON, 
 
 ‘Ardjittctg, 
 
 Authors of “Parish Churches,” “Open Timber Roofs of the Middle Ages, etc. 
 
 iHi’to 3£tritton. 
 
 VOLUME I. 
 
 LONDON : 
 
 W. KENT AND CO. (late D. Bogtje), 86, FLEET STREET. 
 
 MDCCCLYIII. 
 
LONDON: 
 
 J. ic W RIDEK, PRINTERS, *14, BARTHOLOMEW CLOSE 
 
LIST OF SUBSCRIBERS. 
 
 George Abbot, Esq. Barnstaple, Devonshire. 
 
 C. B. Allen, Esq. Argyll-street. 
 
 George Allen, Esq. Architect, Tooley-street. 
 
 T. G. Andrews, Esq. Architect, York. 
 
 Arthur Ashpitel, Esq. 
 
 J. P. St. Aubyn, Esq. Architect. 
 
 Mr. Daniel Bacon, Colchester. 
 
 The Rev. H. De Foe Baker, Warden of Browne’s Hospital, 
 Stamford. 
 
 G. F. Ballard, Esq. Upper Albany-street. 
 
 William Bardwell, Esq. Architect, Queen-street. 
 
 James Barr, Esq. Putney. 
 
 Charles Barry, Esq. R. A. Architect, Great George-street. 
 J. M. Belisario, Esq. Clifton-street. 
 
 T. Bellamy, Esq. Architect, Charlotte-st. Bedford-square. 
 G. W. Billings, Esq. Architect, Lower Belgrave-place. 
 Joseph Biscoe, Esq. Yonge St. Canada. 
 
 John Blyth, Esq. Architect, Aldersgate-street. 
 
 W. I. Booth, Esq. Architect, Red Lion-square. 
 
 The Rev. Charles Boutell, the Rectory, Downham Market. 
 David Brandon, Esq. Gravesend. 
 
 Mr. W. Bremer, Colchester. 
 
 Rev. Waldegrave Brewster, Hawarden. 
 
 Messrs. Broadbcnt and Hawley, Stone-masons, Leicester. 
 
 E. H. Broun, Esq. Architect, Beaufort-buildings. 
 
 R. P. Browne, Esq. Architect, Clement’s-lane. 
 
 Edward Browning, Esq. Architect, Stamford. 
 
 William Burgess, Esq. Architect. 
 
 T. T. Bury, Esq. Architect, Golden-square. 
 
 The Rev. J. L. Capper, Waltham Abbey. 
 
 E. J. Carlos, Esq. Old Jewry. 
 
 Sir William Chatterton, Bart. Berkeley-square. 
 
 Ewan Christian, Esq. Architect, Bloomsbury-square. 
 
 G. Somers Clarke, Esq. Architect, Brixton-road. 
 
 Joseph Clarke, Esq. Architect, Lincoln’s-inn-fields. 
 
 The Venerable Archdeacon Clerke, Oxford. 
 
 H. Clutton, Esq. Architect, Whitehall-place. 
 
 C. R. Cockerell, Esq. R.A. Architect, Bank of England. 
 
 J. X. Colling, Esq. Architect, Barclay-street. 
 
 G. Cottam, Esq. Oxford-street. 
 
 L. N. Cottingham, Esq. Architect. 
 
 J. E. Coxe, Esq. Architect, Hyde Park-st. Bayswater-road. 
 Leonard S. Coxe, Esq. Bruns wick-place, Regent’s-park. 
 
 Mr. Thomas Crisp, Colchester. 
 
 Lewis Cubitt, Esq. Architect, Great Russell-street. 
 
 H. Currey, Esq. Architect, Old Palace-yard. 
 
 R. L. Curtis, Esq. Stratford. 
 
 Francis Darby, Esq. 
 
 G. A. Dean, Esq. Architect, Stratford, Essex. 
 
 Mr. William Dearn, Colchester. 
 
 Monsieur Dedaux, Architect, Alenqon. 
 
 F. T. Dollman, Esq. Architect, Mornington-place. 
 
 Thomas J. Duff, Esq. Architect, Newry, Ireland. 
 
 Thomas W. Dunch, Esq. Architect, Stepney-causeway. 
 
 C. Dyson, Esq. Surveyor, Stratford-grove, Essex. 
 
 C. Eales, Esq. Architect, Langham-place. 
 
 George Hay Edwards, Esq. Southampton. 
 
 The Rev. Irvin Eller, St. Clement’s, Salt Fleetly. 
 
 E. W. Elmslie, Esq. Architect. 
 
 George Enoch, Esq. Architect, Edward-st. Portman-sq. 
 
 The Rev. T. S. Escott, Gedney, Lincolnshire. 
 
 B. G. Eyton, Esq. Architect and Surveyor, Grosvenor-street 
 West, Pimlico. 
 
 Benjamin Ferrey, Esq. Architect, Trinity-pl. Charing Cross. 
 James Field, Esq. Architect, Adelaide-place, London-bridge. 
 
 Forster, Esq. New Ormond-street. 
 
 Messrs. Thomas Foster and Son, Architects, Park-street, 
 Bristol. 
 
 Frederick J. Francis, Esq. Architect, Bruton-street. 
 
 Mr. William Franklin, Colchester. 
 
 The Lord Bishop of Fredericton. 
 
 G. R. French, Esq. Architect, Sussex-gardens, Hyde-park. 
 Thomas Fuller, Esq. Architect, North-crescent, Alfred-place. 
 
 G. A. Gagen, Esq. Architect, Stepney -green, Mile End-road. 
 R. B. Gardiner, Esq. Architect, Tunbridge. 
 
 Henry Garling, Esq. Architect, Bedford-row. 
 
 I 
 
LIST OF SUBSCRIBERS. 
 
 Mr. W. Gerry, Gilbert-street, Grosvenor-square. 
 
 The Rev. John Edgar Gibson, Bermondsey. 
 
 Henry Goddard, Esq. Architect, Leicester. 
 
 Mr. Goodman, Fumival’s Inn. 
 
 Stephen Gomme, Esq. Architect, Regent-street. 
 
 The Government School of Design, Somerset-house. 
 
 Robert Gray, Esq. Brompton-crescent. 
 
 Arthur Green, Esq. Architect, St. Helen’s-place. 
 
 John E. Gregan, Esq. Architect, Manchester. 
 
 William Gillbee Habershon, Esq. Architect, St. N cot’s. 
 
 E. C. Hakewill, Esq. Architect, Craig’s-court. 
 
 J. H. Hakewill, Esq. Architect, Craig’s-court. 
 
 William Hambley, Esq. Architect, Winchester-buildings. 
 George E. Hamilton, Esq. Wolverhampton. 
 
 H. J.IIammon, Esq. Architect, Brooksby-st. Barnsbury-park 
 Charles Hansom, Esq. Architect, Bristol. 
 
 Philip Hardwick, Esq. R.A. Architect, Russell-square. 
 
 L. L. Hartley, Esq. Richmond. 
 
 The Rev. G. L. Harvey, Yate Rectory. 
 
 Mr. H. W. Hayward, Colchester. 
 
 Charles Henman, Esq. Architect, Clifford’s Inn. 
 
 Thomas Henning, Esq. Lower Belgrave-place. 
 
 T. L. Henslow, Esq. Clement’s Inn. 
 
 J. Hicks, Esq. Architect, Bristol. 
 
 Thomas Hillyer, Esq. Architect, Ryde, Isle of Wight. 
 
 B. H. Hodgson, Esq. Civil Service, Calcutta. 
 
 H. Holland, Esq. Architect, John-street, Adelphi. 
 
 W. S. Hollands, Esq. Architect, Bermondsey -square. 
 
 J. Howell, Esq. Architect, Vincent-square. 
 
 Mr. S. M. Hubert, York-road, Lambeth. 
 
 Charles Innes, Esq. Architect, Highbury. 
 
 Robert Innes, Esq. Lloyd’s. 
 
 H. B. darling, Esq. Architect, Bedford -row. 
 
 J. Jennings, Esq. Architect, King-street. 
 
 A. Jenour, Esq. Architect, Adelphi. 
 
 Frederick Johnstone, Esq. Architect, Baker-st. Portman-sq. 
 Richard Jones, Esq. Chapel-street, Belgrave-square. 
 
 Mr. F. Kemp, Colchester. 
 
 The Rev. E. Kempe, Clifton 
 
 II. E. Kendall, Jun. Esq. F.S.A. Architect, Brunswick-sq. 
 H. Kennedy, Esq. Architect, Bangor. 
 
 Richard Lane, Esq. Architect, Manchester. 
 
 A. Lang, Esq. Architect, Buckingliam-street. 
 
 Thomas Hayter Lewis, Esq. Architect, Baker-street. 
 Frederick Leslie, Esq. Conduit-street. 
 
 Leslie, Esq. Architect, Aberdeen. 
 
 B. E. Lindo, Esq. Winchester-buildings. 
 
 W. H. Lindsey, Esq. Architect, Priory-cottages. 
 T. Little, Esq. Architect, Northumberland-place. 
 The London Architectural Society. 
 
 George Low, Esq. Architect, Clements-lane. 
 Charles Luard, Esq. Upper Wimpole-street. 
 
 Mr. Henry Lufkin, Colchester. 
 
 Edwin Nash, Esq. Architect, Moorgate-street. 
 
 D. C. Nichols, Esq. Architect, London. 
 
 The Marquess of Northampton. 
 
 Harry Oliver, Esq. Architect, Hatton-garden. 
 
 F. A. Paley, Esq. 
 
 Joseph Parkinson, Esq. Architect, Sackville-street. 
 
 J. Peacock, Esq. Architect, Gt. Russell-street. 
 
 Thomas Percy, Esq. Architect, Alfred-place. 
 
 Thomas W. Plum, Esq. Architect, Camberwell. 
 
 G. Porter, Esq. Architect, Bermondse) r . 
 
 J. Porter, Esq. Mansfield-street. 
 
 George Powell, Esq. Ridlington. 
 
 S. Pratt, Esq. Bond-street. 
 
 William Railton, Esq. Architect, Carl ton-chambers. 
 
 N.'T. Randall, Esq. Architect, Harleyford-road. 
 
 Drummond Rawnsley, Esq. Little Hadham. 
 
 Henry Rhodes, Esq. Architect, Margaret-street. 
 
 Harry Ralph Ricardo, Esq. Architect, Camberwell. 
 
 Mr. William Rice, Chester-terrace. 
 
 Edw'ard Richardson, Esq. Sculptor, Melbury-terrace. 
 Lawford Richardson, Esq. Blackhcath. 
 
 Robert Ritchie, Esq. Architect, Blackheath-hill. 
 
 Edward Roberts, Esq. Architect, Dcvonshirc-place, Edge- 
 ware-road. 
 
 Henry Roberts, Esq. Architect, Suffolk-street, Pall Mall East. 
 
 Frederick Mackenzie, Esq. Hampstead-road. 
 
 George Mackenzie, Esq. Architect, Claremont-row. 
 
 George Mair, Esq. Architect, Charlotte-st. Bedford-square 
 The Rev. W. Mallock, Cheriton Bishop, near Exeter. 
 Charles Mannering, Esq. Coleby Hall. 
 
 F. Marrable, Esq. Architect, Lancaster-place. 
 
 A. Mason, Esq. Lime-street. 
 
 James Govey Mason, Esq. Bristol. 
 
 George Mathew, Esq. Trinity-college, Cambridge. 
 
 M. Meredith, Esq. Architect, Bloomfield-street. 
 
 David Mickle, Esq. Architect, Queen-square, Bloomsbury. 
 David Mocatta, Esq. Architect, Brunswick-square. 
 
 George Moore, Esq. F.R.S. Architect, Lincoln’s-inn-fields. 
 
 Morriss, Esq. Union-terrace, Peckham. 
 
 John Mullins, Esq. Architect, St. John’s Grove, North 
 Erixton. 
 
LIST OF SUBSCRIBERS. 
 
 The Rev. James Round, Colchester. 
 
 Denis M. Samuel, Esq. Sussex-place, Regent’s-park. 
 
 S. M. Samuel, Esq. Park-crescent, Portland-place. 
 
 Jacob Samuda, Esq. Blackball. 
 
 J. D’A. Samuda, Esq. Blackwall. 
 
 H. B. Sandall, Esq. Architect, Palace New-road, Lambeth. 
 
 R. C. Saunders, Esq. North-crescent, Bedford-square. 
 
 G. G. Scott, Esq. Architect, Spring-gardens. 
 
 Mr. James Scovell, Colchester. 
 
 Mr. William Scovell, Colchester. 
 
 A. C. Seymour, Esq. Architect, Bath. 
 
 E. Sharpe, Esq. Architect, Lancaster. 
 
 E. H. Shellard, Esq. Architect, Manchester. 
 
 Sydney Smirke, Esq. Architect, Berkeley-square. 
 
 Hugh Smith, Esq. Bedford-row. 
 
 Joseph Springbett,Esq. Hermitage-place, St. John-street-road. 
 
 H. C. Stewart, Esq. St. John’s-wood-grove. 
 
 The St. Alban’s Architectural Society. 
 
 E. Tam, Esq. Millman-street. 
 
 John Taylor, Esq. Architect, Parliament-street. 
 
 S. S. Teulon, Esq. Architect, Lansdowne-place. 
 
 The Rev. Caddy Thomas, Brandeston, Norwich. 
 
 The Rev. Hugh Totty, D.D. Bath. 
 
 Travis, Esq. Architect, Manchester. 
 
 G. B. Trench, Esq. Sussex-gardens, Hyde-park. 
 
 J. Turner, Esq. Architect, Lower Belgrave-place. 
 
 William Vizard, Esq. Spring-gardens. 
 
 Lewis Vulliamy, Esq. Architect, Saville-row. 
 
 Messrs. Waller, Charles-street. 
 
 The Rev. D. C. Whalley, Great Wenham, Suffolk. 
 
 Thomas Willement, Esq. London. 
 
 Mr. J. Williams. 
 
 The Rev. Robert Willis, F.R.S. Jacksonian Professor, Cam- 
 bridge. 
 
 Edward James Wilson, Esq. F.S.A. Lincoln. 
 
 Edmund Woodthorpe, Esq. Architect, Jewin-street. 
 
 Stephen Wright, Esq. Architect, Somerset-street. 
 
 H. I. Wright, Esq. Architect, Park-street, Westminster. 
 
 T. H. Wyatt, Esq. Architect, Great Russell -street. 
 
 W. Young, Esq. Architect, Tavistock -place, Tavistock-square. 
 
. 
 
 
 
PREFACE. 
 
 F the numerous works recently called into existence by the 
 prevalent spirit of inquiry and research into the Ecclesiastical 
 Architecture of the Middle Ages, none has supplied such an 
 analysis of details as is absolutely essential, no less for the complete 
 abstract elucidation of the principles of this great art, than for their correct 
 practical application. The present work has been undertaken with a view to 
 supply this deficiency, by presenting a series of good and pure specimens of 
 the various details which occur in Church Architecture, as they are exemplified 
 in existing Edifices. The examples thus selected commence with the closing- 
 style of the Komanesque,* and range throughout the Gothick era, properly so 
 called. 
 
 The Authors, desirous to adhere in every respect to their plan of producing 
 a practical rather than an historical work on English Church Architecture, have 
 purposely avoided all notice and illustration of the Architecture of the Anglo- 
 Saxons. Many excellent treatises have been devoted to the investigation of the 
 style of building at this remote period, and much of both curious and valuable 
 information has been thus elicited. Saxon Architecture, however, though 
 abounding in materials for interesting research to the antiquary and historian, 
 is at best but rude and barbarous as a constructive system, and consequently 
 by the architect of the present day it cannot be considered as a guide 
 or authority. And indeed its successor, the Anglo-Norman, has but 
 very few, if any claims to our regard and adoption. That this style 
 
 * This term was first adopted by the Rev. W. Gunn, in his “ Inquiry on Gothic Architecture.” In a 
 note explanatory of this term, Mr. Gunn thus justifies its analogy : — “ A modern Roman, of whatever degree, 
 calls himself Romano, a distinction he disallows to an Inhabitant of his native city, who, though long domiciliated, 
 yet, from dubious origin, foreign extraction or alliance, he stigmatizes by the term Romanesco. I consider the 
 architecture uuder discussion (Norman), in the same point of view,” p. 80. 
 
 13 
 
VI 
 
 PREFACE. 
 
 possesses many features in themselves highly meritorious, we readily admit; 
 yet on the one hand, we trace it in all the impress of a lingering barbarism, 
 and on the other, true to its Roman prototype, it is shackled even in its 
 noblest efforts by the characteristick horizontali/y of Classick Architecture. 
 Indeed we do not find Mediaeval Architecture to have been absolutely set 
 free from the influence of debased ancient principles, until, with the complete 
 establishment of the pointed arch, the manifold elements of building had under- 
 gone an entire, although a gradual renovation. It was then that, in the Early 
 English style, Gothick Architecture attained to its first decided development. 
 
 With the same view to their practical usefulness, the examples given in 
 this work have been entirely derived from English Churches. Continental 
 Gothick, beautiful as it is in itself, and influenced by the same spirit with our 
 own, cannot be consistently associated with English details : each possesses 
 peculiarly distinctive features, which it is impossible to blend together without 
 serious injury to both. 
 
 It has also been a principal object of the Authors to collect their examples 
 from Parish Churches only ; and to this determination they have adhered with 
 very few exceptions. Cathedrals, and the large Abbey and Conventual 
 Churches, have been already amply illustrated, perhaps even to the detriment 
 of the art which it has been the object of such illustrations to advance : for, 
 from the want of proper information upon the subject of architectural details, 
 considered with reference to Edifices of various designs and magnitudes, we see 
 in many Churches of comparatively recent erection, numerous features 
 belonging essentially to our Cathedrals, and contributing in the very highest 
 degree to their appropriate decoration ; but which, from the necessarily 
 diminished proportions and general incongruity of effect, appear absolutely 
 ridiculous, when introduced into the architectural composition of the smaller 
 Edifice. 
 
 Any remarks, therefore, that occur in the course of the work, as well 
 as the illustrations themselves, must, unless otherwise stated, be understood 
 to have special reference to Parochial Structures. 
 
 The illustrative portion of the work will be found to have been divided 
 into two sections : of these the first is devoted solely to a full exposition of the 
 
PREFACE. vii 
 
 mason’s art in all its various branches ; while the second embraces a similar 
 elucidation of detail in the important accessories of wood-work and metal- 
 work. In the execution of the Plates, no less than in their selection, the 
 strictly practical character of the work has been uniformly kept in view ; 
 without aiming at pictorial beauty, the object has been to ensure the 
 greatest possible fidelity and accuracy of delineation : to accomplish this, the 
 authors have personally visited every Church from which examples have 
 been drawn, and have themselves taken the admeasurements, made the 
 drawings, and engraved them on zinc. Two subjects only form exceptions, 
 the one a floor-cross from St. Patrick’s Cathedral, Dublin, which they have 
 drawn from a rubbing kindly sent them by J. K. Colling, Esq. ; and the other, 
 the diapers upon the shield of Sir Robert dc Vcre, Earl of Oxford, a.d. 1221, in 
 the Church of Hatfield Broadoaks, Essex, for a rubbing of which the 
 Authors are indebted to the kindness of the Rev. Charles Boutell : to 
 whom they also have to offer their sincere acknowledgements for much 
 valuable assistance in the arrangement of their letter-press description. Had 
 the plates been executed by more practised zincographers, they would doubtless 
 have exhibited a higher degree of artistick treatment, and greater beauty of 
 finish ; but this, it was feared, might have involved the risk of some slight 
 inaccuracy, and thus have considerably diminished the utility of the examples. 
 
 The humble labours of the Authors have been sweetened and rendered 
 dear to them by the sincerest admiration for those noble monuments of piety 
 and skill, our English Churches; which even now, cruelly mutilated and 
 dishonoured as they often remain, are still foremost among the glories of 
 our land: and should their exertions in any way tend to encourage and 
 enhance sentiments of interest in the matchless Architecture of the Middle 
 Ages, their desire will be most fully accomplished. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
INTRODUCTION. 
 
 ERY shortly after the commencement of the second thousand years of the 
 Christian era, the Ecclesiastical Architecture of this country, as if preparatory 
 to the accession of a Norman dynasty, became assimilated to the peculiar form 
 of Romanesque then established in the Duchy of Normandy, and at the 
 present day distinguished among ourselves as the Anglo-Norman style. The first principles 
 of this style appear to have been introduced into England by Edward the Confessor, or 
 possibly by Canute, and by them applied to the construction of the numerous Churches 
 erected during their reigns : so that the rapid improvement in Church Architecture which 
 took place under the Norman princes, was in reality the development of a system fairly 
 established before the Conquest. That the Anglo-Norman architects raised their style to the 
 very highest degree of perfection to which it was capable of attaining, is most evidently shown 
 by many of their works which yet remain : still, intrinsically excellent as it became, there was 
 in its very essence that which necessarily involved its suppression. It appears, indeed, true 
 that Architecture shares in the general instability of things terrestrial : for by the working, 
 as it would seem, of some latent yet constraining law, one style, or one distinctive form of a 
 style, no sooner arrives at full maturity, than it is gradually superseded by some other form 
 or style, differing in a greater or less degree, yet still essentially differing. But besides the 
 influence of this inherent principle of change, the Anglo-Norman retained by far too much of 
 ancient classick architecture to admit of its permanent establishment. The low and massive 
 proportions, the ponderous and self-supported walls, the rectangularly recessed arches, the 
 square abaci and plinths, and the strictly superficial character of every decoration, — these 
 all spoke rather of a grander style in a state of debasement, of Roman degenerated to 
 Romanesque, than of a great style rising upward from its foundation ; of the Architecture of 
 the Middle Ages preparing to measure its strength with the Architecture of antiquity. And 
 again, in the Anglo-Norman the essentially aspiring and expansive character of Christian 
 Architecture was wanting ; at the best, there was something Basilican in it, — something not 
 far removed from a Pagan origin, though not itself actually Pagan. Therefore, in reviewing 
 
 c 
 
2 
 
 INTRODUCTION. 
 
 tlie Transition Period, which intervened between the final close of the Anglo-Norman and 
 the full establishment of the Anglo-Gothick styles, all regret for the passing style is more 
 than overbalanced by joyous contemplations of superior excellence in its successor. After 
 an Architectural struggle of unusually protracted continuance, during which the elementary 
 features of the new style appeared blended with the established characteristicks of the old, 
 Gothick Architecture assumed a definite form ; and at once gave full assurance of its 
 superiority, in the lightness, the elegance, the loftiness, and the spaciousness which dis- 
 tinguished the Early English style : — “ a style,” observes the author of the Manual of Gothic 
 Architecture,* “ so transcendently beautiful, so perfect in itself, that it may well be questioned 
 if ever a parallel to it has existed in any age or country, or if the hands that reared or the 
 minds that conceived the choirs of Ely and Lincoln Cathedrals, the Abbeys of Whitby, 
 Westminster, and Rivaulx, have not achieved that which, as unsurpassed by former ages, so 
 future generations shall never see equalled again.” 
 
 As the reign of the third Henry (A.D. 1216 — 1272) approached its close, certain 
 novelties, both of detail and combination, appeared in the works of Gothick Architects. 
 In place of distinct lancets, isolated by strips of the main wall in which they were pierced, 
 and yet combined by continuous dripstones and hoodmolds, windows of large dimensions and 
 divided into several lights by mullions, were introduced ; and with the mullions came 
 tracery-bars, filling the window-heads with various rich geometrical figures : — the alternation 
 of bold projections and deep hollows in the mouldings gave way to a system of grouping, 
 richer and far more beautifully blended : — shafts ceased to stand detached, or banded into 
 clusters, and became instead firmly compacted into a mass ; the bands, no longer of any use, 
 real or apparent, being suppressed : — foliage, ever a favourite Gothick enrichment, appeared 
 more closely studied from the natural tree or plant ; and instead of waving trefoils, expanding 
 from clustered and upward-tending stalks, the several leaves were disposed in a wreath-like 
 form, and made to encircle the member which they adorned : — more abundant and diversified 
 decoration also, began to overspread the several component members of a Gothick edifice, 
 imparting a finished richness to the whole. 
 
 Thus it was that the Early English gradually merged into the Decorated, — that most 
 admirable style, which has identified with the Edwardian era (abounding as it does in 
 matters of high historick interest) the perfection of Anglo-Gothick art. As this style 
 advanced, its several peculiarities assumed a very clearly defined distinctness of character ; 
 while, at the same time, the geometrical precision of its earliest form yielded to a pre- 
 dominance of fines, flowing with graceful undulations. 
 
 A tendency to direct verticality, placing itself in, perhaps, violent contrast with the 
 * A Manual of Gothick Architecture, page 230, by F. A. Faley, Esq., M.A. Yau Yoorst. 
 
INTRODUCTION. 
 
 3 
 
 Romanesque liorizontalism of the Anglo-Norman, had been in the Early English Gothick 
 the special characteristic of that beautiful style. In the Decorated Gothick, the principal 
 lines of the composition verged pyramidically, rather than vertically or horizontally. And, 
 to complete the series of changes in this fundamental principle, a third distinct period of 
 Anglo-Gothick was distinguished by the prevalence of perpendicular hues, crossed at right 
 angles by others of scarcely less importance than themselves. This last gorgeous style, from 
 the position of its leading lines denominated the Perpendicular Gothick, gradually supplanted 
 the Decorated ; as the mature, yet ever chaste and harmonious richness of the Decorated 
 had itself succeeded to a supremacy before enjoyed by the more youthful grace and 
 elegance of the Early English. For . a while the new style was content to retain much 
 that was characteristic of its predecessor, in combination with what was more especially its 
 own ; and of this, the first (or, historically speaking, the Lancastrian) period of the 
 Perpendicular Gothick, although certainly wanting in the majestick beauty of the pure 
 Decorated, it would be difficult to speak in terms of too high admiration. With the 
 depressed arch of the Tudors, however, came that multiplicity, profusion, and minuteness 
 of panelling, and other ornamental detail, which but too clearly indicated a decadence 
 in Arcliitectonick taste. A single retrograde movement in Architecture is almost always 
 a fatal symptom. Debasement, once admitted, speedily pervades the entire system ; and 
 then a period of utter degradation will intervene, before the art can again revive, animated 
 by its former exalted spirit, and capable of aspiring to even nobler achievements. 
 
 It has been thus with the Church Architecture of the Middle Ages : magnificent even in 
 decline, it spread over its last great works those elaborately fretted vaults of fan-tracery, as 
 monumental canopies, not unworthy of Gothick art : and then speedily came on the long and 
 dreary age of Architectural debasement. 
 
 Taking thus a retrospective view of the history of our Ecclesiastical Edifices, there is 
 much reason for associating with the past, both present congratulation and future hope : for 
 it is truly satisfactory to observe the existing recognition of the superior merit of Mediaeval 
 Architecture, as Church Architecture , and the prevalent anxiety to obtain correct views both 
 of its principles and of their practical application ; and from the actual existence of such a 
 state of feeling it is not unreasonable to anticipate that complete revival of the original 
 Gothick spirit, which may even lead to an Architectural perfection hitherto unknown. 
 But before advance can become practicable, it is indispensable that there be a recovery from 
 retrogression. The first thing to be attained is the mastery of Gothick Architecture, as it has 
 been practised. It is accordingly the object of these volumes, by conveying a clear and full 
 exposition of the various details of Church Architecture as they exist in our Churches, to 
 contribute, in however humble a degree, toward the attainment of this all-important pre- 
 
4 
 
 INTRODUCTION. 
 
 liminary step. And here it may be remarked, that undue importance must not he attached 
 to the terms Early, Decorated, and Perpendicular Gothick, as though they denoted so many 
 distinct styles in Church Architecture. " For convenience in studying, and also with a view 
 to simplify the process of classifying details, these terms have been invented and assigned, as 
 distinctive titles, to certain Architectural forms or periods : the forms and periods themselves, 
 however, are really but modifications and progressive eras of one and the same style ; and it 
 is most important that in this light they should be regarded. As it has been already 
 observed, “ the great principles and essential characteristicks of Gothick Architecture remained 
 unchanged, from the first establishment to the final suppression of the style : and hence, 
 though the several conditions of Gothick Architecture have led to its subdivision into styles, 
 each distinguished by a peculiar name ; still, these minor styles must, in the first instance, 
 be regarded as mere subdivisions, or rather as the more prominent transition stages of the 
 one great style, the Gothick”! Accordingly, notwithstanding that dates have been assigned 
 to these several subdivisions of Gothick Architecture, it is impossible to fix with absolute 
 and peremptory certainty where one stage of the art left off, and where another began. 
 There can be little doubt but that Early English was still in use in some parts of the 
 kingdom (unwilling to depart, as it were, from the scene of its many glorious triumphs) at 
 the very same time that, in other localities, complete Decorated was struggling into existence ; 
 and in like manner, Decorated may be observed to have still lingered here and there for a 
 considerable period subsequent to the time that is generally considered to mark the establish- 
 ment of Perpendicular. The usually received dates, therefore, of the cpmmencement and close 
 of the Early English, Decorated, and Perpendicular Gothick, in strict reality serve only to 
 indicate those minor stages of transition which intervened between the several more impor- 
 tant periods of Anglo-Gotliick Architecture ; and in this capacity they are very useful : 
 their utility is greatly increased also, from the circumstance of their ranging with the reigns 
 of successive sovereigns ; for the association of Architecture with history is always most 
 desirable. 
 
 In pursuing the study of Mediaeval Architecture, it is absolutely necessary to pass on 
 from written and illustrated treatises to original examples themselves. Gothick Art can 
 
 * This nomenclature, introduced by the late Mr. Kickman, has been retained by the Authors, as being in 
 itself sufficiently well adapted to its purpose ; while at the same time it possesses the very important advantage of 
 being generally recognized aud understood. And, in like manner, where words already exist which clearly explain 
 the different details of Architecture, they have uniformly been adopted ; but where such terms are wanting, free 
 use has been made of the nomenclature of the Middle Ages revived by Professor Willis. 
 
 t Lectures upon English Church Architecture, delivered before the St. Alban’s Architectural Society, by the 
 Eev. C. Boutell, M.A., Secretary. May, 1846. 
 
INTRODUCTION. 
 
 5 
 
 neither be so completely described, nor so illustrated by the pencil, as to convey any 
 adequate conceptions of its reality. It may, therefore, be held as an axiom, that personal 
 inspection of the old churches of England is the only mean, by which it can be possible now, 
 either to appreciate the genius of our Mediaeval architects, or to sympathize with the spirit 
 which animated them. But in carefully studying early remains, it is possible that even 
 experienced observers may sometimes be misled by a practice, the very existence of which 
 can scarcely be considered to have received a general recognition : the practice, that is to 
 say, of occasionally assimilating work in a later style to some already existing portion of an 
 incomplete general design. 
 
 This is a remarkable and highly important circumstance ; lying, as it does, at the very 
 basis of authoritative rules for restoration of original edifices by ourselves. And indeed, it 
 forms a strongly marked exception to the usual practice ; for it was a general rule with the 
 builders of the Middle Ages never to fall back upon a past era of their art, even when 
 engaged in completing structures of a bygone age. Influenced by a spirit, which in these 
 times it is scarcely possible yet to understand, their sole aim was advancement : one “ Master” 
 was ever anxious to surpass another ; and each sought, in any fresh design, to improve upon 
 his own previous works. It would seem that when engaged in repairing, or making additions 
 to their churches, the style then prevailing was invariably and boldly adopted : the architects 
 of those days trusted in the beautiful harmony which breathes throughout their great art, 
 and which they well knew must necessarily exist the same at any period of it. But when 
 they had to complete a design, left from the first imperfect, they appear to have been induced, 
 in some instances, to mold their work in such a manner as to maintain, in the general outline, 
 some degree of uniformity throughout the whole. 
 
 The grand and venerable Abbey Church of St. Alban preserves examples, no less 
 remarkable for diversity than excellence, of the proceedings of the “ Masters” of old. The 
 Nave, including the triforia and clearstory, was originally Anglo-Norman ; plain and massive 
 in the extreme, yet strikingly majestick in its austere simplicity. It would appear that when, 
 after a lapse of time, the early English Gothick was fairly established, it was determined to 
 alter the Nave to that style, and thereby improve it. The work of renovation accordingly 
 commenced, began at the west, and the design extended to the first four arches on the north 
 side, and the three corresponding ones on the south. We must imagine that for some reason 
 the works were suspended, and that an interval of several years elapsed before they were 
 again resumed : for when once more proceeded with, the style had considerably progressed, 
 and Early English Gothick was shortly to give way to Decorated. Two more of the Anglo- 
 Norman arches on the south side were rebuilt at this period, their general design being the 
 same, the strings, &c., corresponding with the earlier work, while a partial difference is 
 
 D 
 
6 
 
 INTRODUCTION. 
 
 observable in the moldings and other ornamental details. Again were the works discon- 
 tinued ; nor was any further effort attempted, with a view to the reconstruction of the 
 Church, until the Decorated Gothick had attained to almost the very highest degree of its 
 beauty and perfection. And here begins, correctly speaking, the work of assimilation. 
 Since the commencement of these improvements, Gothick Architecture had gradually under- 
 gone a remarkable change : so that it is very certain that, had not the architect been 
 desirous of assimilating his work to that of his predecessors, he would have adopted a design 
 very different from that which has actually been carried into effect. As it is, the general 
 character of the Early English pier-arches is here preserved, though the moldings of the 
 arch-heads, and the capitals of the piers, are pure Decorated. In the south triforium also, the 
 arrangement of both the arches and sub-arches of the arcade corresponds with the similar 
 members in the earlier work ; shafts (though no longer detached) are placed in the jambs, 
 and strings are continued above and below the arcade, in which the long traiLs of tooth- 
 ornament are superseded by a series of the square flower of four leaves. And again, the 
 walls of the clearstory (quite at variance with the practice of the time) are pierced with 
 lancet windows, in evident continuation of the original design : the proportions of these 
 windows are precisely similar to those in the adjacent Early English portion of the Church, 
 but their moldings are beautiful and pure Decorated. The corbel table also, beneath the 
 parapet on the exterior, is continued : but in the later portion of it, the Early English notch- 
 heads are seen to have given way to a series of male and female heads (valuable specimens of 
 the head-dresses of the period) and lions’ heads, peculiarly a Decorated ornament. 
 
 In Westminster Abbey Church this same curious process appears also exemplified, and 
 that in a manner still more remarkable, in the Nave-piers and arches, triforia and vaulting. 
 The eastern part of the Nave and Aisles was rebuilt between the years 1269 and 1307 ; and 
 the western portion was continued at intervals, between the years 1340 and 1483.' :: ‘ 
 The Early English character, however, has been so well preserved throughout, that in 
 many cases it requires a close inspection, and that by an experienced eye, before it is 
 possible to detect and authenticate the presence of Perpendicular work. Thus, the windows 
 in the Aisles erected by Henry V. are very decidedly of Early Decorated character : and it 
 might, indeed, be difficult to assign any reason, from the aspect of the work itself, which 
 would militate against their being classified as such, did not the customary octagonal and 
 molded cap of the Perpendicular period occupy the place of the corresponding circular and 
 foliated members which, had the windows really been erected some hundred years earlier, 
 would assuredly have surmounted the bowtels placed in their jambs. An equally character- 
 istick distinction is also observable in the plans of the Nave-piers of the two eras : in the early 
 
 * Neale’s History of Westminster Abbey. 
 
INTRODUCTION. 
 
 7 
 
 Perpendicular Nave Piee. 
 
 work, four shafts stand clearly detached from the main body of the pier ; but subsequently 
 the pier was worked with eight shafts, all equally attached to the central mass. This last, 
 
 though in reality but a trifling deviation from the original plan, 
 is nevertheless indicative of the altered fashion of the day, in 
 which detached shafts, once such a favourite feature, were entirely 
 discarded. 
 
 In the Nave of Westminster Abbey, as at St. Alban’s, in the 
 midst of this partial amalgamation of styles, one most important 
 member appears to have invariably rejected the slightest symptom 
 early English nave pier. of compromise, and maintained its characteristick identity : for, in 
 the treatment of their Moldings, we find that the architects of the fifth and sixth 
 Henrys have put aside all attempt at assimilation, and pursued with scrupulous 
 strictness the molding system of their own times.'"' It is, indeed, truly worthy of remark 
 how capricious these architects seem to have been in their adaptation, — jealous, apparently, 
 of returning to what was then felt to be an inferior style, yet at the same time anxious 
 to preserve and be guided by the conceptions of the original author of the general design. 
 It must be noted that, when introducing, for the general purpose of assimilation, a member 
 altogether foreign to their own style, the architects of the Perpendicular period disdained to 
 copy exactly the model : it was the original idea , and that idea alone, that they cared to 
 cany out ; thus, in the piers, they worked the bands of the thirteenth century with the 
 
 moldings peculiar to the fifteenth. The accompanying cuts, 
 both drawn to the same scale, show how fearlessly they 
 departed not only from the outline, but also from the size of 
 the original. And thus also in the triforia, the Early 
 English design is equally apparent in the former and latter- 
 portions of the work ; but the moldings in these respective portions 
 differ essentially, each being true to the style of its own period. Anil 
 again, although the groining is tolerably in keeping throughout ; in the 
 Aisles and in the later portion of the vaulting, the original spring and 
 
 Band to Nave Piers. 
 Early English. 
 
 Band to Nave Piers. 
 Perpendicular. 
 
 * It may not be out of place here to remark, that the architect in chief to our King Henry V., and the 
 probable author of the assimilations referred to in the text, was Alexander de Berneval, the builder of the later 
 portion of the Church of St. Ouen, at Eouen ; in which edifice is still preserved an Incised Slab of elaborate 
 workmanship, the memorial of his predecessor in that great and splendid work, as well as of himself. The effigies 
 depicted in this interesting monument are figured in the Bev. Charles Boutell’s Treatise upon Monumental 
 Brasses and Slabs ; and the entire tomb is represented by AVillemin in his Monuments Inedits, and also in the 
 description of the Church of St. Ouen by Gilbert. 
 
8 
 
 INTRODUCTION. 
 
 height of the ridge-rib have been preserved, -while to the elegant acutely pointed lancet of the 
 earlier groining, an obtusely pointed arch has been preferred ; which consequently it has 
 been necessary to stilt. 
 
 Scale of i ■ ' ■ ’ -i 
 
 Early English Arcade, Westminster Abbey 
 Church. 
 
 Pebpendicular Arcade, Westminster Abbey 
 Church. 
 
 In the arcading also, under the windows, we find another striking illustration of 
 the process we are describing. In the Early English portion of the Church, tliis arcading 
 was made such a prominent feature, that it was not deemed advisable to omit it in the 
 Perpendicular work : accordingly we find it has been continued quite round the Church ; 
 and although this mode of decoration had long since been disused, and supplanted by 
 the new system of panelling, still in this instance, in its main features it has been 
 revived, and made closely to assimilate to the earlier portion. On examining the moldings, 
 however, we again perceive how rigidly the distinctive peculiarities of the Perpendicular 
 
 Section on Line N N. Section or Cap at D. 
 
 style have been adhered to. This is especially to be remarked in the two capitals of which 
 we append cuts : the one a beautifully molded specimen of Early English work, the other an 
 equally good and pure Perpendicular example. The stilted and octagonal base of the 
 
INTRODUCTION. 
 
 9 
 
 Perpendicular shaft contrasts very forcibly with the low and unpretending Early English 
 base, each inchoative of the prevailing spirit in the Architecture of its respective age. 
 
 One more notable instance of assimilation may be mentioned : we refer to the Church 
 of Fotheringhay, Northamptonshire. The choir of this Church is supposed to have been 
 built by Edmund of Langley, fifth son of Edward III. ; and in 1435 (13th of Henry VI.) 
 Richard Duke of York, his son’s nephew, signed by commission a contract with William 
 Horwood, freemason of Fotheringhay, for the rebuilding of the Parish Church, on a scale 
 and in a style exactly corresponding to those of the choir.'" This contract, which is still 
 preserved, states that the said William Horwood “ graunts and undertakes to mak up a new 
 body of a Kirk joyning to the quire of the College of Fodringhey, of the same hight and 
 brede that the said quire is of,” and that in “eche Isle shall be wyndows of fre-stone, 
 accordyng in all poynts unto the wyndows of the said quire, sawf they shal no bowtels haf 
 at all and also that “ aither of the said Isles shal have six mighty botrasse of fre-stone, 
 clen-hewyn ; and every botrasse fynislit with a fynial, according in all points to the fynials 
 of the said qwere, safe only that the botrasse of the body shal be more large, more strong 
 and mighty than the botrasse of the said qwere.” Now here we have a document which 
 expressly states that in building the new body of the Church, the Decorated choir already 
 existing is to form the guide and be exactly copied ; and yet William Horwood, we must 
 imagine, was so entirely imbued with the Architectural spirit of his day, that even with 
 these positive injunctions before him, he still let the Perpendicular architect be visible in 
 almost every portion of his work. Truly, that our ancient builders should not merely have 
 limited their practice to one style, but actually to one period of that style, is remarkable 
 even among the many extraordinary facts connected with the Architecture of the Middle 
 Ages : such being the case, how can we wonder at the astonishing perfection at which they 
 arrived. It is in the piers that we may observe more particularly the assimilation to those 
 of the choir ; as in Westminster Abbey Church, with a plan of an earlier period they 
 combine an arrangement essentially Perpendicular : such is the stilted base, and octagonal 
 plinth and capital, with the intermediate continuous moldings, so common about this period. 
 Indeed, when we remember that the then existing choir had two aisles, we can easily 
 understand that if uniformity of design was sought after, it would be so more especially in 
 the piers and arches, as they form in a Parish Church the most striking internal features. 
 The arches in the nave are pointed, and of good proportion, and were probably made 
 conformable with those already existing in the choir. 
 
 From these examples, therefore, it is clearly evident that in reconstructing certain 
 portions of the fabrick of the larger Churches, it was an occasional practice with the Medieval 
 * Memoirs of Gothick Churches, published by the Oxford Society. 
 
 E 
 
10 
 
 INTRODUCTION. 
 
 architects to assimilate new work to old, so far as would tend to carry out the general 
 uniformity of an original design ; and it is highly probable that further researches will show 
 this practice to have been far more extensively adopted than at present is imagined. 
 Whether it was also followed in small village Churches, and if so to what extent, are 
 questions deserving a close and searching investigation.* Possibly many features whicli 
 occasionally present themselves, and which it is difficult to reconcile with the style in which 
 they occur, may result from some such an arrangement. Be this as it may, one thing 
 appears sure and invariable amidst whatever of uncertainty may arise from this practice of 
 assimilation ; and that is, that the assimilating process never extends to the moldings. To 
 however great an extent the earlier portion of an Edifice may have been subsequently copied, 
 
 these important members were always worked 
 in strict conformity with the ordinary system 
 prevalent at the time of their construction ; 
 and thus they will be found guides of the 
 greatest possible authority, as well for detecting 
 the application of this principle of assimilation, 
 as for determining the date of those Struc- 
 tures, or parts of Structures, which maintain 
 throughout an Architectural consistency. Such, 
 at least, is the conclusion fairly deducible from 
 all the instances, which the authors of these 
 volumes have examined. 
 
 Before adverting to their analysis of more 
 strictly Architectural details, the Authors here 
 remark, that monumental brasses may fre- 
 quently be studied by the architect with satis- 
 factory and beneficial results. The arrange- 
 memorials is almost invariably elegant and 
 effective ; wliile, in some examples, they display designs of most elaborate magnificence. 
 The annexed illustration is from the brass, in Westminster Abbey Church, of Alianor de 
 Bohun, Duchess of Gloucester, who died in 1399 . 
 
 * Mr. Paley, in his manual (p. 214), mentions that “ now and then the arches on one side of a nave were 
 rebuilt after the model of the other side ; as at Little Casterton Church, ltutland, where there are semi-circular 
 arches of the fourteenth century, evidently suited to others of the twelfth.” 
 
 ment of the canopies in these interesting 
 
AN 
 
 ANALYSIS 
 
 OF 
 
 IOTHICK ARCHITECTURE. 
 
 SECTION I— OF MASONRY. 
 
 1. WINDOWS. 
 
 TRACERIED window may be justly regarded as a peculiarly distinctive 
 characteristick of Gothick Architecture — its own grand conception, and most 
 beautiful enrichment. 
 
 Well aware of its remarkable suitableness for the display of both 
 artistic and constructive skill, the Mediaeval architects delighted to 
 exemplify in this one member, in preference as it would seem to all others, the versatility 
 and the power of their great art. Hence the astonishing diversity in their tracery, its 
 almost invariable grace and elegance, its just harmony of proportion, and imposing richness 
 of effect. It is, however, most certain, that Gothick windows are far from being specimens 
 only of Mediaeval genius, most admirable as these specimens are : for, upon a critical 
 examination, it becomes evident that they are regulated by certain general principles of 
 design, as well as of composition ; and consequently, the apparently capricious ramifications 
 and undulations of the stonework, are in reality no other than variously modified applications 
 of the same fundamental laws. 
 
 In now sketching out the origin of tracery in the heads of windows, its gradual 
 development and successive changes, we shall endeavour to illustrate the several more 
 prominently distinctive forms which at different periods it assumed, previously to entering 
 upon an examination of the rules by winch its construction may be considered to have been 
 governed. 
 
12 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 Possessing several important features, and being also characteristick of certain periods, 
 windows altogether devoid of tracery are the first to present themselves to our notice. 
 In the early Norman Edifices, and particularly in the small village Churches, the openings 
 for the windows were small and remarkably narrow, — indeed but little more than plain, 
 round-headed slits, pierced at as great a height as possible above the ground, in the 
 massive walls. Examples occur in Southease Church, and Steyning Church, Sussex, 
 takomebe^chcbch, Nately Church, Hampshire, and Stow Church, Lincolnshire ; in which the 
 entire window openings are between two and three feet high, and in width 
 do not exceed a few inches. These windows have a considerable internal 
 
 t splay, but externally their glazing is set almost flush with the wall-face. 
 Glass, however, being at that time an object of considerable scarcity in 
 England, many of these early windows do not appear to have been con- 
 ' f<r structed with a view to their being glazed; as may be seen at Waltham 
 Abbey Church, Essex, and Darenth Church, Kent, where evidently no provision was 
 originally made for fixing panels of glass. A shutter, probably, was designed to close 
 upon the rebate, winch sometimes may be seen worked externally in the masonry ; as at 
 Southease Church, Sussex.* These windows merely resulted from absolute necessity ; 
 and, accordingly, but slight attempts were made to render them subservient to decorative 
 purposes. Many examples are absolutely devoid of all ornament whatsoever. In Nately 
 Church, the east window of the apse is perfectly plain on the outside, without even a 
 dripstone ; and internally a very slightly indented saw-tooth molding appears over the arch. 
 The veiy early round-headed triplet at the east end of Darenth Church exhibits a few rude 
 and imperfect attempts at zig-zag and billet work about the heads of the lights on the 
 exterior (Section 1, Norman, Plate 2) ; over one light a dripstone may be noticed, but its 
 occurrenfce here would seem to be the result rather of accident than of design, as the two 
 other lights are without it. These lights are slightly splayed externally, and in the interior 
 their splay is very wide. 
 
 The windows in the south aisle of Waltham Abbey Church (Section 1, Norman, 
 Plate 3), though still very early, exhibit a considerable advance in decoration ; and in 
 their construction also, a new and important feature presents itself. The window-opening 
 is no longer flush with the outer wall, or withdrawn from it by a slight external splay : 
 here the opening is regularly recessed, and ornamented with jamb-shafts, having bases 
 and capitals, which carry an arch molded with the chevron : a dripstone worked with 
 
 * In Clymping Church, Sussex, all the windows in the Chancel, including the east triplet, are rebated 
 internally, and retain the hooks on which the shutters hung. A plan and two views of this Church are given in 
 the “ Parish Churches,” Yol. II. page 75. 
 
WINDOWS. 
 
 13 
 
 billets is also appended, and this member is continued from window to window by 
 horizontal returns similarly ornamented. These windows are themselves greatly increased 
 in size, and particularly in width as proportionate to their height. Beneath them runs 
 a string, which in the interior is simply molded, but externally is enriched with the saw- 
 tooth. 
 
 As the style advanced, the windows increased in both size and richness : the arches 
 were recessed in two or three orders, additional shafts were added, and a profusion of 
 the most elaborate carving ornamented the heads of the lights, in some cases extending 
 to the jamb-shafts and completely covering the innermost order of the masonry. In a 
 window in Stourbridge Chapel, Cambridgeshire (Appendix, Plate 1), the surface of the arch 
 is richly diapered. Iffley Church, Oxfordshire, presents some fine specimens of recessed 
 windows with jamb-shafts ; and here the chevron is continued from the arch-head down the 
 jamb masonry on either side. Amongst many others, the Churches of Castle Rising, 
 Norfolk, and Beaudesert, Warwickshire, may be specified as containing some rich and 
 valuable examples of windows of this style. Other admirable specimens will also be found 
 in that most interesting edifice, the Church of St. Cross, near Winchester. 
 
 In the clearstory it was a common practice to construct windows having larger 
 openings than those of the aisles, as in Steyning Church, Sussex ; where the aisle-fights 
 measure one foot only from jamb to jamb — while in the clearstory the same admeasurement 
 amounts to about 2 ft. 9 in. Internally, these clearstory windows (themselves consisting 
 each of a single light) commonly opened into an arcade of three arches — the centre one 
 being stilted. This arrangement displays a passage pierced in the thickness of the walls, 
 which traverses in front of the clearstory windows, and forms an upper triforium. It occurs 
 in Waltham Abbey Church (Appendix, Plate 1), in the Cathedrals of Oxford, Winchester, 
 and Norwich, and elsewhere. This same feature was continued throughout the transition or 
 Semi-Norman period : thus, at Hornsey Abbey Church a precisely similar arrangement 
 appears, with pointed in place of semi-circular headed arches. 
 
 Triplets, although occasionally introduced, are not characteristick of Norman work : 
 their most usual, as well as most beautiful, position would be at the eastern end of the 
 Building ; and as the common termination of a Norman Church towards the east was 
 apsidal, their rare occurrence is without difficulty accounted for. Circular windows are not 
 unusual ; as, indeed, appears but natural in a style expressly distinguished by its rounded 
 arches. In the earlier period they are mere openings, simply moulded, or perhaps orna- 
 mented with the chevron and other equally characteristick carving. A series of such 
 circular windows constitute the clearstory fights to the nave of Southwell Minster : and 
 again, in Waltham Abbey Church, the original arrangement appears to have been the 
 
 F 
 
14 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 same ; although at the present time, in consequence of subsequent alterations, it is difficult to 
 
 determine whether the existing remains were once actual openings, 
 or merely sunk panels. In the west front of Ifftey Church, a 
 Perpendicular window has been inserted : in this same position the 
 remains of a circular window of considerable size may, notwith- 
 standing, be distinctly traced ; and again, part of a similar window 
 yet remains in the west front of St. Botolph’s Priory Church, 
 Colchester. A small but perfect example, simply ornamented with 
 a band of nail-head, occupies the eastern gable of the Church of St. Cross ; and in Chichester 
 Cathedral and New Shoreham Church are other good examples, though both partake of a 
 transitional character. 
 
 At a late period of the Anglo-Norman style, it was usual to divide the openings of 
 circular windows with small shafts, radiating from a common centre. Good specimens of this 
 usage occur in the Churches of Barfreston and Patrixbourne, both in Kent.* 
 
 From the time of its first introduction until the final close of the Anglo-Norman style, 
 the pointed arch differed from the semi-circular headed arch merely in form — the general 
 characteristicks, details, and ornamental accessories of the two arches remaining the same. 
 It was also a common practice, anterior to the Gothick period, to introduce the two 
 forms of arch in close connection the one with the other, in the same Building, or part of a 
 Building. Thus, in Chichester Cathedral three pointed lancets appear arranged under a 
 single large semi-circular arch. In the triplet at the east end of Castle Hedingham Church, 
 Essex, the arches externally are pointed, while internally their heads are rounded : and again 
 in Barfreston Church, a pointed window is placed side by side with one that is rounded, and 
 the two are connected by a string continued between their dripstones. Semi-circular headed 
 and pointed windows are also inserted indiscriminately in the clearstory of Oxford Cathedral : 
 in all other respects, however, the details of these windows are precisely identical, and 
 essentially Anglo-Norman. 
 
 Forced into existence by the exigencies of construction,! a considerable space of time 
 elapsed before the peculiar faculties and beauties of the pointed arch were duly appreciated 
 or even discerned : and consequently, we find it to have been in frequent use, merely with a 
 view to produce an agreeable variation from the more general rounded form. The 
 
 * It is highly remarkable that these windows, thus divided, and bearing so close an approximation to tracery, 
 do not appear to have originated the idea of a traceried window-head. The circular window in St. James’s Church, 
 Bristol, is a curious instance of a near, but still purely accidental, approach to a complete piece of tracery. 
 
 t There can be little doubt but that it was in vaulting that the pointed arch was first introduced as a neces- 
 sary constructive form. 
 
WINDOWS. 
 
 15 
 
 pointed arch thus used may be distinguished as the pointed Norman arch, and this 
 period may also be correctly indicated by the term Semi-Norman : the period, that is, 
 intervening between strict Norman and pure Gothic — in which the grand feature of the 
 coming style appeared in association with the general characteristicks of that already in its 
 decline. 
 
 Fine specimens of the transitional character of this Semi-Norman period exist in the 
 ruined Churches of Buildwas Abbey, Salop ; Fountains Abbey, Yorkshire ; and Croyland 
 Abbey, Lincolnshire ; in the Chapel, also in ruins, of St. Joseph, at Glastonbury ; in the 
 Church of the Hospital of St. Cross, near Winchester ; and in the conventual Churches of 
 Malmesbury and Hornsey. From the circumstance, however, of the exact period of its 
 construction having been recorded by a cotemporary writer, as well as from its intrinsick 
 merit, the eastern part of the choir of Canterbury Cathedral justly claims a pre-eminence in 
 value and interest over all other remains of this period. Here, in the clearstory windows, a 
 remarkable deviation from both the pointed and semi-circular form is observable in the head 
 of the window-arches : the actual openings of these windows have trefoiled heads, each one 
 circumscribed by a semi-circular arch.* But this new form, notwithstanding its close 
 approximation to the heads of the lights in pure Gothick windows, clearly had no real 
 influence in the formation of tracery : its introduction, whether fortuitous, or resulting from 
 design, produced nothing more than another form of window-arch, and led directly to no 
 more important results.! 
 
 In the smaller Semi-Norman Churches, the windows appear to have frequently been 
 pointed, but in other respects constructed and ornamented after the Norman style. Several 
 good examples of this arrangement remain in the Chancel of Bloxham Church, Oxfordshire ; 
 and at the east end of the Chancel of Barnwood Church, Gloucestershire, is a single-light 
 window (from its great width scarcely to be called a lancet) with plain molded jambs, a 
 pointed arch, and dripstone ornamented with chevron-work.! It appears unnecessary to 
 refer to other examples of these transition windows ; we therefore here recapitulate the 
 more prominent features of the windows of the Anglo-Norman style : — 
 
 (1.) They were small, each consisting of a single light, semi-circular in the head, and 
 placed as highly as possible above the ground. 
 
 (2.) In the earlier examples the splay was entirely internal, and in many cases no 
 
 * The trefoil arch is also observable in the heads of doorways of this period. See subsequent article upon 
 Doorways. 
 
 t Professor Willis, in his admirable History of Canterbury Cathedral, fixes the date ol these windows 
 between A.D. 1175 and 1178; William de Sens, architect. 
 
 X See “ Parish Churches,” Yol. II. p. 71. 
 
16 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 preparation for glazing appears to have been made : later in the style the windows began to 
 be recessed, jamb-shafts with quaintly carved capitals were introduced as the supporters of 
 richly ornamented arch-moldings, and the openings were considerably elongated. 
 
 (3.) No decided indications of tracery had yet appeared : the wheel-windows of even the 
 Semi-Norman period, though possessing what might have been regarded as the germ of 
 tracery, were discontinued when the Early English Gothick became positively established. 
 
 On the first establishment of the Gothick style, little essential difference, beyond the 
 invariable adoption of the pointed arch, was apparent in the design and proportions of the 
 windows ; but as the style advanced, the development of Gothick details and accessories in 
 the windows gradually increased : the openings of the lights became, in most cases, narrower 
 in proportion to their height : a new and peculiarly characteristick principle of construction 
 was introduced in the heads of window-arches ; and, after a while, the juxta-position of 
 several distinct windows brought on the general use of mullions and tracery. 
 
 At its first introduction, and throughout the continuance of the Semi-Norman period, 
 the pointed arch was very obtuse, rarely becoming equilateral, and perhaps in no single 
 instance acutely pointed. In the Early English Gothick, on the contrary, the equilateral is 
 the usual form of the window-arch ; while in some cases, and more particularly in the 
 Cathedrals and larger Churches, we find the windows most acutely pointed, as at Lincoln 
 and Southwell Minsters. The single-light Early English lancet, in general use during 
 the first Gothick period, was of the simplest arrangement ; its very simplicity constituting 
 its peculiar charm. In these windows the glass was generally brought within three or 
 four inches of the outside face of the wall. (See plans, Section I. Early English, Plates 
 1 and 4.) In the interior the openings were widely splayed ; and consequently, in walls of 
 great thickness, this splay caused the width of the jambs to be, in most cases, four or five 
 times the width of the light. Now, if the arch of the window had been allowed to widen 
 inside with the jambs, besides the unsightly appearance which would have been produced, 
 it would have necessitated a much greater height in the walls of the Church than was 
 considered desirable by the Early English architects ; and hence arose a peculiar treatment 
 
 of the interior of windows, the general arrangement of which 
 consisted in having totally distinct arches inside and out : the 
 outer adapting itself to the peculiar character of the window, but 
 the inner being almost invariably a segmental pointed or drop- 
 arch ; the point of which, in many examples, was considerably 
 below that of the window itself, as in the south aisle of St. Alban’s Abbey Church. It will 
 be observed, hi this mode of construction, that the head of the lancet is cut out of a mere 
 slab a few inches in thickness, which is carried up internally till it meets the soffit of the 
 
WINDOWS. 
 
 17 
 
 clrop-arch. (See Section I. Early English, Plate 11.) The effect also of this treatment 
 of their lancets was to throw the light down into the Church, and leave the valley of 
 their high-pitched roofs in a state of semi-obscurity, an object they so evidently sought for 
 in their interiors. So characteristick was this arrangement considered, and also so peculiarly 
 effective in itself, that shortly after its introduction it was generally adopted even in windows 
 so placed as not to require its constructive advantages : thus, in gable-triplets, the combined 
 windows were very commonly finished in the interior with drop-arches (see Section I. Early 
 English, Plate 15) ; and, again, the same arrangement appears in the tower of Brockworth 
 Church, Gloucestershire (Section I. Early English, Plate 11), where the interior arch, though 
 segmental, is actually concentrick with the arch of the light. This last-named circumstance 
 is, indeed, of by no means rare occurrence in those positions, in which the drop-arch was intro- 
 duced rather as an essentially characteristick feature than a necessary constructive application. 
 As a matter of construction, this drop-arch is by far more secure than an arch sloping so con- 
 siderably as would have been requisite had the interior and exterior arches been concentrick. 
 We may here observe, that this arrangement, variously modified, continued to be in use in the 
 construction of windows throughout the Gothick style.'"' (See Section 1, Decorated, Plate 2.) 
 In some early examples we meet with a simple segmental arch inside, 
 connected with the lancet-head by rough and irregular masonry, 
 without any effort of design or systematick construction. 
 
 The proportions of Early English lancets vary to a remarkable 
 degree ; the fights being, in height, in some instances, as much as eleven 
 times their width, as in the Churches at Ounclle and Clymping ; 
 
 or ten times, as at Shorne Church (see Section I. Early English, Plates 1, 4, 7) ; 
 while, in other examples, as at Brockworth and Great Casterton, the height 
 of the lancets does not exceed five times their width. Eight, or perhaps nine 
 times their width may be regarded as a fair average for the height of these 
 lancet -windows when in their greatest perfection. 
 
 The instances are rare in which we find a Church still retaining the original 
 arrangement of its lancet- windows ; but in such cases we may generally remark, 
 that in the gables and in the north and south walls of the Chancel they are of 
 more slender proportions than in the other parts of the Edifice. 
 
 The reason for this is obvious : were the narrow proportions of the Chancel lancet 
 
 Tangmebe Church, Sussbx. 
 
 0 
 
 Mvnton Church 
 Rutlandshire. 
 
 * A contrivance of this kind was not necessary in the Anglo-Norman Churches, the windows being almost 
 invariably of much less height, and the walls in some instances comparatively higher. Where there was sufficient 
 height, even in the Early English period, in some examples the exterior and interior arches of the windows were 
 concentrick, as in the North Transept of Tork Cathedral. 
 
 G 
 
18 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 preserved in those placed in the less elevated walls of the aisles, the light thus obtained 
 would be altogether insufficient ; and hence appears to arise the general rule, that the 
 width of Early English lancets varies inversely in proportion to their height.* * * § Early 
 English lancet-windows occur either singly, or in groups of two, three, five, and seven ; but 
 combinations of four and six lancets are rarely to be found. Repton Church, Derbyshire, 
 furnishes an example of this latter arrangement : of the former, the east end of the 
 Chapel of St. Mary’s Hospital, Leicester, affords an instance. A single lancet is very rarely 
 placed at the east end of a Chancel ; nor is a similar window much less uncommon in a 
 western elevation. The eastern gable of the Chancel at Llanabar, Merionethshire, is 
 pierced with a single lancet : and at Little Casterton Church, Rutland, and Tangmere Church, 
 Sussex, are single lancets to the west.t Single lancets also appear in western towers, 
 in the Churches of Stanwick, Ringstead, and Etton, in Northamptonshire.^ The usual 
 position of single lancets is in the north and south walls of Chancels and Naves, and in the 
 east and west extremities of aisles. 
 
 In a small country Church, the arrangement of two single lancets, tall and narrow, 
 is productive of the most beautiful effect. This arrangement is sometimes seen to the east 
 of a Chancel, as at Great Casterton Church, Rutlandshire, and Tangmere § and Portlade 
 
 Churches, Sussex ; and commonly to the west, as at Barnwell, 
 Cambridgeshire. Couplets of lancets occur in the aisles of Churches 
 more frequently than in any other position, as at Little Wenham 
 Church, Suffolk, and Stoke Pogis Church, Bucks (Section I. Early 
 English, Plate 1), and Hythe Church, Kent : this probably results 
 from the same desire to obtain light, which caused the single 
 lancets in aisles to have a greater proportionate width than in 
 other positions. A lancet couplet also is commonly found in the 
 side walls of Chancels, as in the Churches of Great Wenham, 
 Suffolk, and Hartley, Kent (Appendix, Plate 2). 
 
 The triplet, at once the most characteristick and the most beautiful arrangement of 
 
 * The beautiful little Church of St. Michael's, Long Stanton, Cambridgeshire, retains the Chancel lancets 
 in nearly their original state; but in the aisles the original Endows have been altogether destroyed. Clyir.ping 
 Church, Sussex, may also be specified as containing most valuable examples of Early English lancet-windows. 
 Parish Churches, Vol. I. page 75. 
 
 t See Parish Churches, Vol. I. p. 1. 
 
 X Single western lancets sometimes may be seen in Semi-Norman Edifices, as at Manton Church, Kutland ; 
 and in a Church of a similar character at Barnwood, Gloucestershire, is a single eastern lancet. 
 
 § See Parish Churches, Vol. IT. p. 31. See also Section I. Early English, Plate 13. 
 
WINDOWS. 
 
 19 
 
 lancet-windows, generally appears to the east in the gable of the Chancel, and this may be 
 safely considered as its original position. Here its impressive symbolism is most appro- 
 priate, and also in most exact accordance with the spirit of the Early Gothick age. 
 Instances, however, occur, which authorize the introduction of the triplet into every possible 
 position in the walls of a Church, without in any degree infringing the general rule 
 of its peculiar applicability for the eastern extremity of the Chancel. Lancet-triplets 
 exist in the west front of the Church, at Werrington, Northamptonshire (a small picturesque 
 Edifice, having a double bell-gable over the Chancel-arch, but without any west door) ; at 
 the west end of the aisle, at Tinwell Church, Rutlandshire (Section I. Early English, 
 Plate 20) ; and at Warmington Church, Northamptonshire, it appears at the east end of 
 the aisle, and is also four times repeated in the south wall of the south aisle. At Great 
 Casterton, Rutlandshire, the side of the Chancel contains a triplet ; and at Stanton 
 Harcourt, Oxon, two triplets are pierced in either side of the Chancel. In the Cathedrals 
 and larger Churches, triplets were placed to the north and south in the transepts, and also 
 in a continued series in the clearstory ; frequently two, and sometimes even three, were 
 placed successively one above the other in gable walls, as at Whitby. In triplets it 
 was customary to mark with greater importance the central light, by giving to it 
 additional height, and in most cases increased width also ; this modification may be 
 satisfactorily deduced from the form of the gable, in which, as we have already remarked, 
 the triplets of lancets without doubt were originally placed. (Section I. Early English, 
 Plates I, 4, 7, 9, 12, 15, and 20.) Where, on the exterior wall, lancet-triplets art- 
 surmounted by dripstones, each lancet has its own distinct dripstone ; though, in most 
 cases, the three dripstones are united by short strings traversing between the lights. These 
 strings are generally placed at the springing of the arches of the two outer lancets ; and 
 consequently either the dripstone of the central light is stilted, as St. Bartholomew’s 
 Hospital, Kent (Section 1. Early English, Plate 1 5) ; or in some instances, as at Stanton 
 Harcourt, Oxon, the connecting string is interrupted by perpendicular returns, and again 
 continued horizontally to join the central dripstone at the springing of its own window-arch. 
 In some examples the three windows of a lancet-triplet are placed within a dripstone forming 
 a single arch ; and thus, though essentially and really distinct from it, they bear a strong 
 general resemblance to a single three-light window. The glass, in these combinations of 
 lancet- windows, is usually placed near the outer face of the wall, in the same manner as in 
 single lancets, and internally the three windows are widely splayed : in this last respect, no 
 less than when placed under a single dripstone, they produce a general effect closely approxi- 
 mating to a single window of three fights. This effect is, in the greater number of instances, 
 considerably enhanced by the narrow fillets of the wall, which intervene between the splays 
 
20 
 
 ANALYSIS OF GOTIIICK ARCHITECTURE. 
 
 of the windows, being faced with bold shafts, from which rise the combined hood-molds. In 
 both single lancets and triplets, and also in other combinations of this beautiful window, the 
 tooth-ornament is frequently introduced in long trails, in the molding of the window-arch, 
 or of the hood-mold : fine examples of this characteristick enrichment occur in the south 
 aisle of St. Alban’s Abbey Church.* 
 
 In Cathedral and other very large Churches, four or more lancet- windows of the same 
 height and width, were occasionally introduced in combination. In the less important 
 Buildings, and, also, in many instances in the larger ones, the lancets in combination are of 
 an uneven number, and are generally arranged after the same system as the triplet, — the 
 central window, that is, having both the greatest width and height, and the exterior window- 
 on either side the group being smaller than the inner pair. In these combinations of 
 lancets, exceeding three in number, the several windows are commonly surmounted by a 
 single dripstone, as in the Churches at Etton and Oundle, Northamptonshire (Section I. 
 Early English, Plate 7), where five lancets form the group. Seven lancets similarly 
 arranged but rarely occur : examples, however, exist in the Churches of Blakeney, Norfolk, 
 and Oakham, Surrey. 
 
 In place of the customary simple arch-head, in some examples of lancet-windows the 
 head of the light is foiled ; at Great Wenham Church, Suffolk, the eastern end of 
 the Chancel is pierced by a triplet of this character. (Section I. Early English, Plate 1 .) 
 This form of window-arch was in common use at an early period ; and in this, with its first 
 modification, a foliated lancet (see in the same Section, pi. 4, the example from Hangleton 
 Church), we see the germ of cusping, properly so called.! At Winnal Magdalen Church, 
 near Winchester (Appendix, pi. 2), the lancets display early and rude specimens of foliation 
 or cusping, in its primitive condition. To this style of cusping the distinctive title of soffit- 
 cusping lias been applied, from the circumstance of the cusps springing from 
 the soffit of the arch, and not, as subsequently was the invariable practice, 
 from the chamfer or slope of the arch-side. This soffit-cusping may be 
 regarded as a sure indication of early work ; and in most instances it is 
 characteristick of a transition from Early to Decorated Gothick. 
 
 In early cusped circles, a similar distinctive peculiarity is observable in the cusping : 
 here the foils are produced from the inner curve, without rising at all into the chamfer, and 
 thus no eyes whatever are formed ; or the foils themselves are chamfered, but the eyes are 
 
 * The tooth-ornament also appears on the exterior in some lancet-windows, as in the triplet in Tinwell 
 Church, Rutlandshire (see Section I. Early English, Plate 20) ; and in Warmington Church, Northants. 
 
 t Professor Willis derives the idea of a foliated arch from a compound archway, of which the first order is a 
 simple, and the second a foiled arch. 
 
WINDOWS. 
 
 21 
 
 imperfect ; their chamfer being restricted to their outer curves (B). 
 
 Another marked peculiarity in early foils is that, in place of being 
 segments of intersecting curves, they are formed from a series of 
 distinct circles, which all cut a larger circle inscribed within them. Traceiy, in the 
 cusping of which any of these peculiarities occur, is invariably of an 
 early, when not actually of a transitional period. The two windows hi 
 Meopham Church, Kent (Section 1, Early English, Plates 10, 11), 
 and also the windows of Evington Church, Leicestershire, illustrate this 
 early cusping.'"' 
 
 From the combination and cusping of distinct lancets, a single window divided by 
 mullions and tracery derives its origin. It is no less remarkable than interesting to 
 trace, as we are enabled to trace in existing examples, the gradual development of this 
 grand Gothick conception. Thus, as in Glapthorne Church, Northamptonshire, two lancets 
 were in the first instance placed side by side in a closer proximity than heretofore was 
 customary, and the spandrel between their heads was pierced by a simple oval-shaped 
 opening ; a second window in the same Church exhibits the lancets more acutely pointed, 
 
 No. 1. No. 2. No. 3. 
 
 Glapthorne Church. 
 
 with an opening of a lozenge shape in place of the previous oval, and the whole 
 enclosed within a common dripstone ; and in a third window a more decided advance 
 is apparent ; for in this composition, while the lancets remain the same, the oval has 
 been superseded by a circle with soffit-cusping forming a quatrefoil, and the plain space 
 in No. 1 has been converted into sunken spandrels. These three windows occui in 
 the south side of the Chancel of this interesting Church : and they exemplify, in a 
 manner perhaps unparalleled in any one similar Structure, the idea ol tracery being 
 conceived in the artist’s mind, and gradually worked out in three successive designs. 
 The window in Belgrave Church, Leicestershire, is another good specimen of this peiiod 
 (Appendix, Plate 3) : it is somewhat richer in moldings, but does not exhibit any advance- 
 
 * In Arreton Church, Isle of Wight, is a window with this description of cusping, where a stone rmg 
 connects and intersects the foils (Sharp’s Decorated At indows), thus illustrating in construction the formation oi 
 the foliations. 
 
 H 
 
90 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 meat in design. The windows in Houghton Church, Durham, are of precisely the same 
 character, with a very peculiar arrangement of dripstone.'" 
 
 The idea of several distinct lights with minor compartments of an ornamental 
 character, constituting a single window, was no sooner fairly recognised, than examples 
 of its practical application rapidly increased in both number and variety. The peculiar 
 aptitude for modification and variety which distinguished a window divided by mullions 
 and tracery, appears from the very first to have convinced the Gothick Architects that 
 in this member the essentially pliant character of Gothick Architecture might be most 
 signally displayed. Hence the almost countless multiplicity of designs and modifications 
 of each design, which were so speedily produced in the -windows erected after the first 
 introduction of tracery. 
 
 A two-light window with a quatrefoiled circle at the head of the lights was, as 
 we have seen, the first decided step towards the adoption of regular tracery. It was 
 a natural and easy advance to place two such windows in combination, and to pierce 
 with a larger circle the space enclosed by a dripstone forming a single arch above 
 
 them both : here appears, therefore, a four-fight 
 window witli its geometrical tracery. Then one of 
 the fights would, no less naturally, in some instances 
 be suppressed ; while under circumstances of a con- 
 trary nature, a fifth or even a sixth fight might 
 be introduced ; and in each of these cases some 
 alteration in the tracery must necessarily ensue : and 
 again, every such alteration would lead to the intro- 
 duction of fresh variety, and thus illustrate the facility with which window-tracery admits of 
 change, even whilst fettered by geometrick forms, without diminution either of beauty or of 
 consistency.! In the first instance, in these early windows, the cusping was for the most 
 part restricted to the geometrical tracery, the heads of the fights remaining plain ; but after 
 a while a similar enrichment was introduced at the heads of the fights, to the great 
 improvement of the entire composition : examples, however, remain, which show that, even 
 
 # Billing’s Durham. 
 
 t Etton Church, Northants (Parish Churches, Yol. I. p. 13), a pure Early English Structure, affords 
 some excellent specimens of early tracery. The windows in the aisles consist of two lancet lights, surmounted by 
 a plain circle, and all inclosed within a common dripstone : those in the Chancel are of the same design, but a 
 trefoil of soffit-cusping enriches the circle. At Ouudle the addition of a third light, and two head circles to a 
 similar composition, produces a three-light window. In St. Alban’s Abbey Church, a very fine three-light 
 window is the result of the same arrangement. 
 
 Al.nWINKLB Chubch, Nobthamptohsiuek. 
 
WINDOWS. 
 
 23 
 
 in large windows of many lights, cusping was occasionally omitted altogether.'"' The 
 circle, the original form of tracery, itself trefoiled and quatrefoiled, was soon modified by 
 distinct quatrefoils and trefoils ; and in many instances a reversed trefoil became the central 
 figure of the tracery in two-light windows, arid sometimes, as at St. Alban’s, in three-light 
 windows. In trefoiled circles also, the trefoil formed by the cusping is frequently reversed, 
 as at Meopham Church (Sect. 1, Early English, Plate 10). The trefoil appears to have 
 been a favourite arrangement of early cusping : two beautiful examples of its introduction 
 into single lancets, with the view to impart to them a traceried character, are given at 
 Section 1, Early English, Plate 8, from the Chancel of Raydon Church, Suffolk. In 
 Plate 13 of the same Section is engraved a singularly beautiful two-light window, also 
 from that Church. 
 
 During the progress of the development of window tracery, a change gradually 
 becomes apparent in Gothick Architecture itself ; and the observer is led to discover that 
 the first great period of the style has merged into its successor. In thus passing on 
 from Early English to Decorated Gothick, the only sure criterion for deciding upon the 
 windows of either, lies in the moldings combined with the cusping. It being a 
 
 necessary result that the works executed during a transition period should lose, in 
 
 a greater or a lesser degree, the general characteristicks of an established style, — 
 such works must be either regarded (as in strict reality they are) as transitional 
 specimens ; or their assignment to one or other of the successive periods between 
 which they appear, must depend altogether upon peculiarities in matters of detail. 
 Thus, the general design of two windows of geometrical tracery, may be precisely 
 identical : and yet, if the idea of transition windows be rejected, the one may be 
 correctly assigned to Early English, and the other with no less accuracy to Decorated 
 Gothick ; because of the moldings being essentially different, or because in the one 
 
 there may appear soffit-cusping, while in the other the cusping may expand from 
 the chamfer of the window-arch. For example, the windows in Stoke Albany Church 
 (Section I. Early English, Plate 17), in their general aspect might be reckoned pure 
 Decorated ; their soffit-cusping, however, more correctly classifies them with the Early 
 English period. And so also in the clearstory over the choir of the Abbey 
 
 Church of St. Alban, the composition is altogether Early English, but the moldings 
 partake more of a Decorated than of an Early English character.! In this transition 
 period it was customary to construct many windows of more than two lights, having 
 
 * See, in Sharpe’s Windows, an example from Grantham Church. 
 
 t It is, perhaps, impossible to consider these windows otherwise than as transitional, from the want of any 
 decided peculiarity of style. 
 
24 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 no other tracery than would be produced by the intersection of the midlions in 
 the window-head : a practice which was in some instances continued considerably later, 
 and forms the basis of a numerous class of Decorated windows. In some examples 
 of this arrangement the intersections are cusped, but very frequently they are entirely 
 plain, and consequently produce a meagre and unsatisfactory 
 appearance. Very different, however, is the result, when the 
 intersections of the mullions are filled in with quatrefoils, 
 trefoils, and other enriched forms of tracery : in these cases the 
 general effect is singularly beautiful and elegant, as is shown (ft 
 by the examples from the Churches at Southfleet and Heme, in |j| 
 
 Kent, and at Trumpington, Cambridgeshire (Section I. Decorated, Dcnt0!( basset, leicestkbshibe. 
 Plates 20, 2.0). 
 
 But, before entering F upon the direct consideration of Decorated Gothick windows, 
 one peculiar kind of tracery, common to the close of the Early English and the com- 
 mencement of the Decorated periods, demands to be particularly noticed : we refer to 
 that in which, contrary to the usual practice, the general design is indicated by foliations , 
 and not by foliated geometrical figures. This arrangement may be distinctly referred 
 to the trefoiled arches, adopted by the early Gothick Architects from their ADglo- 
 Norman predecessors, and is exemplified in the east triplet at Great Wenham Church, 
 Suffolk (see Section I. Early English, Plate 1). The windows in the south aisle of 
 Northfleet Church, Kent, are instances of considerable merit 
 (Section I. Decorated, Plate 1) : other examples occur in the 
 Abbey Church of St. Alban (Appendix, Plate 4), and in 
 Wooton Church, Northants.'" As Gothick Architecture ad- 
 vanced, this foiled tracery was almost abandoned, appearing- 
 only in occasional specimens, and then perhaps resulting rather 
 
 from accident than design :t a fine late example may be chcechdoww chubch, glopcestebshikb. 
 mentioned as existing in a Perpendicular window in Churchdown Church, Gloucestershire. 
 
 Neither may we here omit to notice the remarkable evidences which yet remain in 
 windows undoubtedly constructed during this transition period, of the manifold experiments 
 w r hich were tried and rejected before the perfect Decorated window was produced. 
 Thus, at Rickenhall Church, Suffolk, | the east window of the south aisle, which is 
 
 * This window is figured at page 125 of Paley’s Manual of Gothick Architecture. 
 
 t The windows in the Lady Chapel at St. Alban’s (Appendix, Plate 4) show the two kinds of tracery com- 
 bined in the same design. 
 
 J Parish Churches, page 45. 
 
WINDOWS. 
 
 25 
 
 Eyington Church, Leicestershire. Fig. 1. 
 
 decidedly of the same date with the other windows (temp. Edward I.), exhibits almost 
 every peculiarity of Perpendicular tracery : the main lights are cinquefoiled, and the widow- 
 head comprises batement-lights, super-mul- 
 lions, &c. ; all features directly at variance with 
 the general custom of the time. At Evington 
 Church, Leicestershire, in the north aisle are 
 two windows still more curious : of these, the 
 western window (Fig 1) might be regarded 
 as a fine specimen of flowing tracery, were it 
 not for its softit-cusping ; the invariable test 
 of early work : the ornaments, also, with which 
 it is richly studded, are a mixture of the 
 Decorated ball-flower, with the dog-tooth and 
 masks of the Early English period. The composition of the east window is even more 
 remarkable, and indeed contradictory (Fig 2) : it consists in its general design of a series 
 of equilateral-headed arches springing from small 
 shafts with delicately carved foliated caps of pure 
 Decorated character, and the upper part of the 
 tracery is divided by super-mullions and transoms 
 into two octo-foliated squares and a row of tre- 
 foliated batement-lights. Thus, in these two widows, 
 evidently both of the same date, are displayed pecu- 
 liarities characteristick of the three great periods 
 of Gothick Architecture : the Early English soffit- 
 cusp, the Decorated foliated cap, and the Perpen- 
 dicular super-mullion and tracery-transom. Such 
 phenomena afford ample scope for conjecture : shall we say that William of Wykeham 
 first introduced Perpendicular tracery, when we find every one of its essentials in a 
 window of the time of Edward I. \ Shall we not rather conclude, 
 that in their endeavours to arrive at perfection in tracery, the 
 early builders, in the course of their experiments, actually invented 
 Perpendicular tracery, proceeded to a partial development of its 
 peculiarities, and finally rejected it as unworthy \ 
 
 With the decided establishment of the principle of window- 
 tracery it became a recognised constructive arrangement to recess 
 the mullions from the face of the wall in which the window-arch was pierced ; and the 
 
 i 
 
 Evixgton Church, Leicestersire. Fig. 2. 
 
 Capital from East Window. 
 
26 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 fine effect thus produced was, as the art advanced, speedily enhanced by the introduction 
 of distinct orders of mullions, and by recessing certain portions of the tracery from the face 
 of the primary mullions and their corresponding tracery-bars. The distinct planes of tracery 
 and mullions thus produced, constitute one of the most beautiful features in Gothick 
 windows : four of these planes are well exemplified in the window from Heme Church, 
 figured at Plate 20, of Section I. Decorated : here are, first, the wall-plane ; second, the 
 mullion and tracery-bar plane ;* third, the tracery-plane, and fourth, the plane of the eyes 
 of the cusping.t This last plane sometimes coincides with the plane of the tracery ; and 
 again, in some examples there are primary and secondary planes of both mullions and 
 tracery-bars : all these modifications appear in the beautiful window of the north aisle of 
 Sleaford Church, Lincolnshire} (Section I. Decorated, Plate 26). 
 
 Decorated window-tracery has been generally divided into two chief varieties, Geometrical 
 and Flowing : the former so called, from strictly consisting, as its name implies, of geometrical 
 figures, such as circles, curvilinear triangles, lozenges, trefoils, quatrefoils, &c. ; while in flowing 
 tracery these figures, though still existing, are gracefully blended together in one design. 
 Of these two varieties, the geometrical is the earlier ; though it appears to have been 
 retained in use subsequently to the introduction of flowing tracery, and in many instances 
 both forms were used indifferently in windows of the same Edifice, and these erected at the 
 same period. Indeed, the two varieties of tracery are not unfrequently exemplified in the 
 same composition : for tracery, like almost every other feature of Gothick Architecture, 
 passed through its changes with such extremely gradual progress, that in many cases it is 
 absolutely impossible to carry out any complete rule of classification. 
 
 In its most perfect state, geometrical tracery invariably exhibits some large figure 
 of distinct and decided character, which occupies the entire upper part of the window- 
 head : this figure is generally either a circle, itself foliated and cusped, or subdivided by 
 smaller geometrical figures, in most cases similarly enriched ; or it is formed by tracery-bars 
 diverging from the head of the central light, in such a manner as to resemble the 
 upper portion of the window-arch inverted, and containing ornamental work of the same 
 
 # Tracery-Bars are those portions of the masonry of a window-head, which mark out the principal figures of 
 the design : from these, the minor and more strictly decorative parts of the stonework may be distinguished under 
 the title of Form-pieces. See Willis’s Nomenclature. 
 
 ^ A t For want of a better, the term eye has been adopted by the authors, to indicate the 
 
 \\\ small triangular space, whether pierced or not, which intervenes between a cusp and the 
 
 curve that circumscribes it. 
 
 + We occasionally, however, meet with instances where, probably from the great scarcity 
 a. a. the cy»sof» quatrefoii. of freestone, the mullions have been brought flush with the outer wall. 
 
WINDOWS. 
 
 27 
 
 Sawbbidgewoeth CavRcn, Heets. 
 
 character as the large circles." In some other designs three circles or three curvilinear 
 triangles (Section I. Decorated, Plate 2) of equal size, are introduced, and variously enriched 
 
 and modified. And 
 again, in other win- 
 dows the geometri- 
 cal forms are subor- 
 dinate to intersect- 
 ing curves (Sect. I. 
 
 Decorated, PI. 20) ; 
 
 or the entire tracery consists simply of one geo- 
 metrick figure (Section I. Decorated, Plate 8). 
 
 To enter into a full de- - 
 
 cottingiiam cnrBcn, No eth a m PTON sni e k . scrip tion of even t he chief of 
 
 the manifold variety of designs which appear in the windows of the 
 Decorated period, would greatly exceed the limits of this work : and 
 this is especially the case in windows of flowing tracery, which comprise 
 almost every possible modification of almost every possible design. It socthfleet, Kent. 
 must suffice to refer, in general terms, to the more distinctive peculiarities in tracery ; 
 leaving it to the illustrations to explain the details of upwards of one hundred specimens, 
 
 selected from all the principal varieties which are pro- 
 fusely scattered over the country. 
 
 In two-light windows, 
 the Early English arrange- 
 ment, frequently varied 
 and enriched, was for a 
 long time continued ; as in 
 the beautiful specimens 
 
 Kingstead Chbbch, Nobthamptonshike. from the OlllircheS at Holton St. Mast’s, Suffolk. 
 
 Northfleet and Roy don, figured in Plate 5, of Section I. Decorated. In other two-light, 
 windows in which the tracery-bars diverge from the mullion, describing curves similar to those 
 of the window-arch, the heads of the two lancets thus formed are filled with various tracery 
 (Section I. Decorated, Plate 3). Others, again, are of a character so very T peculiar, as to form 
 an absolutely distinct class from any we have yet noticed. They occur in the purest period 
 
 * See, in Sharpe’s Windows, specimens from the Churches of Rudston, York ; Billingborough, Lincoln ; 
 Howden, York; Exeter Cathedral; Fishtoft, Lincoln; Trent, Somerset; Wellingborough, Northants; Bipon 
 Cathedral, &c. Also Appendix, Plate 3. 
 
28 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 of the Decorated era, and are characterised by a remarkable angularity and abruptness of 
 outline : such are the windows in the Chancels of Chartham Church, Kent (Section I. 
 
 Decorated, Plate 22), Belgrave Church, Leicestershire, and Lyddington 
 Church, Berks (Appendix, Plate 4). “ The tracery is different in each 
 
 of these examples, but they agree in being dissimilar from all other 
 Decorated windows of the same date.’’* In other examples the heads 
 of two-light windows are filled with flowing tracery : — so endless, 
 st. Alban’s abbst chvbch. i n( 2 ee( T, are the varieties in this species of decoration, that we are as 
 much astonished at the great effort of imagination which could, in a comparatively short 
 space of time, produce such numerous designs, as we are gratified with the exceeding beauty 
 and appropriateness of the designs themselves. 
 
 Larger windows of three, four, and a still greater number of 
 lights, were produced by repeating, with certain modifications, the 
 same designs as were introduced in a simple state into two-light 
 windows. In many of these large windows a fine effect is produced 
 by the primary mullions and tracery-bars being very richly molded : 
 in some examples, as at Bottisham Church, Cambridgeshire (Section 
 I. Decorated, Plate 27), the rich moldings of the mullions are 
 continued throughout the entire composition. The mullions also, in many instances, have 
 shafts, with bases and capitals characteristically molded and encircled. In some specimens, 
 
 also, the ball-flower is introduced with admirable effect, stud- 
 ding the hollows of both mullions and tracery in rich pro- 
 fusion (Section I. Decorated, Plate 38).+ Specimens of some 
 of the most beautiful forms assumed by flowing tracery, are 
 given in Section I. Decorated, Plates 6, 7, 11, 12, 18, 26, 29. 
 To these may be added, as ranking amongst the finest 
 windows of the same class in England, the east window in 
 sawuuidgewoetu chcrch, Herts. Carlisle, and the west window in \ ork Cathedrals.^ 
 
 * Remarks on the Principles of Gothick Architecture, as applied to ordinary Parish Churches ; by the 
 Rev. J. L. Petit. 
 
 See also Bloxain’s Gothick Architecture, Ed. 8, p. 217 ; and Sharpe’s Decorated M indows, where is a 
 plate representing one of the windows in the north aisle of the ruined Abbey Church of Whitby, which 
 contains tracery somewhat of the same character with that of Chartham. 
 
 t See Parish Churches, Yol. I. p. 67 ; also Sharpe’s Windows, part 6, window from Leominster Church, 
 Herefordshire ; and Britton’s Gloucester Cathedral. 
 
 J See Sharpe’s Windows. 
 
 SOCTHFLEET Cai RCH, KENT. 
 

 WINDOWS. 
 
 21 ) 
 
 A class of windows are occasionally met with in the more mag- 
 nificent of our Churches, of which the rich and elaborate design fails 
 to entirely satisfy the eye, owing to the inelegant arrangement of the 
 tracery-bars. We refer to such windows as those in the north transept 
 of Sleaford Church, in the south transept and east of Chancel 
 of Heckington Church, in Selby Abbey Church,* and in the Chancel 
 
 of Redgrave Church, Suffolk. The diagram A represents the primary curves of the east 
 window of seven lights in Heckington Church, where we may notice 
 that two intersecting and irregularly shaped ogees form the principal 
 
 light window, on the contrary, as shown in diagram B, this arrange- 
 ment might be well carried out and create a very fine effect ; for here 
 the main lines throughout the composition would be equally balanced. 
 
 Amidst all the surpassing beauty of Decorated tracery, anomalies sometimes present 
 themselves to our notice, for which, while it is difficult to assign any reason, it would 
 be still more difficult to find admirers. For example, in the fine conventual Church 
 at Dorchester, Oxfordshire, is that curious and contradictory composition known as the 
 Jesse- window, in which the real use of tracery, and consequently its beauty, are together 
 lost sight of ; and where the mullions, branching out into various shapes, are made 
 to represent the tree of Jessed Again, scarcely less reprehensible is the introduction 
 into window-tracery of canopies and pinnacles, however beautiful in themselves, and 
 however richly they may be decorated. These members are designed to form an 
 external protection, and at the same time in their proper position to enhance the beauty 
 of window-tracery, but not to be interspersed amidst the tracery itself. Examples of 
 this arrangement occur in the otherwise fine east windows of Merton College Chapel, Oxon ; j 
 St. Alban’s Abbey Church ; Barnack Church, Northants ; and in the west window of 
 Henry the Seventh’s Chapel, Westminster. 
 
 One other kind of tracery, very common in windows of every variety of dimension 
 throughout the Decorated period, we must not omit to notice before passing on to 
 that great change, which has given its title to the last of the three periods of English 
 Gothick Architecture : we refer to the net-tracery, so named from its resemblance to the 
 meshes of a net. This, when double-cusped, as in the cloisters of Westminster Abbey, 
 
 * Sharpe’s Decorated Windows. + See Addington’s Dorchester Church. 
 
 X See Britton’s Antiquities, Yol. Y. 
 
 K 
 
 feature in the design, and by then’ awkward combination detract 
 from the merits of an otherwise beautiful production. In a nine- 
 
30 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 m 
 
 Ml 
 
 Wheathampstead Church, Debts. 
 
 is productive of great richness of effect : though at the same time, and particularly in 
 
 windows comprising more than three lights, it almost 
 invariably presents rather the appearance of diaper cut to 
 the shape of the window-arch , than of tracery specially 
 designed to fill the head of the arch within which it is 
 contained. This appearance results, in part, from the want 
 of variety in the several subdivisions of the design, but 
 more particularly from those portions of the tracery which 
 come in contact with the curves of the window-arch being- 
 cut off abruptly, instead of curving upwards to adapt themselves to their situation. 
 
 It also appears requisite here to refer to one other peculiar species of flowing tracery 
 
 common in continental Gothick 
 Buildings, but veryrarely indeed 
 to be found in this country. 
 
 From the flame-like undula- 
 tions of its tracery-bars and 
 form-pieces, this tracery has 
 been distinguished as Flambo- 
 yant. In England this term Flamboyant is restricted to form 
 or design in tracery ; but on the Continent the same 
 expression denotes not a peculiar style of window-tracery 
 alone, but the entire range of Gothick Architecture at a period 
 commencing with the decline of Decorated Gothick in 
 England. The term, however, can hardly be correctly applied 
 to English windows, inasmuch that however flamelike'"' their 
 tracery may be, they are still to be referred to the purest 
 period of Gothick Art, if we have recourse to that unfailing test, the moldings : whereas in 
 the real Flamboyant of the Continent (of which we append an illustration from a desecrated 
 Church at Rouen) the moldings show at once the debasement that has taken place. 
 Mullions finishing with an arris are perhaps never met with in Decorated work, though they 
 harmonize well with the general angularity of the Flamboyant. 
 
 Section of Jamb and Sile. 
 
 From a Desecrated Church at Koubn. 
 
 * That we should meet with many Decorated windows in our own country having flowing tracery, closely 
 resembling Flamboyant, is in no ways remarkable, if we consider this last-named style in the light of a 
 d ebascd Gothick, in which flowing tracery alone was preserved tolerably pure amidst the general debasement of 
 all its other parts. Indeed, tracery itself soon shared in the total wreck of good taste, which took place earlier 
 on the Continent than with us: losing all consistency in construction, it became distorted and unsightly. 
 
WINDOWS. 
 
 31 
 
 Ti'xstead Chuech, Norfolk. 
 
 Towards the close of the reign of King Edward the Third the outline of window-tracery 
 began to show a tendency to adapt itself to the vertical bearing of the mullions, instead of 
 branching off from them in flowing undulations. This, the death-blow to flowing tracery, 
 and with it to Decorated Gothick, gave rise to a new variety, at present known, in 
 common with the period of Gothick Architecture during which it prevailed, as Perpen- 
 dicular. Here, however, as in the previous changes, the alteration was very gradual ; 
 consisting at first, rather of the introduction here and there of a perpendicular member 
 into compositions in other respects strictly flowing in their cha- 
 racter, than of any decided vertical ity in entire designs. Thus 
 in the east windows of the Churches of Houghton-le-Spring, 
 
 Durham ; St. Mary, Stratford, Suffolk ; Charlton- on -Otmoor, 
 
 Oxford, and in the south aisle of Tunstead, Norfolk, a perpendicular 
 tendency is apparent in parts of the tracery (Section I. Decorated, ^ 
 
 Plate 9). The north and south windows in the Chancel of Wheat- 
 hampstead, Herts, also, are curious examples of the gradually progressive influence of the 
 vertical principle. In the Church at King’s Sutton, Northants, is another window of 
 transition tracery. The earliest examples in which the leading principle of the new style of 
 tracery is completely carried out are, probably, those of William of Wykeham, in the nave of 
 Winchester Cathedral, and the corresponding windows in the Church of St. Nicholas at 
 Lynn, Norfolk ; here the mullions rise through the window-head into the curves of the 
 arch. This continuation of the vertical bearing of the mullions is the basis of all 
 Perpendicular tracery : and though, as the Perpendicular period advanced, the application of 
 this fundamental principle was earned to such an excess as to degrade tracery into mere 
 panelling, and almost to destroy the characteristick qualities of the mullions themselves, 
 still for a while it must be admitted that Perpendicular windows possessed features of great 
 interest and beauty. In these earlier specimens of this style, the window-head is 
 generally divided by tracery-bars rising direct from the mullions into the arch, and also 
 by other similar members branching off from the same mullions and describing curves 
 corresponding with those of the main arch. The principal compartments thus formed are 
 again subdivided by form-pieces, variously arranged and modified, but for the most 
 part having a vertical tendency. These members, from their bearing and position 
 denominated super -mullions, generally rise alternately from the heads of the main lights, 
 and from the actual mullions ; and thus they divide the head of the window into double 
 the number of lights contained in the lower part. (Section I. Perpendicular, Plates 
 5, 13, 16‘, 18, 23, &c.) The heads of the main lights are almost invariably cinquef oiled ; 
 whereas in the Decorated period the tref oiled heading of the lights was so prevalent 
 
32 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 as to constitute a characteristic^ of the style. Above each exterior light, or of those 
 main subdivisions which are formed by tracery-bars following the curves of the window- 
 arch, a compartment of tracery is produced by a minor tracery-bar following the same 
 curve, while an inverted arch, foliated, is placed within the space thus formed. This is a no 
 less beautiful than peculiar feature of the finest Perpendicular tracery : it prevails in 
 William of Wykeham’s work in Winchester Cathedral, and is also exemplified in the 
 beautiful windows in the south transept of Beverley Minster,* in the north transept of 
 Merton College Chapel, Oxford ;t in Ashborne Church, Derbyshire Headcorn Church, 
 Kent ; and St. Mary’s Church, Oxford.^ 
 
 The transom, which had been occasionally used during the Decorated Gothick period, 
 and then generally consisting of a simple horizontal mullion, crossing the fights at right 
 
 angles, speedily became a regular component of 
 Perpendicular windows : this member dividing 
 the fights into an upper and lower series ; and 
 the heads of the fights in either series being 
 similarly foliated. Instances are frequently met 
 with in which the transoms are embattled, as in 
 the Church of St. Mary Magdalen, Wiggenhall, 
 Norfolk : this Church also exemplifies the use of 
 an embattled transom in the tracery. For another 
 specimen of an embattled tracery-transom, see 
 Section I. Perpendicular, Plate 18 . A rich, though 
 perhaps a scarcely legitimate, effect was sometimes 
 ashbt St. legkk-s cuuecu, nobth.mpton.su, be. produced by cusping the fights of the upper series 
 
 at the foot as well as at the head, and uniting them with those of the lower series, without 
 any intervening transom-bar. A modification of this arrangement appears to have produced 
 the panelled windows at the west of Winchester Cathedral, and Westminster Abbey Church. 
 
 Perpendicular tracery continued to degenerate in character from an early period after 
 its first introduction, until its utmost effort appears to have been the production of the 
 largest possible window containing, in lieu of tracery rightly so named, the greatest number 
 possible of small pierced panels. Nothing can be more monotonous, or more devoid of all 
 beauty or effectiveness, than this glazed panelling. 
 
 * See Britton’s Antiquities, Yol. Y. 
 
 t See Ingram’s Memorials of Oxford, and Bloxam’s Gothick Architecture. 
 
 $ See Bloxam’s Gothick Architecture. 
 
 § See Oxford Glossary, Yol. II. 
 
WINDOWS. 
 
 33 
 
 With the progress of the Perpendicular period, a remarkable change took place in the 
 form of the window-arch : and indeed long before other parts of Perpendicular structures 
 felt its destructive influence, the four-centred arch was in general use in the formation of 
 windows.* In the tracery of windows constructed with the four-centred arch, if any degree 
 of richness was attempted, it became a general practice to carry it considerably below the 
 springing of the arch. Possibly from this 
 arrangement, the idea of tracer ied - transoms 
 might have been derived.! 
 
 In this period many windows were con- 
 structed of such ample size, as entirely to fill 
 the end of that portion of the Edifice in which 
 they were placed ; as at Winchester, York, 
 
 St. Alban’s, &c. This vast extent of window 
 
 Blackf.net Church, Norfolk. 
 
 was produced (in accordance with the laws of Gothick Architecture) not so much by 
 increasing the size of the fights, as by adding to their number : thus the west window of 
 Henry the Sevenths Chapel contains fifteen fights, and those at Winchester, St. Alban’s, 
 and York, each nine fights. 
 
 Nearly every possible variety of arch appears to have been used in the construction of 
 window-heads. As we have already seen, the pointed arch was the 
 almost invariable shape adopted in the Early English lancets ; 
 occasionally, however, as in Thanington Church, Kent 
 (Appendix, Plate 2), we meet with square-headed tre- 
 foiled lancets. The accompanying illustration is the 
 north lychnoscopickj window from Westhamptnet 
 Church, Sussex. The one from Thanington Church 
 occurs in the north side of the tower. 
 
 Far.vdish Church, Bedfordshire. 
 
 Westhamptnet 
 Church, Sussex. 
 
 * We occasionally meet with Decorated windows with four-centred arches, as in Deopham Church, Norfolk, 
 t This arrangement is not uncommon in Decorated windows, though by no means so frequent as in 
 those erected during the closing years of the Perpendicular period. See Section I. Decorated, Plate 13 ; also 
 the beautiful window figured by Sharpe, from Billingborough, Lincoln. Other specimens occur at Herne, Kent, 
 and Evington, Leicestershire. 
 
 J The term lychnoscope has been applied to a very peculiar window, to be found in Gothick Churches ot 
 all the different periods : most frequently it is placed at the south-west or north-west of the Chancel, and the 
 sill is generally brought much nearer the groimd than in any of the other windows. Temple Balsall Church 
 affords an example of one to the south-west (Parish Churches, Yol. I. p. 15). It is still more frequent that 
 both the north-west and south-west windows are of this description, as in the Churches of Y esthamptnet, Kay don 
 
 L 
 
ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 SOCTHFLEET ClICBCH, KbNT. 
 
 At the close of the Early English, and throughout the Decorated Gothick period, the 
 window-arch in most frequent use was the equilateral; and this is always the most 
 beautiful form. Other window-arches which occurred dining the Decorated period, were the 
 
 acutely-pointed, the obtusely-pointed, the ogee, the segmental- 
 pointed, and the segmental-circular. The 
 ogee arch is not of frequent occurrence, 
 nor is it often productive of a good effect : 
 the segmental-circular is very rare. The 
 Brandon chubch, Norfolk. square-headed arch was very generally 
 in use at this period : all the windows to the south aisle of Leckampton Church are of this 
 description (Parish Churches, Vol. II. page 65). The tracery in these windows is sometimes 
 
 very good and rich, as in Harbledown C hurch, Kent 
 (Appendix, Plate 6), and Roydon Church, Essex (Sect. I. 
 Decorated, Plate 13). Triangular-headed windows are occa- 
 sionally to be met with, but they 
 are defective both in grace of out- 
 line and soundness of construe- 
 DICK., chirch, likcoln»i.b. tion. The example from Keymer 
 
 Church, Sussex, is another curious instance of the never-ceasing search after improve- 
 ment, in its course naturally producing some such extraordinary designs as the present, 
 which is not instanced as a fit example for imitation. It may be considered as a link 
 between the several successive changes in Gothick Architecture, — comparing it with the 
 square-headed window from Southfleet, w r e can clearly identify it as a modification of the 
 
 (Sect. I. E.E. Plate 8), and Clymping (Parish Churches, Yol. II. p. 75). Very rarely are windows in other 
 parts of the Church thus treated. Aldwinkle Church, Northamptonshire (Parish Churches, Yol. I. p. 51), may 
 perhaps furnish an example of one at the west of the south aisle. Sometimes a separate opening in the wall was 
 expressly provided, as in Crick Church, Northamptonshire, where we find a quatrefoiled circle ; or in Bishop’s 
 Lydeard Church, Somersetshire (Parish Churches, Vol. II. p. 63), where the wall of the south Chapel, which 
 apparently was subsequently added, is splayed so as not to block up the lychnoseope. 
 
 The real use of these curious openings in the walls of the Chancel (for, as we have seen, they are almost 
 exclusively to be found in this part of the Church) is still a “ vexata qusestio” among Ecclesiologists : of the 
 various uses to which they have been supposed to have been devoted, such as confessionals, openings to 
 watch the Easter Sepulchre, lepers, windows, &c., none seem to adapt themselves entirely to the different 
 peculiarities of the case : at any rate we feel that no apology is necessary for not entering into a discussion 
 which, though highly interesting, is no ways in accordance with the nature and objects of the present work- 
 We would refer to some very instructive notices of this subject in the “ Ecclesiologist,” Yol. V. p. 164 and 
 ]K7 ; Vol. VI. p. 40; and Vol. VII. p. 65. 
 
WINDOWS. 
 
 35 
 
 former, by the omission of the two spandrels. Triangular windows were comparatively 
 rare, except in clearstories : the example from (Nottingham Church, Northamptonshire, occurs 
 at the west end of the south aisle. 
 
 All these arches were continued, with the exception 
 perhaps of the acutely-pointed and the ogee, in the Perpen- 
 dicular era, with the important addition also of the four- 
 centred arch. In very late windows, of this last named 
 style, a label 4 ' sometimes took the place of a pointed drip- 
 stone or hood-mold ; and in this case, the spandrels, as at 
 Monksilver Church, Somersetshire, were occasionally pierced 
 and glazed. Square-headed windows were in constant use 
 in the Perpendicular, as well as in the preceding periods : of these several specimens are 
 appended. Circidar windows also occasionally appear, but this beautiful form is by no 
 means common in Gothick Edifices in this country. 
 
 Cottingham Church, Noethants. 
 
 CLEARSTORY WINDOWS, 
 
 Which are almost essential features in Perpendicular Edifices, were of comparatively 
 rare occurrence at an earlier period. The Anglo-Normans used them much more 
 frequently than did the architects of either the Early English or the Decorated eras : 
 thus, at Steyning Church, Sussex, we observe Anglo-Norman clearstory windows 
 placed singly ; while they form arcades at St. Margaret at Cliffe, Kent, and St. 
 Peter’s, Northampton. At Southwell, as has already been remarked, the clearstory 
 windows are circular. In early English Churches the clearstory but rarely formed 
 a part of the design, except in the Cathedrals and other large Structures. Salisbury, 
 Ely, Lincoln, and St. Alban’s, have Early English clearstories ; and in Warmington 
 Church, Northants, we find this feature consisting of a series of two-light windows.! 
 Clearstories in the smaller Churches of the Decorated period were usually lighted 
 
 * The term Label (borrowed from Heraldry) exclusively denotes a horizontal string with rectangular 
 returns : and the terms dripstone and hood-mold, severally refer to exterior and interior strings which enclose 
 arches or openings. These terms are often, but most incorrectly, used indiscriminately, 
 t See Parish Churches, Vol. I. p. 17. 
 
36 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 On * foot 
 
 Filby, Norfolk. 
 
 by a series of quatrefoiled circles. Examples of this arrangement occur at Meopham, 
 Kent ; Filby, Norfolk ;* * * § and Great Milton, Oxfordshire. At Garsington, in Oxfordshire, the 
 circles have six foils ; and at Stanton St. John, in the same county, in place of circles, 
 the clearstory lights are triangular and with five foils.! In 
 the exquisite Decorated Gotliick Church at Cley, Norfolk, the 
 clearstory consists of double-cusped cinquefoiled circles, alter- 
 nating with single lancets. At Bottisham Church, Cambridge- 
 shire, a series of finely molded two-light clearstory windows 
 
 Svzlt of ftil 
 
 mropham chuech, Kent, occur ; and at Raunds, Northants, a similar series approximates 
 more nearly to the subsequent period — the Perpendicular.! 
 
 From the introduction of Perpendicular Architecture to its decline, the clearstory was 
 almost invariably introduced into all new Churches ; and very frequently (to the great 
 detriment of their beauty) was added to those Edifices which had been previously 
 
 constructed. Bishop’s Lydeard Church, Somerset, is one of the 
 rare examples of a Perpendicular Structure devoid of this feature.^ 
 In smaller Churches, two-light and three-light clearstory windows, 
 with square heads, were in common use, as at Humberstone 
 Church, Leicestershire ; and similar windows segmental-pointed, 
 as at Histon Church, Cambridgeshire. As the period advanced, 
 clearstories became much more important members of the 
 hi/mbhstone chiech, leicebtf.bshiee. compositions into which they were introduced; and the several 
 windows being placed in close connection the one with the other, they frequently exhibited 
 a considerably larger surface of glass than actual walling. Of this arrangement the Churches 
 of Lavenham and Long Melford, in Suffolk, afford truly magnificent examples : in other 
 Churches, however, of about the same date, the clearstory destroys the whole beauty of the 
 Building by its monotony and apparent insecurity. At Melton Mowbray the clearstory 
 over the nave is pierced by twelve large three-light windows, which are also continued 
 round the north and south transepts. 
 
 WV 
 
 * See Parish Churches, Yol. I. p. 37. 
 
 f See Oxfordshire Churches. 
 
 + See Parish Churches, Yol. I. p. 09; also Northamptonshire Churches, Yol. I. p. 59. 
 
 § See Parish Churches, Yol. I. p. 63. 
 
37 
 
 BELFRY WINDOWS, 
 
 In Norman Structures, generally consisted of a doubled semi-circular arch, divided by a 
 shaft : or in richer designs, parts of the panelling were 
 pierced for this purpose, as at St. John’s Church, Devizes. 
 
 Another not unfrequent arrangement is exemplified at 
 Iffley, Oxon ; where two panels are formed upon each 
 face of the tower by two external strips of masonry and 
 one central strip, and a recessed window of a single arch 
 occupies each of the panels. In Semi-Norman towers the 
 double arch with a central shaft is retained, as at Dudding- 
 ton, North ants,* * * § and Repps, Norfolk. The same arrange- 
 ment was continued throughout the Early English Gothick 
 period, with such modifications as the new style demanded : 
 examples occur in the Churches at Etton and Barnwell, 
 
 Northants.t In the last-named Edifice, the belfry windows are richly ornamented with 
 foliage and dog-tooth. In the more important towers of this period, a pierced arcade 
 was also a common arrangement, as at Raunds, Northants.j And again, in this, and 
 also in the succeeding period, the belfry windows consisted of a series of small quatrefoiled 
 circles, one pierced in each face of the tower, as at St. Mary’s Cray, Kent, and Lindfield 
 Church, Sussex (Section I. Early English, PI. 4). In the Decorated period, a single 
 two-light window in each face of the tower was the most usual arrangement, as at 
 Badgeworth, Gloucestershire. In the fine Decorated Gothick tower of Southfleet Church. 
 Kent, the belfry lights are four single lancets, each trefoliated at the head.§ At Heme 
 Church, in the same county, two similar lancets occur in each face of the tower ;|j and in 
 the large and magnificent church of St. Mary, Redclyffe, Bristol, the upper stage is divided 
 into three compartments, each containing a fine three-light window. In Perpendicular 
 Gothick Edifices, the belfry windows differed from those of the preceding period rather 
 
 * Parish Churches, Yol. I. p. 5. The tower at Repps is one of the circular flint Structures so common in 
 Norfolk: in this example, however, the flint-work is headed by an octagonal stage of ashlar, forming an arcade 
 which is pierced towards the cardinal points with shafted double belfry windows, of strictly Semi-N'ormau 
 character. 
 
 t See Parish Churches, Yol. I. pp. 13 and 31. 
 
 X See Parish Churches, Yol. I. p. G9 ; and the Churches of Northamptonshire, Yol. I. p. 53. 
 
 § See Parish Churches, Vol. I. p. 19. 
 
 || See Parish Churches, Yol. I. p. 7. 
 
 Xetthatis Church, Sussex. 
 
38 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 in points of detail, than in general design. In Churches of moderate size, a two-light belfry 
 window in each face of the tower was the usual arrangement ; while in more important 
 edifices two windows* * * § were similarly placed. In the latter case the general effect was 
 considerably heightened by a buttress rising up between each pair of belfry windows, and 
 being crowned by a light and lofty pinnacle. The towers of the Churches of St. George, at 
 Doncaster ; of St. Margaret, at Leicester ; and at Bishop’s Lydeard, Somersetshire,! are 
 good examples, each containing a series of double belfry windows ; and a similar series also 
 occurs in the noble tower of Magdalen College Chapel, Oxford. 
 
 The towers of many Churches in Norfolk and Suffolk contain a peculiar window 
 deserving of notice. It lights the floor of the ringing loft ; and usually consists of a 
 square enclosing a foliated circle, or some other geometrical figure. Some specimens of 
 this window are given in Section I. Perpendicular, Plate 22. In the Early English towers 
 of Northamptonshire, a circular window of this same description is also very frequent ; and 
 it is used for the same purpose. Examples occur in the Churches of Barnwell and 
 Aldwinkle.J Similar windows of the same period appear in the Church towers of Leicester- 
 shire, as at Humberstone Church. At Section I. Semi-Norman, Plate 5, is figured a window 
 curiously situated : it is pierced through the south and east buttresses of the tower of 
 
 Clymping Church, Sussex ; the detached chevron, which is carried 
 round the opening, imparts considerable richness to its pleasing 
 proportions.^ The window in the west of the tower of H unworth 
 Church, Norfolk, is of very singular design : it is exceedingly 
 difficult to assign a date to it, and at first sight it presents the 
 appearance of a very early gable Cross, built into the wall of the 
 tower ; || the rough terminations of the four arms, however, show 
 that this was not the case, though it is more than probable that a 
 gable Cross suggested the idea. 
 
 * Windows of three lights, so frequently occurring in the body of the Church, appear to have been sparingly 
 used in belfries. In towers of great magnificence, two double lights under one arch was a more usual arrange- 
 ment, as in St. Margaret’s Church, Leicester. 
 
 t See Parish Churches, Yol. I. p. G3. Also see Bloxam’s Gothick Architecture, Ed. 8, p. 236. 
 
 X See Parish Churches, Yol. I. pp. 31 and 59. 
 
 § See Parish Churches, Vol. II. p. 75. 
 
 j| See gable Cross from Edith Weston Church, Rutlandshire, Section I. E.E. Plate 16. 
 
 Hunwokth Church. 
 
39 
 
 TURRET LIGHTS. 
 
 No part of an ancient Building, not even the minutest detail, was considered by the 
 builders of old as unworthy of their attention : accordingly we find that these small 
 openings for lighting a turret staircase frequently displayed considerable 
 elegance in design, and no little skill in their construction. Early examples 
 are of rare occurrence ; for, during the continuance of Norman and Early 
 English Architecture, a staircase turret was by no means an 
 usual adjunct to the towers of parish Churches.* In that 
 of the Norman tower of St. Martin’s Church, Leicester, the 
 lights are mere square-headed slits ; while in the turret at the 
 N.W. angle of the tower of Achurch Church, Northants, an 
 KwraumSS. Early English Edifice of great beauty, is a very graceful 
 arrangement for admitting light to the stairs, consisting of a series of small 
 lancets with gabled canopies. Early in the Decorated period lancet openings 
 
 continued in use for turret fights ; as in a 
 turret to the N.E. of the choir of St. Alban’s 
 Abbey Church.t At this same period 
 narrow cruciform openings were also in use 
 for this purpose, as in the conventual 
 buildings at Ely (Appendix, Plate 7), and 
 Waltham Abbey Church (Section I. Decorated, Plate 3). Subsequently, and during the 
 Perpendicular Gothick era, small circles, squares, or triangles were more generally adopted ; 
 and these for the most part were enriched with various cusping and tracery (Section I. 
 Decorated, Plate 36, and Perpendicular, Plates 13 and 22). 
 
 Winterton Church, Norfolk. 
 
 Oni foci 
 
 St. Alban's Abbey 
 Church. 
 
 * Even during the Decorated period we occasionally meet with towers in which the only ascent to the belfry 
 is by means of ladders ; such is the tower of Weekley Church, Northamptonshire (Parish Churches, Vol. II. p. 84). 
 In Perpendicular Churches the turret is of invariable occurrence. 
 
 t The Newel in this stair-turret is encircled by a spiral molding, admirably adapted to the grasp of the hand. 
 
40 
 
 ANALYSIS OF GOTHICK ARCHITECTURE 
 
 SPIRE LIGHTS 
 
 In their general features did not differ materially from other windows in the same Edifice, 
 except that, in consequence of the peculiarity of their position, they were somewhat 
 narrow in proportion to their height ; and also, being generally set at right angles to 
 the ground line, they rose like dormer windows from the sides of the spire, and were 
 surmounted by acutely pointed canopies, which most frequently terminated in beautifully 
 designed Crosses. In some early spires, however, the lights were merely quatrefoiled 
 openings lying in the same plane with the spire, as at Fleet Church. Lincolnshire.* and 
 Humberstone Church. Leicestershire. Canopied spire lights occur singly, as at Newington 
 Church, Oxfordshire ; or in two rows, as at Leckhampton Church. Gloucestershire, and 
 Duddington Church. Northants, which is an early specimen of such an arrangement : while 
 in other spires, three and even four rows of lights have been introduced, as in the Churches 
 of Wannington, Northants, + and Ewerby and Grantham, Lincolnshire. The lights of the 
 lowermost tier were of course invariably placed upon the cardinal sides of the spire, the 
 upper rows sometimes alternated, but very frequently continued on the cardinal sides. 
 
 ON THE CONSTRUCTION OF TRACERY IN WINDOWS. 
 
 From a review of the chief varieties of Gothick windows, we proceed to examine 
 into the principles of their geometrical formation. It is impossible for any person to 
 have observed with the smailest degree of attention any number of Decorated windows, 
 without becoming aware of the constantlv recurring combination of the equilateral triangle. 
 With very few exceptions, the window-arches of the Decorated Gothick period are actually 
 founded upon that figure, or upon a verv close approximation to it. The greater number of 
 the heads of Eirlv English Gothick lancets are similarly formed, as is shown at Section I. 
 Euiy English, Plates 1 and 7. In Plate 1, from Great W enham Church, where the lights 
 of the triplet are t refoiled, the svstem of equilateral triangles has been, nevertheless, kept in 
 view, as is shown in Diagram (Bd, where the centres for the curves are at the several 
 points of the triangle. 
 
 * See Parish Churches, YoL I. p. 51. 
 
 t See Parish Churches, Yol. I. pp. 65 and 17. Also for other specimens of spire lights, see pp. 11. 13. 31, 
 51. 53, 57. 59. 61, 69, and 77. Ac., of the same Tolume. See also, Northamptonshire Churches. 
 
ON THE CONSTRUCTION OF TRACERY IN WINDOWS. 
 
 41 
 
 A minute examination of numerous specimens of tracery, collected from all parts of 
 England, has led us to form the conclusion that this same principle of the equilateral triangle 
 constitutes in them all the basis of their formation : in very many cases its truth is 
 undeniable, and it will not invalidate this (assumed) constructive law that in some others, 
 examples occur which do not in mathematical strictness comply with its requirements : for it 
 is both easy and just to imagine that occasionally the design may 
 have been duly prepared from the fixed rule of the equilateral triangle, 
 and yet in executing the work, may have been slightly altered or 
 modified, to suit some particular circumstance or taste, or even as a 
 mere practical experiment. Thus, for instance, the annexed illustra- 
 tion of a window from Southfleet Church, Kent, will be seen to have 
 been both designed and executed upon strictly equilateral principles ; south fleet chubch, Kent. 
 the window-arch is equilateral, so also are the heads of the two lights, above which is placed a 
 quatrefoiled circle. In Shorne Church, at the east end of the north Chapel, occurs another 
 window of precisely similar design, but in the execution of which we 
 may perceive that the architect has allowed himself to deviate slightly 
 from the precision which characterises the window at Southfleet : still 
 he can scarcely on this account be regarded as working in absolute 
 variance from the principles which determine the formation of this 
 style of window. Such a deviation is but an instance of the 
 legitimate modification of a general rule ; it does not in the slightest 
 degree tend to furnish an argument calculated to disprove its 
 existence. So in Classick Architecture, to the discreet architect is left the privilege of 
 slightly varying from the exactly-defined relative proportions of the column and its entabla- 
 ture, without his being thereby rendered obnoxious to the charge of impugning the propor- 
 tional laws which have been established. 
 
 In the window from Northfleet Church (to resume the illus- 
 tration of two-light windows), it is distinctly evident that the archi- 
 tect had in view the same principle which produced the Southfleet 
 window, though he chose to depart from it in practice so widely, by | ^ 
 
 unduly increasing the circle in the window-head. These examples 
 will serve to show that, in endeavouring to ascertain the correct 
 principles of formation in different varieties of windows, a satisfactory 
 result cannot be obtained by experimentalising upon any one par- 
 ticular specimen : on the contrary, the only course calculated to lead to a really accurate 
 conclusion is, first to classify Gothick windows in general, and then to search out from 
 
 UonTiiFLEET Church, Kent. 
 
42 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 a variety of specimens of each class (as, for example, from a variety of two-light windows 
 ] laving a circle in the window-head), the existence of some particular principle by which 
 their formation may have been regulated. 
 
 For ourselves, having carefully proceeded with such an investigation from one class of 
 windows to another, we have been led to adopt the opinion that the equilateral triangle is 
 the basis of all Decorated Gothick tracery ;* * * § and now we desire to justify, and if possible 
 establish, the accuracy of that opinion, by adverting to a diversity of examples in every class 
 into which that important member can be divided, during the Decorated Gothick period. 
 
 In some windows it is difficult, or rather scarcely possible, to discover the existence 
 
 of the equilateral principle of formation, except by actual admeasurement ; in others, 
 
 a comparatively slight examination will render that principle clearly 
 
 apparent ; and again, in other examples, it is at once obvious to 
 
 all beholders. Commencing with windows of this last character, 
 
 we will adduce a specimen from the Church of St. Nicholas, at 
 
 Colchester, which may be fairly regarded as a type of a class : here 
 
 the principle of formation is distinctly evident ; we easily perceive 
 
 that the equilateral triangle ABC, subdivided into four similar figures, wall give all the 
 
 centres for the tracery ; B, C, being severally the centres of the window-arch, and e, e, e, 
 
 the centres for the arches of the tracery. In Plate 2 of Section 1, 
 
 Decorated, is a similar example from Northfleet Church ; and in Plate 8 
 
 of the same subdivision, is figured another elegant variety of this style 
 
 of window, from Capel St. Mary, Suffolk. Hingham Church, Norfolk, 
 
 ‘ c 
 
 affords an example of a three-light window of like character (Appendix, 
 Plate 4), and in Trinity Church, Hull, is one of a similar design with six lights.! The 
 circular window in Leek Church, Staffordshire, is also a remarkable specimen : j as are 
 likewise those in the Bishop’s Palace, South wark,§ and Chichester Cathedral. || The east 
 window of the Church of St. John, at Staunton, Oxon,1i again, is a curious example, and at 
 the same time a most valuable witness in favour of this principle of the construction of tracery : 
 
 St. Nicholas Church, 
 Colchester. 
 
 * The term Tracery must, to a certain degree, be restricted to the windows of the Decorated Gothick 
 period: inasmuch as in those of the succeeding period, the window-heads for the most part degenerated into a 
 species of pierced panel-work. 
 
 t See Sharpe’s Decorated Windows. 
 
 X See Bloxam’s Gothick Architecture, Ed. 8, p. 220. 
 
 § See Britton’s Antiquities, Yol. Y. 
 
 || See Britton’s Antiquities, Vol. Y. 
 
 T See Architectural Antiquities in the neighbourhood of Oxford, p. 225. 
 
ON THE CONSTRUCTION OF TRACERY IN WINDOWS. 
 
 43 
 
 for here, what in other cases must have been the formation lines, are worked into the design, 
 and the tracery consequently consists of intersecting lozenges which, if subdivided, would 
 naturally produce a series of equilateral triangles. The example from Harbledown Church. 
 Kent, could hardly be the result of any other than of a system of triangulation. 
 
 We pass on to the second class of windows, in the tracery of 
 which this principle of formation, though existing, is not so manifest 
 as in the preceding examples. Of these there are two chief varieties : 
 first, those with intersecting tracery, as in the two-light windows 
 at Stoke Albany (Section I. Early English, Plate 17), and Little 
 
 Wenham, Suffolk (Section I. Early English, Plate 5) ; in three-light Harulkdoytn Church, Kent. 
 windows, at Meopham, and Herne, both in Kent (Section I. Early English, Plate 10, 
 and Decorated, Plate 20) ; and in windows of five fights at Trumpington, Cambridgeshire 
 (Section I. Decorated, Plate 29). In all these windows, whether of two or more fights, 
 it will easily be seen that the outer arch being equilateral, all the subdivisions of 
 the window-head, produced by tracery-bars following the curves of the outer arch, 
 must of necessity be equilateral also. Many windows of this style have no further 
 attempt at tracery than that which is formed by 
 this intersection of tracery-bars continuous with 
 the mullions : and even where further enrichment is 
 added, it is always of a secondaiy character, and 
 leaves the original formation of the more important 
 members of the window-head distinctly visible. Such 
 enrichment usually consists of circles, or other geo- 
 metrical figures, which must of necessity be tangent 
 to the four intersecting sides of the compartment 
 within which they are inserted ; or, sometimes it 
 extends no further than to the mere foiling the several compartments. With these 
 intersecting windows may be classified all two-light windows, in wiiich tracery -bars diverge 
 from the head of the mullions, and describe curves similar to those of the window-arch ; 
 in fact, these tracery-bars, if produced, would intersect the sweeps of the arch within 
 which they are contained. 4 " (See Section I. Decorated, Plate 3.) 
 
 The second subdivision of this second class of windows comprises by far the greater 
 
 South fleet Chukch, Kent. 
 
 * No two-light window can be said to have intersecting tracery, except upon the principle here laid down. 
 It is upon this principle, therefore, that the tracery in the windows of the Churches at Stoke Albany and Little 
 Wenham is said to intersect. 
 
44 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 part of that manifold variety of designs which is exemplified in the window-heads of 
 the Decorated Gothick period. In windows of net-tracery we detect, more readily 
 perhaps than in any other variety of flowing tracery, the working of the equilateral 
 principle. It is true, indeed, that in examples of this class the angularity of the figure 
 which governs the formation is, in execution, altogether suppressed ; not only is every 
 line a curve, hut also every curve is made to undulate : nevertheless, upon examination, 
 the practical influence of this figure is speedily recognized, and in forming a diagram, 
 it will almost involuntarily be reproduced. Thus in two-light windows of net-tracery, 
 as at St. Margaret’s, Herts (Section I. Decorated, Plate 8), three equal circles tangent 
 to each other, the centres of which must of necessity be the three angles of an 
 equilateral triangle, determine the tracery of the window ; and the undulations of the 
 main curves of the tracery all result from the apposition of other similar circles. In 
 constructing a three, four, five, or six-light window of this class, we have only 
 to set out a proportionate number of triangles, in order to find the centres for all 
 the requisite curves. An admirable modification of this tracery, so easy to set out, 
 and of such great beauty, is exemplified in the door of Holbeacli Church, Lincolnshire 
 (see Section I. Decorated, Plate 10) : here the apparent capriciousness of the design is 
 brought within the simplest rule, as shown in the accompanying diagram. One series 
 of equilateral triangles determines the centres of the larger circles, while a second series 
 of similar and equal triangles gives the smaller and inner circles. In the window figured 
 in Plate 5 of Section I. Decorated, from Northfleet Church, this principle of formation is 
 shown to determine the construction of a totally different design : the same is the case as 
 regards the subsequent specimens, in Plates 6, 9, 11, 13, 15, 18, and 26 , all differing more 
 or less one from another. 
 
 Nor will this principle be found applicable only to tracery of windows. The beautiful 
 
 mosaick pavement in the Chapel of Edward the 
 Confessor, Westminster Abbey, is a most remark- 
 able example of the not always observed but ever 
 active influence of the equilateral triangle in all the 
 purer designs of the Middle Ages, and also of the 
 earnest desire to assign to that figure a distinct and 
 prominent position. The same remark is equally 
 applicable to the exquisite diaper in the great 
 Flemish Brasses at St. Alban’s, Lynn, and Newark. 
 The peculiar geometrical properties of the equi- 
 lateral triangle, — its easy subdivision into similar triangles, — the part it takes in the forma- 
 
 Pavemknt is Westminsteb Abbey. 
 
ON TI1E CONSTRUCTION OF TRACERY IN WINDOWS. 
 
 45 
 
 tion of the hexagon (the most compact of all figures, and therefore the best adapted 
 to form the basis of tracery) — these points are more than sufficient to furnish a satis- 
 factory reason for our finding this triangle the 
 governing principle in the formation of all that is 
 most beautiful in the most beautiful style of Archi- 
 tecture. With its geometrical value, also, we may 
 not fail to associate the remarkable symbolism of 
 the equilateral triangle : a qualification of no slight 
 importance in the sight of those who employed it 
 so effectively ; as we needs must infer from their 
 evident anxiety visibly to impress its form upon their 
 works, as well as to employ it as a governing principle 
 in the formation of them. The very elegant tracery 
 in the Spandrel from Bottisham Church (Section 1 1. 
 Woodwork, Plate 14) illustrates in a striking manner 
 the desire both to use and to show the equilateral triangle : the construction of the design 
 is evidently a combination of such triangles, and in the form and arrangement of the 
 decorations we perceive throughout the prevalence of a similar figure ; even the hexagon 
 is subdivided into trefoils. So also in window tracery, the same studious display of 
 triangularity is constantly apparent : the window in Northfleet Church, represented in 
 Section I. Decorated, Plate 2, comprises three trefoiled lights, surmounted by as many 
 triangles, each of which is doubly trefoiled, while single trefoils occupy the intervening 
 spaces. This remarkable triplicity is, indeed, in a greater or a lesser degree inherent 
 in all pure Gothick work. In Plate 25 of the Early English portion of Section I. 
 
 this triplicity is even unusually apparent ; for in the Cross engraved on a coped coffin 
 
 stone at Barnwell, Northamptonshire, the entire design consists of a seriek of trefoiled 
 leaves. 
 
 But let us return to the more direct consideration of the subject, from which we 
 have permitted ourselves thus widely to digress. In the four-light window of Sleaford 
 Church (Section I. Decorated, Plate 26) we are led, without any great difficulty, to detect 
 the influence of the equilateral principle. Here the main bars of the tracery display, 
 somewhat modified, the outline of a window of net-tracery of two fights only : and though 
 it is not actually struck from the angles of an equilateral triangle, but has the central figure 
 slightly elongated, in order to impart a greater degree of elegance to the second order of 
 tracery with which it is filled ; still it cannot be doubted that in this, as well as in all 
 
 similar specimens, that same principle of formation was carefully kept in view. In the 
 
 o 
 
46 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 other window from the same Church, which is figured in Section I. Decorated, Plate 18, 
 the deviation from the outline of net-tracery is carried to far greater extent : but even 
 here it would be difficult to maintain that the constructive principle of net-tracery 
 had not, in the first instance, been used as the ground-work of the design. And once 
 more, the four-light window from Holbeach Ch lurch (Section I. Decorated, Plate 7) is 
 another instance of a somewhat similar departure from a strict rule with a view to suit 
 the circumstances of a special case, or to gratify peculiar ideas of the beauty of a traceried 
 window. 
 
 In the woodwork of the porch of Brad well Church, Essex (Section II. Woodwork, 
 Plate 13), are instances of two perfectly different designs of tracery, though both formed 
 upon the same basis. In the same plate is another specimen, in which an attempt has 
 been made to produce net-tracery from the intersection of squares instead of equilateral 
 triangles ; but the effect thus produced is singularly distorted and unsatisfactory, and would 
 appear still more so, were the design continued over a larger space. How different is the 
 result where the triangle is the principle of formation : then all is consistent, harmonious, 
 and elegant. 
 
 Finally, with reference to those windows, in which the equilateral principle, though 
 certainly existing, cannot be discovered without a more searching examination ; the 
 circular window in Waltham Abbey Church is a truly wonderful specimen. By referring 
 to the diagram in Section I. Decorated, Plate 4, it will be seen that the intersection 
 of a series of equilateral triangles will give the centres of every, even the minutest 
 curve in the entire figure.'”' It cannot be that such a circumstance is merely fortuitous : 
 rather it argues the window to have been the work of a profound practical geometrician, 
 who produced his design, compass in hand. A similar instance occurs in the crowning 
 ornament over the doorway into the cloister of the Abbey Church of St. Alban’s (see 
 Section I. Perpendicular, Plates 1 and 2) ; the curves for every portion of the design 
 may be proved to have been described from centres determined by the angles of equi- 
 lateral triangles (see Plate 2). In these and like examples, indeed, a careful investigation 
 is necessary in order to discover the principle of formation, to reproduce, as it were, 
 the original design. But then that principle is thus to be detected, and, in like manner, 
 a similarly careful investigation will not fail to show that, throughout the purest period 
 of Gothick art, the equilateral triangle was the great principle of general design and 
 
 * It does not appear necessary to increase the space occupied by this article upon windows by a further 
 reference to any of the other plates ; still less because in nearly all the specimens of windows the centres of 
 the tracery have been laid down, and the existence of the equilateral principle, in a greater or a lesser degree, 
 made apparent. 
 
ON THE CONSTRUCTION OF TRACERY IN WINDOWS. 
 
 47 
 
 formation, and also was, in very many cases, made prominently apparent in the work itself 
 when executed. Hence, its equilateral triangularity may be pronounced an essential 
 characteristick of Gothick Architecture. In the outline of the canopied windows, doorways, 
 and niches of a Decorated Gothick Structure, and in the prominent position assigned 
 to its buttresses and pinnacles, we may recognise this characteristick no less than in 
 the form of its traceries and diapers,'" its pavements and carved ornaments. It is 
 
 true that some example of windows! may be adduced which it would be difficult, 
 if even possible, to class in common with any of the varieties which we have now 
 
 examined : but, in an age in which the love of novelty in Architecture was ardent and 
 almost universal, when every endeavour was constantly directed to the improving what 
 already was of surpassing beauty ; in an age in which there must have been gradations 
 of talent scarcely less multifarious than the diversities in taste — in such an age the 
 existence of some anomalies cannot be reckoned in any degree extraordinary, or rather 
 it would indeed be most extraordinary had no such anomalies been found. As we 
 
 before observed, therefore, in our search after a governing principle of Gothick 
 
 formation, we must be guided, not by individual examples, but by the general 
 practice.;}; 
 
 * A very beautiful diaper on this principle occurs in Canterbury Cathedral. See Willis’s account. 
 
 t The statements here made, with special reference to windows, extend with equal justice to the other 
 members of the Gothick Edifice. 
 
 + The lodge in Itushton Park, North ants, exemplifies the practical 
 application of the equilateral triangle in a manner too remarkable to be 
 here altogether unnoticed. The plan is an equilateral triangle. The 
 roof on all three sides is divided into three equilateral gables ; and in 
 the windows, and from them to every minutest detail, the same principle 
 has been carefully kept in view. We subjoin a cut of one of the windows 
 of this curious building, a full account of which will be found in the 
 “ Builder,” Yol. III. 
 
 Window in Eushton Lodge. 
 
48 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 MOLDINGS* 
 
 N treating of the Moldings of Mediaeval Architecture, we propose to 
 notice separately the more important of those members with which they 
 are usually associated ; for we hope to be better enabled by this, than 
 by any other system of arrangement, to produce a practical analysis 
 of the science of Gothick Moldings, without at the same time being in 
 any degree induced to depart from that conciseness and brevity which the general plan 
 
 of this work renders imperatively necessary. It appears requisite, however, first to 
 
 advert to the great and remarkable difference which is apparent between Gothick 
 
 Moldings and the corresponding members of Classick Architecture ; a difference extending 
 alike to their outline, grouping, and position. Thus, the entire collection of moldings 
 in ancient examples comprises but a few different forms ; and these definite in their 
 
 character, and introduced into certain positions, and in accordance with established rules : 
 whereas, in Structures of the Middle Ages, variety of outline is no less essentially 
 characteristick of the moldings themselves, than the frequency of their occurrence is 
 characteristick of the Gothick style. Gothick moldings, indeed, appear in almost 
 every conceivable position : from the bases of piers and the piers themselves to the 
 ribs of the fretted vaults which they sustain, scarcely a member occurs which is incapable 
 of receiving consistent decoration by this most elegant method. And it may be added 
 that in this multiplicity of molding-work, the almost only combinations which are not 
 commonly found are such as would have appeared to assimilate to, or to have been 
 derived from, classick authority. 
 
 Such being the practice of the Masters of Gothick Art, we are disposed rather 
 to assign to themselves the invention and development of their own admirable system 
 of moldings, than to seek its origin from another source. It is no argument whatever 
 in support of the opinion that Gothick Moldings are derived from Classick Architecture, 
 that in buildings of the Anglo-Norman style a rude resemblance to certain ancient 
 moldings may be traced, especially in bases : for the Anglo-Norman, being a form of 
 Romanesque, is altogether distinct from Gothick Architecture. Neither does the same 
 supposition acquire much weight from the fact of a casual similitude of outline in a 
 
 * The authors feel much pleasure in availing themselves of this opportunity to express thus publicly their 
 high opinion of the Treatise upon Moldings, lately published by Mr. Paley, which possesses the rare combination 
 of being equally valuable to the professional architect and the amateur student of Architecture. 
 
MOLDINGS. 
 
 49 
 
 No 3. 
 
 No. 1. 
 
 few instances, between Roman and Gothick Moldings ; or from a close approximation 
 to the attic base, occasionally to be observed in some few Early Gothick examples. 
 
 This resemblance to a regular classick member only existed during a transi- 
 tional, and necessarily an imperfect, period : with the final 
 abandonment of the circular arch, a sudden change appears 
 to have taken place in the moldings of bases, as well as of 
 other members ; and, in place of the modification of the attic 
 base, a widely different composition was introduced. In the 
 annexed figures No. 1 is the attic base. No. 2 its Early 
 English imitation, and No. 3 a base which is found to have immediately succeeded 
 to the latter, if, indeed, it was not in use at the same time. 
 
 Leaving to others a further investigation of their origin, we now proceed to the 
 more direct consideration of Mediaeval moldings.* These members most frequently 
 occur in the jambs to windows and doorways, in pier-arches, in capitals and bases, 
 in cornices, vaulting ribs, strings, basements, and in some other positions. And first 
 of Jamb Molds. These, in the earliest examples of Norman doorways, are for the most 
 part simply squared back from the walls without the slightest attempt to enrich the 
 surfaces with moldings, properly so called, as at Fritwell Church, Oxfordshire. Recessed 
 jambs were, however, introduced at a very early period of the style ; and this arrangement 
 continued in favour, both in windows and doorways, until the most perfect period of 
 Gothick art.t In Norman jamb molds when thus recessed, it was the prevalent habit 
 to place detached shafts in each nook or interior angle, and in this case the several 
 recessed orders, and sometimes the jamb shafts also, were often enriched with the peculiar 
 though diversified surface-carving of the style ; the south doorway of 
 St. Mary’s Church, Easton, Hants, furnishes a good example of 
 shafted jambs ; and other specimens are figured in Section I. Norman, 
 
 Plates 1, 4, 6. These jamb shafts occur in a great variety of 
 forms ; most frequently, indeed, they are circular, yet occasionally ST MiBY - S) El3T05 . 
 their form is octagonal, or twisted, as at Section I. Norman, Plate 4, or slightly pointed ; 
 this last-named variety is restricted to late specimens, as in the Chancel arch at Codford 
 St. Mary’s (Section I. Semi-Norman, Plate 5) ; and again, at Weald, in Essex, in the south 
 
 * The moldings of the Anglo-Norman style being in so many Edifices associated with their Gothick 
 successors, it has been considered expedient here to give a place for the consideration of these latest developments 
 of Eomanesque work, in connection with Gothick moldings. 
 
 t It will he borne in mind that the jambs of Norman windows differ but very slightly, if at all, from those 
 of the doorways : in fact, in most cases they are precisely identical, except in use and position. 
 
 P 
 
50 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 doorway, another curious form of jamb shaft is exemplified. In some arches the customary 
 shafts were either entirely dispensed with, or restricted to the sub-arch only, wdiile the 
 different faces of the recessed orders in the jambs were richly ornamented, as at Iffley 
 Church, Oxon, and Malmsbury Abbey Church. 
 
 Before proceeding any further, we must remark that in jamb and arch molds, three 
 different planes occur in which the moldings lie : these have been distinguished by Mr. 
 
 Paley as the Wall Plane, that is, any plane (A A) parallel with the main wall ; 
 the Soffit Plane* or any plane (B B) at light angles with the wall plane ; and 
 the Chamfer Plane, or such a plane (C) as is generally, but by no means 
 invariably, placed at an angle of 45° with the two planes before mentioned. 
 In the Anglo-Norman style the jamb molds were almost always worked in the wall 
 and soffit planes ; and this continued to be the general arrangement throughout 
 the Early English Gothick period, although we occasionally (as in Section I. 
 Early English, Plate 3) find the jamb molded on the chamfer plane. During the 
 earlier portion of the Decorated Gothick period, the wall and soffit planes still continued 
 to be most generally used, but then in tolerably frequent connection with the chamfer 
 plane, which at this time was in most cases worked exactly at an angle of 45° with 
 the wall and soffit planes. Perpendicular moldings are generally characterised by their 
 lying in the chamfer plane, which was no longer usually true to the angle of 45° : and as 
 the style advanced towards the era of decided architectural debasement, the moldings shared 
 in the prevailing desire to produce a meretricious effect, without any reference to correctness 
 of composition : accordingly we find that in many late examples, as in the w T est doorway 
 of Lavenham Church, Suffolk (Section I. Perpendicular, Plate 7 ), the moldings, besides the 
 debasement of their contour and grouping, appear hardly to lie in either of the proper 
 molding planes. 
 
 But to return to the jamb molds : in the Early English Gothick period, the door-jambs 
 continued most frequently to be worked in a series of rectangularly recessed orders, with 
 detached shafts of cylindrical form and comparatively slender proportions placed in every 
 nook. An elegant deviation from the common and simple form of this arrangement occurs 
 in the south doorway of St. Martin’s Church at Leicester (Section I. Early English, Plate 23), 
 where a secondary series of shafts is introduced with excellent effect. In this period, also, as 
 in the preceding style, some door-jambs occurred in which shafts took no part in the design ; 
 or at least in which (also as before) they only appear as supporters of the sub-arch of the 
 compound archway : in these examples, however, the angles of the several orders which the 
 
 * This term is scarcely correct, when applied to jamb molds : still, it has been here retained in consequence 
 of its general accuracy, and to avoid the introduction ol‘ new terms. 
 
MOLDINGS. 
 
 51 
 
 Norman architects left untouched, their successors invariably chamfered off ; and the chamfers 
 thus produced were frequently hollowed out and filled with the beautiful tooth ornament, or 
 they were carried up plain to the impost of the arch, and there terminated in some elegant 
 device (see Section I. Early English, Plate 21). In the Decorated Gotliick period the 
 detached shafts were entirely abandoned, in door-jambs as well as other positions ; in door- 
 ways, however, shafts were still retained, but so far altered in their character as to be almost 
 invariably attached to the mass of the Structure. It may here be remarked as a general 
 ride, that when shafts, engaged or otherwise, were used, the moldings they carried were placed 
 
 on the rectangular planes ; but if the shafts were dispensed with, 
 and the jambs were continuous with the arch, then the moldings 
 were worked on the chamfer plane, as in the priest’s doorway, Fen 
 Ditton Church, Cambridgeshire. This arrangement is well illus- 
 trated in the north doorway of Swatton Church, Lincolnshire 
 (Section I. Decorated, Plate 23), where part of the jamb mold is 
 on the chamfer plane, and part on the rectangular planes ; the 
 former is continuous with the arch mold, the latter has a shaft 
 with cap and base, and carries a perfectly distinct series of arch 
 moldings. Perpendicular jamb molds being, perhaps, invariably 
 worked on the chamfer plane, were therefore much more often 
 continuous with the arch mold than produced by shafts. 
 
 The arrangement of the window-jambs during the successive periods was generally in 
 close accordance with that of the doorways. In the richer examples small shafts were intro- 
 duced (after the fashion of the Norman architects), which, rising up to the springing of the 
 window, carried one or several or del's of the arch moldings. At all times these shafts 
 were used much more frequently in the interior of the window than on the outside ; a 
 window in the south transept of Wissendine Church, Putland, however, has a magnificent 
 arrangement of triple jamb shafts externally, resting on a steep and weathered sill. The 
 south aisle of St. Martin’s Church, Leicester, has some excellent examples of the use of this 
 member internallv. 
 
 J 
 
 Other instances of jamb shafts in windows will be found in Section I. Early English, 
 Plate 13, where they are placed outside ; and in Plates 10 , 12, 15, 17, and 20 ; and Section I. 
 Decorated, Plate 29, in all of which they occur on the inside. 
 
 It must, however, be borne in mind that though most exquisite adornments, moldings 
 are not nevertheless essential accessories : many windows with tracery of the richest descrip- 
 tion have their mullions and jambs composed of simple chamfers ; see the windows in 
 Northfleet, Section I. Decorated, Plates 2 and 5 ; and also those given in Plates 13 and 15. 
 
52 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 Arch Moldings, even when not continuous, partook of the same general arrangement 
 as those in the jambs, with greater richness of detail : thus, when shafts were employed, they 
 carried groups of moldings more elaborate than those of the jambs, though still falling upon 
 the same planes ; as in the west doorway of North Mimms Church, Herts (Section I. 
 Decorated, Plate 25). During the continuance of the Norman, Early English, and Decorated 
 periods, it was the invariable practice, in the case of arches dividing the nave from the aisles, 
 or the Chancel from its adjoining chapels, to keep them entirely distinct from the piers on 
 which they were carried : these latter were frequently simply circular, or octagonal, while the 
 arches were most elaborately molded or enriched, as in New Shoreham Church. (Section I. 
 Semi-Norman, Plate 3.) Even when both members were equally ornamented, as in the 
 magnificent examples in St. Patrick’s, Patrington, their separate characters were nevertheless 
 preserved ; while in Perpendicular, on the contrary, we may perceive a much closer 
 connection to exist between them. The piers and arches given in Section I. Perpendicular, 
 Plate 1 4, show the arrangement generally adopted at this period ; shafts placed at the 
 cardinal points of the pier supported part of the arch moldings, the remainder being 
 continuous and common to both members. 
 
 Capitals were either molded or carved with foliage, animals, &c. ; they always 
 however, consisted of three distinct parts, -which require to be most strictly 
 U kept in view, if we would preserve the peculiar character of this important 
 feature. These three divisions of the capital may be described as the head 
 B mold A, the hell B, and the neck mold C. 
 
 c In Norman capitals the head mold was, almost without exception, square 
 
 on plan, and consisted of a few simply arranged moldings ; in the richer 
 examples this member was adorned with some of the innumerable sculptures common at that 
 period. (See Section I. Norman, Plate 5.) In this same plate are represented different 
 examples of ornamented bells," some of them very quaint. The peculiar form of capital 
 which occurs in Waltham Abbey Church, has been distinguished by the name of cushion 
 capital ; it is usually a mark of early work. At other times, and especially in late work, the 
 bell was carved with the most elaborate, and sometimes most beautiful, sculpture ; geometrical 
 and interlaced patterns, foliage, flowers, rude representations of animals and human figures, 
 and even entire legends, occupied the whole space. Such endless variety in design would 
 excite our surprise, were we not to reflect that it was (and indeed is) in the spirit of Gotliick 
 
 * This term, borrowed from classick Architecture, is in many cases scarcely appropriate ; yet it is so con- 
 venient, and its meaning withal is so well understood, that it has been considered advisable to retain it, rather 
 than add iurther complexity to the architectural nomenclature by the introduction of a new term. 
 
MOLDINGS. 
 
 53 
 
 architecture to embody in its sculpture any matter of faith or legend, which were thus trans- 
 mitted from one generation to another ; even passing events we may imagine to have been, in 
 the olden times, at once, and almost imperishably, noted down with the chisel. Could we but 
 read them, how much of historical lore might not these old Norman sculptures reveal to us. 
 
 The neck mold, the lowest portion of the capital, never assumed an important position ; 
 and during the Norman period generally consisted of a bead, or a square with the angles 
 taken off. 
 
 In the succeeding styles these three parts of the capital, though always existing, were 
 less prominently marked ; and indeed it has been a very common practice in the revived 
 Gothick moldings to lose sight of the distinct existence of the head mold and bell, which have 
 accordingly merged into one, and the character of the capital been thereby entirely destroyed. 
 In the accompanying cuts, A is a capital from St. Alban’s Abbey 
 Church ; and B shows how the separate parts of the head mold and 
 the bell, if lost sight of by the undue projection of the latter, 
 become converted into one. Now a close examination of ancient 
 examples will establish, as a general rule,* that the head mold was 
 the most projecting member ; then came the bell, falling back a 
 little from it ; and lastly the neck mold, which receded still further 
 from the face of the bell. In other words, we might regard a Gothick capital as consisting 
 of three circular pieces of stone : the lower one a thin slab, out of which the neck mold 
 would be produced ; the second, a thick block projecting considerably over the first, would 
 form the bell ; and lastly, another slab at top, somewhat thicker than the first, and 
 projecting the most of the three, out of which would be cut the head mold. 
 
 The heaviness observable in some modern capitals is principally owing to the neglect of 
 this simple arrangement. 
 
 The bell, when not foliated, generally consisted of a group of moldings in the upper 
 part, which were united to the neck mold by a beautifully undercut and gracefully curved 
 outline ; or occasionally, and the effect is extremely beautiful, the bell was double, consisting 
 of two different groups, the one receding from the other, as in Fig. 3, Section I. Early 
 English, Plate 24 ; and Fig. 2, Decorated, Plate 35. The neck mold of the Gothick period 
 did not acquire more importance than it had during the Norman ; it still consisted of a bead 
 or some other simple molding. Finally, we would remark that while a general squareness of 
 outline marked the Norman capitals, the Early English and Decorated were distinguished 
 by being circular, and the Perpendicular by being octagonal. 
 
 * Examples are occasionally found in old work in which this principle has not been followed, but their rare 
 occurrence in no way affects the general rule. 
 
 Q 
 
54 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 Bases consist of two distinct parts, the 'plinth and the base moldings: the former 
 member was most apparent during the Norman and Early English periods ; in the 
 subsequent styles, though always to be found, it was, nevertheless, at times hardly 
 discernible. The Norman plinth, in conformity with the head mold of the capital, was 
 almost invariably square, and usually consisted of a plain unmolded mass of stone, on wliich 
 rested the base moldings : these latter took the shape of the pier, and the blank spaces 
 which result from placing a circle or octagon upon a square, were enriched with foliage, 
 animals, or other ornaments. (See Section I. Semi-Norman, Plate 3.) Frequently the plinth 
 was double, in which case the lower member was generally chamfered, as at Orpington 
 (Section I. Semi-Norman, Plate I.) ; or molded, as in the triplet from the Chapel of St. Bar- 
 tholomew’s Hospital (Section I. Early English, Plate 15). In Early English, double and 
 even triple plinths are commonly met with, as at Clymping (Section I. Early English, 
 Plate 5), and from the richness of the moldings with which they are ornamented, frequently 
 assume considerable importance : see a base from Westminster Abbey Church, Section I. 
 Early English, Plate 24, Fig. 12. During the Decorated period, the plinth lost much of 
 its prominence ; in fact, the entire base was generally a less striking feature than it was in 
 the preceding style : instances, however, may be found of triple plinths, as in Ilingham 
 Church, Norfolk (Section I. Decorated, Plate 33, Fig. 10) ; and Tunstead Church, in 
 the same county, furnishes an example of a quadruple arrangement of this member. The 
 Perpendicular plinth grew to a most exaggerated height, was constantly double or triple, 
 and from the number and richness of its parts, requires a close examination to separate 
 it from the base moldings. The tower piers of St. Margaret’s Church, Westminster, 
 have fine specimens of this style. Sometimes, as in the sedilia at Cobham (Section I. 
 Perpendicular, Plate 9), the base consisted solely of a plinth, the base moldings being 
 entirely omitted. In plain Churches of the Early English, and still more so of the 
 Decorated period, a chamfered plinth, of a few inches’ projection, was the most usual 
 termination to the nave piers. 
 
 Shortly after the introduction of the Early English, the plinth began to adapt itself to 
 the form of the pier which it supported : the change, however, was gradual ; the square 
 became an octagon, as in Westminster Abbey Church, where delicately carved knobs of 
 foliage fill up the spaces which occur between the octagonal plinth and the circular base 
 molds ; finally, the plinth assumed the form of the base moldings and bent in and out with 
 the outline of the pier. It is very singular that, after a lapse of time, the plinth should once 
 more have become octagonal, though the base moldings still retained the circular form ; and 
 in Perpendicular it was frequently the case that both plinth and base molds were wrought 
 in octagonal faces, leaving only the upper molding of the latter to follow the shape of the 
 
MOLDINGS. 
 
 55 
 
 shaft. In Churches of Perpendicular date it was customary for the base moldings to 
 encircle the shafts only ; while the plinths, on the contrary, were carried round the whole 
 pier, as in Lindfield and Lavenham Churches (Section I. Perpendicular, Plate 14). 
 
 Base Moldings admit but of little variety of form or arrangement. A very 
 common Norman base molding consisted of a hollow and quarter-round, and it is 
 not a little singular that the resemblance to the attic base did not occur till the 
 style was considerably advanced ; in fact, it was during the Early English period 
 that tills resemblance became complete. 
 
 Base moldings were also extensively used round the walls, buttresses, and towers of 
 Churches. Those of the Early English period were generally very plain and unimportant. 
 The beautiful little Church of Skelton, near York, is enriched inside -with moldings of the 
 most elaborate description, though externally the walls and buttresses have merely a 
 chamfered table* The tower of Fen Ditton Church, Cambridgeshire (Appendix, Fig. 1, 
 Plate 6), has a plain but effective arrangement of moldings. In many of the Decorated 
 and Perpendicular towers the base moldings became highly ornamental and essential 
 portions of the design : those in Hingham Church are peculiarly magnificent, and are 
 panelled with a great variety of beautiful designs.! The tower of Worstead Church is an 
 equally rich example of a somewhat later period ; the combination of the panelled flint work 
 and the sunk quatrefoils has a very good appearance. The neighbouring Church of 
 Tunstead, of the same date, has also some excellent and carefully wrought moldings. 
 (Section I. Decorated, Plate 30.) Generally in Decorated work the grouping of the moldings 
 is so judicious, that even when left unenriched by tracery, they still present a pleasing, and 
 in some instances, a grand and imposing effect. Perpendicular basement moldings were 
 much more frequently panelled. In Norfolk and Suffolk, flint panelling is a very common 
 enrichment, and, indeed, a volume might be devoted to the illustration of the elegant and 
 ever varying devices which abound in these counties. St, Mary’s, Stratford, may be cited 
 as a most perfect specimen of this style of workmanship. In this instance an inscription 
 appears on the basement moldings, by wliich we learn that that part of the Church (the 
 north aisle) was erected in 1430; see Section I. Perpendicular, Plates 11, 19, and 20. In 
 producing these flint enrichments, the “ modus operandi ” consisted in tracing the outline of 
 the design on the stone, then sinking it a few inches, and afterwards filling up the sunk parts 
 with small flints ; or where the cavities were very minute, a kind of black pigment was used. 
 
 * Table appears to have been the general term for any horizontal member in Gotkick Architecture ; such as 
 corbel table, crest table, skew table, water table, &c. See Willis’s Nomenclature. 
 
 t This interesting and pure specimen of a Decorated Church was erected between the years 131G and 1359. 
 It is illustrated by two views and a plan in Yol. I. of the Parish Churches. 
 
56 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 Stringcourses and Dripstones are so frequently identical, the one being carried on 
 and forming the other, as to render it necessary to examine them together. Strings perform 
 no insignificant part in the general design of the Building, “ sometimes rising abruptly in 
 graduated and rectangular heights ; sometimes carried over a doorway or round an arch ; 
 now dying into the wall ; now as it were passing into some interrupting projection, and, 
 nothing baffled by it, re-appearing on the other side ; now starting aloof into a window 
 label and playing the most fantastic tricks before it again descends ; a stringcourse at once 
 relieves naked masonry, and binds into a whole the seemingly detached portions of a rambling 
 and irregular construction.’'* 
 
 The most usual, and perhaps the essential position of the stringcourse is under the 
 windows ; which are thus divided from the more solid parts of the basement. The greater 
 number of Churches, especially those of the Early English and Decorated period, were 
 adorned with this apparently insignificant member ; and in most cases where it was omitted, 
 the Avails present an unfinished and naked appearance. A corresponding string was 
 generally carried round the inside of the Church, under the windows and over the doorways, 
 as at Southfleet Church, Kent. 
 
 Norman strings were usually heavy in their outline, and rarely displayed any particular 
 
 beauty of arrangement : they were, however, very 
 frequently much enriched with the ornamental 
 ture of that period, as in Waltham Abbey Church, 
 and St. Peter’s, Northampton. Early English 
 strings, on the contrary, were remarkably light and 
 elegant, and displayed a great amount of taste and 
 judicious treatment : freed from the restraint and 
 horizontality of the previous style, they delighted in 
 closely attaching themselves to those members which 
 gosgkovb cm non, nobthamts. they were intended to adorn ; accordingly we find 
 
 them now rose up close under the sill of the window, and then suddenly dropping to accom- 
 modate themselves to the arch of a low doorway, and again rising to run immediately under 
 
 the adjoining window : at this period the strings were generally 
 carried round an intervening obstacle, such as a buttress, rather 
 than dying against it to re-appear on the other side, and such 
 became the most accustomed treatment in the following style. 
 
 Decorated strings were frequently of great beauty ; in these 
 and in all other moldings of this period, there is a gracefulness of outline and a finish of 
 
 * Paley’s Gothick Moldings, p. G9. 
 
 Tu II harsh Chcrcu, Nortuams. 
 
MOLDINGS. 
 
 57 
 
 execution, that we look for in vain in any of the other styles. The very interesting Church 
 of Bottisham in Cambridgeshire, may be mentioned as peculiarly rich in moldings of the 
 most exquisite workmanship. In opposition to the practice, till then prevalent, the dripstones 
 were most usually quite distinct from the stringcourse, and terminated in heads, flowers, 
 animals, or some quaint devices. Occasionally, however, the hoodmolds were continued on 
 from one window to the other, of which arrangement the Chancel of Chartham Church, 
 Kent, offers a most pleasing example. (Section I. Decorated, Plate 22.) In the beautiful 
 Decorated Chapel of St. Etheldreda in Ely Place, Holborn, the continuation of the hoodmold 
 between each window, rises up into gables enriched with flowing tracery. 
 
 Perpendicular strings differed but little from the Decorated, except in their outline ; 
 which partaking of the general character of the moldings of this period, became more angular 
 and distinctly marked. Their use was less frequent than was previously the case, and often 
 the small village Church was erected entirely without them. Dripstones, however, were 
 generally retained, and in most cases were simply returned at the springing of the arch, 
 instead of finishing with terminal heads and flowers, such as were used by the Decorated 
 Architects. In the richer Buildings, initials, shields bearing the Sacred Monogram, squares, 
 pentagons, and octagons, sometimes with small flowers in the centre, and innumerable other 
 devices were freely introduced. (Section I. Perpendicular, Plate 27.) 
 
 CoRNiCEsare not essential features inGothick 
 Arcliitecture ; in fact, when used they might more 
 rightly be considered as enlarged stringcourses. 
 
 They occur principally under parapets, or at the 
 eaves of roofs and spires : of the important part, 
 however, which they perform in the open timber 
 roofs of Norfolk and Suffolk, we shall treat 
 hereafter. In Norman, and some Early English 
 Buildings, the cornice was formed by the projec- 
 tion of the upper part of the wall, which was supported on brackets or corbels, and hence 
 termed the corbel table. This arrangement was susceptible of, and frequently received, con- 
 siderable enrichment ; at Bicker Church, Lincolnshire, 
 this table assumes the appearance of the heraldick 
 nebule line ; by an easy modification the circles after- 
 wards became trefoiled,and sometimes ornamented with 
 tooth in the soffit, as at Ilomsey. The spire table 
 is deserving of considerable attention, for in a great 
 measure the beauty of the spire depends on its j udicious 
 
 R 
 
 Bicker Church, Lincolnshire. 
 
 St. Martin's Church, Leicester. 
 
58 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 junction with the tower. Its projection from the wall was in all cases very inconsiderable. In 
 the Early English Structures a series of small trefoiled arches, corbelled out from the wall, 
 
 are commonly met with ; the beautiful spires of 
 St. Mary’s, Stamford, and Ketton, Rutland, have 
 examples of a very elegant arrangement ; and a single 
 hollow, studded here and there with ball flower or 
 heads, was also introduced with excellent effect. 
 
 The hollow, more properly termed the casement* 
 which holds a prominent position in most cornices, 
 was generally filled with heads, flowers, or running 
 ornaments : we may notice that the flowers in Decorated cornices usually spread over the 
 remainder of the moldings (Section I. Decorated, Plate 37), while in the Perpendicular examples 
 they were most frequently confined to the casement. (Section I. Perpendicular, Plate 12.) 
 
 Having now reviewed the arrangement, and the most ordinary positions in which 
 moldings occur, we will examine the subordinate parts of which they are composed. 
 
 The earliest molding found in Norman work appears to be the circular bowtel, worked out 
 of the edges of a recessed arch. This formation is clearly shown in many instances where the 
 
 bowtel only commences some few inches above the springing of 
 the arch, as in Sandridge Church, Herts. t A bowtel alternated 
 with a hollow forms the principal arrangement of Norman mold- 
 ings ; their great richness was rather the result of a profusion 
 sandbidgb chvbch, hkbts. of sculpture, always wrought on the rectangular planes, than of 
 
 multiplicity or beauty in the moldings. The chevron and its almost innumerable varieties were 
 conspicuous ornaments in Norman Arcliitecture, and in some instances their formation was so 
 complex as to require no little attention to disentangle the maze of stone-work. Tins beautiful 
 ornament continued in use long after all others of the same date had been discarded. It was of 
 constant occurrence in Semi-N orman, and may even occasionally be traced in Early English work. 
 
 Norman stringcourses partook of the heaviness of the moldings of that period. They 
 
 * "Willis's Nomenclature. 
 
 t It is a peculiar cliaracteristick of pure Gothick, that all moldings, panelling, or sculpture were always sunk 
 from the face of the work. Such an arrangement is the natural result of a style, a distinguishing type of which 
 was only to introduce ornament as an embellishment to construction ; thus a capital would naturally be corbelled 
 from the pier, the better to carry the superincumbent weight ; hence its subdivision into head mold, bell, and neck 
 mold ; panelling resulted from a desire to enrich that which would otherwise be a plain surface, and consequently 
 was wrought out of the face already existing ; a row of dog-tooth generally exemplifies very well how ornaments 
 also were worked out of the block. As the debasement gradually crept in, we find tbe contrary to have taken 
 place. 
 
 Oadby Chcbch, Leicbstbksuike. 
 
MOLDINGS, 
 
 59 
 
 had very little variety in form, frequently consisting of projecting ledges with one or both 
 sides chamfered off. A few sections of the most oft occur- 
 ring varieties are given in Appendix, Plate 6. The adjoined 
 Semi-Norman example occurs internally in the north chapel 
 of Bapchild Church, Kent, and in the original is coloured blue and yellow. 
 
 The hollow soon after its introduction became more and more undercut, and in the Early 
 English style was frequently carried to such an extravagant excess, as to materially affect the 
 durability of the moldings. During the continuance of the Semi-Norman, a new member 
 made its appearance, the pear-shaped or pointed bowtel. We can easily trace 
 f 'jfi its formation from the circular mold already noticed, by leaving the arris of the 
 original square block uncut. From this pointed bowtel most of the subsequent 
 Gothick moldings will be found to be derived, for by an easy transition it became a bowtel 
 of one, two, or three fillets ; all of which, with their numerous varieties, performed important 
 
 parts in the molding system of the purest 
 period. The example in the appended cut 
 
 was common in Early English and Decorated 
 work, and eventually gave rise to the wave molding — that most elegant of Gothick moldings — 
 it having become usual by this time to gently round the fillet into the bowtel.'" That this 
 wave mold derived its origin from the filleted bowtel is 
 singularly clear ; for at first we meet with instances, as in 
 the doorway of St. Margaret’s Chapel, Herts, with only one 
 of the fillets rounded ; and shortly afterwards, in the Chancel windows 
 of Fleet Church, t Lincolnshire, we find both fillets rounded off, though 
 
 ""flMf m0 ^ n » preserves its character of a filleted bowtel. As the Decorated 
 
 ^ ' period advanced, it lost more and more of its resemblance to its prototype ; the 
 curve, which at first gently united the fillet to the bowtel, gradually assumed more 
 
 Flbkt Church 
 
 Lincolnshire! importance, at the expense of the latter : and it is not a little singular that in its 
 most complete state, and when Decorated had arrived at its liighest degree 
 of perfection, the formation of the wave mold appears to have been from 
 the three points of an equilateral triangle. A group of two or more wave 
 molds, with intervening hollows, was a common and most beautiful Deco- 
 rated arrangement. This mold was also of frequent occurrence in Perpendicular, though 
 belonging more especially to the former period. 
 
 * This fillet gradually became smaller and smaller, until at last it was reduced almost to an arris, 
 t For a drawing of one of these windows, see Appendix, Plate 4, Fig. 37. Ihe Church itself 
 is illustrated in the Parish Churches, Yol. I. p. 51. 
 
 St. Margaret’s Chapel, 
 Herts. 
 
60 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 The ogee, the most generally used perhaps of all moldings, may with equal certainty be 
 traced to the same source as the wave mold. It is in fact a half of the filleted bowtel. The 
 ..... double ogee, 'formed by the junction of two ogees, was introduced 
 
 towards the close of the Decorated, but became a more constant ^ 
 
 and characteristick feature of the Perpendicular period. A remark- 
 
 Double Ogee. 
 
 Skei-tos Church, 
 Yorkshire. 
 
 ably early instance of this molding (probably fortuitous) occurs in the central 
 shaft of the double bell gable of Skelton Church, Yorkshire : its formation 
 
 appears the result of an arrangement of four clustered filleted bowtels. 
 
 One more molding remains to be noticed, and though last it is perhaps 
 the most characteristick and essentially Gothick of any : we allude to the 
 scroll mold. Here again we may certainly refer to the bowtel for its origin. 
 It is in fact a bowtel, with one fillet partially developed, and, as might be 
 expected, its first occurrence is traced to shortly before 
 the close of the Early English period. Agreeably with 
 their ideas of beauty, the Decorated architects treated it as they had the 
 filleted bowtel : we find its angular outline gently softened, and at last it assumed the 
 appearance so peculiar to the 1 4th century. This mold was more extensively used perhaps 
 than any other, and its varieties became so numerous as almost to defy 
 classification. It entered abundantly into the formation of capitals, bases, 
 hoodmolds, and strings :* it was rarely used in Perpendicular work. 
 
 Before leaving this subject, yet one other variety must be mentioned. The sunk chamfer 
 is simple in its construction, yet generally effective in execution. Its production may have 
 been the result of cutting away the projection from the filleted bowtel, though it 
 is perhaps easier to imagine that it was simply sunk from the plain chamfer with 
 a view of gaining more effect. In the mullions and tracery of windows, it is of 
 sunk Chamfer, particularly happy introduction. 
 
 To resume briefly the various peculiarities in moldings at the different periods. We 
 observe that the Norman hardly got beyond the alternating round and hollow ; that the 
 Early English, extending the example set them by the architects of the Semi-Norman period, 
 hollowed their moldings to an extravagant degree, and that the hollows until then divided 
 individual members of a group, but that in Decorated the hollows only divided the complete 
 
 * It is occasionally, though very rarely, found in vertical groups of moldings, such as door and window jambs. 
 It occurs in Wootton Church, Beds, in the north doorway ; in such instances, however, it should rather be con- 
 sidered as a partially developed filleted bowtel. At other times, and more especially in bases, this mold will be 
 found reversed ; these, however, are exceptions to the general practice, and can hardly be sanctioned by correct taste. 
 
 
 
 
 
DOORWAYS. 
 
 61 
 
 groups;' 4 ' that while Early English moldings, from the 
 irregular section of their hollows, present more the appear- 
 ance of having been drawn “ libera manu Decorated, on the 
 contrary, were remarkable for geometrical precision ; that in 
 Perpendicular, the hollow was converted into the shallow 
 casement, the character of the moldings suffering, in common 
 with all other parts, from the general debasement of Architecture ; and lastly, that the mam 
 beautiful moldings, which at various times made their appearance, may all be distinctly 
 traced to a common origin, the bowtel ; thereby clearly showing how little was derived from 
 Classick Antiquity in the formation and gradual perfection of these most lovely adornments 
 of Gothick art. 
 
 DOORWAYS. 
 
 Norman doorways are generally remarkable for excessive richness and elaborateness 
 in design. On perhaps no other part of their Buildings, did the Architects of those days 
 bestow such care and attention ; they seem to have considered no detail so minute, but 
 that it was capable of receiving further decoration, which was liberally supplied from 
 apparently an unfailing sourced Their usual arrangement consisted of two or more 
 recessed arches, with a corresponding number of shafts in the jambs. A common practice 
 was to place a stone lintel from jamb to jamb, thus forming a square-headed door, with 
 the spandrel under the arch generally enriched with sculpture. Such is the example from 
 St. Mary Magdalen’s Church (Section I. Norman, Plate 4). In other examples the lintel is 
 slightly arched to gain a little additional height, or perhaps merely to produce an effect of 
 greater lightness, as in Middleton Stoney Church, Oxfordshire, and Essendine, Rutland. 
 This lintel became afterwards enriched by having carved on its soffit three ornaments like 
 
 * Paley’s Moldings, p. 34. 
 
 t The extraordinary power of invention and facility of execution displayed in the ornaments of the Norman 
 Architects are perfectly surprising. The entire succeeding periods of Gothick Architecture failed to equal them 
 in versatility of design, however superior they may have been in chasteness and elegance of form. Many Norman 
 designs are of such exceeding intricacy, that we must entirely reject the idea of their having been projected on 
 paper or board ; they must be considered as the productions of clever artificers, designed and set out on the stone 
 itself, and possibly considerably modified as the work proceeded. 
 
 S 
 
62 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 pellets, as in Weald Church, Essex. This device may possibly have suggested the idea of a 
 triple arch, such as we find in Nately Church, Hants (Section I. Norman, Plate 1), and in 
 Bibery Church, Gloucestershire. 
 
 Norman doorways occasionally occur without shafts, the arch moldings being continuous 
 down to the ground, as in Iffley Church, Oxfordshire ; a very fine example of this kind 
 occurs in Malmsbury Abbey Church, Wilts, where the wide bowtels which run down the 
 jambs terminate in bases.'"' 
 
 It was a common practice at this period to project that part of the wall through which 
 the doorway was pierced, and hence, from the necessity of protecting this projection, the 
 doorways became gabled, as in Merrington Church, Durham, or Sempringham Church, 
 Lincolnshire, the latter of which is surmounted by a Cross (Section I. Norman, Plate 6) ; a 
 magnificent example of the same description occurs in St. Germain’s Church, Cornwall. 
 Sometimes the projection of the wall was weathered at top in lieu of being gabled, as at 
 Iffley ; and in other examples the gable, no longer an object of necessity, was retained as an 
 ornamental accessary. In St. Margaret’s, at Cliffe, near Dover, a valuable and interesting 
 Structure, of pure Norman character, is a doorway of this description once recessed, with 
 one set of jamb shafts. The gable is formed by an ornamental string, which, rising from the 
 springing of the arch, terminates in a kind of trefoil. 
 
 During the transitional period which occurred between the close of the Norman and 
 the complete establishment of the Early English Architecture, we meet with many extra- 
 ordinary arrangements in the designs of doorways, as well as in all other parts of the Edifice. 
 Such arrangements are by no means to be adopted, and are merely interesting as showing 
 with what reluctance the old style was finally abandoned, after having been used in the 
 erection of a greater number of magnificent and costly Buildings than were called into 
 existence in any of the subsequent periods of Gothick Architecture.! In the doorway of 
 Little Snoring Church, Norfolk,} we find a pointed arch enriched with the chevron, between 
 two circular arches, the outer one being stilted ; such a construction would almost indicate 
 that they were fearful of trusting solely to the strength of the newly introduced form of 
 arch. In Northleigh Church, Oxon, the south doorway is pointed and enclosed within a 
 circular arch.§ Transition doorways, however, were sometimes of elegant design and careful 
 workmanship. The west doorway of Orpington Church, Kent (Section I. Semi-Norman, 
 
 * Engraved in the Antiquarian Itinerary. 
 
 t Between the Conquest and the first year of Henry III. there were founded and re-established 476 abbeys 
 and priories, and 81 alien priories. — Tanner’s Notitia Monastica. 
 
 X Britton’s Architectural Antiquities. 
 
 § Antiquities of Oxfordshire, Part II. p. 163. 
 
DOORWAYS. 
 
 G3 
 
 Plate 1), is an excellent specimen of good proportions, with a delicate trail of dog-tooth and 
 a boldly undercut chevron, which produce a beautiful effect. A benatura, or holy water 
 stoup, has been rather awkwardly introduced against one of the shafts, as shown in the 
 plate. Highly enriched examples of Norman doorways occur in Ketton Church, Rutland- 
 shire, and in the priory church of St. Leonard’s, Stamford ; this latter has an almost unique 
 arrangement of double jamb shafts. Both these are flanked on either side by blank arches 
 on a somewhat smaller scale, partaking of the character of arcading, yet belonging essentially 
 to the general design.* 
 
 Early English doorways are distinguished by their usually great beauty and purity of 
 detail, yet they are by no means so numerous as those of the preceding style ; in part, no 
 doubt, owing to the general custom of preserving the older examples. They may be classed 
 under the various heads of shafted, continuous, discontinuous, banded, foliated, and double 
 arched. The large doorways, when shafted, commonly preserve the deeply recessed Norman 
 character ; bold and effective arch moldings, often enriched with trails of dog-tooth or 
 flowers, are carried on the detached shafts, which very frequently were of a different 
 stone from that used in the rest of the doorway. Purbeck marble was most generally 
 employed for the purpose, and was in great requisition dining the entire duration of 
 this style. The immense consumption of this costly material in W estminster Abbey Church 
 is tndy surprising. It probably never was employed without being highly polished ; those, 
 therefore, who have seen the restored purbeck piers in the Temple Church, London, can form 
 an idea of what must formerly have been the effect of this magnificent Abbey Church, with 
 its vast masses of dazzling brightness. 
 
 A fine example of a shafted doorway from the south aisle of St. Martin’s Church, 
 Leicester, is given in Section I. Early English, I’ late 23. In this case a beautiful and 
 effective arrangement is obtained by using a double row of shafts, the inner ones being 
 engaged. The moldings of the arch, however, are of a somewhat poor character ; and 
 though lying in the rectangular planes, the four orders of which they are composed have 
 lost considerably of the rectangularity of outline so characteristick of that epoch, by being 
 in two instances subdivided into secondary groups. Dunstable Church, Bedfordshire, retains 
 in its west front a magnificent though sadly mutilated example, with five detached shafts, 
 alternating with as many others that are engaged ; the arch moldings, as may be imagined, 
 are of very great beauty, and are enriched, among other ornaments, with a very elegant 
 
 * The very frequent occurrence, in all parts of the country, of Norman doorways, evidences the estimation in 
 which this feature, however plain in its design, was generally held by the Gothick architects. It appears to have 
 been the custom to spare these interesting works of the early builders, even when all the rest of the Church was 
 taken down to make way for the more magnificent Structure in the then prevailing style of building. 
 
64 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 variety of the dog-tooth. In the example from Barnwell Church (Appendix, Plate 7), 
 the moldings are of two orders, very rich, with two rows of dog-tooth. Here we may 
 observe a feature, borrowed from the Normans, and extensively used during this style : 
 we refer to the band which occurs midway, and which became a necessary constructive 
 arrangement ; for the diameter of the Early English shafts was so small, that without some 
 such contrivance, it would hardly have been possible to have effected a durable joint in thei^ 
 length. 
 
 In Felmarsham Church, Bedfordshire, is a fine doorway with detached and engaged 
 jamb shafts, and with an arrangement already noticed in Norman works, namely, an arcade 
 on either side in continuation of the central design.'"' In the present instance, two trefoiled 
 panels, or orbs , t with a quatrefoil above, are enclosed in a pointed arch springing from the 
 same level as the doorway. The interior arrangement of this example will be found illus- 
 trated at page 75. 
 
 The foiled doorways introduced by the Normans were preserved and still further 
 enriched by the Early English Architects, and during the continuance of tliis style were of 
 frequent occurrence. In large examples, it was most usual for the first order of moldings 
 only to be foiled, as in the beautiful specimen from Warmington Church (Section I. Early 
 English, Plate 21), a very perfect illustration of a pure Early English doorway, where the jambs 
 are composed of four detached shafts placed in a corresponding number of square recesses, 
 whose arrises are chamfered ; and while the two outer chamfers are simply hollowed and termi- 
 nate in delicately carved trefoiled flowers, { the centre one is richly ornamented with dog-tooth. 
 
 The arch moldings are all placed on the rectangular planes, and exhibit most of the 
 members characteristick of the style ; among others are the pear-shaped or pointed bowtel, 
 and the filleted bowtel. The quasi bases, resting on the capitals and terminating the 
 filleted bowtel of the first order, must not pass unobserved, though they are features 
 belonging more particularly to the succeeding periods. We may notice in the capitals the 
 early appearance of the scroll mold, which is also repeated in the dripstone. Other 
 examples of foiled doorways occur at Merstham Church, Surrey, § which has one row of 
 shafts, and is enriched with dog-tooth ; at Woodford Church, Northamptonshire, a singularly 
 beautiful composition, with the inner order of moldings trefoiled, the others as well as the 
 
 * The west front of this interesting Building is well worthy of an attentive examination ; it is a beautiful and 
 pure specimen of Early English. Four views and a plan of this Church are given in the Parish Churches, 
 Yol. II. p. 96. 
 
 t Willis’s Nomenclature. 
 
 X See Section I. Early English, Plate 26. 
 
 § Parish Churches, Yol. II. p. 99. 
 
DOORWAYS. 
 
 65 
 
 dripstone being circular ; and at Higham Ferrars Church, where the priest’s doorway has a 
 trefoiled head : in this charming little specimen, the dripstone, as was generally the custom, 
 is simply pointed, and in each of the spandrels which occur between it and the trefoiled head, 
 is sunk a carved rose. Illustrations of these two last-mentioned examples will be found in 
 “ The Churches of Northamptonshire.” In other foliated specimens all the moldings follow 
 the form of the foliations, as in the doorway in the cloisters of Salisbury Cathedral, which is 
 cinquefoiled ; even in this case the dripstone, in accordance with natural construction, follows 
 the sweep of a pointed arch instead of the outline of the several curves. 
 
 The doorways of this period were not always pointed ; under certain restrictions a 
 square-headed form was introduced, and in many instances added an increased charm to 
 the beauty of the general design. Their use was however chiefly confined to the priest’s 
 entrance, or to turret and other small doorways. A good example occurs on the south side 
 of the Chancel of Meopham Church, Kent, and is illustrated in Plate 3, of Section I. Early 
 English. Westminster Abbey Church furnishes many instances of its introduction, in the 
 narrow passage which is continued all round the Building in the thickness of the walls. In 
 all these cases a trefoiled appearance is produced, by the lintel being carried on two projecting 
 corbels : this form is generally distinguished as the square-headed trefoil. 
 
 During the Early English Architecture the double-arched doorway first made its appear- 
 ance. This magnificent feature, however, is almost entirely confined in its application to 
 Cathedrals and Conventual Buildings. Though very rarely met with in the smaller Edifices, 
 we are enabled to mention two fine examples : the one at Higham Ferrars, and the other at 
 St. Cross, near Winchester. The former is, in fact, almost two distinct doorways, under one 
 large arched recess or porch ; each having its own distinct jamb molds, which are continuous 
 round a segmental-headed arch : both entrances are richly sculptured with foliage, and 
 between them rises a slender shaft, which in a most elegant manner bursts forth into foliage 
 at the top ; forming a pedestal for a figure, now destroyed. The space between these two 
 arches, and the large circumscribing one, is diapered with circles containing scriptural 
 subjects.'”' The pseudo porch, within which this double doorway is contained, is very general 
 in the more important Churches in these parts ; we find it in the immediate neighbourhood 
 at Raunds,t and also at Rothwell. The immense weight of the lofty spires, so numerous in 
 the Midland Counties, required proportionably thick walls to sustain them ; and in North- 
 amptonshire, in many instances, advantage has been taken of this thickness to form openings, 
 which, while they present all the appearance of deeply recessed archways, have at the same 
 
 * This doorway is very faithfully represented in page 25 of the “ Churches of Northamptonshire,” a valuable 
 and elegant serial work, now publishing. 
 
 t Parish Churches, Yol. II. p 09. 
 
 T 
 
GG 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 time the convenience of porches ; the soffit being generally diapered (as in Higham Ferrars), 
 or otherwise enriched. The gabled doorway of the Norman period continued a favourite 
 feature in this and the following style : excellent examples of it abound in the middle 
 counties, where, indeed, they are more abundantly met with than elsewhere.* 
 
 Loddington Church, Northamptonshire, has a very curious doorway in the west of the 
 tow r er, the gable of which projects considerably, and is earned on two brackets placed at the 
 springing of the arch. The very beautiful Early English Church at Uffington, in Berkshire, 
 has a good gabled priest’s doorway, also a very excellent gabled entrance on the east side of 
 the south transept ; a most unusual position, but which, in this instance, from its approxi- 
 mation to an Altar, appears to have been reserved for the sole use of the priest. 
 
 Decorated Doorways are distinguished from those of the former periods, by the gradual 
 abandonment of detached shafts in their jambs. The gabled doorway from Milton Church 
 (Section I. Decorated, Plate 14), presents a rare example of their retention. In this instance, 
 the Norman method of projecting the jambs has been adopted, without however obtaining the 
 originally intended advantage of increased depth. An apparent effect of projection is obtained 
 for the gable by the set-off in the wall of the tower, which takes place above the string 
 
 * This frequent occurrence of certain features in particular districts, to the almost total exclusion of them in 
 others, is a very remarkable fact in the history of English Church Architecture. We can readily conceive that a 
 difference in the supply of building materials may have regulated to a certain extent the designs of Churches erected 
 in parts where such a difference existed ; for instance, that in the stone-bearing counties of Northants, Lincolnshire, 
 Leicestershire, &c., the spire, gracefully tapering, by a bold display of masonick art shall attain a most daring eleva- 
 tion ; while, on the contrary, in the woody districts of the southern counties, the timber and shingle-covered spire will 
 be seen modestly peeping over the woodland scenery. But the distinctions to which we refer had clearly no connec- 
 tion with peculiar facilities or wants ; neither did they any way result from alterations in the style, for so long as it 
 lasted, that remained singularly uniform throughout the land : and yet there appears to have been very often a local 
 method of treating one particular part of the Building, the style being identical and the material the same. Let any 
 person observe the characteristick towers of Kent, and compare them with those of Somersetshire : both examples 
 may consist of the same number of parts, both have buttresses, embattled parapets, and a staircase turret, yet how 
 essentially different are the two designs. So also in the arrangement of the eaves of the roofs : in some districts, 
 parapets were invariably constructed to collect and carry away the w ater ; while in other parts, such as Norfolk and 
 Suffolk, Churches, even of the richest description, were most frequently erected without them. From these facts 
 we would gather, that while the style itself was in the hands of an experienced body of men, and by them jealously 
 guarded and gradually improved ; still, that in the execution of any particular Church, the design of its several details 
 w as greatly influenced by that of the neighbouring Cathedral, or most important Conventual Establishment. The 
 beautiful little Church at Skelton favours this supposition, for “ there can be little doubt, from the close similarity 
 which many of the details of its Architecture bear to similar parts in the transepts of the Minster (York), that 
 some of the same hands that were employed upon that magnificent building were also concerned in the erection 
 of this more humble but not less beautiful little Church.” — Evan Christian’s Skelton Church, p. 3. 
 
DOORWAYS. 
 
 07 
 
 course. The termination to the gable, now broken away, probably partook of that trefoiled 
 form so common to the gabled buttresses of this period.* In the capitals to the shafts, we 
 may remark the somewhat unusual feature of a double bell. The bases have been very plain, 
 but are so much decayed, that their correct outline can no longer be ascertained. The small 
 bowtel, which originates in the jambs, is carried round the arch, and winds through the 
 intricacies of the panelled gable, adding considerably to its richness and good effect. The 
 tower in which this doorway is placed is a fine specimen of flint work, and in the Plate, the 
 junction of the flint with the dressed stone is shown with minute accuracy. As the 
 Decorated style advanced, crockets and foliage became more frequently and abundantly used 
 in its Arcliitecture ; and these, combined with a more studied and harmonious arrangement of 
 moldings, operated considerably in promoting the greater splendour of the doorways. Cley 
 Church, Norfolk, a complete study in itself of the richest and most perfect details of 
 Decorated Gothick, possesses a west doorway of such great magnificence, and with such 
 beautifully and carefully executed parts, that it is probably unequalled by any other occurring 
 in a Church of similar size (Section I. Decorated, Plate 39). In the abrupt, and perhaps 
 awkward, manner in which the arch moldings join on to those of the jamb, we may trace a 
 lingering indication of a past era.t Possibly it was felt that these arch moldings were too 
 minute and delicate for the exposed position of the jamb, which was consequently simply- 
 rounded off : but even then, one cannot help wishing that a more perfect and studied junction 
 had been practised. However, the artificers of those days thought otherwise, and it ill 
 becomes us to criticise such minute points, when the whole is so surpassingly elegant. 
 
 This single specimen almost comprises in itself all the several characteristicks which 
 occur in doorways of this period. W e have the beautifully crocheted and finialled dripstone 
 (ogeed, although the arch is pointed, a peculiarly Decorated feature) ; the exquisitively carved 
 drip terminations, in this instance, crowned heads (probably indicative of royal benefactors) ; 
 the well molded arch of two orders, the inner one becoming cinquefoiled, and each foil again 
 trefoiled ; the leafy cusps and richly carved spandrels ; the quaintly wrought foliage in the 
 capitals, and delicate finish to the chamfers in the jambs ; the double-plinthed bases ; the 
 stone sill ; and last, though not least, the original and richly ornamental ironwork of the 
 door : all these features, each highly worthy of observation, combine together to form a most 
 magnificent and characteristick Decorated doorway. 
 
 The stone sill was frequently used during this and the preceding period. An example 
 is given of it in Section I. Decorated, Plate 23, the doorway in Swatton Church, Lincoln- 
 shire: and it occurs also in the priest’s doorway at Fen Ditton. (See page 51.) In the arch 
 
 * See buttresses from llolbeacli Church, Section I. Decorated, Plate 17, and also those in Plate 19. 
 
 t See arcade from St. Alban’s Abbey Church, Section I. Early English, Plate 28. 
 
G8 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 moldings we may observe, that those which come over the engaged shafts, lie on the rectan- 
 gular planes, whereas those which are continuous are on the chamfer plane ; thus illustrating 
 and strengthening a remark we have already had occasion to make in the chapter on moldings. 
 The beautiful roses which stud the inner soffit, although not very conspicuous in a geometrical 
 drawing, nevertheless add considerably to the general richness, and are themselves well 
 displayed and set off by the elegant moldings over which they are placed. Under the crown 
 of the arch a head occupies the place of a rose. 
 
 The Church at North Mimms offers an example of a plainer but equally characteristick 
 doorway. (Section I. Decorated, Plate 25.) We may here again notice, that the arch 
 moldings carried on the engaged shafts, lie on the rectangular planes. They are very 
 beautiful and effective, and the flowers placed in the hollows add not a little to the elegant 
 simplicity of this specimen. The foliage of the capitals is of a very peculiar character, and 
 in its arrangement essentially Decorated, rather twining round the bell than rising up stiffly 
 against it. The bases are extremely plain, and in this respect they agree with those in the 
 Milton doorway ; the square return of the dripstone is not the most usual arrangement of 
 this period. 
 
 Gabled doorways were still veiy commonly introduced, occurring, as did those of the 
 previous style, more frequently in the south of Lincolnshire and those counties that imme- 
 diately surround it, than elsewhere. Ewerby* 1ms a very fine 
 example of this description ; it is finialled, though not 
 crocket ed, which is a peculiarity observable in many of the 
 details in this Church. In the gable there has been, as at 
 Milton, a small niche for the statue of a saint : it has been 
 blocked up, and is now hardly discernible. The inner order 
 of moldings forms a trefoil arch ; the upper foil being 
 slightly ogeed, as at Cley Church. Some very elegant foliage 
 fills up two of the hollows. 
 
 At other times the gable was ogeed and richly crocketed 
 and finialled, as in the priest’s doorway at Crick Church, 
 Northamptonshire : in this case the head of the doorway is 
 also a flat ogee, and the space between it and the gable is 
 filled with very beautiful foliage. The moldings are con- 
 tinuous and on the chamfer plane. Byfield Church in the 
 KwKitHYCncRCH, lincolnmibb. gov™ dookw.vy. same county possesses two very fine examples : that in the 
 south of the Church is ogeed, terminating in a bunch of foliage which supports a niche, and 
 * For a further description of this beautiful Building, see Parish Churches, Yol. II. p. 77. 
 
DOORWAYS. 
 
 69 
 
 is flanked by pinnacles, crocketed and finiafled ; the other, at the west, is of the same 
 description, but without the niche. 
 
 Doorways with continuous moldings occur very frequently in Buildings of this period, 
 though the effect is rarely satisfactory ; the absence of shafts is severely felt, for without 
 them the springing of the arch, which should always be well defined, appears undeter- 
 mined. 
 
 The doorway from Holbeach Church (Section I. Decorated, Plate 10) is a good plain 
 example, with a door of the same date very rich and perfect. The framing, and the “ setting 
 out” of its tracery will be found fully explained in the plate. The jamb shafts have molded 
 caps and bases : these latter are of a very unusual character, or perhaps, rather of no 
 particular character. It is curious to observe, even in works of considerable richness, how 
 frequently the bases were neglected and left very plain, as in the examples from North 
 Mimms and Milton ; or presented some extraordinary anomaly, as in the present instance ; 
 or seemed to lack a sufficient projection, as in the doorway from Heckington. In truth, 
 good moldings in any position were much more rare in this style than in the preceding one : 
 in many cases simple chamfers were used throughout the entire work. In the arched 
 monuments and in the smaller details of the Church, such as the sedilia and piscina, we are 
 more likely to meet with minute and exquisitely wrought moldings. The doorway from 
 Heckington, referred to above, and illustrated in Plate 23 of Section I. Decorated, is a 
 beautiful example, with three rows of shafts having foliated caps, and with excellent arch 
 moldings. The finial which terminates the dripstone is not quite perfect, and judging from 
 its present mutilated condition, we should imagine that it had had another leaf on either 
 side lapping back. Here we may once more remark, that shafts being used in the jambs, 
 the arch molds lie on the rectangular planes. 
 
 Circular-headed doorways were occasionally introduced, but must be considered rather 
 as instances of the caprice of the builders, than as features appertaining to this style. A very 
 rich example occurs in Badgeworth Church, Gloucestershire ; the moldings are continuous, of 
 extraordinary merit, and profusely studded with ball flower.'"' 
 
 Towards the close of the Decorated period, the label over the pointed arch, and 
 spandrels filled with rich carving, gradually gained ground. Worstead Church, Norfolk,! 
 and Deopham in the same county, both present instances of the introduction of this new 
 feature : in the latter the label is embattled. In the doorways to turret staircases, almost 
 
 * A window from this Church is illustrated in Section I. Decorated, Plate 38, the moldings of which closely 
 resemble those of the doorway ; in fact, the two dripstones are identical. A plan and two views of the entire 
 Building are given in the Parish Churches, Vol. II. p. G7. 
 t Parish Churches, Yol. I. p. 35. 
 
 U 
 
70 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 any shaped arch was equally applicable ; and accordingly we find them sometimes pointed, or 
 sometimes ogeed, now square-headed, or again, as in the example from Aldwinkle Church, 
 partaking of the character of all. The priests’ doorways are frequently par- 
 ticularly interesting : those already mentioned, in the Churches of Crick 
 and Heckington, are beautiful and rich examples ; that at Oadby, Leices- 
 tershire, has a traceried head ; and the one in Brandon Church, Norfolk 
 (Section I. Decorated, Plate 12), is commendable for its simple elegance. 
 The example at Sutton at Hone, Kent (Section I. Decorated, Plate 1), is 
 an instance of continuous moldings occurring on the rectangular planes. 
 A solitary case like this, however, can hardly militate against, but should 
 rather be considered as an exception from, a general rule which, for the 
 greater convenience of study, we would attempt to establish, without at all 
 presuming to put it forth as the one by which the masters of old worked. 
 Indeed, we cannot readily conceive that such rules as these were then 
 wanting, for they are but the necessary results of that natural construction which is so 
 remarkably displayed in all their works. If shafts are used, as a consequence almost, they 
 would be placed in square recesses, and hence lie on the rectangular planes ; and their 
 capitals, projecting from these planes, become naturally so grouped as only to be consistently 
 adopted for arch molds that also lie in similar planes. At the present day, when the student 
 in Mediaeval Architecture has before him such exquisite specimens of the art in its matured 
 phase — when he can turn at once to the truly graceful compositions of the Edwardian 
 period, it is perhaps mainly as a matter of curious inquiry that his mind is directed to the 
 minute steps by which such excellence was gradually accomplished ; and yet the investigation 
 must assuredly enable him to arrive at a more refined appreciation of its eminent beauties, 
 while it will also forcibly illustrate the great advantage resulting from close application to the 
 study — it will show how master minds, through many generations, continued to labour in the 
 same field, each generation receiving with reverence the bequest of its predecessor, and invariably 
 striving to advance it on the road to perfection. This research may be the more useful, inasmuch 
 as Gothick Architecture, at present at any rate, can scarcely be reduced to precise laws — its spirit 
 soars above rule — yet often when it may wear the appearance of caprice, close investigation 
 will prove it to have been guided by purest taste : it must be studied in the spirit in which it 
 was conceived, and pursued with ardour and constancy. The ancient architects, devoting the 
 energies of their powerful minds but to one style of building, were every way qualified to 
 develop the manifold graces it is capable of, and thus render it more and more worthy of its 
 high purpose. Yet, however great the excellence thereby attainable, it can hardly now be of 
 frequent occurrence that an architect should devote his sole and undivided attention to the 
 
 Aldwinklb Chukch, 
 Nohtiiam pioxsbibe. 
 
DOORWAYS. 
 
 71 
 
 study and advancement of one particular style out of the many which are in full practice, and 
 each of which has its ardent votaries : the more especially when we consider (and the con- 
 sideration, after all, is of some weight) how disproportionate would be the encouragement he 
 would probably meet with. But be that as it may, as regards Gothick Architecture, the day 
 is surely coming when it will no longer be studied as a dead language, as an art which a gulf 
 of nearly four centuries divides from us : once well understood (it is already appreciated), its 
 admirers will boldly strike out anew the track in which our ancestors laboured ; and, armed 
 with their principles, will advance it to a climax of beauty unknown even to them. To 
 return to the subject more immediately under our consideration : 
 
 In Perpendicular Doorways, the constant use of the label characteristically dis- 
 tinguishes them from those of the preceding styles, though, as we have already observed, this 
 feature may occasionally be found in Decorated work ; in Perpendicular, however, its appear- 
 ance is in keeping with the then prevailing fashion, which delighted in the contrast of 
 horizontal and vertical lines. 
 
 In the example from St. Alban’s Abbey Church (Section I. Perpendicular, Plate 1), the 
 entrance into the south aisle from the cloisters, we find combined many beauties and 
 excellencies. The interior elevation, which is the one represented in the plate, is flanked by 
 two niches with pedestals, the whole forming a very grand and imposing composition, 
 adapted of course only to a very large Church ; and in so far, perhaps, not consistently 
 occupying a place in the present work, were it not for the many valuable points which it 
 possesses, peculiar to the doorways of this period. The very beautiful effect produced by the 
 double-cusped arch, earned in front of and distinct from, the first order of moldings, may be 
 observed in many examples of a similar date. In the present instance, the terminations of 
 all the primary cusps are broken off, with the exception of one representing a lion’s head. 
 The singularly beautiful crowning ornament exhibits a very early specimen of that 
 distinguishing Perpendicular decoration, the strawberry leaf, combined with much that 
 belonged to the stage of art which had just closed : on its geometrical formation, which is 
 exhibited in the plate, we have already commented in page 46. The door itself is a very 
 rich and well preserved specimen, and will be found illustrated more at large in Section II. 
 Woodwork, Plate 4. The small roundlets with which it is studded seem to have been 
 suggested by the ball flower of the Decorated era. The arms of England and those of the 
 Abbey are placed in the spandrels. 
 
 The doorway from Coltishall Church (Section I. Perpendicular, Plate 20) is a very good 
 type of the general arrangement of the period at which we have now arrived. It is placed at 
 the west end of the Church and in the tower, and exhibits the combination of both label and 
 dripstone ; the horizontal part of the former is continued through, and is carried round the 
 
72 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 tower as a string.'" Above it is placed a very rich band of flint and stonework, consisting of 
 shields in octofoiled circles, alternated with the crowned I for St. John the Evangelist. The 
 same device occurs in the base moldings of the tower, and his symbol, the Eagle, is carved in 
 the spandrels of the door. A second stringcourse encloses the band of circles, and imme- 
 diately above is a three-light window. This arrangement had then become the prevailing 
 fashion ; a west doorway and window might almost be considered as forming one design ; we 
 meet with an early instance of it in the Decorated tower of Worstead Church, Norfolk.! 
 The jamb molds of the Coltishall doorway are on the chamfer plane, and consist of an 
 exaggerated filleted bowtel between two casements, leaving two wide, plain chamfers, which 
 in the arch have a kind of wave mold sunk from the face. 
 
 The west doorway in the tower of Towcester Church, Northamptonshire, is a singularly 
 
 rich and beautiful specimen of this style. It is 
 very deeply recessed, and has a crocketed and 
 finialled dripstone within a group of moldings 
 which follow the outline of the label. The 
 slender octagonal bowtel, rising from the ground 
 and at top spreading into a small pedestal for 
 the reception of a statue protected by a crocketed 
 canopy, is a rather unusual but beautiful feature. 
 The moldings all he on the chamfer plane, into 
 which they die at the bottom. 
 
 In the tower of Lavenham Church, Suffolk 
 (Section I. Perpendicular, Plate 6), is a mag- 
 nificent though very late specimen. Even in this 
 instance, the two-centred arch is still retained, 
 with the addition of an ogeed dripstone beauti- 
 fu lly crocketed, which, interpenetrating the string- 
 course, appeal’s again on the upper pail, and was 
 originally terminated with a finial. The moldings 
 are of very poor character : in the desire for rich- 
 ness of appearance, the usually wide, and some- 
 times effective casement has been abandoned, and 
 groups of moldings have been formed ; but by their not lying in either of the usual planes, 
 
 Towcbstbb Chubch, Nobihamptosshiek. 
 
 * This arrangement was a very common practice, and is also observable in windows ; see window in north 
 Chapel of Barnwood Church, Gloucestershire, Parish Churches, Yol. II. p. 71. 
 t Parish Churches, Yol. I. p. 35. 
 
DOORWAYS. 
 
 73 
 
 they produce an effect at once confused and unsatisfactory. In the arch head, especially, 
 the various groups are composed of very minute members, divided by large and plain hollows ; 
 veiy different from the previous and purer practice, when all was so beautifully blended 
 together. The peculiar shape of the middle shaft in the jamb should be noticed ; many 
 instances of it may be found in Perpendicular work, and it would appear to be a corruption 
 of the Decorated filleted shaft. All the caps have double bells, but are otherwise as irregular 
 in their construction as the moldings of the arch and jambs. They are all octagonal, and in 
 the principal ones, small square flowers of four leaves occupy the place of the beautiful foliage 
 of former times. In the bases we may notice the then prevalent fashion of their being 
 exceedingly stilted ; the outer base is exaggerated to such an extent, as to be nearly equal to 
 the shaft in height. The buttresses and shafts which flank the doorway, however elegant 
 they may appear at first sight, must be considered as instances of a debased taste, which sought 
 more after meretricious effect than correct and consistent 
 decoration. Still the design is so rich and attractive, and 
 the base moldings and the buttresses to the tower are all 
 in such excellent keeping, that we are induced to overlook 
 the imperfections of the details, in our admiration of the 
 composition as a whole. The door itself has been a rich 
 and beautiful design, but is now so much decayed, that the 
 moldings and smaller portions of the tracery are no longer 
 discernible. The flint work of the tower is remarkably 
 well worked ; a portion of it is shown in the Plate. 
 
 Islip Church, Northamptonshire, possesses a very 
 good illustration of a small Perpendicular doorway. There, 
 as at Coltishall, we find both label and dripstone ; the 
 
 latter ogeed, and both 
 uniting and carried on 
 small shafts, resting on 
 the base moldings of 
 
 the tower. Some well carved tracery fills up the span- 
 drels, which, with a deeply sunk casement, produces a fine, 
 bold effect. The string round the tower is lowered, to 
 allow of the usual accompaniment of a window : altogether 
 this is a simple yet pleasing example. The west doorway 
 of Shorne Church, Kent, is well adapted for a plain village 
 Church. It is flanked by buttresses, which are judiciously 
 
 Islip Cnpucn, Nobthamptonshibe. 
 
 Sbobne Cbubch, Kent. 
 
 X 
 
74 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 introduced into the composition ; and in either jamb is a shaft carrying a single group of 
 moldings. It has no dripstone nor label : and this leads us to notice a peculiarity, which 
 we may also observe in Basingstoke Church (Section I. Perpendicular, Plate 3), and in 
 Chesham Church (Plate 17), namely, that in some cases, especially in the more advanced 
 and fully established Perpendicular, the spandrels to the doorways form an essential part of 
 the composition, and would exist whether a label were thrown over them or not ; whereas in 
 
 others, and principally the earlier examples, the span- 
 drel is the immediate result of using both label and 
 dripstone, as in the doorway from Coltishall ; and it 
 would appear probable that on the dripstone becoming 
 gradually obsolete, the spandrel assumed its position 
 as an actual portion of the doorway, and was enclosed 
 by the outer molding of the jamb. Continuous mold- 
 ings were now very frequent, but even in small 
 examples they were very deficient in beauty ; and 
 when employed on a large scale, as at Potterspury 
 Church, Northamptonshire, the effect was altogether 
 poor and unsatisfactory. 
 
 Perpendicular priest’s doorways were usually 
 plain and uninteresting. The example, however, 
 from Basingstoke is a remarkable exception, and particularly valuable from having the 
 date of its execution carved on a shield in the head. (Section I. Perpendicular, Plate 3.) 
 On the shields in the spandrels are carved the monograms of Our Saviour and of the 
 blessed Virgin ; other sliields, with inscriptions now become unintelligible, terminate 
 the label. 
 
 In the arrangement of these doorways we have frequent 
 opportunities of remarking instances of that unbounded freedom, 
 so characteristick of this style of building. Does a window occur 
 just where it was wished to have placed a doorway, — with the 
 utmost boldness they are both incorporated into one design ; or, 
 does a buttress present an apparently insurmountable obstacle to 
 the doorway’s being placed in a particular position, — it is at once 
 made to expand on either side, and by a clever contrivance the 
 desired doorway is pierced through it ; or again, we may have to 
 admire the ingenuity with which the difficulty has been overcome, of 
 both erecting a buttress, and adding a porch to an already existing 
 
 Leie CuiEcn, Leicestebsuibe. 
 
DOORWAYS. 
 
 75 
 
 doorway. Throughout every minutia of Gothick Architecture, 
 we shall ever find that construction and design go hand in hand, 
 
 and that anything 
 actually required by 
 the former, instead 
 of being concealed, 
 is immediately and 
 gracefully made sub- 
 servient to the beau- 
 ty of the latter. The 
 priest’s doorway in 
 Merstham Church, 
 
 Surrey, exhibits a 
 graceful combina- 
 tion of the jambs Gbundisburgh Church, Suffolk, 
 tuukch Church, Norfolk. with the base moldings, by which the former 
 
 are altogether brought forward from the face of the wall ; the arrangement of the dripstone 
 is also commendable. 
 
 The interior of the doorways frequently shows how a necessary 
 constructive feature is converted 
 
 Merstam Church, Surrey. 
 
 into a highly ornamental one. 
 In an arched entrance, where 
 the door is placed considerably 
 nearer the outer than the inner 
 face of the wall, it becomes neces- 
 sary to stilt or give a different 
 form to the inner arch, so as to 
 allow to the door opening ; hence the constant use of 
 the segmental pointed arches on the inside of doorways. 
 In Section I. Perpendicular, Plate 7, is shown the very 
 elegant arrangement of the inner arch of the doorway in 
 the tower of Lavenham Church, the soffit of which is 
 richly panelled with quatrefoils. The Early English arch- 
 ways in Felmarsham Church'"' are also very graceful , with 
 slender shafts carrying a beautiful group of moldings. 
 
 Felmarsham Cnur.cn, Bedfordshire. 
 
 * See Parish Churches, Vol. II. p. 95. 
 
76 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 !: I 
 
 . M , 
 
 l -1 a 
 
 Trumpington Church, Cambridgeshire,* has a singularly fine interior arch, with a hoodmokl 
 and bold moldings carried, as in Felmarsham Church, on slender shafts with molded capitals. 
 The priest’s doorway in Higham Ferrars Church presents a good example of internal 
 
 arrangement ; a few moldings on the 
 face of the arch, with the stringcourse 
 continuing as a hoodmold over it, are 
 all that are required to produce a very 
 satisfactory effect. In Northampton- 
 shire, Lincolnshire, and other counties, 
 where stone spires abound, a small 
 opening is most usually contrived 
 in one of the faces of the spire to 
 give access to the parapet ; these 
 openings are generally well managed, 
 
 and occasionally, as in Weeldey Church, are made ornamental 
 features. 
 
 Highim Ferrars Church, Northamptonshire. 
 
 Veekiet Church, 
 Northamptonshire. 
 
 PIERS AND ARCHES. 
 
 Chancel Arches. — With such rare exceptions as in Ewerby, Lincolnshire ; Raunds and 
 Higham Ferrars, Northamptonshire, and some few other Churches, it was an universal 
 practice to mark the termination of the nave and the commencement of the Chancel, by 
 an arch thrown across from one wall to the other. In early Norman Buildings this 
 separation is occasionally indicated by a triplet of arches, an arrangement very frequently 
 met with in the village Churches of Sussex, as in Piecombe Church, and Ovingdean, near 
 Brighton. Though sometimes occurring of extreme simplicity, as in Iveymer Church, 
 Sussex, the Chancel arch of this period was in general highly enriched ; those in the 
 Churches of Adel and Bubwith, in Yorkshire, are beautiful examples. The Semi-Norman 
 architects followed closely in the footsteps of their predecessors ; the substitution of a 
 pointed for a circular arch being the most important change which they effected. In the 
 Church of Codford St. Mary is a good instance of a transition Chancel arch (Section I. Semi- 
 Norman, Plate 5) : the outer shafts are slightly pointed on plan, and the cap, band and 
 base moldings are considerably undercut ; on the east side, on the contrary, the shaft is 
 
 * An excellent engraving of the interior of this doorway is given in “ The Churches of Cambridgeshire,” p. 53. 
 
PIERS AND ARCHES. 
 
 77 
 
 simply circular, and the arch recessed but not molded. It is said that during some 
 repairs jthat have recently taken place, it was discovered that the outer portion of the 
 arch had been remodelled, and converted from Norman into Semi-Norman by pointing 
 it, and making the other members somewhat to partake of the new style then coming 
 into vogue ; but that the inner or east side had been left almost in its original state. 
 Certainly the east elevation is very plain and simple, compared with the west, but this 
 will be found to be almost always the case in Norman work ; the parts that would 
 more immediately strike the eye are very richly ornamented, while the others are left 
 comparatively unadorned. This we find to be particularly the case with Chancel and 
 nave arches ; in New Shoreham Church, for instance, the arches dividing the Chancel 
 from the aisles are richly molded and elaborately carved with foliage on the sides 
 which open into the Chancel, while those sides which face the Chancel aisles are 
 almost without moldings, and the foliage is altogether omitted.'”' That such a practice 
 was due to some received idea of beauty in composition, and not to that contemptible spirit 
 which would seek only to decorate those 
 portions more immediately in sight, we may 
 gather from the extreme care with which 
 every part of the Building was finished. 
 
 In this very Church of New Shoreham, the 
 window "which lights the space between the 
 roof and the vaulting over the Chancel aisle? 
 and which naturally could hardly ever be seen, 
 is nevertheless richly ornamented inside with 
 moldings and dog-tooth, while (curiously 
 enough) outside, the opening is perfectly 
 plain ; being simply once recessed. ( See 
 Appendix, Plate 1, Fig. G.) 
 
 A favourite and elegant Early English 
 practice, was to carry the inner rim of the 
 
 Chancel arch on Corbels, the other moldings Actor Bunnell, Sbbopshibb. 
 
 being most frequently continued down to the ground. Such is the arrangement at Acton 
 Bunnell ;t a small foliated shaft carries the inner order of moldings, while the outer order 
 
 Scvlt of 
 
 fotC 
 
 * The arches in Felmarsham Church are also richly molded towards the nave, while the sides in the aisles are 
 simply chamfered ; see Parish Churches, Vol. II. p. 95. 
 
 t We are indebted to the kindness of C. Hansom, Esq., Architect, for the use of some very accurately 
 measured drawings of this excellent example. 
 
 Y 
 
78 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 dies into a broad chamfer, which is continued down to the ground. The Chancel arch in 
 Barnwell Church, Northamptonshire, is similarly managed, but with a corbel of far greater 
 
 beauty ; the shafts are detached and carried on a 
 group of notch-heads, which are singularly effec- 
 tive. In Warmington Church, in the same county, 
 slender corbelled shafts, with foliated caps of exqui- 
 site workmanship, are also introduced ; and indeed, 
 in this instance, form quite a peculiar feature in 
 the internal decoration of the Church, for they 
 are employed to support the springers of the groined 
 roof. In Clymping Church, Sussex,* the inner 
 order is carried on a corbel, and the jambs of the 
 archway have small nook shafts, indicative of their 
 very recent emancipation from Norman rule. In 
 Whitwell Church, Rutlandshire, the arrangement 
 of the Chancel arch is yet more simple, the corbels 
 being dispensed with, and the inner moldings dying 
 into the jambs on either side.t 
 
 In other instances, and more particularly as 
 the style advanced, the arch was carried on a regular 
 cluster of columns, properly capped and based, as 
 in Skelton Church, Yorkshire a half octagonal 
 pier is a very ordinary arrangement, which continued 
 in practice until the termination of the Decorated 
 period. This, a simple and always effective method 
 of treating the Chancel arch, is well illustrated in the example from Long Stanton Church, 
 Cambridgeshire^ Preston Church, Sussex, a pure and simple little Early English Building, 
 has a very good and characteristick arch. (Section I. Early English, Plate 5.) 
 
 It is not a little singular, however, that in very rich and splendid Churches, such 
 an important feature as the Chancel arch should so frequently have been left devoid of 
 ornament. The arch in Raunds Church, Northamptonshire, a Decorated addition to 
 
 Barnwell Church, Northamptonshire. 
 
 # See interior of this Church in Parish Churches, Vol. II. p. 75. 
 t See view of the Channel arch, in Yol. II. of Parish Churches, p. 85. 
 
 + Hartlepool Church, Durham, has a richly molded Chancel arch, carried on beautifully clustered shafts, 
 having very early foliated caps with square headmolds. See Billing’s Durham. 
 
 § Parish Churches, Yol. I. p. 33. 
 
PIERS AND ARCHES. 
 
 7 V 
 
 the Building, is ornamented with a double row of ball flower, but this forms quite an 
 exception to the general rule : a few simple moldings, or even a recessed and chamfered 
 arch, is far more frequently met with. Even the Perpendicular examples do not exhibit 
 any particular alteration in the mode of treatment : the moldings and details were of course 
 accommodated to the new fashion, but the Chancel arch itself did not assume more 
 importance than in the preceding style. 
 
 To resume, then, we may remark, that in most cases the Norman Chancel arch 
 was distinguished by its quaint ornaments and rich sculpture, and was very usually 
 carried on shafts in recessed jambs ; that the Early English was generally, and especially 
 if the inner moldings were earned on corbels, of considerable elegance, though carved 
 ornaments were then but very rarely introduced ; while Decorated and Perpendicular 
 arches were of great simplicity, with the moldings either supported on semi-piers or 
 continuous down to the ground. It is not improbable that the gradual introduction 
 of rich and costly screens of wood induced the builders to transfer to these latter the 
 decorations which, had they not existed, would have been lavished on the former. As 
 regards their proportions, it is with the Chancel arch, as with those of the nave, the 
 belfry, and all the other arches in the Church, scarcely possible to lay down any positive 
 rules : every variety of size and shape may be met with, and in each case it appears to 
 have been mainly influenced by other parts of the Structure. Besides, we can easily 
 conceive that many circumstances would influence its proportions : an unusually handsome 
 east window or roof would naturally induce the builder to heighten his arch ; or, when 
 it was intended, as was very frequently the case, to paint the Last Judgment over the 
 west face, he possibly might be inclined to lower it, so as to give a wider field for the display 
 of the artist’s talent. In some Churches the height of the Chancel arch piers corresponds 
 with those of the nave, in which case the moldings are generally identical, as in Weekley 
 Church, Northamptonshire ; at other times, and much more frequently, the springing of the 
 Chancel arch is quite independent of any other. 
 
 Norman piers were generally circular or octagonal, and in the earlier Buildings, of 
 great size and of massive proportions. Such are the octagonal piers at St. Nicholas, 
 Harbledown, Kent : those in Sandridge Church, Herts, also octagonal, are of much 
 better and more graceful outline. In Polstead Church/'' Suffolk, we find the pier, which 
 is rather a late specimen, subdivided into parts, and considerable effect produced by the 
 introduction of engaged nook shafts. Early English piers, octagonal and circular, are 
 frequently, as in Felmarsham, counterchanged in the same Building. Other examples 
 are of extraordinary beauty, with complex arrangement of shafts. At Boxgrove Church, 
 
 * See Appendix, Plate G. 
 
so 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 Sussex/' those on the north are most daringly detached from the central pier, while 
 on the south small channels have been sunk for their reception : in both cases Purbeck 
 marble, richly polished, is the material employed. Eaton Bray Church, Bedfordshire. 
 
 s N furnishes an example of a somewhat similar grouping, and 
 
 has well carved foliated caps. At St. Alban’s, the piers are 
 magnificently clustered, with four detached and twelve 
 engaged shafts. Even in Early English work, however, the 
 V Jj Ns—/ shafts were not always detached : in St. Martin’s, Leicester,* 
 
 U /"’ we find four small shafts engaged, between four other and 
 
 /vJ larger ones, which we may observe are filleted This fillet, 
 
 / applied to the face of the principal shafts, became an 
 
 Exros b»ay. BiDTostsHin. established feature in Decorated piers. W e may notice it 
 
 in the examples from Bottisham and Tnunpington (Plates 16 and 27), and elsewhere. 
 Morton Church, Lincolnshire (Plate 21), has a simple and elegant pier, the plan being 
 produced by four half circles applied to the several sides of a square. All the caps in this 
 Church are beautifully foliated. 
 
 The occasional absence of molded work in this style frequently extended itself to 
 the piers, which were simply octagonal, and carried plain chamfered arches, even in 
 Buildings whose details in other respects testify the care that was bestowed upon them. 
 The exceeding, yet beautiful, simplicity of the piers and arches in a Decorated Church, were 
 little in accordance with the taste of the Perpendicular Architects, who consequently 
 very rarely copied them, though it can scarcely be allowed that they replaced them by 
 a more appropriate substitute. A great sameness pervades the piers of this period : the 
 most usual form is shown in Section I. Perpendicular, Plate 14, a pier from Lindfield 
 Church, Sussex. Afterwards, and especially towards the close of Gothick Architecture, the 
 plan assumed more of a diamond shape, by being made considerably wider from north to 
 south than from east to west, as in Lavenham Church, Suffolk. As we have already had 
 occasion to observe, a peculiar characteristick of Perpendicular piers, and one which 
 distinguishes them from all previous examples, consists in the moldings of which they are 
 composed being partly continuous from the arch. 
 
 An cades were generally employed as decorative features to the lower parts of walls ; 
 their use was principally confined to the interior, but they are not very commonly met 
 with in Parish Churches. The Norman Architects, however, delighted in extensively 
 introducing them in their works, and frequently enriched with them the outer walls of 
 their towel's. In St. Albans, a small cloister formerly connecting the Church with the 
 
 * See Appendix, Plate 6. 
 
PANELLING. 
 
 81 
 
 Abbey buildings, is enriched with an arcade, the details of which are very carefully 
 wrought, with capitals remarkably quaint and variously carved. Two examples of 
 Semi-Norman character, from New Shoreham Church, are given in Section I. Semi- 
 Norman, Plate 2. The Chancel of Stone Church, Kent, a deservedly well-known Early 
 English Structure, has a very beautiful arcade both on the north and south sides, which, 
 in this case, appears to answer the purpose of the customary wooden stalls that were 
 afterwards used ; for it is placed immediately over a stone bench table, of a convenient 
 height for a seat. In Westminster Abbey Church (see page 8) the arcade occupies a 
 similar position with regard to the bench table. The example from St. Alban’s Abbey 
 Church, given in Section I. Early English, Plate 28, is rather late in the style ; it has 
 very beautiful moldings, and is highly effective. Polebrook Church, Northamptonshire, 
 contains some very good arcading in the north transept ; other instances of its application 
 internally in Churches of this date will be found at Histon Church, Cambridgeshire, 
 and Thurlby, Lincolnshire. In the Chancel of Merstham Church, Surrey, a capital 
 and a portion of an arch may yet be traced, built up with the Perpendicular additions 
 and alterations. At All Saints Church, Stamford, an Early English arcade is carried 
 externally round the greater part of the Church. Arcading was frequently a decorative 
 adjunct to the towers of this period, as at St. Mary’s, Stamford ; Ketton, Rutlandshire ; 
 and Raunds, Northants. In Decorated architecture the arcade was generally omitted, 
 and was at last entirely superseded by the introduction of panelling, which rapidly 
 increased during the Perpendicular era, and was eagerly introduced in the Buildings 
 then erecting. There was no portion of the wall but what was considered susceptible 
 of receiving this new enrichment : buttresses, parapets, soffits and jambs of doorways, 
 whidows, and archways, and especially basement moldings, are found profusely ornamented 
 ■with it. The Abbot’s tower at Evesham is completely covered with panelling, 
 from the basement moldings to the parapet. Ticlimarch Church, Northamptonshire, has 
 a double row of panels, very rich and effective. Those from Lavenham Church, given 
 in Plate 8 of Perpendicular, are of a very unusual character, and in the centres of 
 several of them are the initials and mark of the clothier, Thomas Spring, the munificent 
 founder of this noble Structure. In the flint work to which we have already referred, 
 foliated panels are abundantly introduced ; or in their stead we find, as at Coltishall 
 and Hunworth Churches, in Norfolk, the crowned initial letter of the patron saint ; or a 
 cypher, as in Kenninghall Church. 
 
 During the Early English and Decorated periods, a beautiful method of diapering plain 
 surfaces was very prevalent. This diaper usually consisted of a small flower or geometrical 
 pattern. We may notice its appearance even in Norman work, as over the window in 
 
 z 
 
82 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 B 
 
 PM 
 
 ~nr 
 
 Stourbridge Chapel (Appendix, Plate I. Fig. 2), and in the gable of the west doorway of St. 
 Margaret’s at Cliffe ; but it is in Early English Buildings, such as Chichester Cathedral and 
 Westminster Abbey Church, that we may first remark the extensive use of this enrichment : 
 the last named Edifice contains many beautiful and varied designs. In Dunstable Church 
 it is used externally over the doorway ; Beverley Minster may also be mentioned as an 
 instance of its external application. Four Early English examples are given in Plate 19 of 
 Section I., and four of Decorated date in Plate 24. The elegant and well known specimen 
 at Canterbury is illustrated in Professor Willis’s History of the Cathedral.* 
 
 Buttresses are distinguishing, as they are also important, members in Gothick Architec- 
 ture. They do not occur very frequently in Norman work, the most usual resemblance to a 
 buttress being a narrow strip of wall, which is generally flush with the 
 corbel table ; so that in fact it was the wall that was made to recess rather 
 than the buttress to project. The tower of St. Peter’s Church, North- 
 ampton, has some very curious angle buttresses, somewhat resembling 
 on plan a cluster of three engaged shafts ; they diminish gradually in 
 stages. At the east end of the Chancel and under the window is 
 another small Norman buttress, semi-circular on plan, with a conical cap. 
 The Semi-Norman tower of Clymping Churcht has some good examples 
 with weathered heads ; they are divided midway with a string, but 
 have the same projection above as below. 
 
 In the small Early English village Structures, the buttresses still 
 remained but secondary features in the design ; their projection was very 
 slight, and they were rarely divided into more than two stages. Very 
 frequently their heads were gabled, as at Little W enham Church, Suffolk 
 (Section I. Early English, Plate 14); or a small gablet rose from the 
 weathering, sometimes enriched with cusping, as in Raydon Church, 
 Suffolk (see the same Plate) ; or with incipient tracery, as in Achurch, 
 Northamptonshire. A curious variety occurs in Raydon Church, on the 
 north side of the Chancel ; it is triangular on plan with a sloping head- 
 (Also illustrated in the above Plate.) In larger Buildings of the same 
 date, we find the buttresses more fully developed. Good examples occur 
 in Felmarsham j Church ; in the Chancel they have a very slight projection, 
 sr. Margarets, Leicester. fo u t, a t the west end they stand out boldly, and are well proportioned. St. 
 
 * Also beautifully engraved in Bloxam’s admirable Principles of Gothick Architecture. 
 
 t See Section I. Semi-Norman, Plate 5, and Parish Churches, Yol. II. p. 75.) 
 
 + Parish Churches, Yol. II. p. 95. 
 
 IT' 
 
 iiia 
 
 ; 
 
BUTTRESSES. 
 
 83 
 
 Margaret's, Leicester, has a fine arrangement of buttresses : those on the north side are gabled, 
 on the south they are simply weathered ; in the latter an elegant peculiarity may be observed in 
 the leafy terminations of the lower set-offs. It was during the Decorated era that buttresses 
 reached to their fullest development of beauty : they were then 
 always worked in stages, frequently had gabled heads, and were 
 enriched with niches, tracery, &c. Very excellent examples, 
 however, are frequently met with, without the slightest attempt 
 at decoration : deriving all their beauty from their graceful pro- 
 portions. Such are those in Pytchley Church, Northampton- 
 shire. Fen Ditton Church, Cambridgeshire (Section I. Deco- 
 rated, Plate 17), has also some plain yet very good specimens 
 of about the same date : in this instance the arrises throughout 
 
 are chamfered ; a practice which 
 prevailed during the preceding 
 period, yet perhaps not to the 
 extent that is generally imagined, 
 at least as applied to village 
 Churches. In the same plate is 
 figured a buttress from Holbeach 
 Church ; a large and imposing 
 Decorated Structure, in which 
 the buttresses, partaking of the 
 magnificence of the other parts, 
 are gabled and terminate in a 
 
 kind of trefoiled ridge. In Bottisham Church, Cambridgeshire 
 (Section I. Decorated, Plate 19), they are also similarly finished, 
 with the addition of beautifully molded chamfers at the angles, 
 and a trefoiled panel on the face. Dronfield Church, Derby- 
 shire, has some magnificent examples in the Chancel, worked in 
 two stages with both set-offs gabled, and enriched with tracery. 
 In Debenham Church, Suffolk (Section I. Decorated, Plate 19), 
 is an instance of a buttress having a niche with an ogeed and 
 trefoliated head, beautifully finialled, and flanked by diminutive 
 redgkati chubch. suefolk. crocketed buttresses. Another very interesting specimen occurs 
 at the east of All Saints Church, Colchester. At Towcester Church, Northants, the niche is 
 placed on the side instead of the face. The buttresses from Redgrave Church, Suffolk, are of 
 
 PTTCHtET ChCBCH, XOBTHAMFTOXFHrSE. 
 
84 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 perfect beauty ; very lofty, and rising in graduated stages, they terminate in gables with 
 trefoiled ridges, and have very elegant foliated niches in the upper stages, with pedestals 
 exquisitively carved. It is during this period (the Decorated) that we 
 may first notice the habitual practice of placing the corner buttresses at an 
 angle of 45° with the walls. This position however has been considered, 
 without sufficient grounds, as a distinctive peculiarity of Decorated work ; 
 whereas an inspection of some of the finest and purest specimens, will 
 show that it was 
 
 we sometimes find both kinds used conjointly in the same group : those 
 placed at an angle of 45° being uppermost ; partly dying into the others 
 that are at right angles with the tower, and partly corbelled out or 
 carried on small cusped and gabled squinces ; as in the rich examples 
 from St. Margaret’s, Leicester. 
 
 Perpendicular buttresses are generally higher, and of greater projection 
 in proportion to their width; nevertheless they are not ordinarily divided into 
 more than two stages. In Ryall Church, Rutlandshire (Section I. Perpen- 
 dicular, Plate 24), they are exceedingly lofty, with gabled heads and trefoiled 
 ridges, as in the previous style ; an elegant crocheted niche occupies the 
 upper part. In the same plate is engraved a buttress from New WaL 
 singham Church, it is of three stages, though very much lower than that 
 from Ryall Church ; the small gablet on the lower set-off', and the 
 diminished width of the upper one, give it a peculiar and pleasing 
 character. The example from St. Mary’s, Stratford (Section I. Perpen- 
 dicular, Plate 11), becomes interesting, from the knowledge we have 
 of the date of its erection (1430), it being stated in an inscription, which 
 is carried round the basement moldings. It is exceedingly simple in 
 outline, and derives its claim to beauty principally from the elaborate 
 flint ornaments with which it is enriched, in common with the whole of 
 the north aisle. The initials of the two founders, Edward and Alice 
 Mors, and the mark of the husband’s trade, occur on shields in various 
 parts of the design. Blakeney Church, Norfolk, has also some good 
 buttresses, worked out of flint and stone with panelled faces : those, 
 however, in Lavenham Church far exceed all previously mentioned in 
 richness and elaborate detail. (Section I. Perpendicular, Plate 12.) They 
 are entirely of dressed stone, with faces variously panelled, and are in blahsey chohch, nomoh. 
 excellent keeping with the other portions of this magnificent Structure. The armorial 
 
 by no means the invariable practice. In tower buttresses 
 
 Bestboupb Church, 
 Norfolk. 
 
PARAPETS. 85 
 
 bearings of the Veres, Earls of Oxford, and generous benefactors to the Church, appear on 
 the buttresses. 
 
 Pinnacles were sparingly used during the Decorated period, and then do not appear to 
 belong so much to the design of the entire Building, as to particular parts of it. For 
 instance, we frequently find an aisle, as at Rickenhall Church, Suffolk,* highly enriched 
 with pinnacled buttresses, while the Chancel is of excessive plainness ; or again, the Chancel 
 may have been enriched with pinnacles, as in Over Clay brook, Leicestershire, without the 
 other portions of the Church displaying a similar degree of enrichment ; so that we may 
 conclude that these elegant features were not usually introduced into the architecture of 
 the ordinary parish Church, until the full establishment of the Perpendicular, when they 
 became of frequent occurrence. Staunton Harold, Leicestershire, is thus enriched with 
 them. In Ayston Church,* Rutlandshire, pinnacles occur at the angles of the Chancel only. 
 In Knowle Chapel, Warwickshire, they rise out of the buttresses to the Chancel and aisles, 
 and also out of the embattled parapet to the clearstory. Louth Church, Lincolnshire, is 
 similarly enriched. 
 
 The tower Buttresses to the Early English Churches were generally simple and 
 elegant ; at Etton, # Northamptonshire, they are of three stages, the upper one dying 
 into the spire table. At Stan wick,* in the same county, they appear rather as 
 ornamental accessories, are veiy low, and are profiled off on the sides, as well as in 
 front, in a very curious and unusual manner ; while at Achurch they only rise to the 
 second stage of the tower. Again, some towers, even of the Decorated period, have 
 no buttresses at all ; such are Southfleet,* Kent ; and Barnwell, Northamptonshire ; 
 while in other, and far more frequent cases, the buttresses in towers, such as Fleet,* 
 Donington,* Ewerby,* Worstead, and St. Mary, Redcliffe, have never been surpassed for 
 magnificence and grandeur of outline. In all these instances the buttresses are placed at 
 right angles with the walls. 
 
 Perpendicular towers are mainly indebted for their grandeur to the noble proportions of 
 their buttresses, most usually terminating in richly crocketed pinnacles : very fine examples 
 occur in the Churches of Bishop’s Lydeard,* Beaminster (Dorset), Ludlow (Salop), the Holy 
 Trinity, Coventry ; St. Mary’s, Taunton ; Louth, and St. George’s, Doncaster. In Martham 
 Church* they are excellently proportioned, but terminate below the parapet with a simple 
 weathered table. In Deopham Church* they are in six stages, and finished in hexagonal 
 turrets, embattled and panelled. 
 
 The Parapet, as we have elsewhere remarked, is as frequent in some parts, as it 
 is rare in others. The Norman Architects seldom introduced it into their works ; they 
 * See engravings and plans of these several Churches in Vols. I. and II. of the Parish Churches. 
 
 A A 
 
86 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 seem to have preferred the corbel table with dripping eaves ; very possibly, however, 
 many Norman parapets, becoming ruinous owing to their exposed situation, have been 
 replaced by other’s in the style in vogue at the time the restoration occurred. The 
 tower of Clymping Church* has a plain parapet, apparently original ; it is chamfered 
 at top, and carried on a row of corbels. In its complete state, the parapet may be 
 divided into three distinct parts : the string or cornice, the parapet wall, and the coping. 
 Polebrook Church, Northants, has some very good examples of Early English character ; at 
 Sutterton, Lincolnshire, the cornice is filled with a variety of ornaments, notch heads, 
 dog-tooth, hearts, &c. ; Evington, in Leicestershire (Section I. Decorated, Plate 37), has one 
 over the north aisle of a little later date, where the cornice is similarly enriched, but with 
 the parapet wall carved with a succession of sunk trefoils, filled with leaves or flowers in low 
 relief. In Decorated examples, the parapet wall is frequently pierced with quatrefoils, 
 trefoils, or some flowing tracery, as in Heckington Church (Plate 37). In this style, also, 
 we may first notice the positive introduction of battlements, though it is not at all unlikely 
 that they were used in Churches of an earlier period. Higham Ferrars exhibits some 
 examples of very early date. The embattled parapet became almost an universal feature 
 with the Perpendicular architects : a difference that may be noticed between the earlier 
 and later examples is, that the coping in the former is only employed in its legitimate 
 and horizontal position, whereas subsequently it was made continuous, and carried down 
 the sides of the battlement. In the two Churches of Hingham* and Mart ham,* in Norfolk, 
 the distinctive peculiarities of the Decorated and Perpendicular parapet are well contrasted. 
 In St. Mary’s, Stratford, erected in 1430, the legitimate use of the coping is still held in 
 view ; in Lavenham Church, on the contrary, it is continuous ; the battlements, also, in the 
 latter, are pierced with a four-centered arch ; the opening thus formed being partly filled 
 up with a large leaf rising upwards, and the intermediate spaces enriched with boldly carved 
 foliage in square panels. 
 
 By far the richest specimens of Perpendicular parapets, however, are to be met with 
 in the towers of the period. Bishop’s Lydeard* is very fine, with a row of quatrefoils, 
 above which the embattlement rises ; in Badgeworth Church* it is of a simpler, yet 
 still pleasing, character. The parapet in Martham Church* exhibits a good specimen of 
 flint decoration ; the coping is not returned. In Deopham Church* a crocketed gable, 
 much enriched with flint panelling, and surmounted by a fine Cross, rises out of the 
 parapet on the four sides of the tower; and at Filby, near Yarmouth, the parapet, 
 rising in graduated stages, forms a stepped gabled in the centre, with two half ones, 
 also stepped, abutting against the angle pinnacles. This stepped parapet is a characteristick 
 
 * Engraved in the Parish Churches, Yol. II. 
 
CROSSES. 
 
 87 
 
 feature in Norfolk towers. The tower of St. George’s, Doncaster, has a remarkably rich 
 pierced parapet, with three slender pinnacles rising out of it on each side. Louth, Lincoln- 
 shire, and Bitton, Gloucestershire, have both very handsome panelled parapets, with 
 pinnacles rising out of each battlement. 
 
 The Cross,* the most natural and appropriate termination of a gable, was made use of 
 at a very early period. From the testimony of the old Saxon MSS. we may conclude, that 
 even then they were invariably introduced ; though, owing to the want of durability in the 
 material, it is hardly likely that any have lasted to the present day. The fanatical violence 
 of the Puritans sacrilegiously destroyed many which the ravages of time would longer have 
 spared and left unharmed. 
 
 The Church builders of old delighted in exhibiting the symbol of their faith, not 
 only on gables, but in every position where it would become a commanding and distinct 
 object. We find Crosses, carved in low relief, over the windows of the ancient tower 
 at Bamack, and worked in flint over the belfry windows 
 of Martham Church. In Cranford St. John’s, they 
 occupy the N.E. and S.E. angles of the aisles, which 
 have lean-to roofs. In a Church near Norwich, we find 
 them at the four angles of the tower ; and at Deopham, in 
 the same county, they crown the centre battlement, which is gabled to receive them. 
 
 The earliest Crosses (probably for symbolical reasons) appear generally to have been 
 enclosed within a circle, or with the arms slightly projecting, as in Edith Western 
 Church. (Section I. Early English, Plate 16.) The Cross, lately destroyed, over the 
 Norman Chancel of Barnwood Church, is mentioned by Lyson as a Cross patee 
 inscribed within a circle, the badge of the Knights Hospitallers of St. John of 
 Jerusalem. During the Early English period tliis form was considerably modified, and 
 led to many varied and elegant arrangements. For facility of examination we would 
 classify them in the several divisions of — 1, Simple Crosses ; 2, Wheel Crosses ; 3, Floriated 
 Crosses ; 4, Tracery Crosses. 
 
 In Simple Crosses the arms are sometimes merely chamfered, as in Churchdown 
 Church, Gloucestershire ; or engrailed, as at Badgeworth Church, in the same county ; 
 or cusped, as at Tinwell (Section I. Decorated, Plate 28) ; or with the extremity of 
 the arms trefoiled, as in St. Mary’s Church, Stamford ; or again, we sometimes meet 
 with them ornamented with a small flower raised on the face of each arm. A fine and 
 perfect example of a wheel Cross occurs over the east gable of the nave of Oadby 
 
 * The authors are now preparing illustrations of a series of Gable Crosses, to whicli they would refer for a 
 more ample account of this beautiful feature. 
 
 BaRXACK ClU'RCH, NOBTHAMPTOlfSHIBB. 
 
88 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 Church, Leicestershire ; it has eight spokes with trefoiled terminations, radiating from 
 a small flower in the centre. Whitwell Church, Rutland, has also a fine Early English 
 example. The Cross from Helpringham Church, Lincolnshire (Section I. Early English, 
 Plate 16), may likewise be included in this class, for though the circle is omitted, its 
 influence in the design is very visible. In floriated Crosses small branches diverge from 
 the arms of the Cross, grouping the whole together in a very beautiful manner, as at 
 Hingham Church, Norfolk (Section I. Decorated, Plate 33), or at Peterborough (Plate 28). 
 Cley Church, Norfolk, probably possesses the finest example of this class in the kingdom. 
 Tracery Crosses are generally of great beauty and richness ; that at Hasingfield (Section I. 
 Decorated, Plate 33) is certainly the most magnificent of its class that the authors have 
 hitherto met with : it remains very perfect, owing to the durable material (Bamack) 
 out of which it is worked. In this class we would include the very rich eight-armed 
 Crosses frequently to be found in Norfolk ; such are those from Stoke Ferry and 
 Moreton (Section I. Perpendicular, Plate 15), Ludham (Plate 33), and Trunch and 
 Stody (Plate 21). Two early and exceedingly elegant examples of this class are given in 
 Section I. Decorated, Plate 28) from Peakirk and Methwold. 
 
 Other varieties may occasionally be noticed which are not so easy to classify ; yet they 
 are in reality but quaint modifications of one or other of the classes we have been 
 examining. Such is the simple and effective Cross over the Chancel of Wichford Church, 
 Wilts (Section I. Early English, Plate 16), and its enriched counterpart from St. Mary’s, 
 Norwich (Decorated, Plate 33). Over the north transept of Gunthorpe Church, Norfolk, 
 is one which would be classed with tracery Crosses, had not the usual arrangement been 
 wliimsically departed from in the lower part, and cusps substituted for the two secondary 
 branches. 
 
 On some Crosses we find the figure of our Saviour carved on one of the faces, as at 
 Oakham (Section I. Perpendicular, Plate 21) ; while at Little Casterton a smaller Cross is 
 inclosed within a circle sunk upon the larger one. At Louth a Crown of Thorns is 
 beautifully twined round the arms ; and at Godeby Maureward, the Cross has (or had) its 
 outer circle cut into teeth like a saw, symbolizing thereby the martyrdom of some of the 
 early Saints of the Church. 
 
 The Cross was generally let into the saddle stone to the depth of five or six inches, 
 and fixed with a leaden joint, a practice which has probably caused the destruction of 
 many beautiful examples ; for, in coruse of time, the expansion of the metal bursts 
 the thin socket, the Cross is loosened, and finally drops down ; and very rarely, (we 
 hope we may now say) in former days, was it set up again. The thickness of the Cross 
 depended of course, in a great measure, upon the strength of the stone employed ; generally 
 
CROSSES— FONTS. 
 
 89 
 
 from four to five inches may be considered a fair average. Over the south aisle of 
 Humberstone Church, Leicestershire, the stem of the Cross was (for the socket is all that 
 now remains) only five inches by two and three-quarters : the material is Barnack stone. 
 
 Hie limits of this work forbid our entering into a description of the many different 
 ways in which the Cross is introduced into the sacred Building and its adjuncts : we will, 
 therefore, merely refer briefly to its beautiful and appropriate use in marking the resting- 
 place of the departed faithful. Two elegant examples of floor Crosses are given in Section I. 
 Early English, Plate 25. The one from Barnwell Church is carved in relief, while the 
 other, from the Cathedral Church of Dublin, is incised or sunk in the slab. 
 
 Ancient Fonts,'" even if regarded merely in an sesthetical point of view, will be found 
 to possess so much interest, and to exhibit in so high a degree the architectural character 
 of the times in which they were executed, that we can hardly conclude without at least 
 directing attention to them. At the same time, the great number and exceeding variety of 
 beautiful specimens, render it impossible to give an illustration, even of the types of the 
 different fonts used during the three grand periods of Gothick Architecture. The examples 
 introduced, each illustrating one of these epochs, must be considered, therefore, as good 
 specimens of their several eras, but by no means as decided characteristicks of the dates they 
 represent. It has been considered inexpedient to give an illustration of a Norman font, for 
 it would be rather difficult to select one only (and the limits of the work forbid a greater 
 number) among the many which are constantly met -with ; all very quaint, and some 
 elaborately and beautifully enricehd. 
 
 The two earliest forms of Norman fonts appear to have been the tub-shaped and the 
 cube : the former, still preserving its circular character, was afterwards raised on a low stem 
 with molded cap and base (a very beautiful example of this arrangement occurs in Shefford 
 Church, Berkshire, and is engraved in the “ Baptismal Fonts”), while the latter was 
 most usually raised on a central stem, surrounded by four small shafts. In many Early 
 English fonts this fashion was preserved : the Churches of Merstham and Shiere, in Surrey, 
 have excellent specimens of this class. The single stem was also occasionally made use of, 
 as in the font of Weston Church (Section I. Early English, Plate 27) ; it is a simple 
 and elegant design, and has a broader step at the west for the priest, which is not shown 
 in the plate. 
 
 In the shape of Decorated fonts, greater license seems to have been used than at any 
 other time ; at Galway the font is square, carried on a central stem, and four small angle 
 shafts ; at Orchardleigh, it is circular and cup-shaped ; and at Ewerby is an hexagonal 
 
 * For a brief yet interesting account of ancient fonts we would refer to the “ Baptismal Fonts,” lately 
 published by Van Voorst, and illustrated by many excellent woodcuts. 
 
 B B 
 
90 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 font, with the sides richly diapered. It is in the fonts of this period that we first find the 
 richly crocheted canopy, and the octagonal stem with slender engaged shafts, as at Redgrave 
 Church (Section I. Decorated, Plate 32), or panels divided by small pinnacles, as at Hedon 
 Church, Yorkshire. 
 
 Perpendicular fonts, though frequently richer than the previous ones, exhibit never- 
 theless considerable sameness and repetition of design. They were generally eight-sided, 
 and raised on a molded stem, though at Hurley Church, Berkshire, the font is a simple 
 octagonal block, tapering downwards, with panelled sides, and buttresses at the angles ; while 
 in Cornwall some extraordinary and anomalous forms are occasionally met with. Sculptured 
 decorations were then very prevalent ; animals, especially lions, frequently surround the 
 stem, while the basin is supported by rows of angels with extended wings. Walsoken 
 Church, Norfolk, has a very beautiful and rich font of this description, rendered highly 
 interesting from the date of its execution (1544) being cut upon it, together with the names 
 of the donors/'' Both bowl and shaft are octagonal ; the former has at the angles buttresses 
 and pinnacles, and on the sides are crocketed ogee arches supported by brackets formed of 
 foliage and angels, and which are occupied by the Crucifixion and the seven sacraments of 
 the Church of Rome. The buttresses, also, are supported by angels. The shaft is 
 ornamented in the same manner as the bowl, but the niches contain figures of saints, very 
 well carved and displaying much artistick skill. The emblems of the Crucifixion occur in 
 shields placed round the base. The example given in Plate 28, from Clymping Church, 
 though very inferior in point of richness, is nevertheless a pleasing specimen, of good 
 proportion, with some very well executed foliage. 
 
 Fonts of all dates were not unfrequently raised on a series of steps, either square, 
 circular, or octagonal. In the later examples, the risers are frequently enriched with 
 quatrefoils ; as in the Churches of Walsingham and Worstead, in Norfolk. In both these 
 instances the upper step is in the form of a Cross, while the lower one follows the shape of 
 the font. A kneeling stone, consisting of a raised block or step at the west of the font, for 
 the use of the priest, was a very usual appendage : it is met with even in early fonts, 
 though more commonly in those of a later date. 
 
 The Sedilia, or seats for the officiating priests, always south of the Altar, were 
 frequently of great beauty. Examples are given in Section I. Early English, Plate G, and 
 Perpendicular, Plate 9. Sometimes the sill of the window was lowered to form the sedilia, 
 as in Great Weriham Church, Suffolk (Appendix, Plate 2, Fig. 14), and in St. Martin’s, 
 Leicester. The piscina, or water drain, was very frequently incorporated in the same design 
 as the sedilia. 
 
 # Engraved in the “Baptismal Eonts.” 
 
SECTION II. -OF WOODWORK AND METALWORK. 
 
 ROOFS.* 
 
 TIMBER roof of the fifteenth century, with its massive timbers elaborately 
 wrought and molded, its rows of hammer-beams terminating in beautifully 
 carved figures of angels, its enriched panelling and traceried spandrels, 
 its exquisite bosses, and above all its profusely ornamented cornice, — is 
 truly as glorious a sight, as it is a grand triumph of the carpenter’s art. 
 Such excellence, however, was but very gradually accomplished. 
 
 Of unquestionably Norman work, very few specimens indeed remain : judging from 
 them, we would conclude that the construction of that period was as unscientifick as it 
 was rude. These early roofs may, perhaps, without exception, be all classed under the 
 head of tie-beam roofs.t The one over the Chancel of Adel Church, Yorkshire, is of 
 this description, and appears original : the principals pitch on to the tie-beam, and are 
 braced together by collars ; slanting struts are also tenoned into the principals, and are 
 earned down on to the tie-beam, which thus receives a great part of the weight of the 
 roofing. Over the nave of Whitwell Church, Rutland, is a roof of a somewhat similar 
 construction ; the collar, however, is much lower down, and immediately under it is a purlin, 
 which supports the rafters, and is itself carried on struts framed into the beam, as at 
 Adel : these struts are further strengthened by smaller ones, framed from them into the 
 tie-beam, and following veiy nearly the rake of the roof. There is a continuous plate 
 inside ; and another would probably be found, almost flush with the external wall, in 
 accordance with what seems to have been then a very general practice. All the timbers 
 are very roughly worked : indeed, cutting off the projecting knobs and branches seems 
 
 * Such an important subject requires a more extensive and careful illustration than the limits of the 
 “ Analysis” permitted ; the authors have therefore devoted a separate volume to its consideration — the work is 
 now in the press, and they hope very shortly to be able to lay before the publick the fruits of their researches. 
 
 f In all ancient roofs the tie-beam was employed to hold the walls together; and in addition generally 
 carried the greater part of the weight, which was brought down on to it by the king-post and struts ; being the 
 reverse of the present principle, by which the king-post is employed to tie it up. 
 
92 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 to have been all the finish that has been bestowed upon them. Yet, even in very early 
 examples, we sometimes meet with a certain degree of embellishment, evincing careful 
 workmanship : one of the beams of the Norman roof remains in Old Shoreham Church, 
 Sussex, and is enriched with a billet molding ; and other instances are occasionally found 
 in various parts of the country. 
 
 The next advance in the framing of roofs, was to truss each rafter, sometimes by 
 means of cross braces pinned into the two opposite rafters, and halved at the intersections, 
 as in the example over the porch of Stuston Church, Suffolk (Section II. Woodwork, 
 Plate 24) ; or, as was more usually the case in roofs of considerable span, each rafter 
 had a collar, and was further stiffened by braces sometimes crossing above the collar, and 
 at other times tenoned into its underside. The foot of each rafter was so framed, as to 
 assume the shape of a triangle, whose base generally was equal to the thickness of the 
 wall on which it rested, and by this contrivance obtained an excellent hold : thus any 
 danger from spreading was almost entirely obviated. These roofs have frequently only 
 one plate, placed midway in the wall, the feet of the rafters being halved upon it ; but 
 sometimes they occur with an internal and external plate ; or, as at Heckington, with a 
 central plate, and an internal one molded, and forming a slightly projecting cornice. 
 Neither ridge-pieces or purlins ever occur, and when they are not boarded, which is 
 very frequently the case, it becomes quite a matter of surprise how such roofs should 
 have held up so long. When not boarded, however, the trusses are generally out of the 
 perpendicular, inclining either to the east or the west. In the earlier instances of this 
 kind the tie-beam was still retained, and introduced at intervals in the length of the 
 roof ; as in the example over the Chancel of Sandridge Church, Herts, which has a 
 molded cornice projecting from the wall and carried on notch heads, and into which the 
 tie-beam with similar moldings is framed. There are two ties in the length of the 
 Chancel, with about twelve rafters between each.* It was net long, however, before the 
 tie-beam was altogether omitted ; and the rafters, simply trussed, continued a favourite 
 style of roofing with the Early English and Decorated architects. The rafters are generally 
 from one foot six inches to two feet from centre to centre ; their scantling averaging about 
 five inches by four. Remaining examples of these roofs are more numerous than any 
 others, but in most cases they have been lathed and plastered. That in their original 
 state they were occasionally boarded appears extremely probable ; though after all, for 
 picturesqueness and beauty, nothing can exceed the view of the rafters intricately crossing. 
 Sometimes a trussed rafter roof spans both the nave and aisles, as in St. Michael’s, Long 
 
 * The roof over the nave of Clymping Church is an Early English construction, with internal and external 
 wall plates, and occasional tie-beams. See an engraving of it in the Parish Churches, Yol. II. p. 75. 
 
ROOFS. 
 
 93 
 
 Stanton, Cambridgeshire ; the rafters to the nave being continued down on to the side walls, 
 and terminating in the usual triangularly-framed foot. 
 
 Decorated roofs, however, far from being always of this simple description, are frequently 
 of great beauty, and display considerable constructive knowledge in the framing of their 
 principals, ridge, purlins, &c. They may be considered under the two heads of tie-beam and 
 collar roofs. The former, perhaps, are the most frequent ; an excellent example remains in 
 Adderbury Church, Oxfordshire, enriched with good and characteristick moldings. Its 
 framing may be described as a tie-beam supporting a king-post, from the four sides of which 
 spring braces framed into the principals and ridge ; both principals and braces being foliated, 
 produce an excellent effect. Other curved and molded braces are framed into the underside 
 of the tie-beam, forming a pointed arch, and serving to bring the weight of the roof lower 
 down on the walls. 
 
 Higham Ferrars Church, Northamptonshire, also, has a good roof of Decorated date ; 
 the tie-beam is very much cambered, and forms an arch with the curved braces which are 
 framed into it, and spring from small shafts with caps and bases ; a king-post rests on the 
 tie-beam, with braces supporting the ridge ; small struts also rest on the tie-beam, and with 
 similar braces carry the purlins. The cornice and principal timbers are simply molded. An 
 equally interesting specimen is the roof over the nave of Wimmington Church,* Beds, built 
 by “ 3obeS CuitfPS bus hf who died in 1391. The Church remains 
 
 almost entirely as first designed, and unquestionably the roof is of the same period. It 
 consists of a cambered beam with foliated braces, carried, as in Higham Ferrars, on small 
 shafts ; the ridge is also supported in the same manner as in this last-named Church, and so 
 low is the pitch in this example, that the purlins rest directly on the tie-beam without any 
 intervening strut. The spandrels between the beam and the curved braces are pierced with 
 trefoils.! 
 
 Of Decorated roofs without tie-beams there is a simple yet beautiful example over the 
 south aisle of Knighton Church, Leicestershire. It is of very bold construction : each truss 
 
 * For an engraving of this roof, see Parish Churches, Yol. II. p. 93. 
 
 t Ancient roofs, though characteristically acutely pointed, were by no means invariably so: an angle of 
 90° was perhaps the most usual for Norman roofs ; while Early English ones, although acutely pointed, are 
 nevertheless rarely found of an equilateral pitch, or angle of GO 0 : indeed, in this and the succeeding style we 
 occasionally meet with some so remarkably low as to rival the flattest of the Perpendicular roofs ; such are those 
 over the Early English Church at Warmington, Northants ; the interesting example from Polebrook Church, in 
 the same county, is also very low. The Decorated roof over the south aisle of St. Martin’s, Leicester, has a span 
 of twenty-one feet, with a rise of only four. The roofs in Wimmington and Higham Ferrars are both very flat. 
 The Perpendicular architects gradually lowered their roofs, though in Norfolk and Suffolk many* beautiful 
 examples remain of noble pitch. 
 
 C C 
 
94 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 consists of a pair of principals, which pitch on to a molded cornice plate ; about midway is a 
 collar, also molded, with small curved braces framed from it into the principal ; on the collar 
 lies the purlin, which is further strengthened and kept in its place by small curved braces, 
 tenoned into the principal. There is a carved flower under the centre of the collar, and 
 carved heads projecting from the wall at the foot of each principal. There is a roof of a 
 somewhat similar construction over the Chancel of St. Mary’s Church, Leicester, with the 
 addition, however, of wall pieces, into which the braces are framed. Over the large south 
 aisle of St. Martin’s Church,* in the same town, is a roof of very early Decorated character, 
 and exceedingly interesting. Its construction is simply an enormous beam rising up to the 
 ridge, and following the rake of the rafters : the underside is slightly curved in the centre, 
 the curve being completed by means of the braces, so as to produce almost a semi-circular 
 arch. These braces, and that part of the beam which enters into the curve, are beautifully 
 molded, as are likewise the ridge and cornice plates ; the former is partly carried on corbel 
 heads tenoned into the tie-beam, into which also are framed the latter, the moldings at the 
 junction being stopped with foliage ; the spandrels are filled with tracery. A peculiar and 
 interesting feature in this roof are the figures which are carved out of the wall pieces, and 
 cany the curved braces ; they are about four feet in height, exceedingly well carved, and 
 full of expression ; we might suppose them to be emblematical of some of the piincipal 
 virtues, Humility, Patience, &c. 
 
 The roof over the nave of Capel St. Mary’s Church, Suffolk, shows a great advance upon 
 the examples we have already examined. Here we may first notice the introduction of that 
 distinguishing feature of the Suffolk roofs, the hammer-beam. In this instance the pitch is 
 exactly at an angle of 90° ; the embattled collar, which is placed very high up, supports a 
 strut or small king-post, into which the principals and ridge are framed ; a curved brace in 
 two pieces is tenoned into the undersides of the collar and principal, and fixed with wooden 
 pins ; and the foot of the brace is also framed into the hammer-beam. In these roofs the 
 cornice is altogether differently constructed, and answers a distinct purpose from that of 
 previous examples, where it generally served as a plate for the rafters to pitch upon. In the 
 roofs of Suffolk and Norfolk it may be divided into three parts : the lower one, usually 
 consisting of a molded plank of three to four inches in thickness, is tenoned from hammer- 
 
 * St. Martin’s Church has two south aisles ; the roof over the larger one is a span roof, and the rafters from 
 it are continued down over the smaller aisle, which is covered by a lean-to. The parishioners have lately, in the 
 same hearty spirit which actuated their ancestors, reconstructed entirely, and with similar worthy materials, these 
 two roofs, as well as that over the Chancel (a very liTie and rich Perpendicular example) : in both cases, the originals 
 having been minutely copied, as to scantlings and details. The old timbers, on being taken down, were found to 
 have been richly coloured ; why not fully carry out the restoration, and extend this enrichment to the new roofs ? 
 
ROOFS. 
 
 95 
 
 beam to hammer-beam, to which it affords an additional lateral tie ; the centre one is either 
 pierced with panelling or otherwise ornamented, not unfrequently with angels having 
 expanded wings, as at Knapton Church, Norfolk ; while the upper part, like the lower, is 
 usually molded, and sometimes, as in Capel St, Mary’s, becomes in fact an additional purlin, 
 being in every respect similarly treated. We may easily trace the origin of these cornices to 
 a peculiarity in these two counties already referred to — namely the absence of parapets ; for 
 where eaves were used, the liammer-beams and rafters were carried very far back, and in 
 some cases quite to the outer face of the wall, thus leaving a considerable space inside 
 between the wall plate under the hammer-beam and the soffit of the rafters. To fill this 
 space with masonry would not only be a piece of useless construction, but it would also tend 
 much to destroy the beauty of the design as a whole, by separating the hammer-beam from 
 the remainder of the roof. This space was therefore either left open, or the cornice was 
 adopted as affording a legitimate mode of further enriching the roof, and at the same time 
 giving it greater lateral strength. In Old Basing Church, Hampshire, in a Perpendicular 
 roof of rather peculiar construction, a similar difficulty has been met by the use of upright 
 panelling ; the effect, however, is very inferior to the Suffolk arrangement. 
 
 The example over the north aisle of Wymondham Church, Norfolk (Section II. Wood- 
 work, Plates 17, 18, 19), exhibits the hammer-beam roof in its fullest development. The 
 most usual way of framing these roofs may be briefly described as follows : — A hammer-beam 
 is bedded on a plate, and extends sometimes almost to the outer face of the wall ; while 
 internally its projection varies perhaps from one-fifth to one-sixth of the width of the opening ; 
 a wall piece is framed into its underside, and is generally, though not of necessity, carried on 
 a corbel ; the weight on the hammer-beam is brought down to the wall piece by means of 
 the curved or spandrel brace, which is tenoned and pinned to the soffit of the former, and in 
 a similar manner is also fixed to the latter. A strut rising from the extreme end of the 
 hammer-beam supports the principal, which is tied in by the collar, and further strengthened 
 by curved braces which bind it to the collar and supporting strut : the whole framing is thus 
 perfectly secured. The Wymondham roof presents a curious variety ; for the collar is rather 
 daringly dispensed with, and at the summit is a large wedge-like piece of wood, into which 
 are tenoned the extremities of the principals and ridge. The sides of the roof are divided 
 into compartments by three purlins and an intermediate principal, and are enriched with 
 foliated panels : the tracery in the spandrels is also very varied, many of the designs produced 
 being of exceeding beauty : eight specimens are given in Plate 19; in one of them we may 
 notice the crowned M. These tracery panels rarely exceeded an inch in thickness, and the 
 pattern is merely pierced through, or with the edges chamfered, as in the examples before us, 
 but with no eyes to the cusps. Very beautifully carved bosses cover the intersections of the 
 
96 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 principal timbers. In this roof vve may notice the introduction of wall braces, uniting and 
 stiffening the cornice and wall pieces. 
 
 In Grundisburg Church, Sulfolk (Section II. Woodwork, Plates 26 and 27), we find a 
 double range of hammer-beams, one above the other : the principle of the construction, 
 however, is precisely the same, but with a proportionate increase in rich effect. The king- 
 posts are beautifully -wrought into figures of angels with outspread wings, and others also 
 with expanded wings are placed at the feet of the wall pieces, and at the extremities of the 
 lower hammer-beams. The effect produced by this host of angels, leaning forward from their 
 airy height, is grand and solemn almost beyond description. In the example over Knapton 
 Church, which is also a double hammer-beam roof, the angels, representing the heavenly choir, 
 hold in their hands instruments of musick, or some holy texts or symbols. Trunch Church, 
 also in Norfolk, has a magnificent roof over the nave, without a collar, being merely tied in 
 by the curved braces ; its tracery spandrels are of the most elaborate richness. Woolpit 
 Church, in Suffolk, has a most glorious double hammer-beam roof; 4 ' every part of it is 
 profusely ornamented ; the rafters and purlins are richly molded ; rows of Strawberry leaf 
 divide the cornice, and angels, applied to the extremities of all the hammer-beams, seem 
 hovering midway in the air on their extended wings. The lower parts of the wall pieces are 
 also worked into niches, filled with figures of saints, over whose heads are suspended 
 elaborately carved canopies. The splendour of the roof of St. Mary’s, at Bury, is too well 
 known to need description. 
 
 In another kind more frequently met witli in the Midland Counties, and also in Devon- 
 shire and Somersetshire, the tie-beam once more becomes an important constructive feature. 
 A highly enriched example occurs in Cirencester Church : the braces under the tie-beam are 
 double-cusped and have foliated spandrels ; the wall braces are of the same elaborate 
 description ; the tie-beam itself is finely molded with a deep casement filled with flowers ; 
 and in fact every part susceptible of enrichment has received it in a high degree. 
 
 As the Perpendicular period drew to a close, the expiring genius of Gothick art 
 exhibited itself in the roofs no less than in all other parts of the sacred Edifice. They were 
 then made exceedingly flat, and what was missing in constructive skill was sought to be 
 remedied and replaced by crowded, but frequently ill-executed, ornament. Such an example 
 occurs over the north chapel of Wellingborough Church, Northamptonshire. 
 
 Many other specimens of roofs might be adduced, for the variety is almost infinite ; but 
 we have already exceeded the limits which we proposed in the present work to devote to this 
 interesting subject ; and therefore, in conclusion, we will briefly sum up the most striking 
 points concerning these ancient constructions : — 1st, we may be sure that a vigilant search 
 * For an engraving of this roof, see Parish Churches, Yol. I. p. 49. 
 
WOODWORK. 
 
 97 
 
 would prove Decorated and Early English roofs to be yet remaining in tolerable abundance, 
 and that even Norman specimens are not wanting ; 2nd, that their pitch varied from an angle 
 of 90° to one of G0°, rarely exceeding the latter, but not unfrequently, even in Early English 
 examples, very much below the former, and that tie-beams are common to the roofs of all the 
 different periods ; 3rd, that the various timbers were simply tenoned and pinned together ; 
 4th, that the purhns, in lieu of lying over the principals, as in a modern roof, are invariably 
 framed into them, thus allowing the rafters to he flush with the tops of the principals ; and 
 finally, that in common with ah the other accessories of a Church, these elaborate and splendid 
 works were richly coloured and gilded. Perhaps even now, most examples, if closely 
 examined, would still present some lingering marks of their past splendour. And, before 
 leaving the subject, we would fain raise our humble voice, urgently pleading for the careful 
 restoration of these truly national glories : for after all, none other than our own oak-bearing 
 land can boast of roofs such as those that abound with us, either in beauty or boldness of 
 execution. But while we would urge their restorations as peculiarly national works, let not 
 the pressing necessity of such a course be forgotten. None but those who have devoted 
 close attention to the subject, climbing the ladders and bestowing a careful and minute 
 inspection, can form an idea of the effect produced by nearly four centuries of neglect and 
 decay. A few years must assuredly witness the restoration, or total destruction, of many 
 most exquisite roofs, — pious legacies of our forefathers. 
 
 The general arrangement of the old seats in our Churches will be sufficiently understood 
 from an examination of the plates ; for notwithstanding that they were frequently profusely 
 ornamented, the actual construction and disposition ever remained the same, and consisted of 
 a continuous sill laid along the floor, into which the bench ends were stubbed, the seats being 
 supported on brackets placed at intervals, with the backs either terminating level -with the 
 seats, or carried down to the floor ; the book board was placed but little higher than the seat, 
 and never slanting ; it was, in fact, simply a ledge to lay the book on when not in use. 
 
 Great Waltham Church retains almost all its old seats in very good preservation ; their 
 arrangement and details are shown in Plate I. of Section II. Woodwork. The sill is molded, 
 as was almost always the case, and the bench ends are ornamented with small buttresses, in 
 this instance cut out of the solid, and some very excellent tracery panels, all varying more 
 or less one from the other ; a selection of the most beautiful is given in Plates 2 and 3. 
 The top of the bench ends is capped with a molding, also carried round the backs, which 
 finish level with the underside of the seats. In Comberton Church, Cambridgeshire, we 
 find the same description of seat, but very much more highly enriched ; here the backs are 
 continued down to the floor, and framed into a cross sill. The square bench end was also 
 generally adopted in Devonshire and Somersetshire. Bishop’s Lvdeard, 1 rull, and Crowcombe 
 
 D D 
 
.98 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 Churches are still filled with very beautiful seats, though they are all of late workmanship. 
 Several examples are given in Section II. Woodwork, Plate 31. The date of those in 
 Crowcombe Church (1534) is carved on one of them in conjunction with some initials, having 
 probably reference to the name of the donor. 
 
 At other times, and especially in Norfolk and Suffolk, the bench ends were ogeed, and 
 finished with finials,* affording the carver opportunities for the freest display of his 
 imagination, which indeed appears to have been most wonderfully prolifick, for not only were 
 two finials rarely found alike in the same Church, but even the two sides were generally 
 different. St. Mary’s Stratton, in Norfolk, would furnish nearly one hundred distinct 
 patterns ; nor is this a solitary case. Thirteen varieties are given in Plates 6, 16, 20, and 30. 
 The peculiar form common to most finials is supposed by somet to be derived from the 
 fleur de lis, both a religious emblem and a royal heraldick charge. Poppy, or poppy head, 
 the more correct term for designating these wooden “ Crops,’’ would appear to be derived 
 from the frequent custom of working the terminations into figures of priests, warriors, &c. 
 Ketto nChurch, Rutland, furnishes many beautiful specimens of this description ; in one 
 instance a bishop is represented in his pulpit. Grundisburgh Church, Suffolk, has some fine 
 examples of ogeed bench ends richly panelled, though of rather late date and exhibiting a 
 declining taste. The bench ends in the Church of St. Mary’s Wiggenhall, Norfolk, are of the 
 most elaborate splendour ; they are ogeed and finished with % a poppy head, supported on 
 either side by figures, while another figure occupies a niche in the panel. 
 
 The Chancel screen, a no less beautiful than necessary appurtenance, yet remains in 
 many of the remote village Churches of Norfolk in almost all its original splendour. Though 
 the carver exhausted on it the resources of his wonderful art, still was it not considered 
 complete and worthy of its purpose, until it had been made to glow with the richest colours 
 and gilding. To delineate the delicacy of the tracery, without at the same time supplying the 
 rich tints of the colour, is to deprive the design of a principal part of its beauty : the aid of 
 polychromy, eagerly acknowledged in all parts of the Church, in the case of screens more 
 especially, was considered essential. Scriptural texts were constantly introduced in the 
 cornice, and sometimes, as in Bishop’s Lydeard, the whole of the Creed filled the casement 
 On the lower panels were customarily painted the holy Apostles, or other Saints and Martyrs. 
 
 * This word is singularly degenerated from its original and proper meaning : its present sense however is 
 now so universally adopted, that we must almost despair of seeing the abuse corrected. The ancient “fyuyall” 
 always represented the entire pinnacle, while the crop is the legitmate term for the bunch of foliage terminating 
 the fynyall : “ et altitudo a le gargayle usque le crop qui finit le stone-work 31 pedes,” see Willis’s Nomenclature 
 of the Middle Ages. 
 
 t See Ecclesiologist, Vol. V. p. 209. 
 
WOODWORK. 
 
 99 
 
 But a few specimens of screens have been given, for, to do them justice, a whole work should 
 be devoted to the subject : and we much hope that such a one will soon be undertaken, — one 
 in which shall be depicted, not only the architectural beauties, but also the polychromatick 
 effects. An interesting example of a Decorated screen from Waltham Abbey Church is 
 given in Section II. Woodwork, Plate 7 ; its proportions are exceedingly massive, and its 
 moldings very characteristick. Other examples of Decorated woodwork, selected from 
 screens in Bottisham Church, Cambridgeshire, are given in Plate 14 : a spandrel piece in this 
 plate is remarkable for the beauty and triangularity of its design. In Plate 21 is a selection 
 of panel heads from a very beautiful screen lately in Chester Cathedral, but which we 
 understand to have been destroyed since our drawings were made. Barton Church, 
 Cambridgeshire (Section II. Woodwork, Plate 10), has a very beautiful Chancel screen 
 in good preservation, the doors alone being missing. The carving in this example is 
 particularly well executed ; some of the crockets, spandrels, and cusps terminations are 
 given in Plate 11. The lower panels of the doors to the screen in Wells Cathedral 
 (Section II. Woodwork, Plate 8) have some very rich tracery, in which the equilateral 
 triangle, as the groundwork of the formation, is made apparent. 
 
 The construction of the Doors was always of the most solid description ; early examples, 
 however, never display any carved work, owing to the general practice of those times of 
 introducing ironwork hi the design : at once a strengthening and a beautiful enrichment. 
 Some few Norman doors are yet existing ; their framing is exceedingly rude, and they derive 
 then great strength from the ironwork with which they are banded. Such is the example in 
 Sempringham Church, Lincolnshire (Section I, Norman, Plate 6), where the material, strange 
 to say, is deal.* Towards the close of the Early English period, ornamental ironwork began 
 to fall into disuse, although traceiy was hardly yet introduced. St, Margaret’s Chapel, 
 Herts, has a very good and perfect specimen of an early Decorated door : it consists of battens 
 slightly raised towards the centre, which are tongued into each other, and divided by molded 
 ribs cut out of the solid. These panels are strengthened and tied together by cross pieces 
 placed inside, and nailed through to the outer face : the entire thickness is three inches and 
 a half. Milton Church, Kent (Section I. Decorated, Plate 1 4), has a door precisely of this 
 description. In North Mimms Church (Section I. Decorated, Plate 25), the door is similarly 
 framed, but without the raised panels. Rushden Church, N orthamptonshire, has a Decorated 
 example, where the head brace is elegantly shaped into an ogeed trefoil. The south door ot 
 Holbeach Church is a beautiful and perfect specimen of Decorated woodwork ; its framing 
 
 * Only one other instance has come under the notice of the authors, where this material has been preferred 
 to oak, namely, the doors to the Chapter House at York, which are of later date, but also profusely enriched with 
 ironwork. 
 
100 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 and details are minutely described, and will be best understood by reference to the Plate 10, 
 in Section I. Decorated. Stoke Church, Suffolk, has a magnificent door, probably unsurpassed 
 in richness ; tracery, moldings, figures of saints, and canopies, all of the most costly workman- 
 ship, cover the entire surface. 
 
 Many perfect and elaborate examples of Perpendicular doors remain ; the one in 
 Deopham Church is transitional from Decorated, and has some good flowing tracery in 
 the head. The Abbey Church of St. Alban contains many beautiful Perpendicular speci- 
 mens ; one of them is represented at large in Section II. Woodwork, Plate 4. Other 
 instances will be found in Section I. Perpendicular, Plates 6, 1 7, 20, and in Section I. Early 
 English, Plate 23. 
 
 Porches were frequently built of oak, and Decorated and Perpendicular examples are 
 even now very numerous. The south porch of Aldham Church, Essex, is illustrated in 
 Section I. Woodwork, Plates 12 and 13. The accompanying plans and sections will 
 sufficiently explain the construction, which was very similar in all cases. 
 
 Plates 9, 25, 28, and 30, illustrate different specimens of strings, bosses, spandrels, and 
 cusps terminations, all exhibiting in a high degree the talent and taste of the artificer. The 
 bosses from Haslingfield Church, in Plate 28, are situated at the intersections of the principal 
 timbers of an interesting Decorated roof, remarkable for the beauty of its moldings. 
 
 METALWORK. 
 
 NDIFFERENCE and cupidity on the one hand, and the ravages of time on 
 the other, have despoiled our Churches of the greater part of their ancient 
 ironwork ; enough remains, however, to show that in the treatment of it, 
 difficult as it is to work, the same care and patient attention was devoted as 
 was bestowed upon all other materials entering into the composition of the 
 sacred Fabrick. The Norman Architects frequently displayed the greatest ingenuity in this 
 branch of art. In St. Alban’s Abbey Church are some hinges of that early period ; two of 
 them are engraved in Plates 1 and 9, of Section II. Metalwork. That in Plate 1 has the 
 strap continued quite through and is finished with an ornamental termination, a portion of 
 which only now remains : in the second example, in Plate 9, the strap terminates with the 
 commencement of the scroll work. The knob at the welding point is fashioned into the head 
 of a serpent ; this device, with jaws extended, also occurs at the ends of some of the scrolls, 
 
METALWORK. 
 
 101 
 
 is in high relief, and exceedingly well executed considering the nature of the material. In 
 both these examples the surface is enriched with a kind of chevron, easily produced with the 
 chisel : the thickness of the metal is three-eighths of an inch at the commencement, and is 
 gradually brought down to one-eighth towards the extremity. A most valuable and perfect 
 specimen of Norman ironwork is to be found in Sempringham Church, Lincolnshire. The 
 entire door is represented in Section I. Norman, Plate 6, and a portion of the ironwork to a 
 larger scale in Plate 5 of Metalwork. The north door of St. Margaret’s Church, Leicester, 
 is also covered with some very early work : the design is rather fantastick, and consists of 
 top and bottom hinge, in which, as at St. Alban’s, we may notice the terminating serpents’ 
 heads ; and between the two hinges is a radiating centre-piece of eight branches ; the whole 
 being enclosed in an ornamental border, as in Sempringham. 
 
 The art of working this metal, however, was as yet but in its infancy ; the Early 
 English Architects rapidly improved it, and, perhaps, brought it to the highest degree of 
 perfection attained during the Middle Ages ; for if the finish of the workmanship was not 
 quite so great as in subsequent periods, the freedom and beauty of the design were 
 incomparably superior. Numerous examples of doors, covered with the elegant scroll work 
 of this age, are yet remaining in different parts of the country. The example from 
 St. Mary's, Norwich, is most excellent, and in a very perfect state ; it is represented in 
 Plate 8, with several of the ornamental parts at large. The broad and enriched Norman 
 border, which we have noticed, is here restricted to a very narrow strip, nailed at intervals. 
 No less beautiful and perfect is the work on the south door of Eaton Bray Church, 
 Bedfordshire (Plate 11). That which is spread over the doors of the Chapter House at 
 York, is merely used as a stiffener, the hinges being kept quite distinct. The design and 
 execution of this example (see Plate 6) are quite worthy of the extreme beauty of the 
 Building to which it is attached. The raised boss for the closing ring is very ingeniously 
 managed ; the narrow border strip occurs here as in St. Mary’s, Norwich. The doors to a 
 closet in Chester Cathedral belong also to this class of ironwork. They are divided into 
 four panels, which division is made apparent in the different designs of the scroll work ; 
 they are all exceedingly graceful, and of the most finished workmanship. The details 
 which are appended (see Plate 4) exhibit some of the varieties of the terminations, and also 
 the junctions of the several scrolls, which are cleverly managed, a leaf generally lapping 
 over to hide the welding point. In all these examples we may remark, that the small 
 branches invariably proceed from the outer side of the scroll ; the section of the scroll is 
 sometimes raised to an arris, as in Chester Cathedral, or with a channel sunk on it as in 
 York Chapter House. 
 
 Many plainer examples of hinges are dispersed throughout the accompanying Plates : a 
 
 E E 
 
102 
 
 ANALYSIS OF GOTHICK ARCHITECTURE. 
 
 very good one from Market Deeping is engraved in Plate 9. In the same plate is given a 
 very elaborate stiffener from Tunstead Church, and also one of a plainer description from 
 Great Casterton Church. Sometimes the closing ring was so enlarged as to answer both as 
 a ring and a tie to the door ; as in the examples from Aldliam Church, Essex (Plate 5) ; 
 St. Mary’s, Norwich (Plate 8) ; and Filby Church (Plate 13). 
 
 The closing ring, or door latch, was generally more or less enriched, even when the 
 remainder of the ironwork to the door was left quite plain. Examples of all kinds are very 
 abundant ; they generally consist of three parts : the flat plate or washer, fixed to the outer 
 surface of the door ; the handle or ring ; and the spindle to which it is attached, which, 
 passing through the door, is fixed to the latch inside. The plate is susceptible of great 
 richness, and occurs from the simply indented pattern in the Churches of Diss and 
 Bapchild (Plate 7), to the highly ornamented examples in Eye and Martham Churches* 
 (Plates 5 and 12). The most usual construction is shown in Plate 5, where a flat plate, 
 slightly raised in the centre, to allow of the handle hanging clear, has two rims of metal 
 variously enriched applied to its surface ; and the whole is firmly fixed to the door, with 
 nails having heads ornamented in keeping with the rest. In Martham, the washer is 
 further enriched by being pierced with tracery. The ring was not so generally ornamented ; 
 very frequently it consisted simply of a plain circle, or it was elongated, as at Exton and 
 Haconby Churches (Plates 7 and 12) ; at Ashby St. Leger’s it assumes a trefoiled shape, 
 and is slightly ornamented ; while at St. Alban’s two serpents twine round it. A good 
 effect was frequently produced, as at Floore Church (Plate 9), by simply forming the 
 ring out of a square bar of iron twisted. The closing ring in Plate 12, from St. Nicholas, 
 Gloucester, is an extraordinary specimen of the smith’s art. Even the key plate was 
 frequently made an ornamental feature, and helped to cany out the general richness of 
 the whole door. At Martham Church (Plate 13) is a very elaborate specimen enriched with 
 tracery ; Westminster Abbey Church has also some good specimens (Plate 2), and in Diss 
 Church, Norfolk (Plate 7), there is one of a triangular shape, and finished with serpents’ 
 heads at the angles. The termination of the stancheon in the ironwork of the windows 
 was occasionally ornamented, sometimes being finished with a kind of fleur de lis, as at 
 Rushden (Plate 13) ; or with tracery heads, as at Potterspury (in the same plate) ; or with 
 a bunch of oak leaves and acorns, as at Eyworth Church, Bedfordshire ; or simply twisted, 
 as at Rothley, Leicestershire. 
 
 The few examples that remain of the railings round monuments, are generally 
 characteristick of the time of their erection. Some specimens of this kind are still 
 
 * When enriched with tracery, a piece of crimson cloth was frequently placed between the door and the plate, 
 the better to show off the design of the foliations ; this cloth sometimes remains. 
 
METALWORK. 
 
 103 
 
 preserved in Arundel Church. The tomb of the Black Prince at Canterbury also retains its 
 original railing, enriched with various devices. Queen Eleanor’s tomb was formerly 
 protected by a most costl}* and elaborate piece of metalwork, consisting of scrolls and flowers 
 peculiar to the period (1292) : though removed from its proper position, this beautiful work 
 of art still remains in the Abbey. The doors into the Chantry of Henry V. were formed of 
 cross bars of iron bolted together at each intersection : a screen of this description remains 
 in good preservation in St. Alban’s Abbey Church, a portion of which is represented in 
 Plate 13. In the same plate is given another piece of screen work, also from St. Alban’s. 
 
 In thus bringing the Analysis to a close, we will candidly admit that our researches 
 have furnished us with many more subjects that we would most gladly have transferred to 
 its pages, had our prescribed limits permitted. 
 
 For the sake of various beautiful examples, we would fain have extended our work 
 into greater detail and more elaborate illustration ; but we have borne in mind the 
 terms of our prospectus, and have endeavoured to adhere to it as closely as possible. 
 Besides, the possession of the most voluminous collection of Examples will never make a 
 Church Architect ; something more than books is necessary. Let him who would aspire to 
 the honourable title, go and minutely examine and study the Buildings themselves ; there is 
 hardly a village Church, however unpretending, but will furnish some information to the 
 diligent inquirer ; for, 
 
 “ Yet do the structures of our fathers’ age 
 Shame the weak efforts of art’s latest stage.” 
 
 THE END. 
 

 
 
 
 
 
 
 
 ' 
 
 ‘ 
 
 
 
 
 
 
 
 
 
 
 
 
INDEX TO CHURCHES REFERRED TO. 
 
 BEDFORDSHIRE. 
 
 PAGE 
 
 Dunstable 63, 82 
 
 Eaton Bray 80, 101 
 
 Eywortk 102 
 
 Farudish 33 
 
 Felmarskam 64, 75, 76, 77, 79, 82 
 
 Wootton 60 
 
 Wimmington 93 
 
 BERKSHIRE. 
 
 Hurley 90 
 
 Lyddington 28 
 
 She fiord 89 
 
 Uffington 66 
 
 DERBYSHIRE. 
 
 Ashborne 
 
 Dronfield 
 
 Repton 
 
 DEVONSHIRE. 
 Exeter Cathedral 
 
 Beaminster 
 
 DORSETSHIRE. 
 
 DURHAM. 
 
 PAGE 
 
 32 
 
 83 
 
 18 
 
 27 
 
 85 
 
 BUCKINGHAMSHIRE. 
 
 Cheskam 74 
 
 Stoke Pogis 18 
 
 CAMBRIDGESHIRE. 
 
 Barnwell 
 
 Barton 
 
 Bottisham 
 
 Comberton 
 
 Conventual Buildings, Ely 
 
 Ely Cathedral 
 
 Fen Ditton 
 
 Hasliugfield 
 
 Histon 
 
 Stourbridge 
 
 St. Michael’s, Long Stanton 
 Trumpington 
 
 18 
 
 99 
 
 28, 36, 45, 57, 80, 83, 99 
 
 97 
 
 39 
 
 2, 35 
 
 51, 55, 67, 83 
 
 88 , 100 
 
 36, 81 
 
 13, 81 
 
 18,- 78, 92 
 
 24,43,76,80 
 
 CHESTER, 
 
 Chester Cathedral 
 
 99, 101 
 
 CORNWALL. 
 
 St. Germain’s 62 
 
 CUMBERLAND. 
 
 Carlisle Cathedral 28 
 
 Hartlepool 78 
 
 Houghton-le-Spring 22, 31 
 
 Merrington 62 
 
 ESSEX. 
 
 Aldham 100, 102 
 
 All Saints, Colchester 83 
 
 Bradwell 46 
 
 Castle Hedingham 14 
 
 Roy don 27, 34 
 
 St. Botolph’s Priory Church, Colchester 14 
 
 St. Nicholas, Colchester 42 
 
 Waltham Abbey Church 12, 13, 14, 39, 46, 52, 56, 99 
 
 Great Waltham 97 
 
 Weald 49,62 
 
 GLOUCESTERSHIRE. 
 
 Badgeworth 37, 69, 86, 87 
 
 Barnwood 15, 18, 72, 87 
 
 Bibery 62 
 
 Bitton 87 
 
 Brockworth 17 
 
 Cirencester 96 
 
 Churchdown 24, 87 
 
 Gloucester Cathedral 28 
 
 Leckhampton 34, 40 
 
 St. Mary Magdalen 61 
 
 St. Nicholas, Gloucester 102 
 
106 
 
 INDEX TO CHURCHES REFERRED TO. 
 
 HAMPSHIRE. 
 
 PAGE 
 
 Arreton 21 
 
 Basingstoke 74 
 
 Old Basing 95 
 
 Nately 12, 62 
 
 Hornsey Abbey 13, 15, 57 
 
 St. Cross 13, 14, 15, 65 
 
 St. Mary’s, Easton 49 
 
 Winchester Cathedral 13, 31, 32, 33 
 
 Winnal Magdalen 20 
 
 HEREFORDSHIRE. 
 
 Leominster 28 
 
 PAGE 
 
 Knighton 93 
 
 Leir 74 
 
 Melton Mowbray 36 
 
 Oadby 58, 70, 88 
 
 Over Claybrook 85 
 
 Rothley 102 
 
 St. Margaret’s Leicester 38, 82, 84, 101 
 
 St. Martin’s 39, 50, 51, 57, 63, 80, 90, 93, 94 
 
 St. Mary’s Hospital Chapel, Leicester 18 
 
 St. Mary’s 94 
 
 Staunton Harold 85 
 
 LINCOLNSHIRE. 
 
 HERTFORDSHIRE. 
 
 North Minims 52, 68, 69, 99 
 
 St. Alban’s Abbey 5, 7, 16, 20, 22, 23, 24, 28, 29, 33, 35, 
 39, 44, 45, 46, 53, 67, 71, 80, 81, 100, 101, 102, 103 
 
 Sandridge 58, 79, 92 
 
 Sawbridgeworth 27, 28 
 
 St. Margaret’s Chapel 44, 59, 99 
 
 Wheathampstead 30, 31 
 
 IRELAND. 
 
 Galway 89 
 
 St. Patrick, Dublin ib. 
 
 KENT. 
 
 Bapchild 59, 102 
 
 Barfreston 14 
 
 Canterbury Cathedral 15, 47, 82, 102 
 
 Chartham 28, 57 
 
 Cobham 54 
 
 Darenth 12 
 
 Hartley 18 
 
 Headcorn 32 
 
 Herne 24, 26, 33, 37, 43 
 
 Hythe 18 
 
 Meopham 21, 23, 36, 43, 65 
 
 Milton 66, 68, 69, 99 
 
 Northfleet 24, 27, 41, 42, 44, 45, 51 
 
 Orpington Church 54, 62 
 
 Patrixbourne 14 
 
 Shome 17, 41, 73 
 
 Southfleet 24, 27, 28, 34, 37, 41, 43, 56, 85 
 
 St. Bartholomew’s Hospital Chapel 19, 54 
 
 St. Margaret at ClifFe 35, 62, 82 
 
 St. Mary’s Cray 37 
 
 St. Nicholas Harbledown 34, 43, 79 
 
 Stone 81 
 
 Sutton at Hone 70 
 
 Thannington 33 
 
 LEICESTERSHIRE. 
 
 Belgrave 
 
 Bothley 
 
 Dun ton Basset .... 
 
 Evington 
 
 Godeby Maureward 
 Humberstone 
 
 21, 28 
 
 24 
 
 ' 21, 25, 33, 86 
 
 88 
 
 36, 38, 40, 89 
 
 All Saints’, Stamford .... 
 
 Bicker 
 
 Billinborough 
 
 Croyland 
 
 Donnington 
 
 Ewerby 
 
 Fishtoft 
 
 Fleet 
 
 Grantham 
 
 Haconby 
 
 Heckington 
 
 Helpringkam 
 
 nolbeach 
 
 Lincoln Cathedral 
 
 Louth 
 
 Market Deeping 
 
 Morton 
 
 Sempringham 
 
 Sleaford 
 
 St. Leonard’s, Stamford 
 St. Mary’s, Stamford . 
 
 Stow 
 
 Sutterton 
 
 Swatton 
 
 Thurlby 
 
 Weston 
 
 81 
 
 34, 57 
 
 27, 33 
 
 15 
 
 85 
 
 .. 40, 68, 76, 85, 89 
 
 27 
 
 40, 59, 85 
 
 23, 40 
 
 102 
 
 .. 29, 69, 70, 86, 92 
 
 88 
 
 41, 46, 67, 69, 83, 99 
 
 2, 16, 35 
 
 85, 87, 88 
 
 101 
 
 80, 88 
 
 62, 99, 100 
 
 26, 29, 45, 46 
 
 63 
 
 58, 81, 87 
 
 12 
 
 86 
 
 51, 67 
 
 81 
 
 89 
 
 MERIONETHSHIRE. 
 
 Llanabar 18 
 
 MIDDLESEX. 
 
 St. Etheldreda’s Chapel, Ely Place, Holborn 57 
 
 St. Margaret’s, Westminster 54 
 
 Temple Church, London 63 
 
 Westminster Abbey ... 2, 6, 7, 8, 9, 10, 29, 32, 33, 44, 54, 
 
 63, 65, 81, 82, 102, 103 
 
 NORFOLK. 
 
 Besthorpe 84 
 
 Blakeney 20, 33, 84 
 
 Brandon 34, 70 
 
 Castle Rising 13 
 
 Oley 36, 6/, 68, 88 
 
 Coltishall 71, 72, 73, 74, 81 
 
 Deopham 33, 69, 85, 86, 87, 100 
 
 Diss 102 
 
 Filby 36, 86, 102 
 
 Gunthorpe 88 
 
INDEX TO CHURCHES REFERRED TO. 
 
 107 
 
 PAGE 
 
 Hingham 42, 54, 55, 86, 88 
 
 Hunworth 38, 81 
 
 Kcnninghall 81 
 
 Knapton 95, 96 
 
 Little Snoring 62 
 
 Ludham 88 
 
 Martham 85, 86, 87, 102 
 
 Methwold 88 
 
 New Walsingham 84, 90 
 
 Norwich Cathedral 13 
 
 Repps 37 
 
 St. Mary Magdalen, Wiggenhall 32, 62, 98 
 
 St. Mary’s, Norwich 88, 101, 102 
 
 St. Mary’s, Stratton 98 
 
 St. Nicholas at Lynn 31, 4*1 
 
 Stodv 88 
 
 Stoke Ferry 88 
 
 Trunch 75, 88, 96 
 
 Tunstcad 31, 54, 55, 101 
 
 Walsoken 90 
 
 Winterton 39 
 
 Worstead 55, 69, 72, 85, 90 
 
 Wymondham 95 
 
 NORMANDY. 
 
 Desecrated Church at Rouen 30 
 
 St. Ouen at Rouen 7 
 
 NORTHAMPTONSHIRE. 
 
 Achurch 
 
 Aldwinkle 
 
 Ashby St. Leger’s 
 
 Barnack 
 
 Barnwell 
 
 By field 
 
 Cottingham 
 
 Cranford St. John 
 
 Cransley 
 
 Crick 
 
 Duddington 
 
 Etton 
 
 Floore 
 
 Fotheringay 
 
 Glapthorue 
 
 Gosgrove 
 
 Higham Ferrars 
 
 Islip 
 
 King’s Sutton 
 
 Loddington 
 
 Oundle 
 
 Peakirk 
 
 Polebrook 
 
 Potterspury 
 
 Pytchley 
 
 Raunds 
 
 Ringstead 
 
 Rothwell 
 
 Rushden 
 
 Rushton Park Lodge 
 
 Stanwick 
 
 Stoke Albany 
 
 St. Peter’s, Northampton 
 
 Tichmarch 
 
 Toweester 
 
 39, 82, 85 
 
 22, 34, 38, 70 
 
 32, 102 
 
 29, 87 
 
 37, 38, 45, 64, 78, 85, 89 
 
 68 
 
 27, 35 
 
 87 
 
 74 
 
 34, 68, 70 
 
 37, 40 
 
 18, 20, 22, 85 
 
 102 
 
 9 
 
 21 
 
 56 
 
 65, 66, 76, 86, 93 
 
 73 
 
 31 
 
 66 
 
 17, 20, 22 
 
 88 
 
 81, 86, 93 
 
 74, 102 
 
 83 
 
 36, 37, 65, 76, 78, 81 
 
 18, 27 
 
 65 
 
 99, 102 
 
 47 
 
 18, 85 
 
 23, 43 
 
 35, 56, 82 
 
 56, 81 
 
 72, 83 
 
 Warmington .... 
 
 Weekley 
 
 Wellingborough 
 
 Werrington 
 
 Woodford 
 
 Woo ton 
 
 PAGE 
 
 19, 20, 35, 40, 64, 78, 93 
 
 39, 
 
 76, 79 
 27, 96 
 19 
 64 
 
 24 
 
 NOTTINGHAMSHIRE. 
 
 Newark 44 
 
 Southwell Minster 13, 16, 35 
 
 OXFORDSHIRE. 
 
 Adderbury 93 
 
 Bloxham 15 
 
 Charlton-on-Otmoor 31 
 
 Dorchester 29 
 
 Fritwell 49 
 
 Garsington 36 
 
 Great Milton 36 
 
 Iffley 13, 14, 37, 50, 62 
 
 Magdalen College Chapel 38 
 
 Merton College Chapel 29, 32 
 
 Middleton Stoney 61 
 
 Newington 40 
 
 Northleigh 62 
 
 Oxford Cathedral 13, 14 
 
 Stanton Harcourt 19 
 
 Stanton St. John 36, 42 
 
 St. Mary’s Chinch, Oxford 32 
 
 RUTLANDSHIRE. 
 
 Ayston 
 
 Edith Weston 
 
 Essendine 
 
 Exton 
 
 Great Casterton 
 
 Ketton 
 
 Little Casterton 
 
 TVTsmton 
 
 85 
 
 38, 87 
 
 61 
 
 102 
 
 17, 18, 19, 101 
 
 58, 63, 81, 98 
 
 10, 18, 88 
 
 17, 18 
 
 Oakham 
 
 88 
 
 Ryall 
 
 84 
 
 Tinwell . T 
 
 19, 20, S7 
 
 Whitwell 
 
 78, 88, 91 
 
 Wissendine 
 
 51 
 
 SHROPSHIRE. 
 
 Acton Bunnell 77 
 
 Buildwas Abbey 15 
 
 Ludlow 85 
 
 SOMERSETSHIRE. 
 
 Bishop’s Lydeard 
 
 Crowcombe 
 
 Monksilver 
 
 Orchardleigh 
 
 St. James’s Church, Bristol 
 
 St. Joseph’s Chapel, Glastonbury 
 
 St. Mary, Rcdclyffe, Bristol 
 
 St. Mary’s, Taunton 
 
 Trent 
 
 Trull 
 
 Wells Cathedral 
 
 34, 36, 38, 85, 86, 97, 98 
 
 97 
 
 35 
 
 : 89 
 
 14 
 
 15 
 
 37, 85 
 
 85 
 
 27 
 
 97 
 
 99 
 
108 
 
 INDEX TO CHURCHES REFERRED TO. 
 
 STAFFORDSHIRE. 
 
 Leek 
 
 SUFFOLK. 
 
 Capel St. Mary’s 42, 
 
 Debenham 
 
 Eye 
 
 Great Wenliam 18, 20, 24, 
 
 Grundisburg 75, 
 
 Holton St. Mary ’8 
 
 Lavenham 36, 60, 55, 72, 75, 80, 81, 
 
 Little Wenham 18, 
 
 Long Melford 
 
 Polstead 
 
 Kaydon 23, 
 
 Redgrave 29, 
 
 Eickenhall 
 
 St. Mary’s, Bury 
 
 St. Mary, Stratford 31, 55, 
 
 Stoke 
 
 Stuston 
 
 Woolpit 
 
 SUEKEY. 
 
 Bishop’s Palace, Southwark 
 
 Merstham 64, 75, 
 
 Oakham 
 
 Shiere 
 
 SUSSEX. 
 
 Arundel 
 
 Boxgrove 
 
 Chichester Cathedral 14, 
 
 Clymping 12, 17, 18, 34, 38, 54, 78, 82, 86, 
 
 Hangleton 
 
 Keymer 
 
 Lindfield 37, 
 
 New Haven 
 
 New Shoreham 14, 52, 
 
 Old Shoreham 
 
 Ovingdean 
 
 Piecombe 
 
 PAGE 
 
 Portslade 18 
 
 Preston 78 
 
 Southease 12 
 
 Steyning 12, 13, 35 
 
 Tangmere 12, 17, 18 
 
 W esthamptnet 33 
 
 WARWICKSHIRE. 
 
 Beaudesert 13 
 
 Holy Trinity, Coventry 85 
 
 Knowle 85 
 
 Temple Balsall 33 
 
 WILTSHIRE. 
 
 Codford St. Mary’s 49, 76 
 
 Malmsbury Abbey Church 15, 50, 62 
 
 Salisbury Cathedral 35, 65 
 
 South Newton 18 
 
 St. John’s Church, Devizes 37 
 
 Wichford 88 
 
 WORCESTERSHIRE. 
 
 Abbot’s Tower, Eversham 81 
 
 YOKKSHIRE. 
 
 Adel 76,91 
 
 Beverley Minster 32, 82 
 
 Bubwith 76 
 
 Fountain’s Abbey 15 
 
 Hedon 90 
 
 Holy Trinity, Hull 42 
 
 Howden 27 
 
 Ilipon Cathedral ib. 
 
 Rivaulx Abbey 2 
 
 Rudston 27 
 
 Selby Abbey 29 
 
 Skelton 55, 60, 66, 78 
 
 St. George’s, Doncaster 38, 85, 87 
 
 St. Patrick’s, Patrington 52 
 
 Whitby Abbey 2, 19, 28 
 
 York Cathedral 17, 28, 33, 66, 99, 101 
 
 PAGE 
 
 42 
 
 94, 95 
 
 83 
 
 102 
 
 40, 90 
 
 96, 98 
 
 27 
 
 84, 86 
 
 43, 82 
 
 36 
 
 79 
 
 33, 82 
 
 83, 90 
 
 24, 85 
 
 96 
 
 84, 86 
 
 99 
 
 92 
 
 96 
 
 42 
 
 81, 89 
 
 20 
 
 89 
 
 102 
 
 79 
 
 42, 82 
 
 90, 92 
 
 20 
 
 34, 76 
 
 55, 80 
 
 37 
 
 77, 81 
 
 92 
 
 76 
 
 76 
 
INDEX TO ILLUSTRATIONS (a). 
 
 WINDOWS. 
 
 NO. OP LIGHTS. 
 
 FIGUBE 
 
 PAGE 
 
 SECTION 
 
 
 PLATE 
 
 Waltham Abbey Church 
 
 . one 
 
 
 
 I. 
 
 Norman 
 
 . 3 
 
 Interior of same 
 
 . one 
 
 
 
 I. 
 
 Ditto . 
 
 . 3 
 
 Darent Church, Kent 
 
 . triplet 
 
 
 
 I. 
 
 Ditto 
 
 . 2 
 
 Tangmere Church, Sussex 
 
 . one 
 
 
 12 
 
 
 
 
 Waltham Abbey Church 
 
 . circular 
 
 
 14 
 
 
 
 
 New Haven, Sussex 
 
 . belfry 
 
 
 37 
 
 
 
 
 ♦Southease Church, Sussex 
 
 . one 
 
 1 
 
 
 
 
 
 ♦Stourbridge, Cambridgeshire 
 
 . one 
 
 2 
 
 
 
 
 
 ♦Nateley, Hampshire 
 
 . one 
 
 3 
 
 
 
 
 
 ♦Interior of same 
 
 . • • 
 
 4 
 
 
 
 
 
 ♦Waltham Abbey Church 
 
 . clear story 
 
 5 
 
 
 
 
 
 Clymping, Sussex 
 
 . one 
 
 . 
 
 
 I. 
 
 Semi-Norman 
 
 . 5 
 
 ♦New Shoreham, Sussex 
 
 • • 
 
 G 
 
 
 
 
 
 Stoke Pogis, Bucks 
 
 . couplet 
 
 
 
 I. 
 
 Early English 
 
 . 1 
 
 Great Wenham, Suffolk 
 
 . triplet 
 
 
 
 I. 
 
 Ditto . 
 
 . 1 
 
 Shorne, Kent . 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 1 
 
 Ovington, Hampshire 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 1 
 
 Eastwick, Herts 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 1 
 
 Wivelsfield, Sussex . 
 
 . triplet 
 
 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 Lindfield, Sussex 
 
 . triplet 
 
 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 Clymping, Sussex . 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 Hangleton, Sussex 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 Lindfield, Sussex 
 
 . quatrefoil 
 
 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 Little Wenham, Suffolk . 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 5 
 
 Lindfield, Sussex 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 5 
 
 Oundle, Northamptonshire 
 
 . five lancets 
 
 
 
 I. 
 
 Ditto . 
 
 . 7 
 
 Interior of same 
 
 
 
 
 I. 
 
 Ditto . 
 
 . 7 
 
 Baydon, Suffolk, North side 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 8 
 
 Ditto Ditto, South side . 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 8 
 
 Wiley, Wilts 
 
 . triplet 
 
 
 
 I. 
 
 Ditto . 
 
 . 9 
 
 Meopham, Kent 
 
 . three 
 
 
 
 I. 
 
 Ditto . 
 
 . 10 
 
 Brockworth, Gloucestershire 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 11 
 
 Exterior of same 
 
 , , 
 
 
 
 I. 
 
 Ditto . 
 
 . 11 
 
 Meopham, Kent 
 
 . three 
 
 
 
 I. 
 
 Ditto . 
 
 . 11 
 
 Barnwell, Cambridgeshire 
 
 . triplet 
 
 
 
 I. 
 
 Ditto . 
 
 . 12 
 
 Great Casterton, Rutland 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 13 
 
 Baydon, Suffolk 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 13 
 
 St. Bartholomew, Sandwich 
 
 . triplet 
 
 
 
 I. 
 
 Ditto . 
 
 . 15 
 
 Exterior of same 
 
 
 
 
 I. 
 
 Ditto . 
 
 . 15 
 
 Hythe, Kent 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 17 
 
 Stoke Albany, Northants 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . IV 
 
 Hythe, Kent . 
 
 . lancet 
 
 
 
 I. 
 
 Ditto . 
 
 . 20 
 
 Tin well, Butland 
 
 . triplet 
 
 
 
 I. 
 
 Ditto . 
 
 . 20 
 
 Great Casterton, Butland 
 
 . one 
 
 
 
 I. 
 
 Ditto . 
 
 . 20 
 
 Manton, Butland 
 
 . lancet 
 
 
 17 
 
 
 
 
 Tangmere, Sussex 
 
 . lancet 
 
 
 17 
 
 
 
 
 South Newton, Wiltshire 
 
 . couplet 
 
 
 18 
 
 
 
 
 Glapthorne, Northamptonshire 
 
 ) 
 
 
 
 
 
 
 Ditto Ditto 
 
 . > two 
 
 • • 
 
 21 
 
 
 
 
 Ditto Ditto . 
 
 ) 
 
 
 
 
 
 
 (a) Those marked with an asterisk are in the Appendix Plates. 
 
 G G 
 
110 
 
 INDEX TO ILLUSTRATIONS. 
 
 WINDOAVS — continued. 
 
 NO. OF LIGHTS. 
 
 FIGURE 
 
 PAGE 
 
 SECTIOH 
 
 
 PLATE 
 
 Aid winkle, Northamptonshire 
 
 . four 
 
 
 22 
 
 
 
 
 Dunton Basset, Leicestershire 
 
 . three 
 
 
 24 
 
 
 
 
 Evington, Leicestershire . 
 
 . four 
 
 
 25 
 
 
 
 
 Ditto Ditto 
 
 . four 
 
 
 25 
 
 
 
 
 "Westhamptnet, Sussex . 
 
 . lancet 
 
 
 33 
 
 
 
 
 Achurch, Northamptonshire . 
 
 . lancet 
 
 
 39 
 
 
 
 
 ♦Clymping, Sussex 
 
 . lancet 
 
 8 
 
 
 
 
 
 ♦Lindfield, Sussex 
 
 . lancet 
 
 9 
 
 
 
 
 
 ♦AVinnal Magdalen, Hampshire 
 
 . lancet 
 
 10 
 
 
 
 
 
 ♦Clymping, Sussex . 
 
 . lancet 
 
 11 
 
 
 
 
 
 ♦Thanington, Kent 
 
 . lancet 
 
 12 
 
 
 
 
 
 ♦ilythe, Kent 
 
 . couplet 
 
 13 
 
 
 
 
 
 ♦Great Wenham, Suffolk . 
 
 . couplet 
 
 14 
 
 
 
 
 
 ♦Itingstead, Northamptonshire . 
 
 . lancet 
 
 15 
 
 
 
 
 
 ♦Hartley, Kent . 
 
 . couplet 
 
 16 
 
 
 
 
 
 ♦Blakeney, Norfolk . 
 
 . seven lancets 
 
 17 
 
 
 
 
 
 ♦Lyddington, Berkshire 
 
 . three 
 
 18 
 
 
 
 
 
 ♦Felmarsham, Bedfordshire 
 
 . two 
 
 19 
 
 
 
 
 
 ♦Belgrave, Leicestershire . 
 
 . two 
 
 20 
 
 
 
 
 
 ♦Grafton Underwood, Northamptonshire 
 
 . two 
 
 21 
 
 
 
 
 
 ♦Cranford St. Andrew’s, Northamptonshire 
 
 . two 
 
 22 
 
 
 
 
 
 ♦Cranford St. John, Northamptonshire . 
 
 . three 
 
 23 
 
 
 
 
 
 ♦Doddington, Northamptonshire 
 
 . three 
 
 24 
 
 
 
 
 
 ♦Cransley, Northamptonshire . 
 
 . three 
 
 25 
 
 
 
 
 
 ♦Stoke Albany, Northamptonshire . 
 
 . three 
 
 26 
 
 
 
 
 
 ♦Little Harrowden, N orthamptonshire 
 
 . four 
 
 27 
 
 
 
 
 
 ♦Doddington, Northamptonshire 
 
 . three 
 
 28 
 
 
 
 
 
 ♦Oundle, Northamptonshire 
 
 . three 
 
 29 
 
 
 
 
 
 Northfleet, Kent 
 
 . two 
 
 
 
 I. 
 
 Decorated . 
 
 . 1 
 
 Ditto Ditto 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 1 
 
 Ditto Ditto 
 
 . three 
 
 
 
 I. 
 
 Ditto . 
 
 2 
 
 Chesham Bois, Buckinghamshire 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 2 
 
 Chenies, Buckinghamshire 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 3 
 
 Chesham, Buckinghamshire 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 3 
 
 Waltham Abbey Church . 
 
 • • • 
 
 
 
 I. 
 
 Ditto . 
 
 . 3 
 
 Ditto Ditto interior 
 
 circular 
 
 
 
 I. 
 
 Ditto . 
 
 . 3 
 
 Ditto Ditto 
 
 
 
 • 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 Ditto Ditto 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 St. Michael’s, St. Alban . 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 4 
 
 Boydon, Essex 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 5 
 
 Northfleet, Kent 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 5 
 
 Lindfield, Sussex 
 
 . five 
 
 
 
 I. 
 
 Ditto . 
 
 . 6 
 
 Holbeach, Lincolnshire . 
 
 . four 
 
 
 
 I. 
 
 Ditto . 
 
 . 7 
 
 Capel St. Mary, Suffolk 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 8 
 
 St. Margaret’s, Hertfordshire 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 8 
 
 ' St. Mary’s Stratford, Suffolk . 
 
 . four 
 
 
 
 I. 
 
 Ditto . 
 
 . 9 
 
 Holbeach, Lincolnshire . 
 
 . three 
 
 
 
 I. 
 
 Ditto . 
 
 . 11 
 
 Ditto Ditto . 
 
 . three 
 
 
 
 I. 
 
 Ditto . 
 
 . 12 
 
 Boydon, Essex . 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 13 
 
 St. Margaret’s, Hertfordshire . 
 
 . four 
 
 
 
 I. 
 
 Ditto . 
 
 . 13 
 
 Boughton Aluph, Kent . 
 
 . four 
 
 
 
 I. 
 
 Ditto . 
 
 . 15 
 
 Sleaford, Lincolnshire 
 
 . four 
 
 
 
 I. 
 
 Ditto . 
 
 . 18 
 
 Heme, Kent . 
 
 . three 
 
 
 
 I. 
 
 Ditto . 
 
 . 20 
 
 Chartham, Kent 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 22 
 
 Sleafoad, Lincolnshire 
 
 . four 
 
 
 
 I. 
 
 Ditto . 
 
 . 26 
 
 Bottisham, Cambridgeshire 
 
 . three 
 
 
 
 I. 
 
 Ditto . 
 
 . 27 
 
 Trumpington, Cambridgeshire 
 
 . five 
 
 
 
 I. 
 
 Ditto . 
 
 . 29 
 
 W orstead, N orfoik . 
 
 • • • 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Ditto Ditto 
 
 # 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Paston, Norfolk 
 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Hingham, Norfolk 
 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Ditto Ditto 
 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Ditto Ditto 
 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Bushden, Northamptonshire . 
 
 • • • 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Eulmodiston, Norfolk 
 
 
 
 
 I. 
 
 Ditto . 
 
 . 36 
 
 Badgeworth, Gloucestershire . 
 
 . two 
 
 
 
 I. 
 
 Ditto . 
 
 . 38 
 
 
INDEX TO ILLUSTRATIONS. 
 
 WINDOW S — continued. 
 
 Cottingham, Northamptonshire . . four 
 
 Sawbridgeworth, Hertfordshire . . three 
 
 Southfleet, Kent . . . two 
 
 Rigstead, Northamptonshire . . . five 
 
 Holton St. Mary, Suffolk . . two 
 
 St. Alban’s Abbey Church . . . two 
 
 Southfleet, Kent . . . two 
 
 Sawbridgeworth, Hertfordshire . . three 
 
 Wheathampstead, Hertfordshire . . four 
 
 Rouen, Normandy . . . three 
 
 Tunstead, Norfolk . . . three 
 
 Famdish, Bedfordshire . . . two 
 
 Brandon, Norfolk . . . five 
 
 Bicker, Lincolnshire . . . two 
 
 Southfleet, Kent . . . two 
 
 Keymer, Sussex . . . two 
 
 Cottingham, Northamptonshire 
 Meopham, Kent . . ... 
 
 Filby, Norfolk . . . 
 
 St. Alban’s Abbey Church . . . lancet 
 
 Southfleet, Kent . . . two 
 
 Shorne, Kent . . . . two 
 
 Northfleet, Kent . . . two 
 
 St. Nicholas, Colchester . . . two 
 
 llarbledown, Kent . . . two 
 
 Southfleet, Kent . . . . five 
 
 ♦Barnwell, Northamptonshire . . two 
 
 ♦Burton, Leicestershire . . . two 
 
 ♦Ditto Ditto . . . two 
 
 ♦Ditto Ditot . . . two 
 
 ♦Fleet, Lincolnshire . . . three 
 
 ♦Lyddington, Berkshire . . . two 
 
 ♦Witham, Essex . . . two 
 
 ♦St. Alban’s Abbey Church . . . two 
 
 ♦Hingliam, Norfolk . . . three 
 
 ♦Exton, Rutlandshire . ... 
 
 ♦Mickleham, Surrey . . . three 
 
 ♦Exton, Rutlandshire . ... 
 
 ♦Tilsworth, Bedfordshire . . . three 
 
 ♦Cranford St. Andrew’s, Northamptonshire 
 
 ♦Interior of ditto 
 ♦Trunch, Norfolk 
 ♦Gosgrove, Northamptonshire . 
 
 ♦Shiere, Surrey . 
 
 . three 
 
 ♦Wimmington, Bedfordshire 
 
 . five 
 
 ♦Shiere, Surrey . 
 
 . four 
 
 ♦Sutton at Hone, Kent 
 
 . three 
 
 ♦Ely .... 
 
 . 
 
 ♦Ditto, Interior 
 
 
 ♦Long Staunton, Cambridgeshire 
 
 . four 
 
 ♦Little Waltham, Essex 
 
 . three 
 
 ♦Ashwell, Rutlandshire 
 
 . three 
 
 ♦Harbledown, Kent . 
 
 . two 
 
 ♦Wimmington, Bedfordshire 
 
 . three 
 
 ♦Ditto Ditto 
 
 . two 
 
 ♦Cley, Norfolk . 
 
 . three 
 
 ♦Billington, Bedfordshire 
 
 . two 
 
 King’s Worthy, Hampshire 
 
 . two 
 
 Basingstoke, Hampshire 
 
 ' . four 
 
 Northfleet, Kent 
 
 . three 
 
 Chalk, Kent 
 
 . one 
 
 Dummer, Hampshire 
 
 . one 
 
 Wilton, Norfolk 
 
 . one 
 
 Uflington, Lincolnshire . 
 
 . three 
 
 Lavenham, Suffolk . 
 
 • 
 
 FIGURE 
 
 PAGE 
 
 
 27 
 
 
 27 
 
 
 27 
 
 
 27 
 
 
 27 
 
 
 28 
 
 
 28 
 
 
 28 
 
 
 30 
 
 
 30 
 
 
 31 
 
 
 33 
 
 
 34 
 
 
 34 
 
 
 34 
 
 
 34 
 
 
 35 
 
 
 36 
 
 
 36 
 
 
 39 
 
 
 41 
 
 
 41 
 
 
 41 
 
 
 42 
 
 
 43 
 
 30 
 
 31 
 
 32 
 
 33 
 
 34 
 
 35 
 
 36 
 
 37 
 
 38 
 
 39 
 
 40 
 
 41 
 
 42 
 
 43 
 
 46 
 
 44 
 
 45 
 
 47 
 
 48 
 
 49 
 
 53 
 
 50 
 52 
 
 54 
 
 55 
 62 
 63 
 66 
 
 67 
 
 68 
 
 43 
 
 69 
 
 
 SECTION 
 
 I. 
 
 Perpendicular 
 
 . 3 
 
 I. 
 
 Ditto 
 
 . 4 
 
 I. 
 
 Ditto . 
 
 . 5 
 
 I. 
 
 Ditto 
 
 . 5 
 
 I. 
 
 Ditto . 
 
 . 5 
 
 I. 
 
 Ditto 
 
 . 10 
 
 I. 
 
 Ditto . 
 
 . 13 
 
 I. 
 
 Ditto 
 
 . 13 
 
112 
 
 INDEX TO ILLUSTRATIONS. 
 
 WINDOWS — continued. 
 
 Lavenham, Suffolk, Interior 
 West Tarring, Sussex 
 Chesham, Buckinghamshire 
 Ristangles, Suffolk . 
 
 Westwick, Norfolk 
 St. Lawrence, Norwich 
 St. George’s, Norwich 
 Bradfield, Norfolk . 
 
 St. Peter’s, Norwich 
 Bradfield, Norfolk . 
 
 Coltishall, Norfolk 
 Little Shelford, Cambridgeshire 
 Churchdown, Gloucestershire 
 Ashby St. Ledger’s, Northamptonshire 
 Blakeney, Norfolk 
 Humberstone, Leicestershire . 
 Hunworth, Norfolk 
 Winterton, Norfolk 
 Rushton Lodge 
 *Chellington, Bedfordshire 
 
 * Odell, Bedfordshire 
 *St. John’s, Stamford 
 
 * Cirencester, Gloucestershire 
 *Felmarsham, Bedfordshire 
 *Donington, Lincolnshire . 
 
 *Wootton, Bedfordshire . 
 
 *St. Peter’s, Northampton . 
 
 MOLDINGS. 
 
 NO. OF LIGHTS. 
 
 five 
 
 three 
 
 three 
 
 five 
 
 three 
 
 three 
 
 four 
 
 three 
 
 four 
 
 four 
 
 five 
 
 four 
 
 three 
 
 five 
 
 three 
 
 three 
 
 56 
 
 57 
 
 58 
 
 59 
 61 
 
 60 
 65 
 64 
 
 PAGE 
 
 24 
 
 32 
 
 33 
 36 
 
 38 
 
 39 
 47 
 
 SECTION 
 
 PLATE 
 
 I. 
 
 Perpendicular 
 
 . 13 
 
 I. 
 
 Ditto 
 
 . 16 
 
 I. 
 
 Ditto 
 
 . 18 
 
 I. 
 
 Ditto 
 
 . 18 
 
 I. 
 
 Ditto 
 
 . 22 
 
 I. 
 
 Ditto 
 
 . 22 
 
 I. 
 
 Ditto 
 
 . 22 
 
 I. 
 
 Ditto 
 
 . 22 
 
 I. 
 
 Ditto 
 
 . 22 
 
 I. 
 
 Ditto 
 
 . 22 
 
 I. 
 
 Ditto 
 
 . 22 
 
 I. 
 
 Ditto 
 
 . 23 
 
 
 
 
 Caps, Bases, and Stringcourses 
 Caps, Bases, and Stringcourses 
 Caps, Bases, and Stringcourses 
 Worsted, Norfolk 
 Tunstead, Norfolk 
 Deopham, Norfolk 
 Kenninghall, Norfolk 
 Haslingfield, Cambridgeshire 
 *Caldecott, Northants 
 # Ringstead, Northants 
 # Fen Ditton, Cambridgeshire 
 *Heckington, Lincolnshire 
 *Wissendine, Rutlandshire 
 *Exton, Rutlandshire 
 # Greetham, Rutlandshire 
 Gosgrove, Northamptonshire 
 
 Basement moldings 
 
 St. Martin’s, Leicester I 
 
 Bicker, Lincolnshire j 
 
 Oadby, Leicestershire "| 
 
 # Cottesmore, Rutlandshire 
 *Greetham, Rutlandshire 
 * Well i ngborough, N orthants 
 *Achurch, Northants 
 Sandridge, Hertfordshire 
 Bapchild, Kent Strim 
 
 Skelton, York 
 
 String 
 
 Corbel tables 
 Spire tables 
 
 Decorated 
 
 . 30 
 
 Ditto 
 
 . 30 
 
 Early English . 
 
 . 24 
 
 Decorated . 
 
 . 35 
 
 Perpendicular . 
 
 . 26 
 
 Ditto 
 
 . 25 
 
 Ditto 
 
 . 25 
 
 Ditto 
 
 . 25 
 
 
 
 DOORWAYS. 
 
 Nately, Hampshire . 
 
 Old Shorehara, Sussex 
 Wootton, Gloucestershire 
 Sempringham, Lincolnshire 
 
 I. Norman . . 1 
 
 I. Ditto . . 2 
 
 I. Ditto . . 4 
 
 I. Ditto . . 6 
 
INDEX TO ILLUSTRATIONS. 
 
 113 
 
 DOORWAYS. 
 
 FIGURE 
 
 PAGE 
 
 SECTION 
 
 Orpington, Kent 
 Meopham, Kent 
 Holton St. Mary’s, Suffolk 
 Warmington, N ortbamptonshire 
 St. Martin’s, Leicester 
 *Barnwell, Northamptonshire 
 *Felmarsham, Bedfordshire 
 *St. Margaret’s, Hertfordshire 
 * Burton, Leicestershire 
 Sutton at Hone, Kent 
 Holbeach, Lincolnshire . 
 Brandon, Norfolk 
 Milton, Kent . 
 
 Heckington, Lincolnshire 
 Swatton, Lincolnshire’ 
 
 North Minims, Hertfordshire 
 Cley, Norfolk . 
 
 Fen Ditton 
 Ewerby, Lincolnshire 
 Aldwinkle, Northamptonshire 
 Leir, Leicestershire 
 Trunch, Norfolk 
 Felmarsham, Bedfordshire 
 Iligham Ferrars 
 Weekley, Northamptonshire 
 St. Alban’s Abbey Church 
 Basingstoke, Hampshire 
 Lavenham, Suffolk . 
 
 Ditto Ditto, Interior 
 Chesham, Buckinghamshire 
 Coltishall, Norfolk 
 Towcester, Northamptonshire 
 Shorne, Kent . 
 
 Islip, Northamptonshire 
 Cransley, Northamptonshire 
 Grundisburgh, Suffolk 
 Merstham, Surrey 
 
 | Plate 7 
 
 51 
 
 68 
 
 70 
 
 74 
 
 75 
 
 75 
 
 76 
 76 
 
 72 
 
 73 
 
 73 
 
 74 
 
 75 
 
 I. 
 
 Semi-Norman . 
 
 . 1 
 
 I. 
 
 Early English 
 
 . 3 
 
 I. 
 
 Ditto 
 
 . 3 
 
 I. 
 
 Ditto 
 
 . 21 
 
 I. 
 
 Ditto 
 
 . 23 
 
 I. 
 
 Decorated . 
 
 . 1 
 
 1. 
 
 Ditto 
 
 . 10 
 
 I. 
 
 Ditto 
 
 . 12 
 
 I. 
 
 Ditto 
 
 . 14 
 
 I. 
 
 Ditto 
 
 . 23 
 
 I. 
 
 Ditto 
 
 . 23 
 
 I. 
 
 Ditto 
 
 . 25 
 
 I. 
 
 Ditto 
 
 . 39 
 
 I. Perpendicular 
 I. Ditto 
 I. Ditto 
 I. Ditto 
 I. Ditto 
 I. Ditto 
 
 1 
 
 3 
 
 6 
 
 7 
 
 17 
 
 20 
 
 PIERS AND ARCHES. 
 
 New Shoreham, Sussex 
 Ditto Ditto 
 
 Ditto Ditto 
 
 Codford St. Mary, Wiltshire 
 *Polstead, Suffolk 
 St. Mary’s Cray, Kent 
 Matching, Essex 
 Erith, Kent 
 Clymping, Sussex . 
 
 Preston, Sussex 
 Westminster Abbey Church 
 Acton Bunnell, Shropshire 
 Barnwell, Northamptonshire 
 Eaton Bray, Bedfordshire 
 # Boxgrove, Sussex 
 *St. Martin’s, Leicester 
 Bottisham, Cambridgeshire 
 Brockworth, Gloucestershire . 
 Boughton Aluph, Kent . 
 Morton, Lincolnshire 
 Trumpington, Cambridgeshire 
 Lindfield, Sussex 
 
 I. Semi-Norman . 2 
 
 I. Ditto . . 3 
 
 I. Ditto . . 4 
 
 I. Ditto . . 5 
 
 8 
 
 77 
 
 78 
 80 
 
 I. Early English 
 I. Ditto 
 I. Ditto 
 I. Ditto 
 I. Ditto 
 
 2 
 
 2 
 
 2 
 
 5 
 
 I. 
 
 Decorated . 
 
 . 16 
 
 I. 
 
 Ditto 
 
 . 21 
 
 I. 
 
 Ditto 
 
 . 21 
 
 I. 
 
 Ditto 
 
 . 21 
 
 I. 
 
 Ditto 
 
 . 21 
 
 I. 
 
 Perpendicular . 
 
 . 14 
 
 H H 
 
114 
 
 INDEX TO ILLUSTRATIONS. 
 
 PIERS AND 
 
 ARCHES — continued. 
 
 FIGVRE 
 
 PAGE 
 
 SECTION 
 
 PLATE 
 
 Lavenham, Suffolk 
 Westminster Abbey Church 
 Ditto Ditto 
 
 V 
 
 7 
 
 I. Ditto 
 
 14 
 
 PANELS. 
 
 Lavenham, Suffolk . 
 
 St. Mary’s, Stratford, Suffolk 
 Eye, Suffolk 
 
 DIAPERS. 
 
 Westminster Abbey Church 
 Hatfield Broadoaks, Essex 
 St. Alban’s Abbey Church 
 Westminster Abbey Church . 
 
 BUTTRESSES. 
 
 Raydon, Suffolk 
 Little Wenham, Suffolk 
 Holbeach, Lincolnshire . 
 Fen Ditton, Cambridgeshire 
 Debenham, Suffolk 
 Bottisham, Cambridgeshire 
 Achurch, Northamptonshire 
 St. Margaret’s, Leicester 
 Redgrave, Suffolk 
 Pytchley, Northamptonshire 
 Besthorpe, Norfolk 
 Blakeney, Norfolk 
 St. Mary’s, Stratford, Suffolk 
 Lavenham, Suffolk . 
 
 Ryall, Rutlandshire 
 New Walsingham, Norfolk 
 
 PARAPETS. 
 
 Heckington, Lincolnshire 
 Ditto Ditto 
 
 Evington, Leicestershire 
 Lavenham, Suffolk . 
 
 St. Mary’s, Stratford, Suffolk 
 
 82 
 
 83 
 
 83 
 
 84 
 84 
 
 I. 
 
 Perpendicular 
 
 . 8 
 
 I. 
 
 Ditto 
 
 . 19 
 
 I. 
 
 Ditto 
 
 . 19 
 
 I. 
 
 Early English . 
 
 . 19 
 
 I. 
 
 Ditto 
 
 . 19 
 
 I. 
 
 Decorated 
 
 . 24 
 
 I. 
 
 Ditto 
 
 . 24 
 
 I. 
 
 Early English . 
 
 . 14 
 
 I. 
 
 Ditto 
 
 . 14 
 
 I. 
 
 Decorated 
 
 . 17 
 
 I. 
 
 Ditto 
 
 . 17 
 
 I. 
 
 Ditto 
 
 . 19 
 
 I. 
 
 Ditto 
 
 . 19 
 
 I. 
 
 Early English . 
 
 . 22 
 
 I. 
 
 Perpendicular 
 
 . 11 
 
 I. 
 
 Ditto 
 
 . 12 
 
 I. 
 
 Ditto 
 
 . 24 
 
 I. 
 
 Ditto 
 
 . 24 
 
 I. 
 
 Decorated 
 
 . 37 
 
 I. 
 
 Ditto 
 
 . 37 
 
 I. 
 
 Ditto 
 
 . 37 
 
 I. 
 
 Perpendicular . 
 
 . 12 
 
 I. 
 
 Ditto 
 
 . 11 
 
 CROSSES. 
 
 Barnack, Northamptonshire . 
 Witchford, Wiltshire 
 Edith, Weston, Rutlandshire . 
 Helpringham, Lincolnshire 
 St. Mary’s, Stamford 
 Little Casterton, Rutlandshire 
 Barnwell, Northamptonshire . 
 
 St. Patrick’s, Dublin 
 Tinwell, Rutlandshire 
 Ewerby, Lincolnshire 
 Peterborough, Northamptonshire 
 Peakirk, Northamptonshire 
 Methwold, Norfolk 
 St. Mary’s, Norwich 
 
 I. 
 
 Early English . 
 
 . 16 
 
 I. 
 
 Ditto 
 
 . 16 
 
 I. 
 
 Ditto 
 
 . 16 
 
 I. 
 
 Ditto 
 
 . 16 
 
 I. 
 
 Ditto 
 
 . 16 
 
 I. 
 
 Ditto 
 
 . 25 
 
 I. 
 
 Ditto 
 
 . 25 
 
 I. 
 
 Decorated 
 
 . 28 
 
 I. 
 
 Ditto 
 
 . 28 
 
 I. 
 
 Ditto 
 
 . 28 
 
 I. 
 
 Ditto 
 
 . 28 
 
 I. 
 
 Ditto . 
 
 . 28 
 
 I. 
 
 Ditto 
 
 . 33 
 
INDEX TO ILLUSTRATIONS. 
 
 115 
 
 CROSSES — continued. 
 
 Ludhara, Norfolk 
 
 
 
 FIGURE 
 
 PAGE 
 
 SECTION 
 
 I. 
 
 Decorated 
 
 PLATE 
 
 . 33 
 
 Ditto Ditto 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 33 
 
 H in "ham, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 33 
 
 Haslingfield, Cambridgeshire . 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 33 
 
 Stoke Ferry, Norfolk 
 
 
 
 
 
 
 I. 
 
 Perpendicular . 
 
 . 15 
 
 Morton, Lincolnshire 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 15 
 
 Brandon, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 15 
 
 Billingborough, Lincolnshire 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 15 
 
 West Lynn, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 15 
 
 Gunthorpe, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 21 
 
 Trunch, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 21 
 
 Oakham, Rutlandshire 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 21 
 
 Ditto Ditto 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 21 
 
 Stody, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 21 
 
 FONTS. 
 
 
 
 
 
 
 
 
 
 Weston, Lincolnshire 
 
 
 
 
 
 
 I. 
 
 Early English 
 
 . 27 
 
 Redgrave, Suffolk . 
 
 
 . . 
 
 
 
 . 
 
 I. 
 
 Decorated 
 
 . 32 
 
 Clymping, Sussex 
 
 
 
 
 
 
 I. 
 
 Perpendicular 
 
 . 28 
 
 SEDILIA. 
 
 *Great Wenham, Suffolk 
 Preston, Sussex 
 
 
 . 
 
 14 
 
 
 
 I. 
 
 Early English . 
 
 6 
 
 Cobham, Kent 
 
 
 
 
 
 
 I. 
 
 Perpendicular 
 
 . ’ 9 
 
 PISCINA. 
 
 
 
 
 
 
 
 
 
 Widelsfield, Sussex 
 
 
 
 
 
 
 I. 
 
 Early English . 
 
 . 6 
 
 CHAMFER TERMINATIONS. 
 Twenty Specimens . . . 
 
 
 
 
 
 I. 
 
 Early English 
 
 . 26 
 
 Ten Specimens 
 
 
 
 
 
 
 I. 
 
 Decorated 
 
 . 34 
 
 GABLETS. 
 
 
 
 
 
 
 
 
 
 Capel St. Mary, Suffolk 
 
 
 
 
 
 
 I. 
 
 Decorated 
 
 . 31 
 
 Swafield, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 31 
 
 Trunch, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 31 
 
 Little Shelford, Cambridgeshire ’ . 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 31 
 
 Ditto Ditto 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 31 
 
 Stapleford, Cambridgeshire 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 31 
 
 Coltishall, Norfolk . 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 31 
 
 Tunstead, Norfolk 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 31 
 
 DRIPSTONE TERMINATIONS. 
 Swafton, Lincolnshire 
 
 
 
 
 
 I. 
 
 Early English 
 
 . 18 
 
 St. Margaret’s, Hertfordshire 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 18 
 
 Debenham, Suffolk . 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 18 
 
 Little Wenham, Suffolk . 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 18 
 
 St. Cross, Hampshire 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 18 
 
 Westminster Abbey Church 
 
 
 
 
 
 
 I. 
 
 Ditto 
 
 . 18 
 
 Four Specimens 
 
 
 
 
 
 
 I. 
 
 Decorated 
 
 . 34 
 
 Twelve Specimens 
 
 
 
 
 
 
 I. 
 
 Perpendicular . 
 
 . 27 
 
116 
 
 INDEX TO ILLUSTRATIONS. 
 
 EOOFS. 
 
 Wymondham, Norfolk 
 
 
 
 FIGURE 
 
 PAGE 
 
 SECTIOir 
 
 n. 
 
 W oodwork . 
 
 PLATB 
 
 17, 18, 19 
 
 Capel St. Mary, Suffolk 
 
 
 
 . 
 
 
 . 
 
 
 ii. 
 
 Ditto . 
 
 . 22, 23 
 
 Stuston, Suffolk 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 24 
 
 Grundisburgh, Suffolk 
 
 
 • 
 
 • 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 26, 27 
 
 SEATS. 
 
 Great Waltham 
 
 
 
 
 
 
 
 ii. 
 
 Woodwork 
 
 1 
 
 Bentley, Suffolk 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 5 
 
 Comberton, Cambridgeshire 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 29 
 
 FINIALS. 
 
 
 
 
 
 
 
 
 
 
 Bentley, Suffolk 
 
 
 
 
 
 
 
 ii. 
 
 Woodwork 
 
 . 6 
 
 Great Wenham, Suffolk . 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 6 
 
 Brandon, Norfolk . 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 6 
 
 Chesham Bois, Hertfordshire 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 6 
 
 Nantwich, Cheshire 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 16 
 
 Stoke, Suffolk . 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 16 
 
 Stoke, Suffolk . 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 16 
 
 Howell, Lincolnshire 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 16 
 
 St. Mary Stratton, Norfolk 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 20 
 
 Ditto Ditto 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 20 
 
 Great Wenham, Suffolk . 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 20 
 
 A Church in Norfolk 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 20 
 
 Debenham, Suffolk 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 30 
 
 PORCHES. 
 
 Aldham, Essex 
 
 
 
 
 
 . 
 
 
 ii. 
 
 W oodwork 
 
 12, 13 
 
 SCKEENS. 
 
 Waltham Abbey Church 
 
 
 
 
 
 
 . 
 
 ii. 
 
 Woodwork 
 
 7 
 
 Barton, Cambridgeshire 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 10 
 
 SPANDRELS. 
 
 
 
 
 
 
 
 
 
 
 Barton, Cambridgeshire . 
 
 
 
 
 
 
 • 
 
 ii. 
 
 Woodwork 
 
 . 11 
 
 Bottisham, Cambridgeshire 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 14 
 
 Doncaster, Yorkshire 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 25 
 
 Stoke, Suffolk 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 25 
 
 DOORS. 
 
 
 
 
 
 
 
 
 
 
 St. Alban’s Abbey Church 
 
 
 
 . 
 
 
 
 
 ii. 
 
 Woodwork 
 
 . 4 
 
 Wells Cathedral 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 8 
 
 Stoke, Suffolk 
 
 
 
 
 
 
 
 ii. 
 
 Ditto 
 
 . 15 
 
 Holbeach, Lincolnshire 
 
 
 
 
 
 
 
 i. 
 
 Decorated 
 
 . 10 
 
 Milton, Kent . 
 
 
 
 
 
 
 
 i. 
 
 Ditto 
 
 . 14 
 
 North Mimms, Hertfordshire 
 
 
 
 
 
 
 
 i. 
 
 Ditto 
 
 . 25 
 
 Lavenham, Suffolk 
 
 
 
 
 
 
 
 i. 
 
 Perpendicular 
 
 . 6, 7 
 
 Chesham, Buckinghamshire 
 
 
 . 
 
 
 
 
 
 i. 
 
 Ditto 
 
 . 17 
 
 Coltishall, Norfolk 
 
 
 
 
 
 
 
 i. 
 
 Ditto 
 
 . 20 
 
 PANELS. 
 
 
 
 
 
 
 
 
 
 
 Great Waltham, Essex 
 
 
 
 
 • 
 
 • 
 
 • 
 
 ii. 
 
 W oodwork 
 
 . 2 
 
INDEX TO ILLUSTRATIONS. 
 
 117 
 
 PANELS — continued. 
 
 FIGEBB 
 
 PAGE 
 
 SECTION 
 
 PLATE 
 
 Great Waltham, Essex . 
 Cirencester, Gloucestershire . 
 Bottisham, Cambridgeshire 
 Chester Cathedral . 
 
 Crowcombe, Somersetshire 
 Bishop’s Lydeard, Somersetshire 
 Little Shelford, Cambridgeshire 
 Worstead, Norfolk . 
 
 BOSSES. 
 
 Brockworth, Gloucestershire 
 Brockworth, Gloucestershire . 
 
 Diss, Norfolk . 
 
 Haslingfield, Cambridgeshire . 
 
 STRINGS. 
 
 Cirencester, Gloucestershire 
 Brockworth, Gloucestershire . 
 Trunch, Norfolk 
 Rushden, Northamptonshire . 
 Martham, Norfolk 
 
 CUSP TERMINATIONS. 
 
 Barton, Cambridgeshire 
 Higharn Eerrars, Northamptonshire 
 
 CLOSING RINGS 
 
 St. Alban’s Abbey Church 
 St. Mary’s, Stratford 
 Westminster Abbey Church . 
 Cirencester, Gloucestershire 
 Barton, Cambridgeshire 
 Brockworth, Gloucestershire 
 Eyre, Suffolk 
 Aldham, Essex 
 
 Colly Weston, Northamptonshire 
 Diss, Norfolk . • . 
 
 Bapchild, Kent 
 Hythe, Kent . 
 
 Haconby, Lincolnshire 
 
 Westminster Abbey Church 
 
 St. Mary’s, Norwich 
 
 Floore, Northamptonshire 
 
 Eaton Bray, Bedfordshire 
 
 Ashby St. Ledger, Northamptonshire 
 
 Exton, Rutlandshire 
 
 St. Nicholas, Gloucester 
 
 Martham, Norfolk 
 
 Filby, Norfolk 
 
 II. 
 
 Woodwork 
 
 
 3 
 
 II. 
 
 Ditto 
 
 
 14 
 
 II. 
 
 Ditto 
 
 
 14 
 
 II. 
 
 Ditto 
 
 
 21 
 
 II. 
 
 Ditto 
 
 
 31 
 
 II. 
 
 Ditto 
 
 
 31 
 
 II. 
 
 Ditto 
 
 
 31 
 
 II. 
 
 Ditto 
 
 
 31 
 
 II. 
 
 W oodwork 
 
 
 9 
 
 II. 
 
 Ditto 
 
 
 28 
 
 II. 
 
 Ditto 
 
 
 28 
 
 II. 
 
 Ditto 
 
 * 
 
 28 
 
 II. 
 
 Woodwork 
 
 
 9 
 
 II. 
 
 Ditto 
 
 , 
 
 9 
 
 II. 
 
 Ditto 
 
 
 28 
 
 II. 
 
 Ditto 
 
 . 
 
 30 
 
 II. 
 
 Ditto 
 
 * 
 
 30 
 
 II. 
 
 Woodwork 
 
 
 11 
 
 II. 
 
 Ditto 
 
 • 
 
 10 
 
 II. 
 
 Metalwork 
 
 
 2 
 
 II. 
 
 Ditto 
 
 
 2 
 
 II. 
 
 Ditto 
 
 
 2 
 
 II. 
 
 Ditto 
 
 
 3 
 
 II. 
 
 Ditto 
 
 
 3 
 
 II. 
 
 Ditto 
 
 
 3 
 
 II. 
 
 Ditto 
 
 
 5 
 
 II. 
 
 Ditto 
 
 
 5 
 
 II. 
 
 Ditto 
 
 
 7 
 
 II. 
 
 Ditto 
 
 
 7 
 
 II. 
 
 Ditto 
 
 
 7 
 
 II. 
 
 Ditto 
 
 
 7 
 
 II. 
 
 Ditto 
 
 
 7 
 
 II. 
 
 Ditto 
 
 
 7 
 
 II. 
 
 Ditto 
 
 
 8 
 
 II. 
 
 Ditto 
 
 
 9 
 
 II. 
 
 Ditto 
 
 
 11 
 
 II. 
 
 Ditto 
 
 
 12 
 
 II. 
 
 Ditto 
 
 
 12 
 
 II. 
 
 Ditto 
 
 
 12 
 
 II. 
 
 Ditto 
 
 
 12 
 
 II. 
 
 Ditto 
 
 
 13 
 
 HINGES. 
 
 Eritb, Kent 
 
 Westminster Abbey Church 
 St. Margaret lloding, Essex 
 St. Peter’s, Colchester 
 
 II. Metalwork . 1 
 
 II. Ditto . . 1 
 
 II. Ditto . . 1 
 
 II. Ditto . • 1 
 
 I I 
 
118 
 
 INDEX TO ILLUSTRATIONS. 
 
 1LIN GES — continued. 
 
 North fleet, Kent 
 St. Alban’s Abbey Church 
 Stanstead Church, Hertfordshire 
 Hartley, Kent 
 Gloucester Cathedral 
 Horton Kirby, Kent 
 Spalding, Lincolnshire 
 Brockwortb, Gloucestershire . 
 Sempringhara, Lincolnshire 
 Tinwell, Rutlandshire 
 St. Mary’s, Norwich 
 Market Deeping, Lincolnshire 
 St. Alban’s Abbey Church 
 Eaton Bray, Bedfordshire 
 Wootton, Bedfordshire . 
 Sutton at Hone, Kent 
 Oundle, Northamptonshire 
 
 FIGURE 
 
 PAGE 
 
 SECTION PLATE 
 
 II. 
 
 Metalwork 
 
 . 1 
 
 II. 
 
 Ditto 
 
 . 1 
 
 II. 
 
 Ditto 
 
 . 1 
 
 II. 
 
 Ditto 
 
 . 2 
 
 II. 
 
 Ditto 
 
 . 3 
 
 II. 
 
 Ditto 
 
 . 3 
 
 II. 
 
 Ditto 
 
 . 3 
 
 II. 
 
 Ditto 
 
 . 3 
 
 II. 
 
 Ditto 
 
 . 5 
 
 II. 
 
 Ditto 
 
 . 5 
 
 II. 
 
 Ditto 
 
 . 8 
 
 II. 
 
 Ditto 
 
 . 9 
 
 II. 
 
 Ditto 
 
 . 9 
 
 II. 
 
 Ditto 
 
 . 11 
 
 II. 
 
 Ditto 
 
 . 13 
 
 II. 
 
 Ditto 
 
 . 13 
 
 II. 
 
 Ditto 
 
 . 13 
 
 STIFFENERS. 
 
 Chester Cathedral 
 York Minster 
 
 Great Casterton, Rutlandshire 
 Tunstead, Norfolk 
 
 II. Metalwork . 4 
 
 II. Ditto . . (i 
 
 II. Ditto . . 9 
 
 II. Ditto . . 9 
 
 KEY PLATES. 
 
 Westminster Abbey Church 
 
 Diss, Norfolk 
 
 Uffington, Lincolnshire . 
 
 Tunstead, Norfolk . 
 
 Martham, Norfolk 
 
 II. 
 
 Metalwork 
 
 . 2 
 
 II. 
 
 Ditto 
 
 . 7 
 
 II. 
 
 Ditto 
 
 7 
 
 II. 
 
 Ditto 
 
 9 
 
 II. 
 
 Ditto 
 
 . 13 
 
 L; udou : J. & W. Rider, Primers, 14, Bartholomew Close. 
 

 
 
 
 
 
 J* 
 
 t % 
 
 
 
 
 
 
 
 
 A 
 
 4 
 
 
SECTION II. 
 
 PLATE /. 
 
 
 
 
 1 
 
 L 
 
 ' I ' i 
 
 Ml' 
 
 ! • ! , 
 
 " Vv 
 
 I 
 
 111 
 
 
 l : 
 
 i 
 
 'll 
 
 1!, 
 
 1 1 1 
 
 ri 
 
 « i 
 
 The scats average a tout 
 seventeen,^ feet. tong wtih 
 one .support, m centre. 
 
 sf 
 
 * 
 
 fJLemtuon of Standard 
 
 Section of Seats 
 
 jPi 'an. of Seale 
 
 lit 
 
 Plan, of reaper moaldxngs 
 
 Section of Standard . 
 
 The different parts if ‘the seals 
 are morticed and, tenement 
 
 together and, fastened with 
 wooden peps. 
 
 !b 
 
 Section, of inemJdm c/s % fall, me 
 
 •Open Sent* firm, Great fValthan Church,. F-sseoc, circa, / U.ZP. 
 6 0 
 
 SCALE Or FEET 
 
 AN ANALYSIS OF G0TR4CK ARCHITECTURE. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
SECTION II. 
 
 PLATE 2. 
 
 2 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 ■ 
 
 . 
 
 ■ 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

.SECTION II. 
 
 
 
 PLATE. 
 
 J*ei7i,el h*-ad'S fr'om open sesitf . G. TVa/tham. Ch Ess tat- 
 
 
 AN ANALYSIS or COTHICK ARCHITECTURE. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 - 
 
 . 
 
 
 
SECTION II. 
 
 PLATE 4 ~ 
 
 AN ANALYSIS OR OOTH ICK ARCHITECTURE • 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
* 
 
 
 
 
SECTION II 
 
 PLATE S. 
 
 AN ANALYSIS Of COTHICK ARCHITECTURE 
 

 

SECTION IK 
 
 PLATE- 0 
 
 !ll,oofcto0ri;^ 
 
 Fts< 'aJ. jrurrt £fwf/et C9i j*ncA Sv^JbUv 
 
 FuumJ jrw Gr»t/. Ifm/baurt <JUvrA, ■'ftvfybUe- 
 
 finvml ftrnn- ChAth/o*s Em.i tivurrA , Rtt£Jc*t. 
 
 ■SCALE or 
 
 d WtCHES 
 
 FrHSM.I, Jbom. 7it*rtA , 8u/yr>fJ* 
 
 AN ANALYSIS OF GOTHIOM ARCHITECTURE. 
 

/ 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 ' 
 
 
SECTION II 
 
 PLATE , 7 
 
 
 
 
 
 
 
 
 
 parclatt jpidtluwi Mlbey Cf, - JfSstu*- 
 
 Wfcpn, btMm 
 
 ] 
 
 1 
 
 { 
 
 
 
 4 
 
 | 
 
 
 fl 
 
 1 
 
 - jf 
 
 
 1 
 
 
 
 
 - 
 
 
 
 “:-.r 
 
 -Si-'- • >'V- — 
 
 3GAuC OB 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE 
 

 
 
AN ANALY8I S OF COTHtCK ABCHH" 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SECTION II 
 
 PLATE 8 . 
 
 Jfy-rrm roof of Worth Al&U. ffrochworth, (Jiur&o, CZoxtOCSttrsturt. . 
 
 JFronv foiUh CAapeL Jfroofuvorth, (2v. OlotM-attur-ghirt’. 
 
 From, CercnetuCt.' GhjrrcJi • OiouMifCefnrhirt/. 
 
 Frotrv (FnJfjeeotty' {‘hurrh* Olau/iafterohxrv . 
 
 AN ANALYSIS OP COTHICK ARCHITECTURE. 
 

AN ANALYSIS OF COTH1CK ARCHITECTURE 
 

 
 
 
 
 
 
 
 
 ' 
 
 
 

 
 
 
+ VJ| 
 
 * n 
 
 
 
 
 # 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 AN ANALYSIS OF COTWTCK ARCHITECTURE. 
 

 
 
 
 
 
 
 
 
 
 
 . • 
 
 
 
 
 
 
 
 
 - 
 
 
 

 
 
 . 
 
 
AN AN ALY SIS OF GOTHICK ARCHITECTURE 
 

 
 
 
 
 
 ' 
 
 

section M. 
 
 PLATE 13 . 
 
 
 SCAUL or 
 
 *9 'oaf A Porch , jdLdharri CAurrb , Essejc 
 
 tbrA / m . A.B $ 'fttZL size . 
 
 
 Chxunfkr cub C 
 
 Frcuc&y tv Porch,. 1 *?* scale. 
 
 7 \ fF 
 
 See&on, looJahq Ft&ft 
 
 Thresry ft) IF. .nth- of Perth ia-astuxi/ fh ,1'iM.C. /i m stxUt 
 
 Centre forte. 
 
 
 Tracer r -tc K tide ofPorrJv. Bra dwell Ctv.kssiac 
 
 Ftan, of AlcUtant. Porch 
 
 AN ANALYSIS OF COTNTCK ARCHITECTURE. 
 

 
 
 

SECTION II.. 
 
 PXATE. /4. 
 
 AN ANA*-Y&lS OP COTNICK ABCMITECmJRI 
 


 
/ 
 
 
AN ANALYSIS OF COTHICK ARCHITECTURE. 
 
 



 Vv 
 
 
 
SECTION II. 
 
 PLATE M. 
 
 From Mote CFwrcJv, Srt^fbtk 
 
 SCMU-C op 
 
 From Howttt Ch ■ Linsobwhiro. 
 S . « 
 
 mCMES 
 
 0 
 
 From Fantwtcfi (httrrh (fttJthtrr- 
 
 Fhdm Ms&r (%nrrh 'Stzfyb/Jc 
 
 AN ANALYSIS OF COTHICK A BCH ITECTLTR & . 
 
 % 3 *». 
 

 
 
 
 
 
 
 
 

 
 
 
 
 
 
 '‘4 vk u 
 
 
 
 

 
 AN ANALYSIS OF COThlCK ARCNITCCTimi 
 
SECTION II 
 
 PLATE / 8 
 
 AN ANALYSIS or COTNICK ARCHITSCTITR E . 
 

 
AN ANALYBtS OF OOTrtICK A PC H W A C T-U R E . 
 


SECTION II. 
 
 PLATE 20 
 
 From Great Wlenhemv Cfazroh Suffolk 
 
 SCALE OF t= 
 
 From. St Mary Stratton Church ,NcrfcZk 
 
 
 AN ANALYSIS OPCOTHICK ARCHITECTURE 
 

AN ANALYSIS OF COTHICK ARCHITECTURE . 
 

 
 
 
 
 
SECTION II 
 
 PLATE 22 
 
 Cornice 
 
 Cellar 
 
 Hot/ over Near* of Coped S* Mary Church/ Suffolk 
 with details 2” 1 S cade 
 
 !'-'U-7ut 
 
 rtet 
 
 AN ANALYSIS Of«OTH»CK ARCHITECTURE. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 > 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
S EC I ION II. 
 
 r LA T E 23 
 
 AN ANALYSIS Of COTHICK ARCHITECTURE 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 - 
 
 
 

 . 
 
 •: 
 
SECTION II. 
 
 PLATE /». 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE. 
 
 Sc/deof 
 
 S 
 
 /tcA 
 
 Hutf oyer porch StUoton. ChurcJv, Suffolk 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
station \ 
 
 )>LAT£ 35. . 
 
 I 
 
 SSB 
 
 
 
 Span drel ( ft'o/ 
 
 Span lircl , / rnm 
 Sto/r* ChurrA , 
 
 Stokr CJucrcA 
 
 SjpafufreA9 fpf’ai JJonnnnCnr ChzirrA , ~%or&iJitrx 
 
 
 
 $n/foUt 
 
 S/M/it. fruit //■?«<- /)<ntctuiiJK (Juurobi ybrkshwa 
 
 S*aU tf 1 = 
 
 e 
 
 =1 Sn/Anr 
 
 AN ANAWY6IS at OOTBrCK AIR CH ITT'CTORE. 
 

 
 I 
 
 
 

 ' 
 
■ 
 
 
 
 
 
 
 
 
AN ANALYSIS OF GOTHICK ARCHITECTURE 
 

 
 
 . % 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 SlfcflON 1C 
 
 PLATE *7 
 
 Orruuwtnta in Crrruct x vl ' StxxXx . 
 
 Uru 
 
 pflCwM 
 
 At , 
 
 (71 
 
 Principal 
 
 Ccrrucr 
 
 tUU'Ur 
 
 PurUn 
 
 K<vwrur Buun 
 
 Ctllar 
 
 on Urt*' CJ) 
 
 Roof ewe tfte -A'hre cf Griindis&iuxriis Gtv SiAgf frisk 
 *rUA, 
 
 SCALE OF f , f f 1 ■ , f t i "" " 
 
 =»f£ET 
 
 deauiiS I^ScnU, 
 
 A N AN ALY SIS OF COTHICK ARCHITECTURE 
 

 V . 
 
 

 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Jk 1 
 
AN A-NALYSIS OF COTHICK ARCHITECTURE. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
SECTION I. 
 
 PLATE 29 
 
 SCALE Of’t 
 
 Jfeet 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE 
 
 


 , 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
SECTION II. 
 
 PLATE HO. 
 
 
 Afl lu*7.f fin 77 sr%a 
 
 Trow Sere rn nv Rush dsn. Church. Wcrrt.Jui'/rtptmshre/ . 
 
 AN ANALYSIS OF C OT H 1C K A RCH IT ECT U R E 
 
I _> m 
 
 
 
 
* 
 
 
 
 
P LATCJ*. 
 
 SECTION II. 
 
 r~ 
 
 M 
 
 
 <ii 
 
 
 ujyL 
 
 
 mmm 
 
 B enchs cnd<s from. (r 'owcrmbe, Church , Somw.sctjhzrc 
 
 From WrrMui dChurch , Norfolk, . 
 
 From, little Shtffvrd Ch. CtcnvhrioU/cshjirt' 
 
 1 
 
 Front WorsttoA ChzxrcJv, Norfolk, 
 
 4 j>. 
 
 .Xfe, 
 
 f 
 
 
 
 Front Growtcmbt Ch .S emtr ersct&hxre 
 
 Front Bishops Lydeard. Church, S onversctshzre . 
 
 AN ANALYSIS OFCOYHICK ARCHITECTURE 
 
 
 3 ! 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 » 
 
 
 
 
 
 
 
 
 
 : . 
 
 
 
 ' 
 
 
 
 
 
 
 
 
 
 « 
 
SECTION II. 
 
 PLATE I . 
 
 
 
 
 r 
 
 
 l 
 
 G 
 
 ftvRAW.t 
 
 A. from EritJi < hujvJi hf'o / 
 f. f rom TfkstmAitSber Abbt# C/mrcJi Jttthl 
 C. Front Morvmret Fothruj CfuAi c/i f.ise.V 
 
 7). from ST Peters OvnreA, Chief** f&r\ 
 
 f from/ JVortAfleet CTvetsvJu. Her t 
 f frorrv S! Albujus ^lf>fw\ C/vur< A , Jir,- t/or-a-ib ■, r+ 
 
 G from, Stx&osteoxl/ Abbots ^ A urrj> M-rt/orc/Aure 
 // s <t j o / 4 
 
 •Jf I .1 ■ .1. i.i- i — i .. .. .■ H m M — — i i 1 fit/. 
 
 AN ANALYSIS OF GOTHIC* ARCHITECTURE 
 

 
 
 
 . 
 
 . 
 
PLATE ' i 
 
 KtyjAatvs y>rw Tfutnunttor Abbey 
 
 Sent'' Atm from SfJfa/js Stnrtford ' .Suffdk 
 
 From W/MmiHStzr Abbfy 
 
 Sattckconrfrom A* Alban* J&bev Church Htrlfonlshirt 
 
 Sections ow Unc A. B . 
 
 AN ANALYSIS Of COTHICK ARCHITECTURE 
 

 
 
 
 
 
 
 - 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 * 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 m 
 
 
 
 
 
 
 
 
 
 
SECTION ll. 
 
 PLATE 3. 
 
 
 am 
 
 o OOO OOP O/ T ooonl 
 
 I M P* So o O f -> '->r 
 
 JSftV / 0 °?oVo; 
 
 An0 0 ?o n 0 °oo o o °o 
 
 Xoc“o 0 0 ^°o«v° 0 o 0 <? 
 A >0 0 . a ? Q r - 'o -l; °'j - 
 
 /0 oo*> o T >jr 
 
 L oo°V/ 
 
 ° 0 o 0 °^f 
 
 \oo%Pj»ii} xinl/ 
 
 InOOOo l O OQ Q 0 0 0 O 
 
 ■J.OOOO O r> <1 /T~*P MM 
 
 flOOooOOO 0 0 
 o o 0 OO ^ O 0 Q O, ° o\ 
 o o 0 O o 0^0 PlO V o r . X 
 ^0 0 O o o 3 ® 0 o r A A 
 00000030 C.O 0~0 PC\ 
 
 \\t c A 
 
 \nTo 0 \ 
 
 ^jro^o^.opo o°xT; 
 OA 1 ° o ° ri 0 ° 0 ■< //< 
 
 N^s°o$ | oSw 
 
 ^5g&> °al 0 S/PV ~ 
 \ou<^'o ■_> r 
 
 ^S£°?c 
 
 ■tfy&Sh 
 
 ! ; 
 I >o V> 
 100/^ 
 
 p7,o 0^01 
 
 °o°oo r o 
 
 Po°?J 
 
 IP 
 
 
 (jOOOOOOOc 
 
 oOgr, O f jOOO 
 
 0600 0° °0 O O 
 
 OQO° °OO c Q 
 
 oOOOOo, 
 
 OOO O O 0 OOO r,o 
 
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 SpaZdutq CJv. LtJiXjoUisJuirt;. 
 
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 INCHES 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE 
 
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SECTION II. 
 
 J©taUwW 
 
 PLATE, A. 
 
 /t/lP 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE. 
 

 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SECTION II. 
 
 PLATE i 
 
 Singe from TvrunlL OlJUuLancL / i ^ stale 
 
 Closing Ring from Alrlham CJi Es&ve 
 /i^scaU 
 
 Part of iroruvorJe from doors of Sempmigham- (To. 
 /{ scale 
 
 AN ANALYSIS or OOTHtCX ARCHITECTURE 
 
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SECTION II. 
 
 PLATE 7. 
 
 AN ANM.VIIS orcOrmc aachitechitecture . 
 
SECTION II . 
 
 
 ZL. 8 . 
 
 AN ANALYSIS OF GOTHICK ARCHITECTURE 
 

 
 
 
 
 
 
 
 
 

 
 

SECTION 'll. 
 
 SCALE 0 
 
 A . TurtjUeuf CJv. Mir/olk 
 B . Or>a t Caster tm, Ch . FUrtlce ndC 
 
 C . J* AUetns Alley Church. 
 
 D . Market Deeping Ch .lincolnshxrt 
 
 E Floon Churchy , hcrthaniptcnshmiy . 
 F Tunscetu/ Church, Morfcl-k . 
 
 r'U S ± 
 
 =ir 
 
 

 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
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 ■ 
 
 
 
 
SlTCtTO'N 11. 
 
 . L*n tit-. 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 SECTION II. 
 
 V 
 
 SCALE OFl. 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE 
 
 PLATE 11 . 
 
 From South Door oJ~ 
 Eatorv Brar Church., 
 
 B ulforoU fart/. 
 
 -±1 FEET 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 I 
 
 ■ M* 
 
 I* ■' ■ * i nn 
 
 
 
 . 
 
SECTION II . 
 
 PL ATE 12 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE 
 
 4 ; 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
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 SECTION II 
 
 PLATE/3 
 
 (ol F . Rushderv Church, Ncrthocrnptrnhkire/. C) C) C') C) C) O 
 
 C . F(l6y C/uwch , Norfolk . "* \J \_T yj \J 
 
 .. ^ ,, , from Mart-ham Chur ok, Norfolk 
 
 H . Ashhy S'Lt/tyer Church ^crtA/wto . ’ J 
 
 44 
 
 AN ANALYSIS OF GOTHIC* ARCHITECTURE. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 

AN ANALV8I3 OTGOTHICK A R C B I T ECT UR E . 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
AN ANALYSIS OF GOTHIC* ARCHITECTURE 
 

 
 
 
 
 
 
 
 
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AN ANALYSIS orfiOTNICK ARCHITECTURE 
 


PLATE 4 
 
 AN ANALYSIS OF COTHICK ARCHITECTURE. 
 
 48 
 

 
 
 
 
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AN ANALYSIS CLF C OT H 1C K . A R CH IT ECT U R E . 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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» - ’ - 
 
 
 
 
 
 
 
 
 
 
 
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PLATE 6 . 
 
 Sptcvnvens ot\Aj)ccfto0tk, 
 
 Norma n Stringcourses 
 
 Specimens rfntnZhenj 
 \ '/e fnlLsiy 
 
 Trwer basement moaZt/r'ttgs s /t ^^tojvet 
 
 Weltingbercttc/h , Norths* mptoriskirt- 
 
 (irre thorn , Ratlnttdshirfr 
 
 Cottesmore , Jhztt/meishirf 
 
 AN ANALYSIS Of COTHICK ARCHITECIUHE . 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
AN ANALYSES Of COTHICK ARCHITECTURE.