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IIYALE UNIVERSITYIllllR

> SCHOOL OF THE PINE ABTS <

AN ANALYSIS OF
GOTHIC ARCHITECTURE
ILLUSTRATED BY A SERIES OF UPWARDS OF SEVEN
HUNDRED EXAMPLES OF DOORWAYS, WINDOWS,
MOULDINGS, ROOFS, ARCHES, CROSSES, PANELS, BUT
TRESSES, SEATS, SCREENS, ETC., AND ACCOMPANIED
WITH REMARKS ON THE SEVERAI DETAILS OF AN
ECCLESIASTICAL EDIFICE

BY RAPHAEL AND J. ARTHUR BRANDON
AUTHORS OF "OPEN TIMBER ROOFS OF THE MIDDLE AGES," ETC.

NEW EDITION — VOLUME L

JOHN GRANT
31 GEORGE IV. BRIDGE
MCMIII

TO THE
MOST HONOURABLE THE MARQUESS OF NORTHAMPTON, P.R.S., Etc.
WHOSE DISTINGUISHED NAME IS SO JUSTLY ENDEARED TO THE CAUSE OF
ENGLISH CHURCH ARCHITECTURE. THIS WORK IS, WITH PERMISSION,
MOST RESPECTFULLY DEDICATED BY HIS LORDSHIP'S
GREATLY OBLIGED AND VERY OBEDIENT
HUMBLE SERVANTS, RAPHAEL AND J. ARTHUR BRANDON.

17 -i 0
DEC 7 1950

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 Romanesque,* and range throughout the Gothic
era, properlv so called.
Tji Authors, desirous to adhere in every respect to their plan of
,¦•:•.::; . practical rather than an historical work on English Church
.ciiitecture, 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
* 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 stigmatises by the term Romanesco.
I consider the architecture under discussion (Norman), in the same point of view," page 80.

VI

PREFACE.

successor, the Anglo-Norman, has but very few, if any claims to our
regard and adoption. That this style possesses many features in them
selves highly meritorious, we readily admit; yet on the one hand, we
trace in it all the impress of a lingering barbarism, and on the other, true
to its Roman prototype, it is shackled even in its noblest efi'orts by the
characteristic horizontality of classic 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 undergone an
entire, although a gradual, renovation. It was then that, in the Early
English style, Gothic 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
Gothic, 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 larger 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 com^para-
tively 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 efi'ect, 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 under
stood to have special reference to Parochial Structures.!

PREFACE. vii
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 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 ruhhing kindly sent
them by J. K. Colling, Esq. ; and the other, the diapers upon the shield
of Sir Robert de Vere, 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 acknowledgments for much valuable assistance in the
arrangement of their letterpress description. Had the plates been
<=>" ¦¦ -nore practised zincographers, they would doubtless have
.' I -^gher degree of artistic treatment, and greater beauty of
A loii ; 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 Con
fessor, 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 Archi
tecture 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 evident]'*'' "'"' own by many of their works which yet remain : still, intrinsically ex-
celler'* there was in its very essence that whicli necessarily involved its
¦ •>>; '. ¦ .^ uars, indeed, true that Architecture shares in the general instability
¦ :•._¦ .orrestrial ; 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 classic 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 re
moved from a Pagan origin, though not itself actually Pagan. Therefore, in reviewing

2 INTRODUCTION.
the Transition Period which intervened between the final close of the Anglo-Norman and
the full estabhshment of the Anglo-Gothic 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 ele
mentary features of the new style appeared blended with the estabhshed characteristics
of the old, Gothic 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
distinguished the Early Enghsh 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 Gothic 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 muUions, were introduced ; and with the
muUions came tracery-bars, filling the window-heads with various rich geometrical figures :
— the alternation of bold projections and deep hollows in the moldings 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
Gothic 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 Gothic 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 historic interest) the perfection of Anglo-Gothic art. As this style
advanced, its several pecuHarities assumed a very clearly, defined distinctness of char
acter ; while, at the same time, the geometrical precision of its earliest form yielded
to a predominance of lines, flowing with graceful undulations.
* A Manual of Gothic Architecture, page 230, by F. A. Paley, Esq., M.A, Van Voorst.

INTRODUCTION. 3
A tendency to direct verticality, placing itself in, perhaps, violent contrast with the
Romanesque horizontalism of the Anglo-Norman, had been in the Early English Gothic,
the special characteristic of that beautiful style. In the Decorated Gothic, the prin
cipal 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-Gothic was distinguished by the prevalence of perpendicular lines,
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
Gothic, gradually supplanted the Decorated ; as the mature, yet ever chaste and har
monious 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 combina
tion with what was more especially its own : and of this the first (or, historically speaking,
the Lancastrian) period of the Perpendicular Gothic, although certainly wanting in the
majestic 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 paneUing, and other ornamental detail, which but too
clearly indicated a decadence in Architectonic 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,
befor'^ ¦' \n again revive, animated by its former exalted spirit, and capable
, :'; r : .« Tt nobler achievements.
..o oeen 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 Gothic 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 com
plete revival of the original Gothic spirit, which may even lead to an Architectural
perfection hitherto unknown. But before advance can become practicable, it is indis
pensable that there be a recovery from retrogression. The first thing to be attained is
the mastery of Gothic Architecture as it has been practised. It is accordingly the object

4 INTRODUCTION.
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 preliminary step. And here it may be
remarked, that undue importance must not be attached to the terms Early, Decorated,
and Perpendicular Gothic, 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 characteristics of Gothic Architecture re
mained unchanged, from the first establishment to the final suppression of the style : and
hence, though the several conditions of Gothic 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 transi
tion stages of the one great style, the Gothic." t Accordingly, notwithstanding that dates
have been assigned to these several subdivisions of Gothic 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 strug
gling 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 con
sidered to mark the establishment of Perpendicular. The usually received dates, there
fore, of the commencement and close of the Early English, Decorated, and Perpendicular
Gothic, in strict reality serve only to indicate those minor stages of transition which
intervened between the several more important periods of Anglo-Gothic 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
* This nomenclature, introduced by the late Mr Rickman, 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 recognised and 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 ofthe nomenclature ofthe Middle Ages revived by Professor WiUis.
t Lectures upon English Church Architecture, delivered before the St Alban's Architectural Society, by
the Rev. C. Boutell, M.A., Secretary. May 1S46.

INTRODUCTION. 5
from written and illustrated treatises to original examples themselves. Gothic art can
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 sympathise 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 by-gone age. Influenced by a spirit,
which in these times it is scarcely possible yet to understand, their sole aim was advance
ment : 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
brefl^-^' ll : i : - their great art, and which they well knew must necessarily exist the
¦ f it. But when they had to complete a design, left from the first im-
..j appear to have been induced in some instances to mold their work in such
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 majestic in its austere simplicity. It would appear
that when, after a lapse of time, the Early English Gothic was fairly established, it was
determined to alter the Nave to that style, and thereby improve it. The work of reno
vation 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 Gothic was shortly to give way
to Decorated. Two more of the Anglo-Norman arches on the south side were rebuilt at

6 INTRODUCTION.
this period, their general design being the same, the strings, etc., corresponding with the
earlier work, while a partial difference is observable in the moldings and other ornamental
details. Again were the works discontinued ; nor was any further effort attempted, with
a view to the reconstruction of the Church, until the Decorated Gothic 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,
Gothic Architecture had gradually undergone 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 through
out, 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
¦* Neale's History of Westminster Abbey.

INTRODUCTION.

Eablt Enolisii Navk-Pikr.

really been erected some hundred years earlier, would assuredly have surmounted the
bowtels placed in their jambs. An equally characteristic distinction is also observable
rKiiPKNDici.LAK NAVK-rifin. In thc plaus of the Nave-piers of the two eras : in tlie early 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 of compromise, and maintained its char
acteristic 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
witli 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 assimil'^fon, 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 carry 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 essen
tially, each being true to the style of its own period. And again, although the groining
is tolerably in keeping throughout, in the Aisles and in the later portion of the vaulting,
* 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 Cliurch of St Ouen, at Rouen ; in which Edifice is still preserved an Incised Slab of elabo
rate 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 Rev. Charles Boutell's Treatise upon
Monumental Brasses and Slabs ; and the entire tomb is represented by Willemin in his Monuments Inedits,
and also in the description of the Church of St Ouen by Gilbert,

Band to Nave-Pikiis.
Earlv Enqlisii.

Band to Nave-Piers,
Perpendicular.

INTRODUCTION.

the original spring and height of the ridge-rib have been preserved, while to the elegant
acutely pointed lancet of the earher groining, an obtusely pointed arch has been
preferred, which consequently it has been necessary to stilt.

Seale oA

Early English Arcade, Westminster Abbey
Church.

PERPENDIOlrf.AR ARCADE, WESTMINSTER AeBEY
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, this
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.

Section of Cap at D.

Section on Line N X.

Section on Line A A.

^ J-

¦J

Section of Cap at- C.

Westjiinster Abbey Church.

On examining the moldings, however, we again perceive how rigidly the distinctive
peculiarities of the Perpendicular 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 Per
pendicular example. The stilted and octagonal base of the Perpendicular shaft

INTRODUCTION. 9
contrasts very forcibly with the low and unpretending Early English base, each
indicative 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 Wilham 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 freestone, 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
fynisht 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 Churcli, 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 Chm-ch the
most striking internal features. The arches in the nave are pointed, and of good pro
portion, and were probably made conformable with those already existing in the choir.
From these examples, therefore, it is clearly evident that in reconstructing certain
* Memoirs of Gothic Churches, published by the Oxford Society.

10

INTRODUCTION.

portions of the fabric of the larger Churches, it was an occasional practice with the
mediaeval 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.* Pos
sibly many features which occasionally present themselves, and which it is difficult to
reconcile with the style in whicli 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 ordi
nary 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 Structures, 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 frequently be studied by the
architect with satisfactory and beneficial results. The arrangement of the canopies
in these interesting memorials is almost invariably elegant and effective; while, in
some examples, they display designs of most elaborate magnificence. The annexed
illustration is from the brass, in Westminster Abbey Church, of Ahanor de Bohun,
Duchess of Gloucester, who died in 1399.

* Mr Paley, in his Manual (page 2U), 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, Rutland, where there are semi-
cn-cular arches of the fourteenth century, evidently suited to others of the twelfth."

AN ANALYSIS

OF

GOTHIC ARCHITECTURE.

SECTION I.— OF MASONRY.
1. WINDOWS.
TRACERIED window may be justly regarded as a peculiarly distinc
tive characteristic of Gothic 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 dehghted 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 Gothic 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 which its construction may be
considered to have been governed.
Possessing several important features, and being also characteristic of certain
periods, windows altogether devoid of tracery are the first to present themselves to

12 ANALYSIS OF GOTHIC ARCHITECTURE.
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 ; 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
tangmebe Church, cxcccd a fcw Inchcs. Thcsc windows have a considerable internal snlav,
Sussex. J- */ '
7^ but externally their glazing is set almost flush with the wall-face. Glass,
-^- however, being at that period an object of considerable scarcity in
i |l- England, many of these early windows do not appear to have been
"^ constructed with a view to their being glazed ; as may be seen at
ly Waltham Abbey Church, Essex, and Darenth Church, Kent, where evi-
'^"^ dently no provision was originally made for fixing panels of glass. A
shutter, probably, was designed to close upon the rebate, which sometimes may be seen
worked externally in the masonry; as at Southease Church, Sussex.* These windows
merely resulted from absolute necessity; and, accordingly, but shght attempts were
made to render them subservient to decorative purposes. Many examples are abso
lutely devoid of all ornament whatsoever. In Nately Chm'ch, 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 very 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 hghts on the
exterior (Section L Norman, Plate 2); over one light a dripstone may be noticed,
but its occurrence 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 I. 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 shght
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 billets is also appended, and this member is continued from
* 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
m the « Parish Churches," Vol. II., page 75

WINDOWS. 13
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. Iffiey Church, Oxfordshire,
presents some fine specimens of recessed windows with j amb- 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-
lights 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 Romsey Abbey Church a precisely similar arrangement
appears, with pointed, in place of semi-circular headed arches.
Triplets, although occasionally introduced, are not characteristic 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 toward 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 ornamented with the chevron and other equally characteristic carving. A
series of such circular windows constitute the clearstory lights to the nave of Southwell

14 ANALYSIS OF GOTHIC ARCHITECTURE.
Minster: and again in Waltham Abbey Church, the original arrangement appears to
have been the same ; although at the present time, in consequence of subsequent altera
tions, it is difficult to determine whether the existing remains were
once actual openings, or merely sunk panels. In the west front
of Iffiey Church, a Perpendicular window has been inserted : in
this same position the remains of a circular window of consider
able size may, notwithstanding, 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 usacje 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 characteristics, details, and ornamental accessories of the two arches remaining
the same. It was also a common practice, anterior to the Gothic 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
* 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
necessary constructive form.

WINDOWS. l'>
use, merely with a view to produce an agreeable variation from the more general
rounded form. The 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 characteristics 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 Glaston
bury ; in the Church of the Hospital of St Cross, near Winchester ; and in the conven
tual Churches of Malmesbury and Romsey. From the circumstance, however, of the
exact period of its construction having been recorded by a contemporary writer, as well
as from its intrinsic 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 hghts
in pure Gothic 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.
* 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 of these windows
between a.d. 1175 and 1178; William de Sens, architect,
.| See "Parish Churches," Vol. II. , page 71.

16

ANALYSIS OF GOTHIC ARCHITECTURE.

(2.) In the earher examples the splay was entirely internal, and in many cases no
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 sup
porters 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 Gothic became
positively established.
On the first establishment of the Gothic style, little essential difference, beyond
the invariable adoption of the pointed arch, was apparent in the design and pro
portions of the windows; but as the style advanced, the development of Gothic
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 characteristic 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 Gothic, on the contrary, the
equilateral is the usual form of the window-arch ; while in some cases, and more par
ticularly 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 Gothic 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 wail. (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 desir
able 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

WINDOWS.

17

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, in 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 drop-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 characteristic 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 concentric 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 introduced, rather as an essentially characteristic
feature, than a necessary constructive application. As a matter of construction, this
drop-arch is by far more secure than an arch sloping so considerably
as would have been requisite had the interior and exterior arches
been concentric. We may here observe, that this arrangement,
variously modified, continued to be in use in the construction of
windows throughout the Gothic style.* (See Section I. 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 systematic construction.
The proportions of Early English lancets vary to a remarkable degree ;
the lights being, in height, in some instances, as much as eleven times their
width, as in the Churches at Oundle and Clymping ; or ten times, as at Shorne
Church (see Section I. Early Enghsh, 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.
* 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 concentric, as in the .North transept of York Cathedral.

Tangmere Church, Sussex.

Manton Church,
Rutlandshire.

18 ANALYSIS OF GOTHIC ARCHITECTURE.
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
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 Enghsh lancets varies inversely in proportion to their height.* Early
Enghsh 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, Derby
shire, 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.-j- Single
lancets also appear in western towers, in the Churches of Stanwick, Ringstead, and
Etton, in Northamptonshire.t 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
Portslade 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
.Enghsh, 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
* 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 windows have been altogether destroyed. Clymping
Church, Sussex, may also be specified as containing most valuable examples of Early English lancet-windows
" Parish Churches," Vol. II., page 75.
t See "Parish Churches," Vol. I., page 1.
X Single western lancets sometimes may be seen in semi-Norman Edifices, as at Manton Church, Rutland
and in a Church of similar character at Barnwood, Gloucestershire, is a single eastern lancet.
§ See "Parish Churches," Vol. II., page 34. See also Section I. Early English, Plate 13.

South Newton Church, Wilts.

WINDOWS. 19
width than in other positions. A lancet couplet also is commonly found in the
side walls of Chancels, as in the Churches at Great Wenham, Suffolk, and Hartley,
Kent (Appendix, Plate 2).
The triplet, at once the most characteristic and the most beautiful arrangement of
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
appropriate, and also in most exact accordance with the spirit of the Early Gothic age.
Instances, however, occur, which authorise 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 pic
turesque 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 some
times 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 Enghsh, Plates 1, 4, 7, 9, 12, 15, and 20.) Where, on the exterior
wall, lancet-triplets are surmounted by dripstones, each lancet has its own distinct drip
stone ; 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 hght is
stilted, as St Bartholomew's Hospital, Kent (Section I. Early Enghsh, Plate' 15); 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-hght
window. The glass, in these combinations of lancet-windows,, is usually placed near

20 ANALYSIS OF GOTHIC ARCHITECTURE.
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 approximating to a single
window of three lights. This effect is, in the greater number of instances, con
siderably enhanced by the narrow fillets of the wall which intervene between the
splays of the windows, being faced with bold shafts, from which rise the combined
hood-molds. In both single lancets and triplets, and also in all 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
characteristic 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 im
portant Buildings, and also, in many instances in the larger ones, the lancets in com
bination, 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 l^^jeney, 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, Plate 4, the
example from Hangleton Church), we see the germ of cusping, properly
so called.f At Winnal Magdalen Church, near Winchester (Appendix,
Plate 2), the lancets display early and rude specimens of foliation or
cusping, in its primitive condition. To this style of cusping the dis
tinctive title of soffit-cusping has 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
cJ^''^TTr7"\ ''" '^^"" '" ''' ''^*"''"'- •'^ ^"'"^ Wet-windows, as in the triplet in Tinwell
Church, Rutlandshire (see Section I. Early English Plate 20^ ¦ xnrl in w • <- r-u , xt ,
+ P.^f»„„ wn- J • , J'-ngnsn, i Jate M) , and m Warmmgton Church, Northants.

WINDOWS.

21

regarded as a sure indication of early work ; and in most instances it is characteristic
of a transition from Early to Decorated Gothic.
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 im
perfect ; their chamfer being restricted to their outer curves (B). Another marked pecu
liarity 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. Tracery, 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 in Meopham
Church, Kent (Section I. Early Enghsh, 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 Gothic conception. Thus, as in Glapthorne Church, Northamptonshire, two
No. 1. No. 2. No. 3.

Glapthorne Church.

lancets were in the first instance placed side by side in a closer proximity than here
tofore 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, 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
occur in the south side of the Chancel of this interesting Church : and they exemplify,
* In Arreton Church, Isle of Wight, is a window with this description of cusping, where a stone ring
connects and intersects the foils (Sharpe's Decorated Windows), thus illustrating in construction the formation
of the foliations.

22

ANALYSIS OF GOTHIC ARCHITECTURE.

in a manner perhaps unparalleled in any one similar Structure, the idea of 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 period
(Appendix, Plate 3): it is somewhat richer in moldings, but does not exhibit any
advancement in design. The windows in Houghton Church, Durham, are of pre
cisely 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 pecuhar
aptitude for modification and variety which distinguished a window divided by mullions
and tracery, appears from the very first to have convinced the Gothic Architects that
in this member the essentially pliant character of Gothic Architecture might be most
signally displayed. Hence the almost countless multiplicity of designs and modi
fications of each design, which were so speedily produced in the windows erected
after the first introduction of tracery. A two-hght 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 -light window with
its geometrical tracery. Then one of the lights would, no less naturally, in some
instances be suppressed ; while under circumstances of a contrary nature, a fifth or
even a sixth light 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
introduction of fresh variety, and thus illustrate the facility with which window-tracery
admits of change, even whilst fettered by geometric 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 lights remaining
* Billing's Durham.
t Etton Church, Northants ("Parish Churches," Vol. I., page 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 Oundle the addition of a third light, and. two head circles
to a similar composition, produces a three-hght window. In St Alban's Abbey Church, a very fine three-light
window is the result of the same arrangement.

Aldwinkle Church, Northamptonshire.

WINDOWS. 23
plain ; but after a while a similar enrichment was introduced at the heads of the lights,
to the great improvement of the entire composition : examples, however, remain which
show that, even 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, and 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 (Section I. 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 a view to impart to
them a traceried character, are given at Section I. 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 Gothic 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 Gothic, 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 characteristics 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 Gothic; because
of the moldings being essentially different, or because in the one there may appear
soflfit-cuspihg, 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
Enghsh, Plate 17), in their general aspect might be reckoned pure Decorated ; their
soffit-cusping, however, more correctly classifies them with the Early Enghsh period.
And so also in the clearstory over the choir of the Abbey Church of St Alban, the
composition is altogether Early Enghsh, but the moldings partake more of a Decorated
than of an Early English character.t In this transition period it was customary to
* 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 GOTHIC ARCHITECTURE.

DcNTON Basset, Ijeicestershire.

construct many windows of more than two lights, having no other tracery than would
be produced by the intersection of the mullions 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 appear
ance. Very different, however, is the result, when the inter
sections 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
by the examples from the Churches at Southfleet and Heme,
in Kent, and at Trumpington, Cambridgeshire (Section I. Decorated, Plates
20, 29). But, before entering upon the direct consideration of Decorated Gothic windows,
one peculiar kind of tracery, common to the close of the Early English and the
commencement 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 Gothic Architects from their Anglo-Norman pre
decessors, 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
Churohdown Church, Gloucestershire. (ScCtioU I. DcCOratcd, PlatC 1): Othcr CXamplcS OCCUr
in the Abbey Church of St Alban (Appendix, Plate 4), and in Wooton Church,
Northants.* As Gothic Architecture advanced, 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 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 which were tried and rejected before the perfect Decorated window was

* This window is figured at page 125 of Paley 's Manual of Gothic Architecture.
t The windows in the Lady Chapel at St Alban's (Appendix, Plate 4) show the two kinds of tracery
combined in the same design.

Evington Church, Leicestershire, Fig. 1.

WINDOWS. 25
produced. Thus, at Rickenhall Church, Suffolk,* the east window of the south aisle,
which is decidedly of the same date with the other windows (temp. Edward I.),
exhibits almost every peculiarity of Per
pendicular tracery : the main lights are
cinquefoiled, and the window-head com
prises batement-hghts, super-mullions, etc. ;
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 soffit-cusping;
the invariable test of early work : the ornaments also, with which it is richly
studded, are a mijcture 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 trefoliated batement-lights.
Thus, in these two windows, evidently both
of the same date, are displayed peculiarities characteristic of the three great periods
of Gothic Architecture : the Early English soffit-cusp, the Decorated foliated cap,
and the Perpendicular 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,
* " Parish Churches," page 45.

Evington Church, Leicestershire. Fig. 2.

Capital from Bast Window.

26 ANALYSIS OF GOTHIC ARCHITECTURE.
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 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 Gothic 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 muUion 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
pf Sleaford Church, Lincolnshire.! (Section I. Decorated, Plate 26.)
Decorated window-ti'acery 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, etc. ; while in flowing tracery these figures, though still existing, are grace
fully blended together into 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 Gothic 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-
* 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.
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
>^^ J^J and the curve that circumscribes it.
 -^'ii I We occasionally, however, meet with instances where, probably from the great scarcity
A A. The eyes of a c r x j.i ii- i , . , 'r j » j
quatrefoil. ol trecstone, the mullions have been brought flush with the outer wall.

WINDOWS.

27

Sawbridgeavorth Church, Herts.

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 re
semble the upper
portion of the win
dow-arch inverted,
and containing ornamental work of the same
character as the large circles.* In some other
designs three circles or three
Cottingham Church, Northamptonshire. CUrvillnCar trlaUglcS (ScC. I.
Decorated, Plate 2), of equal size, are introduced, and variously
enriched and modified. And again, in other windows the geometrical
forms are subordinate to intersecting curves (Section I. Decorated,
Plate 20) ; or the entire tracery consists simply of one geometric
figure (Section I. Decorated, Plate 8).
To enter into a full description of even the 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 must suffice

Southfleet, Kent.

BiNOSTEAD Church, Northamptonshire.

to refer, in general
terms, to the more dis-

Holton St Mary's, Suffolk.

tinctive pecuharities 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 profusely scattered over the country.
In two-hght windows, the Early Enghsh arrangement, frequently varied and en-
* See in Sharpe's Windows, specimens from the Churches of Rudston, York ; Billinborough, Lincoln ;
Howden, York; Exeter Cathedral; Fishtoft, Lincoln ; Trent, Somerset; Wellingborough, Northants; Ripon
Cathedral, etc. Also Appendix, Plate 3.

28

ANALYSIS OF GOTHIC ARCHITECTURE.

St Alban's Abbey Chorch.

riched, was for a long time continued ; as in the beautiful specimens from the Churches
at Northfleet and Roydon, 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
peculiar, as to form an absolutely distinct class from any we have
yet noticed. They occur in the purest period 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, indeed, are
the varieties in this species of decoration, that we are as much
\ astonished at the great effort of imagination which could, in a com-
sohthfleet Church, Kent. paratlvcly sliort space of tlmc, 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 hghts, 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 muUions also,
in many instances, have shafts, with bases and capitals characteristically molded and
enriched. In some specimens, also, the ball-flower is introduced with admirable effect,
studding the hollows of both mullions and tracery in rich profusion (Section I. Decorated,
Plate 38). t Specimens of some of the most beautiful forms assumed by flowing tracery,
* Remarks on the Principles of Gothic Architecture, as applied to ordinary Parish Churches ; by the
Rev. J. L. Petit. See also Bloxam's Gothic Architecture, Ed. 8, page 217 ; and Sharpe's Decorated Windows,
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 at Chartham.
t See " Parish Churches," Vol. I., page 67 ; also Sharpe's Windows, Part 6, window from Leominster
Church, Herefordshire; and Britton's Gloucester Cathedral.

Sawbridgeworth Church, Herts.

WINDOWS.

29

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 Carhsle, and the west window in York Cathedrals.*
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 N. transept
of Sleaford Church, in the S. transept and E. of Chancel of Hecking-
ton Chm-ch, in Selby Abbey Church,t and in the Chancel of Redgrave
Church, Suffolk. The diagram A represents the primary curves of the E. window of
seven lights in Heckington Church, where we may notice that two intersecting and
irregularly shaped ogees form the principal feature in the design,
and by their awkward combination detract from the merits of an
otherwise beautiful production. In a «///('-light window, on the
contrary, as shown in diagram B, this arrangement 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 difiicult to find admirers. For example, in the fine conventual
Chm'cli at Dorchester, Oxfordshire, is that curious and contrailictory composition knoAvn
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 Jesse.t Again, scarcely less reprehensible is the intro
duction into window-tracery of canopies and pinnacles, however beautiful in them
selves, 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 occm' in the otherwise fine east windows of Merton
College Chapel, Oxon.§ St Alban's Abbey Church, Baruack Chm-ch, Northants, and
in the west Avindow of Henry Vllth 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 chauge, which has given its title to the last of the three periods of Enghsh

See Sharpe's Windows.

I See Addington 's Dorchester Church.

t Sharpe's Decorated Windows.
§ See Britton's Antiquities, \'ol. V

30

ANALYSIS OF GOTHIC ARCHITECTURE.

Wheathampstead Church, Herts.

Gothic 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, 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 appear
ance 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
Gothic Buildings, but very
rarely indeed to be found in
this country. From the flai
like undulations of its trace
bars and form - pieces, this
tracery has been distinguished
as Flamboyant. In England this term Flamboyant is
restricted to form or design in tracery ; but, on the Con
tinent the same expression denotes not a peculiar style
of window-tracery alone, but the entire range of Gothic
Architecture at a period commencing with the decline
of Decorated Gothic in England. The term, however,
can hardly be correctly applied to English windows,
inasmuch that however flame like* their tracery may be,
they are still to be referred to the purest period of Gothic 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

Section of Jamb and Sill.

From a Desecrated Church at Rouen.

* 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 debased Gothic, 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

TuNSTEAD Church, Norfolk.

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 harmonise
well with the general angularity of the Flamboyant.
Towards the close of the reign of King Edward III. 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 Gothic, gave rise to a new variety, at present known,
in common with the period of Gothic Architecture during which it prevailed, as Per
pendicular. 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 verticality 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 S. aisle of Tunstead, Norfolk, a perpen
dicular tendency is apparent in parts of the tracery (Section I. ¦^j
Decorated, Plate 9). The N. and S. windows in the Chancel of
Wheathampstead, Herts, also, are curious examples of the gradually progressive influ
ence 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 muUions 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 Perpen
dicular period advanced, the application of this fundamental principle was carried to
such an excess as to degrade tracery into mere panelling, and almost to destroy the
characteristic 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

32

ANALYSIS OF GOTHIC ARCHITECTURE.

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, etc.) The heads of the main lights are almost invariably cinquefoiled; whereas in
the Decorated period the trefoiled heading of the lights was so prevalent as to con
stitute a characteristic of the style. Above each exterior light, or of those main sub
divisions 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 Gothic period, and then
generally consisting of a simple horizontal mul
lion, crossing the lights at right angles, speedily
became a regular component of Perpendicular
windows : this member dividing the lights into
an upper and lower series ; and the heads of the
lights 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
ABHB. ST LEGER's ohubch, NORTHAMPTONSHIRE. trausom iu thc traccry. For another specimen
of an embattled tracery-transom, see Section I. Perpendicular, Plate 18. A rich,
though perhaps a scarcely legitimate, effect was sometimes produced by cusping the
lights 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 modi
fication 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

* See Britton's Antiquities, Vol. V.
t See Ingram's Memorials of Oxford, and Bloxam's Gothic Architecture.
\ See Bloxam's Gothic Architecture. % See Oxford Glossary, Vol. II.

WINDOWS.

33

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.
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 con
siderably below the springing of the arch.
blackeney Church, NORFOLK. Posslbly from thls aiTangemcnt, the idea of
traceried-transoras might have been derived, t
In this period many windows were constructed 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, etc. This vast extent of window was produced (in accordance
with the laws of Gothic Architecture) not so much by increasing
the size of the lights, as by adding to their number :
thus, the west window of Henry VII.'s Chapel
contains fifteen lights, and those at Winchester,
St Alban's, and York, each nine lights.
Nearly every possible variety of arch appears
to have been used in the construction of window-
farndish Church, bedfoedshire. hcads. As WC havc already seen, the pointed arch
was the almost invariable shape adopted in the Early Enghsh lancets; occasionally,
however, as in Thanington Church, Kent (Appendix, Plate 2), we meet with square-
headed trefoiled lancets. The accompanying illustration is the north lychnoscopic t
* 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 Heme,
Kent, and Evington, Leicestershire.
+ The term lychnoscope has been applied to a very peculiar window, to be found in Gothic Churches of
"all the diiferent 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 ground than in any of the other windows. Temple Balsall Church

Westhamptnet
Chorch, Sussex.

34

ANALYSIS OF GOTHIC ARCHITECTURK

Southfleet Church, Kent.

window from Westhamptnet Church, Sussex. The one from Thanington Church
occurs in the north side of the tower.
At the close of the Early English, and throughout the Decorated Gothic period, the
window-arch in most frequent use was the equilateral; and this is always the most
beautiful form. Other window - arches which occurred
during the Decorated period, were
the acutely-pointed, the obtusely-
pointed, the ogee, the segmental-
pointed, and the segmental-circular.
Brandon Church, Norfolk. ThC OgCC arch IS nOt of frCqUCnt
occurrence, nor is it often productive of a good effect : the segmental-circular is very
rare. The square-headed arch was very generally in use at this period : all the windows
to the south aisle of Leckhampton 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
Church, Kent (Appendix, Plate 6), and Roydon
Church, Essex (Section I. Decorated, Plate 13).
Triangular - headed windows
are occasionally to be met /
I with, but they are defective
Bicker Church, Lincolnshire. j^q^Jj jj^^ graCC of OUtlinC aud Keymer Church, Sussex.
soundness of construction. The example from Keymer Church, Sussex, is another curious
instance of the never-ceasing search after improvement, in its course naturally producing

affords an example of one to the south-west (" Parish Churches," Vol. I., page 15). It is still more frequent
that both the north-west and south-west windows are of this description, as in the Churches of West
hamptnet, Raydon (Sect. I. E.E., Plate 8), and Clymping (" Parish Churches," Vol. IL, page 75). Very rarely
are windows in other parts of the Church thus treated. Aldwinkle Church, Northamptonshire ("Parish
Churches," Vol. I., page 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. , page 63),
where the wall of the south Chapel, which apparently was subsequently added, is splayed so as not to block
up the lychnoscope.
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 quasstio 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, etc., 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," Vol. V., pages 164
and 187 ; Vol. VI., page 40, and Vol. VII., page 65.^

WINDOWS. 35
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 Gothic Architecture,— comparing it with the square-headed window from Southfleet,
we can clearly identify it as a modification of the former, by the omission of the two
spandrels. Triangular windows were comparatively rare,
except in clearstories : the example from Cottingham 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 * sometimes took the place of a pointed dropstone 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. Circular windows also occasionally appear, but this beautiful form
is by no means common in Gothic Edifices in this country.

Cottingham Church, Northants.

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 Chffe, Kent, and St Peter's,
Northampton. At Southwell, as has already been remarked, the clearstory windows
are circular. In Early English Churches the clearstoiy 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, t Clear-
* 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., page 17.

36

ANALYSIS OF GOTHIC ARCHITECTURE.

One pot
PiLBY, Norfolk.

stories in the smaller Churches of the Decorated period were usually lighted 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 hghts are triangular and with five foils, t
In the exquisite Decorated Gothic Church at Cley,
Norfolk, the clearstory consists of double-cusped cinque
foiled circles, alternating with single lancets. At

Bottisham Church, Cambridgeshire, a series of finely
scaitofjttt molded two-light clearstory windows occur; and at
Meopham Church, Kent, -pi 1 "NT i.1 j. • "i • • i.
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 the smaller Churches, two-light and three-light
clearstory windows, with square heads, were in common use,
as at Humberstone Church, Leicestershire ; and similar win
dows segmental pointed, as at Histon Church, Cambridge
shire. As the period advanced, clearstories became much
Humberstone Church, Leicestershire. mOrC important mCmbcrS Of thc COmpOSitloUS lutO which thcy
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-hght windows, which are also continued round the
north and south transepts.
* See " Parish Churches," Vol. I., page 37.
t See Oxfordshire Churches.
X See "Parish Churches," Vol. I., page 69; also Northamptonshire Churches, Vol. I., page 59.
§ See " Parish Clmrches," Vol. I., page 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,
Dpvizes. Another not unfrequent arrangement is
exemplified at Iffiey, 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 Duddington, Northants,* and
Repps, Norfolk. The same arrangement was con
tinued throughout the Early English Gothic period,
with such modifications as the new style demanded :
examples occur in the Churches at Etton and Barnwell, Northants. t In the last-
named Edifi-ce, 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.| And again, in this, and also in the suc
ceeding 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, Plate 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 Gothic 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; II 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

New Haven Church, Sussex.

* " Parish Churches,'' Vol. I., page 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, form
ing an arcade which is pierced towards the cardinal points with shafted double belfry windows, of strictly
Semi-Norman character.
t See "Parish Churches," Vol. I., pages 13 and 31.
X See "Parish Churches," Vol. I., page 69 ; and the Churches of Northamptonshire, Vol. I., page 53.
§ See "Parish Churches," Vol. I., page 19.
11 See " Parish Churches," Vol. I., page 7.

38 ANALYSIS OF GOTHIC ARCHITECTURE.
window. In Perpendicular Gothic Edifices, the belfry windows differed from those of
the preceding period rather 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, f are good examples, each containing
a series of double belfry windows ; and a similar series also occurs in the noble tower
of Magdalen College Cliapel, 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.! Similar windows of the same period
appear in the Church towers of Leicestershire, as at Humber
stone Church. At Section I. Semi-Norman, Plate 5, is figured
a window cm-iously 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. §
HuNwoRTH Church. Thc wlndow lu thc wcst of tlic towcr of Hunworth 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 II ; 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 arrangement, as in St Margaret's Church, Leicester.
t See "Parish Churches," Vol. I., page 63. Also see Bloxam's Gothic Architecture, Ed. 8, page 236.
X See "Parish Churches," Vol. I., pages 31 and 59.
§ See " Parish Churches," Vol. IL, page 75.
II See gable Cross from Edith Weston Church, Rutlandshire, Section I. E.E., Plate 16.

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
a 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 Early English Edifice of great beauty, is
Achurch Church, „ , i i- ^ -ii- !• i j. j. ii
Northamptonshire, a vcry gracciul arraugcmcnt lor 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 lights ; as in a turret to the N.E.
of the choir of St Alban's Abbey Church.f
At this same period narrow cruciform
openings were also in use for this purpose,
as in the conventual buildings at Ely
Winterton Church, Norfolk. (AppCudlx, PlatC 7), aud Waltham Abbcy
Church (Section I. Decorated, Plate 3). Subsequently, and during the Perpendicular
Gothic 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).
* 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. IL, page 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.

fv*^

^

In

M

ih

ft

il

,t

I*

1 if

B

C fi^

"^ (

^  .inillilllll

One /""f
St Alban's Abbey
Church.

40 ANALYSIS OF GOTHIC 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 Warmington, Northants, t 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 Gothic windows, we proceed to examine
into the principles of their geometrical formation. It is impossible for any person to
have observed with the smallest degree of attention any number of Decorated windows,
without becoming aware of the constantly recurring combination of the equilateral
triangle. With very few exceptions, the window-arches of the Decorated Gothic
period are actually founded upon that figure, or upon a very close approximation to it.
The greater number of the heads of Early English Gothic lancets are similarly formed,
as is shown at Section I. Early English, Plates 1 and 7. In Plate 1, from Great
Wenham Church, where the lights of the triplet are trefoiled, the system of equilateral
triangles has been, nevertheless, kept in view, as is shown in Diagram (B.), where
the centres for the curves are at the several points of the triangle.
* See "Parish Churches," Vol. I., page 51.
t See "Parish Churches," Vol. I., pages 65 and 17. Also for other specimens of spire-lights, see pages
11, 13, 31, 51, 55, 57, 59, 61, 69, and 77, etc., of the same volume. 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 circum- southfleet church, kent.
stance or taste, or even as a mere practical experiment. Thus, for instance, the
annexed illustration of a window from Southfleet Church, Kent, will be seen to have
been both designed and executed upon strictly equilateral
principles ; the window-arch is equilateral, so also are the heads
of the two lights, above whicli 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 him
self 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 Classic
Architecture, to the discreet architect is left the privilege of
slightly varying from the exactly-defined relative proportions of
the column and its entablature, without his being thereby rendered
obnoxious to the charge of impugning the proportional 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
architect 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 experimentahsing upon any
F

Shorne Chdrch, Kent.

Northfleet Church, Kent.

42 ANALYSIS OF GOTHIC ARCHITECTURE.
one particular specimen: on the contrary, the only course calculated to lead to a
really accurate conclusion is first, to classify Gothic windows in general, and then to
search out from a variety of specimens of each class (as, for example, from a variety
of two-light windows having 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 Gothic 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 Gothic 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. Com-
St Nicholas Church, . ... ,_ ai«iji 'nil
Colchester. mcncmg With wiudows of this last charactcr, 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, will give all the centres for the tracery ; B, C, being
severally the centres for the window-arch, and e, e, e, the centres for
the arches of the tracery. In Plate 2 of Section I. Decorated, is a
'C 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, 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, t The circular window in Leek Church, Staffordshire, is also
a remarkable specimen:! as are likewise those in the Bishop's Palace, Southwark, §
and Chichester Cathedral. II The east window of the Church of St John, at Staunton,
Oxon,1l again, is a curious example, and at the same time a most valuable witness in
* The term Tracery must, to a certain degree, be restricted to the windows of the Decorated Gothic
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. + See Bloxam's Gothic Architecture, Ed. 8, page 220.
§ See Britton's Antiquities, Vol. V. || See Britton's Antiquities, Vol. V.
U See Architectural Antiquities in the neighbourhood of Oxford, page 225.

ON THE CONSTRUCTION OF TRACERY IN WINDOWS.

43

Harbledown Church, Kent.

favour of this principle of the construction of tracery : for here, what in other cases
must have been the formation lines, are worked into the design, and the tracery con
sequently consists of intersecting lozenges which, if subdivided, would naturally pro
duce 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-hght windows at
Stoke Albany (Section I. Early English, Plate 17), and Little Wenham, Suffolk
(Section I. Early Enghsh, Plate 5) ; in three-hght windows, at Meopham, and Heme,
both in Kent (Section I. Early English, Plate 10, and Decorated, Plate 20) ; and in
windows of five lights at Trumpington, Cambridgeshire (Section I. Decorated, Plate
29). In all these windows, whether of two or more lights, it will easily be seen that
the outer arch being equilateral, all the sub
divisions 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 enrich
ment is added, it is always of a secondary char
acter, and leaves the original formation of the
more important members of the window-head distinctly visible. Such enrichment usually
consists of circles, or other geometrical figures, which must of necessity be tangent to
the four intersecting sides of the compartment within whicli they are inserted ; or, some
times it extends no further than to the mere foiling the several compartments. With
these intersecting windows may be classified all two-light windows, in which tracery-
bars diverge from the head of the mullion, 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.* (See Section I. Decorated, Plate 3.)

Southfleet Church, Kent.

* No two-lio-ht 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 GOTHIC ARCHITECTURK
The second subdivision of this second class of windows comprises by far the
greater part of that manifold variety of designs which is exemplified in the window-
heads of the Decorated Gothic period. In windows of net-tracery we detect, more
readily perhaps than in any other variety of flowing tracery, the working of the equi
lateral 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 hue a curve, but also every curve is made to undulate : nevertheless, upon
examination, the practical influence of this figure is speedily recognised, and in forming
a diagram, it will almost involuntarily be reproduced. Thus in two-hght windows of
net-tracery, as at St Margaret's, Herts (Section L 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 Holbeach 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 North -
fleet Qhurch, 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.
Pavement in Westminster Abbey. Nor wlll this priuciplc bc foUUd applicable
only to tracery of windows. The beautiful mosaic pavement in the Chapel of Edward
the Confessor, Westminster Abbey, is a most remarkable 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

St Alban's Abbey Church.

ON THE CONSTRUCTION OF TRACERY IN WINDOWS. 45
geometrical properties of the equilateral triangle— its easy subdivision into similar
triangles— the part it takes in the formation 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 satisfactory
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 symbohsm of
the equilateral triangle : a quahfication of no
slight importance in the sight of those who em
ployed 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 II. Woodwork, Plate 14) iUustrates 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, sur
mounted 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 Gothic 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 series 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 lights 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

46 ANALYSIS OF GOTHIC ARCHITECTURE.
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 care
fully kept in view. In the 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 con
structive 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 Church
(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 Bradwell 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 con
sistent, 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 equilateral 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
* 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

detected, and, in like manner, a similarly careful investigation will not fail to show
that, throughout the purest period of Gothic art, the equilateral triangle was the great
principle of general design and 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 characteristic of Gothic Architecture.
In the outline of the canopied windows, doorways, and niches of a Decorated Gothic
Structure, and in the prominent position assigned to its buttresses and pinnacles, we
may recognise this characteristic no less than in the form of its traceries and diapers,*
its pavements and carved ornaments. It is true that some examples of windows t 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 Gothic 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 a Gothic Edifice.
X The lodge in Rushton Park, Northants, 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 win
dows 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,"
Vol. IIL Window in Rushton Lodge.

48 ANALYSIS OF GOTHIC ARCHITECTURE.

MOLDINGS.*
N treating of the moldings of Mediseval 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 Gothic 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 Gothic
Moldings and the corresponding members of Classic 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 characteristic of the moldings themselves, than the frequency of- their
occurrence is characteristic of the Gothic style. Gothic 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, classic authority.
Such being the practice of the Masters of Gothic 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 Gothic Moldings are derived from Classic 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 Gothic 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 pubUcly
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. 2.

No. 3.

No. 1.

few instances, between Roman and Gothic Moldings ; or from a close approximation
to the attic base, occasionally to be observed in some few Early Gothic examples.
This resemblance to a regular classic member only existed during a tran-
itional, and necessarily an imperfect, period : with the final
ibandonment of the circular arch, a sudden change appears
lo have taken place in the moldings of bases, as well as of
)ther members ; and, in place of a 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
Enghsh 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 mediseval 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 windpws and doorways, until the most perfect
period of Gothic 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 pecuhar though diversified surface-carving of the style;
the S. 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 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
ao'ain, at Weald in Essex, in the S. doorway, another curious form of jamb shaft is
* The moldings of the Anglo-Norman style being in so many Edifices associated with their Gothic
successors, it has been considered expedient here to give a place for the consideration of these latest develop
ments of Romanesque work, in connection with Gothic moldings.
t It will be 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. G

^^^^

O

P

St Mary's, Eastok.

50 ANALYSIS OF GOTHIC ARCHITECTURE.
exemplified. In some arches the customary shafts were either entirely dispensed with,
or restricted to the sub -arch only, while the different faces of the recessed orders in
the jambs were richly ornamented, as at Iffiey 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
A\all; the Soffit Plane,* or any plane (B B) at right angles with the wall
1 lane ; 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 Enghsh Gothic period, although we occasionally (as in
. Section I. Early Enghsh, Plate 3) find the jamb molded on the chamfer
^  plane. During the earlier portion of the Decorated Gothic 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 pro
duce a meretricious effect, without any reference to correctness of composition :
accordingly we find that in many late examples, as in the west doorway of Lavenham
Church, Suffolk (Section I. Perpendicular, Plate 7), the moldings, besides the debase
ment 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 Enghsh Gothic 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 S. 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
* This term is scarcely correct, when applied to jamb molds : still, it has been here retained in con
sequence of its general accuracy, and to avoid the introduction of new terms,

MOLDINGS. 51
only appear as supporters of the sub-arch of the compound archway : in these examples,
however, the angles of the several orders which the 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 Gothic period the detached
shafts were entirely abandoned, in door-jambs as well as other positions ; in doorways,
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
rule that when shafts, engaged or otherwise, were used, the moldings they carried were
placed on the rectangular planes; but if the shafts were dis
pensed 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 illustrated in the N. 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 introduced (after the fashion of the Norman architects), which, rising up to the
springing of the window, carried one or several orders 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, Rutland, how
ever, has a magnificent arrangement of triple jamb shafts externally, resting on a
steep and weathered sill. The south aisle of S. Martin's Church, Leicester, has some
excellent examples of the use of this member internally.
Other instances of jamb shafts in windows will be found in Section I. Early
Enghsh, Plate 13, where they are placed outside ; and in Plates 10, 12, 15, 17, and 20,
and Section I. Decorated, Plate 29, in ah of which they occur on the inside.
It must, however, be borne in mind that though most exquisite adornments,

Fen Ditton, Cambridgeshire.

62 ANALYSIS OF GOTHIC ARCHITECTURE.
moldings are not nevertheless essential accessories : many windows with tracery of the
richest description have their muUions 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.
Arch Moldings, even when not continuous, partook of the same general arrange
ment 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 StiU 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 never
theless 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 14, 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, etc. ; they always,
however, consisted of three distinct parts, which require to be most
strictly 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 mold A, the bell B, and the neck mold C.
 ¦ ¦"c" I^ 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,
* This term, borrowed from classic Architecture, is in many cases scarcely appropriate; yet it is so
convenient, and its meaning withal is so well understood, that it has been considered advisable to retain it,
rather than add further complexity to the architectural nomenclature by the introduction of a new term.

MOLDINGS. 53
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 Gothic architecture to embody in
its sculpture any matter of faith or legend, which were thus transmitted 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 Gothic 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 ,^p j^ ^A
separate parts of the head mold and the bell, if lost sight of by ^p '^ S
the undue projection of the latter, become converted into one. J^ ^ ^
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 stiU further from the face
of the bell. In other words, we might regard a Gothic 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
* 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.

54 ANALYSIS OF GOTHIC ARCHITECTURE.
gracefully curved outline; or occasionally, and the effect is extremely beautiful, the
beU was double, consisting of two different groups, the one receding from the other,
as in Fig. 3, Section I. Early Enghsh, Plate 24 ; and Fig. 2, Decorated, Plate 35. The
neck mold of the Gothic 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.
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 phnth, in conformity with the head mold of the
capital, was almost invariably square, and usually consisted of a plain unmolded mass
of stone, on which 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 1) ; or molded,
as in the triplet from the Chapel of St Bartholomew's Hospital (Section I. Early
Enghsh, Plate 15). In Early Enghsh, double and even triple plinths are commonly
met with, as at Clymping (Section I. Early Enghsh, 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
Hingham 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 to 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.

MOLDINGS. 55
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 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 this resemblance became complete.
Base moldings were also extensively used round the waUs, buttresses, and towers
of Churches. Those of the Early English period were generally very plain and
unimportant. The beautiful httle Church of Skelton, near York, is enriched inside
with moldings of the most elaborate description, though externally the waUs 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 paneUed with a great variety of beautiful
designs, t 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 exceUent 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,
* Table appears to have been the general term for any horizontal member in Gothic Architecture ; such
as corbel table, crest table, skew table, water table, etc., see Willis's Nomenclature.
t This interesting and pure specimen of a Decorated Church was erected between the years 1316 and
1359. It is illustrated by two views and a plan in Vol. I. of the " Parish Churches."

56

ANALYSIS OF GOTHIC ARCHITECTURE.

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 which 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.
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 Chm-ches, especially those of the Early Enghsh
and Decorated period, were adorned with this apparently insignificant member ; and in
most cases where it was omitted, the walls present an unfinished
and naked appearance. A corresponding string was generaUy
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 fre
quently much enriched with the ornamental sculpture of that period, as in Waltham
* Paley's Gothic Moldings, page 69.

GosGROvE Church, Northants.

TiCHMARSH Church, Northants.

MOLDINGS.

Abbey Church, and St Peter's, Northampton. Early Enghsh 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 they were intended to adorn ;
accordingly we find them now rose up close under the sill of the window, and then
suddenly dropping to accommodate 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 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 beau
tiful Decorated Chapel of St Etheldreda, in Ely
Place, Holborn, the continuation of the hood- ^^ ^^^^^^.^ ^^^.^^^ ^^^^^^^_
mold between each window, rises up into gables enriched with flowing tracery.
Perpendicular strings differed but httle 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, how
ever, were generally retained, and in most cases
were simply returned at the springing of the arch,
instead of finishing with terminal heads and bicker church, Lincolnshire.
flowers, such as were used by the Decorated Architects. In the richer Buildings,
initials, shields bearing the Sacred Monogram, squares, pentagons, and octagons, H

ANALYSIS OF GOTHIC ARCHITECTURE.

sometimes with small flowers in the centre, and innumerable other devices were freely
introduced. (Sect. I. Perpendicular, Plate 27.) Cornices are not essential features in Gothic
Architecture ; in fact, when used they might
more rightly be considered as enlarged string
courses. They occur principally under parapets,
or at the eaves of roofs and spires : of the im
portant part, however, which they perform in the
open timber roofs of Norfolk and Suffolk, we
gadey Church, Leicestershire. shall trcat hereafter. lu Normau, aud somc
Early Enghsh Buildings, the cornice was formed by the projection ofthe 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 considerable enrichment ;
at Bicker Church, Lincolnshire, this table assumes the appearance of the heraldic nebule
line ; by an easy modification the circles afterwards became trefoiled, and sometimes
ornamented with dog tooth in the soffit, as at Romsey. The spire table is deserving of
considerable attention, for in a great measure the beauty of the spire depends on its
judicious 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 intro
duced 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,
* Willis's Nomenclature,

Sandridge Church, Herts.

MOLDINGS.

59

Herts.* A bowtel alternated with a hoUow forms the principal arrangement of Norman
moldings ; their great richness was rather the result of a profusion 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
Architecture, and in some instances their formation was so complex as to require no
little attention to disentangle the maze of stonework. This beautiful ornament continued
in use long after all others of the same date had been discarded. It was of constant
occurrence in Semi-Norman, and may even occasionally be traced in Early Enghsh woi'k.
Norman stringcourses partook of the heaviness of the moldings of that period.
They 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

occurring varieties are given in Appendix, Plate 6. The M»iv
adjoined Semi-Norman example occurs internally in the north 'rX^
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 durabihty of the moldings. During the continuance of the Semi-
L Norman, a new member made its appearance, the pear-shaped or pointed
Y_ bowtel. We can easily trace 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 Gothic moldings wiU be found to be derived, for by an easy
-N ^ / transition it became a bowtel of one, two, Iftfe,
/ r^ ] ^ ox three fiUets ; aU of which, with their
\  _ ^J^„ ^ — ^ 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 Gothic moldings— it having become usual by
this time to gently round the fiUet into the bowtel. t That this wave mold
derived its origin from the filleted bowtel is singularly clear ; for at first we
* It is a peculiar characteristic of pure Gothic, 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 lo 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 headmold,
bell, and neckmold ; 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 L^^^^^^
exemplifies very well how prnaments also were worked out of the block. As the debasement /^^^.
gradually crept in, we find the contrary to have taken place. |%-^%, *|
t This fillet gradually became smaller and smaller, until at last it was reduced almost to an arris. 6-~^I.:^\_

60

ANALYSIS OF GOTHIC ARCHITECTURE.

 r's Chapel,
Herts.

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,*
Lincolnshire, we find both fillets rounded off, though the
molding stiU 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 LmcoLNsmR™'
first gently united the fillet to the bowtel, gradually assumed more
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 highest 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,
k with intervening hollows, was a common and most beautiful Decorated
^^ arrangement. This mold was also of frequent occurrence in Perpen
dicular, though belonging more especially to the former period.
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 characteristic
feature of the Perpendicular period. A remarkably 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 characteristic and
essentially Gothic 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 fiUet partially developed, and, as might be expected, its first occurrence is
traced to shortly before the close of the Early Enghsh 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 14th 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
* For a drawing of one of these windows, see Appendix, Plate 4, Fig. 37. The Church itself is illustrated
in the "Parish Churches," Vol. I., page 51.

Double Ogee.

Skelton Church,
Yorkshire.

DOORWAYS.

61

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 a
filleted bowtel, though it is perhaps easier to imagine that it was simply \ \a
sunk from the plain chamfer with a view of gaining more effect. In sunk chamfeb.
the mullions and tracery of windows, it is of 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 groups ; t that while Early English
moldings, from the irregular section of their hollows,
present more the appearance of having been drawn
" libera manu," Decorated on the contrary were remark
able for geometrical precision ; that in Perpendicular, the
hollow was converted into the shallow casement, the char
acter of the moldings suffering in common with all other parts, from the general debase
ment of Architecture ; and lastly, that the many 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 Classic Antiquity in the
formation and gradual perfection of these most lovely adornments of Gothic art.

DOORWAYS.
Norusan doorways are generaUy remarkable for excessive richness and elaborate
ness 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
* 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 considered 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.
t Paley's Mouldings, i:age 34.

62 ANALYSIS OF GOTHIC ARCHITECTURE.
minute, but that it was capable of receiving further decoration, which was liberally
supplied from apparently an unfailing source.* 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 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 con
tinuous down to the ground, as in Iffiey 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, t
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 pro
jection, the doorways became gabled, as in Merrington Church, Durham, or Sempring-
ham 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 Iffiey, and in other examples, the gable no longer an
object of necessity, was retained as an ornamental accessory. In St Margaret's, at
Chffe, 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 ornamented 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
* 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 Gothic 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.
t Engraved in the Antiquarian Itinerary.

DOORWAYS. 63
extraordinary 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 in 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 Gothic Archi
tecture.* 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 door
way of Orpington Church, Kent (Section I. Semi-Norman, 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, Rutlandshire, and in
the priory Church of St Leonard's, Stamford ; this latter has an almost unique arrange
ment 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 essen
tially 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 during the entire duration of this style. The immense consumption of
* 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.
t Britton's Architectural Antiquities.
X Antiquities of Oxfordshire, Part II., page 163.
§ The very frequent occurrence in all parts of the country of Norman doorways, evidences the estima
tion in which this feature, however plain in its design, was generally held by the Gothic 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 GOTHIC ARCHITECTUHE.
this costly niatorial in Wostminstor Abboy Church is truly surprising. Ft protbably
never was employed without being highly polished ; those, therofoi'c, who ha\o seen
the restored purbeck piers in tho Tonipk^ Church, London, can form an idea of what
must formerly have boon the offoct of this magnificent Abboy Church with its vast
masses of dazzling brightnoss.
A fine example of a shafted doorway from tho south aislo of 8t INlartin's Church,
Leicester, is given in Section I. b'^arly English, Plato 2:1. In tliis case a beantiful and
effective arrangenient is obtained bv usinu' a double row of shafts, tho inner ones being
engaged. Tho mohlings of the arch, however, are of a somewhat poor character; and
though lying in tho rectangular pianos, tho four orders of which thoy are I'omposod ha\t>
lost considerably ofthe rootangularity of outline so charactovistii' of that epoch, by l»oing
in two instances subdivided into socontlary groups. Dunstable Clnirch. Bodfonlshiro.
retains in its west front a magnificent, tliough sadly nuitilatod oxaniplo, with fi>o
detached shafts alternating with as many others that arc engaged ; tho arch moldings,
as may be imagined, are of voiy groat beauty and are onric^hod, among other ornamonts,
with a very elegant variety of the dog tooth. In tho oxainplo from Barnwell (^huri'h
(Appendix, Plate 7), the moldings aro of two orders, very rich, with \\\o rows of dog
tooth. Here we may observe a feature, borrowed from tho Normans, ami extensively
used during this stylo : we refer to tho band which occurs midway, and whii'h becanio a
necessary constructive arrangoment ; for tho diameter of tlio Early English shafts was so
small, that without some snoh contriA'anco, it would hardly luwo boon possible \.o have
effected a durable joint in their length.
In Felmarsham Church, Bedfordshire, is a. fine doorway with dotachod 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 tho present instance
tAvo trefoiled panels or or/w.t Avith a. tiuatrc^foil above, are onc^U)sod in a pointed arch
springing from the same level as the doorway. The interior arrangement of this
example will be found illustrated at page 76.
The foiled doorways introduced by the Normans Averts preserved and still further
enriched by the Early English Architects, and during tho continuance oi' this stylo wore
of frequent occurrence. In largo examples it Avas most usual for tho first oi-der of
moldings only, to be foiled, as in tho beautiful spociinon from Warmington (Church
(Section I. Early English, Plate 21), a very perfect illustration of a pure Early English
* The west front of this iiilcrcsting Building is wcll worthy of an nttcnlivf cxaniiiinlioii ; it is a hoiulil'iil
and pure spcciiiR-ii of Early English. Four views and a plan of this Church arc given in Ihe '• i'ai-ish Churi'lu's,"
Vol. II., p.if^c 9G.
t Willis's Nonu'nt'lnturc.

DOORWAYS. 65
doorway, where the jambs are composed of fom- detached shafts placed in a correspond
ing number of square recesses, whose arrises are chamfered, and while the two outer
chamfers are simply hollowed and termuiate in delicately carved trefoil 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 characteristic of the style ; among others are the pear-shaped or pointed
bowtel, and the fiUeted bowtel. The quasi bases, resting on the capitals and terminating
the fiUeted 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 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 hntel 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
appearance. This magnificent feature, however, is almost entirely confined in its
application to Cathedrals and Conventual BuUdings. Though very rarely met with in
* See Section I. Early English, Plate 26.
t " Parish Churches," Vol. II., page 99.

66 ANALYSIS OF GOTHIC ARCHITECTURE.
the smaUer 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
RothweU. The immense weight of the lofty spires, so numerous in the Midland Counties,
required proportionably thick walls to sustain them ; and in Northamptonshire, 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 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 favom-ite
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.t
* 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," Vol. II., page 69.
X 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, etc., the spire, gracefully tapering, by a bold display of
masonic art shall attain a most daring elevation ; 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 connection with peculiar facilities or wants ; neither
did they any way result from alterations in the style, for so long as it lasted, thai 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
characteristic 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 water ; while in other parts, siich as
Norfolk 3,nd 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 was 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 Chi'istian's Skelton Church," page 3.

t)OORWAYS. 67
Loddington Church, Northamptonshire, has a very curious doorway in the west of
the tower, the gable of which projects considerably and is carried 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 ofthe south transept; a most unusual position, but which, in this instance,
from its approximation to an Altar, appears to have been reserved for the sole use of
the priest. Decokated Doorways are distinguished from those of the former periods, by the
gradual abandonment of detached shafts in their jambs. The gabled doorway from
MUton 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 stringcourse. 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, added 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 Architecture; 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 Gothic, 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
* See buttresses from Holbeach 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.

68 ANALYSIS OF GOTHIC ARCHITECTURE.
artificers of those days thought otherwise, and it ill becomes us to critcise such minute
points, when the whole is so surpassingly elegant.
This single specimen almost comprises in itself all the several characteristics which
occur in doorways of this period. We have the beautifully crocketed and finialled drip
stone (ogeed, although the arch is pointed, a peculiarly Decorated feature) ; the
exquisitely carved drip terminations, in this instance, crowned heads (probably indica
tive 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 ornamented ironwork of the door : all these features, each highly
worthy of observation, combine together to form a most magnificent and characteristic
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,
Lincolnshire ; and it occurs also in the priest's doorway at Fen Ditton. (See page 51.)
In the arch moldings we may observe, that those which come over the engaged shafts,
lie on the rectangular 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
characteristic 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 essen
tially 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 arrange
ment of this period.
Gabled doorways were still very commonly introduced, occurring, as did those of
the previous style, more frequently in the south of Lincolnshire and those counties that

DOORWAYS.

69

immediately surround it, than elsewhere. Ewerby* has a very fine example of this
description; it is finialled, though not crocketed, which is a peculiarity observable in
many of the details of 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 tre
foiled 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 be
tween it and the gable is filled with very beautiful
foliage. The moldings are continuous and on the
chamfer plane. Byfield Church in the same county
possesses two very fine examples : that in the south of
the Church is ogeed, terminating in a bunch of foliage ^^^^^^ ,^„^^^^ Lincolnshire, south doorwav.
which supports a niche, and is flanked by pinnacles, crocketed and finialled ; 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
undetermined. 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
* For a further description of this beautiful Building, see "Parish Churches," Vol. II., page 77.

70

ANALYSIS OF GOTHIC ARCHITECTURE.

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 fohated caps, and with exceUent 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 fn 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 ofthe builders, than as features appertaining to this
style. A very rich example occurs in Badgeworth Church, Gloucestershire ; the mold
ings 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 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 particularly interesting : those
already mentioned, in the Churches of Crick and Heckington,
are beautiful and rich examples ; that at Oadby, Leicestershire,
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

Aldwinkle Church,
Northamptonshire.

* 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., page 67.
t "Pari.sh Churches," Vol. I., page 35.

DOORWAYS. 71
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 he 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, genera
tions, 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 Gothic 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 quahfied 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 attain
able, it can hardly noiv be of frequent occurrence that an architect should devote his
sole and undivided attention to the study and advancement of one particular style out
of the many which are in fuU practice, and each of which has its ardent votaries : the
more especially when we consider (and the consideration 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 Gothic Architecture, the day is surely coming when it wiU
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 chmax of beauty unknown even to them. To return to
the subject more immediately under our consideration.
In Peependiculak 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.

72 ANALYSIS OF GOTHIC ARCHITECTURE.
its appearance 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 pro
duced by the double-cusped arch, carried 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 ColtishaU 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 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 immediately 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
ColtishaU doorway are on the chamfer plane, and consist of an exaggerated filleted
* This arrangement was a very common practice, and is also observable in windows ; see window in north
Chapel of Barnwood Church, Gloucestershire, " Parish Churches," Vol. II., page 71.
t " Parish Churches," Vol. I., page 35.

DOORWAYS. 73
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 lie on the chamfer plane, into
which they die at the bottom.
In the tower of Lavenham Church, Suf
folk (Section I. Perpendicular, Plate 6), is a
magnificent, though very late specimen. Even
in this instance, the two-centred arch is
still retained, with the addition of an
ogeed dripstone beautifully crocketed, which,
interpenetrating the stringcourse, appears
again on the upper part, and was originally
terminated with a finial. The moldings are
of very poor character : in the desire for
richness of appearance, the usually wide, and sometimes effective, casement has been
abandoned, and groups of moldings have been formed ; but by their not lying in either
of the usual planes, 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 ; very different from the previous and purer practice, when
all was so beautifully blended together. The peculiar shape of the middle shaft in the
iamb 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
ofthe 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
K

Towcester Church, Northamptonshire.

74 ANALYSIS OF GOTHIC ARCHITECTURK
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. StiU 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 detaUs,
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 weU 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 ColtishaU, 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 spandrels, which,
with a deeply sunk case
ment, produces a fine,
Islip Church, Northamptonshire. DOlQ. CneCt. lUC SWlUg
round the tower is lowered, to allow of the usual accom
paniment 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 intro
duced 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 spandrel is the immediate result of
using both label and dripstone, as in the doorway from ColtishaU ; and it would appear

Shorne Church, Kent.

DOORWAYS.

75

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 moldings 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 particu
larly valuable from having the date of its execution
carved on a shield in the head. (Section I. Perpen
dicular, Plate 3.) On the shields in the spandrels are
carved the monograms of Our Saviour and of the
blessed Virgin ; other shields, 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 characteristic 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 posi
tion- — ^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 diffi-
cultv has been over-

Cransley Church, Northamptonshire.

/

i

Leir Church, Leicestershire.

I

A

\

\} •>

^^

X

come, of both erecting a buttress, and adding
a porch to an already existing doorway.
Throughout every minutia of Gothic Architec
ture, we shall ever find that construction and design go hand in hand, and that anything

Trunch Church, Norfolk.

76

ANALYSIS OF GOTHIC ARCHITECTURE.

actually required by the former, instead of being concealed, is immediately and grace
fully made subservient to the beauty of the latter. The priest's doorway in Merstham
Church, Surrey, exhibits a graceful combination of the jambs
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 into a highly orna-
YZ l__^i'- mental one. In an arched entrance,
T^ TTT where the door is placed considerably
nearer the outer than the inner face of
the wall, it becomes necessary to stilt or
give a different form to the inner arch,
so as to allow of the door opening ;
hence the constant use of the segmental
pointed arches on the inside of door-
Grundisburoh Church, Suffolk. wayS. Ill ScCtioU I. PcrpCndicular,
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 Enghsh arch
ways in Felmarsham Church * are also very graceful,
with slender shafts
carrying a beautiful
group of moldings.
Trumpington Church,
Cambridgeshire, f has a
singularly fine interior
arch, with a hoodmold
and bold moldings car
ried, as in Felmarsham
Church, on slender shafts
with molded capitals.
The priest's door
way in Higham Ferrars

Merstham Church, -Surrey.

Felmarsham Church, Bedfordshire.
* See "Parish Churches/' Vol. IL, page 95.

Higham Ferrars Church, Northamptonshire.

t An excellent engraving of the interior of this doorway is given in "The Churches of Cambrid
shire," page 53.

re-

PIERS AND ARCHES.

77

Church presents a good example of internal arrangement ; a few moldings on the
face of the arch, with the stringcourse continuing as a hood-
mold over it, are all that are required to produce a very satis
factory effect. In Northamptonshire, 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 Weekley Church, are made
ornamental features.

Weekley 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 vUlage Churches of Sussex, as in Piecombe Church, and
Ovingdean, near Brighton. Though sometimes occurring of extreme simplicity, as in
Keymer 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 foUowed 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 shghtly pointed on plan,
and the cap, band and base moldings are considerably undercut ; on the east side, on
the contrary, the shaft is simply circular, and the arch recessed but not molded. It is
said that during some repairs that have recently taken place, it was discovered that the
outer portion of the arch had been remodeUed 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 ;

7x . ANALYSIS OF GOTHIC ARCHITECTURE.
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 tho.se 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 beamty in composition, and not to that con
temptible 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 BuUding was
finished. In this very Church of New Shoreham, the window wliich hghts the space
between the roof and the vaulting over the Chancel aisle, and which naturaUy could
hardly ever be seen, is nevertheless richly ornamented inside with moldings and dogtooth,
while (curiously enough) outside, the opening is perfectly plain ; being simply once
recessed. (See Appendix, Plate 1, Fig. 6.) A favom-ite and elegant Early EngUsh
practice, was to carry the inner rim of the
Chancel arch on corbels, the other moldings
being most firequently continued down to the
ground. Such is the arrangement at Acton
Bunnell ; t a smaU foliated shaft carries the
inner order of moldings, whUe the outer order
dies into a broad chamfer, which is con
tinued 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
J carried on a group of notch-heads, which
are singularly effective. In Wai-mington
Church, in the same county, slender cor
belled shafts with foliated caps of exquisite
workmanship, are also introduced ; and indeed, m this instance, form quite a pecuhar
feature in the internal decoration of the Church, for they are employed to support the

Scale of 1=

^ftet

Acton Bunnell, Shbopshibe.

* 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., page 95.
t We are indebted to the kindness of C. Hansom, Esq., Architect, for the use of some very accurately
measured drawings of this elegant example.

PIERS AND ARCHES. 79
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 WhitweU 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.!
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 characteristic arch.
(Section I. Early Enghsh, Plate 5.)
It is not a little singular, however, that in very
rich and splendid Chm-ches, 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 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
* See interior of this Church in " Parish Churches," Vol. IL, page 75.
t See view of the Chancel Arch, in Vol. II. of " Parish Churches," page 85.
X 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," Vol. I., page 33.

Barnwell Church, North \MPTONSHrRE.

80 ANALYSIS OF GOTHIC ARCHITECTURE.
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 carried 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 hand
some 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 inchned 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, 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.
Baton Bray, Bedfordshire. Is thc material cmploycd. Eatou Bray Church, Bed
fordshire, furnishes an example of a somewhat similar grouping, and has well carved
* See Appendix, Plate 6. f See Appendix, Plate 6,

ARCADES. 81
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 shafts were not
always detached : in St Martin's, Leicester,* we find four small shafts engaged, between
four other and larger ones, which we may observe are filleted. This fillet applied to
the face of the principal shafts, became an established feature in Decorated piers. We
may notice it in the examples from Bottisham and Trumpington (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 apphed 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 conse
quently 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 Gothic
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 characteristic 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.
Arcades 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 towers. In St Alban's, a small cloister formerly connecting the Church with the
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 staUs that were
afterwards used ; for it is placed immediately over a stone bench table, of a convenient
* See Appendix, Plate 6.

82 ANALYSIS OF GOTHIC ARCHITECTURE.
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 applica
tion 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,
windows, and archways, and especially basement moldings, are found profusely orna
mented with it. The Abbot's tower at Eversham is completely covered with panelling,
from the basement moldings to the parapet. Tichmarch 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
ColtishaU 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 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 ex
ternally 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

BUTTRESSES

83

T

^il

^'

\<a

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 Gothic
Architecture. 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, Northampton, has some very curious angle buttresses, some
what 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
Church f 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 Wenham
Church, Suffolk (Section I. Early English, Plate 14) ; or a small
gablet rose from the weathering, and was 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 Church ; | in the Chancel they have a very slight
projection, but at the west end they stand out boldly, and are well proportioned.
St 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
pecuharity may be observed in the leafy terminations of the lower set-offs. It
was during the Decorated era that buttresses reached to their fuUest development of

m^\

St Margaret's, Leicester.

* Also beautifully engraved in Bloxam's admirable Principles of Gothic Architecture.
t See Section I. Semi-Norman, Plate 5, and " Parish Churches," Vol. II., page 75.
X " Parish Churches," Vol. II., page 95.

84

ANALYSIS OF GOTHIC ARCHITECTURE.

beauty : they were then always worked in stages, frequently had gabled heads, and
were enriched with niches, tracery, etc. Very excellent examples, however, are
frequently met with without the slightest attempt at decoration; deriving all their
beauty from their graceful proportions. Such are those in
Pytchley Church, Northamptonshire. Fen Ditton Church,
Cambridgeshire (Section I. Decorated, 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, par
taking of the magnificence of
the other parts, are gabled and
terminate in a kind of trefoiled
ridge. In Bottisham Church,
Cambridgeshire (Section I. De
corated, Plate 19), they are also
similarly finished, with the ad
dition of beautifully molded
p chamfers at the angles, and a
Pytchley Church, Northamptonshire. trefoUcd paUCl OU tho faCC.
Dronfield Church, Derbyshire, 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 diminu
tive 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 eedgrave church, Suffolk.
Redgrave Church, Suffolk, are of perfect beauty ; very lofty and rising in graduated
stages, they terminate in gables with trefoiled ridges, and have very elegant foliated

BUTTRESSES.

85

Pi

niches in the upper stages, with pedestals exquisitely 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 waUs. This position however has
been considered, without sufficient grounds, as a distinctive pecuharity of
Decorated work ; whereas an inspection of some of the finest and purest
specimens, will show that it was by no means the invariable practice. In
tower buttresses 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 squinches ; 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 RyaU Church, Rutlandshire (Section I.
Perpendicular, Plate 24), they are exceedingly lofty, with gabled heads and
trefoiled ridges, as in the previous style ; an elegant crocketed niche
occupies the upper part. In the same plate is engraved a buttress from
New Walsingham Church, it is of three stages, besthorpe church,
O ' O ' ^0RF0LK.
though very much lower than that from RyaU 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. Perpendicular, 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 excel
lent keeping with the other portions of this magnificent Structure. The armorial

Blakeney Church, Norfolk.

86 ANALYSIS OF GOTHIC ARCHITECTURE.
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 Claybrook,
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 establish
ment 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 Stanwick,* in the same county, they appear rather as orna
mental accessories, are very 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 pro
portions of their buttresses, most usually terminating in richly crocketed pinnacles :
very fine examples occur in the Churches of Bishops 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."

PARAPETS. 87
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 others 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,
dogtooth, hearts, etc. ; 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 Chiuch (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 Martham,* 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 Lydeards* is very fine, with a row of
quatrefoils, above which the embattlement rises ; in Badgeworth Church,* it is of a
simpler, yet stiU 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 gable in the centre, with two
* Engraved in the "Parish Churches," Vol. II.

88 ANALYSIS OF GOTHIC ARCHITECTURE.
half ones, also stepped, abutting against the angle pinnacles. This stepped parapet is
a characteristic 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, Lincolnshire, 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 reUef, over the windows of the ancient tower
at Barnack, 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
Barnack Church, Northamptonshire. thC foUr aUglcS of thc tOWCr, aud at DcOpham, lu thc
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 this 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 sometimes are 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
* The authors are now preparing illustrations of a series of Gable Crosses, to which they would refer for
a more ample account of this beautiful feature.

CROSSES. 89
perfect example of a wheel Cross occurs over the east gable of the nave of Oadby
Church, Leicestershire ; it has eight spokes with trefoiled terminations, radiating from
a small flower in the centre. WhitweU Church, Rutland, has also a fine Early English
example. The Cross from Helpringham Church, Lincolnshire (Section I. Early Enghsh,
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 Hasing-
field (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 (Barnack) 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 Morton (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 whimsically 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 enclosed 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 course of time, the expansion of the metal bursts the
thin socket, the Cross is loosened, and finaUy drops down ; and very rarely (we hope
M

90 ANALYSIS OF GOTHIC ARCHITECTURE.
we may now say) in former days, was it set up again. The thickness of the Cross
depended of course iii a great measure upon the strength ofthe stone employed;
generally 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.
The 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 Gothic 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
characteristics 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
enriched. 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 in Weston Church (Section I. Early English,
* 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.

FONTS. 91
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 licence 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 font, with the sides richly diapered. It is in the fonts of this period that
we first find the richly crocketed 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 CornwaU 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 artistic
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 infrequently raised on a series of steps, either square,
circular, or octagonal. In the later examples, the risers are frequently enriched with
quatrefoUs; as in the Churches of Walsingham and Worstead, in Norfolk. In both
these instances the upper step is in the form of a Cross, whUe the lower one foUows 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.
* Engraved in the "Baptismal Fonts."

92 ANALYSIS OF GOTHIC ARCHITECTURE.
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 6,
and Perpendicular, Plate 9. Sometimes the sill of the window was lowered to form
the sedilia, as in Great Wenham 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.

SECTION IL— 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 beauti
fully carved figures of angels, its enriched paneUing 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 unscientific as it
was rude. These early roofs may, perhaps without exception, be all classed under the
head of tie-beam roofs.! 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 carried down on to the tie-beam, which thus receives a great part of the weight
of the roofing. Over the nave of WhitweU 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 foUowing very 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
* 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
i^ now in the Press, and they hope very shortly to be able to lay before the public the fruits of their researches.
t 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.

94 ANALYSIS OF GOTHIC ARCHITECTURE.
knobs and branches seems 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 exceUent 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 not 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. Some-
* 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," Vol. II., page 75.

ROOFS. 95
times a trussed rafter roof spans both the nave and aisles, as in St Michael's, Long
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, etc. 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
characteristic moldings. Its framing may be described as a tie-beam supporting a
king-post, from the four sides of whicli 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
whicli 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 ''^^oi^gS CurttgS Uus trt Wiim,i\\^Xt^Xi" who
died in 1391. The Church remains almost entirely as first designed, and unques
tionably 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 construc-
* For an engraving of this roof, see " Parish Churches," Vol. II., page 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 60° : 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.

96 ANALYSIS OF GOTHIC ARCHITECTURE.
tion : each truss 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 thc purlin, which is further strengthened and
kept in its place by small curved braces, tenoned into the principal. There is a. curAcd
flower under the centre of the collar, and carved heads projecting from the Avail 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 INIartin'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 cur\e 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 carry 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 principal virtues. Humility, Patience, etc.
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 intro
duction 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
* St Martin's Church has two south aisles; thc roof over thc 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. Thc 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 (ine 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. 97
into three parts : the lower one, usually consisting of a molded plank of three to four
inches in thickness, is tenoned from hammer-beam to hammer-beam, to which it affords
an additional lateral tie ; the centre one is either pierced with panelling or otherwise
ornamented, not infrequently 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
oaves were used, the hammer-beams and rafters were carried very far back, and in
some cases (juite to thc 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
thc 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 con
struction, 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.
Woodwork, Plates 17, 18, 19), exliibits 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 wliich 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 dis
pensed with, and at the summit is a. large wedge-like piece of wood, into which are
tenoned the extremitios 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
N

98 ANALYSIS OF GOTHIC ARCHITECTURE.
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 beautifuUy carved
bosses cover the intersections of the principal timbers. In this roof we may notice the
introduction of wall braces, uniting and stiffening the cornice and wall pieces.
In Grundisburgh Church, Suffolk (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 music, 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 ; * every part of it is pro
fusely 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 with in the Midland (bunties, and also in
Devonshire and Somersetshire, the tie-beam once more becomes an important con
structive 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 Gothic 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
* For an engraving of this roof, see " Parish Churches," Vol. I., page 49.

AVOODWORK. 99
to be remedied and replaced by crowded, but frequently ill-executed, ornament. Such an
example occurs over the north chapel of WeUingborough Church, Northamptonshire.
Many other specimens of roofs might be adduced, for the variety is almost infinite,
but we have already exceeded the hmits which we proposed in the present work to
devote to this interesting subject; and therefore, in conclusion, we wUl briefly sum
up the most striking points concerning these ancient constructions :¦ — 1st, we may be
sure that a vigilant search would prove Decorated and Early Enghsh roofs to be yet
remaining in tolerable abundance, and that even Norman specimens are not wanting ;
-nd, that their pitch varied from an angle of 90° to one of 60°, rarely exceeding the
latter, but not infrequently, even in Early Enghsh examples, very much below the
former, and that tie-beams are common to the roofs of all the different periods ; 3i-d,
that the various timbers were simply tenoned and pinned together ; 4th, that the purlins,
in lieu of lying over the principals, as in a modern roof, are invariably framed into them,
thus allowing the rafters to lie flush with the tops of the principals ; and finally, that in
common with all 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 om humble voice, m-gently pleading for the careful
restoration of these truly national glories : for after all, none other than om- 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 m-ge 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 centiuies
of neglect and decay. A few years must assm-edly 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 Chm-ch retains almost all its old seats in very good preservation ;
their arrangement and details are shown in Plate 1 of Section II. Woodwork. The sill

too .VNAIYSIS OK GOTUTC .VKClUTKA^rUKK.
is molded as was almost always tho case, aud tho bonch-ouds aro ornamontod with small
buttresses, iu this instance vui out of tho solid, and some viM-y oxcoUout tracorv panels,
all varying more or loss ono from the other; a soloctiou of tho most boautiful is given
in Plates 2 and ;>. Tho top of tho bonoh-onds is capped with a molding, also I'arriod
round tho backs which finish level with tho uudorsido of tho scats. In Cond>ortou
Church, Cambridgoshiro, wo thid tho same description of scat, but vimt much more
highly enriched ; hero tho backs aro continuinl down to tlu> floiir, aud frainod into n
cross sill, Tho' stjuaro bonoh-ond was also gonorally adopted in Dovonshiro aud
Somorsotshiro. Bishop's bvdoard, 'rrull. and (.^-owt'ombo (Mau'chos aro still tilled
with very beautiful seats, though thoy aro all of Iato witrkmansliip. Sovoral oxamplos
are given in Sootion If. \\\)otlwork. Plato 'M. Tiio date of those iu (^•owcombt>
Church (1534) is carved on ono of thom iu i-oujunction with souu» initials, having
probably roforonco to tho name of tho donor.
At other times, and especially iu Norfolk and Suff'olk, tho bont'h oiuls wore ogood,
and tinishod with finials,* atfording tho carver opportunities for tho frtH>st display of
his imagination, which indeed apiu'ars io have boon most wondorfuUy prolirK\ foi- not
only wore two finials rarely found alike iu tho sanu> Churi'h, but ovt>n tlu^ two sides
were gonorally ditforout. St IMary 's Stratten, in Norfolk, would furnish ni\>u-ly ont^
hundred distinct patterns ; nor is this a st)litary oa.so. Thirtoon variotitvs nw givt^n
in Plates ({, 16, 20, and 30. 'I'ho peculiar form conmuin to most liulals is sn[)[)osod by
some! to bo dorivod from tho lloin- dodis, lutth a rt^ligious ou\blom and a rtiyal heraldic
charge. Poppy, or poppy head, tho nioro oorroot term for dosignating those woodtMi
"C'rops," would appear to bo dorivod l'rou\ tlio li'otiuout custi)m of working the tor
minations into liguros of priests, wai-riors, olr, Ki>ll.on Church. Ivntland, furnisluvs
many beautiful spocinuMis of this dost-riplion ; in ono instanct^ a bisliop is i-t>[)rt\sont.(Hl
in his pulpit, (b'undisburgh (¦hun-h, SnIVolk, has some fini\ i>xainplos of ogood luMn-h-
ends richly pa.noIlod. though of ivUIum' lali^ date aud exhibiting a ihH'liiu'ng tasti^
Tho bonch-onds in tho Clhnroh of St Mary's W'iggoidudl, Norfolk, arc of tht> most
elaborate splendour; thoy aro ogood aud linishtHl with a poppy head, su[)porlod on
either side by figures, while another figure occupicvs a nicho in tiu^ panel.
The Cn.vNom- Sckmkn, a no loss boauliifnl than ntnu^ssary a])pui't(^naitot\ yol I'tMuaius
This word is singuliirly ilegenerjited IV(nii its originid iiiid projier nienninj;- ; its pn-.scnl sense however
is now so universally mlopteil, (IkU we niusl, nlinost despfiir of .seeing Ihe idnise eorreilvd. 'I'he uneient
"fynyall" always repvesenlcd tlie enlirc pinnacle, while the cw/) is the legillnitde term for the bunch of
foliage terniinnting thc fynyall : '• ot altitiido a le gargjiylc nscpie le crop (pii linit le stone work IU pedes," sec
Willis's Nonienclnliirc of thc Middle Ages.
t See Ecrlesiologisl, Vol. v., imge 20!).

WOODWORK. 101
in many of thc remote viUage Churches of Norfolk in almcst all its original splendour.
Though thc carver exhausted on it the resources of his wonderful art, still it was not
considered coiiq)lote and worthy of its purpose untU it had been made to glow with
the richest colours and gilding. To delineate the delicacy of the tracery, without at
thc sam(! time supplying tho I'ich tints of the colour, is to deprive the design of a
princi[)al part of its beauty : the aid of polychi'omy, eagerly acknowledged in all parts of
the Church, in the case of screens more especially, was considered essential. Scriptural
texts were constantly inti'oduced in the cornice, and sometimes, as in Bishop's Lydeard,
the whole of the Creed filled the casement. On thc lower panels woro customarily
painted the holy Apostles, or other Saints and Martyrs. 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 bc undertaken — one in which shall be
depicted, not only the architectural beauties, but also the polychromatic effects. An
interesting example of a Decorated screen from Waltham Abbey Church is given in
Section II. Woodwork, Plate 7 ; its proportions arc exceedingly massive, and its
moldings vcry characteristic. Othcr examples of Decorated woodwork, selected from
screens in Bottisham Church, Cambridgeshire^ are given in Plate 14 : a spandrel piece
in this plate is remai'kable for the beauty and tvlaiigiiJarlty 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 (Secti(jn 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 ; somc of the crockets, spandrels, and cusps ter
minations are given in Plate 11. The lower panels of the doors to the screen in Wells
(iathedral (Section II. Woodwork, Plate S), havc some very rich tracery, in which the
equilateral triangle, as thc groundwork ofthe formation, is made very apparent.
The construction of the Dodiis was always of thc most solid description; early
examples, however, never display any carved work, owing to the general practice of
those times of introducing ironwork in the design : at once a strengthening and a
beautiful enrichment. Some few Norman doors arc yet existing; their framing is
exceedingly rude, and they derive their great strength from the ironwork with which
they aro banded. Such is thc cxamplo in Sempringham Church, Lincolnshire (Section 1.
Norman, Plate 6), wdicre thc material, strange to say, is deal.* Towards the close of
* Only one other instance has come under the noLiec of the authors, where this material has been pre
ferred lo oak, namely, the doors Lo the Cli.ipter House al: York, which are of later date, but also profusely
enriched with ironwork.

102 ANALYSTS OF GOTHIC ARCHITECTURE.
the Early English period, ornamental ironwork began to fall into disuse, although
tracery 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 sUghtly
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 14), 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, Northamptonshire, has a Decorated example, where the head brace is elegantly
shaped into an ogeed trefoil. The south door of Holbeach Church is a beautiful and
perfect specimen of Decorated woodwork ; its framing and details are minutely de
scribed, 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's contains many beautiful Perpendicular
specimens ; one of them is represented at large in Section II. Woodwork, Plate 4.
Other instances will be found in Section I. Perpendicular, Plates 6, 17, 20, and in
Section I. Early Enghsh, 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 illiistrated
in Section I. Woodwork, Plates 12 and 13. The accompanying plans and sections wiU
sulficiently 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.

103

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 Fabric. The Norman architects frequently
displayed the greatest ingenuity in this branch of art. In St Albans' 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, 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 com
mencement, 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 Semp
ringham 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 fantastic, and consists of top and bottom hinge, in which,
as at St Albans', 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 ;

104 ANALYSIS OF GOTHIC ARCHITECTURE.
it is represented in Plate 8, with several of the ornamental parts at large. The
broad and enriched Norman border, whicli 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 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 Aldham 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 aU
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 aUow of
* 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. 105
the handle hanging clear, has two rims of metal variously enriched apphed to its
surface; and the whole is firmly fixed to the door with nails having heads orna
mented 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 fre
quently it consisted simply of a plain circle, or it was elongated, as at Exton and
Haconby Churches (Plates 7 and 12); at Ashby St Legers', it assumes a trefoiled
shape and is shghtly ornamented, while at St Albans' 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 carry 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 stanchion in the ironwork of the windows was occasionally ornamented, some
times being finished with a kind of fleur-de-hs, 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
characteristic of the time of their erection. Some specimens of this kind are still
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 costly 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 Albans'
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 Albans'.
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

106 ANALYSIS OF GOTHIC ARCHITECTURE.
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 unpre
tending, 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.

PAOE

DERBYSHIRE.

Dunstable

.64

, 82

Ashborne

Eaton Bray

80,
104
Dronfield
EyworthFarndish
¦
105 33
Repton ....
Felmarsham
". 64,
'76, 78,' 80
83
WoottonWimmington
BERKSHIRE.
61
95
DEVONSHIRE
Exeter Cathedralj
Hurley
Lyddington
Shefford .
•
912890
DORSETSHIRE
Beaminster
Uffington
.
.
67
BUCKINGHAMSHIRE.
CheshamStoke Pogis
74 18
CAMBRIDGESHIRE.
Barnwell
Barton BottishamComberton
Conventual Buildings, Ely
Ely Cathedral .
Fen Ditton
Haslingfield
Histon
StourbridgeSt Michael's, Long Stanton
Trumpington
18
. 101
28, 36, 45, 57, 81, 84, 101
. 100 39
2 35
51, 55, 68^ 84
89, 102
36, 82
13, 82
18, 79, 95
24, 43, 76, 81
Chester Cathedral
CHESTER.
CORNWALL.
St Germain's
101, 104
62
CUMBERLAND.
Carlisle Cathedral
28
DURHAM.
Hartlepool
Houghton-le-Spring Merrington
ESSEX.
32
84 18
27
86
79
22, 31
62
Aldham .....
102, 104
All Saints, Colchester
84
Bradwell ....
46
Castle Hedingham
14
Roydon .....
. 28, 34
St Botolph's Priory Church, Colchester .
14
St Nicholas, Colchester .
42
Waltham Abbey Church 12, 13, 14, 39,
46, 52, 56,
101
Great Waltham ....
99
Weald 
. 49, 62
GLOUCESTERSHIRE.
BadgeworthBarnwood
37, 70,
15, 18,
87, 88
72, 88
BiberyBitton .
6288
Brockworth
17
Cirencester
98
Churchdown
24, 88
Gloucester Cathedral
28
LeckhamptonSt Mary Magdalen
St Nicholas, Gloucester
34, 40 62
105
108

INDEX TO CHURCHES REFERRED TO.

HAMPSHIRE.

PAGE

Arreton ....

21

BasingstokeOld Basing

7497
Nately .
Romsey Abbey .
St Cross .
¦. 13,
13, 14,
12, 62
15, 58
15, 66
St Mary's, Easton
49
Winchester Cathedral
13, 31,
32, 33
Winnal Magdalen
20
HEREFORDSHIRE.
Leominster
28
HERTFORDSHIRE.
North Mimms ... 52, 68, 69, 102
St Albans' Abbey 5, 7, 17, 20, 22, 23, 24, 28, 29,
33, 35, 39, 44, 45, 46, 53, 67, 72, 81, 82, 103, 105
Sandridge . . .58, 80, 94
Sawbridgeworth .... 27, 28
St Margaret's Chapel . . .44, 60, 102
Wheathampstead ... 30, 31
Galway .
St Patrick, Dublin
IRELAND.
KENT.
Bapchild .
Barfreston
Canterbury Cathedral
CharthamCobham .
DarenthHartley HeadcornHeme
Hythe .
MeophamMilton
Northfleet . . 24, 28,
Orpington Church
Patrixbourne
ShorneSouthfleet . 24, 27, 28, 34,
St Bartholomew's Hospital Chapel
St Margaret at Cliffe
St Mary's Cray .
St Nicholas, Harbledown
StoneSutton at Hone .
Thanington
91
ib.
59, 104 14
15, 47, 83, 105
28, 575412
.19 32
24, 26, 33, 37, 43 18
21, 23, 36, 43, 65
67, 68, 69, 102
41, 42, 44, 45, 52
54, 6314
17, 41, 74
37, 41, 43' 56^ 86
19, 54
35, 62, 82 37
34, 43, 8081 70 34
LEICESTERSHIRE.
Belgrave .
Dunton Basset
EvingtonGodeby Maureward
22, 28
24
21, 25, 33, 8789
Humberstone KnightonLeir Melton Mowbray
OadbyOver Claybrook .
Rothley .
St Margaret's, Leicester
St Martin's . 39, 50, 51, 57, 64, 81, 92, 95, 96
St Mary's Hospital Chapel, Leicester . . 18
St Mary's ... .96
Staunton Harold . . . .86
LINCOLNSHIRE.
36
38,
40
90
95
75
36
58,
"70,
89
86
105
38,
83,
85,
103
All Saint's, Stamford
82
Bicker
.34, 57
Billinborough
.27, 33
Croyland
15
Donington
86
Ewerby .
. 40, 69, 77, 86, 91
Fishtoft .
27
Fleet
40, 60, 86
Grantham
.23, 40
Haconby
. 105
Heckington
29, 70, 87, 94
Helpringham
89
Ho]l)each
44, 46, 67, 69, 84, 102
Lincoln Cathedral
2, 16, 35
Louth
86, 88, 89
Market Deeping
. 104
Morton .
. 81, 89
Sempringham
. 62, 101, 103
Sleaford
26, 29, 45, 46
St Leonard's, Stamford
63
St Mary's, Stamford
58, 82, 88
Stow
12
Sutterton
87
Swatton .
51, 68
Thurlby .
.82
Weston .
90
MERIONETHSHIRE.
Llanabar
18
MIDDLESEX.
St Etheldreda's Chapel, Ely Place, Holborn . 57
St Margaret's, Westminster . . .54
Temple Church, London . . . .64
Westminster Abbey, 2, 6, 7, 8, 9, 10, 29, 32, 33, 44,
54, 64, 65, 82, 105
NORFOLK
Besthorpe BlakeneyBrandon .
Castle Rising
CleyColtishaU DeophamDissFilbyGunthorpe
86
20, 33, 85
34, 70 13
36, 67, 69, 89
72, 74, 82
33, 70, 85, 86, 87, 102
. 104
. 36, 87, 104 89
INDEX TO CHURCHES REFERRED TO.

109

HinghamHunworthKenninghall Knapton
Little Snoring
Ludham .
Martham .
Methwold
New Walsingham
Norwich Cathedral
Repps
St Mary Magdalen, Wig
St Mary's, Norwich
St Mary's, Stratton
St Nicholas at Lynn
Stody
Stoke Ferry
Trunch .
Tunstead Walsoken Winterton
WorsteadWymondham

enhall

NORMANDY.

Desecrated Church at Rouen
St Ouen at Rouen

PAGE
42, 54, 55, 87, 89
. 38, 8282
. 97, 9863
89
86, 87, 105 89
85, 91 13
37
32, 62, 100
89, 103, 104
. 100
. 31, 4489 89
75, 89, 98
31, 54, 55, 104 9139
55, 70, 72, 86, 91
97

30

NORTHAMPTONSHIRE.

Achurch .
Aldwinkle
Ashby St Legers'
Barnack .
Barnwell .
Byfield .
Cottingham Cranford St John
Cransley .
CrickDuddington
Etton Floore
FotheringayGlapthorneGosgrove Higham Ferrars .
Ishp King's Sutton
LoddingtonOundle .
Peakirk .
Polebrook
Potterspury
PytchleyRaunds .
RingsteadRothwell .
Rushden .
Rushton Park Lodge
Stanwick
Stoke Albany
St Peter's, Northampton
Tichmarsh
Towcester Warmington

38, 45,

65,

36,

64,

66,

39, 83, 86
34, 38, 70
32, 105
29, 88
79, 86, 90 69
27, 3588 73
69, 70
37, 40
22, 86
105 9
2156
87, 95

34,

18, 20,

66,

19, 20, 35, 40,

74
31 67
17, 20, 22
89
82, 87, 95
75, 105 84
77, 79, 82
18, 2766
102, 105 47
. 18, 86
. 23, 43
35, 57, 83
.56, 82
. 73, 84
64, 78, 95

Weekley .
Wellingborough
WerringtonWoodfordWooton .

NOTTINGHAMSHIRE.
Newark . . . . .
Southwell Minster OXFORDSHIRE.
Adderbury Bloxham .
Charlton-on-Otmoor
Dorchester Fritwell .
GarsingtonGreat Milton
Iffiey . . . .13,
Magdalen College Chapel
Merton College Chapel
Middleton Stoney
NewingtonNorthleighOxford Cathedral
Stanton Harcourt
Stanton St John
St Mai-y's Church, Oxford

39, 77, 80
27, 99 19
6524

13, 16,

4435

95 15
3129493636
14, 37, 50, 6238
. 29, 32
62
40 63
13, 14 19
36, 42
32

RUTLANDSHIRE.

Ayston
Edith W^eston
Essendine Exton Great Casterton
Ketton
Little Casterton
Manton .
Oakham .
Ryall .
Tinwell
^^lntwell .
Wissendine

Acton Bunnell
Buildwas Abbey
Ludlow .

SHROPSHIRE.

86
38, 88 62
. 105
17, 18, 19, 104
58, 63, 82, 100
10, 18, 89
17, 18
8985
19, 20, 89
79, 89, 9351

78 15
86

SOMERSETSHIRE.

Bishop's Lydeard

34, 36, 38, 86, 87, 100, 101

Crowcombe Monksilver
Orchardleigh
St James's Church, Bristol
St Joseph's Chapel, Glastonbury
St Mary, Redclyffe, Bristol
St Mary's, Taunton
TrentTrull Wells Cathedral .

STAFFORDSHIRE.

Leek

100 35911415
37, 868627
100101

42

no

INDEX TO CHURCHES REFERRED TO.

SUFFOLK.

Capel St Mary's
Debenham
Eye Great Wenham
GrundisburghHolton St Mary'
LavenhamLittle Wenham
Long Melford
Polstead .
Raydon .
Redgrave Rickenhall
St Mary's, Bury
St Mary, Stratford
StokeStuston .
Woolpit .

36, 50, 55,

73,

19,
76,

42, 96, 97
84
. 104
20, ,24, 40, 92
76, 98, 100 27
81, 82, 85, 87
18, 43, 8336
80
23, 34, 83
29, 84, 91
25, 8698
31, 56, 85, 87
. 102 94

SURREY.

Bishop's Palace, Southwark
MersthamOakham .
Shiere

SUSSEX.
Arundel .
Boxgrove Chichester Cathedral
Clymping 12, 17, 18, 34, 38, 54, 79,
Hangleton Keymer .
LindfieldNew Haven
New Shoreham
Old Shoreham
OvingdeanPiecombe
PortsladePreston .
Southease

42
65, 76, 82, 9020
90

14, 42,
83, 87, 91,
'34,
37, 55,

105 80
82 942077
81 37
14, 52, 78, 81 94 7777 18
79 12

Steyning .
TangmereWesthamptnet

WARWICKSHIRE.

Beaudesert Holy Trinity, Coventry
Knowle .
Temple Balsall

WILTSHIRE.

Codford St Mary's
Malmsbury Abbey Church
Salisbury Cathedral
South Newton
St John's Church, Devizes
Wichford

WORCESTERSHIRE.
Abbot's Tower, Eversham YORKSHIRE.

12, 13, 35
12, 17, 18
33

13
86
8633

49, 77
15, 50, 62
35, 65 18
37
89

82

AdelBeverley Minster
Bubwith .
Fountain's Abbey
Hedon Holy Trinity, Hull
Howden .
Ripon Cathedral .
Rivaulx Abbey .
Rudston .
Selby Abbey
Skelton .
St George's, Doncaster
St Patrick's, Patrington
Whitby Abbey .
York Cathedral .

77, 93
32, 82 77
15
91
42
27
ib. 2
27
29
55, 60, 66, 79
38, 86, 8852
2, 19, 28
17, 29, 33, 66, 101, 104

INDEX TO ILLUSTRATIONS.

Those marked with an asterisk are in the Appendix Plates, which will he found at the end of Vol. I.

WINDOWS.

NO. or LIGHTS

Waltham Abbey Church .... one

Interior of ditto

. one
Darenth Church, Kent
. triplet
Tangmere Church, Sussex
one
Waltham Abbey Church
. circular
New Haven, Sussex
. belfry
*Southease Church, Sussex
. one
*Stourbridge, Cambridgeshire
. one
*Nately, Hampshire
. one
* Interior of ditto
.
*Waltham Abbey Church
. clearstory
Clymping, Sussex .
, one
*New Shoreham, Sussex
Stoke Pogis, Bucks
. couplet
Great Wenham, Suffolk
. triplet
Shorne, Kent
. lancet
Ovington, Hampshire .
. lancet
Eastwick, Herts .
. lancet
Wivelsfield, Sussex
. triplet
Lindfield, Sussex .
. triplet
Clymping, Sussex
. lancet
Hangleton, Sussex
. lancet
Lindfield, Sussex .
. quatrefoil
Little Wenham, Suffolk
. two
Lindfield, Sussex .
. two
Oundle, Northamptonshire
. five lancet
Interior of ditto
.
Raydon, Suffolk, North Side
. lancet
Ditto, ditto. South Side
. lancet
Wiley, Wilts
. triplet
Meopham, Kent .
three
Brockworth, Gloucestershire
lancet
Exterior of same .
.
Meopham, Kent .
three
Barnwell, Cambridgeshire
triplet
Great Casterton, Rutland
lancet
Raydon, Suffolk .
two
St Bartliolomew, Sandwich
triplet
Exterior of ditto
.
Hythe, Kent
lancet
Stoke Albany, Northants
two
Hythe, Kent
lancet
Tmwell, Rutland .
triplet
Great Casterton, Rutland
one
Manton, Rutland .
lancet
Tangmere, Sussex
lancet
South Newton, Wiltshire
couplet
Glapthorne, Northamptonshire
]
Ditto, ditto
Vtwo
Ditto, ditto
j
Aldwinkle, Northamptonshir
e
four
1214
37
I. Norman
I. Ditto
I. Ditto
—
I.
Semi-Norman
. 5

I.
Early Enghsh . . 1
. — .
1,
Ditto
1
—
I.
Ditto
1
.  .
1,
Ditto
. 1

Ditto
1

Ditto
4

1,
Ditto
4
—
Ditto
4
.  .
X,
Ditto
4

^,
Ditto
4

Ditto
5
—
1,
Ditto
5
—
Ditto
7
— .
Ditto
7

Ditto
8
— ,
Ditto
8
—
Ditto
9
—
X,
Ditto
10

Ditto
11
—
Ditto
11
—
Ditto
11
—
Ditto
12
— .
1,
Ditto
13
—
Ditto
13

Ditto
15
—
Ditto
15
—
X.
Ditto
17

Ditto
17
—
I,
Ditto
20

1,
Ditto
20
—
Ditto
20
17
17
18
21
22
The Plates on this page are mostly in Vol. I., arranged in Sections.
112

INDEX TO ILLUSTRATIONS.

WINDOWS— continued.
Dunton Basset, Leicestershire
Evington, Leicestershire
Ditto, ditto
Westhamptnet, Sussex .
Achurch, Northamptonshire .
*Clymping, Sussex
*Lindfield, Sussex .
*Winnal Magdalen, Hampshire
*Clymping, Sussex .
*Thanington, Kent
*Hythe, Kent
*Great Wenham, Suffolk
*Ringstead, Northamptonshire
*Hartley, Kent
*Blakeney, Norfolk
*Lyddington, Berkshire
*Felmarshara, Bedfordshire .
*Belgrave, Leicestershire
*Grafton Underwood, Northamptonshire
*Cranford St Andrew's, Northamptonshii
*Cranford St John, Northamptonshire
*Doddington, Northamptonshire
*Cransley, Northamptonshire
*Stoke Albany, Northamptonshire
*Little Harrowden, Northamptonshire
*Doddington, Northamptonshire
*Oundle, Northamptonshire .
Northfleet, Kent .
Ditto, ditto .
Ditto, ditto .
Chesham Bois, Buckinghamshire
Chenies, Buckinghamshire .
Chesham, Buckinghamshire .
Waltham Abbey Church
Ditto ditto interior
Ditto ditto
Ditto ditto
St Michael's, St Alban .
Roydon, Essex
Northfleet, Kent .
Lindfield, Sussex .
Holbeach, Lincolnshire
Capel St Mary, Suffolk .
St Margaret's, Hertfordshire
St Mary's, Stratford, Suffolk
Holbeach, Lincolnshire
Ditto, ditto
Roydon, Essex
St Margaret's, Hertfordshire
Boughton Aluph, Kent
Sleaford, Lincolnshire .
Heme, Kent
Chartham, Kent .
Sleaford, Lincolnshire .
Bottisham, Cambridgeshire .
Trumpington, Cambridgeshire
Worstead, Norfolk
Ditto, ditto
Paston, Norfolk .
Hingham, Norfolk
Ditto, ditto
Ditto, ditto
Rushden, Northamptonshire
Fulmodiston, Norfolk .
Badgeworth, Gloucestershire

KO, OF LIGHTS

FIGURE

PAGE

three

_

24

four



25

four



25

lancet

. 

33

lancet



39

lancet

8

—

lancet

9

. —

lancet

10

—

lancet

11

—

lancet

12

—

coupletcouplet
lancet

1314
15

—

couplet
seven lancets

16
17

—

three

18

—

two

19

—

two

20

—

two

21

—

two

22

—

three

23

—

three

24

—

three

25

—

three

26

—

four

27



three

28

. — .

three

29

—

two

—

—

two

. — .

—

three

—

—

two

. —

—

two

. —

—

two

—

—

circular

—

—

two

z

z

two

—

— ,

two

—

— .

two

—

—

five

—



four

—

—

two

—

—

two

—

—

four

—



three

—

—

three

—



two

. — .

—

four

— .



four





four

—

—

three

—

—

two

. — .

—

four

— ,



three

—

— .

fiv

e



—

tw

0

—

—

I. Decorated
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto

9
111213
1315
182022
26 272936 36 36 36 36 36 36 36 38

The Plates on this page are mostly in Vol. II. , arranged in Sections,

INDEX TO ILLUSTRATIONS.

113

WINDOWS— continued
Cottingham, Northamptonshire
Sawbridgeworth, Hertfordshire
Southfleet, Kent .
Ringstead, Northamptonshire
Holton St Mary, Suftblk
St Alban's Abbey Church
Southfleet, Kent .
Sawbridgeworth, Hertfordshire
Wheathampstead, Hertfordshire
Rouen, Normandy
Tunstead, Norfolk
Farndish, Bedfordshire
Brandon, Norfolk .
Bicker, Lincolnshire
Southfleet, Kent .
Keymer, Sussex .
Cottingham, Northamptonshire
Meopham, Kent .
Filby, Norfolk
St Alban's Abbey Church
Southfleet, Kent .
Shorne, Kent
Northfleet, Kent .
St Nicholas, Colchester
Harbledown, Kent
Southfleet, Kent .
*BarnwelI, Northamptonshire
?Burton, Leicestershire .
* Ditto, ditto
* Ditto, ditto
*Fleet, Lincolnshire
* Lyddington, Berkshire .
* Witham, Essex
*St Alban's Abbey Church
*Hingham, Norfolk
*Exton, Rutlandshire
*Mickleham, Surrey
*Exton, Rutlandshire
*Tilsworth, Bedfordshire
*Cranford St Andrew's, Northamptonsh
* Interior of ditto
*Trunch, Norfolk .
*Gosgrove, Northamptonshire
*Shiere, Surrey
*Wimmington, Bedfordshire
*Shiere, Surrey
*Sutton at Hone, Kent .
*Ely 
* Interior of ditto
*Long Staunton, Cambridgeshire
*LittIe Waltham, Essex .
*AshweU, Rutlandshire .
*Harbledown, Kent
?Wimmington, Bedfordshire .
* Ditto, ditto
*Cley, Norfolk
?BiUington, Bedfordshire
King's Worthy, Hampshire .
Basingstoke, Hampshire
Northfleet, Kent .
Chalk, Kent ....
Dummer, Hampshire .
Wilton, Norfolk .
Uffington, Lincolnshire
I^avenham, Suffolk

NO. OF MGHl'S
fourthree two five twotwo two
three four
three
three twofive two
twotwo

lancet
two twotwo
two two
five twotwo two
two
three
two twotwothree

threethree

three five
fourthree

fourthreethree two
three two
three twotwofourthree oneone one
three

3031323334 353637383940
41 42
43 4644
45 474849 53 50
52 5455626366676869

28 28
2830 30313334 34
3434353636 39
41 41
41 424343

I. Perpendicular . . 3

I. Ditto

4

I. Ditto

5

I. Ditto

5

I. Ditto

5

I. Ditto

. 10

I. Ditto

. 13

I. Ditto

. 13

The Plales on this page are mostly in J'ol. II., arranged in Sect ion. i

114

INDEX TO ILLUSTRATIONS.

WINDOWS— conti7iued
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
ColtishaU, Norfolk
Little Shelford, Cambridgeshire
Churchdown, Gloucestershire
Ashby St Leger' s, Northamptonshire
Blackeney, 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.

Caps, Bases, and Stringcourses
Caps, Bases, and Stringcourses
Caps, Bases, and Stringcourses
Worstead, 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
St Martin's Leicester
Bicker, Lincolnshire
Oadby, Leicestershire
?Cottesmore, Rutlandshire
?Greetham, Rutlandshire
?Wellingborough, Northants
?Achurch, Northants
Sandridge, Hertfordshire
Bapchild, Kent
Skelton, York

NO. OF LIGHTS

five
three three

five
three
three four
three

four
fourfive four
threefive
threethree

Basement Moldings

String
I Corbel Tables

-Spire Tables

Striiu

DOORWAYS.

Nately, Hampshire
Old Shoreham, Sussex .
Wootton, Gloucestershire
Sempringham, Lincolnshire .

5657 58596160
6564

24323336 383947

I. Perpendicular
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto
I. Ditto

I. Norman
I. Ditto
I. Ditto
I. Ditto

1316
1818
2222
22 2222 2222
23

I. Decorated .

30

I. Ditto

30

I. Early English .

24

I. Decorated .

35

I. Perpendicular

26

I. Ditto

25

I. Ditto

25

I. Ditto

25

Thc Plates on thli page are mostly in Vol. II., arranged in Sections.

INDEX To ILLUSTRATIONS.

115

DOORWAYS— continued.

Orpington, Kent
Meopham, Kent
Holton St Mary's, Suffolk
Warmington, Northamptonshire
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 Mimms, Hertfordshire
Cley, Norfolk
Fen Ditton ....
Ewerby, Lincolnshire
Aldwinkle, Northamptonshire
Leir, Leicestershire
Trunch, Norfolk
Felmarsham, Bedfordshire
Higham Ferrars
Weekley, Northamptonshire .
St Alban's Abbey Church
Basingstoke, Hampshire
Lavenham, Suffolk .
Ditto, ditto. Interior .
Chesham, Buckinghamshire .
ColtishaU, Norfolk .
Towcester, Northamptonshire
Shorne, Kent
Islip, Northamptonshire .
Cransley, Northamptonshire .
Grundisburgh, Suffolk .
Merstham, Surrey .

Plate 7.

PIERS AND ARCHES.

New Shoreham, Sussex .
Ditto, ditto .
Ditto, ditto .
Codford St Maiy, 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.I.
I.I.
I.

Semi-NormanEarly English
DittoDittoDitto

—

Decorated .

—

1 *¦•

Ditto

—

I.

Ditto

—

Ditto

—

Ditto

—

Ditto
—
1,
Ditto
—
Ditto
51
69
70
75
75
76
76
77
— _
Perpendicular

Ditto

Ditto

Ditto

I.
Ditto

Ditto
73
74
74
75
76
—
Semi-Norman .
DittoDittoDitto
j
Early English .
DittoDittoDittoDitto
8
7879
80
—
Decorated .
DittoDitto
DittoDitto Perpendicular .
1
3
3
21
23
1
10
12 14
2323 25
39
1
367
17
20
16
21 21 2121 14
The Plates on this page are mostly in J'ul. II., arranged in Sections.
116

INDEX TO ILLUSTRATIONS.

PIERS AND ARCHES— continued.

Lavenham, Suffolk .
Westminster Abbey Church
Ditto ditto

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

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

88

SECTION I. Perpendicular

The Plales on this page are mostly in J'ol. II., arranged in Sections.

14

I.

Perpendicular .

. 8

I.

Ditto

. 19

I.

Ditto

. 19

I.

Early English .

. 19

I.

Ditto

. 19

I.

Decorated .

. 24

I.

Ditto

. 24



Early English .

14



Ditto

. 14



Decorated .

. 17



Ditto
. 17

Ditto
. 19

Ditto
. 19
83
Early English .
22
84
84
85
85
—
I. I.
Perpendicular .
Ditto
. 11
. 12

I.
Ditto
. 24
—
I.
Ditto
. 24
Decorated .
. 37
Ditto
. 37
Ditto
37
Perpendicular
. 12
Ditto
. 11
Early English .
. 16
Ditto
. 16
Ditto
. 16
Ditto
. 16
Ditto
. 16
Ditto
. 25
Ditto
. 25
Decorated .
. 28
Ditto
. -28
Ditto
. 28
Ditto
. 28
Ditto
. 28
Ditto
. 33
INDEX TO ILLUSTRATIONS.

117

CROSSES — continued.

Ludham, Norfolk .
Ditto, ditto
Hingham, Norfolk .
Haslingfield, Cambridgeshire
Stoke Ferry, Norfolk
Morton, Lincolnshire
Brandon, Norfolk .
BUlingborough, Lincolnshire
West Lynn, Norfolk
Gunthorpe, Norfolk
Trunch, Norfolk
Oakham, Rutlandshire .
Ditto, ditto
Stody, Norfolk

FONTS.

Weston, Lincolnshire
Redgrave, Suffolk .
Clymping, Sussex .

SEDILIA.

?Great Wenham, Suffolk
Preston, Sussex
Cobham, Kent

PISCINA.

Wivelsfield, Sussex

CHAMFER TERMINATIONS.

Twenty Specimens .
Ten Specimens

GABLETS.
Capel St Mary, Suffolk .
Swafield, Norfolk .
Trunch, Norfolk .
Little Shelford, Cambridgeshire
Ditto, ditto
Stapleford, Cambridgeshire .
ColtishaU, Norfolk .
Tunstead, Norfolk .

DRIPSTONE TERMINATIONS.

Swafton, Lincolnshire .
St Margaret's, Hertfordshire
Debenham, Suffolk
Little Wenham, Suffolk .
St Cross, Hampshire
Westminster Abbey Church
Four Specimens
Twelve Specimens .

14

ECTI

ON

I'LAT

Decorated .

33

Ditto

33

Ditto

33

Ditto
33
Perpendicular .
15
Ditto
15
Ditto
15
Ditto
15
Ditto
15
Ditto
21
Ditto
21
Ditto
21
Ditto
21
Ditto
21
1. Early English
I. Decorated .
I. Perpendicular
I. Early English
I. Perpendicular
I. Early English
I. Early English
I. Decorated .
2732
26
34
Decorated
. 31
Ditto
. 31
Ditto
. 31
Ditto
. 31
Ditto
. 31
Ditto
31
Ditto
. 31
Ditto
. 31
Early English .
18
Ditto
18
Ditto
18
Ditto
18
Ditto
18
Ditto
18
Decorated .
34
Perpendicular .
27
The Plates on this page arc mostly in J'ol. II., arranged in Sections.
118

INDEX TO ILLUSTRATIONS.

ROOFS.

Wymondham, Norfolk
Capel St Mary, Suffolk
Stuston, Suffolk
Grundisburgh, Suffolk

SEATS.

Great Waltham
Bentiey, Suffolk
Comberton, Cambridgeshire

FINIALS.

Bentiey, Suffolk
Great Wenham, Suffolk .
Brandon, Norfolk .
Chesham Bois, Hertfordshire
Nantwich, Cheshire
Stoke, Suffolk
Stoke, Suffolk
Howell, Lincolnshire
St Mary Stratton, Norfolk
Ditto, ditto
Great Wenham, Suffolk .
Achurch in Norfolk
Debenham, Suffolk

PORCHES.

Aldham, Essex

SCREENS.

Waltham Abbey Church
Barton, Cambridgeshire .

SPANDRELS.

Barton, Cambridgeshire .
Bottisham, Cambridgeshire
Doncaster, Yorkshire
Stoke, SuflPolk

DOORS.

St Alban's Abbey Church
Wells Cathedral .
Stoke, Suffolk
Holbeach, Lincolnshire .
Milton, Kent .
North Mimms, Hertfordshire
Lavenham, Suffolk .
Chesham, Buckinghamshire
ColtishaU, Norfolk .

PANELS.
Great Waltham, Essex .

SECTION

PLATE

II. Woodwork

. 17, 18, 19

II. Ditto

22, 23

II. Ditto

. 24

II. Ditto

26, 27

II.

Woodwork

. 1

II.

Ditto

. 5

II.

Ditto

. 29

II.

Woodwork

. 6

II.

Ditto

. 6

II.

Ditto

6
II.
Ditto
6
IL
Ditto
16
II.
Ditto
16
II.
Ditto
16
II.
Ditto
16
II.
Ditto
20
II.
Ditto
20
II.
Ditto
20
II.
Ditto
20
II.
Ditto
30
II. Woodwork
II. Woodwork
II. Ditto
12,13
7
10
II.
Woodwork
. 11
II.
Ditto
. 14
II.
Ditto
. 25
II.
Ditto
. 25
II.
Woodwork
4
II.
Ditto
8
II.
Ditto
15
I.
Decorated .
10
I.
Ditto
14
I.
Ditto
25
I.
Perpendicular .
6,7
I.
Ditto
17
I.
Ditto
. 20
II. Woodwork
The Plales on this page are mostly in Vol. II. , arranged in Sections.
INDEX TO ILLUSTRATIONS.

119

PANELS— continued
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 ....
Higham Ferrars, Northamptonshire

CLOSING RINGS.

St Alban's Abbey Church
St Mary's, Stratford
Westminster Abbey Church .
Cirencester, Gloucestershire .
Barton, Cambridgeshire .
Brockworth, Gloucestershire .
Eye, Suffolk ....
Aldham, Essex
CoUy Weston, Northamptonshire
Diss, Norfolk ....
Bapchild, Kent
Hythe, Kent ....
Haconby, Lincolnshire .
Westminster Abbey Church .
St Mary's, Norwich
Floore, Northamptonshire
Eaton Bray, Bedfordshire
Ashby St Legers, Northamptonshir
Exton, Rutlandshire
St Nicholas, Gloucester .
Martham, Norfolk .
Filby, Norfolk

HINGES.

Erith, Kent .
Westminster Abbey Church
St Margaret Roding, Essex
St Peter's, Colchester

SECTION

PLATE

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. Woodwork
II. Ditto
II.
Metalwork
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
IL
Ditto
IL
Ditto
IL
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
II.
Ditto
IL
Ditto
II.
Woodwork
9
IL
Ditto
. 28
II.
Ditto
. 28
II.
Ditto
. 28
Woodwork
. 9
Ditto
. 9
Ditto
. 28
Ditto
. 30
Ditto
. 30
11
30
2
2 2
3335
57777 7
7
8 9
11
12 1212
1213
II.
Metalwork
1
IL
Ditto
1
II.
Ditto
1
II.
Ditto
1
The Plates on this page are mostly in Vol. II., arranged in Sections.
120

INDEX TO ILLUSTRATIONS.

HINGES— continued.

Northfleet, Kent .
St Alban's Abbey Church
Stanstead Church, Hertfordshire
Hartley, Kent
Gloucester Cathedral
Horton Kirby, Kent
Spalding, Lincolnshire . * .
Brockworth, Gloucestershire .
Sempringham, Lincolnshire .
Tinwell, Rutlandshire
St Mary's, Norwich
Market Deeping, Lincolnshire
St Alban's Abbey Church
Eaton Bray, Bedfordshire
Wootton, liedfordshire .
Sutton at Hone, Kent .
Oundle, Northamptonshire

STIFFENERS.
Chester Cathedral ....
York Minster ....
Great Casterton, Rutlandshire
Tunstead, Norfolk ....

KEY PLATES.

Westminster Abbey Church
Diss, Norfolk
Uffington, Lincolnshire .
Tunstead, Norfolk .
Martham, Norfolk .

SECTION

II.

Metalwork

IL

Ditto

II.

Ditto

II.

Ditto

II.

Ditto

ir.

Ditto

II.

Ditto

II.

Ditto

II.

Ditto

II.

Ditto

II.

Ditto

IL

Ditto

II.

Ditto

II.

Ditto

II.

Ditto

II.

Ditto

IL

Ditto

111
2
333
3
55899
111313
13

II.

Metalwork

. 4

II.

Ditto

. 6

II.

Ditto

. 9

II.

Ditto

. 9

Metalwork

2

Ditto

. 7

Ditto

. 7

Ditto
9
Ditto
13
7'ke seven Ajipendix Plates will he found at ihe end of Vol. I.
PRINTED BY OLIVKR AND BOYD, KDINBURGH.
SECTION I

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PLATE i.

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AN ANALYSIS OF COTHICK ARCHITECTURE

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AN ANALYSIS OF COTHICK ARCHITECTURE
SECTION I .

PLATE J.

jirci, tg Her ffbrth, ndU. of iVfere.

JVcw .ShoTvfitUTt. Cfvurch, 3ti.f^etr-:

JbwZef of Ba.ie. arte aaht/ufhU, SrJxe.

AN ANALYSIS OF COTHICK AFSCH ITSCTUR E .

SECTION

im\ lum^^^

PLATE ji.

FoUii^Jivm, Arches NbrOv sitiU 0' J/ave, 2^cm> SfurreA^xrn. C/unTcfu, Sa^gtuc. onx, tfvcraC^fUU, svxe.

AN ANALYSIS OF COTHICK ARCHITECTURE.

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mm\ liiMaii j^

PLATE .5.

[iiiiiiiMll i ..il'.

SCMS OF t

Omamientrocurvd,Arch,%ofanjhjihtoan,inch, T&,

AN ANALYSIS OF OOTHJCK ARCHITECTURE.

SECTION I

Mp MnjU5| ss^

PLATE

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'¦''f . IKbrtfL, ofJVityt., Orutglon. Ch.MxntS.

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AN ANALYSIS OFGOTHICK ARCHITECTURE.

SECTION I.

MMm m

PLATE 2.

Sedum, of Cap octtd Baft. rr^jst^ZdxM^s ifzsooLU.

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AN ANALYSIS OF COTHICK ARCHITECTURE,
SECTION I.

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AN ANALYSIS OF COTHICK ARCHITECTURE.

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PLATE 4

AN ANALYSIS OFGOTHICK ARCHITECTURE.

SECTION I.

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PLATE S,

yfmdtm^ Worik- TrOAtS^rt) Zxnilfielei Ckurofu SiMSeoc.

Areh. yit- S, Trcat,iept
<2YmjrcK^ Cliarch. Swustx^

Channel/ Arch/ Frtatrn/ ChxicrcivSii,ssex-

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AN ANALYSIS OF GOTHICK ARCHITECTURE

SECTION 1

AN ANALYSIS OF COTHICK ARCHITECTURE.

SECTION I.

AN ANALYSIS OF COTHICK ARCHITECTURE.

SECTION I

^ariy Mujfeh

PLATE S.

V/uUlow Jrvm, Mtynlprv ehztrch, Su^bVt,

AN ANALYSIS OF GOTHICK ARCHITECTURE.

SECTION I.

PLATE 9.

Triplet. JSaat of Chcauxl, WvUy Ch,. Wilts.

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FEef.

AN ANALYSIS OF COTHICK ARCHITECTURE.

SECTION I ,

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PLATE 10.

ArcJi, iruxuldmjf.

Wndew East of Ch,»af,c«l; MitipfMon.- Ch,. Xervb. the tTt/,cru>r.
129S3I? 1 4 3 4 s g
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AM ANALYSIS OF COTHICK ARCHITECTURE.

SECTION 1

PLATE //.

AN ANALYSIS OF COTHICK ARCHITECTURE

SECTION I.

Ma'

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Section, on Une, A.£. ff falL su-e.

Section, of iojid.
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Sittt'<ni. of boje,
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AN ANALYSIS OF COTHICK ARCHITECTURE.

SECTION 1.

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PLATE 13.

U e « 3 o
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AN ANALYSIS OF COTHICK ARCHITECTURE.

SECTION I

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PLATE U

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AN ANALYSIS OF OOTHIC H' ARCHITECTURE

SECTION I,

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PLATE 15.

Sectich, vfArch'-tneuZdinqs i/t^Scaie-

TrifUffJivni'-l/ht- ChttpH/ of Sf Beortholemcw'.i ILpspvtcd/ -ntar Sam^Cwwft/iJEJpnf.

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AN ANALYSIS OF GOTHICK ARCHITECTURE.

SECTION .1

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AN ANALYSIS OFGOTHICK ARCHITECTURE,

SECTION I.

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PLATE n

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4

AN ANALYSIS OF COTHICK ARCHITECTURE

SECTION I.

PLATE y<s.

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F. .Mcm/jJtut bwiobngJ^WfrtJuxtth.^uffvik.
C. S*' Crv.i.f lVin/Ju.gter.
H . Weatnuhter Alii(v Chiirch ,

AN ANALYSIS OF GOTHICK ARCHITECTURE.

SECTION I.

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PLATE ^9.

'MfiiH site, .

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Jhtrperi vrvWtiStmiTUtitr Ailty Chitrchy.
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ANKHALYSIS 07 COTHICK ARCHITECTURE

iECTIOTI I

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PLATE 20

SetXvon, of cofniase, and. ar<ih-rru>Ui i/t"^S cole-

West ofXartKAuU-.RnwM Ch^irc/i /iutland.ihre,
^ sr.&LE »gT I ' I

Sythe ChurcA Kcnf

AN Analysis or cothick architecture

SECIION

PLATE Zi

AN ANALYSIS OFGOTHICK ARCHITECTURE

SECTION 1

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AN ANALYSIS OFGOTHICK ARCHITECTURE
SEtTION I

PLAT E 23

AN ANALYSIS OFGOTHICK ARCHITECTURE

S ECT I O N . 1 .

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PLATE I'l.

AN ANALYSIS OFGOTHICK ARCHITECTURE.

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Section, oh lineA.IS.

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AN ANALYSIS OF COTHICK ARCHITECTURE.

Jyawt/.jA-if y^ f'Aa.'t^l^ ^crm.iff.r:U'm.i

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AN ANALVSIS OF COTHICK ARCHITECTURE.

SECTION I.

ffif.H?sfi^w

PLATE 27

SCALE OF

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iFEET

TUm/ 0fl>(mL.

Pkav efStem/

Imvt' in, Wiston/ Church, Linecbishxr e, .

AN ANALYSIS OF GOTHICK ARCHITECTURE.

StCTION I.

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PLATE -ta

Jroadf ^frcrrt/ S^ AlbajCs Aiiey ChtxrcJv .

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«AN ANALYSIS OFGOTHICK ARCHITECTURE.

PLATE /

AM ANALYSIft or GOTHICK ARCHITECTURE.

pprulisfi^

PLATE J

AN ANALYSIS OFGOTHICK ARCHITECTURE

PLATE 3

AN ANALYSIS OFGOTHICK ARCHITECTURE

mpenliiviif^

PLATE 4-.

. > w

AN ANALYSIS OF GOTHICK ARCHITECTURE

PLATE 5.

AN ANALYSIS OFGOTHICK ARCHITECTURE.

0^<<.iT^'fTr .S "-'^'^/'i^'-y'iiri:

irrfftham .BudaJndAhtrt,. W{//in,7^ra!ah .yrrfhi^/npt^n shire

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AN ANALYSIS OF COTHICK ARCHITECTURE .

ilS^fiSb.

PLATE J

Section,' -on, hr^-e, GS.

South Doermsiy,JBecrTvnreU/ Chtin>h;JVort-h.er'jutd .

Seu/JvDoorway,W?ut»rtZl Church. /BMtlaMd.skire> J^

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i^EET

AN ANALYSIS OFGOTHICK ARCHITECTURE

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