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diff --git a/old/30290-h/30290-h.htm b/old/30290-h/30290-h.htm new file mode 100644 index 0000000..8d35ffe --- /dev/null +++ b/old/30290-h/30290-h.htm @@ -0,0 +1,6605 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of Our Homeland Churches and How to Study Them, by Sidney Heath</title> +<style type="text/css"> + body {background:#fdfdfd; + color:black; + font-size: large; + margin-top:100px; + margin-left:15%; + margin-right:15%; + text-align:justify; } + h1, h2, h3, h4, h5, h6 {text-align: center; } + hr.narrow { width: 40%; + text-align: center; } + hr.minimal { width: 20%; + text-align: center; } + hr { width: 100%; } + blockquote { font-size: large; margin-left: 4%; margin-right: 4% } + blockquote.med { font-size: medium; } + table {font-size: large; } + table.sm {font-size: medium; } + td.w50 { width: 50%; } + p {text-indent: 3%; } + p.noindent { text-indent: 0%; } + p.noline { margin-top: 0px; + margin-bottom: 1px; } + .caption { font-size: small; } + .sidenote { width: 14%; padding-bottom: .2em; padding-top: .2em; padding-left: .2em; text-indent: 0; font-weight: bold; + padding-right: .4em; margin-right: 1em; float: left; clear: left; margin-top: 1em; text-align: center; + font-size: smaller; color: black; border: dotted 1px; } + .center { text-align: center; } + img { border: 0; } + .figleft { float: left; clear: left; margin-left: 1em; margin-bottom: 0em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + .figright { float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + img.left { float:left; + margin: 0px 8px 6px 0px; } + img.right { float:right; + margin: 0px 8px 6px 0px; } + .ind1 { margin-left: 1em; } + .ind2 { margin-left: 2em; } + .wide { letter-spacing: .12em; } + ins { text-decoration: none; border-bottom: thin dotted gray;} + .nowrap { white-space: nowrap; } + .pagenum { /* visibility: hidden; */ position: absolute; right: 2em; font-size: 70%; text-align: right; color: #A9A9A9} + .poem { margin-left: 22%; margin-right: 8%; text-align: left; font-size: 95%} + .right { text-align: right; } + .small { font-size: 80%; } + .smallcaps { font-variant: small-caps; } + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red; + text-decoration: underline; } + + hr.full { width: 100%; + margin-top: 3em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + height: 4px; + border-width: 4px 0 0 0; /* remove all borders except the top one */ + border-style: solid; + border-color: #000000; + clear: both; } + pre {font-size: 85%;} +</style> +</head> +<body> +<h1>The Project Gutenberg eBook, Our Homeland Churches and How to Study Them, +by Sidney Heath, Illustrated by Sidney Heath and Ethel M. Heath</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: Our Homeland Churches and How to Study Them</p> +<p>Author: Sidney Heath</p> +<p>Release Date: October 19, 2009 [eBook #30290]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK OUR HOMELAND CHURCHES AND HOW TO STUDY THEM***</p> +<p> </p> +<h3>E-text prepared by<br /> + Delphine Lettau, Joseph E. Loewenstein, M.D., Paul Dring,<br /> + and the Project Gutenberg Online Distributed Proofreading Team<br /> + (http://www.pgdp.net)</h3> +<p> </p> +<hr class="full" /> +<p> </p> + +<p><span class='pagenum'><a name="frontis" id="frontis">[Frontispiece]</a></span> +<a name="Plate_1" id="Plate_1"></a></p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="ILLUSTRATION"> + <tr> + <td align="center"> + <a href="images/img1c.jpg"> + <img src="images/img1c.jpg" height="350" + alt="Foundations of Romano-British Church at Silchester" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><br /> + <b>The Foundations of a Romano-British Church.</b><br /> + Uncovered at Silchester.<br /> + <i>Photograph S. Vidor White & Co.</i><br /> +Click to <a href="images/img1c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> +<p> </p> +<hr class="narrow" /> +<p> </p> +<p> </p> +<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> + +<p class="noindent"> +<small><i>The Homeland Handbooks</i>—No. 55.</small></p> + +<h1>OUR HOMELAND<br /> +CHURCHES</h1> +<h3>AND HOW TO STUDY THEM.</h3> + +<h6>BY</h6> +<h4>SIDNEY HEATH</h4> +<h6>(Author of<br /> +"Some Dorset Manor Houses,"<br /> +etc.)</h6> + +<h5>ILLUSTRATED BY THE AUTHOR<br /> +AND</h5> +<h5>ETHEL M. HEATH</h5> + +<h6>AND BY<br /> +PHOTOGRAPHS.</h6> +<p> </p> +<h5>Published under the General Editorship of<br /> +Prescott Row and Arthur Henry Anderson,<br /> +by the Homeland Association for the Encouragement<br /> +of Touring in Great Britain.</h5> +<p> </p> +<h5>London:<br /> +THE HOMELAND ASSOCIATION LTD.,<br /> +22, <span class="smallcaps">Bride Lane, Fleet Street, E.C.</span><br /> +<span class="smallcaps">First Edition.</span>1907.<br /></h5> +<p> </p> +<p> </p> + +<p><span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p> + +<h3>EDITORIAL NOTE.</h3> + +<blockquote> +<p><small>With a view to making future Editions of this Handbook as +accurate and comprehensive as possible, suggestions for +its improvement are cordially invited. If sent to <span class="smallcaps">The +Editors</span>, The Homeland Association, Association House, +22, Bride Lane, Fleet Street, E.C., they will be gratefully +acknowledged.</small></p> + +<hr class="minimal" /> + +<h3>COPYRIGHT.</h3> +<p><small>This Book as a whole, with its contents, both Literary and +Pictorial, is Copyrighted in Great Britain.</small></p> + +<hr class="minimal" /> + +<h3>ADVERTISING.</h3> + +<p><small><span class="smallcaps">Local.</span>—Terms for Advertising in future issues of this Handbook +will be forwarded on application to the General +Manager of the Homeland Association, at the above +address.</small></p> + +<p><small><span class="smallcaps">General.</span>—Contracts for the insertion of Advertisements +through the whole series of Homeland Handbooks, more +than fifty volumes, circulating through the country, can be +arranged on application to the General Manager.</small></p> + +</blockquote> +<p> </p> + +<p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p> + +<p> </p> +<h3><i>CONTENTS</i></h3> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="1" summary="Contents"> + +<tr><td align="right" valign="top"><a href="#Pref"><i>Author's Preface</i></a> </td><td align="left"> </td></tr> +<tr><td align="right" valign="top"><a href="#Dedic"><i>Dedication</i></a> </td><td align="left"> </td></tr> +<tr><td align="right" valign="top"><a href="#Intro"><i>Introduction</i></a> </td><td align="left"> </td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_I"><i>Chapter I.</i></a> </td><td align="left"><i>Early British Churches</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_II"><i>Chapter II.</i></a> </td><td align="left"><i>Early Church Architecture</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_III"><i>Chapter III.</i></a> </td><td align="left"><i>The Saxon and Norman Styles</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_IV"><i>Chapter IV.</i></a> </td><td align="left"><i>The Early English Style</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_V"><i>Chapter V.</i></a> </td><td align="left"><i>The Decorated Style</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_VI"><i>Chapter VI.</i></a> </td><td align="left"><i>The Perpendicular Style</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_VII"><i>Chapter VII.</i></a> </td><td align="left"><i>The Renaissance and Later</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_VIII"><i>Chapter VIII.</i></a> </td><td align="left"><i>Church Furniture and Ornaments</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_IX"><i>Chapter IX.</i></a> </td><td align="left"><i>Bells and Belfries</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_X"><i>Chapter X.</i></a> </td><td align="left"><i>The Spire: Its Origin and Development</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_XI"><i>Chapter XI.</i></a> </td><td align="left"><i>Stained Glass</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_XII"><i>Chapter XII.</i></a> </td><td align="left"><i>Crypts</i></td></tr> +<tr><td align="right" valign="top"><a href="#CHAPTER_XIII"><i>Chapter XIII.</i></a> </td><td align="left"><i>How to describe an Old Church</i></td></tr> +<tr><td align="right" valign="top"><a href="#Appendix"><i>Appendix</i></a> </td><td align="left"><i>A Glossary of the Principal Terms used in<br /> Ecclesiastical Architecture</i></td></tr> +<tr><td align="right" valign="top"><a href="#Biblio"><i>Bibliography</i></a> </td><td align="left"> </td></tr> +<tr><td align="right" valign="top"><a href="#Index"><i>Index</i></a> </td><td align="left"> </td></tr> +</table> +</div> +<p> </p> +<p> </p> +<p><span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span></p> + +<h3><i>LIST OF ILLUSTRATIONS.</i></h3> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="1" summary="Illustrations"> + +<tr><td align="right" valign="top"><a href="#Plate_1"><span class="smallcaps">Plate 1</span></a> </td><td align="left"><i>Foundations of a Romano-British Church (Frontispiece)</i></td></tr> +<tr><td align="right" valign="top"><a href="#Plate_2"><span class="smallcaps">Plate 2</span></a> </td><td align="left"><i>The Church of St. Margaret, Lynn</i></td></tr> +<tr><td align="right" valign="top"><a href="#Plate_3"><span class="smallcaps">Plate 3</span></a> </td><td align="left"><i>A Fine Perpendicular Tower, St. Mary, Taunton</i></td></tr> +<tr><td align="right" valign="top"><a href="#Plate_4"><span class="smallcaps">Plate 4</span></a> </td><td align="left"><i>Sedilia and Chantry, Luton</i></td></tr> +<tr><td> </td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img2"><i>The Various Forms of Arches</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img3"><i>Plan of a Typical Gothic Cruciform Parish Church, Luton</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img4"><i>Examples of Gothic Windows</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img5"><i>Examples of Buttresses</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img6"><i>A Rood Screen, with a Restoration of the Rood</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img7"><i>The Church of S. Martin, Canterbury</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img8"><i>Window Built with Roman Brick, Swanscombe</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img9"><i>A Reputed Saxon Doorway, Bishopstone</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img10"><i>Tower of Earls' Barton Church</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img11"><i>An Example of Norman Tower, Bishopstone</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img12"><i>A Norman Pier Arcade, Abbots Langley</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img13"><i>Examples of Norman Mouldings</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img14"><i>A Late Norman Parish Church, Castle Rising</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img15"><i>West Doorway, Rochester Cathedral</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img16"><i>Tympanum of Norman Doorway, Fordington St. George</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img17"><i>Examples of Norman Capitals</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img18"><i>A Curious Norman Capital, Seaford</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img19"><i>Norman and Early English Doorways, Dunstable Priory Church</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img20"><i>Windows, Showing the Origin of Tracery</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img21"><i>An Early English Arch, Rochester Cathedral</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img22"><i>Wall Arcading, Showing Junction of Norman and<br /> +<span class="ind2"> </span>Early English Masonry,Dunstable Priory Church</i></a><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img23"><i>An Early English Doorway, Huntingdon</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img24"><i>A Group of Thirteenth Century Lancet Windows, Ockham</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img25"><i>Salisbury Cathedral</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img26"><i>Examples of Early English Capitals and Ornament</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img27"><i>A Late Decorated Window in a Parish Church, East Sutton</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img28"><i>Examples of Decorated Ornament</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img29"><i>Examples of Perpendicular Ornament</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img30"><i>Early Perpendicular Parish Church, Yeovil</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img31"><i>A Fine Parish Church, Showing Rich Perpendicular Work,<br /> +<span class="ind2"> </span>Terrington St. Clement, Norfolk</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img32"><i>A Perpendicular Doorway, Merton College</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img33"><i>A Perpendicular Porch, King's Lynn</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img34"><i>An English Renaissance Church, S. Stephen, Walbrook</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img35"><i>A Typical Cornish Font</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img36"><i>The Sanctuary Knocker, Durham Cathedral</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img37"><i>The Baptistery in Luton Church</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img38"><i>An Example of a Leaden Font of the Late Norman Period</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img39"><i>A Reputed Saxon Font, Shaldon</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img40"><i>A Detached Holy-Water Stoup of Unusual Design</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img41"><i>A Typical Somerset Bench-End, Spaxton</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img42"><i>A Richly-Carved Pulpit and Canopy, Edlesborough</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img43"><i>Screen with Rood Loft, Kenton</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img44"><i>The Carved Oak Balustrade in Compton Church</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img45"><i>Bell Turret for Three Bells, Radipole</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img46"><i>The Best Example of a Saxon Spire or Pyramidal Roof, Sompting</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img47"><i>Leighton Buzzard Church, with Early English Tower and Spire</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img48"><i>A Parish Church with a Shingle Broach Spire, Edenbridge</i></a></td></tr> +<tr><td align="right" valign="top"> </td><td align="left"><a href="#img49"><i>Interior Elevation of a Bay of a Church</i></a></td></tr> +</table> +</div> +<p> </p> +<hr class="narrow" /> +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span></p> +<p> </p> + +<h3><i>STYLES OF ENGLISH ARCHITECTURE.</i></h3> + +<p><small>The following periods of architectural style may be of +use for the purpose of reference, but it must be borne in mind +that they are more or less approximate, as each style merged by +slow degrees into the next.</small></p> + +<div class="center"> +<table class="small" style="margin: 0 auto" cellpadding="1" summary="Periods"> +<tr><td align="left"><i>Norman:</i> </td><td align="left">William I. to Stephen. </td><td align="left">1066-1154.</td></tr> +<tr><td align="left"><i>Transition Norman.</i> </td><td align="left">Henry II. </td><td align="left">1154-1189.</td></tr> +<tr><td align="left"><i>Early English Gothic.</i> </td><td align="left">Richard I. to Henry III. </td><td align="left">1189-1272.</td></tr> +<tr><td align="left"><i>Decorated.</i> </td><td align="left">Edward I., II., III. </td><td align="left">1272-1377.</td></tr> +<tr><td align="left"><i>Perpendicular.</i> </td><td align="left">Richard II. to Henry VII. </td><td align="left">1377-1485.</td></tr> +<tr><td align="left"><i>Tudor.</i> </td><td align="left">Henry VIII. to Elizabeth. </td><td align="left">1485-1600.</td></tr> +</table> +</div> + +<p><small>Sharpe gives seven periods of English architecture +up to the time of the Reformation, and dates them as +follows:—</small></p> + +<div class="center"> +<table class="small" border="0" style="margin: 0 auto" cellpadding="4" cellspacing="0" summary="Periods"> + +<tr><td colspan="4" valign="top"><i>ROMANESQUE.</i></td></tr> +<tr><td align="right">I. </td><td align="left"><i>Saxon</i></td><td align="right">from —— to 1066</td><td align="right"> </td></tr> +<tr><td align="right">II. </td><td align="left"><i>Norman</i></td><td align="right">from 1066 to 1145</td><td align="right">79 years</td></tr> +<tr><td align="right">III. </td><td align="left"><i>Transitional</i></td><td align="right">from 1145 to 1190</td><td align="right">45 years</td></tr> + +<tr><td colspan="4" valign="top"><i>GOTHIC.</i></td></tr> +<tr><td align="right">IV. </td><td align="left"><i>Lancet</i></td><td align="right">from 1190 to 1245</td><td align="right">55 years</td></tr> +<tr><td align="right">V. </td><td align="left"><i>Geometrical</i></td><td align="right">from 1245 to 1315</td><td align="right">70 years</td></tr> +<tr><td align="right">VI. </td><td align="left"><i>Curvilinear</i></td><td align="right">from 1315 to 1360</td><td align="right">45 years</td></tr> +<tr><td align="right">VII. </td><td align="left"><i>Rectilinear</i></td><td align="right">from 1360 to 1550</td><td align="right">190 years</td></tr> + +</table> +</div> + +<hr class="narrow" /> +<p> </p> + +<p><span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span></p> + +<h3><a name="Pref" id="Pref"></a>PREFACE.</h3> + +<p>It is a truism that the history of building is the +history of the civilized world, for of all the arts +practised by man, there is none which conveys to +us a clearer conception of the religion, history, manners, +customs, ideals and follies of past ages, than the art of +building. This applies in a special sense to cathedrals +and churches, which glorious relics reflect and perpetuate +the noble aim, the delicate thought, the refined +and exquisite taste, the patient and painstaking toil +which have been expended upon them by the devout +and earnest craftsmen of the past.</p> + +<p>There are very few of our ancient churches in village, +town or city which do not offer some feature of interest +to the visitor, and in the absence of anything more +important, there is sure to be some door, window, font, +screen, or other detail which will amply repay him for +the small amount of time spent in seeing it.</p> + +<p>The aim of the author of this little volume has been +to indicate the symbolism and meaning attaching to the +various portions of our churches and cathedrals, and to +endeavour briefly to describe, in language as simple as +the subject will allow, the various styles of ecclesiastical +architecture with their distinctive characteristics in such +a way as will enable the reader to assign each portion +and detail of a church to its respective period with an +approximate degree of accuracy.</p> + +<p>He does not claim to be original, but endeavours to +be useful and interesting. The best authorities have +been consulted and freely drawn upon, but with the +object in view of writing a book at once thus useful and +interesting, no attempt has been made to deal with the +subject in a strictly architectural, or a purely scientific +manner.</p> +<p>Weymouth, 1906.</p> + +<p><span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span></p> +<p> </p> +<h3><a name="Dedic" id="Dedic"></a>DEDICATION.</h3> + +<p>To all those who love old buildings—cathedrals, +abbeys, and village churches, which breathe the +spirit of an age with which we have entirely +broken—and who would fain hand down to posterity, +unmutilated, the great building achievements of our forefathers, +which we, with all our science, wealth, and +means of curtailing labour, can no more imitate than +we can reproduce the language of a Chaucer or a Shakespeare; +this book is respectfully dedicated.</p> + +<p class="right">S. H.</p> + +<div class="center"> +<table class="small" style="margin: 0 auto" cellpadding="1" summary="Poem"> + +<tr><td align="left" valign="top">"<i>Firm was their faith, the ancient bands,</i></td></tr> +<tr><td align="left" valign="top"> <i>The wise of heart in wood and stone,</i></td></tr> +<tr><td align="left" valign="top"><i>Who reared with stern and trusting hands</i></td></tr> +<tr><td align="left" valign="top"> <i>Those dark grey towers of days unknown;</i></td></tr> +<tr><td align="left" valign="top"><i>They filled the aisles with many a thought,</i></td></tr> +<tr><td align="left" valign="top"> <i>They bade each nook some truth recall</i></td></tr> +<tr><td align="left" valign="top"><i>The pillared arch its legend brought,</i></td></tr> +<tr><td align="left" valign="top"> <i>A doctrine came with roof and wall.</i>"</td></tr> +<tr><td align="right" valign="bottom"><span class="smallcaps">—Hawker of Morwenstow.</span></td></tr> +</table> +</div> +<p> </p> +<p> </p> +<p><span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span></p> + +<h2><span class="wide">OUR HOMELAND CHURCHES<br /> +AND<br /> +HOW TO STUDY THEM.</span></h2> +<p> </p> + +<h3><a name="Intro" id="Intro"></a>INTRODUCTION.</h3> + +<p>However much we may admire, considered purely +as art, the Pagan temples of the Greeks and +Romans, we must confess that they are lacking +in those high ideals and those sustained and inspired +motives which seem to penetrate and permeate the +buildings and churches of the Christian era. Perfect as +is Greek art within its somewhat narrow limits, it is, +nevertheless, cold, precise and lifeless. The Gothic +buildings on the contrary are pregnant with the very +spirit of life.</p> + +<p>Prompted by a deep and fervent faith in their religion, +the Gothic builders and sculptors unconsciously wove +into the humblest of their architectural enrichments some +portion of their daily life and personality. The slave-built +temples of the Greeks offered no scope for the +exercise of individual expression—such, in fact, would +have been strongly resented—whereas the early Christian +craftsman, revelling in his freedom, seized every opportunity +of expressing in his work his joy, fear and hope +of immortality.</p> + +<p>This is made apparent in the study of an old church, +whereof every portion—door, window, bench-end, +carving, gargoyle—has hidden about it some suggestion of +beautiful thought, or some distinct and appropriate symbolism. +The fact that symbolism underlies almost every<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> +such indication of mediæval thought is made abundantly +manifest in the study of mediæval literature. Open any +12th century treatise on morals, science or history, and +you become aware of the fact at once.<a name="img2" id="img2"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="5" summary="illo"> + <tr> + <td align="center"> + <a href="images/arch-1-1.jpg"> + <img src="images/arch-1-1-t.jpg" height="84" alt="Norman" /></a> + </td> + <td align="center"> + <a href="images/arch-1-2.jpg"> + <img src="images/arch-1-2-t.jpg" height="84" alt="Stilted" /></a> + </td> + <td align="center"> + <a href="images/arch-1-3.jpg"> + <img src="images/arch-1-3-t.jpg" height="84" alt="Horse Shoe" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Norman.</small> + </td> + <td align="center"> + Stilted. + </td> + <td align="center"> + <small>Horse Shoe.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + + </td> + </tr> + <tr> + <td align="center"> + <a href="images/arch-2-1.jpg"> + <img src="images/arch-2-1-t.jpg" height="125" alt="Equilateral" /></a> + </td> + <td align="center"> + <a href="images/arch-2-2.jpg"> + <img src="images/arch-2-2-t.jpg" height="125" alt="Lancet" /></a> + </td> + <td align="center"> + <a href="images/arch-2-3.jpg"> + <img src="images/arch-2-3-t.jpg" height="125" alt="Drop" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Equilateral.</small> + </td> + <td align="center"> + <small>Lancet.</small> + </td> + <td align="center"> + <small>Drop.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + + </td> + </tr> + <tr> + <td align="center"> + <a href="images/arch-3-1.jpg"> + <img src="images/arch-3-1-t.jpg" height="116" alt="Trefoil" /></a> + </td> + <td align="center"> + <a href="images/arch-3-2.jpg"> + <img src="images/arch-3-2-t.jpg" height="116" alt="Trefoil" /></a> + </td> + <td align="center"> + <a href="images/arch-3-3.jpg"> + <img src="images/arch-3-3-t.jpg" height="116" alt="Cinquefoil" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Trefoil.</small> + </td> + <td align="center"> + <small>Trefoil.</small> + </td> + <td align="center"> + <small>Cinquefoil.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + + </td> + </tr> + <tr> + <td align="center"> + <a href="images/arch-4-1.jpg"> + <img src="images/arch-4-1-t.jpg" height="83" alt="Ogee" /></a> + </td> + <td align="center"> + <a href="images/arch-4-2.jpg"> + <img src="images/arch-4-2-t.jpg" height="83" alt="Four Centered" /></a> + </td> + <td align="center"> + <a href="images/arch-4-3.jpg"> + <img src="images/arch-4-3-t.jpg" height="83" alt="Tudor" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Ogee.</small> + </td> + <td align="center"> + <small>Four Centered.</small> + </td> + <td align="center"> + <small>Tudor.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <br /> + <span class="b"><b>The Various Forms of Arches</b></span> + </td> + </tr> +</table> +</div> + +<p>The main-spring +of this symbolism, of all Christian symbolism, turns on +the parabolic meaning in the scheme of Creation. The +early writers were far less concerned with recording the +plain objective facts of history, than in pursuing the<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> +allegory and the love of the marvellous, and showing all +those characteristics of what we now term an unscientific +attitude of mind.</p> + +<p>In its widest sense, symbolism means the expression +of belief, and if we would interpret history aright, we +must grasp the fact that the key to the character and +disposition of peoples of all ages lies in the knowledge of +their beliefs; for out of the beliefs of one age most surely +grow the beliefs of its successors, and in no work of man's +hand are the beliefs held by various peoples in past ages +more clearly defined than in our cathedrals and churches, +which noble buildings in every civilized country indicate +principles as well as facts, influences as well as results; +and while presenting the finest materials for æsthetic +study, are no less useful as indicating the psychological +peculiarities of those builders of old to whose condition +they bear witness.</p> + +<p>In our grand specimens of ecclesiastical architecture, +we may read the world's later history, and to-day they +breathe the sombre reverential influence of a faith +which sought to satisfy itself with the visible symbolizing +of those half-poetical, half-superstitious conceptions with +which the religion of the Middle Ages was so deeply +imbued.</p> + +<p>An early development of decorative symbolic art, +known as Celtic, of which we have examples on old Irish +crosses, and particularly on illuminated MSS. was wrought +by the Christian monks of the 7th and 8th centuries, but +what is generally understood as Christian symbolic art +had its finest development about the 13th century. Gothic +art is essentially symbolic and in many instances, its +individual forms have specific significance. Thus the +common equilateral triangle was used to symbolize the +Holy Trinity, as are the two entwined triangles. Other +symbols employed at this period setting forth the mystery +of the Unity of the Trinity, without beginning and without +end, are three interlaced circles, and a very curious one +is that in which three faces are so combined as to form +an ornamental figure. Baptism under the immediate +sanction of the Divine Trinity was represented by three<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> +fishes placed together in the form of a triangle.<a name="img3" id="img3"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img3c.jpg"> + <img src="images/img3c.jpg" height="350" + alt="Plan of a Gothic Cruciform Parish Church" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><i><br /><b>Plan of a Typical Gothic Cruciform Parish Church.</b><br /> + (St. Mary, Luton, fully described in No. 47 of this Series).<br /> + <small>Drawn by Ed. Craven Lee.</small></i> +Click to <a href="images/img3c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +So numerous, indeed were such Christian symbols after the +9th century that a mere enumeration of them would +occupy considerable space. Every trefoil symbolized the +Holy Trinity; every quatrefoil the four Evangelists; +every cross the Crucifixion, or the martyrdom of some +saint; and in Gothic ornament and decoration, we find +the Chalice, the Crown of Thorns, the Dice, the Sop, the +Hammer and Nails, the Flagellum and other symbols +of our Lord's Passion.</p> + +<p>Although presenting the same characteristics in their +external design, our town and village churches are very +various. The simplest form, and the one most commonly +found, is that of a nave and chancel, with a tower at the +west end; to which plan may be added aisles and transepts, +the latter often being wrongly called "cross-aisles." +When the walls of the nave above the arcade +rise above those of the aisles and are pierced with windows, +the upper portion is called the clerestory, the meaning of +which word is not free from obscurity; it seems probable +that it indicates the clear story—the story which rises +clear of the nave and aisles. In large buildings, they +are important both for utility and beauty, but in small +and early churches, they are of less importance.</p> + +<p>It is a well-known fact that the chancel and nave of +a church generally stand east and west. This arrangement, +called the orientation, is symbolic of the +teaching that to the east we are to look for assistance +and protection against the power of our enemy, and that +as we pray we may look for the day-spring, symbolized +to us in the rising sun that sheds light and warmth all +over the earth.</p> + +<p>The public entrance to a church is generally at the west +end (the priest usually had a door in the chancel for his +own use). Through this door we enter the house of +prayer, for as in the east we see the emblem of the Lord +of Life and Light, so the west represents the seat of +darkness and of the powers of evil.</p> + +<p>The earliest porches were those of the early Christian +basilica churches; they were long and arcaded and were<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> +called "narthex." In later times, they assumed two +forms, one the projecting erection, covering the entrance +and divided into three or more doorways, and the other +a kind of covered chamber open at the end and having +small windows at the sides. These latter are generally +found on the north and south sides of the nave. Formerly, +when church government was more rigorous in +discipline than is now the case, the porch was the appointed +place for those who were under censure. Those also +who were unbaptised, or who had not yet received the +sacrament of regeneration, were not allowed beyond the +porch, not quite excluded from the church and yet not +permitted to enter fully. The porch also served as a +path of admission for all Christians into the body of the +church, so that they passed through the assembly of +penitents and catechumens, who were wont to ask the +prayers of the more highly privileged for their full restoration +or admission to the communion of the faithful.</p> + +<p>With reference to our Lord's word, "I am the +Door," we frequently find the tympana of church doors, +particularly those of Norman date, adorned with representations +of events from his life, but they often also depict +the monsters, dragons and devils, that formed so strong +an article in the faith of the early Christians.</p> + +<p>A more detailed account of these tympana will be +found in a following chapter.</p> + +<p>Passing through the porch we enter the nave, which +word is derived from the Latin <i>navis</i>, a ship. Its symbolic +teaching is that of the Church riding triumphantly +and buoyantly on the troubled and dark waters of the +world. The first thing noticed on entering the nave is +the font, which was formerly placed outside the church, +in a separate building called the baptistery; a few of our +churches have retained these little buildings which now +form part of the churches proper.</p> + +<p>The reason in early days for placing the font outside +the church was that the Christian was not admitted into +the nave until he had been baptised and confirmed, the +latter rite being administered immediately after baptism.</p> + +<p>From the western door there is a clear passage through<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span> +the centre of the nave, called the aisle, signifying the +straight and narrow way from the seat of darkness to +immortal life. On each side of this aisle are seats for +the laity, with room for standing and kneeling. The nave +was usually divided from the chancel by an open screen +of wood or stone, signifying that although the Christian +might have some insight into the mysteries of the priest's +office, at the same time these were to be partly concealed +from his view. The rood screen was so called from +the fact that the great Rood, or Crucifix, stood +above it, not always on the screen itself, but on a +separate beam, to which was often attached a rood loft +or chamber. In early days, the lessons were read from +the top of the rood screen, and in many of our churches +the stairways leading thither have been retained.<a name="img4" id="img4"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="5" summary="illo"> + <tr> + <td align="center"> + <a href="images/win-1.jpg"> + <img src="images/win-1-t.jpg" height="302" alt="Norman" /></a> + </td> + <td align="center"> + <a href="images/win-2.jpg"> + <img src="images/win-2-t.jpg" height="302" alt="Stilted" /></a> + </td> + <td align="center"> + <a href="images/win-3.jpg"> + <img src="images/win-3-t.jpg" height="302" alt="Stilted" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Early English.</small> + </td> + <td align="center"> + <small>Decorated.</small> + </td> + <td align="center"> + <small>Perpendicular.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <br /><span class="b"><b>Examples of Gothic Windows</b><br /> + <small>See also page <a href="#Page_59">59</a></small>.</span> + </td> + </tr> +</table> +</div> + +<p>In churches where the screen has vanished, the division +of the nave from the rest of the church is plainly marked +by the chancel arch. The chancel is emblematic of the +Christian perfection, of the Church triumphant in heaven.</p> + +<p>In an old church, a piscina is nearly always found in +the chancel, and here, too, were the sedilia or seats for<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> +the officiating clergy, the prior, sub-prior, and the +deacon, the last-named occupying the lowest seat.</p> + +<p>Founders' tombs also nearly always occupy positions +in the chancel, and these tombs differ from all others in +that they form an integral part of the structure, and +could not have been added after the church was completed.</p> + +<p>Another thing sometimes to be seen is the ambery, +or aumbry, a small cupboard let into the chancel wall, +in which were kept the communion vessels, the chalice, +paten, etc.</p> + +<p>The great object of interest, however, in the chancel, +is the altar, which Archbishop Laud directed should be +enclosed by rails, so that although the people may draw +near, they cannot touch the holy table, but must accept +from the hands of the priest those gifts of which he is +the minister from God.</p> + +<p>Altars are fully described in a following chapter, but +we may here note that the reredos, so universally found +in our cathedrals, abbeys, and in many of our churches, +forms no part of the altar, and the Court of Arches has +decided that there are no altars in the Church of England, +but only communion tables.</p> + +<p>Prominent among the external enrichments of our +churches is the gargoyle, a word derived from the French, +"gargouille," which in its turn comes from the Latin +"gurgulio"—a water-spout. The earliest gargoyles are +merely orifices with a lip to shoot the water well away +from the fabric. The true gargoyle, however, was +quickly evolved from this primitive form, and consists +of two parts, the lower one forming the channel, the +upper one being the cover. The full significance of the +skill displayed by the old masons in the rare opportunity +the gargoyle afforded them of representing the dragons, +serpents, etc., in which their fancy revelled, is made +apparent when we view the futile attempts of modern +architects to introduce this feature in their churches, for +modern gargoyles are generally grotesque caricatures, +and anything but happy appendages to the buildings to +which they are attached.<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span> +<a name="img5" id="img5"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="20" summary="illo"> + <tr> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center" valign="middle"> + <a href="images/norman.jpg"> + <img src="images/norman-t.jpg" height="322" alt="Norman" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Norman</small> + </td> + </tr> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/early.jpg"> + <img src="images/early-t.jpg" height="316" alt="Early English" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Early English</small> + </td> + </tr> + </table> + </td> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center" valign="middle"> + <a href="images/flying.jpg"> + <img src="images/flying-t.jpg" height="566" alt="Flying Buttress" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Flying Buttress</small> + </td> + </tr> + </table> + </td> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center" valign="middle"> + <a href="images/decorated.jpg"> + <img src="images/decorated-t.jpg" height="322" alt="Decorated" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Decorated</small> + </td> + </tr> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/perpendic.jpg"> + <img src="images/perpendic-t.jpg" height="316" alt="Perpendicular" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Perpendicular</small> + </td> + </tr> + </table> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <small><b>Examples of Buttresses</b><br /> + <i>Drawn by E. M. Heath</i></small> + </td> + </tr> +</table> +</div> + +<p>The churchyard, so pleasing an adjunct to the House +of God placed within it, is frequently approached through +a lych-gate, which word is derived from the Saxon <i>lich</i>,<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> +a corpse. These gates in our country churchyards are +often very picturesque little structures, and under +them the corpse at a funeral awaited the officiating +priest before being taken into the church. The churchyard +is commonly regarded as a mere dependency +of the church, and as having a history very inferior +in interest to that of the temple to which it is the +court. The truth is that many of our churchyards +have an antiquity far greater than that of the +churches, as many of them constituted the open-air +meeting-places of our Saxon forefathers long before the +erection of parish churches. In the common meeting-place +a cross was set up, either of wood or stone, to mark +and hallow the spot, and when a church was subsequently +built it was usually in the immediate vicinity of the cross, +which accounts for the fact that many churchyard +crosses are of older date than the churches themselves.</p> + +<p>Wells of water are often found in old churchyards, +and as the regulations of the Saxon church required +immersion and not sprinkling, it is possible that these +were the Saxon fonts.</p> + +<p>Such then is the necessarily brief attempt to describe +the main lines on which our old churches were planned, +and the motives and ideals which animated their builders, +who, being impressed with the dignity and mystery of +the works of God, made their churches symbolical of the +portions of the Christian life; the porch signifying +baptism, the nave the life militant on earth, and the +chancel the life eternal; while every little ornament, +piece of sculpture and enrichment was designed to remind +the worshippers of their faith, of its hopes, blessed +promises and rewards.</p> + +<p> </p> +<hr class="narrow" /> +<p> </p> + +<h4><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></h4> + +<h3>EARLY BRITISH CHURCHES.</h3> + +<p>In dealing with the introduction of church architecture +into our own land, the task would be much +simplified if one could state with certainty when +the first church was built on British soil. Some historians +assert that the Church of England as it is constituted +to-day dates no further back than the moment +when S. Augustine and his followers landed on the shores +of Kent in the year 596, yet one is probably justified in +assuming that a church existed in these islands for +centuries previous to the arrival of the Roman missionaries. +Unfortunately we have no records to guide us as +to the date of this earlier settlement, and the name of +the first Christian missionary to heathen Britain has still +to be discovered. "We see," says the quaint old historian, +Thomas Fuller, "the light of the word shined here, +but see not who kindled it." The first Christian building +of which we have any record was probably that erected +at Glastonbury before the year 300, but that this was the +first Christian settlement cannot be alleged with certainty.</p> + +<p>There are many traditions concerning the introduction +of Christianity into Britain, some of which may probably +have some bearing on the truth, but the whole subject +is involved in considerable obscurity. One of these +numerous traditions is to the effect that the British King +Caradoc, after being taken prisoner to Rome, was allowed +to return, on condition that several members of his family +remained as hostages; and whilst serving in this capacity, +his mother, son, and daughter are stated to have become +converts to Christianity, the doctrines of which faith +they spread in their native land on their return thereto. +Another tradition is to the effect that S. Paul himself +visited Britain and laid the foundation of the Christian +faith.<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a><a name="img6" id="img6"></a></span></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img6c.jpg"> + <img src="images/img6c.jpg" height="330" + alt="Rood Screen" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><b>A Rood Screen with a Restoration of the Rood</b>.<br /> + Kenn, Devon.<br /> + <i>Photograph by Chapman.</i><br /> +Click to <a href="images/img6c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>We are also told by eminent church historians<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> +that the father and grandfather of S. Patrick were +Christians, in which case S. Patrick himself would from +a very early age have been brought up in the tenets of +their faith. He is said to have been seized by pirates in +the Clyde and taken to the north of Ireland, and eventually +to Gaul. He was subsequently restored to his friends, +whom he wished to convert to the Christian faith, and +for this purpose his father sent him to be taught in the +schools of Tours, Auxerre and Lerins. Eventually he +was consecrated Bishop of the Irish and organized an +efficient ecclesiastical system in Ireland.</p> + +<p>Before the coming of the Anglo-Saxons the church +seems to have established a firm hold on the people, who +held tenaciously to their possessions, both secular and +religious, which were only wrested from them after a +severe struggle. Their enthusiastic love of Christianity +led them to make a heroic defence of the churches, +rather than see them fall into the hands of the heathen +Anglo-Saxons. The historian Bede tells us that all their +buildings were destroyed, the priests' blood was spilt +upon the altars, prelates and people were slain with the +sword, and all the cities and churches were burnt to the +ground. When all was lost and there was no longer a +church or home to defend, the Britons retired to the +country of their fellow-Christians, the secluded and +almost impenetrable hills and forests of the west. The +Anglo-Saxon love of gold was quickly recognised by the +people of West Wales who saved their property and bought +the right of worshipping after the manner of their fathers +by the payment of an annual tribute to their conquerors.</p> + +<p>So ruthlessly indeed did the Anglo-Saxons rase to the +ground the early churches, that, until a few years ago, but +few traces of these early buildings were thought to exist. +<span class="sidenote">Church of<br /> +S. Piran, Perranporth.</span> +An accidental discovery, however, in the year 1835, +brought to light an undoubted relic of an +early British church in the west, this being +the remains of a little church which had +been until the date above mentioned completely +buried in the sand on the sea coast +near Perranporth in Cornwall. They are thought by<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> +ecclesiologists to be the remains of the original church +erected to the memory of S. Piran, a Cornish missionary +and a friend of S. Patrick, who was buried within its +walls before the year 500 A.D. On removing the sand, +the accumulated deposit of centuries, the church was +found to have consisted of a nave and chancel +containing a stone altar.<a name="img7" id="img7"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img7c.jpg"> + <img src="images/img7c.jpg" height="300" + alt="Church of S. Martin, Canterbury" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption">The Church of S. Martin, Canterbury.<br /> + Click to <a href="images/img7c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The building measured 29 +feet in length, 16<sup>1</sup>⁄<sub>3</sub> feet in width and 19 feet from +the floor to the roof, and probably shares with S. +Mary's Church in Dover Castle, and S. Martin's, Canterbury, +the honour of being one of the earliest links +we possess with the ancient British Church. S. Mary's, +Dover, appears to have been built of Roman bricks and +cement, a combination which antiquaries consider is +found only in those buildings which were erected during +the Roman occupation.<span class="sidenote">S. Martin's, Canterbury.</span> S. Martin's Church, Canterbury +has many claims to be considered one of +our most interesting churches, no less on +account of its associations than for its +structural interest. The date of its building has been a<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> +source of endless controversy, as it contains many features +attributable to either Roman or Saxon architecture. It +is thought that it may possibly have been used for worship +by the Christian soldiers of the Roman army. Be this +as it may, it is established beyond doubt that it was the +oratory of Queen Bertha, the first English Christian queen, +who here worshipped, with her chaplain Liudhard, long +before the advent of S. Augustine, who himself in later +times preached here; and within the walls of this cradle +of English Christianity, Ethelbert, King of Kent, the +husband of Queen Bertha was baptized. The Venerable +Bede, writing within a hundred years of the death of S. +Augustine states that there was in 597 A.D. in Canterbury, +a church "dedicated to the honour of S. Martin and built +while the Romans still occupied Britain." On the departure +of the Romans it is probable that the church was +still used by a small band of Christian worshippers until +the heathen Jutes overran the Isle of Thanet in 449.</p> + +<p>Little is known of the progress of Christianity on this +island from that date until the landing of S. Augustine in +597, and the first fruits of his mission, as we have seen, +was the conversion and baptism of King Ethelbert. As +one would naturally expect, the aspect of the structure +to-day, though suggestive of antiquity, is lacking in +uniformity of treatment. The brick courses in the nave +are at irregular intervals, varying from nine to twenty +inches apart, the spaces being filled with Kentish rag-stone +and occasional blocks of chalk. The chancel +extends eighteen or twenty feet east of the arch and is +composed of Roman bricks, evenly laid and averaging +four bricks to a foot. The chancel was lengthened at +the beginning of the thirteenth century and again at a +more recent date, so that its architecture to-day is of +three distinct periods. Outside may be seen five flat +pilaster buttresses and one semi-circular one, a square-headed +Roman doorway, a Saxon doorway and two Early +English porches; and there is also a nearly circular +panel on the south side of the nave, and a Norman +squint at the west end. There are many other features +of interest which bear evidences of a great antiquity, and<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +the only question which is seriously disputed is whether +the earliest portion of the present nave was built about +the end of the Roman occupation of Britain or during the +mission of S. Augustine.<a name="img8" id="img8"></a></p> +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img08c.jpg"> + <img src="images/img08c.jpg" height="300" + alt="Ancient Window built with Roman Brickwork" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><b>An Ancient Window built with Roman Brickwork.</b><br /> + Swanscombe, Kent.<br /> + <i>Photograph Mr. G. H. Smith.</i><br /> + Click to <a href="images/img08c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The Rev. Charles F. Routledge, +M.A., F.S.A., Hon. Canon of Canterbury Cathedral, +writes: "Whatever may finally be determined to be the +date of the church's foundation, it can never lose its +unique association with S. Augustine, King Ethelbert and +Queen Bertha, nor its undisputed claim to be the oldest +existing church in England. From it flowed the tiny +spring of English Christianity, which has since widened +out into a mighty river, and penetrated the remotest parts +of the civilized and uncivilized world."</p> + +<p class="noindent">Among other churches which show signs of having<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> +been built during the Roman occupation are those of<span class="sidenote">Other Early Churches.</span> +Reculver, Richborough and Lyminge, while +the foundations of an undoubted early +church have been discovered in the old +Roman city of Silchester, in Hampshire. +<i>See <a href="#frontis">frontispiece.</a></i> The old church at Reculver +stood originally within the Roman castrum, the fortress +which guarded the northern mouth of the Wantsume, now +a small stream, but once an arm of the sea dividing the +Isle of Thanet from the mainland. The greater part of +this church was pulled down in 1809, but the western +towers, known as "the sisters" were repaired by Trinity +House, as they constitute a useful landmark for +mariners, being visible at a great distance.</p> + +<p>Reculver church was built about A.D. 670, and from +the existing walls and foundations it is clear that its plan +was basilican. The church is now a ruin, but some stone +pillars which supported the arches are preserved in the +Cathedral Close at Canterbury.</p> + +<p>As Reculver guarded the northern mouth of the watercourse, +so Richborough protected the south, and here +traces of a chapel in the form of a cross are plainly discernible +amongst ruins known to be of Roman workmanship. +The old church at Lyminge in the same county is +thus described by Canon Jenkyns, in his "<i>History of +Lyminge</i>":—"The Roman foundations discoverable at the +south-east angle of the chancel, together with the remarkable +half-arch that intervenes, marked the site of +the <i>aquilonalis porticus</i>—the title of basilica already +given to it in the seventh century establishes its claim to +great antiquity."</p> + +<p>We thus see that although remains of the actual +buildings in which the British Christians worshipped +are few in number, yet enough are left us to prove +conclusively that there was a very active and zealous +Christian community established in these islands during +at least the period immediately preceding that in +which Rome withdrew her legions from Britain in order +to defend Italy against the Goths, and abandoned our +island to the mercy of her foes.</p> + +<p> </p> +<hr class="narrow" /> +<p> </p> + +<h4><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span></h4> + +<h3>EARLY CHURCH ARCHITECTURE.</h3> + +<p>In the early years of the Christian Church, when its +members became sufficiently free from persecution +to erect buildings for the purpose of worship, they +were naturally anxious to avoid any of the forms peculiar +to either heathen or Jewish temples. Some model, however, +was necessary, and their choice being limited, they +appear to have adopted the simple style of the Roman +basilica, or court of justice. There was an adaptability +about the general plan of such a building which rendered +its selection natural and not inappropriate, while the +dignified simplicity of its construction and the object for +which it was primarily founded—the dispensation of +justice—commended it no doubt in the first instance as +a model for the primitive Christian church. These +basilicæ were usually enclosures surrounded by a colonnade, +sometimes roofed, but more often open to the air, +and designedly built for the purpose of being accessible +to all members of the community at all times of the day. +They appear occasionally to have been used for the transaction +of ordinary business in which they would closely +resemble our exchanges. Be this as it may, this form of +architecture has left its impress on many Christian buildings, +and the name of basilica, for a church, is still used +in many parts of Italy.</p> + +<p>The Roman basilica was usually in the form of a +parallelogram, with a seat for the judges at one end, and +in their adaptation of this form of building, the early +Christians devoted this place to the purposes of an altar. +This, by an easy and natural transition, is thought to +have given rise to the formation of the semi-circular +recess at one end of the building, known as the apse (from<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span> +the Latin <i>apsis</i>, a bow or arch), which is still to be found in +some of our older churches.</p> + +<p>Being thus Roman in the nature of their ground plan, +it is not surprising to find that other portions of the early +Christian buildings show decided characteristics of a +Roman style. On the destruction of the Pagan temples +by order of the Emperor Constantine about the year 330, +much of their material was built into the earliest Christian +churches, and the Roman character of their design being +prevalent, they formed a style of architecture which has +been designated Romanesque, of which the later styles, +known here as Saxon and Norman were largely modifications. +There is no reason to doubt that the earliest +Christian churches were very unpretentious in form and +that some time elapsed before there was anything which +could be called a definite church architecture, beyond that +to which we have alluded. Nevertheless, as the Church +strengthened her position and grew in security, more +attention was devoted to the subject of its edifices, and the +departure in time from the original ground plan furnished +an opportunity for the introduction of a more symbolical +and appropriate design. The plan of the old basilica was +abandoned for one in the form of the cross, the accepted +symbol of the Christian religion, which departure, however, +did not involve any very great alteration from the +old ground plan.</p> + +<p>We come then to the time when one or other of the +forms known as the Latin or the Greek cross—whichever +was most convenient—was usually employed in a building +designed for Christian worship, and these forms are +universally found in the most elaborate structures of +which the Christian Church can boast.</p> + +<p>As time passed, these cruciform churches were surmounted +with a dome, steeple, or tower at the point +where the members of the cross intersected each other. +At first the most prominent of these external adornments +was the dome; a characteristic of the architecture of +Eastern Europe, which acquired the name Byzantine, +from its having been carried to great perfection in Byzantium +(Constantinople), the capital of the Eastern Empire.<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span></p> + +<p>The church of S. Sophia, which was built, much as it +now exists, early in the sixth century, and was afterwards +converted into a mosque, is an almost perfect example +of the Byzantine style. In this building we find the +Roman arch used in a variety of ways, while the dome +itself is formed entirely of this arch used as the crowning +work of the edifice. Eastern churches in this style +usually took the form of the Greek cross, this form being +better calculated to support the weight of the cupola. In +Western Europe, however, where the flat squat tower +afterwards developed into the steeple, as we shall see in +a later chapter, the Latin cross was mostly used, and this, +with a few notable exceptions, is the plan of most western +churches.</p> + +<p>With writers of about fifty years ago, it was a favourite +theory that the Christians converted the old basilicæ into +churches, and that the "Halls of Justice" erected by +the Romans in this country were also converted into +Christian churches, and some authorities point to the walls +and arches of Brixworth church in confirmation of this +theory. The late Mr. J. W. Brewer, however, stated that +unfortunately for this theory, no single example of a +basilica being converted into a church has been found +in this country and he himself held the theory that the +word basilica was used by the Romans to describe any +building which was supported by internal columns, and +in that way the name came to be applied to Christian +churches.</p> + +<p>As we have seen, the early Christians, after a short +time, became dissatisfied with these buildings adapted +from Pagan types, and the Byzantine form of church +arose, the first people who practised this style of building +being the Greeks. The style spread with rapidity all +over the East, the great church of S. Sophia being its +largest example and the smaller, but more perfect, church +of S. Mark at Venice giving us the best idea of this form +of church architecture. Largely modelled on this style, +also, are the circular baptisteries of Italy and the round +churches of England, France and Germany, the modern +Russian churches and all the Mohammedan mosques. The<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> +Latin churches did not greatly favour this style and their +use of it was confined, with few exceptions, to baptisteries, +monumental chapels and the like, but for parochial, +cathedral and monastic churches, the oblong plan was +retained and ultimately developed into the Gothic church +with its nave, transepts and chancel.</p> + +<p>The changes which the Christian basilica at first underwent +were simple, <i>viz.</i>, the use of the arch instead of the +straight lintel, or the placing of an entablature between +the columns; a little later, about the tenth century, the +old wooden roof of the basilica gave place to the arched +roof or vaulting, so called from its being composed of a series +of vaults. The styles called Romanesque and Lombardic +are but geographical varieties of the same architecture +and from these the Saxon and Norman styles were soon +to be developed. The vaulted basilica church soon became +common over the north of Europe, the two most +important and practically unaltered examples being the +cathedrals of Speyer and Worms, in Germany, although +our Anglo-Saxon cathedrals of Peterborough, Ely and +Norwich may, so far as regards their naves, be justly +regarded as the offspring of the vaulted basilica style of +building.</p> + +<p>When the old basilica style of church with its heavy +beam roof and its innumerable columns had ceased to +satisfy the lofty aspirations of Latin Christianity, and +when the Greeks had inaugurated a new style of church +architecture, only two courses were left to the Latins, +either to adopt the Greek style in its entirety, or to improve +upon the basilica type. Fortunately, although +after considerable hesitation, they chose the latter alternative, +the result being the genesis of our glorious +cathedrals with their long naves and aisles, deep transepts +and beautiful variety of form and outline.<a name="img9" id="img9"></a></p> + +<p><span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img9c.jpg"> + <img src="images/img9c.jpg" height="400" + alt="REPUTED SAXON DOORWAY" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><b>A Reputed Saxon Doorway.</b><br /> + Bishopstone, Sussex.<br /> + <i>Photograph Mr. W. Hodgson.</i><br /> + Click to <a href="images/img9c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> +<p> </p> +<hr class="narrow" /> +<p> </p> + +<h4><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span></h4> + +<h3>THE SAXON AND NORMAN STYLES.</h3> + +<p>As we have seen in the previous chapter, the whole +subject of pre-Saxon church building is still very +obscure, and for some considerable time after the +Anglo-Saxon invasion little is known concerning church +architecture, nor has it yet been fully ascertained whether +any buildings of this period exist. By the year 588 the +Saxons were in complete possession of the land. Christianity +was to all appearance wiped out and the Church, +to the superficial observer was dead. In his "<i>History of +English Church Architecture</i>," Scott expresses the opinion +that the oldest English churches may be divided into +three groups. First, those which preceded the Danish +invasion; secondly, those from the above epoch to the +invasion of Sweyn; and thirdly, those onward to the +Norman Conquest.</p> +<div class="sidenote">Saxon<br /> +Archi­tecture.</div> +<p class="noindent">What exactly constituted Saxon architecture +has long been a controversial point +and one which will probably never be +definitely settled. Parker, in his "<i>Glossary +of Architecture</i>," says:—</p> + +<blockquote> +<p><small>"For a considerable time, after they (the Anglo-Saxons) had +established themselves in this country, their buildings were of +wood, and this appears to have been the prevailing material +employed at the time of the Conquest, although stone had been +occasionally used several centuries earlier…. No timber-work +of Saxon date can be in existence at the present time, but +it is contended by some antiquaries that several of our churches +exhibit specimens of Saxon masonry; the truth of this theory, +however, is not fully established, nor has the subject of Saxon +architecture been yet sufficiently investigated to clear away the +obscurity in which it is involved."</small> +</p> +</blockquote> + +<p>Probably few of our so-called Saxon churches were +built earlier than thirty or forty years before the Norman +Conquest, and it seems certain that for some years after +they had settled in England, the Normans employed<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> +Saxon masons to build in the Saxon manner, as is seen +by the tower of S. Michael's Church, Oxford, which, +although showing all the characteristics of reputed Saxon +masonry was built many years after the Battle of Hastings. +Certain it is that these pre-Norman buildings in England +were singularly rude and rough and show how much our +Saxon ancestors were, at that period, behind the Italians, +French and Germans in architectural skill.</p> + +<div class="sidenote">Saxon +Churches.</div> +<p class="noindent">Our best examples containing Saxon work are possibly +the churches at Sompting and Bishopstone, Sussex; +Bradford-on-Avon; Wootton Wawen (sub-structure +of tower); Wing; Brixworth, and +Barnack, Northants; Greenstead in Essex; +and S. Martin's at Wareham, Dorset. +Of towers of this date the best are possibly those of +S. Mary's and S. Peter's, Lincoln and S. Benet's, +Cambridge. Of crypts, the finest examples are at Ripon +Cathedral, York Minster (part) and S. Mary's Church, +York. In addition to these, many other churches +have chancel arches, doorways or some other less +important features which are considered to be of +Saxon origin.</p> + +<p>These early buildings generally show the semi-circular +arch on the doorways, but the windows usually have a +triangular head; at Sompting church, however, the +windows have the semi-circular arch. It is necessary to +say a few words in detail about the more important +churches of this era.</p> + +<div class="sidenote">S. Lawrence, +Bradford-on-Avon.</div> +<p class="noindent">The church of S. Lawrence at Bradford-on-Avon +is one of the oldest unaltered churches in England, and +it seems to be beyond question that it is +the actual church built by Ealdhelm at the +beginning of the eighth century and dedicated +by him to S. Lawrence. It consists +of a chancel, nave and north porch, and +among its remarkable features is its great height and the +extreme narrowness of the round-headed arch between +the nave and the chancel, a feature it has in common +with the Saxon church of S. Martin at Wareham; the +ground-plan measurements of both these churches are<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span> +identical. At S. Lawrence's church, an incised arcade +is seen outside the walls, and on either side of the west +aspect of the chancel arch are two sculptured figures of +angels, which are thought to represent the earliest extant +fragments of church carving in England.<a name="img10" id="img10"></a></p> + +<div class="figright" style="width: 250px;"> +<img src="images/img10c.jpg" width="250" alt="Tower of Earls' Barton Church." /> +<span class="caption"><b>Tower of Earls' Barton Church</b><br /> +Generally considered to have characteristics<br /> +of Saxon masonry.</span></div> +<div class="sidenote">Brixworth, +Earls' Barton +and Barnack.</div> + +<p class="noindent">Brixworth church is possibly older than S. Lawrence's +and it is said to have been in continuous use for Divine +Service ever since it was erected. The +tower appears to be of rather later date +than the nave and rests upon the walls of a +"narthex" or portico, which may have +extended along the +whole breadth of the +front, as is still to be +seen in churches at +Rome and Ravenna. +The curious pile of +masonry built up +against the tower may +have been added for +defence, as it could +hardly have formed +part of the original +design.</p> + +<p>Earls' Barton and +Barnack churches both +have towers so covered +with narrow projecting +strips of stonework +that the surface of the +walls appears divided +into rudely formed +panels. The west doorways +of both show +primitive imitations of +Roman mouldings in +the imposts and architraves. +The tower of +Earls' Barton consists +of four stages, each of<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> +which is slightly smaller than the one below. In that of +Barnack church, the upper stages of the tower represent +the period of transition from Norman to Early English.</p> + +<div class="sidenote">S. Michael's +Church, Oxford.</div> +<p class="noindent">S. Michael's, Oxford, has a massive tower of solid +masonry, unpierced in its lowest stage by either door or +window, the second stage shows but one +window and the highest is pierced by +several windows of more elaborate construction. Although generally consisting +of rubble and stone, Saxon churches were +sometimes built of wood as we see from the existing nave +of the parish church of Greenstead, Essex.<span class="sidenote">Greenstead +Church, Essex.</span> A brick chancel<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span> +has been added at the east and a timber belfry at the west +end, but the old Saxon portion is composed +of large chestnut trees split asunder and set +upright close to each other with the round +side outwards. The ends are roughly hewn +so as to fit into a sill at the bottom, and +into a plate at the top, where they are fastened with +wooden pins. There are 16 logs on the south side where +are two doorposts, and on the north side twenty-one logs +and two spaces now filled with rubble. There is a +tradition that this church was erected to receive the body +of S. Edmund, on its return from London to Bury, in 1013.<a name="img11" id="img11"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img036c.jpg"> + <img src="images/img036c.jpg" height="350" + alt="Example of a Norman Tower" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><br /><b>An Example of a Norman Tower.</b><br /> + Bishopstone, Sussex.<br /> + <i>Homeland Copyright.</i><br /> + Click to <a href="images/img036c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The semi-circular arch has long been considered to be +one of the most distinctive marks of Norman architecture, +but Mr. Rickman, who made an exhaustive study of the +early churches of France and England, says:—</p> + +<blockquote> +<p><small>"In various churches it has happened that a very plain arch +between nave and chancel has been left as the only Norman +feature, while both nave and chancel have been rebuilt at +different times; but each leaving the chancel arch standing. +I am disposed to think that some of these plain chancel arches, +will, on minute examination, turn out to be of Saxon origin."</small> +</p> +</blockquote> + +<p>It would be tedious to enter into any more minute +account of the Anglo-Saxon ecclesiastical remains, and +the reader whose enquiries conduct him to the more +elaborate works on the subject will be startled by the +contrary opinions that he will surely encounter.</p> + +<p>In concluding these brief remarks on early buildings, +we must again quote from Parker's work to which +reference has already been made:—</p> + +<blockquote> +<p> +<small>"The class of buildings referred to as being considered to +belong to this style contain some rather unusual features, and +they require to be particularly described, both because they are +in themselves remarkable, and because there is a probability +that some of them may be Saxon."</small> +</p> +</blockquote> + +<p class="noindent"><span class="sidenote">Norman<br /> +Archi­tecture.</span>The Norman style of church architecture with its +varied forms of columns, moulded and recessed arches +and vaulting, may be roughly stated to +have been introduced into England at the +time of the Conquest. The Saxon masons +do not appear to have understood vaulting +sufficiently well to have roofed over any large space with<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span> +stone, and for this reason alone the Saxon form of building +was bound to give way before the Norman, which of +all the earlier styles was the most advanced in this +respect.<a name="img12" id="img12"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img038c.jpg"> + <img src="images/img038c.jpg" height="500" + alt="Norman Pier Arcade" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><b>A Norman Pier Arcade.</b><br /> + Abbots Langley, Herts.<br /> + <i>Photograph Mr. A. W. Anderson.</i><br /> + Click to <a href="images/img038c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>Generally speaking, Norman arches were semi-circular, +but they were by no means universally so, for a +form frequently found is one in which the spring of the +arch does not take place from the abacus, or upper +member of the capital, but at some distance above it and +when it assumes this form it is called a "stilted" arch, +suggested by some authorities to have been unintentional +and the result of imperfect construction +or planning. <i>See page <a href="#Page_10">10</a>.</i><a name="img13" id="img13"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="5" summary="illo"> + <tr> + <td align="center" valign="bottom"> + <a href="images/mould-1-1.jpg"> + <img src="images/mould-1-1-t.jpg" height="77" alt="Chevron or Zig-zag" /></a> + </td> + <td align="center" valign="bottom"> + <a href="images/mould-1-2.jpg"> + <img src="images/mould-1-2-t.jpg" height="70" alt="Star" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Chevron or Zig-zag.</small> + </td> + <td align="center"> + <small>Star.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + + </td> + </tr> + <tr> + <td align="center" valign="bottom"> + <a href="images/mould-2-1.jpg"> + <img src="images/mould-2-1-t.jpg" height="84" alt="Alternate Billet" /></a> + </td> + <td align="center" valign="bottom"> + <a href="images/mould-2-2.jpg"> + <img src="images/mould-2-2-t.jpg" height="67" alt="Square Billet" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Alternate Billet.</small> + </td> + <td align="center"> + <small>Square Billet.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + + </td> + </tr> + <tr> + <td align="center" valign="bottom"> + <a href="images/mould-3-1.jpg"> + <img src="images/mould-3-1-t.jpg" height="71" alt="Double Cone" /></a> + </td> + <td align="center" valign="bottom"> + <a href="images/mould-3-2.jpg"> + <img src="images/mould-3-2-t.jpg" height="71" alt="Lozenge" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Double Cone.</small> + </td> + <td align="center"> + <small>Lozenge.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + + </td> + </tr> + <tr> + <td align="center" valign="bottom"> + <a href="images/mould-4-1.jpg"> + <img src="images/mould-4-1-t.jpg" height="68" alt="Beak Head" /></a> + </td> + <td align="center" valign="bottom"> + <a href="images/mould-4-2.jpg"> + <img src="images/mould-4-2-t.jpg" height="68" alt="Bird Head" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Beak Head.</small> + </td> + <td align="center"> + <small>Bird Head.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <span class="b"><b>Examples of Norman Mouldings.</b></span> + </td> + </tr> +</table> +</div> + +<div class="sidenote">Ornament.</div> +<p class="noindent">The main features in the ornamentation of this period +are the sculptured bands worked round the arches, which, +although generally called "mouldings," +are more in the nature of decoration, and +in some instances they appear to be additions +carved on the originally unadorned surface of the +masonry. The earliest and most general ornament +is the chevron or zig-zag, which is frequently found +doubled, trebled and quadrupled. The next most common +form is the beak-head, consisting of a hollow and<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> +large round.<a name="img14" id="img14"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img040c.jpg"> + <img src="images/img040c.jpg" height="550" + alt="Late Norman Parish Church" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><b>A Late Norman Parish Church.</b><br /> + Castle Rising, Norfolk.<br /> + <i>Drawn by Gordon Home.</i><br /> + Click to <a href="images/img040c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>In the hollow are placed heads of beasts +or birds whose tongues or beaks encircle the round. On +the west doorway of Iffley church, Oxford, are many +of these beak-heads extending the whole length of the +jamb down to the base moulding. They also figure +prominently among the ornamentations of the hospital +church of S. Cross, near Winchester. The zig-zag +moulding is very common on Norman churches and is +so easily recognised that no further description is needed +here. The less prominent decorations of Norman mouldings +include the alternate billet, the double cone, and the +lozenge, together with an immense number of others +less commonly found.</p> + +<div class="sidenote">Windows.</div> + +<p class="noindent">The Early Norman window was little better than a +narrow slit finished with a plain semi-circular head, and +was generally only a few inches wide. +They were, it is believed, filled with oiled +linen and the sides of the aperture were +splayed towards the interior. Later in the period, the +windows were enriched by the zig-zag and other mouldings +and at a still later period an improvement was made +by inserting nook-shafts in the jambs similar to those +in doorways.</p> + +<p>The towers of Norman churches often show windows +of two lights separated by a central shaft, all enclosed +under a large semi-circular arch, the spandrel of which +is rarely pierced. Plain circular windows of small +dimensions are sometimes found in other positions and in +churches of later date, and occasionally in gable walls. +Larger windows of the same form, with small shafts +radiating from the centre and connected at the circumference +by semi-circular or trefoiled arches, are also +found as at Barfreston church, Kent, where there is a +fine example.</p> + +<div class="sidenote">Doorways.</div> + +<p class="noindent">Norman doorways are found in great numbers and +variety, even in churches which present no other features +in this style. The most usual form consists +of a semi-circular-headed aperture with a +hood-mould springing from plain square-edged +jambs. Frequently, however, the doorways are<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span> +recessed, having a nook-shaft in the angle formed by +a recession from the capital, in which case it presents +two soffits and two faces, besides the hood-moulds. The +depth of these doorways is largely due to the great +thickness of the walls usual in buildings of this +period, but in many cases that portion of the wall +in which the entrance is inserted is made to project +forward beyond the general face, which projection is +finished either with plain horizontal capping, or a high-pitched +gable.<a name="img15" id="img15"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img042.jpg"> + <img src="images/img042.jpg" height="500" + alt="West Doorway of Rochester Cathedral" /></a> + </td> + </tr> + <tr> + <td align="center"> + <span class="caption"><b>West Doorway of Rochester Cathedral</b><br /> + Duncan Moul<br /> + Click to <a href="images/img042.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>Norman porches thus have generally but +little projection, and are frequently so flat as to be little +more than outer mouldings to the inner door. They are, +however, often richly ornamented and have rooms above, +which rooms are wrongly called "parvises." The +shallow aperture often follows the form of the arch, but +is frequently square-headed, having a semi-circular +tympanum of masonry filling the space between the<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p> + +<p>lintel of the door and the intrados of the arch. These +tympana are usually sculptured in low relief with a +representation of some scriptural or traditional event, +while the assertion of the Apostle that "we must, through +much tribulation, enter into the kingdom of God," may +account for the fondness of the Norman sculptors in +representing different stages of martyrdom on the tympana +of their doors. A very singular tympanum is that +on the door of the church of Fordington S. George, at +Dorchester, whereon is represented some incident in the +life of S. George.<a name="img16" id="img16"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img043c.jpg"> + <img src="images/img043c.jpg" height="250" + alt="Tympanum of Norman Doorway." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Tympanum of Norman Doorway.</b><br /> + Fordington S. George, Dorset.<br /> + <i>Drawn by E. M. Heath.</i><br /> + Click to <a href="images/img043c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The principal figure is on horseback +with a discus round his head. The other figures are in +hauberks and chausses, and generally bear, in point of +costume, much resemblance to the figures on the famous +Bayeux tapestry. Barfreston church, Kent, has an +interesting tympanum, as also has Patrixbourne church +in the same county, where the sculpture shows the +Saviour with dragons and at his feet a dog. At Alveston +church, Warwickshire, the sculpture shows two quadrupeds +with enormous tails, fighting, with between them +a small bird, possibly intended for a dove. Our best +example of a Norman doorway and tympanum is generally<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span> +considered to be the west doorway of Rochester Cathedral, +where the sculpture is of a very advanced character for +its date, which is probably about 1130-40.</p> + +<div class="sidenote">Piers.</div> + +<p class="noindent">A distinctive feature of the Norman style are the +massive pillars, usually circular, and with capitals either +of the same form, or square; occasionally +in plain buildings the pillars themselves +are square with very little or no ornamentation. +Towards the end of the period, an octagonal +pillar was often used, having a much lighter appearance +than the earlier forms. Besides these plain styles, compound +or clustered piers are very numerous, differing +considerably in plan; the simplest consists of a square +having one or more rectangular recesses at each corner, +but one more frequently met with has a small circular +shaft in each of the recesses and a larger semi-circular +one on each side of the square.<a name="img17" id="img17"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="5" summary="illo"> + <tr> + <td align="center"> + <a href="images/cap-1.jpg"> + <img src="images/cap-1-t.jpg" height="200" alt="Norman. + Crypt, Winchester." /></a> + </td> + <td align="center"> + <a href="images/cap-2.jpg"> + <img src="images/cap-2-t.jpg" height="200" alt="Traditional. + Christ Church, Oxford." /></a> + </td> + <td align="center"> + <a href="images/cap-3.jpg"> + <img src="images/cap-3-t.jpg" height="200" alt="Norman. + Winchester Cathedral." /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Norman.<br /> + Crypt, Winchester.</small> + </td> + <td align="center"> + <small>Traditional.<br /> + Christ Church, Oxford.</small> + </td> + <td align="center"> + <small>Norman.<br /> + Winchester Cathedral.</small> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <br /><span class="b"><b>Examples of Capitals.</b></span> + </td> + </tr> +</table> +</div> + +<div class="sidenote">Capitals.</div> +<p class="noindent">Norman capitals are +very varied, having many different forms of +ornamentation; the commonest is one +which resembles a bowl with the sides +truncated, reducing the upper part to a square; sometimes +the lower part is cut into round mouldings and +ornamented, but it is frequently left plain.</p> + +<p>The Norman +capital in its earliest style was of short proportions, but<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span> +afterwards it became longer, with lighter ornamentation, +gradually merging into the Early English. The bishops +and abbots of this period appear to have possessed +considerable skill in architecture, for no fewer than +fifteen of our English cathedrals contain some important +Norman work, as the older portions of the cathedrals of +Canterbury, Durham, Winchester, Gloucester, Peterborough, +Ely, Norwich, Lincoln and Oxford.<a name="img18" id="img18"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img045c.jpg"> + <img src="images/img045c.jpg" height="350" + alt="CURIOUS NORMAN CAPITAL" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Curious Norman Capital.</b><br /> + Seaford, Sussex.<br /> + Click to <a href="images/img045c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<div class="sidenote">Norman Buttresses.</div> + +<p class="noindent">The Norman buttress, better described by Mr. Sharpe +as a pilaster strip, unlike those of the later period,<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span> +projects but very little from the wall, and this is +especially so in buildings of the earlier +part of the period. They are usually +quite plain and are more used for +finish than actual support; the Norman +builder relying principally upon the thickness and +weight of his walls to sustain any roof thrust (<i>see page <a href="#Page_17">17</a></i>).</p> + +<div class="sidenote">The Round +Churches.</div> + +<p class="noindent">There are in England a few round churches which are +thought to have been built by the Knights Templars, a +religious community banded together for the purpose +of wresting the Holy Sepulchre at Jerusalem +from the Saracens. Their object +was to defend the Saviour's tomb and to +guard Palestine, for which purpose they +built numerous monasteries throughout the Holy Land +and fortified them like castles.</p> + +<p>Another famous order which combined the religious +instincts of the cloister with the military ardour of the +warrior was that of the Knights of S. John Baptist +or Knights Hospitallers, who, besides fighting, were +to tend the sick and provide for the welfare of +all Christian travellers. The churches belonging +to the Templars were usually built in circular form +in imitation of the church of the Holy Sepulchre +at Jerusalem. They were capped with vaulted concave +roofs said to be symbolical of the vast circuit +and concave of the heavens. Our best example is the +Temple Church, London, to which was added at a later +period, a beautiful Early English Gothic extension. +Other round churches are those of S. Sepulchre, Cambridge; +S. Sepulchre, Northampton; Temple Balsall, +Warwickshire, and of Little Maplestead, Essex, +which last, although the smallest, is by no means the +least interesting. It is attributed to the Hospitallers, +an order founded about the year 1092, and introduced +into England in the reign of Henry I. At +Clerkenwell may still be seen the ancient gateway leading +to their hospital.<a name="img19" id="img19"></a><span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img046c.jpg"> + <img src="images/img046c.jpg" height="300" + alt="Norman and Early English Doorways" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Norman and Early English Doorways.</b><br /> + Showing the transition from one style to another.<br /> + Dunstable Priory Church.<br /> + <i>Drawn by Worthington G. Smith.</i><br /> + Click to <a href="images/img046c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The order was suppressed in 1545. +The church at Little Maplestead was built early in the +12th century, and in 1186 the adjoining manor was given +<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>by +Juliana Doisnel to this order, which gift was confirmed +by King John and Henry III. This church is thought +to reproduce with more fidelity than the others the +original church of the Holy Sepulchre.</p> + +<p>These famous Norman round-chancelled churches have +much in common with the old basilica form.</p> + +<p>It must be pointed out that the arbitrary divisions into +which architecture has been divided—Norman, Gothic, +etc., are pure figures of the imagination, as by a series +of easy transitions, one style became gradually merged +into the next without any hard and fast +dividing lines whatever. The periods during +which one style became gradually blended +into another are called the periods of +transition.</p> + +<div class="sidenote">The +Transition.</div> + +<p class="noindent">Architecture being progressive, it was only by the +gradual development of one style from another that the +art was enabled to advance with social progress, the literature +and other arts of the country. The transition from the +Norman to the Early English style may be ascribed to a +period somewhat earlier than the 12th century, when a +great change in the construction of the arch began to +manifest itself. Alone, however, the form of the arch is no +real test, for many pure Norman works have pointed arches. +The square abacus may be taken as the best test. In its +incipient state the pointed arch exhibited a change of +form only, whilst the accessories and details remained +the same as before; and although this change gradually +led to the Early Pointed style in a pure state, with mouldings +and features altogether distinct from those of the +Norman, and to the general disuse, in the 13th century, +of the semi-circular arch, it was for a while so intermixed +as, from its first appearance to the close of the 12th +century, to constitute that state of transition called the +semi-Norman.<a name="img20" id="img20"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img049c.jpg"> + <img src="images/img049c.jpg" height="240" + alt="WINDOWS SHOWING ORIGINS OF TRACERY" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Windows showing the Origin of Tracery.</b><br /> + Click to <a href="images/img049c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h4><span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h4> + +<h3>THE EARLY ENGLISH STYLE.</h3> + +<p>The origin of what is loosely called Gothic +architecture—which is generally considered to +include the styles, with their transitions, from +Early English to late Perpendicular, or Tudor-Gothic—is +not free from obscurity, but it is certain that it +began to be employed in ecclesiastical edifices about +the time that the Goths settled in Italy, although +all the available evidence goes to prove that the style +originated and underwent its earliest developments in +the north-west of Europe, and penetrated by slow +degrees to the south and east.</p> + +<p>England was somewhat later than France in introducing +this style of architecture, our earliest purely +Gothic building being Salisbury Cathedral, begun in 1220, +although the choirs of Rievaulx and Fountains Abbey +were commenced a few years earlier. The Early English +style in its earliest developments is nowhere seen to +better advantage than in Salisbury Cathedral, and in its<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span> +very latest forms +at Westminster +Abbey, the period +of time being +chronologically +measured by the +reigns of Richard +I., John and +Henry III.<a name="img21" id="img21"></a></p> + +<div class="figright" style="width: 220px;"> +<img src="images/img050c.jpg" width="220" alt="Early English Arch." title="" /> +<span class="caption"><b>An Early English Arch.</b><br /> +Rochester Cathedral.<br /> +<i>Photograph Eastmead.</i></span></div> + +<p>Most of our +Gothic buildings +were carried out +under the supervision +of a master-mason, +but the +most subordinate +workman was left +plenty of scope +within reasonable +limits for whatever +artistic individuality +he possessed, +and the +enrichments and +ornaments of the +Gothic era point +out the noble aim, +the delicate and +graceful thought, +the refined and +exquisite taste +expended upon +every portion of +their buildings +by these Gothic +masons.</p> + +<p>One of the +chief differences +between pure +Gothic and<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span> +Norman architecture is in the use of the pointed form +of arch, yet in the study of the early buildings +of this date it is curious to notice how evenly the +balance is held between the pointed +and the round arch, and how at one time it +was quite an open question whether the +Gothic style would be distinguished by +a round or a pointed arch. <span class="sidenote">The Pointed +Arch.</span>In Germany and Italy +the round arch held its own and continued to be +used right through the Middle Ages. In England, +however, the pointed arch soon gained a decided victory +over its rival. Many theories have been put forward +concerning the introduction of the pointed arch, one +amongst them being that it was the result of the intersection +of two circular arches such as is very commonly +found in late Norman work; another theory is the +poetical idea that it was copied from an avenue of trees. +Whether or not either of these theories holds good, +it is quite certain that this form of arch was known +in the East for centuries before it reached Europe, +being found in cisterns and tombs in Egypt and Arabia +dating from long before the Christian era.</p> + +<p>It has also been suggested that it was introduced +from the East by the Crusaders, in which case we should +have found it making its first appearance in Hungary, +Poland, Bohemia and Russia, but it so happens that +these were the very last countries in Europe to adopt +the pointed arch.</p> + +<p class="noindent"><span class="sidenote">The +Transitional +Period.</span>The first form of the pointed arch, known as the +Early English, was used from about 1180 to 1300, +including part of the reigns of Henry II., Richard I., +John, Henry III. and Edward I. "Nothing," says +the Rev. J. M. Hutchinson, "could be more striking +than the change from Norman to Early +English. The two styles were the complete +opposites of each other; the round +arch was replaced by the pointed, often +by the acute, lancet; the massive piers +by graceful clustered shafts; the grotesque and rudely-sculptured +capitals by foliage of the most exquisite<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span> +character; and the heavy cylindrical mouldings by bands +of deeply undercut members."<a name="img22" id="img22"></a></p> + +<div class="figleft" style="width: 250px;"> +<img src="images/img052c.jpg" width="250" alt="Junction of Norman and Early English Masonry" title="" /> +<span class="caption"><b>Arcading showing the junction of the Norman<br /> +and Early English Masonry.</b><br /> +Dunstable Priory Church<br /> +<i>Photograph H. A. Strange.</i></span> +</div> + +<p>Gothic architecture differs from all previous forms +in the economical use of material, and the small size of +the stones +used. Whereas +in both Roman +and Norman +buildings the +arrangement +of the materials +depended +upon their +strength in +masses, the +Gothic masons +employed +stones of small +size in the construction +of +edifices of +equal strength +and of far +greater magnificence; +while +in constructive +properties the +Gothic style +was a great +advance on +anything that +had gone before, +as the +buildings in +this style did +not depend for their stability on the vertical pressure +of columns, but on the correct adjustment of the +bearings and thrusts of different arches operating in +various directions. Owing to the fact, then, that each +portion of a Gothic Church helps to support something<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span> +besides itself, it is obvious that such buildings could +be erected with a far smaller quantity of material than +was previously necessary.</p> + +<p>The various little shafts or +columns are so disposed as to distribute the weight +of the superstructure and thus relieve the greater +columns or +piers of +some portion +of the +superincumbent +weight; the +aisles help +to support +the nave; +the walls of the +side +chapels act +as abutments +against +the +walls of the +aisles, while +the towers +are generally +placed +so as to resist +the accumulated +thrust of all +the arches +along the +sides of the +nave.<a name="img23" id="img23"></a></p> + +<div class="figright" style="width: 250px;"> +<img src="images/img053cs.jpg" width="250" alt="Early English Doorway" title="" /> +<span class="caption"><b>An Early English Doorway.</b><br /> +Huntingdon.</span> +</div> + +<p>The enrichments +and little +ornaments attached to mouldings, and particularly those +placed in the hollows, are most characteristic of the +various styles of Gothic architecture. The zig-zag is<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span> +peculiar to the Norman, the nail head to the Transitional +or semi-Norman, and the dog tooth to +the Early English.</p> + +<div class="sidenote">Early English Ornament.</div> + +<p class="noindent">This last ornament +represents a flower, looking like four +sweet almonds arranged pyramidically, +and there is no other ornament so +distinctive of this period. Early English foliage is +known by reason of the stalks always being shown as +growing upwards from the lower ring of the capital, +called the astrigal. These stalks are generally grouped +together and curve forward in a very graceful manner. +The plants mostly represented are the wild parsley, seakale +and celery, and this foliage, called stiff-leaved foliage, +is found at no other period than the end of the 12th +century.</p> + +<div class="sidenote">Early English +Mouldings.</div> + +<p class="noindent">Early English mouldings are very complicated and +yet very beautiful, and consist of beads, keel and scroll +patterns, separated by deep hollows giving +a rich effect of light and shade round the +arch. These deeply-cut hollows are also +a distinctive mark of the style.</p> + +<div class="sidenote">Early English +Windows.</div> + +<p>The earliest windows of this period are long and +narrow, with acutely pointed heads, the exterior angle +being merely chamfered and the interior +widely splayed. Somewhat later the introduction +of tracery gave a highly beautiful +appearance to the windows and from the +character of this feature the date of the window can be +fairly accurately determined. Where the tracery is +formed by ornamental apertures pierced through a plate +of stone, it is called plate tracery, and is certain to be +of not later date than the earlier part of the 13th +century. If it is bar tracery, with the bars forming +plain circles, the work is also Early English, but if, on +the other hand, the bars form other shapes filled in +with patterns, or consisting of a single trefoil or quatrefoil, +they are of later date.<a name="Plate_2" id="Plate_2"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img055cs.jpg"> + <img src="images/img055cs.jpg" height="450" + alt="Church of St. Margaret, Lynn" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>The Church of St. Margaret, Lynn.</b><br /> + West Front showing the Early English work in the base of the Tower.<br /> + <i>Photograph Dexter & Son</i><br /> + Click to <a href="images/img055cs.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The traceried window originated from the placing +of a two-light narrow lancet window under one dripstone +having a plain head, the introduction of tracery<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span> +between the heads of the lancets and the dripstone +becoming necessary for beauty and lightness of the form +(<i>see page <a href="#Page_47">47</a></i>.<a name="img24" id="img24"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img057cs.jpg"> + <img src="images/img057cs.jpg" height="350" + alt="Thirteenth Century Lancet Windows" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Example of Group of Thirteenth Century Lancet Windows.</b><br /> +Ockham, Surrey.<br /> +<i>Homeland Copyright.</i><br /> + Click to <a href="images/img057cs.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<div class="sidenote">Early English +Porches.</div> + +<p class="noindent">Early English porches project much further from +the main walls than do the Norman +doorways, and in large and important +buildings they frequently have a room +above. The gables are usually bold and +high pitched, and the interiors quite as rich in design<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span> +as are the exteriors.</p> + +<div class="sidenote">Early English +Doorways.</div> + +<p class="noindent">The doorways of this period are usually pointed, +though occasionally they have a semi-circular +head. The mouldings are boldly +cut and often enriched with dog tooth +ornament. The jambs frequently contain a shaft or +shafts with plain or foliated capitals (<i>see page <a href="#Page_51">51</a></i>).</p> + +<div class="sidenote">Early English +Capitals and +Piers.</div> + +<p class="noindent">Early English capitals are usually bell-shaped, and +are, in the smaller examples, quite devoid of ornament, +with the exception of a necking and +one or two mouldings round the abacus. +The bell is generally deeply undercut, +which, as in the mouldings, is a strong +characteristic of the style. The nail head +and dog tooth ornaments sometimes appear in the +hollows between the mouldings. In the large examples +the bell is covered with foliage, which, springing direct +from the necking, curls over most gracefully beneath +the abacus. In clustered piers the capitals follow the +form of the pier, and they also adopt the same form in +the single shaft, with the exception that multiangular +shafts have often circular capitals. The base consists +of a series of mouldings and frequently stands upon a +double or single plinth, which in the earlier examples +is square, but in later examples assumes the form of +the base, and is either circular or polygonal. At Stone +church, Kent, is a good example of an Early English +capital, decorated with stiff-leaved foliage, and the +dog tooth ornament, which in this case is seen +between the mouldings of the arch, and is of a +perforated character.</p> + +<div class="sidenote">Early +English +Buttresses.</div> + +<p class="noindent">The buttresses (<i>see page <a href="#Page_17">17</a></i>) of this period are, as a rule, +simple in form, and in small churches consist of two or +more stages, each set-off or division being +sloped at the top to carry off the rain. +In larger buildings the buttress generally +finishes with a triangular head or gable, +and is frequently carried above the parapet, +except where stone vaulting is used, in which case it is +covered with a pinnacle either plain or ornamented. +<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span> +<a name="img25" id="img25"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img059bs.jpg"> + <img src="images/img059bs.jpg" height="650" + alt="Salisbury Cathedral" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Salisbury Cathedral.</b><br /> +Begun in 1220. The spire was added, 1350.<br /> +<i>Drawn by Sidney Heath.</i><br /> + Click to <a href="images/img059bs.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span>The edges are often chamfered or the angles ornamented +with slender shafts. A niche to contain a statue is +occasionally sunk in the face of the buttress, but this +feature is more common in the next or Decorated period, +although the change from one period to another was so +gradual that the exact date of a niched buttress would +be difficult +to determine +were there +no other +features to +guide us.<a name="img26" id="img26"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img060ca.jpg"> + <img src="images/img060ca.jpg" height="600" + alt="Examples of Early English Capitals and Ornament" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Examples of Early English Capitals<br /> + and Ornament</b><br /> + Click to <a href="images/img060ca.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>Flying +buttresses +were first +introduced +at this period, +and are +common in +all large +buildings +with vaulted +roofs. +They are +generally of +simple design, +with a +plain capping +and +archivolt, +and they +spring from +the wall +buttress to +the clerestory +(<i>see +page <a href="#Page_17">17</a></i>).</p> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h4><span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h4> + +<h3>THE DECORATED STYLE.</h3> + +<p>The best examples of Gothic architecture may be +said to have been erected between the years 1180 +and 1300, and from the latter year many writers +date the commencement of its decline. In England we +owe nearly the whole of such magnificent buildings as +the cathedrals of Lincoln, Salisbury, Worcester, and the +abbey of Westminster to the 13th century, and there is +scarcely a cathedral or abbey that does not owe some +beautiful portion of its structure to the builders of the +same period, the transepts and lady chapel of Hereford +Cathedral, the eastern transepts of Durham, the nave +and transepts of Wells, the transepts of York, the choir +presbytery, central and eastern transepts of Rochester, +the eastern portion of the choir of Ely, the west front of +Peterborough, the choir of Southwell, the nave and +transepts of Lichfield, and the choir of S. David's being a +few of our most characteristic examples of this period. +The style which followed the Early English is known +as the Geometric or Early Decorated style, and it embraces +roughly the end of the 13th century and the first +twenty or thirty years of the 14th century, and continued +in its later or Curvilinear form to near the end of +that century. Perhaps the most perfect example of the +Geometric style in the world is the cathedral church at +Amiens, which is usually called the <i>mother church</i> of +this style, and although she has many daughters, none of +them can be said to equal their parent in beauty.<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p> + +<p>In England the most perfect examples are not to be +looked for in cathedrals and large churches, but in their +chapels, and the most superb specimen we possessed, +S. Stephen's Chapel, Westminster, has been destroyed +within comparatively recent years. Those left to us +include the chapel of the palace of the bishops of Ely, +in Ely Place, Holborn, now the Roman Catholic Church +of S. Etheldreda, a building almost identical in plan +with the vanished chapel of S. Stephen. Trinity Church, +Ely, once Our Lady's Chapel, and Prior Crawden's +Chapel, in the same city, are lovely examples of the +latest development of the Curvilinear style, while the +former is considered the most highly-wrought building +in England. Belonging to this period, also, is the +choir of Merton College Chapel, Oxford, and Luton +Church.</p> + +<div class="sidenote">Decorated +Windows.</div> + +<p class="noindent">The Decorated style may be divided as regards its +windows into two classes—Geometric and Curvilinear. +The first has tracery evolved entirely from +the circle. The Curvilinear style is distinguished +by traceries formed by curved +and flowing lines. <i>See pages <a href="#Page_15">15</a> and <a href="#Page_59">59</a>.</i></p> + +<p>Decorated windows are usually large and contain +from two to seven lights, although one sometimes finds a +window with a single light, but of less elongated form +than those of the Early English period.</p> + +<p>As we have seen in a previous chapter, tracery +originated from the necessity of piercing that portion +of the wall which was left vacant when two lights were +gathered under a single arched dripstone, and therefore +elementary tracery consisted merely of apertures in a +flat surface. As the possibilities of this ornamental +feature became better understood, the mullions were +recessed from the face of the wall and the fine effect +thus produced was, as the art progressed, much enhanced +by the introduction of various orders of mullions, and +by recessing certain portions of the tracery from the +face of the mullions and their corresponding bars. The +geometrical tracery, as we have seen, consists of various +combinations of the circle, as the trefoil, based on the<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span> +triangle, the quatrefoil on the square, the cinquefoil on +the pentagon, etc.<a name="img27" id="img27"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img063c.jpg"> + <img src="images/img063c.jpg" height="550" + alt="Late Decorated Window in a Parish Church" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Late Decorated Window in a Parish Church.</b><br /> + East Sutton, Kent.<br /> + <i>Photograph Gardner Waterman</i><br /> + Click to <a href="images/img063c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span>In Curvilinear windows the tracery, although based on +the same forms and figures, is yet so blended into an +intricate pattern that each figure does not stand out +with the same individuality as in the Geometric. Among +our most beautiful Geometric windows are those of the +Lady Chapel at Exeter, Ely Chapel, and Merton Chapel, +Oxford, and of the Curvilinear our best example is +probably the east window of Carlisle Cathedral.</p> + +<p>It must be noted that beautiful as are Curvilinear +windows, yet they mark a certain decadence in Gothic +architecture, in that it is an irrational treatment of +stone, and conveys the idea that the material was +bent and not cut into the required shape, it being a +well-established canon in art that when strength is +sacrificed to mere elegance it marks a decline in that +art.</p> + +<div class="sidenote">Decorated<br /> +Capitals<br /> +and Piers.</div> +<p class="noindent">Decorated capitals as a rule follow the contour of the +pier in clustered columns, and are either bell-shaped +or octagonal. They are frequently only +moulded, thus presenting rounds, ogees +and hollows, on which the prevailing +ornaments of the period, the ball and the +square flower, are set. The foliated sculpture +is most exquisite, and is gracefully wreathed around +the bell, instead of rising from the astrigal or upper +member of the capital, as in the earlier style. Almost +every variety of leaf and flower is represented, the oak, +the vine and the rose being perhaps the most common, +but the leaves of the maple, hazel, ivy and strawberry +are all so beautifully rendered as to evidence their having +been directly studied from nature. Plucked flowers +too, are not uncommon, and sometimes the little stalks +and foliage are accompanied by birds, lizards, squirrels +and other creatures. The columns of this period are +much more elaborate than those of the Early English style, +and in plan have curved profiles with moulded members +between the shafts. These mouldings are very varied, +but the hollows not being so deeply undercut, the general +effect is broader and less liney than in the Early English; +while the Decorated arches are less sharply pointed than in +the previous style.<a name="img28" id="img28"></a> +<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="5" summary="illo"> + <tr> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-1-1.jpg"> + <img src="images/orn-1-1-t.jpg" height="177" alt="Finial + (Winborne Minster)" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Finial<br /> + (Winborne Minster).</small> + </td> + </tr> + <tr> + <td align="center"> + <br /> + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-1-2.jpg"> + <img src="images/orn-1-2-t.jpg" height="121" alt="Crocket + (Hereford Cathedral)" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Crocket<br /> + (Hereford Cathedral).</small> + </td> + </tr> + </table> + </td> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-2-1.jpg"> + <img src="images/orn-2-1-t.jpg" height="195" alt="Capital + (York Minster)" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Capital<br /> + (York Minster).</small> + </td> + </tr> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-2-2.jpg"> + <img src="images/orn-2-2-t.jpg" height="92" alt="Square Flower" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Square Flower.</small> + </td> + </tr> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-2-3.jpg"> + <img src="images/orn-2-3-t.jpg" height="81" alt="Ball Flower" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Ball Flower.</small> + </td> + </tr> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-2-4.jpg"> + <img src="images/orn-2-4-t.jpg" height="72" alt="Cornice + (Grantham)" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Cornice<br /> + (Grantham).</small> + </td> + </tr> + </table> + </td> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-3-1.jpg"> + <img src="images/orn-3-1-t.jpg" height="134" alt="Finial + (York Minster)" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Finial<br /> + (York Minster).</small> + </td> + </tr> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center" valign="middle"> + <a href="images/orn-3-2.jpg"> + <img src="images/orn-3-2-t.jpg" height="213" alt="Crockets + (York Minster)" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Crockets<br /> + (York Minster).</small> + </td> + </tr> + </table> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <br /><span class="b"><b>Examples of Decorated Ornament</b></span><br /> + <i>Drawn by E. M. Heath</i> + </td> + </tr> +</table> +</div> + +<div class="sidenote">Decorated +Doorways.</div> +<p class="noindent"><span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>The doorways of this style possess much the same +features as the last, but the mouldings, jamb shafts, etc., +are more slender, and generally of finer +proportions, the hollows being often filled +with the ball flower and square flower +instead of the dog tooth. Sometimes the +doorways have no pillars, being entirely composed of +mouldings which are continuous with those in the architrave. +The large single doorways of this period are +nearly as large as the double ones of Early English date, +and on the sides small buttresses or niches are sometimes +placed, and often one finds a series of niches carried +up like a hollow moulding, and filled with figures. The +figures of this period are not so good as in the previous +style, the heads seem too large for the bodies, and in +the female figures the breasts are represented as quite flat. +Where there are no figures double foliated tracery is +often found hanging from one of the outer mouldings, +giving an effect of great richness.</p> + +<div class="sidenote">Decorated<br /> +Buttresses.</div> + +<p class="noindent">The buttresses (<i>see page <a href="#Page_17">17</a></i>) in the Decorated style are +nearly always worked in stages, and a niche frequently +figures on the face of the buttress. +Crocketed canopies and other carved +decorations are common, and in large buildings +they usually terminate in pinnacles, +which are sometimes of open work.</p> + +<p>A Gothic building attains its effect by the combination +of numerous parts, each possessing an individual +character of its own. In its loftiness, graceful outlines, +and rich effect of light and shade, it speaks of noble +aspirations, of freedom, of intellectual thought, +of talent and skill, all generously given for a high +purpose, the foundation of which was a strong +religious enthusiasm, combined with an intense love +of the work itself.</p> + +<div class="sidenote">Characte­ristics<br /> +of Gothic<br /> +Architecture.</div> +<p class="noindent">Having now arrived at the point where Gothic architecture +reached its climax, we may briefly sum up its leading<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span> +characteristics. It is essentially pointed or vertical; +its details are mostly geometrical in its +window traceries, clusters of shafts and +bases, but this geometric quality is only +one of construction and form and not of +its inner spirit and motive, for plants +copied directly from nature were used in beautiful +profusion.</p> + +<p>If we compare a large Gothic church with a comparatively +small one, we shall find the columns, windows, +ornaments of the former are not so very much larger +than those of the latter, but that there are double or +three times the number of them. This is not the case in +a classical building, where each feature has to be enlarged +in proportion to the size of the building. It is the +constant sub-division of a Gothic Church which adds +so to its apparent size.</p> + +<p>Ornamentally, the Gothic is the geometrical and +pointed elements repeated to their utmost and afterwards +combined with the elaboration of natural objects, plants, +flowers, etc., growing in the neighbourhood of the work. +This is a great feature, but the most striking point in +all good Gothic work is the wonderful elaboration of +geometric tracery, vesicas, trefoils, quatrefoils and +an immense variety of other ornament.</p> + +<p>In regard to the sizes of our great churches it may +be of interest to note that our longest English cathedral +is Winchester. York and Lincoln, although not so +long as Winchester, are in superficial area very much +larger. The largest English church of a non-cathedral +rank is Westminster Abbey, which has, moreover, the +distinction of being the loftiest internally; the nave being +104 ft. in height. The largest parish church is that of +S. Nicholas, Great Yarmouth, which exceeds in superficial +area no fewer than eight of our cathedrals. +<a name="img29" id="img29"></a><span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="5" summary="illo"> + <tr> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center" colspan="3"> + <a href="images/perporn-l-1.jpg"> + <img src="images/perporn-l-1-t.jpg" height="130" alt="Panel" /></a> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <small>Panel.</small> + </td> + </tr> + <tr> + <td align="center"> + + </td> + </tr> + <tr> + <td align="center"> + <a href="images/perporn-l-2-1.jpg"> + <img src="images/perporn-l-2-1-t.jpg" height="116" alt="Tudor Rose" /></a> + </td> + <td align="center"> + <a href="images/perporn-l-2-2.jpg"> + <img src="images/perporn-l-2-2-t.jpg" height="116" alt="Portcullis" /></a> + </td> + <td align="center"> + <a href="images/perporn-l-2-3.jpg"> + <img src="images/perporn-l-2-3-t.jpg" height="116" alt="Fleur de Lys" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Tudor Rose.</small> + </td> + <td align="center"> + <small>Portcullis.</small> + </td> + <td align="center"> + <small>Fleur de Lys.</small> + </td> + </tr> + </table> + </td> + <td align="center"> + <table style="margin: 0 auto" summary="illo"> + <tr> + <td align="center" valign="bottom"> + <a href="images/perporn-r.jpg"> + <img src="images/perporn-r-t.jpg" height="232" alt="Crocket" /></a> + </td> + </tr> + <tr> + <td align="center"> + <small>Crocket.</small> + </td> + </tr> + </table> + </td> + </tr> + <tr> + <td align="center" colspan="3"> + <br /><span class="b"><b>Examples of Perpendicular Ornament.</b></span> + </td> + </tr> +</table> +</div> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h4><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h4> + +<h3>THE PERPENDICULAR STYLE.</h3> + +<p>Towards the close of the XIVth century a great +change came over English Gothic architecture, a +change which was to a certain extent a return to +classical ideas. The curvilinear tracery gave place to +a rigid vertical and horizontal form, with the result that +windows and panels instead of being filled with curved +bars of stone, were sub-divided by straight perpendicular +bars and transoms or cross-bars.</p> + +<p>This style of architecture is popularly known as +Perpendicular, but as the horizontal lines are quite as +distinct a feature as are the vertical, it would perhaps +be more correct to speak of it as Rectilinear. This +change in architectural form made its appearance towards +the close of the XIVth century, although it was by no +means generally introduced at that period, for the old +methods and styles were carried on side by side with the<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span> +new for many years.<a name="img30" id="img30"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img069c.jpg"> + <img src="images/img069c.jpg" height="350" + alt="Yeovil Parish Church (A.D. 1376)" /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Yeovil Parish Church (A.D. 1376).</b><br /> + Early Perpendicular in style, without a clerestory,<br /> + and called, for its large window area, the "Lantern of the West."<br /> + Click to <a href="images/img069c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>For example, the eastern end of +the choir of York Minster (1361-99) possesses a window +the traceries of which contain both curvilinear and +rectilinear lines, while Shottesbrook Church in Berkshire +(1387), and Wimmington Church, Bedfordshire +(1391) are examples of village churches neither of which +has any feature of the Perpendicular style.</p> + +<p>In its earlier stages the Perpendicular style presented +an effect at once good and bold; the mouldings, though +not equal to the best of the Decorated style, were well +defined, the enrichments effective, and the details +delicate without extravagant minuteness. Subsequently +the style underwent a gradual debasement; the arches +became depressed; the mouldings impoverished, the +details crowded and coarsely executed, and the whole +style became wanting in the chaste and elegant effects +for which the Decorated stands unapproached and +unapproachable. The flowing contours and curved lines +of the previous style now gave place in the windows +to mullions running straight up from the bottom to the +top, and crossed by transoms. As the arch became +more and more depressed the mouldings became shallower +and less effective. In early buildings of this period the +drop arch is very prevalent, but as the period advanced +a form known as the Tudor arch began to be used. It +is an arch in which, as a rule, the centres of the upper +portion lie immediately below those of the lower, but +this is not always the case. Sometimes the whole of +the upper portion uniting the arcs of the ends is struck +from one centre, in which case the arch becomes a +three-centred one, being, in fact, half an ellipse. +Towards the close of the style the curvature of the +upper portion is so slight that it can hardly be distinguished +from a straight line, and as the debasement +progressed it became really straight. Ogee arches +are also found at this period, and foiled arches are very +frequent. When the Tudor arch was not used, we +generally find the low drop arch, these three last being +mostly used for small openings.<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span> +<a name="img31" id="img31"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img071c.jpg"> + <img src="images/img071c.jpg" height="500" + alt="A Fine Parish Church showing Rich Perpendicular Work." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Fine Parish Church showing Rich Perpendicular Work.</b><br /> + Terrington St. Clement, Norfolk.<br /> + <i>Photograph Dexter & Son.</i><br /> + Click to <a href="images/img071c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<div class="sidenote">Perpen­dicular +Windows.</div> + +<p class="noindent"><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>The +peculiar characteristics of the windows—the +perpendicular mullions and horizontal transoms—we have +already alluded to. The window heads, +instead of being filled with flowing tracery, +have slender mullions running from the +heads of the lights between each mullion, +and these again have smaller transoms, until the whole +surface of the window becomes divided into a series of +panels, the heads of which being arched, are trefoiled +or cinquefoiled. In the later windows the transoms at +the top are often furnished with a small ornamental +battlement, causing the mullions to present a concave +outline.<a name="img32" id="img32"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img072c.jpg"> + <img src="images/img072c.jpg" height="350" + alt="A Perpendicular Doorway." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Perpendicular Doorway.</b><br /> + Merton College Chapel.<br /> + <i>Drawn by E. M. Heath.</i><br /> + Click to <a href="images/img072c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The plans of churches in this style differ from all +others in that they are more spacious, the columns more +slender and wider apart, the windows much larger, and +the walls loftier and thinner. Panelling is used most +abundantly on walls, both internally and externally, and +also on vaulting, while some buildings, as Henry the +Seventh's Chapel at Westminster, are almost entirely +covered with it. Fan tracery vaulting, a feature peculiar<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span> +to this style, is almost invariably covered with panelling.</p> + +<p>The mouldings of this period are essentially different +from those which preceded them. As a general rule +they are cut on a slanting or chamfer plane, the groups +of mouldings being separated by a shallow oval-shaped +hollow, entirely different from those of the Decorated +period.</p> + +<div class="sidenote">Perpen­dicular +Doorways.</div> +<p class="noindent">The doorways of the early portion of this period had +two-centred arches, but the characteristic form is the +four-centred, enclosed in a square head, +formed by the outer mouldings with a +hood mould of the same shape, the spandrels +being filled with quatrefoils, roses, +shields, etc.</p> + +<div class="sidenote">Perpen­dicular +Capitals.</div> + +<p class="noindent">Perpendicular capitals are either circular or octagonal, +but the necking is usually of the former shape, and the +upper members of the abacus of the latter +form. The bell portion is mostly plain, +but is often enriched with foliage of a +very conventional character, shallow and +formal, without either the freedom or the boldness +of the Early English, or the exquisite grace of the Decorated +periods. A distinguishing feature in the ornamentation +of this period is that called panel-tracery, +with which the walls and vaulted ceilings are covered. +<span class="sidenote">Fan +Vaulting.</span>The patterns are found in a variety of forms, as circles, +squares, quatrefoils, etc. The rich vaulting +called fan vaulting previously alluded +to, is composed of pendant curved semi-cones, +covered with foliated panel-work, +which bears some resemblance to a fan spread open.</p> + +<div class="sidenote">Perpen­dicular +Ornament.</div> + +<p class="noindent">Another very characteristic ornament is the Tudor +flower. It is formed by a series of flat leaves placed +upright against the stalk. It was much +used in late buildings as a crest or ornamental +finishing to cornices, etc., to which +it gave an embattled appearance. Cornices +and brackets were frequently ornamented with busts of +winged angels called angel-brackets, and angel-corbels. +The portcullis and the Tudor rose—both badges of the<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span> +house of Tudor—also figure prominently among the +ornaments of the period. The crockets for the most +part partake of the squareness which pervades all the +foliage of this style. <i>See page <a href="#Page_64">64</a>.</i></p> + +<div class="sidenote">Perpen­dicular +Buttresses.</div> +<p class="noindent">The buttresses are very similar to those preceding +them in their plainer forms, but, in richer examples +the faces are covered with panel work +and are finished with square pinnacles +sometimes set diagonally and terminated +with a crocketed spire, or finished with an +animal or other ornament. Parapets with square battlements +are very common at this period, but they too are +frequently panelled or pierced with tracery, or with +trefoils or quatrefoils inserted in square, circular or +triangular compartments.</p> + +<div class="sidenote">Perpen­dicular +Roofs.</div> + +<p class="noindent">The roofs of this period, both in ecclesiastical and +secular buildings, are very magnificent, and have the +whole of the framing exposed to view; +many of them are of high pitch, the +spaces between the timbers being filled +with tracery, and the beams arched, +moulded and ornamented in various ways; and frequently +pendants, figures of angels, and other carvings +are introduced. The flatter roofs are sometimes lined +with boards and divided into panels by ribs, or have +the timbers open, and all enriched with mouldings and +carvings, as at Cirencester church, Gloucestershire.</p> + +<p>The gradual decline of the Gothic style is very evident +in late Perpendicular churches, especially in those +erected at the beginning of the XVIth century. The +elements of Gothic architecture became much degraded +and led to that mixture of features called the Debased +Gothic in which every real principle of art and of beauty +was lost.</p> + +<p>The chief characteristics, then, of the Perpendicular +style are the vertical mullions, and the general flattening +of arches, mouldings and carvings. Should there be +no other guide, a Perpendicular church carries its style +and period stamped upon its carvings.<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span> +<a name="img33" id="img33"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img075c.jpg"> + <img src="images/img075c.jpg" height="450" + alt="A Perpendicular Porch." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Perpendicular Porch.</b><br /> + S. Nicholas, King's Lynn.<br /> + <i>Photograph Dexter & Son.</i><br /> + Click to <a href="images/img075c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The plants +represented are, almost without exception, the vine +<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span>with or without grapes, and the oak with or without +acorns. The leaves are generally full blown and crumpled. +The earliest building showing the Perpendicular style is +the beautiful little priory church of Edington, in Wilts, +erected by William Edington, Bishop of Winchester. +The same style, but more fully developed, is seen in +the nave of Winchester Cathedral, at New College, +Oxford, and at Winchester College.</p> + +<p>It is generally admitted that the Perpendicular style +was, to a certain extent, a return to classical ideas, for +Gothic architecture in its aspiring grace and feeling for +motion was becoming a little unsteady in construction, +and although the movement was started by Bishop +Edington, it was left to William of Wykeham to save +our English Gothic architecture from developing into +the flamboyant<a href="#fn1" class="fnanchor"><small><sup>1</sup></small></a> style so characteristic of the late Gothic +buildings of France and Germany.</p> + +<p>It is little less than astounding that William of Wykeham, +at once Prime Minister, diplomatist, scholar and +energetic churchman, should have found time to introduce +such far-reaching reforms into the art of building, +and whatever his fame may be in other directions he +will always be remembered by posterity as one of the +most remarkable geniuses of the Middle Ages, a man +of giant mind and immense physical energy, who carried +into all his work a large and dignified character, +stamping it with the unmistakable personality of a +master mind.</p> + +<div class="sidenote">Perpen­dicular Towers.</div> +<p class="noindent">As builders and designers of church towers the masons +of the Perpendicular era have never been approached, +and all our finest English towers are of +this style and period. Considerations of +space will only allow a few of these towers +to be mentioned, but among the finest +are those at Boston, Lincolnshire; Wrexham, +Denbighshire; Wymondham, Heigham and S. +<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span>Clement's in Norfolk; Southwold Church in Suffolk; +Manchester Cathedral, S. Nicholas' Church, Newcastle, +and S. Mary's Church, Taunton.<a name="Plate_3" id="Plate_3"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img077c.jpg"> + <img src="images/img077c.jpg" height="550" + alt="A Fine Perpendicular Tower." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Fine Perpendicular Tower.</b><br /> + St. Mary, Taunton.<br /> + <i>Photograph H. Montague Cooper.</i><br /> + Click to <a href="images/img077c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>Of Perpendicular date +and style, also, are the great lantern towers of Worcester, +Bristol, Gloucester, York and Durham Cathedrals, in +addition to the fine bell-tower of Evesham Abbey.</p> + +<div class="sidenote">Perpen­dicular Spires.</div> +<p class="noindent">The +spire, although less commonly used than +formerly, was by no means abandoned, +and beautiful examples of Perpendicular +spires are those at S. Michael's, Coventry, +and Rotherham Church, Yorkshire. Although nearly +all our cathedrals have some portion of their fabric in +the Perpendicular style, chantries, chapels, cloisters, +vaulting, screens, etc., it was in our parochial churches +that Perpendicular architecture reached its highest +and finest development. Just as the XIIIth century +was the great age for cathedral building, so the latter end +of the XIVth and earlier half of the XVth centuries was +the period to which we owe some of the most beautiful +of our parish churches, as S. Michael's, Coventry +(fin. 1395); S. Nicholas, Lynn (fin. 1400); Manchester +Cathedral (formerly a collegiate church), (1422); Fotheringay +Church, Northants (fin. 1435); Southwold Church, +Suffolk (1440), and S. Mary Redcliffe, Bristol (about +1442). A little later came, among others, Wakefield +Church, Yorkshire (1470), S. Stephen's, Bristol (1470), +S. Mary's, Oxford, and its namesake at Cambridge (both +in 1478) and Long Melford Church, Suffolk (1481).</p> + +<p>Apart from the actual buildings the Perpendicular +architects, masons and sculptors have left us some +beautiful work in the form of timber roofs, screens, +stalls and seats. Among the more notable roofs of this +period are those at S. Peter's, S. Andrew's and S. Mary's, +Norwich, the one at Morton Church in Somerset, those +at Saffron Walden and Thaxted, Essex, and a particularly +fine one at S. David's Cathedral in Wales. Among the +remarkable domestic roofs in this style are those at +Westminster Hall and Eltham Palace.</p> + +<p class="noindent"><a name="fn1" id="fn1">1</a>: So called from its "flame"-like appearance, producing forms +which resemble elongated tongues of flame. There is great +beauty in much of this work, but it is constructionally weak. +The finest example is Chartres Cathedral.</p> +<p> </p> +<hr class="narrow" /> +<p><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span> </p> +<h4><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h4> +<h3>THE RENAISSANCE AND LATER.</h3> + +<div class="sidenote">The Classic Revival.</div> +<p class="noindent">So far we have been considering Gothic churches, +but we now come to the time when, from a +variety of causes, the Italian architects, among +them Palladio and Vitruvius, began to revive classical +architecture, a movement which gradually +spread over other parts of Europe. +The various causes which led to this +apparently retrograde movement are still +involved in considerable obscurity. The +commercial prosperity of the age produced a class +who travelled abroad and cultivated the fine arts, +with the result that they desired to see erected in +England buildings such as they had seen in Rome, +Florence, Genoa and Padua. It is generally admitted +that the ramifications of Gothic architecture had +reached their utmost limit, and the style was getting +out of hand, as is seen by the flamboyant buildings on +the continent. The revival of classical literature in +western Europe gave an impetus to the movement +which was largely intended to enfold art within the +shelter of an enlightened taste, and protect it from the +licence of unordered enthusiasm. How far it succeeded +is not a question that can be discussed at length here, +but, however good their intentions may have been, the +architects used little discrimination in the selection of +buildings which were to serve as models for Christian +churches, and although subsequently considerable improvements +were made, yet, most of the defects in the<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span> +pagan buildings of the ancients were retained in such as +were intended to be utilized for Christian worship, and even +considered purely as exercises in architecture it was not +until the more chaste remains of antiquity began to be +studied that the spirit and harmony of the good examples +were attained. A greater contrast than the methods +employed by the Gothic mason and the Renaissance +architect could not well be imagined. The former +shaped his material with his own hands; the foster +mother of his art was tradition and its cradle the craftsman's +bench; whereas the latter, with no builder's +training, worked out his flawless and precise plans in +the exotic atmosphere of the office and the study. The +practice of making working drawings for every detail +of the building was the cause of the decline of ornamental +sculpture, with the result that all life and growth in the +building ceased. Some authorities are very severe on +the Renaissance movement. Dr. Fergusson, in his +"<i>Modern Styles of Architecture</i>," says: "During the +Gothic era the art of building was evolved by the simple +exercise of man's reason, with the result that the work +of this period is the instinctive natural growth of man's +mind. The buildings, on the other hand, which were +designed in the imitative styles, and produced on a +totally different principle, present us with an entirely +different result, and one which frequently degrades +architecture from its high position of a quasi-natural +production to that of a mere imitative art."</p> + +<div class="sidenote">Inigo Jones<br /> +and Wren.</div> +<p class="noindent">Be this as it may, the severe classical style introduced +into England by Inigo Jones (who studied +in Italy under Palladio), and continued by +Sir Christopher Wren, soon swept everything +before it.</p> + +<p>Our most remarkable church in this style is S. +Paul's Cathedral, which in style has two very adverse circumstances +to struggle against. In the first place, it +bears so great a similarity to the great church of S. +Peter, at Rome, that one cannot help comparing it with +that fine example, and secondly, it is the only English +cathedral which is not in the Gothic style. It must, of<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span> +course, be acknowledged that S. Paul's falls far short +of S. Peter's, especially in its lighting, but it does not +deserve the condemnation of a great German critic, who +said, "It is a building marked neither by elegance of +form nor vigour of style." Although the interior of its +dome and clerestory of the nave and choir are extremely +gloomy when compared with those of S. Peter's, the +church is generally acknowledged to be far superior +to the latter in its architectural details, and few, if any, +Italian churches can be said to surpass it, either in +general composition or external effect, although it must +be admitted that everything having been sacrificed to +attain the latter quality, S. Paul's taken as a whole, is +neither worthy of its fine situation nor of its great architect.</p> + +<p>Other churches which are excellent examples of this +style are S. Stephen's, Walbrook, and S. Mary Abchurch, +London. Both show remarkable skill. The former is +divided into a nave and four aisles, transepts, and a shallow +chancel, by four rows of Corinthian columns, with a +small dome over the intersection. The interior is very +beautiful, and this church is generally considered to be +Wren's masterpiece. S. Mary Abchurch, is nearly +square in plan, has no columns and is covered with a +domical ceiling, but so skilfully treated that the effect +is singularly pleasing.</p> +<div class="sidenote">Hawkes­more.</div> +<p class="noindent">Of the Elizabethan and Jacobean buildings it is necessary +to say little, as at best they are but clumsy imitations +of the Flemish, French and Italian Renaissance, while +the style which we now call Queen Anne came in towards +the close of the XVIIth century, and belongs of right to the +reign of Charles II.</p> + +<p>Hawkesmore, a pupil +and follower of Wren, was a strong architect +who has left us Christ Church, Spitalfields, +and S. Mary Woolnoth. He also designed the western +towers of Westminster Abbey, often wrongly ascribed +to Wren, and the second quadrangle of All Saints' +College, Oxford. This architect, like the majority of +his contemporaries, misunderstood and despised the +Gothic style, with which he had little real sympathy; +he drew out designs, which still exist, for converting<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span> +Westminster Abbey into an Italian church, just as Inigo +Jones had done with the exterior of the nave of old S. +Paul's, but we cannot be too thankful that this abominable +suggestion was never carried out.<a name="img34" id="img34"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img083cs.jpg"> + <img src="images/img083cs.jpg" height="500" + alt="An English Renaissance Church." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>An English Renaissance Church.</b><br /> + S. Stephen's, Walbrook, London.<br /> + Generally considered to be Sir Christopher Wren's masterpiece.<br /> + <i>From an Engraving dated 1806.</i><br /> + Click to <a href="images/img083cs.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span>With King George III. on the throne our ancestors +contented themselves with dull, but substantial, buildings +of which some hard things have been written, but they +were at least respectable and free from sham, while +the churches, although not elegant, were well-built and +occasionally picturesque, as we see by the perfect little +building of this date at Billesley, Warwickshire.</p> + +<p>The eighteenth century pseudo-classical abominations +and sham Gothic, so favoured by Horace Walpole and +his admirers, can be briefly dismissed. A more rampant +piece of absurdity than that of erecting imitations of +portions of Greek temples and adapting them for Christian +worship it is difficult to imagine, and in the Pavilion +at Brighton, Marylebone Church, and the "Extinguisher" +Church in Langham Place we even surpassed in bad +taste and vulgarity all the absurdities of the Continental +architecture produced by the French Revolution.</p> + +<div class="sidenote">Barry and<br /> +Pugin.</div> +<p class="noindent">Two men now came on the scene who, united, were +destined to bring some kind of order out of this chaos. +Barry and Pugin were both scholars and +architects, for while the former rather +favoured the classical style he thoroughly +understood the Gothic, while Pugin was +a thorough mediævalist, a true artist, and a bold exponent +in his "<i>Contrasts</i>" of a complete return to mediæval +architecture as the only possible cure for the evils which +had crept into the art of building.</p> + +<p>Barry's idea, which was perhaps the more practical, +was to correct by careful study the errors into which the +later exponents of both Classic and Gothic architecture +had fallen, and endeavour by well thought out modifications +to evolve a style more suitable to modern requirements. +Pugin, however, would have none of the evil +thing, and although he supplied his friend with designs +for the details and woodwork of the Houses of Parliament +which Barry was rebuilding, they did not collaborate<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span> +in any further way, and both died before the Houses +of Parliament were completed, in which, as a matter of +fact, Barry's designs were completely ignored. The +Reform Club is considered to be the best of Barry's +classical buildings.</p> + +<p>Pugin's earlier works were mostly Roman Catholic +churches, and they are acknowledged to be an immense +advance on any Gothic work which had been seen for +centuries. In the Roman Catholic Cathedral of S. Chad, +at Birmingham, there is a dignity, loftiness and simplicity +surpassed by few Gothic buildings when that style was +at its zenith, and from the time Pugin designed this +building, architecture—notwithstanding our exhaustive +study of archæology, our immense resources of capital +and labour, our science and labour-saving appliances, and +the comparative accessibility of the finest materials—has +neither developed nor advanced. The most erudite +Gothic mason could have possessed but little art knowledge +as compared with the modern architect, and yet +with our learned societies, wonderful libraries, easily +obtained photographs and plans of the best buildings +in the world; with writers far superior in intellectual +acquirements to those of the Middle Ages, our vast +wealth, with our tools such as the mediæval craftsman +could never have dreamed of, and with the experience +of twenty centuries to guide us we have made no +advance during more than half a century. Our best +architects acknowledge that until we get a new method +of building, originality in architecture is an impossibility, +mainly because all the existing styles of architecture +have been worked out to their legitimate conclusion, +and have been perfected under circumstances and conditions +with which we have entirely broken; the originality +in detail which pervades and permeates our Gothic +buildings and gives them the greater part of their charm, +must, of necessity, be out of our reach until we blend +the spirit of what we are pleased to call our practical +age, with a certain amount of that spirit of poetry and +romance, religious fervour and devoutness, which +animated the builders and craftsmen of the past.<a name="img35" id="img35"></a> +<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img086c.jpg"> + <img src="images/img086c.jpg" height="300" + alt="A Typical Cornish Font." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Typical Cornish Font.</b><br /> + Probably of the late Norman period. Now at Maker, near Plymouth.<br /> + Click to <a href="images/img086c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p> </p> +<hr class="narrow" /> +<p> </p> +<h4><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h4> + +<h3>CHURCH FURNITURE AND ORNAMENTS.</h3> + +<p>The most important part of the internal furniture of +a church is the altar, a name derived from the +Latin <i>altare</i>, a high place. <span class="sidenote">The Altar.</span>The altar is a raised +structure on which propitiatory offerings are placed. In the +Christian church the altar is a table or slab on which the +instruments of the Eucharist are displayed. The early<span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span> +Christian altars were portable structures of wood, and +the Church of Rome still allows the use +of an altar of this description, although a +consecrated stone, containing an authentic +relic and regarded as the true altar, must be placed +upon the wooden table. The slab forming the altar +was sometimes supported on pillars, but more frequently +on solid masonry, and previous to the Reformation it +was marked with five crosses cut into the top, in allusion +to the five wounds of Christ. From the period that +stone altars were introduced it was usual to enclose +within them the relics of saints, so that in some cases +they were the actual tombs of saints. In England the +altars were generally taken down about the year 1550, +set up again in the beginning of the reign of Queen +Mary, and again removed in the second year of Queen +Elizabeth. In the church of Porlock, Somerset, the +original high altar has been preserved, though not in +use, being placed against the north wall of the chancel. +In Dunster Church, in the same county, there is a solid +stone altar, said to have been the original high altar, +and in the ruined church of S. Mary Magdalene at Ripon, +the high altar has escaped destruction. Of chantry +altars we have several left, including those at Abbey +Dore, Herefordshire; Grosmont, Monmouthshire; Chipping +Norton, Oxon.; Warmington, Warwick; S. Giles's, +Oxford; Lincoln Cathedral, and many others; and it +is rare to find a Gothic church without some traces of +altars in their various chapels, oratories or chantries.</p> + +<p>The altar is, of course, an adoption by the Christian +church of a pagan aid to worship, and at S. Mary's +church, Wareham, which is thought to stand on the +site of a Roman temple, are some pieces of stone considered +by antiquaries to be portions of a pagan altar, +on which burnt offerings were placed.</p> + +<p>Above many Christian altars was placed a piece of +sculpture or a painting representing some religious +subject. These altar pieces sometimes consist of two +pictures, when they are called "diptyches," and sometimes +of three pictures, when they are called "triptyches,"<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span> +and both forms usually fold up or are provided with +shutters. They are often rare examples of the Flemish +and other schools of painting, and of great value.</p> + +<p>At the Reformation the stone altar was displaced by +the communion table, which at first occupied the position +vacated by the altar. This gave umbrage to the Puritan +mind, and the communion table was then usually placed +in the centre of the chancel, with seats all round for the +communicants; which arrangement is still in vogue +in some of our English churches and in Jersey, although +at the Restoration the communion +table was, as a +general rule, replaced at the +eastern wall of the Chancel.<a name="img36" id="img36"></a></p> + +<div class="figleft" style="width: 150px;"> +<img src="images/img088c.jpg" width="150" alt="Durham Sanctuary Knocker." title="" /> +<span class="caption"><b>Durham Sanctuary Knocker</b></span></div> + +<p>Long before the Christian +era the altar was regarded as +a place of refuge for those fleeing +from justice or oppression, +and this custom or privilege +of sanctuary was sanctioned +by the English bishops +and was retained for many +centuries by the Christian +Church. Many of our parish +churches claim to possess old +sanctuary rings or knockers, +but it is doubtful if any of these were ever used by fugitives, +for the reason that although in early days every parish +church had the right to grant sanctuary, few possessed +the means of feeding and housing a refugee, save in the +church itself, which was expressly forbidden. This is +why we find records of fugitives travelling many miles +at the risk of their lives and passing hundreds of parish +churches in their endeavour to reach Bury St. Edmunds, +Hexham, Durham or some other of the well-recognised +sanctuaries. The only sanctuary knocker remaining +to-day, which is above suspicion, is that at Durham +Cathedral. It is made of bronze and represents the +grotesque head of a dragon, the ring coming from the +mouth. Above the door is a small room in which<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span> +attendants watched by day and night, and when a fugitive +was admitted a bell was rung to announce that someone +had taken sanctuary.<a name="img37" id="img37"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img089c.jpg"> + <img src="images/img089c.jpg" height="500" + alt="The Baptistery in Luton Church." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>The Baptistery in Luton Church.</b><br /> + <i>Photograph Fredk. Thurston, F.R.P.S.</i><br /> + Click to <a href="images/img089c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span>The font, as we have seen, was originally placed in +a separate building called the baptistery.<span class="sidenote">The Font.</span> The only +known example of anything of the kind +in England is that in S. Mary's Church, +Luton, fully described in The Homeland +Handbook, No. 47. It is in the Decorated style, dates +from the time of Edward III., and is said to have been +designed by William of Wykeham for Queen Philippa. +It is composed of white stone with open panels, pierced +by cinquefoils and quatrefoils, while the apex of each +panel terminates in a foliated finial. The font inside +is octagonal in form and of 13th century date, but it +has been somewhat restored. Ancient fonts were +always large enough to allow for total immersion, and +our present custom of baptism by affusion, or sprinkling, +is only permitted, not enjoined by the rubric. In early +days the sacrament of baptism was only administered +by the bishops at the great festivals of Pentecost and +Easter, for the reason that this afforded the greater +convenience for immediate confirmation, but with the +increase in the number of churches the rite was administered +by the priests in every village.</p> + +<p>The font was +required by the canon to be of stone, but there are a +few Norman fonts made of lead, among them those at +S. Mary's Church, Wareham, Walton-on-the-Hill, Surrey, +and at Edburton, Parham, and Pyecombe, Sussex. A +remarkable font is that at Dolton Church, Devon, made +up of fragments of the churchyard cross, and there is +also a somewhat similar one at Melbury Bubb, Dorset. +By a constitution of Edmund, Archbishop of Canterbury +(1236), fonts were required to be covered and locked, +and at first these covers were little more than plain lids, +but they afterwards became highly ornamental and were +enriched with buttresses, pinnacles, crockets, etc. It is +doubtful if any fonts exist which can reasonably be supposed +to be Saxon, although a few, like that at Little Billing, +Northants, may possibly be of that era. Of Norman<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span> +fonts we have large numbers. They are sometimes +plain hollow cylinders; others are massive squares +with a large pillar in the centre, and small shafts at the +corners. These fonts are generally ornamented with +rudely executed carvings, consisting of foliage and +grotesque animals.<a name="img38" id="img38"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img091cs.jpg"> + <img src="images/img091cs.jpg" height="400" + alt="An Example of a late Norman Leaden Font." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>An Example of a Leaden Font of the late Norman period.</b><br /> + Walton-on-the-Hill, Surrey<br /> + Click to <a href="images/img091cs.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>The one in Winchester Cathedral +is a good example, and there are three other very +similar ones in Hampshire. Early English fonts are +very often circular, and sometimes square, and they are +often supported in much the same way as the Norman +ones. In the Decorated and Perpendicular styles they<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span> +are, with few exceptions, octagonal, and the details +generally partake of the character of those used in the +other architectural features of the period. There are +hexagonal fonts of Decorated date at Rolvenden, Kent, +and Heckington, Lincs. The font is usually placed close +to a pillar near the entrance, generally that nearest but +one to the tower in the south arcade, or, in larger buildings, +in the middle of the nave.</p> + +<div class="sidenote">Stoups.</div> + +<p class="noindent">The holy-water stoups sometimes found in our old +churches are generally small niches with stone basins +formed in the wall either in or just outside +the porch, or within the church close to +the door, or in one of the pillars nearest +to the door. These niches resemble piscinas, except +that they differ in +situation, are smaller +and plainer, and rarely +have a drain. A good +example of an outside +stoup is that at Broadmayne, +Dorset, where +there is also one inside +the church. They are +rarely found unmutilated, +but there is one +in perfect condition in +the north porch of +Thornham Church, +Kent; and a rather +elaborate example at +Pylle Church, near +Glastonbury.<a name="img39" id="img39"></a></p> + +<div class="figright" style="width: 150px;"> +<img src="images/img092c.jpg" width="150" alt="A Reputed Saxon Font." title="" /> +<span class="caption"><b>A Reputed Saxon Font.</b><br /> +Shaldon, Devon.</span> +</div> + +<p>The piscina is a +water-drain formerly +placed near the altar +and consisting of a +shallow stone basin, or +sink, with a drain to +carry off whatever is +poured into it. It was used to receive the water in<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span> +which the priest washed his hands, as well as for that +with which the chalice was rinsed at the +celebration of the mass. It was usually +placed within a niche, although the basin often projects +from the face of the wall, and is sometimes supported on +a shaft rising from the floor. In the Early English and +Decorated periods there are often two basins and two +drains, and occasionally three. Within the niche a +wooden or stone shelf is often found, called a credence-table, +on which the sacred +vessels were placed previous to +their being required at the altar.</p> + +<div class="sidenote">Piscinas.</div> + +<p class="noindent">Piscinas are unknown in +England of earlier date than +the middle of the 12th century, +and of that date they are +extremely rare. Of thirteenth +and succeeding centuries we +have many examples, more or +less mutilated. Their forms and +decorations are very various, +but the character of their architectural +features will always +decide their approximate date.<a name="img40" id="img40"></a></p> + +<div class="figright" style="width: 200px;"> +<img src="images/img093c.jpg" width="200" alt="A Detached Holy-water Stoup." title="" /> +<span class="caption"><b>A Detached Holy-water Stoup<br /> +of unusual design.</b><br /> +Wooton Courtenay, Som.</span> +</div> + +<p class="noindent">The Sedilia, from the Latin +<i>sedile</i>, a seat, has come to be +applied in modern times to the +seats used by the celebrants +during the pauses in the mass. <span class="sidenote">Sedilia.</span>They were sometimes +moveable, but more usually in this country +were formed of masonry and recessed +in the wall. They are generally three +in number, for the priest, deacon and sub-deacon, while +in a few rare instances they number four seats, as +at Rothwell Church, Northants, and Furness Abbey; +or even five, as at Southwell Minster. Sometimes +a long single seat under one arch is found, and +when three seats are used the two western ones are +often on the same level and the eastern one raised above +them. Numerous examples remain in our churches,<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span> +some being as early as the latter part of the 12th century, +but they are mostly later and extend to the end of the +Perpendicular style. Some of them are separated by +shafts, and profusely ornamented with panelling, +niches, statues, pinnacles, tabernacle work, and crowned +with canopies all more or less elaborately enriched.</p> + +<div class="sidenote">Stalls.</div> + +<p class="noindent">Stalls are fixed seats in the choir, either wholly or +partially enclosed and used by the clergy. Previous to +the Reformation all large and many small +churches had a range of wooden stalls on +each side and at the west end of the choir. +In cathedrals they were enclosed at the back with panelling, +and surmounted by overhanging canopies of tabernacle +work, generally of oak, of which those at Winchester, +Henry VII.'s Chapel at Westminster, and +Manchester Cathedral are possibly our finest examples. +When the stalls occupied both sides of the choir, return +seats were placed at the ends for the prior, dean, precentor, +and other of the officiating clergy.<a name="Plate_4" id="Plate_4"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img095c.jpg"> + <img src="images/img095c.jpg" height="350" + alt="Sedilia and Chantry." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Sedilia and Chantry.</b><br /> + Luton, Beds.<br /> + <i>Photograph Fredk. Thurston, F.R.P.S.</i><br /> + Click to <a href="images/img095c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>Mr. Parker, in his "<i>Glossary of Architecture</i>," gives +the following definition of the miserere, patience or +pretella. "The projecting bracket on the underside +of the seats of stalls in churches; these, when perfect, +are fixed with hinges so they may be turned up, and +when this is done the projection of the miserere is +sufficient, without actually forming a seat, to afford +very considerable rest to anyone leaning upon it. They +were allowed as a relief to the infirm during the long +services that were required to be performed by ecclesiastics +in a standing posture." It is in the carving of these +that one is frequently struck by the curious mixture +of the sacred and the profane, the refined and the vulgar, +for which it is difficult to find any adequate explanation. +Of so coarse a nature are some of these carvings that it +has been necessary to entirely remove them from the +stalls. They are usually attributed to the mendicant +and wandering monks, and they undoubtedly reflect the +licentiousness which at one time pervaded the monastic +and conventual establishments. Among our best examples +are those at Christchurch Priory, Hants, and<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span> +in Henry VII.'s Chapel. There is a remarkably complete +set in Exeter Cathedral.<a name="img41" id="img41"></a></p> + +<div class="figright" style="width: 300px;"> +<img src="images/img097cs.jpg" width="280" alt="Typical Somerset Bench-End." title="" /> +<span class="caption"><b>A Typical Somerset Bench-End,</b><br /> +Showing a Fuller at work with the<br /> +implements of his trade.<br /> +Spaxton.<br /> +<i>Photograph Mr. Page.</i></span> +</div> + +<p>Of modern pews it is not necessary to say anything +here, but previous to +the Reformation the +nave of a church was +usually fitted with +fixed seats, parted +from each other by +wainscoting, and +partially enclosed at +the ends by framed +panelling, but more +often by solid pieces +of wood, either +panelled or carved +on the front. These +bench-ends are very +common in the +West of England, in +Somerset and Devon, +and they are often +very beautiful pieces +of work and were +in all probability +executed by local +craftsmen. They +embrace a variety +of subjects: figures, +scrolls, dragons, +serpents, etc., and +frequently bear the +arms of the family +who owned the pew. +Sometimes they terminate +at the top +with finials either +in the form of heads, bunches of foliage, a chamfered +<i>fleur-de-lys</i> and a variety of other ornaments called +Poppy-heads, from the French <i>Poupée</i>. No examples<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span> +are known to exist earlier than the Decorated style, but +of Perpendicular date specimens are very numerous, +especially in our cathedrals and old abbey churches.</p> + +<div class="sidenote">Pulpits.</div> + +<p class="noindent">Pulpits were formerly placed, not only in churches, +but in the refectories and occasionally in the cloisters of +monasteries, and there is one in the outer +court of Magdalen College, Oxford, and +another at Shrewsbury. In former times +pulpits were placed in the nave attached to a wall, pillar +or screen, usually against the second pier from the +chancel arch. Some are of wood, others of stone; the +former are mostly polygonal, with the panels enriched +with foliation or tracery. Few exist of earlier date +than the Perpendicular style, but stone pulpits of Decorated +date are sometimes met with as at Beaulieu, Hants, +a very early specimen. Wooden pulpits are usually +hexagonal or octagonal; some stand on slender wooden +stems, others on stone bases. A few have canopies +or sounding boards, and their dates can be fixed by the +character of their ornamentation. At Kenton, Devon, +there is an early pulpit which has retained its original +paintings. Jacobean pulpits are very numerous, and are +frequently gilded and painted; the one at S. Saviour's +Church, Dartmouth, being a most elaborate example.</p> + +<p>Open-air preaching is anything but a modern invention, +for long before the erection of parish churches it +was the recognised method of addressing the people. +There is a print of some popular bishop preaching in +a pulpit at Paul's Cross in S. Paul's Churchyard, and in +mediæval days open-air pulpits were erected near the +roads, on bridges and often on the steps of the market +crosses, which are often still known as preaching +crosses.</p> + +<div class="sidenote">Squints.</div> + +<p class="noindent">In some of our churches is to be seen a squint, an +opening in an oblique direction through a wall or pier for +the purpose of enabling persons in the aisles +or transepts to see the elevation of the +Host at the high altar. They are of +frequent occurrence in our churches and are very numerous +in the neighbourhood of Tenby, South Wales, also<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span> +in Devon +and the +West generally.<a name="img42" id="img42"></a></p> + +<div class="figright" style="width: 220px;"> +<img src="images/img099c.jpg" width="220" alt="A Richly Carved Pulpit and Canopy." title="" /> +<span class="caption"><b>A Richly Carved Pulpit and Canopy.</b><br /> +Edlesborough, Bucks.<br /> +<i>Photograph H. A. Strange.</i></span> +</div> + +<p>They +are usually +without any +ornament, +but are +sometimes +arched and +enriched +with tracery. +They +are mostly +found on +one or both +sides of the +chancel +arch, but +they sometimes +occur +in rooms +above porches, +in +side-chapels +and the like; +in every instance +they +were so situated +that +the altar +could be +seen. When +they occur +in porches +or the rooms +above they +are thought +to have been +for the use<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span> +of the acolyte appointed to ring the sanctus bell, who, +viewing the performance of mass, would be thus able to +sound the bell at the proper time. The name hagioscope +has been used to describe these oblique openings.</p> + +<p>Cruciform marks are sometimes found on our churches, +often on a stone in the porch; they are usually incised +crosses or five dots in the form of a cross. They were, +presumably, cut by the bishop when the building was +consecrated, and are called consecration crosses.</p> + +<div class="sidenote">Screens.</div> + +<p class="noindent">The rood-screens, separating the chancel or choir +of a church from the nave, usually supported the great +Rood or Crucifix, not actually on the +screen itself, but on a beam called the +rood-beam, or by a gallery called the +rood-loft, which last was approached from the inside +of the church, by a small stone staircase in the wall, +as can be seen in many of our churches to-day. Although +rood-lofts have been generally destroyed in England, +some beautiful examples remain at Long Sutton, Barnwell, +Dunster and Minehead, Somerset; Kemsing, +Kent; Newark, Nottingham; Uffendon, Collumpton, +Dartmouth, Kenton, Plymtree and Hartland, Devon. +The general construction of wooden screens is +close panelling below, from which rise tall slender +balusters, or wooden mullions supporting tracery rich +with cornices and crestings, frequently painted and gilded. +The lower panels often depict saints and martyrs. From +the top of the screen certain parts of the services and the +lessons were read. They were occasionally close together +and glazed, as we see by a most beautiful example at +Charlton-on-Otmoor, in Oxfordshire. These screens, +many of which have been over-restored, are very common, +and in addition to those above mentioned, are found +at S. Mary's, Stamford, Ottery S. Mary, Chudleigh, +Bovey, and in nearly all the Devon parish churches. +At Dunstable a screen of Queen Mary's time separates +the vestry from the chancel.<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span> +<a name="img43" id="img43"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img101c.jpg"> + <img src="images/img101c.jpg" height="350" + alt="Screen with Rood Loft." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Screen with Rood Loft.</b><br /> + Kenton, Devon.<br /> + <i>Photograph by Chapman.</i><br /> + Click to <a href="images/img101c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>Of stone screens space will permit of only the briefest +mention. They were used in various situations, to +enclose tombs and to separate chapels, and occasionally the<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span> +rood-screen was of stone. The oldest piece of screen work +in this country is that at Compton Church, Surrey; it +is of wood and shows the transition from the Norman to +the Early English styles.<a name="img44" id="img44"></a></p> + +<div class="figright" style="width: 200px;"> +<img src="images/img102c.jpg" width="200" alt="Carved Oak Balustrade" title="" /> +<span class="caption"><b>The Carved Oak Balustrade in<br /> +Compton Church.</b><br /> +Held to be the oldest existing piece<br /> +of carved woodwork in England.</span> +</div> + +<p>Stone screens are often massive +structures enriched with niches, statues, tabernacles, pinnacles, +crestings, etc., +as those at Canterbury, +York and Gloucester.</p> + +<div class="sidenote">The +Reredos.</div> + +<p class="noindent">The reredos forms +no part of the altar, +and is often highly enriched +with +niches, buttresses, +pinnacles, +and +other ornaments. Not +infrequently it extends +across the whole +breadth of the church, +and is sometimes +carried nearly up to +the roof, as at S. +Alban's Abbey, Durham +and Gloucester Cathedrals, +S. Saviour's, +Southwark and in that +remarkably fine example +at Christchurch, +Hants. In village +churches they are mostly very simple, and generally +have no ornaments formed in the wall, though niches +and corbels are sometimes provided to carry images, and +that part of the wall immediately over the altar is +panelled, as at S. Michael's, Oxford; Solihull, Warwickshire; +Euston and Hanwell, Oxfordshire, etc.</p> + +<p>It is interesting to note that the open fire-hearth, once +used in domestic halls, was also called a "reredos."</p> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h4><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.</h4> + +<h3>BELLS AND BELFRIES.</h3> + +<p>The history of bells is lost in antiquity, and little +is known about them previous to the XVth +century. It is probable, however, that they were +used in India and China centuries before they reached +Europe.</p> + +<p>Bells were used by the Romans for many secular +purposes, and although their use was sanctioned by +the Christian Church about 400 A.D., they were not +in general use in England until 650 A.D.</p> + +<p>The earliest bells were hand bells, quadrangular in +shape, and made of thin plates of copper or iron riveted +together, and their abominable sound when struck +must have been one of their chief merits, as the early +bells were much used for the purpose of frightening +the devil and other evil spirits.</p> + +<p>Our oldest bells are hand bells, S. Patrick's bell at +Belfast (1091) and S. Ninian's bell at Edinburgh, which +is probably of even earlier date. From 1550 to 1750 +was the golden age of production for bells, more especially +so in Belgium and the Low Countries, where the bells +of the towers and belfries were rung to arouse the country +in times of danger and invasion. It is quite possible that +the bells used for secular and religious purposes were kept +distinct. Bells played a very important part in mediæval +life, and next to cannon were regarded as the chief city +guardians, for he who held the bells held the town, and<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span> +the first thing done by the invader on taking a town +was to melt the bells and thus destroy the means of +communicating an alarm.</p> + +<p>In England our old towns, being almost entirely constructed +of wood, were liable to periodic and devastating +conflagrations, which fact suggested to that genius, +William the Conqueror, the institution of Couvre-feu, +or in its more popular form, Curfew, which rang at +eight o'clock in the evening, when all lights were to be +extinguished. The ringing of curfew has survived in +many of our towns and villages to this day, but it is +doubtful if the custom has been continuous from its +first institution.</p> + +<p>The secular use of the bell is, however, only incidental, +and it is in its connection with religious life that we are +now concerned, for all church history, church doctrine +and church custom and observances are set to bell music. +Bells in fact may be said to sum up the short span of +our mortal life, for the birthday, the wedding and the +funeral, are all welded to religion by the church bell.</p> + +<p>Bells were used for ecclesiastical purposes in England +long before the erection of our parish churches, for +Bede, speaking of the death of S. Hilda, A.D. 680, says +that "one of the sisters in the distant monastery of +Hackness, thought she heard as she slept, the sound +of the bell which called them to prayers," and Turketul +gave to Croyland Abbey a great bell called Guthlac, +and afterwards six others which he called Bartholomew +and Betelin, Turketul and Tatwin, and Pega and Bega.</p> + +<p>S. Dunstan gave bells to many of the churches in +Somerset, and he also seems to have introduced bell +ringing into the monasteries.</p> + +<p>A few words may be of interest concerning the number +and purposes of these monastic bells, with which the +life of the monks must have been completely bound up. +The <i>Signum</i> woke up the whole community at day-break. +The <i>Squilla</i> announced the frugal meal in the +refectory; but for those working in the gardens, the +cloister-bell, or <i>Campanella</i>, was rung. The abbot's +<i>Cordon</i>, or handbell, summoned the brothers and novices<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span> +to their Superior; whilst the <i>Petasius</i> was used to call in +those working at a distance from the main building. At +bed-time the <i>Tiniolum</i> was sounded, and the <i>Noctula</i> +was rung at intervals throughout the night to call the +monks to watch and pray. The <i>Corrigiumcula</i> was the +scourging bell, while the sweet-toned <i>Nota</i>, a choir bell, +was rung at the consecration of the elements.</p> + +<p>The use of the bell-tower was recognised in the ancient +Saxon law, which gave the title of thane to anyone who +had a church with a bell-tower on his estate, and two +of our most interesting Saxon churches, Brixworth +and Brigstock, both in Northamptonshire, have each a +semi-circular tower rising together with the bell-tower, +and forming a staircase to it.</p> + +<p>One of the most beautiful campaniles or bell-towers +still standing is that at Evesham, in Worcestershire, +which is a good specimen of Perpendicular architecture. +It was built by Abbot Lichfield, the last abbot but one +of the abbey, and took six years in building, and was +not quite completed when the famous abbey, of which +it was a final ornament, was pulled down.</p> + +<p>In addition to this example at Evesham, detached +bell-towers exist, or once existed, at Chichester, East +Dereham, Glastonbury Abbey, Bruton, in Somerset, and +in several other places.</p> + +<p>Markland, in his <i>Remarks on Churches</i>, says: "The +great bell-tower which once formed part of the abbey +church of S. Edmundsbury was commenced about 1436. +From the year 1441 to 1500 legacies were still being +given towards the building. In 1461 an individual, +probably a benefactor, desired to be buried <i>in magno +ostio novi campanilis</i>."<a name="img45" id="img45"></a></p> + +<div class="figleft" style="width: 160px;"> +<img src="images/img106c.jpg" width="160" alt="Bell Turret for 3 Bells." title="" /> +<span class="caption"><b>Bell Turret for 3 Bells.</b><br /> +Radipole, Dorset.</span> +</div> +<p>In Protestant use church bells have been stripped +of much of the former superstition and symbolism. +They are no longer rung to announce the miracle of +transubstantiation; neither are they called upon as +of old for the purpose of scaring devils, demons, and +other evil spirits which formed so prominent a feature +in the faith of the early Christian communities. Closely +connected with the subject of bells and belfries are the<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span> +bell-gables or bell-turrets, so frequently found at the +west ends of our smaller churches which have no towers.</p> + +<p class="noindent">They usually contain but one +bell, but are sometimes found +with two, and at Radipole +Church, near Weymouth, the +bell-turret was originally +designed to carry three bells. +They are generally most +picturesque little features of +which a few may be of +Norman date, but by far the +greater number of them are +Early English, a style in +which they are frequently +found. In addition to these +bell-turrets at the western +ends of our churches one +sometimes finds a similar, +but smaller, erection at the +eastern end of the roof of the +nave, but used for a very +different purpose, for while +the bell at the western end +was rung to summon the +parishioners to service, that +at the eastern end, known +as the Sanctus or Mass-bell, +was rung on the elevation of the Host during the celebration +of mass; although usually placed on the apex +of the roof, this bell sometimes occupied a position in +the lantern or tower, or in a turret of larger dimensions. +In churches where no turret existed it was carried in +the hand, and such is now the prevailing practice on the +continent. The turret for the Sanctus bell still exists +at Barnstaple, Devon, and St. Peter Port, Guernsey. +The Sanctus bell was generally made of silver, and +occasionally a number of little bells were hung in the +middle of the church, and by means of a wheel they +were all made to ring at once.</p> + +<p> </p> +<hr class="narrow" /> +<p> <span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span></p> +<h4><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.</h4> + +<h3>THE SPIRE; ITS ORIGIN AND DEVELOPMENT.</h3> + +<p>Probably the most beautiful feature of a Gothic +church is the spire, raising its tapering form far +above the town or village and forming a prominent +landmark, denoting the location of the House +of God. Although found occasionally in other styles, +the spire is essentially Gothic, and one of the most +marked characteristics of this period. Spires are generally +of two kinds, those constructed of timber and +covered with slates, lead, tiles or shingles, and those +built of stone or brick. Examples of both kinds are very +numerous on the continent and in England, while shingle +spires are especially common in Sussex.</p> + +<p>The spire is generally acknowledged to have originated +from the small pyramidal roof so frequently found on +Saxon and Norman towers. This gradually became +elongated, and the towers were sometimes gabled on +each side, as is the case with the remarkable Saxon church +at Sompting, Sussex. This shows us very clearly the +angles of the spire resting upon the apex of each +gable, so that the spire itself is set obliquely to the +square of the tower.<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span> +<a name="img46" id="img46"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img108c.jpg"> + <img src="images/img108c.jpg" height="550" + alt="Saxon Spire or Pyramidal Roof." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>The best example of a Saxon Spire or + Pyramidal Roof.</b><br /> + Sompting, Sussex.<br /> + <i>Drawn by George Pearl.</i><br /> + Click to <a href="images/img108c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>Saxon and Norman spires are very rare in England, +Sompting being our best example of the former and +thoseon +the eastern transepts of Canterbury Cathedral of the +latter.</p> + +<p><span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span>Of +Early English spires we have, fortunately, some good +examples, among which are those at Oxford Cathedral, +Wilford and Wansted, in the same county, and a very +graceful one at Leighton Buzzard. These 13th century +spires are very common in France, as at Chartres and +S. Pierre, Caen.</p> + +<p>Of fourteenth century, or Decorated, spires, we have +many examples, of which perhaps the best is the beautiful +spire of Salisbury Cathedral, although the equally fine +one at S. Mary's, Oxford, runs it close for premier position. +The triple group at Lichfield Cathedral belong to this +period, as do the spires of Ross, Heckington, Grantham, S. +Mary's, Newark, King's Sutton, Bloxham and Snettisham, +Norfolk. A peculiarity of the Salisbury spire is +that it never formed part of the original design of the +cathedral, being added seventy years later. It is the +loftiest spire in England—404 feet—about 40 ft. higher +than the cross of S. Paul's. It speaks well for the Gothic +builders that such a vast superstructure as this tower +and spire could be imposed upon walls and piers never +intended to bear it. At an early period it was found to +have deflected twenty-three inches from the perpendicular, +but there has been no sign of any further +movement. Barnack Church, in Northamptonshire, has +a curious spire showing the transition from Norman to +Early English.</p> + +<p>It will be noticed that the sides of a church spire are +slightly curved, so that they swell out a little in the centre. +This is called the entasis of the spire, and belongs to the +study of optics in architecture. Where the spire has no +entasis the same effect is produced by the introduction +of small projecting gables, bands of carving, or a little +coronal of pinnacles.</p> + +<p>One of the most clearly marked differences between +English and continental spires is that the latter are +much shorter than the towers which support them, the +towers, as a rule, being twice as high as the +spires.<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span> +<a name="img47" id="img47"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img110c.jpg"> + <img src="images/img110c.jpg" height="500" + alt="Leighton Buzzard Church." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>Leighton Buzzard Church.</b><br /> + With Early English Tower and Spire.<br /> + <i>Photograph H. A. Strange.</i><br /> + Click to <a href="images/img110c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p>In England, on the contrary, the spire is generally very<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span> +much loftier than the tower. At Shottesbrook, Berks, +and Ledbury, Herefordshire, the spires occupy as much +as three-fifths of the total elevation, and the usual rule +in England is for the tower to be a little less in height +than the spire.</p> + +<p>The masons lavished an extraordinary amount of +care and skill on their spires. So much is this the case +that there is hardly a mediæval spire in the country +which can be called ill-designed or displeasing.</p> + +<p>Church spires are very common in some counties and +very rare in others. There are, of course, exceptions, +but it is in the flat counties that spires are most frequent, +the most beautiful ones being found in Northamptonshire, +Leicestershire, Lincolnshire, Warwickshire, Staffordshire, +Nottinghamshire and Oxfordshire.</p> + +<p>The top of the spire is usually capped with a weather +vane terminating in a cock. The custom of using a cock +as the flag of the vane is of very early date, for Wolfstan, +in his Life of S. Ethelwold, written towards the end of +the 10th century, speaks of one which surmounted Winchester +Cathedral. In the Bayeux Tapestry one is shown +on the gable of Westminster Abbey, and one of the early +Popes ordained that every church under the papal jurisdiction +should be surmounted by a cock as emblematical +of the sovereignty of the church over the whole world.</p> + +<p> </p> +<hr class="narrow" /> +<p> <span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span></p> +<h4><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI.</h4> + +<h3>STAINED GLASS.</h3> + +<p>The use of coloured glass in the windows of buildings +devoted to religious purposes appears to have +been employed as early as the ninth century, but +no examples remain of anything like so old a date, and +we have only illuminated missals and primitive drawings +by members of the conventual bodies to guide us in +determining the earliest styles of coloured glazing. It +appears to have consisted of more or less primitive +representations of the human form, with strong black +lines to indicate the features and folds of the drapery. +The backgrounds were generally masses of deep blue +or red, and in the rare instances where landscapes were +introduced positive colours only appear to have been used. +Our oldest specimens in England are those in the choir +aisles of Canterbury Cathedral, which appear to be of +the 12th century, and it is thought that they are the +remains of the original glazing that was put in when +this part of the building was rebuilt after a fire in 1174. +The general design is composed of panels of various +forms, in which are depicted subjects from Holy Scripture, +with backgrounds of deep blue or red; the spaces between +the panels are filled with mosaic patterns in which +blue and red colours predominate, and the whole design +is framed in an elaborate border of leaves and scroll-work +in brilliant colours.<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span> +<a name="img48" id="img48"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="4" summary="Illustration"> + <tr> + <td align="center"> + <a href="images/img113c.jpg"> + <img src="images/img113c.jpg" height="350" + alt="Leighton Buzzard Church." /></a> + </td> + </tr> + <tr> + <td align="center"><span class="caption"><b>A Parish Church with a Shingle Broach Spire.</b> (<i>See page <a href="#Page_99">99</a></i>)<br /> + Edenbridge, Kent.<br /> + <i>Homeland Copyright.</i><br /> + Click to <a href="images/img113c.jpg">ENLARGE</a></span> + </td> + </tr> +</table> +</div> + +<p><span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span>Of thirteenth century windows we have some magnificent +examples—unfortunately few unmutilated—as at +York, where is the five-light lancet window situated in +the north end of the transept, known as the Five +Sisters of York. Of this date, also, are the large circular +window of Lincoln Cathedral, and the windows at +Chetwode, Bucks; Westwell, Kent; West Horsley, +Surrey; and Beckett's Crown, Canterbury.</p> + +<p>A little later, in the Decorated period, we get the great +east window of York Cathedral, 75 ft. high and 32 ft. +broad; the east window of Gloucester Cathedral, 72 ft. +high and 38 ft. broad; and other fine windows at Tewkesbury +Abbey; Merton College, Oxford; Wroxhall Abbey, +Warwickshire; and the churches of Chartham, Kent; +Stanford, Leicestershire; Ashchurch, Glous.; Cranley, +Surrey; Norbury, Derbyshire, and others. Salisbury +Cathedral has retained portions, but very lovely portions, +of the glazing of its west windows, and enough is left +to show that it was little inferior to the great windows +of York and Gloucester. Carlisle Cathedral, too, has +preserved fragments of the original glass in the tracery +of the great east window, but the lower part of the +glazing is modern. Windows in the Decorated style +continued to be arranged in panels, with the spaces +between them filled with flowing patterns of foliage, in +which the vine and ivy leaves predominate. Single +figures are more common than in the previous style, and +when used are generally shown beneath a simple pediment +or canopy. In the early examples they only +occupy a portion of the window light, but later they are +found occupying nearly the whole of the surface and are +surmounted by large and elaborate canopies. Quarries +are much used in this style, sometimes quite plain, but +more often with leaves or rosettes painted on them in +black lines, or painted with the vine and ivy leaves so +arranged that they form a repeating pattern over the +whole window. At this period, too, heraldry began +to be employed in the decoration of the windows to<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span> +which it is always an appropriate and artistic adjunct, +and many authentic and valuable examples of our +national heraldry have thus been preserved for posterity.</p> + +<p>With the advent of the Perpendicular style the glazing +became more uniform in character, the glass was thinner +and lighter, the tints paler, and the whole effect more +brilliant and transparent. The paintings for the most +part consist of large figures under elaborate canopies, +frequently occupying an entire light, and in the patterns +and smaller decorations there is a greater freedom +of design, and the whole treatment is more harmonious +and artistic than in any other period. The use of heraldry +became very common, and inscriptions on long narrow +scrolls were frequently employed. Among the best +examples of this period are the windows at S. Margaret's +Church, Westminster; King's College Chapel, Cambridge; +Fairford Church, Gloucestershire; and Morley +Church, Derbyshire.</p> + +<p>The Reformation, with its vast social and political +upheaval, was not conducive to the encouragement of +the fine arts, and from this period the art of glazing in +England declined beyond measure, and was not the only +art that received its death-blow in the triumph of +Puritanism. The art has, however, revived greatly +during recent years, thanks, among other artists, to +William Morris and Burne-Jones. A few words must +be said about the "Jesse" window found in some +of our cathedrals and churches. Strictly speaking, +it is a representation of the genealogy of Christ, in +which the different persons forming the descent are +placed on scrolls of foliage branching out of each +other, intended to represent a tree. It was also wrought +into a branched candlestick, thence called a Jesse, +a common piece of furniture in ancient churches. +The subject is found on a window at Llanrhaiadr y +Kinmerch, Denbighshire, on the stone work of one of +the chancel windows at Dorchester Church, Oxfordshire, +and in carved stone on the reredos of Christchurch +Priory, Hants.</p> + +<p>It is not perhaps generally known that the actual<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span> +colours used in early stained glass possessed each of +them their own specific symbolism. Underlying the +obvious story conveyed by the human figures or +decorated devices, there was an inner story to be read +with profit by those who understood the mystic symbolism +concerning colours. Without entering at length +into this interesting subject, it may yet be stated that +green was the symbol of Regeneration, red of Divine +Love, white of Divine Wisdom, yellow of Faith, and +grey, or a mixture of black and white, the emblem of +Terrestrial Death and Spiritual Immortality. These +colours at different times or in different countries had +other meanings as well, and ecclesiologists tell us that +the colours chosen for depicting the robes of our Lord +differ according to the period of His life which it was +intended to represent.<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span></p> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h4><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII.</h4> + +<h3>CRYPTS.</h3> + +<p>The crypts so generally found beneath our cathedrals +and abbeys, and so frequently under our churches, +rarely extend beyond the choir or chancel and its +aisles, and are sometimes of very small dimensions. +They are often coeval with the upper parts of the building, +and although not so elaborate in ornamentation +as the fabric they support, they are almost without +exception well constructed and well finished pieces of +building. In some cases the crypt is of much older +date than any portion of the superstructure, as is the +case at York, Worcester and Rochester cathedrals. +During the twelfth and thirteenth centuries the roofs +were often richly groined, and upheld by cylindrical +columns or clustered piers, and furnished with handsome +bases and decorated capitals. There is abundant evidence +that crypts were at one time furnished with altars, +piscinas, and the various fittings requisite for the celebration +of the mass, and they were used as sepulchres, +wherein the shrines of relics and martyrs were carefully +preserved. Some authorities claim a purely Saxon +origin for the crypts at Ripon Cathedral, Hexham Abbey, +and Repton Church, Derbyshire. The Ripon example +is a plain barrel-vaulted chamber, about 11 ft. long and +8 ft. wide, with no pillars or ornament of any kind. +It is popularly known as S. Wilfrid's Needle, but the exact +origin of the name is lost in obscurity. The Hexham +crypt is very similar in character, but is somewhat longer, +being more than 13 ft. long and 8 ft. wide. As at Ripon, +there are hollows or shallow niches in the walls in which +lamps may possibly have been placed. The third reputed +Saxon crypt is that at Repton, but it has little in common +with the other two, its superficial area being nearly +twice as great and the roof is supported on four columns, +with plain square capitals rudely carved, and bearing +much similarity to early Norman work.</p> + +<p>The position of the crypt varies. At Beverley Minster<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span> +it is on the south side of the south-west tower; in Hereford +Cathedral it is under a side chapel, while at Lastingham, +in Yorkshire, the crypt extends under the whole +of the church, including the apse. At Wells the crypt +is beneath the chapter-house, and Durham Cathedral +has three crypts, one under what was the dormitory, +another beneath the refectory, and the third under the +prior's chapel. Of crypts of Norman date we have many +examples, of which, perhaps, our best are those at +Gloucester, Worcester, Canterbury and Winchester +Cathedrals, while Canterbury is probably the largest +of them all. Good crypts are also found at Wimborne +Minster, Christchurch Priory, and in our smaller churches +at Repton and S. Peter's-in-the-East, Oxford.</p> + +<p>The Wimborne crypt is lighted by four windows. +The vaulting is supported by two pairs of pillars which +form three aisles, each of three bays. Mr. Perkins, in +his book on Wimborne Minster, says, "On each side of +the place where the altar stood there are two openings +into the choir aisles. The exteriors of these are of the +same form and size as the crypt windows, but they +are deeply splayed inside, and probably were used as +hagioscopes or squints, to allow those kneeling in the +choir aisles to see the priest celebrating mass at the +crypt altar." The crypt at Christchurch is of Norman date, +and now serves as a vault for the Malmesbury family. +The crypt of Canterbury Cathedral is claimed and justly +claimed, perhaps, as the largest and most beautiful in +England. It is thought to contain fragments of Roman +and Saxon work, and much of it dates from the days of +S. Anselm (1096-1100). It was here that the remains +of S. Thomas à Becket lay from 1170 to 1220, and "here +that Henry II., fasting and discrowned, with naked feet, +bared back, and streaming tears, performed on July +12th, 1174, the memorable penance for his share in the +murder of the great Archbishop."</p> + +<p>It was here too, in later times that the Walloons were +granted, by Queen Elizabeth, the privilege of carrying on +their silk-weaving, and it was also reserved as a place of +worship for French Protestants.<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span></p> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h4><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII.</h4> + +<h3>HOW TO DESCRIBE AN OLD CHURCH.</h3> + +<p>Having carefully read the foregoing chapters, it +should be possible for anyone interested in the +subject to be able to write a fairly accurate +description of any old church. The record should, if +possible, be amplified with sketches or photographs.</p> + +<p>In course of time, decay, neglect and restoration will +deprive our ancient buildings of every visible stone of +original work which they possess, and careful records +of this kind, written, photographed and sketched, may +be of the highest possible value to future generations +of historians and architects, long after the objects themselves +have ceased to exist. The work in itself is of +absorbing interest, and the more one studies these works +of past ages the stronger becomes the conviction that +our old buildings, whether cathedral, castle or simple +village church, are the landmarks of the nation's history, +and a priceless inheritance of beauty and art the conservation +of which is the duty of all generations.</p> + +<p>The principal points to be noted are—1. The name of +the church. 2. Its situation. 3. Its dedication. 4. +General plan. 5. The style of architecture to which +each portion belongs. 6. Any peculiarity of the architecture, +blocked up windows, etc. 7. Any ancient<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span> +furniture, screens, bench-ends, glass. 8. Any monuments, +tablets, or mural paintings. 9. Church plate, +bells, registers. 10. Any local traditions. The record +should be made somewhat in the following manner.</p> + +<p>The church of — — is prettily situated on rising +ground some quarter of a mile north of the village, and +on the main road to — — . It is approached by a picturesque +timber lych-gate, and consists of nave, aisles +and chancel, having a side chapel to the north and a +single transept to the south. At the west end is a Decorated +tower and spire. There are two porches, one on +the north side and the other on the west, which last +has a niche for a figure over the doorway and seats on +either side. The nave is Perpendicular, as is the greater +part of the rest of the fabric. Above the nave rises +a lofty and noble clerestory, divided from the aisles by +five rather obtusely-pointed arches supported by richly +moulded piers with small moulded capitals. Each +bay of the clerestory contains two three-light windows of +late Perpendicular date. The roof is flat pitched and is of +oak, the principals are adorned with panelled tracery +and show vestiges of ancient colour decoration. The +windows of the aisles are late Decorated in style; they +are of three lights, the traceries elegant and richly +moulded. The east window is Perpendicular and is +much sub-divided by mullions and transoms; in the +upper portions are some heraldic coats of arms, which +appear to have formed part of a much earlier window. +The chancel is divided from the nave by a fine open +oak screen, coeval with the larger part of the building. +It is richly carved and gilded, and in the right-hand side +of the chancel arch are the steps which formerly led up +to the top of it. The chancel, together with its chapel, +is vaulted in stone with well marked ribs and carved +bosses. The transept, late Perpendicular, opens into +the south side of the nave by a four-centred arch, and +has a rich flat ceiling. In the chancel is a piscina of +Early English date, together with a sedilia of the same +period. On the north side of the chancel, resting on the +floor, is a cross-legged effigy, in chain mail, surcoat, etc.,<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span> +and bearing on his left arm a shield, but all much mutilated. +There is a local tradition that it represents +Sir <span class="nowrap">——</span>, but there is no evidence by which he can be +identified. Features of the church are the many highly +carved bench ends, all in oak, representing a great variety +of subjects, such as dragons, serpents, etc., while a few +bear the arms of local families who probably bore the +cost of the work. The pulpit is Jacobean, and has no +special feature. The font, which stands in the centre of +the nave, is square in form and is supported by a modern +round plinth. It is constructed of marble, the four sides +being carved in low relief with intersecting patterns. It +is possibly of Norman date, and is the only existing +feature of a much earlier church. The tower and spire +are Decorated; the latter is of stone with four pinnacles +at the base, and has a little coronal of pinnacles. The +belfry windows are arranged in pairs on each side of +the tower. The tower or western window is of five +lights, richly Decorated in style.<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span> +<a name="img49" id="img49"></a></p> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="1" summary="diagram"> +<tr><td><div class="figleft" style="width: 300px;"> +<img src="images/img122c.jpg" width="300" alt="Interior Elevation of a Bay of a Church." title="" /> +</div></td><td align="left"><p class="noindent"><small><b>Key to Diagram of the<br /> +Interior Elevation of a<br /> +Bay of a Church.</b><br /> +<br /> +<b>Clerestory.</b><br /> +26 Boss.<br /> +25 Vaulting Rib.<br /> +24 Vault.<br /> +23 Vaulting Rib.<br /> +22 Tracery of C. Window.<br /> +21 Clerestory Window.<br /> +20 Sill of Clerestory Window.<br /> +19 Base of Jamb, C. Arch.<br /> +18 Jamb of C. Arch.<br /> +17 Clerestory String.<br /> +<br /> +<b>Blind Storey (Triforium).</b><br /> +16 Capital of Vaulting Shaft.<br /> +15 Tracery of Triforium.<br /> +14 Triforium Arch.<br /> +13 Capital of T. Pier.<br /> +12 Pier of Triforium.<br /> +11 Triforium String.<br /> +<br /> +<b>Ground Storey.</b><br /> +10 Tracery of Aisle Window.<br /> +9 Aisle Window.<br /> +8 Sill of Aisle Window.<br /> +7 Wall Arcade.<br /> +6 Vaulting Shaft.<br /> +5 Corbel.<br /> +4 Pier Arch.<br /> +3 Capital of Pier.<br /> +2 Pier.<br /> +1 Base of Pier.<br /></small> +</p></td></tr> +</table> +</div> + +<p> </p> +<hr class="narrow" /> +<p> <span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span></p> +<h3><a name="Appendix" id="Appendix"></a>APPENDIX.</h3> + +<div class="center"> + <p class="noindent">A GLOSSARY OF THE PRINCIPAL TERMS USED<br /> + IN ECCLESIASTICAL ARCHITECTURE.</p> +</div> + +<div class="center"> +<table class="sm" style="margin: 0 auto" cellpadding="5" cellspacing="5" summary="Glossary"> +<tr><td align="left" valign="top">ABACUS</td><td align="left">Derived from the Greek <i>Abax</i>—a tray or +flat board, an essential feature of the Grecian and Roman orders, but now +used to describe the slab forming theupper part of a column, pier, etc. </td></tr> + +<tr><td align="left" valign="top">ABBEY</td><td align="left" valign="top">A term for a union of ecclesiastical buildings, +for the housing of those conventual bodies presided over by an abbot or +abbess, supposed to be derived from the Hebrew <i>ab</i>, "father."</td></tr> + +<tr><td align="left" valign="top">ACANTHUS</td><td align="left" valign="top"> A plant, the leaves of which are +represented in the capitals of the Corinthian orders.</td></tr> + +<tr><td align="left" valign="top">AISLE</td><td align="left" valign="top">French <i>aile</i>, a wing, the lateral division of a church.</td></tr> + +<tr><td align="left" valign="top">ALMONRY</td><td align="left" valign="top">A room where alms were distributed.</td></tr> + +<tr><td align="left" valign="top">ALTAR</td><td align="left" valign="top">An elevated table dedicated to the Sacrament of the Holy Eucharist, +and usually called the Communion Table.</td></tr> + +<tr><td align="left" valign="top">ALMERY, AUMERY,<br /> +and AUMBREY </td><td align="left" valign="top">A recess or small cupboard in the wall of a church, used to contain +the chalices, patens, etc., for the use of the priest. They are sometimes near +the <i>piscina</i>, but are usually on the opposite side of the chancel.</td></tr> + +<tr><td align="left" valign="top">ANTE-CHAPEL</td><td align="left" valign="top">The outer part of a chapel.</td></tr> + +<tr><td align="left" valign="top">APSE</td><td align="left" valign="top">The semi-circular or polygonal recess at +the east end of the choir or aisles of a church.</td></tr> + +<tr><td align="left" valign="top">ARCADE </td><td align="left" valign="top">A series of arches, open or closed with +masonry, and supported by columns or piers.</td></tr> + +<tr><td align="left" valign="top">ARCH</td><td align="left" valign="top">A construction of bricks or stones so placed +as by mutual pressure to support each +other and a superincumbent weight. +They may be semi-circular, segmental, +elliptical, stilted, horse-shoe, pointed, +trefoiled, cinquefoiled, or ogee<span class='pagenum'><a name="Page_116" id="Page_116">116</a></span></td></tr> + +<tr><td align="left" valign="top">ARCHITRAVE</td><td align="left" valign="top">In classical architecture, the lowest division +of the entablature resting immediately +on the abacus of the capital. In Gothic +buildings the ornamental mouldings +round the openings of doors, windows, etc.</td></tr> + +<tr><td align="left" valign="top">ARCHIVOLT</td><td align="left" valign="top">The under surface of the curve of an arch, +from impost to impost.</td></tr> + +<tr><td align="left" valign="top">ASHLAR</td><td align="left" valign="top">Shaped or squared stone used in building, +as distinguished from that in the rough.</td></tr> + +<tr><td align="left" valign="top">ASTRAGAL</td><td align="left" valign="top">A small semi-circular bead or moulding.</td></tr> + +<tr><td align="left" valign="top">BALL FLOWER </td><td align="left" valign="top">An ornament resembling a ball in a circular +flower with three enclosing petals. Dec.</td></tr> + +<tr><td align="left" valign="top">BASE </td><td align="left" valign="top">The lower member of a column, pier, or wall.</td></tr> + +<tr><td align="left" valign="top">BASILICA</td><td align="left" valign="top">A Roman law-court. Early Christian +churches when built on the same lines +were called by the same name.</td></tr> + +<tr><td align="left" valign="top">BILLET</td><td align="left" valign="top">An ornament much used in Norman work +and formed by cutting a moulding in +notches, so that the remaining parts +resembled wooden billets or pieces of +stick.</td></tr> + +<tr><td align="left" valign="top">BLIND STOREY</td><td align="left" valign="top">See Triforium.</td></tr> + +<tr><td align="left" valign="top">BOSSES</td><td align="left" valign="top">Ornamental projections usually of foliage +and placed at the intersection of the +ribs of vaults, ceilings, etc.</td></tr> + +<tr><td align="left" valign="top">BRACES</td><td align="left" valign="top">Timbers which brace or support the main +rafters. Also called <i>struts</i>.</td></tr> + +<tr><td align="left" valign="top">BROACH</td><td align="left" valign="top">A spire, generally octagonal and springing +from the square top of the tower, without +a parapet. (<i>See page <a href="#Page_105">105</a></i>).</td></tr> + +<tr><td align="left" valign="top">BUTTRESS</td><td align="left" valign="top">A projection from a wall, giving it additional +strength.</td></tr> + +<tr><td align="left" valign="top">CANOPY</td><td align="left" valign="top">In Gothic architecture an ornamental hood +or projection over doors, windows, niches, +tombs, etc., and rarely found except in +the Dec. and Perp. styles.</td></tr> + +<tr><td align="left" valign="top">CAPITAL</td><td align="left" valign="top">The head of a column or pilaster, found in +a great variety of shapes.</td></tr> + +<tr><td align="left" valign="top">CATHEDRAL</td><td align="left" valign="top">A church presided over by a Bishop. The +principal church of a diocese.</td></tr> + +<tr><td align="left" valign="top">CHALICE</td><td align="left" valign="top">The cup used for the wine at the celebration +of the Eucharist.</td></tr> + +<tr><td align="left" valign="top">CHAMFER</td><td align="left" valign="top">The surface formed by cutting away the +rectangular edge of wood or stone work.</td></tr> + +<tr><td align="left" valign="top">CHANCEL </td><td align="left" valign="top">The choir or eastern part of a church, +appropriated to the use of those who +officiate in the performance of the +services.</td></tr> + +<tr><td align="left" valign="top">CHANTRY</td><td align="left" valign="top">A chapel often containing a tomb of the +founder, and in which masses were said.<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span></td></tr> + +<tr><td align="left" valign="top">CHAPEL</td><td align="left" valign="top">A small building attached to cathedrals and +large churches.</td></tr> + +<tr><td align="left" valign="top">CHAPTER-HOUSE</td><td align="left" valign="top">The room where the Dean and Prebendaries +meet for the transaction of +business.</td></tr> + +<tr><td align="left" valign="top">CHEVRON</td><td align="left" valign="top">An ornament characteristic of the Norman +period and divided into several equal +portions chevron-wise or zig-zag.</td></tr> + +<tr><td align="left" valign="top">CHOIR</td><td align="left" valign="top">That part of a church to the east of the +nave where the services are celebrated, +also called chancel, and frequently +separated from the nave by an open +screen of stone or wood.</td></tr> + +<tr><td align="left" valign="top">CINQUEFOIL</td><td align="left" valign="top">An ornamental foliation used in arches, +tracery, etc., and composed of projecting +points or cusps, so arranged that the +opening resembles five leaves.</td></tr> + +<tr><td align="left" valign="top">CLERESTORY</td><td align="left" valign="top">Possibly the <i>clear</i> storey. An upper storey +standing above or clear of the adjacent +roofs, and pierced by windows to give +increased light.</td></tr> + +<tr><td align="left" valign="top">CLOISTER</td><td align="left" valign="top">A covered walk or ambulatory forming +part of a cathedral or college quadrangle.</td></tr> + +<tr><td align="left" valign="top">CLUSTERED COLUMN</td><td align="left" valign="top">A pier made up of several columns or +shafts in a cluster.</td></tr> + +<tr><td align="left" valign="top">COLONNADE</td><td align="left" valign="top">A row or rows of columns supporting a +roof or building</td></tr> + +<tr><td align="left" valign="top">CORBEL</td><td align="left" valign="top">Usually a moulded or carved ornament +projecting from the walls, acting as a +bracket and capable of bearing a super-incumbent +weight.</td></tr> + +<tr><td align="left" valign="top">CORNICE</td><td align="left" valign="top">The horizontal termination of a building +in the form of a moulded projection.</td></tr> + +<tr><td align="left" valign="top">COURSE</td><td align="left" valign="top">A continuous and regular line of stones or +bricks in the wall of a building.</td></tr> + +<tr><td align="left" valign="top">CROCKETS</td><td align="left" valign="top">Projecting ornaments in the form of leaves, +flowers, etc., used to embellish the angles +of pinnacles, spires, gables, canopies, etc.</td></tr> + +<tr><td align="left" valign="top">CROSS</td><td align="left" valign="top">The accepted symbol of the Christian religion +and an architectural church ornament +usually placed upon the apex of +the gable. A large cross called a rood +was at one time always placed over the +entrance to the chancel. The cross was +worn as a personal ornament ages before +the Christian era by the Assyrians, and +we are told that the Druids also used this +symbol in very early times.</td></tr> + +<tr><td align="left" valign="top">CRYPT</td><td align="left" valign="top">Sometimes called the Undercroft, a vaulted +chamber, usually underground and in, +churches, rarely extending beyond the +area of the choir or chancel, and often of +less dimensions.<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></td></tr> + +<tr><td align="left" valign="top">CUSPS</td><td align="left" valign="top">Projecting points giving the foliated appearance +to tracery, arches, panels, etc.</td></tr> + +<tr><td align="left" valign="top">DORMER </td><td align="left" valign="top">A gabled window pierced through a sloping +roof.</td></tr> + +<tr><td align="left" valign="top">DRIPSTONE</td><td align="left" valign="top">A projecting ledge or narrow moulding +over the heads of doorways, windows, +etc., to carry off the rain.</td></tr> + +<tr><td align="left" valign="top">FAN-TRACERY </td><td align="left" valign="top">Tracery in which the ribs form a fan-like +appearance and diverge equally in every +direction. (Peculiar to the late Perp.)</td></tr> + +<tr><td align="left" valign="top">FLAMBOYANT</td><td align="left" valign="top">Tracery whereof the curves assume flame-like +waves and shapes.</td></tr> + +<tr><td align="left" valign="top">FLYING BUTTRESS</td><td align="left" valign="top">A buttress in the form of a bridge, usually +transferring the thrust of the main roof +from the clerestory walls to the main or +aisle buttresses</td></tr> + +<tr><td align="left" valign="top">FONT</td><td align="left" valign="top">The vessel for holding the consecrated +water used in baptism.</td></tr> + +<tr><td align="left" valign="top">GARGOYLE</td><td align="left" valign="top">A projecting spout usually grotesquely +carved and used to throw the water from +the roof well away from the building.</td></tr> + +<tr><td align="left" valign="top">GROIN</td><td align="left" valign="top">The line of intersection in vaulted roofs.</td></tr> + +<tr><td align="left" valign="top">IMPOST</td><td align="left" valign="top">Horizontal mouldings, capping a column or +pier, from which the arch springs.</td></tr> + +<tr><td align="left" valign="top">JAMB</td><td align="left" valign="top">The side of a window or door.</td></tr> + +<tr><td align="left" valign="top">KEYSTONE</td><td align="left" valign="top">The central stone at the top of an arch. +The bosses in vaulted ceilings are frequently +called keys.</td></tr> + +<tr><td align="left" valign="top">LADY CHAPEL</td><td align="left" valign="top">A chapel dedicated to the Blessed Virgin +Mary, called "Our Lady."</td></tr> + +<tr><td align="left" valign="top">LANTERN</td><td align="left" valign="top">A small structure or erection surmounting +a dome or tower to admit light. These +towers are known as Lantern Towers.</td></tr> + +<tr><td align="left" valign="top">LOZENGE</td><td align="left" valign="top">A name given in modern times to Norman +mouldings which partake of a lozenge +formation.</td></tr> + +<tr><td align="left" valign="top">LYCH-GATE </td><td align="left" valign="top">From the Anglo-Saxon <i>lich</i>, a corpse. A +small and often picturesque shelter at +the entrance to a churchyard.</td></tr> + +<tr><td align="left" valign="top">MINSTER</td><td align="left" valign="top">The church usually of a monastery or abbey +or one to which such has been an appendant. +York and Beverley, however, are +exceptions to this rule.</td></tr> + +<tr><td align="left" valign="top">MISERERE</td><td align="left" valign="top">A small bracket on the undersides of the +seats of stalls.<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span></td></tr> + +<tr><td align="left" valign="top">MOULDING</td><td align="left" valign="top">A term generally applied to the contours +given to angle projections or hollows of +arches, doors, windows, etc.</td></tr> + +<tr><td align="left" valign="top">MULLION</td><td align="left" valign="top">The dividing bars of stone or wood between +the lights of windows, or the openings of +screens.</td></tr> + +<tr><td align="left" valign="top">MÜNSTER (MONASTERY)</td><td align="left" valign="top">has now lost its +simple application.</td></tr> + +<tr><td align="left" valign="top">NAVE</td><td align="left" valign="top">From <i>navis</i>, a ship, the main body of a +church west of the chancel.</td></tr> + +<tr><td align="left" valign="top">NICHE</td><td align="left" valign="top">An alcove or recess in a wall for holding +a statue or ornament.</td></tr> + +<tr><td align="left" valign="top">OGEE</td><td align="left" valign="top">A moulding or arch formed of a curve or +curves somewhat like the letter S, the +curve of contra-flexure, part being concave +and part convex.</td></tr> + +<tr><td align="left" valign="top">ORDERS</td><td align="left" valign="top">In Gothic architecture, the receding mouldings +of an arch.</td></tr> + +<tr><td align="left" valign="top">PARCLOSE</td><td align="left" valign="top">The screen or railings protecting a monument +or chantry.</td></tr> + +<tr><td align="left" valign="top">PARVISE</td><td align="left" valign="top">An open space or porch at the entrance to +a church, and often wrongly applied to +the room over a church porch.</td></tr> + +<tr><td align="left" valign="top">PATEN</td><td align="left" valign="top">The small plate or salver used to hold the +Consecrated Bread in the celebration of +the Eucharist.</td></tr> + +<tr><td align="left" valign="top">PENDANT</td><td align="left" valign="top">Ornaments which hang or <i>depend</i> from a +ceiling or roof.</td></tr> + +<tr><td align="left" valign="top">PENTHOUSE</td><td align="left" valign="top">A covering projecting over a door, window, +etc., as a protection from the weather.</td></tr> + +<tr><td align="left" valign="top">PIER</td><td align="left" valign="top">The masses or clusters of masonry between +doors, windows, etc.; the supports from +which arches spring.</td></tr> + +<tr><td align="left" valign="top">PILLAR</td><td align="left" valign="top">A term frequently confounded with column, +but differing from it in not being subservient +to the rules of classical architecture, +and in not of necessity consisting of a +single circular shaft.</td></tr> + +<tr><td align="left" valign="top">PINNACLE</td><td align="left" valign="top">A small turreted ornament tapering +towards the top, and used as a termination +to many parts of Gothic architecture.</td></tr> + +<tr><td align="left" valign="top">PISCINA</td><td align="left" valign="top">The stone basin or sink in the chancel used +for cleansing the communion vessels.</td></tr> + +<tr><td align="left" valign="top">PLINTH</td><td align="left" valign="top">The lower division of the base of a column, +pier or wall.</td></tr> + +<tr><td align="left" valign="top">POPPY-HEAD</td><td align="left" valign="top">An ornament boldly carved on the tops of +bench ends, etc.</td></tr> + +<tr><td align="left" valign="top">PRESBYTERY</td><td align="left" valign="top">A term sometimes used to include the +whole of the choir, but more often +meant to refer to the eastern end of the +choir from which it is generally raised +by several steps.<span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span></td></tr> + +<tr><td align="left" valign="top">QUARRIES or QUARRELS</td><td align="left" valign="top">The small diamond, square or other +shaped panes used in plain glazing.</td></tr> + +<tr><td align="left" valign="top">QUATREFOIL</td><td align="left" valign="top">The shape resembling four leaves formed +in tracery or panels by cusps.</td></tr> + +<tr><td align="left" valign="top">QUOIN</td><td align="left" valign="top">The external angle of a building, generally +of ashlar.</td></tr> + +<tr><td align="left" valign="top">REREDOS</td><td align="left" valign="top">The wall or screen at the back of an altar, +often enriched with carving, niches, +statues, etc.</td></tr> + +<tr><td align="left" valign="top">ROOD-BEAM or<br /> +ROOD-LOFT </td><td align="left" valign="top">The loft or beam which, previous to the +Reformation, supported the Great Rood, +or Crucifix.</td></tr> + +<tr><td align="left" valign="top">ROSE WINDOW</td><td align="left" valign="top">A term often used to denote a circular +window of several lights.</td></tr> + +<tr><td align="left" valign="top">ROTUNDA</td><td align="left" valign="top">A term used to describe a church or other +building which is of circular formation +both within and without.</td></tr> + +<tr><td align="left" valign="top">SACRISTRY</td><td align="left" valign="top">A room used in churches for storing the +plate and valuables.</td></tr> + +<tr><td align="left" valign="top">SANCTUARY</td><td align="left" valign="top">See Presbytery.</td></tr> + +<tr><td align="left" valign="top">SEDILIA </td><td align="left" valign="top">A seat or seats, generally canopied and +situated on the south side of the chancel +and used in pre-Reformation days by +the officiating clergy during the pauses +in the mass.</td></tr> + +<tr><td align="left" valign="top">SHAFT</td><td align="left" valign="top">The part of a column or pillar between the +capital and the base.</td></tr> + +<tr><td align="left" valign="top">SHRINE</td><td align="left" valign="top">Often called the feretory. The place where +relics were deposited.</td></tr> + +<tr><td align="left" valign="top">SOFFIT</td><td align="left" valign="top">The word means literally a ceiling, but is +generally used to describe the flat under-surface +of arches, cornices, stairways, etc.</td></tr> + +<tr><td align="left" valign="top">SPANDRELS</td><td align="left" valign="top">The spaces between the arch of a doorway +or window and the rectangular mouldings +over it. Early tracery originated from +the piercing of the spandrels of windows.</td></tr> + +<tr><td align="left" valign="top">SPIRE</td><td align="left" valign="top">The acutely pointed termination of towers, +etc., originating by the elongation of +the early pyramidal roofs.</td></tr> + +<tr><td align="left" valign="top">SPLAY</td><td align="left" valign="top">The slanting or sloped surface of a window +opening in the thickness of the wall, +also of doorways, etc.; the term is also +applied to bevels and other sloped +surfaces.</td></tr> + +<tr><td align="left" valign="top">SPRINGER</td><td align="left" valign="top">See Voussoir.<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span></td></tr> + +<tr><td align="left" valign="top">SQUINT</td><td align="left" valign="top">An oblique opening or slit in the wall of +a church, for the purpose of enabling +persons in the aisles or transepts to see +the elevation of the Host at the High +Altar. They are mostly found on the +sides of the chancel arch, and are frequently +called <i>hagioscopes</i>.</td></tr> + +<tr><td align="left" valign="top">STOUP</td><td align="left" valign="top">A vessel for consecrated water, at or near +the entrance to a church.</td></tr> + +<tr><td align="left" valign="top">STRING or<br /> +STRING COURSE.</td><td align="left" valign="top">A horizontal projecting band +of stone in the wall of a building.</td></tr> + +<tr><td align="left" valign="top">STRUT</td><td align="left" valign="top">See Brace.</td></tr> + +<tr><td align="left" valign="top">TOOTH ORNAMENT</td><td align="left" valign="top">An ornament used almost exclusively in +the E.E. style, resembling a square four-leaved +flower, and thought to be based +on the dog-tooth violet.</td></tr> + +<tr><td align="left" valign="top">TRANSOM</td><td align="left" valign="top">A horizontal cross-bar in a panel or window.</td></tr> + +<tr><td align="left" valign="top">TRACERY</td><td align="left" valign="top">The ornamental stonework in the upper +part of a window; when formed by the +mullions it is called bar tracery and when +the spandrel is pierced, plate tracery. +Also used largely on tombs, screens, +doorways, etc.</td></tr> + +<tr><td align="left" valign="top">TRANSEPTS</td><td align="left" valign="top">The projecting arms of a cruciform church, +often wrongly called "cross-aisles."</td></tr> + +<tr><td align="left" valign="top">TRANSITION</td><td align="left" valign="top">A term used to describe the process of +change from one style of architecture to +another. The three great periods of +transition are from the Romanesque and +Norman to the Early English; the +Early English to the Decorated, and the +Decorated to the Perpendicular.</td></tr> + +<tr><td align="left" valign="top">TREFOIL</td><td align="left" valign="top">An ornamental foliation in the heads of +windows, panels, etc., in which the +spaces formed by the cusps resemble +three leaves.</td></tr> + +<tr><td align="left" valign="top">TRIFORIUM</td><td align="left" valign="top">or Blind-Storey. An open gallery +arcade without windows immediately +above the pier arcade and under the +roof of the aisle.</td></tr> + +<tr><td align="left" valign="top">TYMPANUM</td><td align="left" valign="top">The space between the top of a square-headed +door and the arch above it; +frequently sculptured.</td></tr> + +<tr><td align="left" valign="top">VAULT</td><td align="left" valign="top">Roofing of stone constructed on the principle +of the arch, the intersections of +which are termed groins and are in the +pointed styles usually ribbed.</td></tr> + +<tr><td align="left" valign="top">VAULTING SHAFTS</td><td align="left" valign="top">Small shafts sometimes rising from the +floor, sometimes from the capital of a +pillar and sometimes from a corbel, and +intended as supports for the ribs of a +vault.<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span></td></tr> + +<tr><td align="left" valign="top">VESICA PISCIS</td><td align="left" valign="top">An oval shape or figure formed by two +equal circles cutting each other in their +centres. Very commonly found on +episcopal and monastic seals.</td></tr> + +<tr><td align="left" valign="top">VOUSSOIR</td><td align="left" valign="top">The wedge-shaped stones forming an arch, +the centre one of which is the <i>keystone</i> +and those at the impost or starting point +of the curve are the <i>springers</i>.</td></tr> + +<tr><td align="left" valign="top">ZIG-ZAG</td><td align="left" valign="top">See Chevron.</td></tr> +</table> +</div> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h3><a name="Biblio" id="Biblio"></a>A SHORT BIBLIOGRAPHY OF ENGLISH<br /> +ECCLESIASTICAL ARCHITECTURE.<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></h3> + +<div class="center"> +<table style="margin: 0 auto" cellpadding="3" cellspacing="2" summary="Bibliography"> +<tr><td align="left" valign="top">Adeline, J.</td><td align="left">Art Dictionary of Terms.</td></tr> +<tr><td align="left" valign="top">Bland, W.</td><td align="left">Arches, Piers, Buttresses, etc.</td></tr> +<tr><td align="left" valign="top">Blomfield, R.</td><td align="left">Short History of Renaissance Architecture.</td></tr> +<tr><td align="left" valign="top">Bond, Francis</td><td align="left">English Cathedrals Illustrated.</td></tr> +<tr><td align="left" valign="top">Bond, Francis </td><td align="left">Gothic Architecture in England.</td></tr> +<tr><td align="left" valign="top">Bonney, T. G.</td><td align="left">Cathedrals, Abbeys, and Churches of<br /> +England and Wales.</td></tr> +<tr><td align="left" valign="top">Carter, J.</td><td align="left">The Ancient Architecture of England.</td></tr> +<tr><td align="left" valign="top">Colling, J. K.</td><td align="left">Details of Gothic Architecture.</td></tr> +<tr><td align="left" valign="top">Corroyer, E.</td><td align="left">Gothic Architecture.</td></tr> +<tr><td align="left" valign="top">Cram, R. Adams </td><td align="left">Church Building.</td></tr> +<tr><td align="left" valign="top">Davidson, E. A.</td><td align="left">Gothic Stonework.</td></tr> +<tr><td align="left" valign="top">Fergusson, J.</td><td align="left">Handbook of Architecture.</td></tr> +<tr><td align="left" valign="top">Fergusson, J.</td><td align="left">History of Architecture.</td></tr> +<tr><td align="left" valign="top">Fairbairns, A.</td><td align="left">Portfolio of English Cathedrals.</td></tr> +<tr><td align="left" valign="top">Garbett, E. L.</td><td align="left">Principles of Design in Architecture.</td></tr> +<tr><td align="left" valign="top">Markland, J. H.</td><td align="left">Remarks on Churches.</td></tr> +<tr><td align="left" valign="top">Moore, C. H.</td><td align="left">Development and Character of Gothic<br /> +Architecture.</td></tr> +<tr><td align="left" valign="top">Paley, F. A.</td><td align="left">Manual of Gothic Architecture.</td></tr> +<tr><td align="left" valign="top">Paley, F. A.</td><td align="left">Manual of Gothic Mouldings.</td></tr> +<tr><td align="left" valign="top">Parker, J. H.</td><td align="left">A.B.C. of Gothic Architecture.</td></tr> +<tr><td align="left" valign="top">Parker, J. H.</td><td align="left">Concise Glossary of Architecture.</td></tr> +<tr><td align="left" valign="top">Parker, J. H.</td><td align="left">Introduction to the Study of Gothic<br /> +Architecture.</td></tr> +<tr><td align="left" valign="top">Perkins, Rev. T.</td><td align="left">Handbook of Gothic Architecture.</td></tr> +<tr><td align="left" valign="top">Prior, Ed. S.</td><td align="left">History of Gothic Art.</td></tr> +<tr><td align="left" valign="top">Pugin, A. W.</td><td align="left">Treatise on Chancel Screens and Rood Lofts.</td></tr> +<tr><td align="left" valign="top">Rickman, Thos.</td><td align="left">Gothic Architecture.</td></tr> +<tr><td align="left" valign="top">Rickman, Thos.</td><td align="left">Attempts to discriminate the Styles<br /> +of Architecture in England.</td></tr> +<tr><td align="left" valign="top">Sharpe, Edmund</td><td align="left">The Seven Periods of English Architecture.</td></tr> +<tr><td align="left" valign="top">Sharpe, Edmund</td><td align="left">Treatise on the Rise and Progress of Window<br /> +Tracery.</td></tr> +<tr><td align="left" valign="top">Scott, G.</td><td align="left">History of Church Architecture.</td></tr> +<tr><td align="left" valign="top">Ruskin, John</td><td align="left">Seven Lamps of Architecture</td></tr> +<tr><td align="left" valign="top">Ruskin, John</td><td align="left">Stones of Venice.</td></tr> +<tr><td align="left" valign="top">Ruskin, John </td><td align="left">Poetry of Architecture.</td></tr> +<tr><td align="left" valign="top">Ruskin, John</td><td align="left">Lectures on Architecture</td></tr> +<tr><td align="left" valign="top">Wall, J. C.</td><td align="left">Shrines of British Saints.</td></tr> +<tr><td align="left" valign="top">Winkle</td><td align="left">British Cathedrals.</td></tr> +<tr><td align="left" valign="top">Wilson, S.</td><td align="left">Romance of our Ancient Churches.</td></tr> +<tr><td align="left" valign="top"></td><td align="left"></td></tr> +<tr><td colspan="2" align="left">Bell's Cathedral Series.</td></tr> +<tr><td colspan="2" align="left">"The Builder" Portfolio of English Cathedrals.</td></tr> +<tr><td colspan="2" align="left">Murray's Handbooks to the Cathedrals.</td></tr> +<tr><td colspan="2" align="left">S.P.C.K. Illustrated Notes on English Church History.<br /> + Swan, Sonnenschein & Co. Notes on the Cathedrals.<br /> + "Our English Minsters." Edited by Dean Farrar.</td></tr> +<tr><td colspan="2" align="left"></td></tr> +</table> +</div> + +<p>This bibliography does not claim to be complete, but is a selection +of the various books on the subject which should be studied by +the student.<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span></p> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h2><a name="Index" id="Index"></a>Index</h2> + +<div class="center"> +<table class="sm" style="margin: 0 auto" cellpadding="1" cellspacing="2" summary="Index"> + +<tr><td align="left"><b>A</b></td></tr> +<tr><td align="left">All Souls' College, Oxford,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Altars,</td><td align="right"><a href="#Page_80">80</a></td></tr> +<tr><td align="left">Alveston Church, Warwickshire,</td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td align="left">Amiens Cathedral,</td><td align="right"><a href="#Page_57">57</a></td></tr> +<tr><td align="left">Anne, Queen,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Apse, The,</td><td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td align="left">Arches—</td><td align="right"> </td></tr> +<tr><td align="left"> Saxon,</td><td align="right"><a href="#Page_35">35</a></td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_37">37</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_49">49</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_66">66</a></td></tr> +<tr><td align="left">Ashchurch, Gloucestershire,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>B</b></td><td align="right"> </td></tr> +<tr><td align="left">Baptistery, The,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Barfreston Church, Kent,</td><td align="right"><a href="#Page_39">39</a>, <a href="#Page_41">41</a></td></tr> +<tr><td align="left">Barnack Church, Northants</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_101">101</a></td></tr> +<tr><td align="left">Barnstaple, Devon,</td><td align="right"><a href="#Page_98">98</a></td></tr> +<tr><td align="left">Barnwell,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Barry, Sir C.,</td><td align="right"><a href="#Page_78">78</a>, <a href="#Page_79">79</a></td></tr> +<tr><td align="left">Basilica, The,</td><td align="right"><a href="#Page_26">26</a></td></tr> +<tr><td align="left">Bayeux Tapestry,</td><td align="right"><a href="#Page_41">41</a>, <a href="#Page_103">103</a></td></tr> +<tr><td align="left">Beaulieu, Hants,</td><td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="left">Beckett's Crown, Canterbury,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Bede (quoted),</td><td align="right"><a href="#Page_21">21</a>, <a href="#Page_23">23</a>, <a href="#Page_96">96</a></td></tr> +<tr><td align="left">Bells and Belfries,</td><td align="right"><a href="#Page_95">95</a></td></tr> +<tr><td align="left">Bench Ends,</td><td align="right"><a href="#Page_89">89</a></td></tr> +<tr><td align="left">Bertha, Queen,</td><td align="right"><a href="#Page_23">23</a></td></tr> +<tr><td align="left">Beverley Minster,</td><td align="right"><a href="#Page_109">109</a></td></tr> +<tr><td align="left">Billesley Church, Warwickshire,</td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td align="left">Bishopstone, Sussex,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Bloxham Church,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Boston, Lincs,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Bovey Church,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Bradford-on-Avon,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Brewer, J. W. (quoted),</td><td align="right"><a href="#Page_28">28</a></td></tr> +<tr><td align="left">Brighton Pavilion,</td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td align="left">Brigstock Church, Northants,</td><td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="left">Bristol Cathedral,</td><td align="right"><a href="#Page_70">70</a></td></tr> +<tr><td align="left">British Churches, Early,</td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td align="left">Brixworth Church,</td><td align="right"><a href="#Page_28">28</a>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_97">97</a></td></tr> +<tr><td align="left">Broadmayne Church,</td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td align="left">Bruton, Som.,</td><td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="left">Burne-Jones, Sir E.,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">Bury St. Edmunds,</td><td align="right"><a href="#Page_82">82</a></td></tr> +<tr><td align="left">Buttresses—</td><td align="right"> </td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_43">43</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_70">70</a></td></tr> +<tr><td align="left">Byzantium,</td><td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>C</b></td><td align="right"> </td></tr> +<tr><td align="left">Canterbury Cathedral,</td><td align="right"><a href="#Page_43">43</a>, <a href="#Page_94">94</a>, <a href="#Page_101">101</a>, +<a href="#Page_104">104</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Capitals—</td><td align="right"> </td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_42">42</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_54">54</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_60">60</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_69">69</a></td></tr> +<tr><td align="left">Caradoc, King,</td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td align="left">Carlisle Cathedral,</td><td align="right"><a href="#Page_60">60</a>, <a href="#Page_106">106</a></td></tr> +<tr><td align="left">Charles II.,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Charlton-on-Otmoor,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Charlton Church, Kent,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Chartres Cathedral,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Chetwode, Bucks,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Chichester Cathedral,</td><td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="left">Chipping Norton, Oxford,</td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td align="left">Christchurch Priory,</td><td align="right"><a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_107">107</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Christ Church, Spitalfields,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Chudleigh Church, Devon,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Church Furniture and Ornaments,</td><td align="right"><a href="#Page_80">80</a></td></tr> +<tr><td align="left">Cirencester Church, Glos.,</td><td align="right"><a href="#Page_70">70</a></td></tr> +<tr><td align="left">Classic Reverse, The,</td><td align="right"><a href="#Page_70">70</a></td></tr> +<tr><td align="left">Clerkenwell,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Collumpton, Devon,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Compton Church,</td><td align="right"><a href="#Page_94">94</a></td></tr> +<tr><td align="left">Constantine, Emperor,</td><td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td align="left">Constantinople,</td><td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td align="left">Cranley, Surrey,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Crawden's Chapel,</td><td align="right"><a href="#Page_58">58</a></td></tr> +<tr><td align="left">Croyland Abbey,</td><td align="right"><a href="#Page_96">96</a></td></tr> +<tr><td align="left">Crypts,</td><td align="right"><a href="#Page_109">109</a></td></tr> +<tr><td align="left">Curfew,</td><td align="right"><a href="#Page_96">96</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>D</b></td><td align="right"> </td></tr> +<tr><td align="left">Decorated Style, The,</td><td align="right"><a href="#Page_57">57</a></td></tr> +<tr><td align="left">Doisnel, Juliana,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Dolton Church,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Doorways—</td><td align="right"></td></tr> +<tr><td align="left"> Saxon,</td><td align="right"><a href="#Page_30">30</a>, <a href="#Page_32">32</a></td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_39">39</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_54">54</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_69">69</a></td></tr> +<tr><td align="left">Dorchester Church, Oxford,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">Dore Abbey,</td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td align="left">Dunstable,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Dunster Church,</td><td align="right"><a href="#Page_81">81</a>, <a href="#Page_92">92</a></td></tr> +<tr><td align="left">Durham Cathedral,</td><td align="right"><a href="#Page_43">43</a>, <a href="#Page_73">73</a>, +<a href="#Page_82">82</a>, <a href="#Page_94">94</a>, <a href="#Page_112">112</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>E</b></td><td align="right"> </td></tr> +<tr><td align="left">Earl's Barton Church,</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_33">33</a></td></tr> +<tr><td align="left">Early English Style, The,</td><td align="right"><a href="#Page_47">47</a></td></tr> +<tr><td align="left">East Dereham,</td><td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="left">Edburton Church,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Edington Church, Wilts,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Edington, Bp. William,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Edmund, Archbp. of Cant.,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Edward I.,</td><td align="right"><a href="#Page_49">49</a></td></tr> +<tr><td align="left">Edward III.,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Elizabeth, Queen,</td><td align="right"><a href="#Page_81">81</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Eltham Palace,</td><td align="right"><a href="#Page_73">73</a><br /></td></tr> +<tr><td align="left">Ely Cathedral,</td><td align="right"><a href="#Page_29">29</a>, <a href="#Page_43">43</a>, <a href="#Page_57">57</a></td></tr> +<tr><td align="left">Ely Chapel,</td><td align="right"><a href="#Page_60">60</a></td></tr> +<tr><td align="left">Ethelbert, King of Kent,</td><td align="right"><a href="#Page_23">23</a></td></tr> +<tr><td align="left">Euston, Oxford,</td><td align="right"><a href="#Page_94">94</a></td></tr> +<tr><td align="left">Evesham Abbey,</td><td align="right"><a href="#Page_73">73</a>, <a href="#Page_97">97</a></td></tr> +<tr><td align="left">Exeter Cathedral,</td><td align="right"><a href="#Page_89">89</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>F</b></td><td align="right"> </td></tr> +<tr><td align="left">Fairford Church, Glos.,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">Fan Vaulting,</td><td align="right"><a href="#Page_69">69</a></td></tr> +<tr><td align="left">Fergusson, Dr. (quoted),</td><td align="right"><a href="#Page_75">75</a></td></tr> +<tr><td align="left">Flying Buttresses,</td><td align="right"><a href="#Page_56">56</a></td></tr> +<tr><td align="left">Fonts,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Fordington S. George, Dorchester,</td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td align="left">Fotheringay Church, Northants,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Fountains Abbey,</td><td align="right"><a href="#Page_47">47</a></td></tr> +<tr><td align="left">Fuller, Thos. (quoted),</td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td align="left">Furness Abbey,</td><td align="right"><a href="#Page_87">87</a></td></tr> +<tr><td align="left">Furniture, Church,</td><td align="right"><a href="#Page_80">80</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>G</b></td><td align="right"> </td></tr> +<tr><td align="left">Glass, Stained,</td><td align="right"><a href="#Page_104">104</a></td></tr> +<tr><td align="left">Glastonbury Abbey,</td><td align="right"><a href="#Page_19">19</a>, <a href="#Page_97">97</a></td></tr> +<tr><td align="left">Glossary,</td><td align="right"><a href="#Page_115">115</a><br /></td></tr> +<tr><td align="left">Gloucester Cathedral,</td><td align="right"><a href="#Page_43">43</a>, <a href="#Page_73">73</a>, +<a href="#Page_94">94</a>, <a href="#Page_106">106</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Gothic Architecture, +<br />Leading Characteristics,</td><td align="right" valign="top"><a href="#Page_63">63</a></td></tr> +<tr><td align="left">Gothic Styles, The,</td><td align="right"><a href="#Page_47">47</a></td></tr> +<tr><td align="left">Grantham,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Greenstead Church, Essex,</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a></td></tr> +<tr><td align="left">Grosmont, Monmouth,</td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>H</b></td><td align="right"> </td></tr> +<tr><td align="left">Hackness,</td><td align="right"><a href="#Page_96">96</a></td></tr> +<tr><td align="left">Hanwell, Oxford,</td><td align="right"><a href="#Page_94">94</a></td></tr> +<tr><td align="left">Hartland Church,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Hawkesmore,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Heckington,</td><td align="right"><a href="#Page_86">86</a>, <a href="#Page_101">101</a></td></tr> +<tr><td align="left">Heigham,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Henry I.,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Henry II.,</td><td align="right"><a href="#Page_49">49</a></td></tr> +<tr><td align="left">Henry III.,</td><td align="right"><a href="#Page_44">44</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a></td></tr> +<tr><td align="left">Hereford Cathedral,</td><td align="right"><a href="#Page_57">57</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Hexham,</td><td align="right"><a href="#Page_82">82</a>, <a href="#Page_109">109</a></td></tr> +<tr><td align="left">Hutchinson, Rev. J. M. (quoted),</td><td align="right"><a href="#Page_49">49</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>I</b></td><td align="right"> </td></tr> +<tr><td align="left">Iffley Church, Oxford,</td><td align="right"><a href="#Page_39">39</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>J</b></td><td align="right"> </td></tr> +<tr><td align="left">Jenkyns, Canon (quoted),</td><td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td align="left">John, King,</td><td align="right"><a href="#Page_44">44</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a></td></tr> +<tr><td align="left">Jones, Inigo,</td><td align="right"><a href="#Page_75">75</a>, <a href="#Page_78">78</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>K</b></td><td align="right"> </td></tr> +<tr><td align="left">Kemsing, Kent,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Kenton Church, Devon,</td><td align="right"><a href="#Page_90">90</a>, <a href="#Page_92">92</a></td></tr> +<tr><td align="left">King's College Chapel, Cambridge,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">King's Sutton,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Knights Hospitallers,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Knights Templars,</td><td align="right"><a href="#Page_43">43</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>L</b></td><td align="right"> </td></tr> +<tr><td align="left">Lady Chapel, Exeter,</td><td align="right"><a href="#Page_60">60</a></td></tr> +<tr><td align="left">Langham Place,</td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td align="left">Lastingham Church, York,</td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td align="left">Laud, Archbishop,</td><td align="right"><a href="#Page_16">16</a></td></tr> +<tr><td align="left">Ledbury, Hereford,</td><td align="right"><a href="#Page_103">103</a></td></tr> +<tr><td align="left">Leighton Buzzard,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Lichfield, Abbot,</td><td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="left">Lichfield, Cathedral,</td><td align="right"><a href="#Page_57">57</a>, <a href="#Page_101">101</a></td></tr> +<tr><td align="left">Lincoln Cathedral,</td><td align="right"><a href="#Page_43">43</a>, <a href="#Page_52">52</a>, <a href="#Page_57">57</a>, +<a href="#Page_63">63</a>, <a href="#Page_81">81</a>, <a href="#Page_106">106</a></td></tr> +<tr><td align="left">Little Billing,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Little Maplestead,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Llanrhaiadr-y-Kinmerch,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">Luidhard, Bishop,</td><td align="right"><a href="#Page_23">23</a></td></tr> +<tr><td align="left">Long Melford Church, Suffolk,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Long Sutton,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Luton Church,</td><td align="right"><a href="#Page_58">58</a></td></tr> +<tr><td align="left">Lyminge,</td><td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>M</b></td><td align="right"> </td></tr> +<tr><td align="left">Magdalen College, Oxford,</td><td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="left">Malmesbury (family),</td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td align="left">Manchester Cathedral,</td><td align="right"><a href="#Page_73">73</a>, <a href="#Page_88">88</a></td></tr> +<tr><td align="left">Markland (quoted),</td><td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="left">Mary, Queen,</td><td align="right"><a href="#Page_81">81</a>, <a href="#Page_92">92</a></td></tr> +<tr><td align="left">Marylebone Church,</td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td align="left">Melbury Bubb,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Merton College, Oxford,</td><td align="right"><a href="#Page_58">58</a>, <a href="#Page_60">60</a>, <a href="#Page_106">106</a></td></tr> +<tr><td align="left">Minehead,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Morley Church, Derbyshire,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">Morris, William,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">Morton Church, Soms.,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Mouldings—</td><td align="right"> </td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_37">37</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_52">52</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_62">62</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_69">69</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>N</b></td><td align="right"> </td></tr> +<tr><td align="left">Newark, Notts.,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">New College, Oxford,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Norbury, Derbyshire,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Norman Architecture,</td><td align="right"><a href="#Page_35">35</a></td></tr> +<tr><td align="left">Norwich Cathedral,</td><td align="right"><a href="#Page_29">29</a>, <a href="#Page_43">43</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>O</b></td><td align="right"> </td></tr> +<tr><td align="left">Ornaments—</td><td align="right"> </td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_37">37</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_52">52</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_60">60</a>, <a href="#Page_62">62</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a></td></tr> +<tr><td align="left">Ornaments, Church,</td><td align="right"><a href="#Page_80">80</a></td></tr> +<tr><td align="left">Oxford Cathedral,</td><td align="right"><a href="#Page_43">43</a>, <a href="#Page_101">101</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>P</b></td><td align="right"> </td></tr> +<tr><td align="left">Palladio,</td><td align="right"><a href="#Page_74">74</a>, <a href="#Page_75">75</a></td></tr> +<tr><td align="left">Parham,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Parker (quoted),</td><td align="right"><a href="#Page_31">31</a>, <a href="#Page_35">35</a>, <a href="#Page_88">88</a></td></tr> +<tr><td align="left">Parliament, Houses of,</td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td align="left">Patrixbourne Church, Kent,</td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td align="left">Perkins, Rev. T. (quoted),</td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td align="left">Perpendicular Styles,</td><td align="right"><a href="#Page_64">64</a></td></tr> +<tr><td align="left">Perpendicular Towers,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Perpendicular Spires,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Peterborough Cathedral,</td><td align="right"><a href="#Page_29">29</a>, <a href="#Page_43">43</a>, <a href="#Page_57">57</a></td></tr> +<tr><td align="left">Philippa, Queen,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Piscinas,</td><td align="right"><a href="#Page_87">87</a></td></tr> +<tr><td align="left">Piers—</td><td align="right"> </td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_42">42</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_54">54</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_60">60</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_68">68</a></td></tr> +<tr><td align="left">Plymtree,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Pointed Arch, The,</td><td align="right"><a href="#Page_49">49</a></td></tr> +<tr><td align="left">Porches,</td><td align="right"><a href="#Page_53">53</a></td></tr> +<tr><td align="left">Porlock Church, Somerset,</td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td align="left">Pugin,</td><td align="right"><a href="#Page_78">78</a>, <a href="#Page_79">79</a></td></tr> +<tr><td align="left">Pulpits,</td><td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="left">Pyecombe,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Pylle Church,</td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>R</b></td><td align="right"> </td></tr> +<tr><td align="left">Radipole Church, Dorset,</td><td align="right"><a href="#Page_98">98</a></td></tr> +<tr><td align="left">Ravenna,</td><td align="right"><a href="#Page_33">33</a></td></tr> +<tr><td align="left">Reculver,</td><td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td align="left">Reform Club,</td><td align="right"><a href="#Page_79">79</a></td></tr> +<tr><td align="left">Renaissance, The,</td><td align="right"><a href="#Page_74">74</a></td></tr> +<tr><td align="left">Repton Church, Derby,</td><td align="right"><a href="#Page_109">109</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Reredos, The,</td><td align="right"><a href="#Page_94">94</a></td></tr> +<tr><td align="left">Richard I.,</td><td align="right"><a href="#Page_48">48</a>, <a href="#Page_49">49</a></td></tr> +<tr><td align="left">Richborough,</td><td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td align="left">Rickman (quoted),</td><td align="right"><a href="#Page_35">35</a></td></tr> +<tr><td align="left">Ripon Cathedral,</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_109">109</a></td></tr> +<tr><td align="left">Rievaulx,</td><td align="right"><a href="#Page_47">47</a></td></tr> +<tr><td align="left">Rochester Cathedral,</td><td align="right"><a href="#Page_42">42</a>, <a href="#Page_57">57</a>, <a href="#Page_109">109</a></td></tr> +<tr><td align="left">Rolvenden Church, Kent,</td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td align="left">Romanesque Style, The,</td><td align="right"><a href="#Page_27">27</a></td></tr> +<tr><td align="left">Rome,</td><td align="right"><a href="#Page_33">33</a></td></tr> +<tr><td align="left">Ross,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Rotherham Church, Yorks.,</td><td align="right"><a href="#Page_70">70</a></td></tr> +<tr><td align="left">Rothwell Church,</td><td align="right"><a href="#Page_87">87</a></td></tr> +<tr><td align="left">Round Churches, The,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Routledge, Rev. C. F., M.A., F.S.A.,</td><td align="right"><a href="#Page_24">24</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>S</b></td><td align="right"> </td></tr> +<tr><td align="left">Saffron Walden,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Alban's Cathedral,</td><td align="right"><a href="#Page_54">54</a>, <a href="#Page_94">94</a></td></tr> +<tr><td align="left">Saint Andrew's, Norwich,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Anselm,</td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td align="left">Saint Augustine,</td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td align="left">Saint Benet's, Cambridge,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Saint Chad's Cathedral, Birmingham,</td><td align="right"><a href="#Page_79">79</a></td></tr> +<tr><td align="left">Saint Clement's, Norfolk,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Cross, Winchester,</td><td align="right"><a href="#Page_39">39</a></td></tr> +<tr><td align="left">Saint David's, Cathedral,</td><td align="right"><a href="#Page_57">57</a>, <a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Dunstan,</td><td align="right"><a href="#Page_96">96</a></td></tr> +<tr><td align="left">Saint Edmundsbury,</td><td align="right"><a href="#Page_97">97</a></td></tr> +<tr><td align="left">Saint Edmund, Martyr,</td><td align="right"><a href="#Page_35">35</a></td></tr> +<tr><td align="left">Saint Etheldreda,</td><td align="right"><a href="#Page_58">58</a></td></tr> +<tr><td align="left">Saint Ethelwold,</td><td align="right"><a href="#Page_103">103</a></td></tr> +<tr><td align="left">Saint Giles', Oxford,</td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td align="left">Saint Hilda,</td><td align="right"><a href="#Page_96">96</a></td></tr> +<tr><td align="left">Saint Lawrence, Bradford-on-Avon,</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_33">33</a></td></tr> +<tr><td align="left">Saint Margaret's, Westminster,</td><td align="right"><a href="#Page_107">107</a></td></tr> +<tr><td align="left">Saint Mark's, Venice,</td><td align="right"><a href="#Page_28">28</a></td></tr> +<tr><td align="left">Saint Mary Abchurch,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Saint Mary Magdalene, Ripon,</td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td align="left">Saint Mary Redcliffe, Bristol,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Mary's, Cambridge,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Mary's, Dover,</td><td align="right"><a href="#Page_22">22</a></td></tr> +<tr><td align="left">Saint Mary's, Lincoln,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Saint Mary's, Luton,</td><td align="right"><a href="#Page_84">84</a><br /></td></tr> +<tr><td align="left">Saint Mary's, Newark,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Saint Mary's, Norwich,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Mary's, Ottery,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Saint Mary's, Oxford,</td><td align="right"><a href="#Page_73">73</a>, <a href="#Page_101">101</a></td></tr> +<tr><td align="left">Saint Mary's, Stamford,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Saint Mary's, Taunton,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Mary's, Wareham,</td><td align="right"><a href="#Page_81">81</a>, <a href="#Page_84">84</a></td></tr> +<tr><td align="left">Saint Mary's, Woolnoth,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Saint Mary's, York,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Saint Martin's, Canterbury,</td><td align="right"><a href="#Page_22">22</a></td></tr> +<tr><td align="left">Saint Martin's, Wareham,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Saint Michael's, Coventry,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Michael's, Oxford,</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_34">34</a>, <a href="#Page_94">94</a></td></tr> +<tr><td align="left">Saint Nicholas, Lynn,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Nicholas, Newcastle,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Nicholas, Yarmouth,</td><td align="right"><a href="#Page_63">63</a></td></tr> +<tr><td align="left">Saint Paul the Apostle,</td><td align="right"><a href="#Page_19">19</a></td></tr> +<tr><td align="left">Saint Paul's Cathedral,</td><td align="right"><a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_101">101</a></td></tr> +<tr><td align="left">Saint Paul's Churchyard,</td><td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="left">Saint Patrick,</td><td align="right"><a href="#Page_21">21</a></td></tr> +<tr><td align="left">Saint Peter Port, Guernsey,</td><td align="right"><a href="#Page_98">98</a></td></tr> +<tr><td align="left">Saint Peter's in the East, Oxford</td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td align="left">Saint Peter's, Lincoln,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Saint Peter's, Norwich,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Peter's, Rome,</td><td align="right"><a href="#Page_75">75</a>, <a href="#Page_76">76</a></td></tr> +<tr><td align="left">Saint Pierre, Caen,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Saint Piran's, Perranporth,</td><td align="right"><a href="#Page_21">21</a></td></tr> +<tr><td align="left">Saint Saviour's, Dartmouth,</td><td align="right"><a href="#Page_90">90</a>, <a href="#Page_92">92</a></td></tr> +<tr><td align="left">Saint Saviour's, Southwark,</td><td align="right"><a href="#Page_94">94</a></td></tr> +<tr><td align="left">Saint Sepulchre, Cambridge,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Saint Sepulchre, Northampton,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Saint Sophia, Constantinople,</td><td align="right"><a href="#Page_28">28</a></td></tr> +<tr><td align="left">Saint Stephen's, Bristol,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Saint Stephen's Chapel, Westminster,</td><td align="right"><a href="#Page_58">58</a></td></tr> +<tr><td align="left">Saint Stephen's, Walbrook,</td><td align="right"><a href="#Page_76">76</a></td></tr> +<tr><td align="left">Saint Thomas à Becket,</td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td align="left">Saint Wilfrid's Needle,</td><td align="right"><a href="#Page_109">109</a></td></tr> +<tr><td align="left">Saint Wolfstan,</td><td align="right"><a href="#Page_103">103</a></td></tr> +<tr><td align="left">Salisbury Cathedral,</td><td align="right"><a href="#Page_47">47</a>, <a href="#Page_57">57</a>, +<a href="#Page_101">101</a>, <a href="#Page_106">106</a></td></tr> +<tr><td align="left">Sanctuary Knockers,</td><td align="right"><a href="#Page_82">82</a></td></tr> +<tr><td align="left">Saxon Architecture,</td><td align="right"><a href="#Page_31">31</a></td></tr> +<tr><td align="left">Saxon Churches,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Scott (quoted),</td><td align="right"><a href="#Page_31">31</a></td></tr> +<tr><td align="left">Screens,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td align="left">Sedilia,</td><td align="right"><a href="#Page_87">87</a></td></tr> +<tr><td align="left">Shottesbrook Church, Berks,</td><td align="right"><a href="#Page_66">66</a>, <a href="#Page_103">103</a></td></tr> +<tr><td align="left">Shrewsbury,</td><td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="left">Silchester,</td><td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td align="left">Snettisham, Norfolk,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Solihull, Warwickshire,</td><td align="right"><a href="#Page_94">94</a></td></tr> +<tr><td align="left">Sompting, Sussex,</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_99">99</a></td></tr> +<tr><td align="left">Southwell,</td><td align="right"><a href="#Page_57">57</a>, <a href="#Page_87">87</a></td></tr> +<tr><td align="left">Southwold Church, Suffolk,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Speyer Cathedral,</td><td align="right"><a href="#Page_29">29</a></td></tr> +<tr><td align="left">Spires,</td><td align="right"><a href="#Page_73">73</a>, <a href="#Page_99">99</a></td></tr> +<tr><td align="left">Squints,</td><td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="left">Stalls,</td><td align="right"><a href="#Page_88">88</a></td></tr> +<tr><td align="left">Stanford, Leicester,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Stone Church, Kent,</td><td align="right"><a href="#Page_54">54</a></td></tr> +<tr><td align="left">Stoups,</td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>T</b></td><td align="right"> </td></tr> +<tr><td align="left">Temple Balsall,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Temple Church, London,</td><td align="right"><a href="#Page_44">44</a></td></tr> +<tr><td align="left">Tenby,</td><td align="right"><a href="#Page_90">90</a></td></tr> +<tr><td align="left">Tewkesbury Abbey,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Thaxted Church, Essex,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Thornham Church, Kent,</td><td align="right"><a href="#Page_86">86</a></td></tr> +<tr><td align="left">Towers,</td><td align="right"><a href="#Page_33">33</a>, <a href="#Page_72">72</a></td></tr> +<tr><td align="left">Transom, The,</td><td align="right"><a href="#Page_46">46</a>, <a href="#Page_49">49</a></td></tr> +<tr><td align="left">Trinity Church, Ely,</td><td align="right"><a href="#Page_58">58</a></td></tr> +<tr><td align="left">Tympana,</td><td align="right"><a href="#Page_41">41</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>U</b></td><td align="right"> </td></tr> +<tr><td align="left">Uffendon, Devon,</td><td align="right"><a href="#Page_92">92</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>V</b></td><td align="right"> </td></tr> +<tr><td align="left">Vitruvius,</td><td align="right"><a href="#Page_74">74</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>W</b></td><td align="right"> </td></tr> +<tr><td align="left">Wakefield Church, Yorkshire,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Walpole, Horace,</td><td align="right"><a href="#Page_78">78</a></td></tr> +<tr><td align="left">Walton-on-the-Hill, Surrey,</td><td align="right"><a href="#Page_84">84</a></td></tr> +<tr><td align="left">Wansted, Oxford,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">Wantsume,</td><td align="right"><a href="#Page_25">25</a></td></tr> +<tr><td align="left">Warmington, Warwickshire,</td><td align="right"><a href="#Page_81">81</a></td></tr> +<tr><td align="left">Wells Cathedral,</td><td align="right"><a href="#Page_53">53</a>, <a href="#Page_57">57</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">West Horsley, Surrey,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Westminster Abbey,</td><td align="right"><a href="#Page_48">48</a>, <a href="#Page_57">57</a>, <a href="#Page_63">63</a>, +<a href="#Page_76">76</a>, <a href="#Page_78">78</a>, <a href="#Page_103">103</a></td></tr> +<tr><td align="left">Westminster Hall,</td><td align="right"><a href="#Page_73">73</a></td></tr> +<tr><td align="left">Westminster, Henry's VII.'s Chapel,</td><td align="right"><a href="#Page_68">68</a>, <a href="#Page_88">88</a>, +<a href="#Page_89">89</a></td></tr> +<tr><td align="left">Westwell, Kent,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Wilford Church, Oxford,</td><td align="right"><a href="#Page_101">101</a></td></tr> +<tr><td align="left">William the Conqueror,</td><td align="right"><a href="#Page_96">96</a></td></tr> +<tr><td align="left">Wimborne Minster,</td><td align="right"><a href="#Page_110">110</a></td></tr> +<tr><td align="left">Wimmington Church, Bedfordshire,</td><td align="right"><a href="#Page_66">66</a></td></tr> +<tr><td align="left">Winchester Cathedral,</td><td align="right"><a href="#Page_43">43</a>, <a href="#Page_63">63</a><a href="#Page_72">72</a>, +<a href="#Page_85">85</a>, <a href="#Page_88">88</a>, <a href="#Page_103">103</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Winchester College,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Windows—</td><td align="right"></td></tr> +<tr><td align="left"> Saxon,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left"> Norman,</td><td align="right"><a href="#Page_39">39</a></td></tr> +<tr><td align="left"> Early English,</td><td align="right"><a href="#Page_52">52</a></td></tr> +<tr><td align="left"> Decorated,</td><td align="right"><a href="#Page_58">58</a></td></tr> +<tr><td align="left"> Perpendicular,</td><td align="right"><a href="#Page_68">68</a></td></tr> +<tr><td align="left">Wing,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Wootton Wawen,</td><td align="right"><a href="#Page_32">32</a></td></tr> +<tr><td align="left">Worcester Cathedral,</td><td align="right"><a href="#Page_57">57</a>, <a href="#Page_109">109</a>, <a href="#Page_110">110</a></td></tr> +<tr><td align="left">Worms Cathedral,</td><td align="right"><a href="#Page_29">29</a></td></tr> +<tr><td align="left">Wren, Sir Christopher,</td><td align="right"><a href="#Page_75">75</a>, <a href="#Page_76">76</a></td></tr> +<tr><td align="left">Wrexham Church,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td align="left">Wroxhall Abbey,</td><td align="right"><a href="#Page_106">106</a></td></tr> +<tr><td align="left">Wykeham, William of,</td><td align="right"><a href="#Page_72">72</a>, <a href="#Page_84">84</a></td></tr> +<tr><td align="left">Wymondham Church,</td><td align="right"><a href="#Page_72">72</a></td></tr> +<tr><td> </td><td> </td></tr> +<tr><td align="left"><b>Y</b></td><td align="right"> </td></tr> +<tr><td align="left">York Minster,</td><td align="right"><a href="#Page_32">32</a>, <a href="#Page_57">57</a>, <a href="#Page_63">63</a>, +<a href="#Page_66">66</a>, <a href="#Page_73">73</a>, <a href="#Page_94">94</a>, <a href="#Page_106">106</a>, <a href="#Page_109">109</a></td></tr> +</table> +</div> +<p><span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span></p> +<p> </p> +<hr class="narrow" /> +<p> </p> +<h3>THE HOMELAND HANDBOOKS</h3> + +<h4>Copiously Illustrated and provided<br /> +with Ordnance Maps and Plans.</h4> +<div class="center"> +<table class="sm" style="margin: 0 auto" cellpadding="2" cellspacing="2" summary="ad"> +<tr><td colspan="4" align="left">JANUARY, 1907.</td></tr> +<tr><td align="left">No.</td><td> </td><td align="right">Cloth.</td><td align="right">Paper.</td></tr> +<tr><td align="left" valign="top">1</td><td align="left"><b>Tonbridge for the Angler, the Holiday-maker, and the Resident.</b><br /> +By Stanley Martin and Prescott Row</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> +<tr><td align="left" valign="top">2</td><td align="left"><b>Tunbridge Wells of To-Day.</b>By Stanley Martin and Prescott Row.<br /> +Ordnance Map and Plans. Second Edition;</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> +<tr><td align="left" valign="top">3</td><td align="left"><b>"London Town."</b> By Eric Hammond<br /> +</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">4</td><td align="left"><b>"Lyonesse": The Isles of Scilly.</b> By J. C. Tonkin and Prescott<br /> +Row. Fourth Edition. Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">5</td><td align="left"><b>"Wolfe-Land": The Westerham District, Kent.</b> By Gibson<br /> +Thompson. Third Edition. Ordnance Map</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">6</td><td align="left"><b>"Kent's Capital": Maidstone.</b> By Stanley Martin and Prescott<br /> +Row. Second Edition. With Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">7</td><td align="left"><b>Croydon, New and Old.</b> By Edward A. Martin, F.G.S., and J. E.<br /> +Morris, B.A. Third Edition. With Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">8</td><td align="left"><b>Dartmoor and Its Surroundings.</b> By Beatrix F. Cresswell. Edited<br /> +by William Crossing. Fourth Edition. Ordnance Maps</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">9</td><td align="left"><b>Rochester and Chatham with Pen and Camera.</b> By A. G. Munro,<br /> +B.A. Second Edition. With Map</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">10</td><td align="left"><b>Reigate and Redhill.</b> By T. F. W. Hamilton and W. Hodgson.<br /> +Second Edition. Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">11</td><td align="left"><b>"Surrey's Capital": Guildford and District.</b> By J. E. Morris, B.A.<br /> +Third Edition. With Map</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">12</td><td align="left"><b>Dulverton and District: The Country of the Wild Red Deer.</b> By F. J.<br /> +Snell, B.A. Second Edition. Cloth Edition contains Map</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">13</td><td align="left"><b>Farnham and Its Surroundings.</b> By Gordon Home. With Map +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">14</td><td align="left"><b>Godalming and its Surroundings.</b> Edited by Prescott Row. Second<br /> +Edition. With Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">15</td><td align="left"><b>Teignmouth and its Surroundings.</b> By Beatrix F. Cresswell. Second<br /> +Edition. With Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">16</td><td align="left"><b>Hastings and St. Leonards.</b> By W. H. Sanders. With Plan +</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">17</td><td align="left"><b>Epsom and Its Surroundings.</b> By Gordon Home. Ordnance Map +</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>9d.</b></td></tr> + +<tr><td align="left" valign="top">18</td><td align="left"><b>Minehead, Porlock, and Dunster: The Sea-board of Exmoor.</b> By<br /> +C. E. Larter. Second Edition. Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">19</td><td align="left"><b>Cranbrook: The Town of the Kentish Weald.</b> By Stanley Martin.<br /> +Second Edition. With Map</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">20</td><td align="left"><b>Dawlish, and the Estuary of the Exe.</b> By Beatrix F. Cresswell.<br /> +Cloth Edition contains Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">21</td><td align="left"><b>St. Albans: Its Abbey and Its Surroundings.</b> By C. H. Ashdown,<br /> +F.R.G.S., F.C.S. With Ordnance Map</td><td align="right" valign="top"><b>2⁄6</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">22</td><td align="left"><b>Bromley, Beckenham, and Chislehurst.</b> By George Clinch, F.G.S.<br /> +Ordnance Map</td><td align="right" valign="top"><b>2⁄6</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">23</td><td align="left"><b>Exeter and Its Cathedral.</b> By Beatrix F. Cresswell. With Plan<br /> +</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">24</td><td align="left"><b>Kingston-upon-Thames and Surbiton.</b> By Dr. W. E. St. L. Finny<br /> +With Ordnance Map</td><td align="right" valign="top"><b>2⁄6</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">25</td><td align="left"><b>Evesham and its Neighbourhood, Including Broadway.</b> By William<br /> +Smith. With Map</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">26</td><td align="left"><b>Petworth and Mid West Sussex.</b> By L. C. Barnes. With Map.<br /> +(Cloth only)</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>—</b></td></tr> + +<tr><td align="left" valign="top">27</td><td align="left"><b>Newquay, the Vale of Lanherne, and Perranzabuloe.</b> By Fannie<br /> +Goddard. Second Edition. Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">28</td><td align="left"><b>Haslemere and Hindhead with their Surroundings.</b> By J. E. Morris,<br /> +B.A. Second Edition. Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">29</td><td align="left"><b>Taunton and Taunton Deane.</b> By Beatrix F. Cresswell.<br /> +Ordnance Map</td><td align="right" valign="top"><b>2⁄6</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">30</td><td align="left"><b>Littlehampton, Arundel, and Amberley.</b> By Rev. W. Goodliffe,<br /> +.A. Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">31</td><td align="left"><b>"The Western Gate of Dartmoor": Tavistock and the District.</b><br /> +By William Crossing. With Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">32</td><td align="left"><b>Plymouth: "The Metropolis of the West."</b> By W. H. K. Wright.<br /> +With Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">33</td><td align="left"><b>The Chalfont Country (South Bucks).</b> By S. Graveson.<br /> +Ordnance Map</td><td align="right" valign="top"><b>1⁄6</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">34</td><td align="left"><b>Dunstable, the Downs, and the District.</b> By. G. Worthington<br /> +Smith, F.L.S., etc. With Maps</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">35</td><td align="left"><b>The Quantock Hills, their Combes and Villages.</b> By Beatrix F.<br /> +Cresswell. Ordnance Map. (Cloth only)</td><td align="right" valign="top"><b>2⁄6</b></td><td align="right" valign="top"><b>—</b></td></tr> + +<tr><td align="left" valign="top">36</td><td align="left"><b>Oxted, Limpsfield, and Edenbridge.</b> By Gordon Home.<br /> +Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">37</td><td align="left"><b>Lynton, Lynmouth, and the Lorna Doone Country.</b> By J. E. Morris,<br /> +B.A. Ordnance Map</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">38</td><td align="left"><b>Horsham and its Surroundings.</b> By Rev. W. Goodliffe, M.A.<br /> +Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">39</td><td align="left"><b>Seaford and Newhaven.</b> By Geo. Day. Ordnance Map +</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">40</td><td align="left"><b>The Great Ouse. Huntingdon, St. Neots, and St Ives.</b> By H. L.<br /> +Jackson, M.A., and G. R. Holt Shafto. Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">41</td><td align="left"><b>King's Lynn with Its Surroundings, including Sandringham.</b><br /> +By W. A. Dutt. Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">42</td><td align="left"><b>Woking and Ripley with their Surroundings.</b> By A. H. Anderson.<br /> +Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">43</td><td align="left"><b>Hertford and Its Surroundings.</b> By W. Graveson. Ordnance Map. +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">44</td><td align="left"><b>Dorking and Leatherhead.</b> By Joseph E. Morris, M.A.<br /> +Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">45</td><td align="left"><b>Waltham and Cheshunt.</b> By Freeman Bunting. Ordnance Map +</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">46</td><td align="left"><b>Dorchester with its Surroundings.</b> By F. W. and Sidney Heath.<br /> +with a Foreword by Thomas Hardy. Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">47</td><td align="left"><b>Luton Church.</b> By Constance Isherwood. With Plan +</td><td align="right" valign="top"><b>1⁄-</b></td><td align="right" valign="top"><b>6d.</b></td></tr> + +<tr><td align="left" valign="top">48</td><td align="left"><b>Reading and its Surroundings.</b> By A. H. Anderson. Ordnance Map +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b><br /></td></tr> + +<tr><td align="left" valign="top">49</td><td align="left"><b>Sutton and its Surroundings.</b> By F. Richards. Ordnance Map +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">50</td><td align="left"><b>Watford and its Surroundings.</b> By Walter Moore. Ordnance Map +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">51</td><td align="left"><b>Yeovil and its Surroundings.</b> By Frank Heath. Ordnance Map +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">52</td><td align="left"><b>Aylesbury and its Surroundings.</b> By Walter Moore. Ordnance Map +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">53</td><td align="left"><b>Gravesend and Its Surroundings.</b> By A. J. Philip.<br /> +Ordnance Map</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>1⁄-</b></td></tr> + +<tr><td align="left" valign="top">54</td><td align="left"><b>High Wycombe and Its Surroundings.</b> By Henry Harbour +</td><td align="right" valign="top"><b>—</b></td><td align="right" valign="top"><b>—</b></td></tr> + +<tr><td align="left" valign="top">55</td><td align="left"><b>Our Homeland Churches, and How to Study Them.</b> By Sidney Heath +</td><td align="right" valign="top"><b>2⁄-</b></td><td align="right" valign="top"><b>—</b></td></tr> +<tr><td align="center" colspan="4">—————</td></tr> +<tr><td colspan="4"><b>Handbooks for many other Towns and Districts are in active preparation.</b></td></tr> +</table> +</div> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK OUR HOMELAND CHURCHES AND HOW TO STUDY THEM***</p> +<p>******* This file should be named 30290-h.txt or 30290-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/3/0/2/9/30290">http://www.gutenberg.org/3/0/2/9/30290</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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