Leighton Buzzard Church.Leighton Buzzard Church.With Early English Tower and Spire.Photograph H. A. Strange.Click toENLARGE
In England, on the contrary, the spire is generally verymuch 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.
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.
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.
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.
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.
Leighton Buzzard Church.A Parish Church with a Shingle Broach Spire.(See page99)Edenbridge, Kent.Homeland Copyright.Click toENLARGE
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.
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 towhich it is always an appropriate and artistic adjunct, and many authentic and valuable examples of our national heraldry have thus been preserved for posterity.
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.
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.
It is not perhaps generally known that the actualcolours 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.
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.
The position of the crypt varies. At Beverley Minsterit 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.
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."
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.
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.
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.
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 ancientfurniture, 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.
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.,and bearing on his left arm a shield, but all much mutilated. There is a local tradition that it represents Sir——, 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.
Interior Elevation of a Bay of a Church.Key to Diagram of theInterior Elevation of aBay of a Church.Clerestory.26 Boss.25 Vaulting Rib.24 Vault.23 Vaulting Rib.22 Tracery of C. Window.21 Clerestory Window.20 Sill of Clerestory Window.19 Base of Jamb, C. Arch.18 Jamb of C. Arch.17 Clerestory String.Blind Storey (Triforium).16 Capital of Vaulting Shaft.15 Tracery of Triforium.14 Triforium Arch.13 Capital of T. Pier.12 Pier of Triforium.11 Triforium String.Ground Storey.10 Tracery of Aisle Window.9 Aisle Window.8 Sill of Aisle Window.7 Wall Arcade.6 Vaulting Shaft.5 Corbel.4 Pier Arch.3 Capital of Pier.2 Pier.1 Base of Pier.
Interior Elevation of a Bay of a Church.
Key to Diagram of theInterior Elevation of aBay of a Church.Clerestory.26 Boss.25 Vaulting Rib.24 Vault.23 Vaulting Rib.22 Tracery of C. Window.21 Clerestory Window.20 Sill of Clerestory Window.19 Base of Jamb, C. Arch.18 Jamb of C. Arch.17 Clerestory String.Blind Storey (Triforium).16 Capital of Vaulting Shaft.15 Tracery of Triforium.14 Triforium Arch.13 Capital of T. Pier.12 Pier of Triforium.11 Triforium String.Ground Storey.10 Tracery of Aisle Window.9 Aisle Window.8 Sill of Aisle Window.7 Wall Arcade.6 Vaulting Shaft.5 Corbel.4 Pier Arch.3 Capital of Pier.2 Pier.1 Base of Pier.
A GLOSSARY OF THE PRINCIPAL TERMS USEDIN ECCLESIASTICAL ARCHITECTURE.
A GLOSSARY OF THE PRINCIPAL TERMS USEDIN ECCLESIASTICAL ARCHITECTURE.
ABACUSDerived from the GreekAbax—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.ABBEYA 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 Hebrewab, "father."ACANTHUSA plant, the leaves of which are represented in the capitals of the Corinthian orders.AISLEFrenchaile, a wing, the lateral division of a church.ALMONRYA room where alms were distributed.ALTARAn elevated table dedicated to the Sacrament of the Holy Eucharist, and usually called the Communion Table.ALMERY, AUMERY,and AUMBREYA 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 thepiscina, but are usually on the opposite side of the chancel.ANTE-CHAPELThe outer part of a chapel.APSEThe semi-circular or polygonal recess at the east end of the choir or aisles of a church.ARCADEA series of arches, open or closed with masonry, and supported by columns or piers.ARCHA 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 ogeeARCHITRAVEIn 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.ARCHIVOLTThe under surface of the curve of an arch, from impost to impost.ASHLARShaped or squared stone used in building, as distinguished from that in the rough.ASTRAGALA small semi-circular bead or moulding.BALL FLOWERAn ornament resembling a ball in a circular flower with three enclosing petals. Dec.BASEThe lower member of a column, pier, or wall.BASILICAA Roman law-court. Early Christian churches when built on the same lines were called by the same name.BILLETAn 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.BLIND STOREYSee Triforium.BOSSESOrnamental projections usually of foliage and placed at the intersection of the ribs of vaults, ceilings, etc.BRACESTimbers which brace or support the main rafters. Also calledstruts.BROACHA spire, generally octagonal and springing from the square top of the tower, without a parapet. (See page105).BUTTRESSA projection from a wall, giving it additional strength.CANOPYIn Gothic architecture an ornamental hood or projection over doors, windows, niches, tombs, etc., and rarely found except in the Dec. and Perp. styles.CAPITALThe head of a column or pilaster, found in a great variety of shapes.CATHEDRALA church presided over by a Bishop. The principal church of a diocese.CHALICEThe cup used for the wine at the celebration of the Eucharist.CHAMFERThe surface formed by cutting away the rectangular edge of wood or stone work.CHANCELThe choir or eastern part of a church, appropriated to the use of those who officiate in the performance of the services.CHANTRYA chapel often containing a tomb of the founder, and in which masses were said.CHAPELA small building attached to cathedrals and large churches.CHAPTER-HOUSEThe room where the Dean and Prebendaries meet for the transaction of business.CHEVRONAn ornament characteristic of the Norman period and divided into several equal portions chevron-wise or zig-zag.CHOIRThat 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.CINQUEFOILAn ornamental foliation used in arches, tracery, etc., and composed of projecting points or cusps, so arranged that the opening resembles five leaves.CLERESTORYPossibly theclearstorey. An upper storey standing above or clear of the adjacent roofs, and pierced by windows to give increased light.CLOISTERA covered walk or ambulatory forming part of a cathedral or college quadrangle.CLUSTERED COLUMNA pier made up of several columns or shafts in a cluster.COLONNADEA row or rows of columns supporting a roof or buildingCORBELUsually a moulded or carved ornament projecting from the walls, acting as a bracket and capable of bearing a super-incumbent weight.CORNICEThe horizontal termination of a building in the form of a moulded projection.COURSEA continuous and regular line of stones or bricks in the wall of a building.CROCKETSProjecting ornaments in the form of leaves, flowers, etc., used to embellish the angles of pinnacles, spires, gables, canopies, etc.CROSSThe 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.CRYPTSometimes 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.CUSPSProjecting points giving the foliated appearance to tracery, arches, panels, etc.DORMERA gabled window pierced through a sloping roof.DRIPSTONEA projecting ledge or narrow moulding over the heads of doorways, windows, etc., to carry off the rain.FAN-TRACERYTracery in which the ribs form a fan-like appearance and diverge equally in every direction. (Peculiar to the late Perp.)FLAMBOYANTTracery whereof the curves assume flame-like waves and shapes.FLYING BUTTRESSA buttress in the form of a bridge, usually transferring the thrust of the main roof from the clerestory walls to the main or aisle buttressesFONTThe vessel for holding the consecrated water used in baptism.GARGOYLEA projecting spout usually grotesquely carved and used to throw the water from the roof well away from the building.GROINThe line of intersection in vaulted roofs.IMPOSTHorizontal mouldings, capping a column or pier, from which the arch springs.JAMBThe side of a window or door.KEYSTONEThe central stone at the top of an arch. The bosses in vaulted ceilings are frequently called keys.LADY CHAPELA chapel dedicated to the Blessed Virgin Mary, called "Our Lady."LANTERNA small structure or erection surmounting a dome or tower to admit light. These towers are known as Lantern Towers.LOZENGEA name given in modern times to Norman mouldings which partake of a lozenge formation.LYCH-GATEFrom the Anglo-Saxonlich, a corpse. A small and often picturesque shelter at the entrance to a churchyard.MINSTERThe 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.MISEREREA small bracket on the undersides of the seats of stalls.MOULDINGA term generally applied to the contours given to angle projections or hollows of arches, doors, windows, etc.MULLIONThe dividing bars of stone or wood between the lights of windows, or the openings of screens.MÜNSTER (MONASTERY)has now lost its simple application.NAVEFromnavis, a ship, the main body of a church west of the chancel.NICHEAn alcove or recess in a wall for holding a statue or ornament.OGEEA 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.ORDERSIn Gothic architecture, the receding mouldings of an arch.PARCLOSEThe screen or railings protecting a monument or chantry.PARVISEAn open space or porch at the entrance to a church, and often wrongly applied to the room over a church porch.PATENThe small plate or salver used to hold the Consecrated Bread in the celebration of the Eucharist.PENDANTOrnaments which hang ordependfrom a ceiling or roof.PENTHOUSEA covering projecting over a door, window, etc., as a protection from the weather.PIERThe masses or clusters of masonry between doors, windows, etc.; the supports from which arches spring.PILLARA 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.PINNACLEA small turreted ornament tapering towards the top, and used as a termination to many parts of Gothic architecture.PISCINAThe stone basin or sink in the chancel used for cleansing the communion vessels.PLINTHThe lower division of the base of a column, pier or wall.POPPY-HEADAn ornament boldly carved on the tops of bench ends, etc.PRESBYTERYA 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.QUARRIES or QUARRELSThe small diamond, square or other shaped panes used in plain glazing.QUATREFOILThe shape resembling four leaves formed in tracery or panels by cusps.QUOINThe external angle of a building, generally of ashlar.REREDOSThe wall or screen at the back of an altar, often enriched with carving, niches, statues, etc.ROOD-BEAM orROOD-LOFTThe loft or beam which, previous to the Reformation, supported the Great Rood, or Crucifix.ROSE WINDOWA term often used to denote a circular window of several lights.ROTUNDAA term used to describe a church or other building which is of circular formation both within and without.SACRISTRYA room used in churches for storing the plate and valuables.SANCTUARYSee Presbytery.SEDILIAA 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.SHAFTThe part of a column or pillar between the capital and the base.SHRINEOften called the feretory. The place where relics were deposited.SOFFITThe word means literally a ceiling, but is generally used to describe the flat under-surface of arches, cornices, stairways, etc.SPANDRELSThe 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.SPIREThe acutely pointed termination of towers, etc., originating by the elongation of the early pyramidal roofs.SPLAYThe 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.SPRINGERSee Voussoir.SQUINTAn 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 calledhagioscopes.STOUPA vessel for consecrated water, at or near the entrance to a church.STRING orSTRING COURSE.A horizontal projecting band of stone in the wall of a building.STRUTSee Brace.TOOTH ORNAMENTAn 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.TRANSOMA horizontal cross-bar in a panel or window.TRACERYThe 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.TRANSEPTSThe projecting arms of a cruciform church, often wrongly called "cross-aisles."TRANSITIONA 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.TREFOILAn ornamental foliation in the heads of windows, panels, etc., in which the spaces formed by the cusps resemble three leaves.TRIFORIUMor Blind-Storey. An open gallery arcade without windows immediately above the pier arcade and under the roof of the aisle.TYMPANUMThe space between the top of a square-headed door and the arch above it; frequently sculptured.VAULTRoofing of stone constructed on the principle of the arch, the intersections of which are termed groins and are in the pointed styles usually ribbed.VAULTING SHAFTSSmall 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.VESICA PISCISAn oval shape or figure formed by two equal circles cutting each other in their centres. Very commonly found on episcopal and monastic seals.VOUSSOIRThe wedge-shaped stones forming an arch, the centre one of which is thekeystoneand those at the impost or starting point of the curve are thespringers.ZIG-ZAGSee Chevron.
Adeline, J.Art Dictionary of Terms.Bland, W.Arches, Piers, Buttresses, etc.Blomfield, R.Short History of Renaissance Architecture.Bond, FrancisEnglish Cathedrals Illustrated.Bond, FrancisGothic Architecture in England.Bonney, T. G.Cathedrals, Abbeys, and Churches ofEngland and Wales.Carter, J.The Ancient Architecture of England.Colling, J. K.Details of Gothic Architecture.Corroyer, E.Gothic Architecture.Cram, R. AdamsChurch Building.Davidson, E. A.Gothic Stonework.Fergusson, J.Handbook of Architecture.Fergusson, J.History of Architecture.Fairbairns, A.Portfolio of English Cathedrals.Garbett, E. L.Principles of Design in Architecture.Markland, J. H.Remarks on Churches.Moore, C. H.Development and Character of GothicArchitecture.Paley, F. A.Manual of Gothic Architecture.Paley, F. A.Manual of Gothic Mouldings.Parker, J. H.A.B.C. of Gothic Architecture.Parker, J. H.Concise Glossary of Architecture.Parker, J. H.Introduction to the Study of GothicArchitecture.Perkins, Rev. T.Handbook of Gothic Architecture.Prior, Ed. S.History of Gothic Art.Pugin, A. W.Treatise on Chancel Screens and Rood Lofts.Rickman, Thos.Gothic Architecture.Rickman, Thos.Attempts to discriminate the Stylesof Architecture in England.Sharpe, EdmundThe Seven Periods of English Architecture.Sharpe, EdmundTreatise on the Rise and Progress of WindowTracery.Scott, G.History of Church Architecture.Ruskin, JohnSeven Lamps of ArchitectureRuskin, JohnStones of Venice.Ruskin, JohnPoetry of Architecture.Ruskin, JohnLectures on ArchitectureWall, J. C.Shrines of British Saints.WinkleBritish Cathedrals.Wilson, S.Romance of our Ancient Churches.Bell's Cathedral Series."The Builder" Portfolio of English Cathedrals.Murray's Handbooks to the Cathedrals.S.P.C.K. Illustrated Notes on English Church History.Swan, Sonnenschein & Co. Notes on the Cathedrals."Our English Minsters." Edited by Dean Farrar.
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.