WINDOWS SHOWING ORIGINS OF TRACERYWindows showing the Origin of Tracery.Click toENLARGE
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.
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 itsvery latest forms at Westminster Abbey, the period of time being chronologically measured by the reigns of Richard I., John and Henry III.
Early English Arch.An Early English Arch.Rochester Cathedral.Photograph Eastmead.
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.
One of the chief differences between pure Gothic andNorman 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.The Pointed Arch.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.
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.
The Transitional Period.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 exquisitecharacter; and the heavy cylindrical mouldings by bands of deeply undercut members."
Junction of Norman and Early English MasonryArcading showing the junction of the Normanand Early English Masonry.Dunstable Priory ChurchPhotograph H. A. Strange.
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 somethingbesides itself, it is obvious that such buildings could be erected with a far smaller quantity of material than was previously necessary.
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.
Early English DoorwayAn Early English Doorway.Huntingdon.
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 ispeculiar to the Norman, the nail head to the Transitional or semi-Norman, and the dog tooth to the Early English.
Early English Ornament.
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.
Early English Mouldings.
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.
Early English Windows.
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.
Church of St. Margaret, LynnThe Church of St. Margaret, Lynn.West Front showing the Early English work in the base of the Tower.Photograph Dexter & SonClick toENLARGE
The traceried window originated from the placing of a two-light narrow lancet window under one dripstone having a plain head, the introduction of tracerybetween the heads of the lancets and the dripstone becoming necessary for beauty and lightness of the form (see page47.
Thirteenth Century Lancet WindowsExample of Group of Thirteenth Century Lancet Windows.Ockham, Surrey.Homeland Copyright.Click toENLARGE
Early English Porches.
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 designas are the exteriors.
Early English Doorways.
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 (see page51).
Early English Capitals and Piers.
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.
Early English Buttresses.
The buttresses (see page17) 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.
Salisbury CathedralSalisbury Cathedral.Begun in 1220. The spire was added, 1350.Drawn by Sidney Heath.Click toENLARGE
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.
Examples of Early English Capitals and OrnamentExamples of Early English Capitalsand OrnamentClick toENLARGE
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 (see page17).
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 themother churchof this style, and although she has many daughters, none of them can be said to equal their parent in beauty.
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.
Decorated Windows.
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.See pages15and59.
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.
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 thetriangle, the quatrefoil on the square, the cinquefoil on the pentagon, etc.
Late Decorated Window in a Parish ChurchA Late Decorated Window in a Parish Church.East Sutton, Kent.Photograph Gardner WatermanClick toENLARGE
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.
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.
DecoratedCapitalsand Piers.
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.
Finial (Winborne Minster)Finial(Winborne Minster).Crocket (Hereford Cathedral)Crocket(Hereford Cathedral).Capital (York Minster)Capital(York Minster).Square FlowerSquare Flower.Ball FlowerBall Flower.Cornice (Grantham)Cornice(Grantham).Finial (York Minster)Finial(York Minster).Crockets (York Minster)Crockets(York Minster).Examples of Decorated OrnamentDrawn by E. M. Heath
Decorated Doorways.
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.
DecoratedButtresses.
The buttresses (see page17) 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.
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.
Characteristicsof GothicArchitecture.
Having now arrived at the point where Gothic architecture reached its climax, we may briefly sum up its leadingcharacteristics. 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.
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.
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.
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.
PanelPanel.Tudor RosePortcullisFleur de LysTudor Rose.Portcullis.Fleur de Lys.CrocketCrocket.Examples of Perpendicular Ornament.
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.
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 thenew for many years.
Yeovil Parish Church (A.D. 1376)Yeovil Parish Church (A.D. 1376).Early Perpendicular in style, without a clerestory,and called, for its large window area, the "Lantern of the West."Click toENLARGE
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.
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.
A Fine Parish Church showing Rich Perpendicular Work.A Fine Parish Church showing Rich Perpendicular Work.Terrington St. Clement, Norfolk.Photograph Dexter & Son.Click toENLARGE
Perpendicular Windows.
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 Perpendicular Doorway.A Perpendicular Doorway.Merton College Chapel.Drawn by E. M. Heath.Click toENLARGE
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 peculiarto this style, is almost invariably covered with panelling.
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.
Perpendicular Doorways.
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.
Perpendicular Capitals.
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.Fan Vaulting.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.
Perpendicular Ornament.
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 thehouse 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.See page64.
Perpendicular Buttresses.
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.
Perpendicular Roofs.
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.
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.
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.
A Perpendicular Porch.A Perpendicular Porch.S. Nicholas, King's Lynn.Photograph Dexter & Son.Click toENLARGE
The plants represented are, almost without exception, the vinewith 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.
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 flamboyant1style so characteristic of the late Gothic buildings of France and Germany.
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.
Perpendicular Towers.
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.Clement's in Norfolk; Southwold Church in Suffolk; Manchester Cathedral, S. Nicholas' Church, Newcastle, and S. Mary's Church, Taunton.
A Fine Perpendicular Tower.A Fine Perpendicular Tower.St. Mary, Taunton.Photograph H. Montague Cooper.Click toENLARGE
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.
Perpendicular Spires.
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).
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.
1: 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.