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THE CONTEMPORANEOUS USE, IN THE SAME BUILDING, OF CIRCULAR AND POINTED ARCHES.
On the outside the usual prevalence of the circular arch in theWindowsandDoorways, gives still a Norman character to the building; but theBase-courseandButtressesbegin to show greater projection, and the walls are lightened in proportion.
The invariable Billet moulding disappears from theString-courses.
TheWindowsare more elongated in form, and have lighter shafts.
The circularCorbel-tablegives place to a regularly mouldedCornice, carried on a series of blocks of uniform profile; and a slopedCopingcovers theParapet.
In some of the latest examples indeed, theButtresseshaveSet-offs, and, rising above the parapet, have also a pyramidal Capping.
An increasing lightness of proportion is perceptible in all parts of the buildings of this Period.
Except in the earliest examples of this Period, the heavy cylindrical column disappears; and thePierconsists of a lighter mass of semicircular shafts, and square edges; occasionally also, a shaft having a pear-shaped section is substituted for the semicircular shaft.
TheCapitalsconsist still of a square block, moulded down to the circular form below; with this difference, however, that the lower part of the capital is hollowed down to the circle, instead of being left as in the Norman Period, full and round; the latter showing aconvex, and the former aconcaveprofile. Both the larger and the smaller Capitals have also very frequently an ornament peculiar to the Period, which consists of a small volute, forming the curled end of a plain leaf, which enfolds the bell of the Capital. This volute may be looked upon as one of the most characteristic features of the Period. The abacus of the capital is invariably square in plan, and has its upper edge (except in a few of the latest examples) also square in section.
In the later buildings of the Period, foliage, exhibiting considerable freedom of design, is occasionally to be seen.
ThePointed Archfirst made its appearance in the Transitional Period; in the earlier buildings it is used in theArches of Constructiononly, or those constituting the framework of the building, such as the Pier-arches and the Arches of the Vaulting, and of the Crossing; whilst the Circular Arch is used in theArches of Decorationonly, or those which may be said to constitute the panel-work, such as the windows, the arcades, the doorways, and such like. In the later buildings of the Period, however, the Pointed Arch is frequently found in some of the smaller arches also.
ThePier-arches, therefore, are almost invariably pointed, inthe earlier examples obtusely, and in the later examples often acutely; the mouldings, which have become much lighter, are few and plain; carrying usually a roll, or a pear-shaped moulding, at the angle of each order of the arch: they frequently have noHood-moulding. All the usual rich ornaments of the Norman Style disappear, but the Chevron occurs occasionally, and another ornamental moulding somewhat resembling it, but peculiar to this Period, is frequently seen.
TheString-coursesdo not usually carry any ornament, and have commonly a simple section peculiar to the Period.
TheVaultingorRoof-shafthas usually a pear-shaped section.
TheTriforium-arcadehas usually Circular Arches, but in the later examples the two forms of arch are frequently intermixed. The Shafts are of a much lighter character, and carry arches of simple mouldings.
The Pointed Arch, if found anywhere in the arches of Decoration, is generally to be seen in theClere-story, the highest part of the building, and consequently the latest in point of construction.
Plain pointed quadripartiteVaultingnot unfrequently covers the side-aisles, and sometimes the centre-aisle.
The contrast presented by the discriminate use of the two forms of arch before mentioned, is sometimes strikingly exhibited in the side-aisles, where it is by no means uncommon to find a large plain circular window placed immediately under an acutely pointed wall rib, forming part of the contemporaneous pointedVaultingof the side-aisle.
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THE LANCET WINDOW USED SINGLY, IN COUPLETS AND TRIPLETS, AND ARRANGED IN GROUPS OF FOUR, FIVE, AND SEVEN.
TheButtresseshave considerable projection, are divided into stages, and have usually a plain pyramidal capping, and sometimes a plain pinnacle.
TheBase-courseHas also more projection and importance, and its upper members are frequently moulded.
Flying-buttressesoften span the roof of the side-aisle to support the main vaulting.
TheWindowsin the earliest examples stand alone as single windows; they are also sometimes placed singly in a continuous arcade; later still in triplets under one arch, the centre one being the tallest, and in some instances two lancets are coupled under one arch,—the spandrel between them being frequently pierced with a quatrefoil, or other opening.
TheParapethas occasionally sunk ornaments upon it, and is carried by a cornice having a few deep mouldings, with a flower, or other ornament at intervals, or by a trefoiled Corbel-table, or by a series of blocks.
ThePiersconsist most commonly of a cluster of shafts, disposed in a circular form. These shafts sometimes stand entirely free, and surround a large circular or octagonal column, and are banded in the middle.
TheCapitalshave sometimes one or two rows of stiff projecting leaves, of a bulbous form, which appear to grow out of the neck of the capital, and sometimes a single or double series of minute deeply cut mouldings; the square form of capital, both in the plan and in the upper edge of the abacus, entirely disappears.
TheBasesconsist almost invariably of a deep small hollow, set between two rounds, standing on a square-edged plinth; and greatly resemble the ordinary Attic base.
ThePier-archesusually show three orders, of small deeply cut mouldings of alternate rounds and hollows, the number and depth of which give an exceedingly rich and characteristic appearance to all the arches of this Period. The peculiar ornament called thedog-tooth, which is formed by hollowing out the sides of a series of contiguous pyramids notched out of an angular projection, occurs constantly in the arch-mouldings, as well as in almost every other part of buildings where an opportunity of carving it presents itself.
TheHood-moulding, resting on small and elegant heads or bosses, is an almost invariable accompaniment of arches of every description.
TheVaulting-shaftsometimes rises from the floor in front of the principal Pier,—but more usually from a corbel-shaft, resting on a large ornamental corbel, placed immediately over the pier; it consists generally of a triple cluster of small elegant shafts, with hollows between them.
TheTriforium-archgenerally covers two smaller arches; but occasionally, a pair of principal Triforium-arches cover two pair of subordinate arches, which are sometimes plain, and sometimes trefoiled; the spandrel wall above them being ornamented with foliage, or a sunk trefoil, and sometimes pierced through with a quatrefoil or other opening. Sometimes, indeed, one large primary arch covers two secondary arches, which again contain two small tertiary arches; thus fully developing the principle of subordination in this part of the building.
The principalTriforium-piersgenerally exhibit a row of light shafts on the face of a solid pier, carrying arch-mouldings of three orders, and separated sometimes by a line of dog-tooth moulding, or stiff foliage.
Thesecondary piersare usually single, double, or triple detached shafts, carrying the smaller arches.
Where the Triforium contains three orders of piers, thetertiary pierconsists of a single shaft only, carrying the third order of arch-mouldings.
TheVaulting-shaftusually terminates in an elegant capital, just below the Clerestory-string, the mouldings of which form in that case the impost mouldings of the capital. TheArcadegenerally corresponds with the windows, and consists either of a row of continuous arches, of equal height, or, as is commonly the case, of three tall arches carried on a triple shaft, of which the centre one is the loftiest: the mouldings and ornaments being similar to those of the rest of the building.
TheVaultingis generally simple, and acute, and usually of the quadripartite or sexpartite form.
TheAisle-arcadeconsists generally of a series of plain, or trefoil-headed arches on single shafts, carrying the usual mouldings and ornaments.
LincolnCathedral ChurchChoir.WorcesterCathedral ChurchChoir.WinchesterCathedral ChurchLady Chapel.FountainsAbbey ChurchChoir, East Transept.WhitbyAbbey ChurchChoir.YorkCathedral ChurchN. and S. Transepts.BoltonAbbey ChurchNave.BeverleyMinsterChoir, Transepts.LincolnCathedral ChurchNave.LichfieldCathedral ChurchChapter House.WellsCathedral ChurchWest Front.PeterboroughCathedral ChurchWest Front.SouthwellCollegiate ChurchChoir.OxfordCathedral ChurchChapter House.HerefordCathedral ChurchLady Chapel.LanercostAbbey ChurchNave.DurhamCathedral ChurchEast Transept.RievaulxAbbey ChurchChoir.LondonTemple ChurchChoir.SalisburyCathedral ChurchChoir.WorcesterCathedral ChurchPresbytery.WhitbyAbbey ChurchN. Transept.ElyCathedral ChurchPresbytery.
SIMPLE GEOMETRICAL TRACERY IN THE HEADS OF THE WINDOWS, IN PANELS AND IN ARCADES.
TheButtresseshave frequently set-offs, and canopies attached to their faces, carrying often a series ofCrockets: these in the earlier examples are plain, stiff, and curled; but the later ones are formed by a gracefully disposed leaf. Towards the end of the Period, the buttresses became very bulky and massive, and carried little or no ornaments.
ThePinnacleshave often the same ornament, and are crowned with finials composed of a bunch of foliage.
TheCorniceoften carries a large ornamental leaf in its hollow, and the projecting Corbel-table is no longer seen.
The earlierWindowsexhibit tracery which consists almost exclusively of plain foliated circles; but in the later examples other simple geometrical forms were employed. The heads of the window lights, occasionally plain, were more frequently, even in the earlier examples, and invariably in the later ones, cusped or foliated.
TheClere-storyusually contains a single window, or at most a pair, containing tracery similar to that of the side-aisle windows, and the Clere-story arcade altogether disappears.
TheCorniceis usually similar to that of the side-aisles.
ThePiershave occasionally, in the earlier examples, detached shafts; but they more usually consist of a solid mass of engaged shafts, separated by hollow mouldings, and disposed on the plan of a spherical triangle.
TheBasesconsist generally of a triple roll, standing on the usual plinth; and theCapitalscarry foliage disposed much more freely and gracefully than in the preceding Period, and frequently of exquisite design.
ThePier-archeshave usually mouldings in three orders of very elegant profile, not so deeply cut, however, as in the Lancet Period: the favourite dog-tooth is nowhere seen, but late in the period a substitute for it was found in the ornament called theBall-flower.
AllBosses,Figures, andSculpturesof every kind are carved in the very best manner; and allString-coursesandHood-mouldingsare moulded with the greatest care and elegance; indeed the art of carving in stone may be said to have attained its greatest perfection during this Period.
TheTriforiumin the earlier examples commonly contains a pair of double arches, carrying circular tracery in their heads: in the later examples, it becomes greatly reduced in size and prominence, and is made entirely subordinate to the Clere-story; and consists often of a low foliated arcade, or a band of plain tracery.
The inner arcade of theClere-storyaltogether disappears, and in its place is sometimes found a plane of Geometrical Tracery, corresponding with that of the window; but more commonly a single arch spans the entire compartment; and sometimes the gallery is dispensed with altogether.
TheAisle-arcadeis often very elegant; the arches areusually foliated, and covered with a straight-sided canopy. Occasionally this arcade consists of a series of beautiful panels containing geometrical tracery, with mouldings of a very minute and elegant character.
Both the centre and side-aisles are generally covered withVaultingof simple form, having characteristic bosses and rib-mouldings.
WestminsterAbbey ChurchChoir, Transepts.WestminsterAbbey ChurchChapter House.SalisburyCathedral ChurchChapter House.HowdenCollegiate ChurchTransepts.ElyCathedral ChurchSouth Transept, Chapel.HerefordCathedral ChurchNorth Transept.LincolnCathedral ChurchPresbytery.GranthamParish ChurchNorth Aisle.ChichesterCathedral ChurchNave, North Aisle.St. AlbansAbbey ChurchChoir.TinternAbbey ChurchChoir, Transepts.LichfieldCathedral ChurchNave.NewsteadAbbey ChurchWest End.York, St. Mary'sAbbey ChurchNave.ExeterCathedral ChurchLady Chapel.RiponCathedral ChurchEast End.ChichesterCathedral ChurchLady Chapel.ExeterCathedral ChurchChoir.Merton CollegeChapelChoir.YorkCathedral ChurchChapter House.SouthwellCollegiate ChurchChapter House.Temple BalsallCollegiate ChurchChancel.HowdenCollegiate ChurchNave.GuisboroughPriory ChurchChoir.YorkCathedral ChurchNave.WellsCathedral ChurchChapter House.St. Augustine'sAbbeyGateway.
FLOWING TRACERY IN THE WINDOWS, AND THE PREVALENCE OF THE OGEE CURVE IN ALL THE DETAILS.
As the Circle characterises the previous Period, so the Ogee marks the present Period. It is found not only in the principal outline of the tracery, but also in its smaller subdivisions; not only in the profiles of the mouldings, but also in the contour of the foliage and carved work.
TheWindowsare the most important features in the Churches of this Period. In the more important buildings they are frequently of great size and elaborate design, and in the smaller buildings, the rest of the work seems often to have been impoverished for the sake of the Windows.
The infinite variety of design that is contained in the Tracery of this Period is very remarkable, and distinguishes its Architecture, in a manner not to be mistaken, from that of other nations during the same Period.
TheBase-coursecarries a series of mouldings in which the Ogee profile is almost invariably found. TheString-courses,Hood-mouldings, andSet-offsexhibit it also.
TheButtressesare usually divided into a greater number of equal stages; their canopies, and those of their pinnacles, areinvariably richly crocketed, and have usually the Ogee form instead of the straight pedimental finish.
TheCornicecarries usually a row of large square pateras of foliage, in a shallow hollow, and is often surmounted with a battlement, or a parapet pierced or panelled with a flowing trefoil or a quatrefoil.
TheBall-flowerwhich appeared at the end of the previous Period, became a favourite ornament for a short time in the commencement of this Period.
ThePiersare usually disposed in plan in the form of a diamond; and consist generally of four shafts with intervening hollows. TheBasesandCapitalsare not unfrequently octagonal in form; and the foliage of the latter consists of crumpled leaves, not growing out of the neck of the capital, as in the earlier Periods, but apparently attached to it, or bound round it.
The mouldings of thePier-archesare fewer in number; they are shallower than those of the preceding Period, and often contain the double Ogee; the walls being thinner, the arches frequently carry, in this Period, as well as in the following one, only two orders of mouldings instead of three. The small square patera, consisting of four leaves, is a common ornament of the Period, and all the foliage is formed of peculiar crumpled leaves, which are easily distinguished from those of the preceding Period.
It is not uncommon in this Period to find the arch mouldings continued, without the intervention of impost or capital, down to the ground; or, inversely, the mouldings of the piers carried uninterruptedly upwards through the arch. This is the case aswell in the arches of the Ground-story, as in the windows and doorways.
TheTriforiumrarely occurs in its full proportions, and in such cases exhibits the usual window tracery of the Period: it oftener consists of a panel enclosed within the prolonged jambs of the Clere-story window, and is sometimes reduced to a row of quatrefoils.
TheClere-storyhas its inner arch sometimes foliated, but oftener the window is flush with the face of the inner wall, and the gallery is omitted.
TheVaultingexhibits much more intricacy; and a variety of ribs generally intersect the surface of the different cells.
TheAisle-arcadeis not often seen.
HowdenCollegiate ChurchChoir.ElyCathedral ChurchLantern.ElyCathedral ChurchChoir.ElyCathedral ChurchCrauden's Chapel.ElyCathedral ChurchTrinity Chapel.HinghamSt. Andrew's ChurchNave.HeckingtonSt. Andrew's ChurchChancel, Transepts, Nave.HawtonAll Saints' ChurchChancel.EwerbySt. Andrew's ChurchChancel, Nave.SleafordSt. Giles' ChurchNave.ChesterCathedral ChurchSouth Transept.CoventrySt. John's HospitalChapel.CarlisleCathedral ChurchChoir (part).NewarkSt. Mary's ChurchSouth Aisle.BeverleySt. Mary's ChurchNorth Aisle of Choir.SelbyAbbey ChurchChoir (part).WalsinghamAbbey ChurchChoir.ChesterCathedral ChurchSouth Transept.NantwichSt. Mary's ChurchChancel.MelroseAbbey ChurchNave, Transept.BoltonAbbey ChurchChoir.BostonSt. Botolph's ChurchNave.LichfieldCathedral ChurchChoir.WellsCathedral ChurchChoir, Lady Chapel.Bury St. Edmund'sAbbeyGateway.HullHoly Trinity ChurchChancel.
THE PREVALENCE OF STRAIGHT LINKS, BOTH HORIZONTAL AND VERTICAL, IN THE TRACERY OF WINDOWS, IN PANELS AND ARCADES.
TheWallsandButtressesof this Period present great contrasts, being generally perfectly plain, but occasionally, in the richer buildings, completely covered with rectangular panelling.
TheBase-courseis often deep, rises in several stages, and contains a few large bold mouldings.
The mullions of theWindowsalmost invariably rise vertically through the Tracery, and are often crossed at right angles by other straight lines, as well in the lower part of the Window as in the Tracery itself.
TheseTransomsin some of the larger East and West Windows, occurring at equal intervals, divide the entire design into a series of rectangular compartments, and give to the whole the appearance of a huge gridiron. They are sometimes ornamented with a small battlemented moulding.
TheClere-story Windows, as well as the side windows, where the aisle walls are low, are often square-headed.
TheCornicegenerally carries a large shallow hollow, filled at intervals with a square flat leaf, and grotesque sculptures.Gurgoyles, formed usually of the head and shoulders of some monster, and projecting from the cornice, for the purpose ofcarrying the water from the gutters clear of the walls, which occur in the former Period, are now universal.
TheParapetsare frequently ornamented richly, with rectangular foliated panelling, and covered with aBattlement. Both are sometimes pierced instead of being panelled.
ThePiersare usually tall and light, and consist generally, as in the preceding Period, of four shafts with intervening hollows, which latter are continued uninterruptedly round the Pier-arch.
Frequently the entire Pier is moulded without shafts, and the whole of the mouldings are carried round the Pier-arch.
The Pier is frequently so disposed that its transverse section is greater than its longitudinal section, or, in other words, it is thicker from North to South than it is from East to West.
TheCapitalsare usually octagonal, but sometimes circular. Foliage is much more rarely seen in their hollows, and they contain plain mouldings of a more angular character generally than in the preceding Period. They are also taller, in comparison, to their diameter. They have sometimes a battlement moulding on their upper edge, which is in other cases often square.
TheBasesare generally tall, narrow, and polygonal, and often of several stages.
In thePier-archesoccasionally a form occurs for the first time, which is seen in no other Period. This is thefour-centeredarch, so called from the circumstance of its being drawn from four different centres: its use, however, inarches of construction, except in the Vaulting, is by no means so common as inarches of decoration, where it continually appears. It is often enclosed in doorways, under a square head. The mouldings of Pier-arches,Window-arches, and all others are usually plain, broad, and shallow; the double Ogee occurs continually, as well as a large shallow hollow, drawn from three centres, between a few small filleted members. Few Arches carry more than two orders.
In theString-courses,Cornices, and other hollow mouldings, flat square leaves at intervals, continuous training foliage, and the vine-leaf and grapes, frequently occur; but the relief is usually not considerable, and the amount of undercutting in foliage exhibited in the two previous Periods is never seen. The Tudor Rose and the Tudor Flower are frequent ornaments of this Period.
TheTriforiumis rarely seen, and in its place the Clere-story Window is often carried down in blank panelling to the passage or String-course over the Pier-arches. It is sometimes, however, represented by a band of panelling or pierced work.
TheClere-storyattains considerable height and importance in this Period; the effect of which, in large buildings, is increased by the suppression of the Triforium, and the substitution in its place of the apparent continuation downwards of the Clere-story. In many buildings the Clere-story windows are in pairs, and so numerous that all blank wall entirely disappears; and the effect of the mass of light thus poured down into the Church is very striking and characteristic.
TheVaultingbecomes much more complicated and enriched in this Period. Diverging ribs having bosses and shields at their points of intersection, cover the surface of the Vault: the plans of these vaultings are very various: some are calledFan-traceryvaults, and othersStellarvaults, terms which explain themselves.
Open wooden roofs of elaborate construction, and large span, become common in this Period. They spring frequently from Corbel shafts, resting on figures in the Clere-story wall; andhave rich cornices of mouldings and carved work, traceried spandrels, figures of angels, and richly moulded beams. TheAisle-arcadeis not often found, but its place is sometimes supplied by the rectangular surface panelling, so characteristic of the Period, which in some of the richer buildings literally covers the whole of the walls, leaving no blank or unoccupied space.