_Photograph Dexter & Son._]

[Ill.u.s.tration: Example of Group of Thirteenth Century Lancet Windows.

Ockham, Surrey. _Homeland Copyright._]

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 between the heads of the lancets and the dripstone becoming necessary for beauty and lightness of the form (_see page 47_).

[Side note: 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 design as are the exteriors.

[Side note: 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 page 51_).

[Side note: 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 cl.u.s.tered 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 a.s.sumes 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.

[Side note: Early English b.u.t.tresses.]

The b.u.t.tresses (_see page 17_) 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 b.u.t.tress 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. 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 b.u.t.tress, 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 b.u.t.tress would be difficult to determine were there no other features to guide us.

[Ill.u.s.tration: Salisbury Cathedral. Begun in 1220.

The spire was added, 1350. _Drawn by Sidney Heath._]

Flying b.u.t.tresses 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 b.u.t.tress to the clerestory (_see page 17_).

[Ill.u.s.tration: Examples of Early English Capitals and Ornament.]

CHAPTER V.

THE DECORATED STYLE.

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 _mother church_ of 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.

The Decorated style may be divided as regards its windows into two cla.s.ses--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 pages 15 and 59._

[Side note: Decorated Windows.]

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 the triangle, the quatrefoil on the square, the cinquefoil on the pentagon, etc.

[Ill.u.s.tration: A Late Decorated Window in a Parish Church.

East Sutton, Kent. _Photograph Gardner Waterman._]

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.

[Side note: Decorated Capitals and Piers.]

Decorated capitals as a rule follow the contour of the pier in cl.u.s.tered 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.

[Ill.u.s.tration: Examples of Decorated Ornament.

Finial Capital Finial (Wimborne Minster). (York Minster). (York Minster).

Square Flower.

Ball Flower.

Crocket Cornice Crockets (Hereford Cathedral). (Grantham). (York Minster).

_Drawn by E. M. Heath._]

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.

[Side note: 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 b.u.t.tresses 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 b.r.e.a.s.t.s 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.

[Side note: Decorated b.u.t.tresses.]

The b.u.t.tresses (_see page 17_) in the Decorated style are nearly always worked in stages, and a niche frequently figures on the face of the b.u.t.tress. 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 n.o.ble 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.

[Side note: Characteristics of Gothic Architecture.]

Having now arrived at the point where Gothic architecture reached its climax, we may briefly sum up its leading characteristics. It is essentially pointed or vertical; its details are mostly geometrical in its window traceries, cl.u.s.ters 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 cla.s.sical 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.

[Ill.u.s.tration: Examples of Perpendicular Ornament.

Panel. Crocket.

Tudor Rose. Portcullis. Fleur de Lys.]

CHAPTER VI.