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CORNELL UNIVERSITY LIBRARY
GIFT OF PROF. JOHN K. TILTON
ARCHITECTURE
Cornell University Library
NA
485.P18 1902
A manual of gothic moldings: with direct
3 1924 015 673 217
Cornell University Library
The
original of this
book
is in
the Cornell University Library.
There are no known copyright
restrictions in
the United States on the use of the
text.
http://www.archive.org/details/cu31924015673217
MANUAL OF GOTHIC MOLDINGS
A
MANUAL OF
GOTHIC MOLDINGS: DIRECTIONS FOE COPYING THEM AND FOE DETEEMINING THEIE DATES.
lUoatrsteii bg aptoatius of (Six
By
F. A.
Utmiuxb (BxnmplzB.
PALEY,
M.A.,
AUTHOR OF "A MANUAL OF GOTHIC ARCHITECTURE, "
ETC.
SIXTH EDITION, WITH NUMEEOUS ADDITIONS AND IMPEOVEMENTS, By W. M. FAWCETT,
M.A.,
FELLOW OF ROYAL INSTITUTE OF BRITISH ARCHITECTS, FELLOW OF SOCIETY OF ANTIQUARIES.
CLEVELAND:
CAEL WENDELIN KUEHNY, 3554
ATTICA EOAD. MDCCCCII
tr
PRINTED IN GREAT BRITAIN BY WOODFALL AND KINDER, LONDON
—
CONTENTS page
Section I.
II.
Introductory
1
The General Principles
III.
Copying Moldings
IV.
Early Moldings
V.
in
of Formation
.
.12
.
26
general
32
Early English Moldings
38
VI. —Decorated Moldings VII. VIII.
47
Perpendicular Moldings
61
Plans of Gothic Columns
71
IX.— Capitals
76
X.—Bases XI.
Hood-Moldings and String-Courses
XII.— Conclusion Descriptions of Plates
89 .
.
.
.98
...
103 107
PREFACE TO THE SIXTH EDITION.
As
a
sixth
edition
of
Mr.
Paley's
work
is
required, the
Editor has endeavoured to improve it by inserting more examples in the text,
more easy
and
also
by arranging the plates so that they are
for reference.
Several small
amendments have
also
been made. Professor Willis's Nomenclature
now
so difficult to obtain
made
instead of the mere
is
that one or two extracts have been
reference given in the former editions.
The Editor has been
careful to keep the
book within the same
limits as to size so as not to increase the cost, this edition will
bestowed on
its
and trusts that
meet with the same approval which has been
predecessors.
EDITOR'S PREFACE TO THE THIRD EDITION.
A
Thied Edition
been called
of the
Manual
has undertaken to prepare always
of Gothic Moldings having
for, the present Editor, at the request of Mr. Paley,
difficult for
it
for the
Press.
Though
it
is
one person to carry out satisfactorily the
work of another, the Author was of opinion that the revision of a professional
work that
The chiefly
man would
practical character
additions *and
secure accuracy, and give the
which he wished
it
to have.
alterations that have been
made have
been done by way of further explanation where anything
might not previously have seemed clear to a student
same time, the Editor has been its
;
at the
careful to keep the book within
present limits, lest he should change its whole character
from an elementary treatise to one of an entirely different class.
A
considerable
number
by way of additional localities of the
of woodcuts has also been inserted
illustration, and, as far as practicable, the
examples in the plates have been indexed but, ;
as these were taken from the Author's note-books
work was
first
published,
many
of
when the
them cannot now be
ascer-
tained with certainty.
The Author has employed the terms "Early English," " Decorated," and " Perpendicular" throughout, and these are so thoroughly engrafted into the work,
and
generally understood, that the Editor felt
undesirable to attempt any alteration.
it
are, besides,
so
would have been
But the student should
PREFACE TO THE THIRD EDITION. remember that the
object to be attained in nomenclature is to
define clearly the date
work
Now
prevailed.
this condition,
fulfil
must be Several
careful that
and
locality at
which certain kinds of do not
the two latter of these terms
them, the student
therefore, in using
and
he knows the dates to which they
refer.
new terms have been proposed, but those here employed
have become so generally adopted that no others have succeeded in displacing of
Mr
Fergusson has proposed the adoption
Edwardian and Plantagenet in a manner analogous to Tudor,
Elizabethan, as
them.
&c,
already in
common
thirteenth century,"
"early
use
;
also such terms
&c,
"late fourteenth,"
frequently employed, and have the advantage of being
are
very
precise.
An
accurate knowledge of Moldings is indispensable to any
one professing even an amateur's acquaintance of architecture
;
freely
but he who attempts to practise as an architect (however
he may use his knowledge) must study them thoroughly,
may be
not merely by reading a work like this (though that
great assistance), but by actually going about observing
measuring them himself
;
for very little
of
and
can be learnt without
measuring, as scale has a very important
effect
on the character
of Moldings.
There
perhaps, hardly an old Church existing without
is,
something worth sketching in
charming
variations
little
would hardly be suspected.
may
it
;
and
often,
in Moldings,
be found, which at
The
first
sight
Editor, therefore, feels that he
cannot do better than advise those
who wish
to attain a true
knowledge of the science of Gothic Moldings, not merely to read about them, but to sketch
them
them
carefully,
and
to
measure
accurately.
W. M. Cambridge
,
1st
December, 1864.
F.
EDITOR'S PREFACE TO THE FIFTH EDITION.
Since the last edition of this work was
Author has passed away, and our readers,
to
as
well
new
in the Preface to the
his
as
it
will
its
talented
be probably of interest
respectful
edition I
issued
to
give
his
memory,
if
some account of
life.
He
was born on 14th January, 1815,
at
Easingwold, near
In due time he
York, of which parish his father was Vicar.
was sent
to Shrewsbury,
Master, and in 1834
where Dr. Butler was then the Head
he came up to
St.
Cambridge, and took his degree in 1838.
John's
College,
That such a ripe
classical scholar as
he was should not have appeared in the
Tripos seems a
strange
out in
little
honours
at
Mathematical Tripos.
;
but at that time every one going
was obliged
all
first
to
appear in the
Paley either could not or would
not
take the trouble to do this (probably the greater part of the latter),
and so was not
honours.
It
eligible to enter in the lists for Classical
was commonly said that he was plucked in one of
the college examinations in Paley's " Evidences " because he
wrote at the foot of his paper, " Tales of my Grandfather "
being
.
a
grandson
Archdeacon
of
is certainly characteristic
While
at
Paley
Whether
"Evidences of Christianity." of the
who
wrote
—he the
true or not the tale
man.
Cambridge he was much interested in Architecture,
and naturally became a member of the Cambridge Camden Society.
He
held the
office
of Secretary from
1841—2
to its
PREFACE TO THE FIFTH EDITION.
xii
dissolution in 1845,
The
Society.
first
when
it
merged into the Ecclesiological
form of this book was that of papers written
among the notices of which we find that on 13th February, 1844, Mr. F. A. Paley read a paper " On for the Society;
the Moldings of Pointed Architecture," "Part I.
Early English "
;
and Perpendicular
only finishing with "Part II. Decorated
He had taken
Styles."
Norman and
and on 5th March the same notice appears, great interest in these details, and
had considerable opportunity of getting a
had
knowledge of
fair
them.
A
letter to
me
Lancaster, says
:
Mr.
from his brother,
E.
Gr.
of
Paley,
— " I well remember going home to my father's
Eectory at Gretford, near Stamford (about 1839 to 42), and taking with me, amongst other Architectural books, Eickman's '
Attempt
England.' avidity,
Discriminate
to
My
the
of
Styles
brother, I recollect well,
Architecture
and became extremely interested in
the subject
English Architecture, and frequently accompanied visits to
in
read this work with
me
in
of
my
examine and sketch the neighbouring churches, which
fortunately were singularly good
and interesting buildings of
As
every date from the eleventh to the sixteenth centuries.
a
young student of Church Architecture, I measured and sketched moldings as one important part of think that
much
my
my
studies,
and I
like to
brother's early interest in this work (not usually
taken up by amateurs) thus commenced, and developing
into a systematic
and
careful
study
of
the
fortunately
eventuated in the publication of his book on Moldings. the pleasure to send
him from time
examples that appear in the book.
to
time
and
subject,
collecting examples of moldings of various dates,
several
I had of
the
A keen and close observation my
was
certainly a characteristic of
may
account for the somewhat remarkable fact that an amateur
brother,
and
this quality
should give such close attention to a subject that the majority of students, professional or otherwise, consider rather dry
and
— PREFACE TO THE FIFTH EDITION. uninteresting, though really of the
xiii
importance,
first
—indeed
the foundation and groundwork of the art."
This
letter
shows clearly that he was
when he read
fully qualified to
speak
Cambridge Camden Society
his paper before the
in 1844.
me
Mr. E. G. Paley has also sent
a letter to our Author from
Mr. Augustus Welby Pugin, which, though undated, written about this time, and
here
"
is
evidently
too interesting to be omitted
is
:
My
kind
dear
letter.
desire
Sir,
—
I was truly gratified by the receipt of your
There are few
more than your own.
men whose In
fact I
appreciation I should
have never met with any
one who entertains more correct views of Church Architecture than yourself and our friend Mr. Webb.
am
does an infinity of good, and I
The
Ecclesiologist
the more reconciled to
not being quite so strong as you and I could wish, as therefore better received
it
its is
by a host of intermediate men who
could not swallow strong drink, but are exceedingly useful to the cause as far as they go.
Your
sent me, will be of the greatest time.
Would
it
which you so kindly
service to
me
at the present
be trespassing on your goodness to ask for a
few tracings from the give
tracing,
some outlines
'
Bestiary
'
in the Library ?
I want to
of animals.
"Believe me, yours most sincerely,
" Welby Pugin."
"Mr. Paley 's powers
as a
Greek scholar were
first
proved in
1844 by his edition of the Supplices of iEschylus, which displays not only his knowledge of the language and
but his power of emendation.
by
of his
author,
This was followed at intervals
editions of all the other plays of iEschylus.
" In later
life
he devoted himself almost entirely to Greek
PREFACE TO THE FIFTH EDITION.
xiv
and he published editions of Euripides, Hesiod and
literature,
He
other authors with English notes.
gave most attention to
the vexata qu<estio of the authorship of the Homeric poems,
and
and showed bis
also published a translation of Pindar,
knowledge of
the
But he was not
language by
Latin
idle
Propertius."
editing
on the subject of Architecture, which
he always seemed to take up as a change whenever time could be found. of Gothic Architecture " (1846)
The " Manual
;
" The Eccle" Re-
siologist's Guide to Churches near Cambridge " (1844)
marks on the Architecture of Peterborough Cathedral " 1856)
edition,
Church" (2nd
;
" Architectural
edition,
Notes
1872) Churches round Peterborough " (1860) " Illustrations of Baptismal Fonts "
Restorers list
Cartmel
;
;
;
(2nd
Priory
Twenty Parish
the Introduction to
" The
and
fair,
if
not
Church complete,
of his architectural works besides this book on Moldings.
Soon Society, left
;
a Tale," are, I believe, a
:
on
" Notes on
;
after
the
Mr. Paley,
dissolution
of
the
Cambridge
Camden
Church of Rome, and
in 1847, joined the
Cambridge.
In 1860 he
returned
to
Cambridge, and was always
re-
garded as one of the most careful Classical Tutors.
He
remained until he accepted the post newly-formed
of
Professor
Roman
of
Classical Literature at
the
College at Kensington.
Since the dissolution of that establish-
ment he resided
at
Bournemouth, where he remained
Catholic
till
he
passed away, on Sunday, 9th December, 1888.
This edition of his work on Moldings has been carefully revised by the Editor, and several It has
become so much
than what
may
it
originally was, a
manual
be as well to remind the
illustrations
new
illustrations inserted.
lately a text-book for students, rather for the
critical
amateur, that
it
reader that the mass of
were taken from Mr. Paley's note-book when he
himself was studying the subject,
and
for strict
and absolute
PREFACE TO THE FIFTH EDITION.
xv
accuracy the student must measure for himself and not depend
on small scale sketches. self to
How
far
an
artist
should confine him-
copying the moldings, &c, of ancient work
each must decide
for himself; but whatever
'allow himself in his work,
he
is
is
a matter
freedom he
may
sure to find great value in a
thorough acquaintance with the experience and work of those
who have gone
before him.
A MANUAL OF GOTHIC MOLDINGS.
SECTION
I.
INTBODUCTOKY.
No
person can have devoted
much time and
vestigation of Christian architecture, as this country during the
pains to the in-
was practised in
it
Middle Ages, without feeling the im-
portance of acquiring an accurate knowledge of Moldings.*
That certain conventional forms or certain periods,
decoration of
details
and were uniformly adopted
all edifices, ecclesiastical
and
were in use at
in the constructive secular, throughout
the length and breadth of the land, with varieties rather of
combination or disposition than of the component members, is
an undoubted
fact, well
have paid any attention
known
to
and admitted by
to the subject.
all
who
But whence these
forms arose, whether from a natural process of gradual develop-
ment, or from some real or pretended secret of freehrasonry, or, lastly,
from mere accident or caprice, are curious questions,
which, so far as the author the subjects of
much
is
aware, have never yet been
investigation.
made
Again, how far the same
forms were arbitrary or obligatory in ancient freemasonwork,
how
far
they emanated from some particular source, and were
dispensed by authority through the country, or were assumed
by some
tacit
agreement on the part of the masons themselves,
are equally interesting speculations, though, perhaps, equally * This, the ancient orthography of the word, has been adopted after
Professor Willis.
B
MANUAL OP GOTHIC MOLDINGS.
2
difficult
However
to determine.
this
may
,
have been,
it is
intercourse must have been kept up
quite certain that a strict
between the members of this body of artisans, or almost every
new and strange
ancient church would exhibit
When
moldings.
of its
details
varieties in the
which then
the difficulty
existed of constant and speedy communication between distant
resemblance
this general
parts of the country is considered,
and uniformity, not only indeed in moldings, but in parts
and features of Church architecture, must appear
more surprising.
There
the
all
still
these enough of licence and
is in all
variety to give scope for occasional localisms,
and
to
make
it
probable that each architect worked, to a certain extent, inde-
and yet there
pendently,
adherence to
rule,
and decided
such resemblance
is
make
as to
evident that some
it
must have been observed both
system
designing and executing
in
them.
Or can
this
acknowledged uniformity be referred to no more
recondite cause than fashion
same kind
?
Can
be said, that as the
it
of hat, or coat, or other article of dress, is seen in
London which
is
found in
common
use at York, with varieties, caprice in adorning of
indeed, arid a considerable degree of diversifying
them
and
;
as
that,
these
all
things are
hands of certain bodies, as hatters and
clusively in the
tailors,
and no one ever dreams of employing others than these providing them
;
so there
poly in architecture
seemed fault as is
was
at once
Churchman
a solecism in dress
is
as
now
every professor
is
modern
striking
own
pleasure,
rule, that
it
but then
offensive a
Perhaps this is
one so
which
;
at liberty to design just as
and even
and
architectural practice, in
even when he pretends to imitate, his
and a mono-
a fashion
considered ?
the most rational and probable view
from
in
and a solecism in moldings would have
;
to the ancient
very different
ex-
is
it
he pleases, and
apt very freely to indulge
to ridicule
the restraints of strict
certainly does appear strange
and unaccountable.
INTRODUCTORY. However,
all
3
these questions are quite foreign to the object
They
of the present work.
are all the province of the anti-
quary rather than the architect, and as such
out of place
it is
say anything more about them, especially as the writer
to
incompetent to give any solution of the
But
involve.
this
regretted that so
may
reasonably
difficulty
-be observed,
is
which they
that
it is
to
be
has yet been done in reducing to a
little
science this interesting
and
of Gothic architecture.
Probably a fancied uncertainty and
obscurity
of the
practically important
department
study, or a want of sufficient data, or ignor-
ance of the exact periods at which buildings were erected, and the apparent anomalies and inconsistencies which seem often occur, have all tended to deter even the
to
from writing a complete
treatise
most competent
To
on the subject.
these
may
be added the tediousness of making any considerable collecof drawings and
tion
difficulty
of
sections of
moldings,
amount of observation and research necessary knowledge
of
their
history and
true
causes at once sufficient to render a
and
delay and
the
copying them with minute accuracy, and the
to induce the reader to
for attaining
first
a
These are
theory.*
attempt imperfect,
pardon any errors or deficiencies
which he may notice in the course of the present work. It
taken
may
possibly be said,
investigating
in
minutiae
:
Why
these
why should they not be
should so
much
pains be
comparatively
insignificant
copied in our
new churches
without writing books about them, and so turning an amusing pursuit into a hard lesson, by imposing on beginners so to learn ?
The answer
is,
much
that moldings are of the greatest
was written, an important work on Gothic Moldings has been published by Edward Sharpe, Esq., M.A., being a series of examples, reduced (for the most part) to one-third size, arranged according to their dates, and printed in different tints, so as to be readily distinguished. (London, E. and F. N. Spon, Charing Cross, in six parts 4to. 1871.) Mr. Sharpe's fine work, " Architectural Parallels," folio, contains a large number of reduced outline plans and sections of moldings of the * Since the above
finest period.
b 2
MANUAL OP GOTHIC MOLDINGS.
4
possible importance
so
much
that they have rightly been
so,
"the very grammar of the
called
most
:
They
art.",
by
are
far the
and very frequently the only guides in determin-
certain,
ing the dates of buildings, or of architectural members
they
;
map
are just as essential to a knowledge of architecture, as a
the study of geography.
is to
importance.
first
No
who thinks
architect
In practice, too, they are of the
any claim
one has
science
the
to the
name
of
beneath his
of moldings
notice.
must be confessed, that some years ago, on the
It
first revival
of the true principles of Gotbic architecture, very serious,
and
indeed surprising mistakes were frequently committed, even by architects of repute, in the details of their moldings.
was but
There
discrimination of styles, and a general poverty of
little
appearance prevailed, especially in the working of capitals and bases.
In structures of that period^ even of considerable pre-
tension,
it
was but too common
to find
the most wretched and
meagre imitations of ancient examples, the acter
which were completely
of
violation of leading principles.*
lost
This
and char-
or perverted by is
some
in striking contrast
the smallest and humblest churches
with
ancient practice
often
show very pretty and
;
carefully
worked moldings, and
their uniformity of type, with, of course, It is gratifying to
surprising.
spirit
minor
differences, is
find such rapid
improvement
and so much increased attention on the part of our present architects,
correct
who
are fully sensible of the great importance of
moldings to the
effect,
as well as to
the distinctive
character, of their designs.
A work
on moldings
ends in view.
It
may
may have any one
of the three following
either contain a great collection
of the
best examples, accurately reduced to a scale, or accompanied by *
As an
molding of the archway in the centre of the buildings of St. John's College, Cambridge, is partly Early English and partly debased Perpendicular ; apparently an original instance, the
cloister to the
new
composition of the late Mr. Hickman's.
;
INTRODUCTORY.
5
measurements, so as to form a magazine of reference, and thus supply the wants of practical men,
who may
often be unable to
procure in their immediate neighbourhood any available models
may
or, secondly, it
profess to be a complete and elaborate
exposition of the theory of moldings, dealing with principles
rather than with bare facts, and taking a comprehensive view of the whole subject through the
Komanesque treatise,
varieties
;
or,
lastly,
medium of the Classic and it may be an elementary
intended only to convey plain and easy information on
the most ordinary forms, and on the differences observable in
each
The
style.
first
could perhaps be satisfactorily accom-
plished only by a professional man,
know the wants
of architects
The second would
them.
who might be supposed
to
and the best method of supplying require not only very considerable
acuteness and ingenuity, but the observation and collections of
many
and from
years,
prevailed.
The
last
all
places where Gothic architecture has
alone seems capable of being tolerably
well treated by an amateur,
who has himself seen the want
some work on the
and being thrown entirely upon his
own
subject,
resources in examining and investigating
Such, then,
is
is
simple and practical as far as
It is obvious that the
number
might be absolutely unlimited, and that illustration
it.
the aim and object of the present work, of
which the method of treatment possible.
of
to
of examples given
attempt a complete
would require many hundreds of engravings, and a
judicious selection out of thousands of drawings.
Such exten-
sive resources the author does not profess to possess
;
nor can
he even assert that every one of the examples he has given,
from a collection of a few hundreds of
aboutas many drawings, made the eye alone,
is
full-sized sections,
at different times
of that perfect and
minute accuracy which
might have been obtained by a laborious reduction of outlines to one
plain
details
and the same
scale.
and formations, and
and
and places by
The
full-sized
object being to ex-
to point out
differences
;
MANUAL. OP GOTHIC MOLDINGS.
6
imitation, this ex-
modern
rather than to furnish models for
course
treme faithfulness of delineation, though of
highly
and was in the present case quite For the same reason the measurements are impracticable. only occasionally added.* The specimens engraved are mostly desirable, is unnecessary,
those of ordinary occurrence, rather than examples of rare exceptions to the general practice of the ancient architects.
Viewed as an inductive is
as curious
if
and interesting in
it
is it
moldings
important in will
he amply
only by the enlarged views he will acquire of the
ancient principles of
The
as
actively in
itself
Any one who engages
its results.
repaid,
science, the study of Gothic
curves, the shadows,
and the blending forms, are
themselves extremely beautiful, and favourites of a familiar eye
standing, they
nooks, and
may seem
shapeless
and composition.
arrangement
effect,
:
will
soon
really in
become
the
though, viewed without under-
only an
unmeaning
excrescences.
Many
cluster of hollows,
persons, are
not
aware that every group can be analysed with perfect ease and certainty
;
that every
member
certain laws of combination.
and a knowledge of the
fact
is
cut by rule, and arranged by
But such
Let him only enter upon
he will be rewarded for his pains.
Church he
architecture. will
it,
The only necessary
ditions are a tolerable idea of delineation,
cations,
surely the case
should convince the student of the
reasonableness of the study.
in
is
and con-
and a general interest
Possessed of these simple qualifi-
be led on by his subject from step to step,
almost imperceptibly, ever observing and adding to his store of facts
and examples, and tracing out
to his
own
satisfaction the
forms and processes through which he conceives moldings to have passed in the various stages of their development. will learn to
He
pronounce with some degree of confidence the
date of the merest fragment of sculptured stone. * Most of the woodcuts, and the examples in the been reduced from actual measurements.
A
broken
last five plates,
have
INTRODUCTORY.
7
dug up on
piece of a capital, a string-course, or a door-jamb,
the reputed site of an ancient building, will tell
and date the
style
was,
fabric
He
remnant alone remains.*
some new
some
him
of
what
which so insignificant a
of
will ever
and singular conformation,
of his previously formed theories,
ducible to and confirmatory of them.
and anon meet with
perhaps
overturning
—perhaps
He
clearly re-
will look at
every
ancient building, however dilapidated or defaced, with a more
searching eye,
—
for
he
be sure to find in
will
He
peculiar facilities for research.
arch with a
new
examining
in
it
very demolition
will regard every
He will
attention.
its
find the
same
shattered
satisfaction
which a botanist finds in a rare plant, a herald
in an ancient escutcheon,
an undescribed
or a geologist in
fossil.
The
learner
must understand
work on Gothic
that the best
moldings which could possibly be written will do no more than
him
in the right
way
by his own research.
A
set
are as nothing,
if
to
obtain' a
knowledge of the subject
few examples in the page of a book
he does not apply in practice that which he
The look
has learned from them.
of a
molding
its
is
appearance in perspective reality, and with the
and shade upon
light
may
it,
that the
all
explained
how
effects of
same form seen in the one
not even be recognized in the other.
once for
so very
on paper, from
different in section, projected in a reduced size
It is here, therefore,
the engravings
are to be under-
stood.
Supposing a molded archway were to be taken down, and any * The Messrs. Brandon have pointed out the interesting fact, that although earlier styles were occasionally imitated in completing or altering buildings at a later period, the moldings of the respective, eras were always most faithfully preserved. " The assimilating process never
To however great an extent the earlier poran edifice may have been subsequently copied, these important members were always worked in strict conformity with the ordinary system prevalent at the time of their construction." " Analysis of Gothic extended to the moldings.
tion of
—
Architecture," p. 10, Introduction.
MANUAL OP GOTHIC MOLDINGS.
8
sheet of one of the arch-stones placed upon a large square the stone paper, in such a manner that the wall-line,, or part of parallel the plane of the outer wall, should he inner or the and soffit with the end of the paper nearest to you,
which
lies in
surface,
at right angles
with
it,
parallel to one side
;
and then
and
a pencil were to be carried along the wall-line first,
after-
wards in and out of each cavity and round each projection, and so
of the soffit-plane
up a portion
;
the outline thus, obtained
reduced- to a small size (say a scale of half
an inch
and shaded on the part which represents the
flat
to a foot),
side or bed of
the stone, would form a diagram exactly similar to our illustrations.
Again,
if
a string-course were to be sawn across, or a
capital or base
down the middle, and
in the crevice,
and marked
off
a piece of paper inserted
by the sharp edge of the mold-
would in the same way represent
ing, this
The
the shaded sections of these details.
usual popular way of engraving Gothic moldings
is to
give a perspective sketch of a stone
or slice cut out of the arch,
the
flat
end or upper
face,
showing at once
and the molded
Beoorated door-jamb,
Maxey, Northampton,
and shading the
sife,
But
this,
though
its
and
cavities
general appearance
fig. 5.
much more
is certainly
like the reality, does not give so clear a
view of the forms of
The method adopted by
the separate members.
projec-
woodcut and PL. V.
tions, as in the
architects is
uniformly that which has been followed in the plates illustrating the present work.
Each example
is,
same as the
in fact, the
templet or mold, a thin plate of zinc, tin, or wood,
which is used
by workmen in marking out the stones previously to cutting
them
out.
The shaded
portion of
PL. XII.
fig.
15, is a good
illustration of a templet.
But the student must not only
observe
ings in order to understand them.
knowledge
will
;
he must copy mold-
Without the
never be practically perfect.
How
latter, his
to
do
this,
INTRODUCTORY. will
shown, by explaining some of the
shortly be
methods which have been practised.
in all cases to
general fidelity, they are
by the
at
planes, and measurements
assist the process,
somewhat
various
must be understood,
It
the outset, that though certain lines,
may be drawn
9
eye, because the exact curves,
and ensure
copy accurately
difficult to
which are not always
geometric, can scarcely be caught without considerable practice.
And
the true form
if
deavours to improve the student's prising
how
first
well
is it
not attained by the
seldom
will
stroke, the en-
first
be very successful.
attempts will result in failure
and how
readily a practised
a few minutes a most complex group.
but
;
Perhaps it is
sur-
hand can copy
A
in
small note-book
should be kept exclusively for copying moldings by the eye, the
measurements and name of place being duly registered with each example.*
For the mediaeval nomenclature of moldings, the learned and useful work lately published by Professor Willisf supplies an
In this
authentic source of information.
names
ancient
hoped they
treatise,
of moldings have been recovered
will
;
some of the
and
it is
to be
be revived, especially in the present dearth of
terms.
As
this
work
is
Schedule and diagram
not is
easily
obtainable,
here inserted.
It is
the
following
taken from the
who was born
in Bristol
in 1415. It will be found with fuller explanations
in Prof.
Itinerarium of William of Worcester,
Willis's treatise.
* Nothing is better adapted for a pedestrian tourist than a block sketching book, in the pocket of which a small " T-square," for ruling These are to be obtained parallel and rectangular lines, should be kept.
with the. leaves fixed on one
side,
so
that they form a book
complete, and the objection to having a
number
when
of loose sheets is
obviated. '+
Part
"
The Architectural Nomenclature
7,
Vol.
Society.
1,
of
the Middle
Ages," being
of the Quarto Publications of the Cambridge Antiquarian
"
MANUAL OP GOTHIC MOLDINGS.
10
— A cors wythqute. —A casement. — A bnwtelle.
M.
C.
O.
N.—A felet.
D.—A felet. "R.
of Levys.
—A double ressaunt.
—A boutel. G.— A felet. H. —A ressant. I.—A felet. K. —A casement with Levys. felet. — f AA boutel.
F.
Ij.
-I
I
.A
architectural
edge or surface of jections
A
and
it
member
North Door
is
filet.
A casement. R.—A felet. S.
—A casement. —Yn'the my.ides
T.—A felet. U.
of the
of St. Stephen's Church, Bristol.
few expressions used in the present work
Any
felet.
I
door a boutelle.
sary clearly to define before entering
it
upon the
will
be neces-
subject.
said to be molded,
when
the
presents continuous lines of alternate pro-
recesses.
drawing which represents these lines as they would appear
the eye
if
figs. 1 to 5,
A
to
projected on a vertical plane placed opposite to them,
is called the elevation of
and
'A
P.— A boutell.
A felet.
Facsimile of William of Worcester's drawing.
A
—A ressant. —A casement with trayler
A. B.
a molding, as in
PL.
I. fig.
8
;
PL. X.
22, 24, 40.
drawing which represents the outline of these projections
recesses, is called the section or profile of a molding, being
the appearance right angles
to
it
would present
its
bearing.
if
cut through by a plane at
Thus PL.
A b, would present the appearance of
I. fig.
fig. 5.
10, if cut across
INTRODUCTORY.
A mold,
or molding
(the former is the ancient term),
monly
signifies the entire
arch
but
;
A
we
com-
which ornaments a jamb or
of such series.
a
is
when placed
said to be grouped,
generally find
group
series
here generally used in the sense of a particular
it is
member Members are
part or
tion, as
11
them
;
in combina-
but
bunch of moldings
separate
or
members,
standing prominent or isolated, either on a shaft or between
two deep hollows.
An so
arch of two or more orders,
many
is
one which
recessed by
successive planes or retiring sub-arches, each placed
behind and beneath the next before
Thus PL.
outer wall line.
arch of
is
"two
orders," and
I. fig. fig.
7
it,
5, is is
reckoning from the
the section across an
of "three hollow-cham-
fered orders."
As
it is
necessary for every student in this science,
first to
understand the general principles of formation, and, secondly, to be able to draw or " take " moldings, either full-sized or reduced to a scale, with tolerable precision, these preliminary points will be before entering
explained
as
simply
and
upon the consideration
and more minute
varieties of detail.
of
briefly as possible,
the
combinations
MANUAL OF GOTHIC MOLDINGS.
12
SECTION
II.
THE GENERAL PRINCIPLES OF FORMATION. It seems certain that
all
the forms of Gothic Moldings are the
peculiar and genuine offspring of Christian architecture, or at least are very partially styles
and
indirectly borrowed
from the Classic
although, as might be expected, some coincidences of
;
There are some who contend that
form exist between them.
Gothic moldings are derived, mediately indeed, yet very decidedly,
from
Koman
when we observe least),
;
a supposition hardly probable in
Norman
the
that in
entirely undeveloped
able,
England
at
which was most closely connected with the Classic, the
forms of the moldings which we
and
style (in
itself,
;
call
Gothic are merely nascent,
and one which appears scarcely ten-
from the consideration that the mediaeval architects of this
country* could have known
little
of Italian architecture, and if
they had, we cannot suppose they would have cared to copy in its details
what they altogether repudiated in its kind.
convincing argument
is
this
that in Gothic molding all the
:
links in the process of formation are connected
from the
ment
;
first
But the
and complete,
and rudest origin to the most elaborate develop-
and the steps are so natural, the transitions so easy,
that any two styles working independently of each other from
the same beginnings and elemental forms, could hardly arriving at least at
some
this or that period, a
of the
same
new member was
results.
Again,
fail
of
if at
introduced, and, as
it
* It is true that the Freemasons were an ecclesiastical body under the Pope, and not confined to this or any other particular country in Europe.
with Eome was always frequent, from the time of St. Augustine downwards. Still it is impossible to trace in pure Gothic buildings the least symptom of Italianizing either in composition or details. This is also the opinion of the authors of the " Analysis of Gothic Architecture," page 48. It is also true that the intercourse
-
THE GENERAL PRINCIPLES OP FORMATION. were, a
new
added to the alphabet, why should
letter
13 it
not be
attributed to invention, rather than sought for in the resem-
may happen
blance which an Italian molding
However, the discussion of this question
who have tion of
work
is
to bear to it ?
rather for those
to do with the "theory of moldings, as the determina-
does not in the least affect the facts of which this
it
treats.
From
the time of
the
formation
of
the
first
Christian
Basilica to the middle of the twelfth century, there is such a
general resemblance in the character of the work, as to have
caused
under the one
to be classed
it
About that time
must be remembered that the whole of
it
Western Europe was engaged in the it
Komanesque.
of
title
first
Crusade, and though
can hardly be said that the early Gothic forms are mere
copies of Classic or Eastern ones, the effect of travel would,
naturally be to accustom the different class of forms,
and
mind
to see beauty in
an entirely
to enlarge its capacity of design-
ing according to the requirements
met with.
it
That the whole tone of Architecture was then altered undoubted
and some leading features were then introduced
fact,
Also in matters of mere detail, we find new
for the first time.
forms, some of which
may be
Early English base
allowed by
from the Attic that such
an
is
is
and
;
was the
it
traced to foreign sources all
to
will hereafter clearly
case.
And
it
is
:
the
have been borrowed be demonstrated
undeniable that several
forms and combinations of the ogee curve are nearly identical in
Classic and in Gothic buildings.
Still,
if
every Gothic
form can be shown to be an improvement or modification of a preceding one,
it
must be concluded
that the whole series is
the offspring of one and the same progressive
art.
In truth, Gothic architecture grew up under peculiar circumstances,
and
to satisfy special
wants
;
in its origin eclectic,
adapted details from Saracenic or Moorish,
Norman, from
the
debased
Classical,
(i.e.
it
Arabian), from
from the
Byzantine
MANUAL OF GOTHIC MOLDINGS.
14
churches, half Greek in design, and from Italian, Lombardic,
and Komanesque history
is
.changes
truly one of " evolution "
form
and
national
taste
of
climates,
and descriptions.
of all dates
edifices
;
modifications or
that
is,
Its
of successive
by various
produced
and numerous
genius, material,
other influences, both internal and external.
In their use also Gothic moldings
The former
from Classic.
differ as
widely as possible
are repeated to almost any extent,
so as entirely to occupy the large recessed spaces in
They
arches.
are repeated too in groups, each group being
composed of the same members, or nearly earlier styles.
The
latter are
measure
great ;
arbitrary,
so, especially in
of the one are in a
though the forms themselves are
The former
in the latter both are absolutely defined.
run principally in vertical
the
few in number, and very limited
The combinations
in their application.
fixed
jambs and
lines, the
latter in
horizontal.
In
Gothic architecture, horizontal moldings occur in water-tables
and string-courses, and in
capitals
and bases,
in
which
posi-
tions they invariably form subordinate lines, so as to contrast
and display the predominant principles of a sweep, and
may
vertical
ascending
so far perhaps be regarded as lingering ves-
tiges of the Classic usage.
They
to divide lofty walls into stages,
are also used very effectively
and are carried under windows
and arcades, round the weatherings
of buttresses,
and
ex-
tensively in base-courses.
An
intelligent
and thoughtful writer in the English Review*
has the following remarks on the differences between Grecian
and Gothic moldings
:
"Where
the Grecian delighted in broad
level surfaces, catching the light in
curves
on which
masses, or in projecting
away by degrees into shadow, the Gothic roughened and encrusted them with carving. And it
dies
thus in general we measure,
we
read,
or, if
and peruse, a Grecian molding by *
may
be used,
its lights,
and the
the expression
For December, 1844.
THE GENERAL PRINCIPLES OF FORMATION. Gothic by
its
" Of the differences between some may be detected by a supermolding,
view.
Again
shadows."
the two classes of ficial
15
:
For instance, the Grecian delights in convex
lines,
the Gothic in concave; the Grecian in broad lights, the Gothic in narrow.
eye
the Gothic endeavours to bury
;
Grecian leads tions
;
it
The
in deep recesses.
gently along in sweeping, unbroken undula-
it
the Gothic fractures
The
angles and curves.
melt and
projections to catch the
The Grecian throws out
lines,
its
lights
slide insensibly into
and combines them in
and shadows of the Grecian
each other
;
those of the Gothic
In
are planted together in strong and bold contrast
the purest Grecian
buildings, vertical
moldings are
zontal moldings form the leading lines
;
and
rare.
it
is
Hori-
by these,
even in later and degenerated specimens, that the vertical
In the Gothic, vertical moldings are
moldings are regulated.
most frequent
;
and they overrule and determine those which
And
are horizontal. divisible into
parts
Grecian moldings are simple and easily Gothic are entangled in labyrinths, and
;
perplexed with innumerable intricacies."
The notion
of ascending moldings is coeval with the intro-
duction of the arch, and
may
indeed be traced to a
still
period in the sides of doorways and similar positions. the
Eomans broke
up, by
means
earlier
When
of the arch, the continuous .
horizontal entablature of the Grecians, the cornice moldings
were carried around
it,
and
fell
on each side in vertical lines
into the horizontal, thereby producing the
Gothic, though with a different effect zontal
;
and
rendered
result as in
in the one case, hori-
lines continuing to predominate,
subdued
same
secondary and
in
the.
othei> being
subordinate to
the
vertical principle.
Gothic architecture revelled in the use of moldings, not only
what are usually
called ornamental moldings, such as the dog-
tooth, the ball-flower,
of light
&c, but
also the plain
and shadow ; though they are in
continuous lines
effect identical, since
MANUAL OF GOTHIC MOLDINGS.
16
the former are nothing
serrated ridges,*
but
rounded and modified from the window, monial.f every edge,
first
more
process.
vertical or horizontal, every
less
band,
arch, and jamb, whether of wood
string, groin-rib, roof, label,
Of course
or stone, internal or external, was generally molded.
the effect
or
Every door,
produced by so free and extended a use of them was Construction gained thereby a
magnificent in the extreme.
rich perspective, a depth of shade,
an attempering of bare
prominent outlines, a fine tone, which arrested the eye, and
made
dwell on certain parts of higher pretension and more
it
exquisite elaboration than others.
And yet moldings
are merely
the ornamental adjuncts, not the essentials, of architecture.
Some
buildings of the best periods were quite devoid of mold-
ings; whence a
perfect
it
is
design.
evident that they are not necessary even to
Boldness and simplicity produce
different indeed in their kind, yet not less
than richness
effects,
solemn and striking
But the power of moldings was
of detail.
appreciated to the fall by the ancient architects, and evident that they delighted in their extensive use.
It
it is
quite
was
their
ambition to work them wherever they could possibly find means
and opportunity.
Hence
it is
that such a vast quantity every-
where remains, that no ordinary pains are requisite in examining
any considerable moiety of them gating their principles.
been tolerably to
strict, it
master the subject
;
for the purposes
of investi-
If the uniformity in their use had not
had indeed been a hopeless task ever indeed,
if
there had not been a system
of molding, there would have been nothing to investigate. so little did the mediaeval
But
masons depart from the conventional
forms, that a capital, a base, or an arch-mold is often found of perfectly the
same
profile in
village church at the other * This
may
an abbey or a cathedral, and in a end of the kingdom
;
so that
we
occasionally be seen, when the molding was left for some reason or accident partially uncut. It is probable that they were generally worked out after the completion of a building. t The mediaeval term for what we now call mulUon.
;
THE GENERAL PRINCIPLES OF FORMATION.
17
might almost suspect that the very same working drawing had been used for both. And this, when it is considered, must appear a very wonderful
fact.
Although the examples given here are in nearly every case from stonework, the student would do well to notice those in other materials, such as wood, iron,
&c,
though the same
for
forms will be found at the same date
as in
stonework, they are on a more delicate scale,
according to the fine-
B
^IBF
i
ness of the material thus, in the annexed
examples, the monial t,
trom
,1
Burgh
Woodwork, Burgh.
.
the
screen
Marsh, Lincolnshire,
le
in
Cambridge, but has more
it.
The reader and
will
will
perhaps be tired of this preliminary chapter,
be anxious to enter upon the subject at once.
this point
it
may
early buildings, practice,
only half the size of the
is
stone one from Bottisham, Dear
members
Stonework, Bottisham.
at
And
at
be well to proceed, beginning with very
and endeavouring
to discover the origin of the
and then gradually trace the progress of development
until the forms have all
been analyzed and
classified according
to their respective dates.
On examining
the plan of a
perhaps nothing more
will
aperture in a plain wall, as in
be met
is,
PL.
This
I. fig. 1.
with, even considerably later, in small
churches, especially in relieved
Saxon window or doorway,
be found than a rude square-edged
belfry-arches.
and expanded by splaying
by sloping or chamfering
an ordinary Early English
off
it
It
may
often
and rude country
may, however, be
on one or both
the edges, as in
lancet window, the
sides, that
So in
fig. 2.
long narrow
opening has a very wide splay inside and a very small one on c
;
MANUAL OF GOTHIC MOLDINGS.
18
the outside, ture as it
In arching over the upper part of an aperin a thick wall of loose rubble masonry,
fig. 3.
fig. 1,
made
was not uncommon
and
security,
rib of a vault,
to add, for the sake at once of
sub-arch,
a
or
ornament groin-
the
like
under-rib,
constructed of fine-jointed ashlar,
as
fig.
This sub-arch rested
either on a pillar at each side,
projecting impost,* or
it
ground, that
Now
was carried continuously down
a
to the
without any interruption or change of shape.
is,
in this rude arrangement,
continental
4.
or
which
observable in
is
Romanesque churches, we
some improve-
a usage which ever afterwards prevailed, with
ments of form and
detail,
many
germs of
shall find the
but no alteration of principle.
In
the abbey church of St. Alban's, the nave and transept-arches are constructed of two rectangular sub-ribs, or soffit-pilasters,
which are continued from the ground with the intervention: of a
mere band or
string-course
at
the
The same
impost.
observable in several of the Transition
arches
at
is
Buildwas
Abbey, f
By ture,
chamfering
off
each arris, or square edge, of this aper-
which now becomes recessed, or of two orders or retiring
members, the plan
is
at once obtained
which was most con-
stantly used, especially in pier arches, without the least change
of form, for centuries afterwards (PL. I.
there
may be two
or
more sub-arches,
each one retiring behind the other. hollow, molded, or simply as in
English and Decorated arches.
fig. 7,
This
if
fig.
5).
Of
course,
the wall be very thick
And
the chamfer
may
be
which is common in Early is
the case in the chancel-
arch at Cherry Hinton, near Cambridge,
and was much
in
TOgue from about 1260 to 1320. In practice, however, when worked on a small
scale, the sub-
arch was no longer a separate constructive formation, but was *
In Transition arches, the inner order, or sub-arch, is often corbelled jambs being left square, with a small shaft at the
off at the impost, the
angles.
f Potter's Monastic Remains, PL. III. and IV.
lllatS
MANUAL OP GOTHIC MOLDINGS.
20
In this the square edge
Lincolnshire.
is
worked into a shallow
triple roll.
Fig. 12
an Early English pier-arch at Skirbeck, near
is
Here the howtell
Boston.
formed by rounding the edge as
and cutting a deep three-quarter hollow on each
before,
was very usual Fig. 13
is
in this style.
from Great Grimsby, and
remains,* bearing the date 1192
nearly the same principle
fig.
14 from Clee, both
In the latter church a Dedication inscription
in Lincolnshire.
same
side.
bowtell becomes attached only by a narrow neck, as
Thus the
still
is
period.
;
;
and the other
is of
Both these are good examples
very
of the
and arch-molds of this kind are of constant
Norman and
occurrence in the
The
Transition styles.
pier-
arches in the nave of Peterborough Cathedral are molded precisely in the
same manner.
t
These bold early moldings are generally called " edge-rolls," because they occur at the external angles of the receding
and are yet not extended on each single, as
land
PL. XXI.
latter
They
are
fig.
1 of the
same
Morcot Church, in the same county.
arrangement
is
derived the double roll and
member
forms the central
commonly
an arch from Seaton Church, Rut-
fig. 2,
but occasionally double, as
;
belfry arch of
side.
ordei's,
of
PL. XVIII.
fig. 8,
plate, the
From fillet
this
which
an arch-mold
from the choir of Ripon Minster. In considering the origin of the cylindrical first
roll
or bowtell, the
element of moldings, the influence of jamb-shafts must be
taken into account.
In Norman doorways every nook formed
by the receding under-ribs, already described, detached column. shire,
and
seems
at first to
PL.
I. fig.
illustrates this
is
occupied by a
15, is from Adel Church,fYork-
arrangement.
Now
this
column
have borne a square-edged member or sub-arch,
* Facsimile given in Eiokman's " Gothic Architecture," Seventh Edition, p. 158. + See " Churches of Yorkshire," Part VII., from which this exampleis
borrowed.
THE GENERAL PRINCIPLES OP FORMATION. which projected above the impost receded below
rounded
column
it,
correspond in form and
may
This
itself.
where the jamb
exactly
and which was afterwards, in some
off so as to
Norman doorway
21
with the
in
an Early
very clearly be seen
Hauxton, near Cambridge.
at
cases,
size
by
Hence,
omitting altogether the impost or capital, the idea of continuous
moldings of
more
is
This subject, however, will be spoken
obtained.
fully in treating of capitals
and shafts generally.
Another form, which occurs frequently
Norman and Early English
periods,
coeval
p'
with, the introduction of the pointed arch.
may be
Its formation
which St.
seen in
yC/^
r
I. fig. 16,
^r
Norman arch in This member arose from
is the plan of a late
Mary's Church, Ely.
a desire to
angles of recessed arches, without either cutting
decorate the
away or rounding example from
off
the square edge,
Abbey,
Croxden
occurrence in Early Gothic is
PL.
Transition
«^
the
is
pointed bowtell, resembling, and
the
in
as
the
in
may be
expected,
annexed
Hence
Staffordshire.
and in truth
its it
very frequently found in the Transition period, though not
in the pure
member
Norman.
Yet something
often occurs in
Norman
Fig. 17 is a triple respond or
bowtells, as at a, fig. 13. pier, of very
closely resembling this
work, between two cylindrical
singular form, at Clee
and
;
use in an Early English arch at St. Benet's, Lincoln. this case the under-edge
the origin of what explained.
The
-is
is called
withdrawn
half-
19 shows
fig.
at the point,
its
In
which seems
the scroll-molding, hereafter to be
Fig. 24 shows this form
more
pointed shaft, the plan of which
at large.
may be
described as a
spherical triangle engaged at the base, is of constant occurrence in Early English work, date.
The
and
is
generally a
mark
clustered columns at Byland and
(the former circa 1190)
with the circular.
of its early
Whitby Abbeys
exhibit the pointed shaft alternating
The western porch
at
Ely
is
flanked by
;
MANUAL OF GOTHIC MOLDINGS.
22
Undoubtedly this form
clustered columns of pointed shafts.
existed earlier than, and afterwards led to, the filleted shaft and bowtell,
which are so well known by the name of the " roll-and-
As a
fillet."
general rule,
may be
it
may
stated that a shaft
take almost any form to suit the primary molding which
it
sustains on its capital, on the principle of continuous moldings
already alluded
PL.
I. figs.
to.
12 and 23, show the cylindrical and the pointed
bowtells with the addition of a small is
where both sides are
a groin-rib from Eobertsbridge Abbey,
thus
Fig. 18 is
filleted.
where the
at the
fillet is
Fig. 22
at one side.
fillet
from Tintern Abbey,
a groin-rib
And
end or central point.
25
fig.
is
an Early English arch at Little Casterton, where there are three
fillets.
PL.
Of
all
these varieties more will be said hereafter.
II. fig 1, is a pier-arch
Middle Easen.
Fig. 2
is
of very Early English date, at
a doorway at Ludborough,
jamb
chancel-arch at Langtoft, and fig/ 5 the
the south porch at Great Grimsby, first
all in
the
jamb
of a lancet
window
at the east
Abbey.
3 the
The
Lincolnshire.
PL. XVIII.
three exhibit the use of the pointed bowtell.
fig. 4, is
fig.
of the archway of
This
end of Rivaulx
one of the com-
is
monest moldings
at the angles of
Early English window-jambs.
The student adopted
here
sections,
first,
have
will already
from
perceived,
of
manner
the
drawing
that
all
the
these
moldings are formed- out of the solid Soffit
edges
plane.
block
solely
and sinking
by
removing
hollows,
must never be regarded as Nave Arcade,
New Shoreham,
(Brandon's Analysis, PI.
8,
Sussex.
Vol. II.)
crescences
on
a plane
and ex-
surface
secondly, and in consequence, that the groups lie in the planes of the
uncut blocks, the outermost
THE GENERAL PRINCIPLES OE FORMATION. member touching
edge of each
The
it.
represented
original
the rectangular or chamfered
away
surface, that is, not being cut
of
so as to fall below or short
planes, or uncut
square surfaces,
are
These two
our engravings by dotted lines.
in
must be regarded as fundamental canons
facts
23
in the arrange-
ment of moldings. There are three planes in which moldings lie
will be
found to
one parallel with the outer wall, which we shall designate
;
the wall-plane soffit,
;
one at right angles to
which may be called the
or parallel with the
it,
soffit-plane
;
and the
third, the
plane formed by chamfering an edge, which was generally (not invariably) done at
chamfer-plane.
b the
an angle of about
In PL. II.
fig.
10,
soffit-plane, c the wall-plane.
forty-five degrees, or the
a
is
the chamfer-plane,
It is clear that
by sinking
hollows in any one of these surfaces, a group of moldings would
be developed.
In considering any series of moldings previously to copying them, the that
is,
first
point
down on paper the various
When
moldings were cut.
measurement, the
it
lay
planes,
to ascertain the plan of the arch, or other feature, be-
fore the
easy,
is to
rest
this is
of the process
done by accurate
becomes comparatively
and the most complex and extensive combination, which
appears at
accuracy,
first
may be
with precision.
sight impossible to copy with anything like readily disentangled, analyzed,
Without attending
and sketched
to these facts, all attempts
to do so will be futile. It
may be
.alleged, as a general rule,* that
Early English
* " In the Anglo-Norman stylo the jamb-molds were almost always worked in the wall and soffit planes and this continued to be the general arrangement throughout the Early English Gothic period, although we occasionally find the jamb molded on the chamfer-plane. During the earlier portion of the Decorated Gothic period, the wall and soffit planes still continued to be most generally used, but then in tolerably frequent connection with the chamfer-plane, which at this time was in most cases worked exactly at an angle of 45° and as the style advanced towards the ;
;
era of decided architectural debasement, the moldings shared in the pre-
MANUAL OF GOTHIC MOLDINGS.
24
on the planes rectangular; that Decorated, according to their kind, fall either on these, or on the chamfermoldings
lie
and that Perpendicular moldings almost always on the last. If some members seem to fall short of one
plane alone lie
;
plane, they will generally be found referable to
and
if
they
fall
some other;
on the segment of a circle, which is
PL.
rarely the case, as in
much more
II. fig. 15, a pier-arch at All Saints',
Stamford, the inclination must be determined by bending a ruler or piece of lead across
means uncommon
to
them.
however, by no
It is,
meet with moldings of
all
the styles in
which some of the members are withdrawn considerably below It is obvious that this is the
the plane of the others.
.
most
expensive kind of molding, because more has to be cut away
from the solid block. - The arrangement of moldings on the original block-planes styles progressed,
was
less
and
and in the
PL.
frequently entirely lost. of Early English
less rigidly
latest, or
adhered to as the
Third-pointed,
III. figs. 2
and
was
it
3, are instances
moldings not uniformly falling upon the
regular planes.
PL.
II. fig, 11, is
an example of a molding from Over, Cam-
bridgeshire, truly copied according to the above rules. is
the distorted and inaccurate form
if
an unpractised and untaught draughtsman were
to copy
PL.
it
to attempt
by the eye.
II. fig. 7, is
an Early English molding from the
of the chancel door, Cherry Hinton. fig.
Fig, 12
would probably assume
it
Fig. 8
is
interior
a pier-arch,
6 the northern doorway of the same church.
and
'Fig. 19 is a
very fine molding from the inner door of the south porch.
(The
semicircle round the central group represents the capital of the
jamb-shaft.)
Fig. 9
both from Over.
way
a doorway, and
is
fig.
These are Early Decorated.
at Madingley,
and
fig.
13 a window-jamb, Fig. 14 is a door-
16 one at Trumpington, near Cam-
vailing desire to produce a meretricious effect, without
correctness of composition."
—Brandon's Analysis,
p. 50.
any reference
to
THE GENERAL PRINCIPLES OF FORMATION. These
bridge.
magnificent
both pure Decorated.
are
arch-mold from
Fig.
the doorway of St.
25
18
is
a
Clement's
Church, Cambridge, showing the capitals of the two jambshafts.
This
the central
but
falls
is
not an easy example to copy by the eye, for
member
on the
in each group does not extend to the angle,
line of the chamfer.
The
observation of this
circumstance immediately removes the principal
This section illustrates a very
which may be called the
common
triplicity of
difficulty.
peculiarity of its style,
Whether
moldings.
con-
structive or symbolical, or (as a writer in the English Review,
already quoted, imagines) suggested by philosophical principles of effect,
had
we need not now
its influence, since
consider, though
symbolism may have
the architects of the period seem to have
affected representations of the
mystic number three.
This
molding consists of three distinct groups, each group having three members. that there clear,
is
Occasionally each
member has
three
fillets,
a triple triplicity in the entire composition.
however, that
if
so
It is
an archway has two sub-arches, or con-
sists of three orders,
the angle of each will naturally form a
group of three
with a hollow on each side, as in
rolls
fig. 5.
Early English and Decorated moldings very often consist of three groups.
Too much
stress has frequently
theory of architectural symbolism, and
an opinion entertained by some.
been laid on the
we only mention
it
as
MANUAL OF GOTHIC MOLDINGS.
26
SECTION
III.
COPYING MOLDINGS.
The
There
are several ways of doing this.
of
by inserting the paper in a loose
all is
best and simplest
joint, or
by applying a
large sheet of paper where a stone has been removed,
and
left
the edges sufficiently clear and sharp to trace their outlines by
These methods, how-
pressure against them, or by a pencil. ever, are but
seldom available, except in ruined buildings, and
here care should be taken not to damage or destroy any portion
But many fragments
of the little that is left.
and other molded
ribs, voussoirs,
old abbey;
and these may
stones,
may
of monials, groin-
be found in every
readily be placed
upon sheets of
By
paper for the purpose of tracing their .outlines.
means alone a
these
large collection of very valuable specimens
may
be made.
Another way
is
by the use of the leaden tape.
riband of this metal, about a yard in length,
By
a coil so as to be easily portable.
A
thin flexible
may be
rolled into
being manipulated and
impressed upon the moldings to be copied, and thence carefully removed, and laid upon a sheet of paper, shape
it
has received, and
this process, however,
may be
traced off with a pencil.
First, it is clear, that if the
by
siderable space, the tape,
weight,
is
retains the exact
which requires both pains and practice
ensure tolerable accuracy, there are
come.
it
its
many
In to
difficulties to over-
molding extends over a con-
extreme pliability and great
almost unavoidably bent in transferring it to the paper,
which must be spread
flat
on the ground, or some
level surface
nearest at hand.
If this should happen, the true bearings of
the members, that
is,
confused or altogether
their relative position to each other, are lost,
and the copy
is incorrect
and worth-
;
COPYING MOLDINGS. Secondly, where the molding
less.
is
27
much
undercut, or con-
tains deep
and wide hollows with a narrow neck, the lead when
fitted into
them cannot be withdrawn.
In the
first
better to copy only eight or ten inches of the
is
once
may be them
members
or the planes in which the
;
a full-sized plan
is,
;
first
instance,
it
molding at
respectively lie (that
by measurement of the block, jamb or arch)
marked out on the paper, and the tape adjusted
in the second case,
is
it
to
advisable to carry the tape
merely over the necks of the hollows, and subsequently to deter-
mine
their breadth
and width by inserting a measure into them.
As Early English moldings are
often mutilated, from being so far
undercut that portions of the projecting members have fallen or
been broken
the lead
off,
may
frequently be manipulated into a
part which is entire, and afterwards drawn upwards or down-
wards
In
finds exit at a broken place.
till it
moss, and whitewash must
first
all cases, dirt,
be scraped clear away from the
part to be copied, or the sharp and rounded edges, the depth of the hollows,
&c, cannot
truly be ascertained.
In using the tape, the rough draught of the pencil must invariably be corrected
by
close
comparison with the original,
and every separate member should be tested as
and curvature, by the aid
jection, bearing,
of the measure.
pair of compasses with the ends bent inward
obtaining the breadth of the
segmental scale-bar, or
members
slide affixed
through the other, the width of bowtell
may be
;
and to
to size, pro-
if
is
furnished with a
one leg and passing
the neck of each
exactly marked.
A
very useful in
undercut
Sharp edges and angular
hollows cannot be closely copied with the leaden tape, so that these especially
must be supplied by the eye
;
on the whole,
though the tape has in some cases been successfully used, so clumsy that
An
it
experienced hand
and the process, There
is a
it is
can hardly be recommended to the student. is
required for
making an accurate copy
to produce such a result, is rather tedious.
process similar in its nature and results to the
MANUAL OF GOTHIC MOLDINGS.
28
use of the leaden tape, which ings are not too
much
squeezing, and
practised
is
very successful where the mold-
This
undercut.
gredients, to the part to
wax and some
copied.
By
other in-
thus
is
pouring plaster of Paris
But
and only
fit
be applied when a model
to
A beautiful
may be
the full size.
here
clumsy,
is tedious,
necessary.
little
him the Cymagraph, by which
and
No. 58.
practice;
moldings can be taken by
appendage
to the
illustrated in the Engineers'
It can be successfully used
and the most extensive and complex its aid.
that the instrument, though by no
The only disadvantages
means
large, is
are,
an inconven-
equipment of a pedestrian, and that only
about a foot's width of a molding can be taken at once
number
exactly
copied with the most perfect accuracy, and of
It is described
Architects' Journal,
with a very
is
is
difficulty is
and ingenious instrument has been invented by
Professor Willis, and called by
moldings
molding
in the case of undercutting, the
insurmountable, and the whole operation
a
a
and accurately obtained, though the convex and concave
into the matrix thus formed, the original
ient
clay, plaster, or
he copied, the form of which
surfaces are of course reversed.
and
technically called
is
hy applying wet
purposely prepared of
composition
readily
is
of separate pieces of paper
;
so that
must be pinned together
on the spot, and that with great accuracy, or the planes and bearings will be incorrect.
Geometric methods both of copying and reducing moldings are fallible libera
;
for the
manu*
members and curves were very
especially in earlier
work
;
able deviations from geometric precision
often
drawn
so that very consider-
must be expected
in
pbserving ancient examples.
Another,
and
simplest way,
for ordinary
is to
purposes
much
the best
copy by the eye alone, on a reduced
and scale,
* If not so designed by the master, they certainly were often so cut by Mr. Potter, in giving the full-sized sections of moldings from Tintern Abbey, has drawn them for the most part with the compasses, and in this case no doubt correctly. ,
the mason.
COPYING MOLDINGS. adding the measurements of each If the particular
29
they should be given in respect of wall and
PL.
II. figs. 20, 21, 22.
and
is
to give the
ings,
which
as in
PL.
The depth
may
plane
This
is rather a
is
soffit
simple and easy
Generally,
it is
when they
lie
in one plane,
an Early English Doorway at Louth.
which hollows are sunk from the surface of any
readily be added, as
By adding
planes, as in
whole breadth or width of a series of mold-
III. fig. 1,
to
I. fig. 12.
troublesome process,
apt to produce a complex diagram.
enough
PL.
face, as in
measurements of each member are required,
PL. VIII.
the measurements of
all
fig. 3.
the parts, any inaccuracy
of proportion resulting from a hasty sketch will readily be rectified,
should the molding be adopted in practical architecture.
For example,
in
PL. XVII.
fig. 3, it is
obvious that the double
groove or hollow chamfer in the centre cuts off a less portion of the projecting angle than the diagram represents line
marked 3f inches
this, as in other cases,
for the
;
nearly as long as that marked 7.
is
In
the measurement serves to correct the
drawing.
For the sake of neatness, in copying moldings,
it
is well to
adopt uniformly the plan, already pointed out, of drawing the outer wall-line parallel with the bottom of the page, and the soffit parallel
The
to the side.
practice of copying moldings
by the eye alone,
is
of the
greatest importance in acquiring a sound acquaintance with the It is indeed, as before stated, indispensable.
subject.
The eye
becomes perfectly familiar with every kind and variety by quently contemplating
made and
measurements,
way
may be made
also moldings
lie
is
in time attained,
and plainer moldings, with in two or three minutes.
which are quite out of reach
sketched very tolerably at the distance of planes in which they
fre-
collections previously
and thus a great degree of accuracy
a perfect copy of the ordinary
their this
;
new examples and
many
be carefully attended
to.
feet,
In
may
be
if
tha
MANUAL OP GOTHIC MOLDINGS.
30
Though the student should always pencil with him, he
must be
carry his sketch-book and
careful not to neglect to get full-
sized details whenever he has the opportunity, as they will tend
very
much
to correct the eye for sketching,
and frequently show
important deviations from geometric forms which are liable to be overlooked at
first sight.
These two points, the planes in which moldings
will seize the outline almost instinctively,
with a very close approximation to truth.
It
may
be remarked,
" Archi-
that in the example given by Professor Willis, in his tectural
and the
must be invariably observed,
relative proportions of the parts,
and the practised eye
lie,
from the
Nomenclature,"
Journal
Worcester, the plane line,
of is
William
of
marked by a
as in the illustrations of the pre-
sent work.
In copying the moldings of capitals,
measure the depth from the top of the abacus to the under side of the neck-
molding abacus
;
and the projection of
over
the shaft.
are easily taken
plummet
Both these
by dropping a small
string, with
(a
the
a
bullet
is
best) from the outer edge of the abacus,
and applying the It
foot rule
and
triangle.
has been observed that edges are
frequently chamfered at an angle of forty-five degrees.
as this
is
by no means invariably the
every instance
to
and
means
effective
measure
put
at its joint
it
to the test.
(PL.
be
-.
it
is
II. fig. 15),
to the paper,
One
is
by bending the
by which the angle can however small the copy
the only difficulty is in the hinge of the rule, which
will prevent it being placed close against the wall. fey
But
advisable in
There are several simple
of doing, this.
be accurately transferred
may
case,
the use of a triangle of
wood
Another
or brass, with angles of forty
COPYING MOLDINGS. five
degrees, by applying
the
31
of which
hypotenuse
to
the
chamfer the two sides will be respectively parallel to the wallplane and the soffit-plane, forty-five,
See PL. V.
but not otherwise.
plan, however, is to
at
is .fig.
an angle of
The best
12.
measure along the wall and
which may generally be easily
the chamfer
if
soffit-planes,
done very
by placing the rule against one
plane and sighting the end of line with the other, as
Where the rule
is
in
it
to a
diagram,
placed against one
plane, the end just meeting the other,
and thus
either the dimensions a b or b c
may be
obtained
;
and
the enclosed angle being a right angle, the direction of the
chamfer If,
is
obtained.
in addition, the cross
will be obtained correctly,
measurement be taken, the splay
whether the walls are at right angles
or not.
Full-sized moldings are reduced by the use
known instrument
called the Pentagraph.
require both time and
separately by
may be
means
care.
of the
the
of
well-
All other methods
Every member may be reduced compass and
scale
;
or
circles
drawn, inclosing certain portions of the copy, and re-
peated of the proportionate size in the same positions on the
reduced drawing.
MANUAL OF GOTHIC MOLDINGS.
32
SECTION
IV.
EAKLY MOLDINGS IN GENEKAL.
Having thus
far explained
general
the
methods of drawing moldings in
section, the theory
formations of moldings must now
first
and the
principles
of
considered
be
the
more
fully.
The
first
and rudest attempts
at
molding which are found in
rough and coarsely chiselled members,
this country, are the
generally semi-cylindrical, such as occur in the
chancel-arch at Wittering, Northamptonshire,
Ante-Norman
PL.
III.
fig.
10,
the balustre shafts in the tower of St. Benet's, Cambridge, and other churches of that date, to which
must be added the very
curious and antique attempt at a molded architrave on the impost of the belfry-arch at Barna:ck.
parallel to
the
This
last
example, an exact
which occurs in a doorway of
Bomanesque palace
Bavenna
;
of Theodoric at
and, indeed, the very nature
of the case would lead us to conclude that
the earliest element arose out of a desire to relieve, From Mr.
Gaily Knight's " Italian Architecture," Parti.
a plain easily
by
first
angles.
by coarse
flat surface.
irre'gular channelling,
A
square-edged rib
became a semi-cylindrical bowtell
chamfering, and then removing indefinitely the remaining
Thus,
for instance,
of a square projecting
fillet,
Norman
string-courses often consist
with the angles chamfered
as to form a semi-hexagonal projection.
PL. XVI.
Sepulchre's Church, Cambridge, affords, both in
and
pier-arches,
an excellent
illustration
its
fig.
off,
so
14, St.
groin-ribs
of the first idea of
forming rounds by removing edges, and of setting
off the parts
EARLY MOLDINGS IN GENERAL.
33
thus rounded, by sinking a small channel or furrow on each side a little below the surface.
Thus, then, a square-edged
arch with
was either worked into rounds
at
sub-arch or
its
each angle, PL. IV.
which
is
soffit-rib
fig. 1,
or into pointed rolls, as
an arch at Keymerston, Norfolk, circa 1200
edges were chamfered, others worked into
semi-Norman arch
and PL. XXI.
fig. 1.
common circa
profile in
1200
clearly
and
PL. IV.
at
figs.
Norman work
;
fig.
2,
some
or
and the sub-
rolls,
arch cut away into a broad semi-cylindrical rib, as in represents, a
;
which
fig. 4,
Barholme, Lincolnshire,
7 and
8,
are
groin-ribs of
the one from Glastonbury,
the other from Peterborough, early
Norman
:
both
satisfactorily exhibiting the formation of the
roll-
;
molding or bowtell.
The deep rounded hollow
(as contrasted
with the mere notch),
by which the contrast of light and shade was obtained, was an after-thought, which was not developed period,
when
it
was carried
to
till
the Early English
an extravagant excess, so that
roll-moldiDgs were extensively undercut or attached only by a small neck of stone
detached arches or
;
thus bearing the
effect of a series of
ribs, rising in succession
above and behind
each other, each independent and unconnected, the eye being
unable to penetrate to the depth of the dark hollow.
PL. IV.
fig. 5, is
which the
in
first
a very Early English pier-arch, at Barnack,
ap-
pearance of the deep hollows
may be
traced.
The accompanying example of a similar kind
is
engraved in p.
85 of Professor Willis's
"Canterbury," where the
the
Contrast
between
j^tffc
^j^.
From Winto .. "Canterbury," p.
Norman edge-mold
b and Transition bowtell A with side hollows
is
well shown.
D
85.
;
MANUAL OF GOTHIC MOLDINGS.
34
might appear probable that the true origin of the deep must be looked for in the wish to
It
three-quarter circular hollow
form a cutting inwards, at the point of the interior angle, corresponding to the bowtell at
the
edge or point of the
diagram and PL. VI.
exterior rectangle of the sub-arches, as in
and PL. VII.
10,
fig.
two
way,
the
may have been extended each no space was
till
left
unoccupied,
and thus a great width was covered with
'>i
minute members,
',
light,
inner hollow at the angle
alternately
hollow and prominent.
is
Edwards, so that this view
is
it
and
Still, this
work of the
first
two
hardly correct.
The roll-molding being once to multiply
dark
not very observable in the earliest
arches, but is rather characteristic of the
and
these
and
both the hollow
points
bowtells
.
From
fig. 7.
established,
it
became natural
as an ornamental feature to an unlimited extent
to prevent
sameness of
effect
many
modifications in the
forms of the projecting members were introduced, as well as considerable variety in the size and depth of the alternating
Now,
hollows. size
;
multiplication naturally implies reduction in
so that, in place of two or three heavy round moldings
placed at the angles only, and without hollows of any great depth,
we
find a
whole series of minute and
skilfully diversified
members, designed not on any exact geometric regulated by taste, caprice.
effect,
We may
and no doubt,
principle, but
to a certain extent,
by
suppose the architect to have drawn on a
board or a stone, with a free hand, the outline to be followed in working out the
hollows
;
and PL. IV.
fig.
3,
represents
such a stone, with the profile scratched or marked on face.
The
afforded exactly the
when put
its
sur-
templet, being applied to every stone to be worked,
same shape
for each, so that the pieces,
together, coincided with perfect accuracy.
Deeply recessed archways consist of several courses of molded
EAELY MOLDINGS IN GENERAL. stones, each order-,
construction, to the
back of
by the stone next
joint being overlapped
When
it.
own independent
or sub-arch, having its
and each
35
the moldings are meagre, the arch
In taking a
generally consists of a single row of voussoirs.
molding of the former kind,
it is
essential to
mark the joints
of
the different courses.
The grouping and multiplying
of
members was
greatly facili-
tated in its development by the Gothic principle of distributing
weights and thrusts under a number of different
Thus each group way
is
supports.
of arch-molding in an Early English door-
borne by a detached jamb-shaft below the impost.
In
were engaged in the wall, and at the
later times, the shafts
latest period the roll-moldings
were often continuous, but with
manner
small pseudo-capitals and bases attached after the
of
real columns.
The Norman
architects never got
cylindrical edge-roll
much beyond
and shallow hollow, similar
They paid
example from Coton.
so
much
in the fiat faces
annexed
to the
atten-
tion to surface sculpture and shallow ornamental
work
the plain
Ip
of their arches, that the
Jp
notion of alternate hollows and projections does
jj§
not appear to have been fully comprehended by Coton.
,
them,
or,
if
so,
was found
to be incompatible
with the enrichment by detail in Bas-relief.
was reserved
It
for the period of Transition to effect this.
The invention
of the pointed bowtell, contemporaneously with
the general use of the pointed arch, opened the
number origin,
of
and
members by
all
all
more
to a great
common
used with the most refined taste in varying the
most important
II. fig. 4,
way
or less referable to this
of complex Early English grouping.
far the
PL.
new forms,
and PL.
Lincoln Cathedral.
I. fig. 20, a
The
The
first
and
of these is the eoll-and-fillet,
doorway in the precinct
introduction of this
new
feature
of
may
be said to have wrought a complete revolution in the system
d 2
MANUAL OP GOTHIC MOLDINGS.
36
of molding. formations.
subsequent
It is the keynote of almost all the
may
It
be defined to be a
band
flat
set
on the
surface of a roll-molding, at
first
with a square under-edge,
as at Little Casterton, or as
PL.
I.
and
18, afterwards,
fig.
Great Shelford, Cambs.
Little Casterton, Rutland.
most commonly, with a slope or ogee curvature, as at Great.
PL.
Shelford, or as in
Abbey.
was
fillet
itself a
was
first
added to the cylindrical bowtell.
common enough
feature
and in Norman work was used
A
and in other places. annexed examples
;
a groin-rib from Tintern
what precise period, or from what,
It is not certain at
cause, the
17,
II. fig.
down from
It.
Classic times,,
in the abaci of capitals, in strings,,
certain analogy
and that from Selby
may
roll-and-fillet
An example
be traced in the
simply the ordinary
is
used as
PL.
to the roll is figured
12.
a string.
of a single side
fillet,
I. fig.
This appears to be an
acci-
dental one, being merely the unOvolo and
Sepulchre's Selby; Cambridge. String Nave.
St.
Fillet.
m
suggested the use of the
idea
of a
pointed bowtell,
(PL. IV. a
fig. 9),
fillets
surface-line
the or
more prominent
fine
cu t surface of the Wall.
first,
may be
that,
with the
Or
roll.
having been feather
it
suggested
edge was either
was throated or widened, so as effect.
Forms
of this kind have probably
As, however,
the earliest examples that this
fillet
it
will
by the cut
off
to produce-
be found in
frequently falls in a line
with the chamfer-plane, as in PL. II.
figs. 9, 15, 19,
and in
;
EAELY MOLDINGS IN GENEEAL. fig.
the north doorway at Cherry Hinton,
6,
have been
left
view which
may
it
possibly
as a standing portion of the uncut surface certainly borne out
is
The
molding.
37
by
the general analogy of
position of diagonal projection is undoubtedly
the ordinary one throughout the Early English period
the
fillet is
fig. 8,
a pier-arch from Cherry Hinton,
the end of the thirteenth century.
wanting in much
that
fact is
molding
earlier
on this theory of
One
;
Still,
so that
till
it
members
not intended to
its origin.
worthy of notice in the use of the
roll-and-fillet
would appear
to be
merely a variety of the
of a group.
For example, PL.
in
has in the
So also
and the juxtaposition of these two forms may be noticed
many
other instances.
Another plausible account of the origin of the
may
latter,
diversifying the
II. fig. 5,
central group a filleted roll between two pointed ones. ;
towards
examples are not
it is
introduced for the sake of contrasting and
8
and
commonly occurs in alternation with the pointed bowtell
it
whence
fig.
;
not often found coincident with either of the other
planes, as in
insist
a
;
be offered.
roll-and-fillet
Its occurrence in early groin-ribs cannot
escaped the notice of the observer. instances of its use
may be
have
Perhaps, indeed, the earliest
traced to the obvious propriety of
forming sharp and hard edge-lines instead of mere round
mem-
bers in positions in which, from their distance, the eye would
otherwise have an ill-defined and imperfect outline.
Again, in
mitering, or joining rolls at right angles, as well as in
them the
making
die into or spring out of plain surfaces, the addition of
fillet
presents important advantages in neatness of con-
struction.
But
all
these are mere conjectures.
The author has devoted
considerable pains and attention to the discovery of the true origin of this very important feature, but without satisfying
himself with any of the theories given above, though the
seems the most probable.
first
—
;
MANUAL OP GOTHIC MOLDINGS.
38
SECTION
V.
EARLY ENGLISH MOLDINGS.
FROM THE ACCESSION OF RICHARD
characteristics of the moldings of this style
fined as deep undercut hollows between
and repeated
hollows
a great
;
and the general arrange-
shown
in rectangular faces, as
m_™.
;
de-
filleted bowtells,
at certain intervals
depth or extent of molded surfaces
ment
may be
prominent members,
which comprise a great variety of pointed and clustered, isolated,
III.
1189 TO 1272.
A.D.
The
TO DEATH OF HENRY
I.
in
PL.
^ie ^ e
The
II. fig. 5.
seldom true
are
circles
P roJ ec ting parts, they
%'^^^K*
an(^'
fTjkw
assume a great number of capricious
|Mj
PL.
forms.
III. figs. 2
and
3,
would
alone be quite sufficient to convey to the eye
an idea of the general
method. The
first is
the belfry- arch
\at Plymouth, the second the pierarcheS in the choir ° f
Ea^English Arch, Ripen
g^
Cathedral.
were taken
E ty Cathedral.
^.^
^
^^^
graph, and are reduced to a scale of half an inch to a foot.
The annexed
section will also serve as an illustration of the
ordinary forms of Early English moldings.
-.-
Early English
W/a
llilli^
Wmit
llllllp-
^ e sa
^
moldings
may
comP r i se *ne
following
The plain bowtell or
edge-roll.
*°
'
(
/
'
p
members:
V
\
\ r~\
~
1.
4
2.
The pointed
3.
The
4.
bowtell.
roll-and-fillet.
The scroll-molding
(rare).
EARLY ENGLISH MOLDINGS. 5.
39
Angular forms, consisting of chamfered ridges and
inter-
vening projections, of irregular character.
The other forms
chiefly consist of modifications of the roll-
and- fillet, which are so capricious as almost to defy any attempt to assign
them
names and formations.
distinct
right, therefore,
It will
be
out some of the most com-
briefly to point
monly occurring varieties, leaving a more particular investigation to the student's
The is
own
exertions.
roll-and-triple-fillet
much used
(PL.
I. fig.
25
;
PL. IV.
fig. 3, a.)
more advanced buildings of
in the
the style, and was the favourite form during the reigns of the
fig.
12), each
side of
compound molding. figs. 7,
8;
ordinary
from a ridge (PL. VI.
which
naturally produces, and
PL. VII.
The
two Edwards.
first
roll-and-fillet projecting
PL. VII.
undercut by a deep hollow,
is
therefore probably
It will
PL.
5;
fig.
suggested,
be observed in PL. V.
II. figs.
18 and 19.
A
figs. 5, 6,
9;
plain bowtell
upon a short ridge
or roll very often stands forward
this
or
neck
in Transition moldings, the edges being
sharp on each side, in consequence of a slight hollow immediately below.
of
This
is
frequent occurrence even in semicir-
may be found in doorkind in many of our abbeys,
cular arches, and
ways of that
as at Fountains. ,
p.
90 of Professor Willis's " Canterbury "
the choir. a
fillet
Doorway, Fountains Abbey.
It is illustrated also in
Sometimes only one
attached (PL.
figs.
I.
Sometimes there are two
(fig.
37), pier-arches of
side has
12,
fillets,
23).
one at
the top, the other on the side, as in the cut from Ripon, and
PL. XVIII.
fig. 1.
PL. V. PL.
fig. 3,
II. figs.
and
11 and
Ripon Cathedral.
13, are varieties of very frequent occurrence.
PL. IV. fig.
12, is a form often found in labels, as
fig.
13,
MANUAL OF GOTHIC MOLDINGS.
40
both from Lincoln Minster ; the latter also illustrates the
fillet
as
Fig. 11 is the chancel doorway
it
were depressed into the
at
Ludborough, Lincolnshire, which shows some other
roll.
varieties;
in fact, the combination of the roll-and-fillet having been once
suggested, they seem to have been
utmost
PL.
Fig. 15 is a groin-rib from Furness Abbey.
licence.
4 and
III. figs.
Abbey ; 5 and 6
Robertsbridge
groin-ribs from
are
are fragments from Tintern
and
St.
Mary's
from Histon, near Cambridge.
The members plane, as in style.
7,
Fig. 9 is the arch-mold of a double piscina with
Abbey, York. its capital
used together with the
PL.
in
PL. IV.
III. fig. 1,
Three pointed
rolls
fig.
11, fall wholly on the chamfer-
which
is
seldom the case in this
placed together, somewhat in the
form of a fleur-de-lis,* form a combination of very frequent occurrence.
It
may often be found between
of large doorways, as at Peterborough
any position, with many minor fig.
21, and
PL.
II. fig. 5, are
the detached shafts
and Ely, and indeed
examples.
in
PL. IV.
varieties of shape.
In some cases
it
closely approaches the character of the roll-and-triple-fillet, as
PL. V.
fig. 6,
the beautiful Decorated window-jamb at North-
borough, Northamptonshire.
In Decorated work the fillet became extremely broad, PL. IV. 19, often as
fig.
case
it
may be
much
as three, or even four inches.
clustered piers, where
it
very often occurs, as in those to the
east of the octagon at Ely.
But
always a narrow edge-line.
in Early English
If set square
generally a sign of early work. * There lis
is
In this
said to lose its original character, especially in
sometimes so
close a
in this complex molding, that
it is
on the
almost
roll, it is
See the outline diagrams in
resemblance to the head of a fleur-deit is difficult to disconnect the idea of
the one from the other. An example is given, Potter's Monastic Remains, Tintern Abbey,
in PL. XIII. of work, we may here observe, which is quite invaluable in showing the curves and geometric formations of early moldings, and which every lover of Gothic architecture ought to possess. It contains an immense number of moldings full size,
—a
of the finest era
and the
richest design.
;
EARLY ENGLISH MOLDINGS. PL. IV. fig.
41
The depressed %and elongated forms on each
11 are principally found in later buildings, the
side of first
in
been before stated that a great degree of licence
is
Decorated, the latter in perpendicular. It has
observable in the forms of Early English roll-and-fillet moldings, in respect of size, shape,
and composition, and that geo-
metric accuracy was avoided in a rather remarkable manner the irregular shape, and the freely undulating curve, having
been commonly preferred.
Almost every conceivable modifica-
tion of the plain roll, peaked, depressed, elliptical, grooved at
the end, might be found and catalogued by a careful observer.
An
important form, generally considered distinctive of Deco-
rated,
but not very
work,*
is
uncommon
the sceoll-molding
;
advanced Early English
in
so called from its resemblance
to a roll of thick paper, the outer edge of
the side exposed to view. the under half of which the upper.
may be
It
is
which overlaps upon
described as a cylinder,
withdrawn, or shifted a
little
behind
It is almost universally used in the abacus
and
neck of Decorated capitals, and very often in strings and basemoldings. It is certain that this
form was known and in use even in the
pure lancet architecture of 1200-1240. St. Benet's, Lincoln, is a
It
I.
fig.
It is represented in at Yaxley,
PL. IV.
fig.
Hunts, and in
arcade in Lincoln Minster.
19, from
also occurs, per-
an accidental or undeveloped form, in PL.
haps in
way
proof of this.
PL.
II. fig. 3.
14, an Early Decorated door-
figs.
Here
11 and 16, is
—the
latter
an
seen the unusual com-
bination of the scroll-molding and the
side-fillet.
PL. VII.
* It occurs, for example, in the moldings of the very elaborate triplet at the east
PL. VIII.
end of Castle Eising Church, PL. XVIII. fig. 6, engraved in Mr. Bowman's account of that church in his Specimens of
of
Ecclesiastical Architecture.
marks
The presence
of the scroll-molding in
any
approach towards the Geometric age. See PL. XVII. fig. 6, which, together with the contiguous sections, figs. 4 and 9, represent the jambs of the immense Early Decorated and Geometric windows in the south aisle of Grantham Church. elaborate group
its
MANUAL OP GOTHIC MOLDINGS.
42
Fig. 7, the rich and
a fragment from Rivaulx Abbey.
fig. 5, is
beautifully
molded doorway at Northborough,
circa a.d. 1270,
exhibits the scroll form on the interior order.
Antiquaries are not agreed as to the origin of this molding.
may
It left
perhaps be regarded as a
uncut, either because
capitals, or afforded a
ings, line
where
it
more
roll-and-fillet
with one side
was removed from
sight, as in
effective drip in strings
and weather-
it
The shadowed edge-
most constantly occurs.
was presented by the scroll-molding as well as by the
and-fillet
;
and the principles of
roll-
which suggested both
effect
Ik. Ha Roche Abbey,
Byland.
forms are probably identical.
But
it is
was derived from the pointed bowtell.
more probable that
may be
It
it
traced from
one form to the other through such gradual changes, as to leave but
little
The
doubt on the subject.
earliest pointed bowtell
was simply the new form of the pointed arch used as a
molding
(as at
Roche
and Byland), but
this
was soon modified by having a slight sinkBarnwell, Cambridge.
Ely.
ing close to the edge, so as to
make
it
Barnwell and Ely.
a
little
sharper, as in these examples from
This form has been called the keel molding,
from
its likeness to
the section of a ship show-
ing the form of the keel.
When
with more deeply cut moldings Rivauix.
isolated, with a long
neck
the combination of the two forms, we find
it
;
it
worked in
stood more
and, probably from occasionally turning
EAKLY ENGLISH MOLDINGS PL. XVIII.
the edge to one side, as in
and in this case
;
it
and 10, from
1
figs.
which we immediately obtain the form in regular scroll-molding
43
fig.
6,
which
a
is
be observed that
will
pairs off with a pointed bowtell.
it
The annexed examples,
from
also,
Mary's Abbey, York,
St.
and Tintern Abbey, show
how
closely allied the
two
Jj|
<Wm
forms are; and those in
^^^^^^^k
the choir arches of Ei-
\
P.
\aulx Abbey are an early
|
example, in a position in
llllL
'
Hr'
:
^mBi
7;2*|
might naturally J be °
r
§ JSt>
Hil
which the pointed bowtell
>
'
f.
_ Jt* St. Mary s, York. ,
,
Tintern.
expected.
Though the under edge rounded, of
it is
frequently to be found cut square where sharpness
shadow was desired
criterion of date, as
at
of the scroll-molding is usually
but this can hardly be considered as a
;
is to
it
be found both in early work, as
Warmington, Northants, and down
fourteenth
century,
as
at
Elsworth, near Cambridge.
The
scroll-edge
times,
though
is
jjlf
some-
rarely,
to the middle of the
2
in-
IS jj|
J|jj|
with-
i|»
^ll
placed
Jm
|j|
uppermost, as in some of
**
that
verted,
so
drawn
surface
the is
the bases at Tintern Abbey
(PL. XIV.
fig.
/
™™
Ilk
™^
Wm
Warmington,
St. Michael's,
Northants.
Cambridge.
rolls-and-fillets
conjoined
Elsworth, Cambridge.
33).
Two |||L
^mm--
^Ujimli'
.
bases, so
that their respective
right angles
double-ogee, anciently
to
each
called,*
* Professor "Willis says this molding
other,
—one
is
of
are at
constitute
the
as
was
double-ressant,
or
their
at
fillets
the
it
commonest
sometimes called a brace, from
MANUAL OF GOTHIC MOLDINGS.
44
It
moldings of the Decorated and Perpendicular styles. rare in Early English,
and
rather than
when
fig.
intention
PL. VII.
12.
it
does occur,
fig.
hear the two moldings fig. 6, is
shafts
a decorated
The
the same
common arrangement PL. V.
figs.
capitals
which
molding of
sufficiently
common
archway at Trumpington), where the
which carry the capitals are
And
PL. IV.
in
question are marked in outline.
in
occurrence (as in the belfry
double-ogee.
as
1, is the west doorway of Llandaff
Cathedral, of pure Early English detail.
PL. IV.
is
apparently the result of accident
set together so as to
may be
form the
constantly observed in the
of Early English and Decorated piers,
See also PL. II.
14 and 15.
fig.
17.
Early English arch-moldings are so easy to distinguish
from
all
others, that
it
is
not necessary either to say more in
explanation of their peculiarities, or to give a great
They
of examples.
are by far the
most
number
difficult of all to
copy
with exactness, from the irregular and capricious forms of the curves and undercuttings feet across, renders it
of the rich
;
and their great
extent, often
many
an extremely tedious process to draw any
and complex examples on a reduced
scale.
The
numerous deep and dark hollows constitute the most characteristic difference
between the moldings of this and those of the
succeeding style, in which most of the forms already enumerated will be
But the extravagant
found to recur.
cavernous undercutting
is
lost
display of deep
We
in Decorated moldings.
there find a hollow of three-quarters of a circle, accurately
formed with the compasses, in the angle of every receding subarch, as in
Norfolk;
Deopham
PL. VI.
;
fig.
12,
and PL. XVII. these hollows its
fig.
2,
the west doorway at
11, the inner doorway of the south
fig.
Hingham, porch at
the same from Benington, Lincolnshire
fig. 3,
must be
from Bottisham, Cambridgeshire.
;
And
particularly observed as the real division,
resemblance to a printer's bracket
r-*-N.
("History of Winchester
Cathedral," p. 60, Proceedings of the Archseological Institute, 1845.)
EARLY ENGLISH MOLDINGS. of the orders of moldings when they
The Decorated hollows English
and there
;
all lie
45
on the chamfer-plane.
are usually of larger size than the Early
is this
general difference in their use, that
in the Decorated they divide groups, in the Early English individual members.
The
exquisite
skill,
and patient labour invariably
taste,
evinced in the working of Early English moldings, are truly
The ingenuity
admirable.
that was never at a loss in any
and the minute-
difficulty of finish or constructive irregularity,
ness with which even the most concealed and darkened parts
were executed, are circumstances of
much
and show a
interest,
love for the art above the sordid considerations of cost.
The deepest hollows are
as the
most prominent and conspicuous
village
church as
But
much
all
minimum
as cleanly and perfectly cut details
;
and in the
so as in the most glorious cathedral.
there was evidently a feeling that the designs had
become
weakened by the use of a large number of small members of
much
the same size massed together so
readily distinguish the different groups,
that the eye did not
and
in correcting this
tendency the Decorated moldings were developed.
Early English doorway
however It is
little it
may
most pleasing
is
often
a
of art,
attract the attention of ordinary observers.
to
notice the
long
trails
of
dog-tooth
lurking in the dark furrow of a label or chancelled recess see the end of
some inconvenient member got
a flower across the point
the wall
;
to
an
Still,
wonderful piece
where
it
rid of
;
to
by throwing
suddenly stops or dies into
admire the floriated boss and the foliaged capital
intruding their luxuriance upon the moldings and hollows, as if
they had overgrown their original and proper limits.
beautifully, too, the knots of pierced like
some
petrified garland or
and hanging leaves extend
bower of
filigree
work round the
arch, dividing the plainer moldings into groups,
imparting
life
and vegetation
abundance of doorways of
How
to the very stones
this style
!
and almost There are
which exhibit the most
MANUAL OF GOTHIC MOLDINGS.
46
delightful varieties in their forms
and groupings
Some examples
never, the same.
occur at Bolton and Furness
Abbeys, whose arch-moldings extend
The west
five or six feet in width.'
English
fronts of several .of our cathedrals have Early
The entrance doorway of
doorways of amazing magnificence.
House
the Chapter
molding of this
at Lichfield is a very fine
example of the
But almost every cathedral and every
style.
ruined abbey will supply good specimens, so that Plate XVIII.
useless to multiply illustrations.
doorway in the
cloisters
Peterborough
at
immediately opposite, in the south scale of half
an inch to one
at Bivaulx Abbey.
Kising Church;*
Fig. 6
fig.
9
it
Fig. 5
is
a
both on a
aisle of the nave,
foot.
is
3,
a doorway
fig. 2,
;
would be
fig.
a ruined doorway
from the east window of Castle
is
from Beaulieu Abbey, t the southern
fig. 7,
triplet of the Eefectory
Ripon Minster;
yet
always,
;
fig. 8,
;
is
an arch-mold from the choir of
borrowed from Brandon's " Analysis of
Gothic Architecture."
These
latter
examples
ing the tooth ornament
(6, 7,
show the method of
10)
insert-
Many
in, or rather across, hollows.
of
the more elaborate groups of Early English
moldings contain several successive
trails
of
this decoration, often of different sizes, shape
and planes of
projection.
west doorway at
Binham
curious variety of
hollows
In the very beautiful
the
Priory, Norfolk, a
dog-tooth
of such depth, that the eye
\\\/^j§
fathom the point of attachment.
i/^jilfjJ!
molding
f^plll||
Norman
is
by cutting
in
cannot
The
an evident development
nail-head
set
is
tooth the
of
incisions
on
|
each
side,
as the
accompanying
illustration
Dog-tooth.
shows. * This
10 from the same, are taken from Mr. PL. VIII. Weale's Quarterly Papers, Vol. II. PL. II.
and
fig.
trations of that church,
t
From
Bowman's
illus-
DECORATED MOLDINGS.
SECTION
47
VI.
DECORATED MOLDINGS. DURING THE REIGNS OF THE FIRST THREE EDWARDS, 1272-1377.
The
student will bear in mind that the details of Decorated
moldings are in great measure identical with those of the preceding
style,
with the addition of some new members, and
And
several important modifications of grouping.
found to produce an entirely different
will be
description the distinction
must be
may
appear very
the latter
though in
effect,
The eye
trifling.
familiarized to the profile and general appearance of
moldings of different dates, so that, without dismembering, and, as
it
analyzing the group, of examining the separate
were,
details,
it
may
discern at a glance the style
example belongs.
And
this
may
to
which any
be done with a considerable
degree of certainty by practice and attention; though
it
can
hardly be asserted that all the differences of style admit of being
reduced to unvarying and infallible rules. are
met with
of
much
earlier or later date
Sometimes moldings than we should have
expected from other characteristic marks in the building
;
and
there are not a few instances in which, without the aid of such
marks,
it
would be impossible
to say
whether a molding
the fourteenth or the fifteenth century.
In
is
quite
of
fact, this science
does not appear capable of more than general
though there
is
enough of uniform system
treatment
;
to enable us to
apprehend the broad distinctive principles which obtained in the different periods.
Generally, then,
much
may be projecting mem-
greater geometrical precision
observed in drawing both the hollows and the
bers than prevailed in the preceding style, and the size of the
MANUAL OP GOTHIC MOLDINGS.
48
members
somewhat
is
Segments
larger.
of
both
circles,
much used, and there was a softness
concave and convex, were
of blending, a delicacy and gentleness of grouping, an avoid-
ance of strong and violent contrasts of light and shade, which
imparted a more pleasing, though
much
less striking, effect.
Early English arch-moldings have sometimes a monotonous effect,
which
but imperfectly remedied by the free use of
is
and
quaint, irregular,
that frequently the
is, first,
numerous members do not vary materially in
.
The reason
members.
fanciful
size
;
stands
and, secondly, that each
between two deep hollows, so that tbe entire
WgUm,
group looks like a mere alternation of dark
I
and
light, repeated
with
little
change several
\
Ww§ Decorated
Jill
times over.
the composition of Deco-
For
rated moldings is essentially different.
roii-and-fiiiet.
not only do the
Now
members vary
in size, but also in kind
;
the
deep hollows are principally confined to the inner angles, and there
is
no extravagant
The
parts.
as possible, as in
enough
is
PL. XVII.
formed with as figs. 2, 3, 9,
undercutting
little
10
:
in fact, only just
hollowed away at the sides to develop the outline.
In the Geometric-Decorated age (that first
and unimportant
isolation of small
roll-and-fillet is
two Edwards), the
is,
in the reign of the
moldings of arches and jambs
very slightly from those of pure Early English
;
so
differ
slightly,
indeed, that they cannot alone be taken as decisive of this or that date.
It
was not until the Flowing- Decorated era
(that is,
during the reign of Edward III.), that these moldings took the characteristic turn roll-and-fillet,
and
which brought about the surrender of the its
many
varieties, for the ogees,
bowtells,
and wide shallow casements of the Perpendicular period. Rich Decorated moldings are of rather rare occurrence. great
many
A
of the finest buildings in this style scarcely afford
as good examples of molding as small and
the Early English age.
humble churches of
Very often plain chamfers are used in
— DECORATED MOLDINGS. all
the windows, doorways, and pier-arches
such as bases, capitals,
for the best
arches, doorways,
(PL.
I. fig.
while minor parts,
sedilia, sepulchral recesses,
have fine and elaborate details.
we must look
;
49
It is in this
and the
like,
kind of work that
moldings in the Decorated
In
style.
and windows, the plain chamfer of two orders
5) is
Windows
perhaps most commonly found.
especially are often singularly
ever rich their tracery
may
meagre in
be.
their moldings,
how-
The monials stand near the
outer surface of the wall, and separated from or recessed behind it
PL.
only by a single order with a plain or hollow chamfer, as
VII.
figs.
20 and 21.
Frequently, indeed, the tracery of good
Decorated windows stands quite flush with the wall, so that the
jamb-moldings
are, as it were, entirely
omitted.*
And
again,
the monials and tracery often consist of merely chamfered planes,
without any edge-lines to relieve them; and the east window
Trumpington,
at
fig.
PL. VII.
so,
19, a window at
fig.
20,
Hingham,
Norfolk, is one degree richer than this, two orders being intro-
duced in the monial, though of equally plain character.
There appear to be three moldings
may
distinct kinds to
generally be referred
examples
which
it
might be
difficult
to
assign to any one of
them. 1.
These are
The
plain,
:
;
which Decorated
though there are many
m
a
><,:
the
sunk and the hollow chamfer of two or more orders, which, properly
speaking, form only a step
preparatory
to
molding, and stopping short of that ulterior process. * In the churches of Norfolk and Suffolk this is the rule, exception, from the scarcity of stone in those parts.
and not the i
E
MANUAL OP GOTHIC MOLDINGS.
50 2.
moldings,
Koll-and-fillet
with
each
between
hollows
member,. nearly resembling, in principle and arrangement, the Early English method, as in diagrams PL. V. fig. 12 a door-
—
way
and PL. XVII.
at Attleborough, Norfolk,
3.
A
figs. 4, 6, 8.
succession of double ogees, divided by hollows of three-
quarters of a circle, as figs. .
^Bllfe
in kind,
^%?v.-,
i
9,
bined, as in
fig.
c
— the
it
any other position than
seems proper
to regard
the plain chamfered edges of class their flat sists
and naked form.
described
same members
we have observed, other
in
words thus
:
as virtually
from
—" A
in each order,
of the chamfer
varieties
Thus PL. VI.
are sometimes intermixed.
them
slightly relieved
1,
Their distinctive peculiarity con-
in the repetition of the
though, as
in
Deopham.
belfry-arch at
as they rarely occupy
the chamfer-plane,
common moldings
unusual to find these two varieties com-
PL. VII.
And
Norfolk.
16, is similar
and both of these are
exceedingly It is not
this style.
fig.
PL. VI.
The wave
12, 14.
molding, PL. II.
''[
-I
11,
fig.
11,
might be
order between
double-ogee
two hollow chamfer orders, divided by three-quarter hollows all
lying in the
chamfer-plane of 43°
;
total
;
width across,
twenty-three inches."
The
plain or
hollow chamfer
jambs and archways
is
extremely
common
in all
(especially if they be continuous, or
no imposts or jamb-shafts), in the Early Decorated
style.
have
The
inner angle which divides the orders (and which has been called
the re-entering angle),
is either left solid, or
three-quarter hollow.
Of
duces a very bold and good
cut into a deep
this latter arrangement, effect, it
might be
which pro-
difficult to
name
a better example than the west doorway of St. Mary's, Ely.
Here the chamfers are hollow,
or quarter-circles.
cases there are often trails of ball-flowers, roses, or other
In such
quatrefoil paterae,
ornamental leaf-work disposed at regular inter-
;
DECORATED MOLDINGS. vals,
and repeated in rows in two or more of the chamfers.
See PL. VI.
2
fig.
PL. VII.
;
The second kind style
51
;
and
is
it
The members
10.
fig.
but not always, early in the
is generally,
perhaps the most perfect and beautiful of
in this case usually fall in squares (that
all.
on
is,
the wall-planes and soffit-planes in succession), as in the west
Trumpington Church, PL. VII.
PL. XVII.
doorway
at
fig. 3, is
from the south porch of Bottisham Church, near Cam-
bridge.
Fig. 5 is from a doorway at Lang-
ham, Eutland,
of the Geometric age.
fig. 3.
Fig. 8
,£/h
from the beautiful Decoi-ated archway of
is
the south porch at Over, Cambridgeshire. Fig. 10
a window-jamb, from
is
,
,
Grantham
Sometimes moldings of
Church.
H/
"wll
this class
window-jamb, over,
are combined with those of the third, as
PL. V. XVII.
11, the priest's door at
fig.
fig." 7,
a doorway
Hingham, Norfolk
at Burfield, Suffolk;
PL. XX.
the chancel door at Willingham, near Cambridge fig. 1,
a
monument
at Boston.
PL. VII.
PL.
;
fig.
17,
and PL. V.
;
figs. 7, 8,
12, are all
of this second kind.
There
is,
however, a perceptible difference in the shape of the
Early English and the Decorated
roll-and-fillet.
style the fillet "is broader, not set square
and the neck single
is
on the
In the
wider from the hollows between the
members, being
less deeply undercut.
later
roll, .
dtjyjjk
The
capricious and irregular forms of the earlier style are
no longer found; the
ranged upon rectangular
member
"of
roll-and-triple-fillet,
lines,
is
ar-
generally one
the group, and the gently bulging ogee
e 00 ate d
fl
many informs a member of very monument in the choir
curvature predominates throughout. stances the roll-and-fillet as
PL. XX.
fig.
15,
a
Je t
F
1
In
large size,
of Bolton
Abbey.
While moldings of the second kind are generally borne by b 2
— MANUAL OP GOTHIC MOLDINGS.
52
jamb-shafts, as in the Early English style (though in,
and not detached from, the
third are almost always
wall), those
now engaged and
of the first
continuous,* except in pier-arches,
where they constantly occur, in which case they are stopped by Thus, PL. VII.
the capitals.
ington
PL. VI.
;
fig. 3,
fig.
deep and rich
one
member
PL. VI.
fig.
It is not
uncommon
to find
one order of different size from the others.
fillets
It
Deco-
particularly observed that in the third class of
(i.e.,
series
12, gives a very
double ogee considerably larger than the
rated moldings the
hollows
doorway.
effect to a
of a
other, or those of
must be
Sometimes a
one at Hingham.
of four or five of these together, as
Trump-
4, is a pier-arch at
on each side of the three-quarter
the untouched portions of the rectangular nook)
almost invariably stand at right angles with each other, the principle of which is
shown
at Attleborough, Norfolk.
are
at
PL. V.
Exceptions, such as PL. VII.
seldom found in ancient moldings.
PL. V.
observe on
fig. 3,
that
if
angle are equal, the chamfer-plane that
is, it
forms an angle of 45°.
angle of the chamfer-plane sides of the central nook.
the west doorway
fig. 3,
is
We may
fig. a,
further
the sides of the re-entering the diagonal of a square,
is
So, in
PL. VII.
fig. 2,
the
by measuring the two
ascertained
Sometimes the group appears to
have been designed on the principle of a series of squares, as seen in
PL. XVII.
fig. 3.
Moldings are either simple or compound. is
a plain single form, complete in
quarter round.
two or more
A
itself,
compound molding
A
simple molding
as a bowtell or threeis
either
composed of
distinct parts, as a roll-and-fillet, a double ogee
involves a profile of reflex or double curvature.
the character of the ogee
itself,
which
is
This
is
;
or
properly
formed by a segmental
inward curve conjoined continuously with a similar outward * In doorways the moldings borne by the jamb-shafts always lie on the rectangular planes, those which are continuous on the chamfer-planes. " Analysis of Gothic Architecture," p. 68.
DECORATED MOLDINGS. curve.
Of the same kind
Decorated form, which
wave-molding, from represented in is
a very important and universal
is
may be
called the
compound
ogee, or the
gently undulating outline.*
its
PL. VII.
53
figs, c, 9, 17, 18, 19,
It
and elsewhere.
composed of two ogee curvatures, forming a central
is
It
,._
|_
bulge or entasis, sometimes projecting forward beyond the edges, but usually in the same plane with them. Scarcely any
method of molding is and
characteristic of, this style,
Decorated, to which era
its
so
common in, or so
especially of the Flowing, or later
use was principally confined.
quently occurs with a hollow between, as PL. VII.
fig.
It fre-
17.
The
formation of this detail
may
be traced either to
Tib
the
ordinary
Sll
edge-roll
being simply somewhat
\M
Edge-roll.
Triply filleted
roll.
less undercut, or to the
half of a triply filleted
Halt roll-andfillet.
roll,
PL. IV.
fig.
10, the other half being
considered as undeveloped, or merged in the block
;
or to the
insertion of a quarter- shaft into a rectangular nook, the edges at
the points of junction being rounded instead of sharp and abrupt.
The
latter is not
improbable on the analogy of the earlier and
later (that is, the square
and rounded) forms of the roll-and-
Indeed, the form
fillet.
panying outline
and
is
bourhood of Oxford,"
sometimes found.
It occurs in
represented in the " Guide to the Neighp. 333,
PL. XXIV.
of Potter's
" Buildwas
Abbey"
There
accom-
in the
the sedilia at Elsworth Church, near Cambridge,
\~]
(Early
is
shown
from Garsington Church
;
and in
English). are
modifications
several
of
it;
Varieties of
* Professor "Willis calls this the stuelled
the term ivave to the ogee.
wave .molding
.
chamfer. Inigo Jones applied See "Architectural Nomenclature," § 16.
MANUAL OF GOTHIC MOLDINGS.
54
the edges
small width of
PL. V.
as
Church,
fig.
PL. VII.
either sharp, as
are
the chamfer-plane
11
;
PL. XX.
fig. 1,
In
Cambridgeshire.
side,
a doorway from Landbeach
the concaves
case
this
Decorated, the latter in Perpendicular.
common
on each
uncut
left
The former
sometimes slightly undercut.
17, or there is a
fig.
It
are
most common in
is
much more
so
is
in Decorated work, that its occurrence
may,
in default
of other proofs, be taken as a presumptive evidence of the style.
and shallower in early than
It is also wider
the side hollows are less deep, and
is,
in late
Sometimes, indeed, the wavy line
bulging.*
find nothing
between two raised lowest order of
fig.
It is not of
specimen
is
VII.
PL. VII.
very
as to
fig.
may be termed common occurrence
fig. a.
surface
flat
b,
the
This
8.
chamfer.
more than a
See PL.
edges.
that
;
is so faint
be scarcely different from the plain chamfer, as
And sometimes we
work
the central entasis less
;
sunk
and the sunken
a very good
engraved in the " Oxford Guide," p. 281, from
Headington Church. Another variety
PL. XX. bridge.
fig. 2,
is
shown
in
PL. VII.
figs. 13, 16,
This appears to
angle, instead of scooping out in an ogee curve, one
member.
23, and
Quy Church, near Camhave arisen from cutting down to an
a window-jamb from
It is generally a
mark
of
end of the
Transition to Perpen-
dicular.
A rare
form
is
exhibited in
a double wave-molding. to
an angle
(as
be the result.
shown
By
in the
PL. V.
fig.
16.
It
may be called
cutting the central hollow
down
shaded part), a double ogee would
This molding occurs in the Decorated belfry-
arch at Stretham, Isle of Ely, and in the east window of the
south aisle at Bottisham, Cambridgeshire, PL. XIX. *
The formation
is
shown
in
PL. XIX.
figs.
1
and
2.
fig. 3.
It will be seen
that the early form involves the equilateral, the later the obtuse triangle. It is clear from PL. XIX. fig. 5, that this form was not unknown in Early English architecture. It also occurs, in the form approximating to the outline diagram in p. 50, in an archway at Croxden Abbey, circa 1240.
DECORATED MOLDINGS.
A plain
55
bowtell, or a roll-and-fillet, between two wave-mold-
PL. XVII.
ings, is found in Decorated work.
the north porch of Bottisham Church, Cambridgeshire
from the outer archway of the south porch
same church.
inner) of the
within, or short
of,
In
fig. 2,
from
fig. 2, is
fig. 1,
;
3 being the
(fig.
the rolls-and-fillets
fall
the rectangular plane, because they would
otherwise have been too large.
The ogee molding difficult to
form
is a
explain fully in
its
so
origin
and varied
relations, that
almost impossible to do more than point out
it is
and leading curve
is so
In respect of
characteristics.
it
its
general the ogee
its origin,
prevalent in the Classic styles, that
be supposed
and so
extensively used,
might
it
easily
was thence imported into the Gothic, were there
not abundant opportunities of self-development presented by It is believed that the ogee
the varieties of the roll-and-fillet. scarcely, if ever, occurs in least,
whatever
other countries. style
may be
Norman
Its occasional appearance in the
mind the
its
it is
always suggests to
it
idea of one side of a roll-and-fillet
much
very
whenever
It should be especially noted that
convex portion being
In
Early English
has been already mentioned, where, however,
sparingly used.
;
the
larger than the concave.
most ordinary position
a window-jamb,
in
it
^
actually corresponds to a perfect roll-and-fillet in the
monial, as
PL. VII.
10, 11
figs. 9,
;
and here it must, of course,
be regarded literally as half of that member. the quirked ogee (see
PL. XVI. in
identical
(fig.
seems extremely
it
so
fig. 2),
difficult
Since, however,
common
form with this
edifices,, is
3),
part
to decide
in Classic
of a
monial
how
far the
form was introduced from' this or that suggestion. this latter case, the earliest
the
large
trace
its
gradual
But
in
forms would be found of Classic
concave portion,
character with actually
at
the case in the Komanesque edifices in
the ogee occurs in Decorated moldings, the
England
architecture, in
formation
whereas
from
the
we can roll-and-
— .
MANUAL OF GOTHIC MOLDINGS.
56
having
fillet,
at
the
first
roll
portion,
predominant
the
and the hollow gradually gaining in importance in later work so that
would not perhaps be saying too much
it
to
;
vindicate
Gothic architecture the self-development of the ogee, rather
for
than refer
The
it
to an imitation of uncongenial Classic details.
following, therefore, are the principal forms found in
Decorated moldings
:
1.
The
2.
Roll-and-triple-fillet.
roll-and-fillet.
Rife
/
ti^k.
gjj
jflnP
•
m
<mm
5^m
«jj
& _ ^m^W
4.
Ogee and
5.
Double ogee, or double
fillet.
:
^
l*^
I
;
ressant.
Vi
I
8
'
6
molding,
Scro11
-
or
ressant lorymer. 7.
Wave-molding, or swelled chamfer.
8.
Plain or hollow chamfer.
9.
Sunken chamfer, PL. VII.
It is difficult to give a fig.
16,
and perhaps
name
fig. b.
to the
form shown in PL. VII.
not of sufficiently frequent occurrence
it is
term desirable.
to render a particular
Other minor varieties might be added of forms which are
Sometimes a semicircle
principally found in Decorated work.
sunk
way
in the chamfer-plane is found, as
at
Deopham, Norfolk
;
PL. VII.
Rivaulx Abbey; and PL. VI.
Hardingham, Norfolk
ham.
So also PL. V.
fig.
and PL. V.
;
fig. 2.
bowtell, or
Perpendicular. date, at
14, a
work;
PL. VII.
fig.
a door-
archway at
window
at
Hing-
This detail is the most usual
1360—80.
three-quarter round,
sparingly, in Decorated
fig. 6,
14, a fragment from
13, a very fine fig.
in Transition to Perpendicular, circa
The
PL. VI.
fig.
it
is
used, but rather
was extremely common in
18, is a doorway of Transition
Swanton Morley, Norfolk, in which the bowtell occupy-
ing the centre forms an engaged shaft.
When
this is the case,
DECORATED MOLDINGS the
fillet
But the
is
57
seldom wanting, except in very advanced work.
PL. V.
plain roll appears in
Sometimes the bowtell
are late in the style.*
position with the sunken semicircle, as in
In PL. VII.
fig. 6,
1,3,
figs.
a
window
at
5, all of
seen in juxta-
is
PL. V.
Fen Stanton,
which
figs. 1, 4, 5.
a small tongue-
shaped member projects from the inner side of the principal roll-and-fillet.
This should be noticed as a very characteristic
Decorated moldings of the second
detail of
See also PL. XVII.
example belongs. extremely fig.
48.
fig.
14.
common
A
fig. 5.
in labels and capitals
is
which this
class, to
shown
combination in
PL. XVI.
This occurs also in jambs and arches, as PL.
PL. V.
fig. 1,
and PL. VI.
show the method
14, 15,
figs.
of principal and secondary monials.
The moldings
course, coincident in every part of the tracery in the corresponding parts or planes of the
shortness' sake, architects generally in these examples,
merged
II.
are, of
and monials, and
jamb ;
so that, for
draw double monials, as
Thus the outer
into one another.
edge represents the actual profile of the jamb, which, as being
may
of course be also taken to represent
one side of the monials.
In drawing the section of a window-
identical in detail,
jamb, the monial-members
may
parallel with the wall-plane.
of the east
part of a
window
window
at
be represented by lines across,
PL. V. fig.' 9, PL. VI.
Heckington
;
in the chancel at Boston
;
is .the fig.
inner jamb
14, the
PL. VI.
fig.
same 15, is
from Stoke Golding, Leicestershire.
When
a
window has primary and secondary monials,
it
is
obvious that they carry distinct planes or orders of moldings.
Yet these orders are not always of the same nature as those we have before described as such
—namely, the group
constituting the separate sub-arches
;
of
members
for the face of the smaller
* All the examples in PL. V. are Late Decorated. The occurrence of the small three-quarter round, as in figs. 1, 3, 4, 5, is a sure indication of approach to Perpendicular.
;
-MANUAL OP GOTHIC MOLDINGS.
58
monial often
falls
within or behind that of the larger only by a
member
single retiring step, or fig.
combined carry (properly speaking)
14, both the monials
the same order, but different
The plane
in
members
of
it.
which the outer moldings of the jamb
seldom coincident, as in the
members
the monial
Thus, in PL. VI.
of a group.
is
lie
last example, with that on which
are arranged, for this
would in most cases
give too great thickness to the monials themselves, the slope or inclination of
which must of course be the same on both
The
sides of each aperture or light. is
sometimes very
slight,
bat this point must be See PL.
attended to in copying moldings.
PL. XX.
difference of inclination
flat
edge or
molding
is
fillet
round,
cill.
Perpendicular windows
;
King's College Chapel,
it
Many
some
but in
;
carried all
bases resting on the
and
This roll-tracery
is
very
stilted bases in the
1
',
JJ y
in
end of
jamb.
Decorated windows have shafts in the jambs and
This produces a very
ally
M
roll-
small
common
at the west
fine
'
generally
furnished with
and sometimes, as has small
is
examples a
early is
monials both internally and externally.
<
5
fig.
fig. 8.
In Decorated windows the face of the monials a
carefully
VIII.
effect,
especi-
when the
mary monials
!i
pri-
carry
j
a triple, the second-
,
'
-
/
W
ary a single shaft.
In these cases the moldings
l
tracery
^^'IjIf
of
the
follow the
<
t
Sleaford.
Wells Cathedral.
*'
common law of pier,
arches and shafted
doorways, capitals.
that
is,
they are different in section above the
Ordinary windows, on the other hand, follow the
principle of continuous archways.
DECORATED MOLDINGS. The
interior arch, or
metric windows
is
Early English and Geo-
rear-rib, of
generally borne by a shaft,* except in very
plain and inexpensive buildings.
Shafts, in
essential part in the composition of the
in these styles.
59
The
aisles
form a very
fact,
more
elaborate, windows
and clerestory in the nave of
St.
Alban's Abbey, and the south choir-aisle of St. Mary's Church, Stafford,
The
,
afford
most beautiful instances
of
labels or hood-moldings of the date of
II. are often undercut
by a three-quarter
surface of the wall, as in
PL. VI.
figs.
;
and
fig
13, at Hardingham.
usually bold and deep.
It
outer face of the label to the fine.
Fig. 5
Fig. 7 from a
is
soffit,
monument
and
I.
sunk in the
1 and 10, doorways at
This
doorway
latter
measures three
the interior of a
Edward
circle,
Little Ellingham, Norfolk; fig. 8, the north
ham
window-
shafted
and the
at
example
feet across
is
un-
from
remarkably
effect is
window jamb
Hing-
at
Sleaford.
Fig. 4 is the
at Boston, the soffit at a.
molding of the pier-arches in the same church, of unusual and decidedly early character, though of rather late Decorated date.
PL. V.
fig. 2, is
a doorway at Great Ellingham.
resembles PL. VI.
fig.
south porch at Boston.
Fig. 4
6.
There
composition of this and of
fig.
is
1,
is
It closely
the inner doorway of the
a close resemblance in the a
monument
church, betraying the hand of the same
artist.
in the
same
This resem-
blance should always be attended to, not only in the same church,
but in the neighbouring
edifices,
because a strong presumption
of coeval date is thence to be derived.
And monuments especially
were so often inserted subsequently, that
it is
very important
compare their moldings with other parts of the same church.
to
The
character of these two examples is rather late
are wiry
and poor in
their effect,
and widely from the block
and they
from being cut away too deeply
surface.
* Called anciently, the rear-shaft. ture," p. 57.
;
Willis's " Architectural
Nomencla-
a
MANUAL OP GOTHIC MOLDINGS.
60
PL. V.
fig.
Church, Lincolnshire its
from a
is
5,
Decorated tomb at Ewerby
fine
a noble structure, which almost rivals
;
immediate neighbour, the celebrated This molding
ton.
is
St.
Andrew's, HeckingIt is
a good and effective composition.
shown
in perspective, to illustrate the difference in appearance
which
exists
and
between the same molding exhibited in section
The
in elevation.
in moldings of this cate,
and the
it is
effect
and
deli-
by the deep
side-
necessarily connected.
the interior of a window-jamb at Bennington,
fig. 7, is
Lincolnshire, and is
produces a fine
Its edge-lines are sharp
style.
profile beautifully relieved
hollows with which
PL. V.
roll-and-triple-fillet
fig.
Fig. 8
10 the exterior of the same.
the interior of a window-jamb at Heckington.
Fig. 13 is
one side of the belfry-arch at West Keal, Lincolnshire.*
PL. VII.
the outer archway of the west entrance to
fig 8, is
the precinct, Peterborough is
a very
common
from Yaxley, Hunts.
window which
is
an
;
effective decorated group.
plan of a Decorated window.
Fig. 10 is from Clipsham, Kutland
elegantly enriched
by a
the hollow chamfer of the outer order.
window from the chancel Lincolnshire.
This also
at
is
Over;
a very
Fig. 12
fig.
11,
borough.
Fig. 15, a groin-rib from Rivaulx
is
a Decorated
from Horbling,
common form
Fig. 13
—
of ball-flowers in
trail
windows.
is
Fig. 9
It is taken
in Decorated
from the outer porch doorway at North-
doorway from West Keal
;
fig.
21
is
a
Abbey;
fig.
16, a
window from the
Decorated chancel at Keddington, or Ketton, Suffolk.
fine
Fig. 22,
the molding at the angle of a piscina, Thurlby, Lincolnshire. Fig. 23, the south doorway at Langtoft, near Market Deeping.
PL. XX.
fig.
4, is
an archway in the
cloisters at Peterborough,
with double jamb-shafts. * This example
is
badly copied, and must not be depended upon;
PERPENDICULAR MOLDINGS.
SECTION
61
VII.
perpendicular moldings.
from the accession of richard a.d.
In the moldings of this
ii.
to death of henry viii.*
1377 to 1546.
style a
debasing influence will at once
be perceived in the comparatively meagre save-trouble method of
working them.
and
Large and coarse members, with
which, in early work, would have been separate moldings
;
little
of minute
and shallow hollows, occupying spaces
delicate detail, wide
filled
with groups of
hard wiry edges in place of rounded and
softened forms, and general shallowness of cutting, are all con-
spicuous characteristics.
Add to these, that their general arrange-
ment on the chamfer-plane, which
is
a
marked
Perpendicular period, gives a flatness which
is
feature of the
unpleasing to the
eye in comparison with the rectangularly recessed grouping of the two preceding styles.
mass
At the same time, there
of really high art in the
work of
student must be careful not to slur predilection
he may have formed
it
is
such a
this period, that the
over, in indulging
for earlier work.
any
The mold-
ings of this style frequently die into a basement composed of the
uncut
simple
chamfer
-
plane,
in
which case the outer edges of each molding of course coincide with it,
since
it
is
only by
cutting channels that
the moldings are developed from
Fireplace, Vicar's Close, Wells.
it
Three peculiarities are so
* This might fairly be divided by the student into Perpendicular and Tudor, commencing the latter with the reign of Henry VII., 1485.
—
;
;
MANUAL OF GOTHIC MOLDINGS.
G2
common
in Perpendicular moldings, that their absence almost
These are
forms the exception to general Tisage. 1.
A
:
wide shallow casement, or hollow, usually occupying
the centre of the group, and equal to about one-third of the
width 2.
of a 3.
The constant use circle,
of bowtells, or beads, of three-quarters
resembling small shafts, and often used as such
The frequency
of the double ogee,
and some
varieties of
it
peculiar to the period.
The casement alluded
to
may undoubtedly be
regarded as an
elongation or extension of the Decorated three-quarter hollow,
by which width it is
is
generally a
casement
is
gained at the sacrifice of depth. Accordingly,
mark
work when the
of early Perpendicular
deep and narrow, of late when wide and shallow,
and of debased when almost or quite a
it is,
flat
as
were, so stretched as to
it
surface,
sunken but
little
The
chamfer-plane, or external line of the group.
may be
become
below the
latter result
observed in the windows of St. Botolph's Church, and
in those of the older portions of St. John's College, Cambridge.
Of many forms which the casement assumes, the most frequent are those represented in
PL. VIII.
figs. 4, 10, 13.
PL. IX.
It is very
figs.
common
11, 16,
and
to find one or
both ends of the hollow returned in a kind of quasi-bowtell, as seen in PL. VIII.
figs.
in the chancel of
2 and 15, and PL.
Grantham Church.
XX.
fig. 3,
a
window
Frequently, however,
perhaps generally, the ends are sharp and angular, as PL. IX. fig.
14,
PL. XX.
fig.
14, the arch-mold of the nave of Lancaster
Church, or PL. VIII.
fig. 3.
The
three-quarter hollow also
occurs in this style, and sometimes, as in
same group with the great casement
The
PL. IX.
fig. 2,
in the
or central hollow.
some form or other in almost PL. VIII. and IX. and if the student
bowtell will be observed in
every example given in
;
compares the three plates of Decorated moldings, he
will per-
ceive the importance of assigning this feature as a peculiarity
PERPENDICULAR MOLDINGS. In PL. XX.
of the Perpendicular.
fig. 6.
in the choir of
Ripon Minster,
:
—
Fig. 10, the
Newtown Church, near Camhridge
and 12, both from Bolton Abbey
way
from Rivaulx Abbey
member.
a small double bowtell forms the central
western doorway at
63
fig.
;
13,
Grantham Church and ;
all
;
figs.
11
from a small doora "doorway in
fig. 5,
contain examples of the cylindrical bowtell.
It is often
formed from a plane by sinking a channel on each
side, as in
PL. VIII.
Occasionally
figs. 1, 3, 6.
an excrescence on the surface of a plane, as
fig.
5
it ;
stands like
but this
a
is
from the usual practice, as well as from the true
departure
principle of moldings.
The double ogee
is
much more common
in Perpendicular
some
difference, too, in
later style.
For whereas the
There
than in Decorated moldings. the form which
it
assumes in the
is
Decorated ogee, as before stated, always represents the profile of the half of a roll-and-fillet, the Perpendicular appears rather
composed of a semicircular hollow continued
to be
in a bowtell,
forming a section more like the letter
and
S— see
PL. XVI.
However, the
5.
form,
fig. 5, is
mon
in
figs.
4
earlier
extremely com-
Perpendicular mold-
ings, and especially
in
ib* -^^ vm J||lllllS>
j
OP
\-/
the
Perpendicular members, PL. IX.
double ogee.
Other
fig. u.
varieties,
peculiar to the style, are the double ogee with a bowtell in the centre,
c
fig.
;
PL. IX.
fig.
b; an ogee combined with a quarter-circle,*
an ogee with a small bead or
PL. VIII.
figs. 7,
9
;
of the great casement,
PL. IX.
combination exhibited in is
fillet
at the base,
as
an ogee with a bowtell forming one side
generally conclusive.
fig.
figs. 1, 8, 10, 16,
17
;
and the
15, where the depth of the hollows
All these
may
be considered as dis-
tinctive criteria of the style. * This is one of the commonest and most decisive combinations in Perpendicular moldings, as PL. XX. figs. 10 and 14 PL. IX. fig. 3. ;
;
MANUAL OP GOTHIC MOLDINGS.
64
in outline in the preceding woodcut is
The form represented found in
all
It occurs in Early
the styles.
the roll or bowtell plain and
not
the breadth of the
doorway
in a
filleted,
at
of the ogee curve and
The shape, however,
Fountains Abbey.
English work, with
be found to follow the rules laid
fillet will
down.
The double ogee
sometimes of large and clumsy
is
In Decorated,
Perpendicular arch-moldings.
it is
small, and is principally confined to the outer
A
ways and windows.
roll-and-fillet
In PL. VIII.
3.
fig.
members PL.
the south porch at Great Shelford, near Cambridge, Transition period, that
The form
is,
was not extensively used,*
it
diagram between
figs.
10 and 11, PL. IV.
peculiar to the style
ment moldings and
Jjjjl
it is
;
it is
capitals.
this
of the
style, in
that of the
is
The debased form
PL. VIII.
of the bowtell mold,
jBjlllI
doorway of
before 1400.
of the roll-and-fillet, prevalent in
which, however,
is
14
II. fig.
16, the inner
fig.
of door-
between two ogees
properly a late Decorated combination, as in
PL. VII.
size in
usually rather
21, is also
fig.
much
used in base-
Sometimes we
find
the roll-and-triple- fillet in a debased form as in
PL. IX.
'Ijjljl'
fig.
13, the belfry arch at Haslingfield,
Cambridgeshire.
IP
exhibited in
are
V'^.V
Two fig.
grams the upper English;
Ijjp
the
other corrupted varieties 16.
figure
In the annexed diarepresents
the
Other two, varieties of
Early
the Per-
pendicular roll-and-fillet.
A half roll-and-fillet Cathedral bowtell * is,
frequently occurs, as in
window-jamb from the south
a
is
;
fig. 9,
When'
a small bowtell.
PL. XX.
;
it is
fig. 7,
nave at Eipon
shown in
The pointed fig. 3,
and
it
of the roll-and-fillet, except in a very corrupted form,
in fact, one of the
late Gothic.
of the
a doorway from Bolton Abbey.
very rare in this style
The absence
aisle
most remarkable -features in the moldings of the does occur, it usually springs from the capital of
it
PERPENDICULAR MOLDINGS.
65
occurs in the aisle windows at the west end of St. John's
Church, Stamford.
Window-moldings are usually extremely meagre, though the tracery is generally set deeper in the wall than in the preceding style,
pose.
and, consequently, a larger space
But the great casement,
upon the group that
little
ogee on the outside" of
it,
available for the pur-
is
or hollow, encroaches so
room
is left for
more than
a double
and the monial-members on the inside
— by which term those moldings of the
jamb
:
coincide with the monials.
PL. VIII.
fig.
meant which
are
12, represents the
Sometimes,
almost universal plan of Perpendicular windows. however,, especially in earlier examples, externally, comprising the first order,
we
find the double ogee
and the monial-members
occupying the next, without any casement in the angle. figs.
much
PL. IX.
12 and 18, are taken from different churches, and
illus-
remarkable uniformity which prevailed in the use of
trate the
moldings.
Having pointed out these
facts (which deserved to be regis-
tered as essential and characteristic differences), to be said
on this part of the subject.
cular moldings are not very
little
Rich and good Perpendi-
common, most examples
but of three or four very ordinary members, which either novel or interesting to the view
ceding styles there
is
remains
;
consisting
offer
nothing
while in the two pre-
ever something singular, or beautiful, or
ingenious in the treatment of the moldings, to arrest our atten-
But Perpendicular
tion and add to our store of knowledge.
work
is
by no means to be despised,
for
many points may be
found,, such as the jamb-shafts in deeply recessed doorways,
which form groups of considerable delicacy.
PL. VIII.
fig. 1, is
from the west doorway
Stamford; early in the
style.
Fig. 2 is the same, from the
isolated tower at Dereham, Norfolk.
Saham Toney
;
fig.
at Uffington, near
Fig. 3 the same, from
4 from Fishtoft, Lincolnshire.
from the east window
at Leverton, in the
Fig. 5 is
same county
;
F
fig.
6
;
MANUAL OP GOTHIC MOLDINGS.
66
from Partney
fig.
;
7 from Louth, both doorways
Stewton, a window-jamb; coln fig.
fig.
;
9 from an
fig.
Fig. 8 from
;
in Lin-
window
oriel
12 from the south Choir Chapel, Lincoln Cathedral
10 the east window at Chesterton, near Cambridge
an arch in
Sepulchre's Church
St.
Great Gransden, near Stapleford, near
Neots
St.
Cambridge
Holy
a pier-arch from
from Long Melford, Suffolk
Stamford;
fig.
Colchester
Trinity,
fig.
;
13 at
15 the east window at
16 from Great Shelford
fig.
;
14 from a niche
fig.
;
fig.
;
fig.
;
;
fig.
fig.
;
17
18 the same
at St. Martin's,
19 a doorway
20 the pier-arches of the same church;
fig.
21
from Louth.
PL. IX. Stamford
from
St.
fig.
1,
2 the west doorway of the same
fig.
;
from the east window of
is
John's Church, Stamford
in that town
All Saints
;
;
fig.
fig.
5
is
Skirlaugh, Yorkshire,* ;
fig.
;
fig.
fig.
fig.
;
doorway rence
;
3 the same
8
fig.
7 a window, from
from the chancel door at
is
10 the south doorway, Skirlaugh; ;
fig.
12 a window of
13 the belfry-arch at Haslingfield
at Grantchester
fig.
fig.
9 the north doorway at Harlton,
from Basingstoke, Hampshire form
;
4 from the Bede House
from a pier-arch in the noble church of
6 the west doorway, and
Histon, near Cambridge
near Cambridge
fig.
;
Martin's,
St.
;
fig.
;
fig.
fig.
11
common
14 the south
15 a molding of constant occur-
16 from St. Albans;
fig.
a window, from Byhall, Rutland.
17 a doorway, and
The former has
fig.
18
large sculp-
tured paterae in the central casement. It will be observed that the distinction of the orders
completely lost in this style, while
Decorated moldings. that in
many
it is
It also appears,
;
and that
occasionally, as
two parallel planes are taken The two moldings,
often
from the examples given,
cases the chamfer-plane is either
an angle of 45°
is
seldom undefinable in
more or
PL. VIII.
for the basis of the
less fig.
tban 11,
arrangement.
8 and 10, are borrowed from the " Churches 11 and 16, from Messrs. Brandon's excellent work, the " Analysis of Gothic Architecture." *
of Yorkshire,"
and
figs.
figs.
PERPENDICULAR MOLDINGS. The casement
is
sometimes so extravagantly hollowed as to
give the appearance,
and probably the
actual effect, of weakening the jamb.
This
a
is
great
67
fault,
and
**^ll \:lass
always
produces a very unsatisfactory result to the eye
and substantial support.
of perfect
may
instance
window
One
which desiderates the idea
An
moldings, especially in late ones.
°
GranteTeste^ch^b Ki«, i'tafto itt
of Grantchester Church.
principle of composition
w
The
be noticed in the west
may sometimes be This
is
traced
'
in
the custom of ending
with a repetition of the same
members which commenced
U||
the group, the centre being
occupied by a different one.
This
may
PL. IX.
be illustrated by
figs. 3, 6,
8 or by
the annexed cut.
Students of the present subject will find a very valu-
able
series of illustrations
of base, capital, and archx
molds of the three
West doorway, Overstrand, Norfolk.
styles in
pp. 76, 77 of Professor Willis's " Architectural History of
Win-
chester Cathedral," published by the Archaeological Institute,
1845, and in
many
other accounts of cathedrals by the same
author.
The question
of composition involves that of the grouping of
molding, the variation of the same feature, as, for instance, in the
arch-jamb of a doorway or window, or of the arch and column in
an arcade. In early work the jamb shafts carrying their
is
frequently formed with detached
own capitals, and on
arch moldings are often arranged.
these capitals elaborate
In the annexed example from p 2
MANUAL OF GOTHIC MOLDINGS.
68
Heacham,
in Norfolk this is clearly shown,
and
it
will be noticed
that the fore-
angles
most
jamb
of the
are in position
immediately
1
«#
below the
re-
entering angle of the
arch-
mold. In this
example
the
square of the
moldings cut
of
out
stone
which
is
the are dis-
tinctly seen. Inner door, south porch, Heacham, Norfolk.
this case the
Scale, 1 in. to 1 ft.
chamfer forming the inner
Priests' door,
Heckington, Lincolnshire.
member
Scale, 2 in. to 1
Even
in
close to the
ft.
PERPENDICULAR MOLDINGS. door
continuous, being the same in the
itself is
69
jamb and
in the
arch-mold.
As
the styles developed the detached were superseded by
engaged columns, but we in the
still
jamb and arch-mold.
frequently find considerable variety
This
is
shown in the annexed
example from Heckington Church, Lincolnshire
much larger proportion common to both. a
When we
;
but frequently
of the moldings are continuous
get into Perpendicular work
we
and
find the fiat case-
ment very com-
mon and
was
it
invariably
con-
tinuous.
The
shafts are smaller
and
a
larger
number
the
of
members
are as
continuous, in
the
annexed
example KiDg's Chapel, bridge.
from College
CamSome-
times,
indeed,
they
become
mere beads.
The same
Portion of Arch and Jamb, inner door, south porch, King's College Chapel, Cambridge. Scale, 1 in. to 1 ft.
as-
sertion of the continuous
molding
as the styles advanced.
is
found in other positions
The Early English columns in an
arcade with the detached shafts carried arch moldings which at first sight
seem
to have but little connection with the shaft
as an example.
In Decorated work the
plain octagon shaft carries the sub
and main arch-molds with
their hollow chamfer or other mold-
MANUAL OF GOTHIC MOLDINGS.
70
ings; but
when we
get
to
continuous, excepting for
later
work we
find the
molding
small shafts which carry a varied
arch-mold.
In tracery also the mullion will have or rather sub-orders, contained in
and break into the
name
the different orders,
and these
it,
forms
different
all
so well
of tracery
;
will
branch out
known under the
but beyond this the
moldings are wonderfully
plastic, in the
hands of the master designer, and where
member which seemed only
a
strong
in
tracery
as
in
it
a
mullion looked
little
make
The
real
in
accompanying diagram,
of what
so
real artistic effect
one
may term
much and so
cast-iron
master of his craft never hesitated to
his moldings exactly
position they were in.
heavy
was frequently thinned down,
was thought of
regularity.
sufficiently
what he thought best suited
for the
PLANS OF GOTHIC COLUMNS.
SECTION
71
VIII.
PLANS OF GOTHIC COLUMNS.*
This subject the forms
falls
of
properly under the head of Moldings, since
piers or
columns more or
But
details of the arch-moldings.
it is
the
less partake of
one of such extensive
scope that only a few general rules can here he given for dis-
tinguishing the styles.
And
of these the bases
and
capitals
will generally afford the surest indications.
A few
sections have been given for the purpose in
The general plan
PL.
III.
of the columns which support the nave
or other principal arches is either square, circular, octagonal,
diamond-shaped, or parallelogramic
;
and these forms are either
simple or complex. Simple,
when composed
involving a
number
of one plain
member, that
is,
not
of aggregate parts;
Complex, when consisting of a core surrounded by smaller shafts, detached or engaged.
The
earliest
form of column
is
those in the ancient chapel in the
the circular, as
is
proved by
White Tower, London
(pro-
Norman architecture in England), examples at Waltham Abbey (which, whether
bably the earliest piece of
and by similar
Harold's Church or not, Cathedral,
St.
other places.
is
Sepulchre's
Polygonal
undoubtedly Church,
Norman
early),
at
Norwich
Cambridge, and piers,
of vast
many
size
and
strength, support the eastern transept walls at Peterborough
Cathedral.
And
these simple forms continued in
common
use
throughout the Transitional, Early English, and Decorated *
The mediaeval terms
tively pillars, chapiters,
columns, was the patin. clature," pp. 39-41.
for columns, capitals,
and verges.
The
and
shafts,
were respec-
the See Professor Willis's "Architectural Nomenplinth, or footing of
MANUAL OF GOTHIC MOLDINGS.
72.
periods in ordinary parochial churches,
where they are some-
times disposed alternately, or in opposite rows.
common arrangement derived from
it
thus
;
recesses, like the arch
soon
filled
is
that of the square
But
a very
or
forms
plan,
with angular
it was sometimes and sub-arch, and these recesses were
cut
With
with small shafts.
columns the vault-
circular
ing shafts were commonly stopped above the
by a
capitals
were frequently brought down to the ground
corbel, but they
with the rectangular plan, where the
continuous with that of the wall ing the
sub-arch was often
Thus we
obtain,
;
flat
face of the pier
and the member
was
also carry-
into a semicircular form.
made
though in a heavy and simple form, a regular
was
clustered shaft, which, during the Early English period,
brought to a wonderful degree of lightness and elegance.
These complex Early English piers are often extremely beautiful
more
;
so,
are so varied in arrangement that
place to do
They
perhaps, than those of any other style.
more than
notice
it
would be impossible in this
their
general
characteristics^
which consist principally in the number of smaller isolated shafts clinging to a central
column,
to
which they are
intervals attached in reality as well as in appearance,
bands or or of
at
by molded
These shafts are generally of native marble,*
fillets.
some other kind
clustered capitals
of stone than
and bases
the central pillar.
are often
The
worked out in one large
piece.
A circular
column, surrounded by four,
detached shafts, are very
a beautiful
is
common
;
six, or eight,
and common
device.
the choir-aisles at Ely, the
Fountains Abbey (PL. XIX.
fig. 8),
smaller
Examples
Lady Chapel of
and many parts of West-
* It is a curious fact that the mediaeval English architects appear never to have used any foreign marbles, in construction at least. The Purbeck limestone, composed of comminuted freshwater shells (whence it is called lumachella marble), being part of the "Wealden formation, and taking a fine polish, though liable to disintegrate, was much used in
the thirteenth century, but much more sparingly afterwards, except for tombs and the beds of sepulchral brasses.
PLANS OF GOTHIC COLUMNS. minster Abbey, have this kind of compound
made up
cases the column is
73
In some
pillar.
of several shafts, generally four,
placed close together, without any central core, as in the round
nave of the Temple Church.
In
midway band
or bonding-stone,
the shafts.
The
this case there is always a
worked into annular
not always
shafts are
though usually so in the pure lancet
fillets
PL.
style.
to
applied,
separately
III. fig. 11, is
an instance of attached shafts so deeply undercut that they have the appearance of complete
The lower
Abbey. still
It forms
isolation.
part of a similar one, rather later in date,
stands in the vestibule of St. Mary's Abbey, York
there is a very good example at Exton, Rutland. is
from All Saints', Stamford
colnshire is
and fig. 12 from
;
from Skelton, near York
;
fig.
17
common form
of
and
;
this is a very
with some
piers,
PL. XIX.
a beautiful
5, is
former
style,
Rutland.
17.
^>Wg,
example of the
\M
from Grantham
w/
is
The annexed
Church.
is
is
/
wS^
^jIlP
^m^-^-^---^
reduced from the section given in Mr.
HP
illustrations of that church.
Half of a
roll-and-fillet
set
Ruskington.
on each
side of a square, the corners of
which
project,
times worked into smaller pointed beads, rence.
\
m^^
from Rus- \^'^
kington Church, Lincolnshire, and
Bowman^s
varieties, as fig. 16,
from Stretton Church,
Fig. 6
III. fig. 8,
St. Peter Gowt's, at Lincoln. Fig.
and in PL. V.
figs. 15,
PL.
,
and
;
13 from Ruskington, Lin-
Early English and Decorated
fig.
an ex-
Chapter House of Furness
in the
quisitely graceful feature
The square being
set
to
the
is
and are some-
of constant occur-
cardinal
points,
the
addition of the shafts changes the outline to the diamond form.
The
fillets
running up the face of each shaft usually pass over
or round the astragal, and die into the bell of the capital, as in
PL. X.
fig.
40.
Towards the Geometric
era, that is, after
1240, the shafts or
MANUAL OP GOTHIC MOLDINGS.
74
verges, as
they were anciently called, began to be generally
engaged, or attached to the central mass.* in the choir of the
The
Temple Church,
This will be seen
erected at the above period.
construction, therefore, is entirely different, the whole dia-
metric section being worked out of one block, for the sake of
Decorated piers always have their
greater strength.
engaged, so that a clustered column nelling the surfaces of the
and shadows.
lights
commonest forms in cathedrals
;
PL.
mass in
is
in reality formed
lines
III. figs.
shafts
by chan-
and hollows of graceful
14 and 16, are among the
but the richness and extent of the great piers
and abbeys
it
would require a volume
Fig. 14 is from Utterby, Lincolnshire, and
is
to set forth.
remarkable for
the hollow faces, which are seldom found but in small shafts in
Perpendicular work. Perpendicular piers are generally of oblong or parallelogramic plan, the longitudinal direction extending from north to south.
On
the east and west sides half- shafts are
attached,- which bear the innermost order,
or soffit-moldings, of the arch
;
the rest,
including the great casement or hollow,
being usually continuous, without the interruption of any impost.
examples exist at Great
Very good
St. Mary's,
Cam-
bridge, where vaulting shafts arealso added
on the northern and southern faces. PL. III. fig. 15, isfrom Attleborough, Norfolk,
.
(
iitl
of late
from
St. John's,
Decorated date.
almost universal method. PL. XIX. Essex.
The
PL.
III. fig. 18,
Stamford, a plain but good illustration of this fig. 4,
from Saffron Walden,
principle which led to this form was the desire to
obtain width in the direction of the thickness * Shafts ceased to stand
of the wall,
detached or banded into clusters, and became mass the bands, no longer of any use, real or apparent, being suppressed. " Brandon's Analysis," p. 2. instead firmly compacted into a
—
;
PLANS OF GOTHIC COLUMNS. combined with the
least possible bulk,
between the columns.
75
and the greatest span
In this they followed the
plan of window monials
;
in fact, in
some
j&
H
late
churches, as at Swavesey, near Cambridge, they
become nothing more nor
less
fo/K
than exaggerated
1
monials with shafts attached to carry the subarch.
Another form, however, occurs not 'infrequently in Perpendicular columns,
PL.
III.
figs.
19
which
and 20, the
is first
shown
in
from
St.
In these the
Martin's, the second from St. Mary's, Stamford,
ground-plan angle (as
In the
fig.
is
a square, and each face (as in
fig. 19),
or each
20), if set diamond- wise, carries an engaged shaft.
first case,
a hollow is
Swavesey.
the angles are chamfered away
sunk in the
face
;
between the shafts.
of later date than the parallelbgramic plan.
in the second,
This
Still,
is
usually
examples are
/
\
IP Ensham Church.
Long Ashton.
Wood Ditton Church.
not wanting of early Perpendicular character, as in
Long Ashton
Church, Somersetshire, built about, or rather before, 1400.
The example tical
is
taken from Bowman's " Specimens of Ecclesias-
Architecture,"
PL. IV.
The nave columns
in this church
consist of a square, with a three-quarter circular shaft engaged
on each
face, the angles
being cut away into the wave-molding,
which runs continuously round the arches.
PL. XIX.
fig. 7, re-
MANUAL OF GOTHIC MOLDINGS.
76
presents a column of good Decorated date in the crypt at Gran-
tham, in which the same principle of formation
The parallelogramic plan
is
is exhibited.
sometimes found in Decorated
columns, but not until the close of the
style.
The woodcuts
on the previous page represent such a column from "Wood Ditton
Ensham Church,
Church, near Newmarket, and that from c.
1400, given in "
The Oxford
Architectural Guide," p. 139.
SECTION
IX.
CAPITALS.
The moldings
of capitals and bases form not the least in-
teresting, extensive,
And
and important part of the study.
they have the peculiar advantage of being more definitely
marked, in the various periods of architecture, than any other kind of moldings.
It- is
by no means impossible, even
for
an
experienced eye, to mistake the details of a Decorated for those of a Perpendicular archway
;
but no one moderately
acquainted with the subject could hesitate in pronouncing the style of a capital or base, provided it possessed
any character
at all.
To go very
rapidly through the history of a column,
we may
suppose that an upright post planted in the earth was found to sink, or decline
from the perpendicular, by a great superincum-
bent pressure.
This failure suggested the necessity of a plinth,
or broad footing of masonry, on which erect,
and immovable.
in the construction of
rude timber-work.
it
might stand
This arrangement we
wooden sheds or
may often
rustic
firm,
observe
homesteads of
Again, a great square stone would naturally
be placed upon the top of the
pillar or post, as the
bed or
CAPITALS.
77
cushion to receive the superstructure, whether arch or entablature.
It
was from such an origin that the highly elaborated
Gothic base and capital arose.
Examples
fully as
rude as this do actually exist in English
ecclesiastical architecture, so that
Barnack and
many
St.
we have
Mary Bishophill
others of probably
positive fact to guide
The ante-Norman
us instead of mere theory.
much
belfry arches at
Junior, York, with a great
later date,
have square
pillars
on
each side, resting upon and surmounted by rude and clumsy blocks of stone.
In the
Norman
when
period,
and lowest members
the shaft was round, the highest
only, respectively called the abacus
and the
plinth (anciently the patin) were square, the parts immediately
below the one and above the other being rounded shape of the shaft.
How
this
shown
PL. X.
in
was done in Norman
Transition'
Cushion Capital.
fig. 2,
and
off to suit the
it
is
Norman
capitals is
Capitals, Bolton Abbey.
seen in the ordinary form of
what has been called the cushion capital.
The
lingering re-
luctance to get rid of the square plinth, in the tongue-shaped leaves or other grotesques which are often seen to issue from the circular
moldings of Transition-Norman bases, and extend to
the otherwise vacant and superfluous angles of the plinth,
worthy of observation. necessary
;
It
was
felt
is
that these angles were not
but the mediaeval builders preferred to decorate what
as yet they did not wish to cut away.
Even
in the advanced
Early English columns in Westminster Abbey instances of floriated bases
may be
observed.
MANUAL OK GOTHIC MOLDINGS.
78
But the simple square was sure and
took place
this
first
undergo some changes,
to
In the more elaborate
in capitals.
Classic styles, the sides were cut out
curved inwards
or
—a
feature some-
times seen in Perpendicular octagonal capitals
;
but this method of relieving
and lightening the massive impost does not seem to have occurred to the
Komanesque
They
builders.
either
cut off or cut out the corners, as soon
Hy
,
^^
^^
as the pier-arch, by becoming recessed
or involving a sub-arch (PL. I.
gular nooks were cut in the
of the
a portion
left
fig. 4),
That
bearing surface unemployed and superfluous. angles of the
rectan-
is,
square abacus,
corresponding to the graduation of the sub-arch, as in the
accompanying
cut,
and examples may
" Illustrations of Buildwas Abbey," process
came the
octagonal, [form
also be seen
in Potter's
From
the former
pi. 6.
and either by removing
;
angles indefinitely, or, more probably, by adopting the shape of the shaft,
we obtain the
before plinths
;
and base of the
circular capital
and second Gothic periods.
But
first
became octagonal
capitals
and similarly octagonal plinths were retained
long after circular capitals had become universal.
Gothic capitals floriated.
and
is
may be
divided into two kinds, molded and
The upper member,
or abacus, is
the relic of the rude impost which
stone post, from which
it
common
first
to both,
surmounted the
was transferred, through the medium
of the Classic to the Christian styles.
be the primary and essential, and, as
it
This seems, in were, practical
the others being only decorative adjuncts. called the neck or astragal, is also
common
fact, to
member,
Tbe lowest member, to both kinds
in floriated capitals foliage covers the intermediate space, is
otherwise occupied by the overhanging and undercut
called the bell, with its
accompanying moldings.
;
but
which
member
In the Transi-
CAPITALS.
79
tion-Norman and Early English, the
foliage, as is well
arranged vertically; in the Decorated
known,
it
twines horizontally,
or rather transversely,, round the capital.
In Perpendicular,
is
floriated
capitals
are rare
;
more frequently small
leaves, or
patera, are set like studs at intervals round the shaft above the
But the vine
neck, as in Great St. Mary's Church, Cambridge.
and the strawberry
leaf
is
sometimes seen, very
worked, however, from the deep earlier styles,
The
differently
overhanging foliage of the
being only a shallow kind of surface ornament.
dog-tooth, the nail-head, the ball-flower, and other orna-
mental moldings, sometimes occur in
capitals,
and in
later
work
the Tudor flower, or crestings of minute battlements (occasion-
Even
frequently found.
ally floriated), are also
angels' heads
with spread wings are sometimes found, as in the belfry-arch of
Great Shelford, near Cambridge, and in the choir of Wingfield
Church, Suffolk.
some
Occasionally (in
subject is grotesquely sculptured below the abacus.
this there is a very curious
Or
Norman work commonly)
example
at
Of
West Keal, Lincolnshire.*
a subject is intermixed with the foliage, as in
some very
interesting Early English capitals in the south transept
and the
north porch of Wells Cathedral.
But
of floriated or sculptured work
province to speak.
It is
enough
it,
of
the Bomanesque we find
as used in capitals, very closely approaching the
Corinthian acanthus, or the Ionic volute Transitional
not at present our
is
to observe that the origin
foliage is probably Classical, since in
the style of
it
Norman
capitals at the east
;
for
example, the
end of Canterbury
Cathedral, and not unfrequently in parochial churches (as at
Barnack), seem clearly to be. Classical in general features, and
almost so in their *
On
details.
Others, however, will have
one of the capitals (which are Decorated) a fox is laying hold of it behind.
goose, while a chained ape
is
it
that
carrying off a
The Decorated
capitals in Oakham Church exhibit the same design, among others. This kind of capital may be called Pictorial, as the author has suggested in the " Manual of Gothic Architecture," p. 110.
;
MANUAL OF GOTHIC MOLDINGS.
80
the origin of the foliated capitals
There can be
little
rather from the East.
is
doubt that the influence of both prevailed
in the introduction of foliage into Gothic capitals, it
was subsequently transferred
to other parts of buildings.
of capitals, in pure Gothic architecture, to speak
The use
constructively,
is
are stopped by
it
tinued
down
to receive the at the
to the
summit
ground.
clusters of arch-molds
of the column,
For,
away
jamb
which
and not con-
when the arch-molds
wholly identical with those of the either die
from whence
are not
or column, they
must
which case they are called
at the spring (in
discontinuous) or be abruptly stopped
by a projecting impost.
In many cases the moldings are partly continuous and partly stopped by the capitals
;
certain groups being borne
by shafts,*
while the intervening hollows are continued to the ground,
forming at the same time deep lines of division between the groups of arch-molds above and the separate jamb-shafts below. .
This, is particularly the case in Perpendicular piers
Here the
as described in Section VII.
moldings are borne by a
shaft, the outer
while in Early English doorways the
soffit
and arches,
or innermost
being continuous
soffit
is
generally con-
tinuous, the others carried by shafts, as in
and 19.
Again,
stand isolated
arm,
may be
;
in
PL. II. figs. 18 Norman and Early English, the shafts
in the latter so far that the hand, or even the
passed round them.
In Decorated, they are
engaged, fewer in number, less prominent, less important in the apparent work of
become
support.
entirely subordinate,
And
in Perpendicular they
and merely decorative, as may be
observed in the porches and doorways of King's College Chapel.
Hence, by an ulterior debasement, mere bowtells, as we before remarked, are furnished with quasi-capitals and bases. In
some cases
a
member
of the
same
projection
and diameter as
* By what is called decorative, i.e. apparent construction. The moldings would in reality remain in their places as well without as with the bearing shafts.—"Willis's "Architecture," Chap. II.
CAPITALS. the bowtell
is
81
continued above this quasi-capital
be allowable), but slightly varied in form and
The moldings
only in very late work
impost
capital or
became
pier-arches
of
entirely
and the reason
;
is essential
(if
is,
the term
profile.
continuous
that the idea of a
column;
to that of an isolated
while in the jambs of doorways and entrance arches, the shafts
themselves, and therefore the impost, at will, as a
A
mere matter
may be
omitted or added
of decoration.
good Gothic capital
is
a feature of remarkable beauty.
Take, for example, those of the piers in the nave of Trumpington Church, Cambridge, and
Hingham, Norfolk, PL. XII.
11 and 15, or the woodcuts on pages 77, 78.
figs.
Small in
complex and graceful in their members, yet judi-
projection,
and
ciously subordinate to both arch into one the bundles of shafts
pier,
they seem to bind
which form the column, while,
by their reversed or horizontal outlines, they intercept and at the same time form a satisfactory termination to the vertical lines above
and below.
Gothic capitals consist of three parts
And
and the neck.
capitals, or those in
PL. X.
fig.
1
these parts are distinctly visible in block
Hera a
from
is
from Middle Rasen, and
same county.
in village churches.
shows the two uppermost members in their
Fig. 3
rudest state.
the abacus, the bell,
which the members have not been worked
Such may occasionally be met with
out.
will
;
is
fig.
Laceby, Lincolnshire
5 from
the abacus, b the
be observed that Gothic capitals
to this outline, as
fig.
Walesby, both
may
bell, c
;
fig.
in
the neck.
4
the '
It
generally be reduced
16, from Great Abington, Cambridge-
shire.
The most
certain evidence of date is furnished
by the mold-
ings of the abacus.
The
upper edge always
square, and the under edge rather plainly
left
chamfered or cut into a
forms of the abacus had the
earlier
flat
ovolo
;
at first the fillet
was large
in proportion, and gave a heavy appearance, but the lower edge-
MANUAL OF GOTHIC MOLDINGS.
82
mold gradually became more important, and was frequently cut into a hollow chamfer,
and sometimes quirked and finished also
By
with a bead, as at Heacham, Norfolk.
Coton.
St. Sep.,
Cambridge.
Cant. Oath. Blatherwick, Byland. IXorthants. Crypt.
abacus was obtained, which held style, as
maybe
But then they began tion
light
its
Heacham, Wadenhoe,
ground
Norfolk.
Korthanta.
far into the
Early
seen at the Eefectory, Eivaulx, &c.
away the upper
to cut
edge, the projec-
was made greater, and the under side was cut or hollowed
out, so that
it
seems
to
the shaft, and with the
overhang the bell just as the bell does
same
profile, consisting of
The Decorated abacus has the
roll-smd-fillet.
with a cylindrical figs.
means a
i I s \ I 4
t
English
this
roll of
the half of a
scroll-molding,
rather less size below
it.
PL. X.
38 and 39, represent these peculiarities, and an examination
of the sections of the capitals of both styles will this distinctive
abacus fig. 8,
is
mark is wanting.
show how
rarely
In Early English capitals the
sometimes quite plain, as
fig.
17, from Thurlby,
and
In the reign of Edward
from Frieston, Lincolnshire.
I.
a peculiar molding occurs, something between the two, which
may
be called an undercut
fig. 9,
it
from Stickney, and
may be
English
scroll-molding.
fig.
12,
This
is
seen in
from Lincoln Cathedral, and
considered a characteristic of Transition from Early
to Decorated.
The moldings shown
in
times
found;
fig. 5,
of the bell are generally kept within the limits
but in very minute work exceptions are some-
for instance,
at
Temple
Balsal, Warwickshire,
the capitals to the small shafts on the moni-als of some of the
windows have the
The woodcut of the
is
bell
projecting
taken from
Middle Ages."
quite beyond the abacus.
Bowman and
Where
Crowiher's " Churches
foliage is introduced
it
often
CAPITALS.
way even
projected a long
seems license
when the
have been
turned
might account
in
lathes,
for treating a
where the
Small
of
effect
and
to
this
molding
like
foliage
was
In Early English capitals the
desired.
has
bell
was small.
scale
sometimes
double
a
set
of
"
moldings, which gives a very handsome
This
effect.
is
fig.
PL. X.
seen in
28, from Tintern
and
and a molding
large capitals,
the same
and bases appear frequently
capitals
foliage
in
been allowed
to have
83
(111
19,
22, from Furness
fig.
;
figs.
—W—
capital
;
onMoniafK window.
24, from Bolton.
Capitals occur in their greatest perfection in shafts. larger
piers,
octagonal
of
or circular
elaborate or so decidedly marked.
form,
are
The
seldom so
In these the abacus
the
is
member which affords any sure indication of date. The distinguishing feature of Decorated capitals has been
only
stated
be the
to
and
the abacus,
of
scroll-molding
perhaps
in
ninety-nine out of every hundred
examples
the
Yet some
capitals presenting the
same
feature
rule
are
said
Early English date. that
the
Early
holds
to
good.
be of
It is believed
English
abacus
scarcely ever occurs in pure Deco-
Decorated Capital, Grantham.
rated work.
The
bell is
seldom so prominent or so deeply undercut in this
as in the preceding style.
As
a general
rule, the projection
(i.e.
the relative diameter to that of the shaft) became gradually
less,
both in capitals and bases, as the styles advanced.
above cut furnishes an exception to the rule. pendicular work, when the shafts became, as
it
The
Thus, in Perwere, mere parts
g 2
MANUAL OF GOTHIC MOLDINGS.
84
became
of the entire groups of moldings, both these features
Decorated capitals preserve the happy
minute and subordinate.
medium between
the clumsiness of constructive members, and
the
mere ornaments.
inutility of
In this their remarkable
beauty really consists, in that they occupy the truest and most
With
consistent position as architectural parts of the whole.
respect to their details, the moldings of the bell present the
principal varieties
but these are generally some modification or
;
Very often the under
corruption of the roll-and-fillet. part of the bell as in
is
PL. XII.
member shown
in the cut, and in
examples of Decorated
of forty-three
PL. XI. and XII. ten of them have the others present in
PL. XII.
some
fig.
entire roll-and-fillet,
and PL. XI.
12, 20.
figs.
more frequently formed by the compound
It is still
Out
composed of an
figs. 3, 8,
slight variety of
it.
XL
PL.
fig.
given
capitals
bell thus formed,
4.
in
and
It is seen in elevation
15, the beautiful capital of the nave-piers at
Hingham. Decorated capitals seldom have double moldings to the at least
much
less frequently
than in the Early English
Three examples are given, PL. XI.
fig.
2,
from Yaxley, Hunts,
very early in the style, as appears by the abacus,
and the annexed
cut,
bell,
style.
PL. XII.
fig. 9,
from Harringworth, Northants.
The neck, an
or astragal, forms
important
detail
in
deter-
mining the dates of
capitals.
the Early English
it
is
In
usually
a heavy and bold annular molding, of a stilted or oval shape, or
rather as n
more than half
PL. X.
fig.
or the semi-hexagon ;
the prevailing form. rated neck is almost always the scroll-molding
;
a circle,
Either this
11.
(fig.
15)
is
The Deco-
but both the
;
CAPITALS.
Early English forms, with
The
85
many others,
capitals of both styles are
often
will
be found to occur. nearly identical in
so
general character and principles of formation, that a practised
eye
may now and
And it
then be deceived in their date.
is
here important to remark, that though the vast majority of capitals in all English buildings will be found to fall in with the
rules laid
down
difficulties in
in this work, anomalies do occur which present
any attempt to
classify
them and the same
is
;
true
of bases.
Perpendicular capitals present very marked features, which
The moldings
are seldom liable to be mistaken.
angular, meagre, and few. defined
—
Neither abacus nor bell
are large,
is
so clearly
a fact similar to that already stated with regard to
the arch-moldings of this style, that the distinction of orders generally lost.
is
Frequently the abacus appears so far blended
into the other part of the capital as hardly to be a separate
member, and the
bell either
perfectly developed.
wholly vanishes or
The upper
is very-
part of the abacus
sloped off to a sharp edge, like the chamfer of an angle section of the
molding below resembles the
letter S,
im-
usually
is
;
the
being an
ogee formed by a bold concave returning into a
prominent convex the capital
is
(as at
Coton)
;
and, above
all,
nearly always octagonal, while that
of the preceding styles is
commonly round.
shaft, however, is circular in Perpendicular
The
% K> <j^
work
while octagonal capitals only occur in the other styles in the case of large ,.
i
the same shape,
/. it
columns of
single ,
we except
a
n
few cases
Early English arcading shafts with octagonal the
transepts at
n
Coton,
Cam b.
ot
capitals, as in
Histon, near Cambridge, the west front of
Peterborough Cathedral, and in the choir-aisle of Fountains
Abbey.
The same
principle
which induced the
latter architects to
prefer sharp edges and abrupt lines in their moldings to the
MANUAL OF GOTHIC MOLDINGS.
86 soft
and blending Decorated forms, made them revert
octagonal capital to the rejection
to the
The
of the circular.
base,
generally circular
in its
upper members, and octagonal
below,
however,
is
PL. XY.
as in
figs. 1
Perpendicular
and
PL. XII.
embattled, as
2.
are
capitals
often
16, 22,
figs.
26, 29, an arrangement which
is
rare
in the preceding style.
The Lancaster Church.
or neck, is either a
astragal,
^^
p j ain
^
j^
&
of
deba8fld
scroll-molding with the upper edge chamfered, as in the abacus.
Another form, resembling a coarse keel-mold, com-
mon
&
ill
fig.
'M
to both
is
that
shown
and the neck
The
with
bell
PL. XIII.
of fig. 15.
and
overhanging
its
by a meagre
undercut
the projection
moldings having vanished, capital is often produced
PL. VIII.
in
21, which occurs in the abacus of
fig. 8,
m
members,
3 and
slope, as figs.
Sometimes, however, but not very often, the
of
bell remains.
the 5.
Its
form seems capricious, and reducible to no certain rule, though the
profile is often
much
same as in Decorated work.
the
Perhaps greater license was taken in general in designing the moldings of this style than in any other.
The
section of the Perpendicular abacus is a
Thus
of the Decorated scroll-molding. 10,
in
and 12, we see nearly the same form as
and by omitting the under the ordinary profile of
fig.
molding
shown
is
separately
are taken. specified.
A
in
as in figs. 20, 21,
PL. IV.
occupy
numerous
fig.
figs.
7,
in the Decorated
;
we obtain
This debasement of the
15.
It will not be necessary to
places from which our
roll,
mere corruption
PL. XIII.
scroll-
22.
much space
in stating the
sections of capitals
and bases
few only of the most remarkable shall be thus
PL. X.
figs. 7, 8,
are from Frieston, Lincolnshire.
CAPITALS.
Here the this
bell is
of rather unusual form, perhaps
than in the next
PL. X. late in
fig.
the
style, as
and 13
style, as in
PL. XI.
figs. 9,
same
Of the same date and character
place.
Fig. 18
Abbey, very rich and
from the Chapter House of
is
;
19 from Tintern
fig.
Fig. 22
fine in its profile.*
the details of the styles
may form
It is
from Tintern, rather late, and remarkable in is
from Arreton,
of
much
larger size than usual.
elevation of the
XL
Fig. 37
1
and
unusual
is
from Legburn,
in depth) fig.
in the
Fig. 3
fig.
11 from Partney
fig.
;
is
—
all
13 from Waltham.
The
is
fig.
in Lincolnshire. of large
Figs. 15,
identical.
the
is
a fine
;
10 from Fig. 12
(15 inches
size
17; are
16,
This
from Aswardby, Lincolnshire, depth one
22
is
from Fletton, Hunts
the form of the pier capitals at Heckington.
fig.
4
fig.
9 from Sibsey;
same county,
from Lincolnshire, and almost
is
Fig. 40
and depth, in a chapel used as the
from Leverton;
7,
from Bolton Abbey, bell.
from Yaxley
2, are
size
vestry in the church at Boston.
Stickford;
Fig. 29
its profile.
most ordinary form in shafts and clustered piers.
figs.
capital of very
Fig. 28 is
Fig. 30 from Saffron Walden,
Wight.
Isle of
with the nail-head in the hollow above the
18
from Furness
Figs. 23, 24, 26 are from Bolton Abbey.
6,
in
a correct idea of the leading
characteristics of the capitals of this period.
is
shown
is
by studying which, those who are unacquainted with
elevation,
figs.
11, 15, 16, 17.
appears from the undercut scroll-abacus.
Furness Abbey, and has the double bell
PL.
so in
the former from Lincoln Cathedral, the latter
;
from Kuskington.
Abbey.
more
a noble capital from Stickney, Lincolnshire,
9,
Fig. 10 is from the are 12
87
all
is
Fig. foot
;
from Abington, Cambridgeshire.
sections of Decorated capitals in
PL. XII.
are mostly from churches in the neighbourhood of
Cambridge. * for
Fig. 14
The student
many
is
is
not
uncommon
in Transition
caSindge.'
again referred to Potter's illustrations of this abbey and bases, drawn on a large scale. *
beautiful capitals
MANUAL OP GOTHIC MOLDINGS.
88
to Perpendicular
Louth
at
ment
at
(see
it
;
occurs at Maxey, Northamptonshire,
XL
PL.
fig.
28).
Fig. 13
is
from a
Shelford, near Cambridge.
Little
The
fine
and
monu-
rest of the
sections in this plate are Perpendicular.
PL. XII.
This has a
16, is from Careby, Lincolnshire.
fig.
battlement above, and the double ogee below, the abacus. similar feature is the wave molding, in the
A
same position, in the
Decorated capitals of the nave columns at Dunchurch, Warwickshire.
PL. XII.
This and
19, is from Uffington, near Stamford.
fig.
the next illustrate the methods of obtaining the plane of the
moldings, which in this style should be attended to.
26 and 27 from
23, 24, are from St. Martin's, figs. fig.
28 from
St. George's,
and
fig.
Figs. 22, St. John's,
29 from the Bede House,
all
in Stamford.
PL. XIII. Louth
;
fig. 1, is
figs. 8, 9,
near Cambridge tishall, Norfolk,
neck
circular.
;
12,
from Long Melford, Suffolk
from Colchester
fig 13,
Here the abacus Fig. 18
is
;
fig.
from Fen Ditton is
;
;
14 from Harston, fig
17 from Mat-
octagonal, the bell and
from Els worth Hall,* Norfolk
from Dry Drayton, near Cambridge
4 from
fig.
;
fig.
19
from
;
fig.
16
Saham
Toney. *
An
interesting specimen, very
the Fifteenth Century.
little
known,
of
a moated mansion of
BASES.
89
SECTION
X.
BASES.
The
earliest
examples of bases must be looked
for in the
rude
monolith blocks which support the pillars or pilasters in the
Ante-Norman churches, such and others already mentioned.
as at "Wittering, near
Stamford,
These are often mere shapeless
lumps, laid down as they were raised from the quarry, and consisting only of the single
Norman
member thus
presented to view.
more regular method
architecture first adopted a
in
constructing the footing of a column, and from that arrange-
ment those
of the subsequent styles are readily deduced.
The
Classic pillar was evidently the prototype of all these.
Bases consist, in early work, of at least two distinct members
—the
plinth, or lower step, of solid masonry, generally square
in early work, but octagonal in later
;
and the base-moldings,
a series of annular rolls, slopes, or hollows, taking the form of the column, and forming an ornamental junction between
the shaft and
its essential
constructive
member, the
In Decorated and Perpendicular columns, the plinth
is
plinth.
usually
divided into heights, stages, or tables, by gradually spreading courses, each
separated from the next by a plain or molded
chamfer.
Of Norman bases varieties of
it is
not necessary to treat at length.
form are not numerous
;
and as they do not involve
complex moldings, like the after styles, direct the attention of the
it
will
be sufficient to
student to the upper members, in
which the character of a base may be said principally to
consist.
In shafts, the base often resembles the capital inverted
some instances, the one might be substituted scarcely
The
for the other
any perceptible change of appearance.
;
in
with
Often a bold
MANUAL OP GOTHIC MOLDINGS.
90
annular
roll,
XIV.
PL. XXI.
fig. 9,
divides the shaft from the plinth.
figs. 3, 7), is
quirked on the under side (as seen iu PL.
Fig. 10 is a
from Fountains Abbey.
Chapter House
shown
PL. XIV.
in
fig.
8,
very
common form
is
from the nave of Peterborough
St. Sepulchre's,
This occurs in
Cathedral.
A
of the same place.
from the
little later,
Cambridge, where
only a the present bases were cut from a very small piece, few inches wide, which alone remained in the eight massive
columns of the circular
The moldings
part.
of the earliest
Norman
bases are frequently
" and gener"little better than scratches upon the surface,"* of two
consist
ally
reverse
curves, a concave above
Nothing
a convex below."
approaching isolated
and
developed
to
members and diswas known
tinct gradations St. Sepulchre,
HelmsloyCh.,
St. Mary's,
Cambridge.
Yorkshire.
Huntingdon.
,
,
the
IU
early
e
,
part
01
,1
tJie
twelfth century.
A
before the Transition period, a modification (often
little
with very
trifling
was introduced, derived.
The
It consists of
departure from the Classic) of the Attic base
from which the Early English
Attic base
is
given in
PL. XIV.
fillets.
If
we compare
the early Italian-Gothic bases,
this
figs. 3, 4, j-
Canterbury Cathedral j (date about 1180),
uppermost
figs. 1
and
2.
two rounds, with an intervening hollow separated
from them by
them rather
directly
is
form with some of
and with one from fig. 5,
we
shall find
identical with than similar to the Classic.
fillet
and curve, or
first
member
The
at the lower ex-
tremity of the shaft, was, however, omitted in most
if
not in
all
* Willis's " Canterbury," p. 76.
From Willis's " Architecture of the Middle Ages." % Canterbury Cathedral has a very French character in the work of William of Sens, and this is more like Classic work than English archif
tecture generally.
BASES. "
cases
and the form
;
was very much
in
from Peterborough Cathedral,
fig. 7,
This example leads us at once
vogue.*
in
91
ordinary Early English base
to the
12), the chief peculiarity of
(fig.
which consists in the intermediate hollow being cut downwards rather than sideioays, and extended from half to three-quarters of a circle, so that
on each
The
example
filleted rolls
above and below the hollow, are naturally formed
side,
by cutting
may
capable of containing water, which
it is
often be observed standing in exterior bases.
the feather edges seen in
off
the
of
base
Transition
is
A
3.
fig.
from
taken
6,
fig.
valuable
the great central piers of Byland Abbey, shortly after some
had revealed
extensive excavations
a great part of the ground-
plan and lower portions of the columns of that once splendid
Here we most
church.
distinctly recognise the peculiar feature
of the Attic base, the side-hollow of circle
must be
of the
place
in
perfectly
may commonly early as
1160
first
—
the lateral semi-
dawn
It
circle.
this water-holding base is
of the Transition style,
be met with in pointed
or 1170.
1
descending three-quarter
remembered that
contemporary with the
fig.
Norman
work,
and
i.e.
as
work of
It is found in the Transition
William of Sens
at Canterbury, f There are two kinds of Early English bases.
by far the most common, fig.
12
either
;
the
is
The
and
form given in PL. XIV.
the other seems to be derived
from
altogether,
omitting
as
in
figs.
thus bringing the or from supplying
similar roll, as
rolls its
fig.
hollow
the 10,
11,
into contact,
place by another
15, or even
member, as
fig. 9,
JSm, iBI
and
by an
interposed square edge, or plinthiform
f >
•*' .
JBm ttmJlm
V (""
IIIIIIf
IPPwK* u
12
the bases of the choir columns in Eivaulx
* The bases of the pointed Nornian columns in the nave Abbey are nearly identical with this. See Potter, PL. X.
—
f
first,
Willis's " Canterbury," p. 76.
of
Buildwas
MANUAL OF GOTHIC MOLDINGS.
92
Generally, tbis intermediate roll is rather smaller, and
Abbey. often a
little
depressed inwardly, as
16, from Ely.
fig.
base occurs almost invariably in Westminster Abbey.
seldom found except in tbe more advanced or
when geometric windows
the Early Englisb, lights
had begun
Tbis It is
period of
florid
of two or
more
Hence was
to supersede the single lancet.
at once derived the ordinary Decorated base, figs. 33, 34, 35.
In very rich Early English bases there are often double hollows between filleted rolls
row
—
after the analogy of the double
And below
of moldings to the bell in capitals.
some
annular
rolls,
double, or even triple.
PL.
distance, occur other series of very bold single,
these, at
XIV.
fig.
great
pier
18,
is
the base
Lincoln
in
of
a
Cathedral.
Fig. 26, from the beautiful Galilee at Ely,
where the bases are worked
out of hard Purbeck marble, and have
been elaborately polished.
all
27
is
PL. XXI. of
Peterborough Cathedral.
Fig.
from Skelton, near York.
the most
fig.
an example,
4, is
ordinary
form,
from
the revestry or chapter-room at Kipon Cathedral.
Fig. 7
Sometimes the fig.
25.
In
Attic base.
fig.
is
from York Cathedral.
fillet is
omitted in the upper
Fig. 18, from Lincoln Cathedral,
detail, of great richness
Furness Abbey,
roll,
as
PL. XIV.
20, the hollow again approaches that of the
is
remarkable
the upper member.
is
and considerable spread. for the
a fine piece of
Fig. 30, from
omission of the hollow in
The examples given
in elevation, figs.
28
and 29, the former from Tintern, the latter from Furness Abbey, will convey a correct idea of the general appearance.*
The spread
of the base generally equals that of the capital, or nearly so. *
These engravings are slightly incorrect, from the shaft not standing
true in the centre.
BASES.
There
93
something extremely elegant in the form of
is
the more usual kind of Early English base over, surprising to notice the uniformity vails
hoth in
form
(figs.
it
and the
and
;
may
The
plainer
possibly have gradually
superseded the more elaborate, either from the
complex work of the
this,
more-
is,
which everywhere pre-
capital of this period.
10, 11, 15, 16, 17, 21)
it
and
difficult
or because the hollow was exter-
latter,
nally apt to be filled up with standing water, moss, or earth,
and internally with dust and found to be. ing had
much
Probably the desire of forming a better weatherinfluence in the change.
In Early English bases large spreading roll,
it
also to be
is
the block,, with which
is
This
is
almost invariable
marked
the nave-piers at Trumpington cut away, so that
flat
overhangs
it
39, from the doorway in the
Mary's This
is
Abbey, York; generally a
fig.
mark
(fig.
under-edge, as
fig.
35, from 42, from
or the part of the base below
;
clear, as fig. 40, the
the beautiful central column in the Chapter fig.
;
difference in this part is observable.
usually find either the scroll-molding
Coton, near Cambridge) or a
it
same
mentioned particularly with reference to Decorated
bases, where a
Here we
worked out of
is placed, is
usually stands flush, or in the
it
plane, by a quirk or angular nook. it
remarked that the
which forms the lower of the two mem-
bers between which the deep hollow
and
almost invariably be
dirt, as it will
same place
45, from
;
House fig.
Fishtoft,
at
base of
Wells
;
37, from St.
Lincolnshire.
when
of late or florid Early English,
found in work of the thirteenth century, as PL. XXI.
fig. 5,
an elegant base from the library of York Cathedral.
One
of the
PL. XIV.
fig.
commonest Decorated bases 35
;
the
but often only two, as the uppermost a
is
number
fig.
34.
that
shown
in
of rolls being generally three,
In
fig.
39 there are four
of lead, by which the shaft is fastened.
few modifications of this form occur
very complex.
is
;
;
but
Not
but they are seldom
Fig. 43 is from the nave-pillars at Bottisham,
MANUAL OP GOTHIC MOLDINGS.
94
near Cambridge
38
fig.
;
from the arcade in the Lady
is
Here the lower
Chapel at Ely, worked in Purbeck marble.
member
is
the roll-and-fillet, which
partially developed
in
41,
fig.
not
is
the side hollow of the Attic base.
usual profile
;
it
Tintern
—
It is
from Over and Histon
example which retains a singular trace in
its
an
;
upper member
PL. XV.
fig. 3, is
of
of un-
from the chancel at Over, Transition to
is
PL. XIV.
Perpendiculav.
uncommon.
fig.
33,
is
from the nave-piers at
already noticed as a specimen of the inverted scroll-
molding.
Fig. 44
is
from Boston.
This form
is
not unusual
late in the style.
Decorated bases are often
stilted, or raised
above the
floor,
with the plinth formed by graduated stages or tables, as before described.
This principle was carried to an extravagant excess
the next style
in
some instances,
in
;
western tower at Ely, the uppermost
is
member
The lower
eight feet from the ground.
as
those under
the
stands six or even
part of Decorated bases
sometimes octagonal, or polygonal, as in the columns which
support the octagon at Ely
;
and sometimes these faces are
In the Decorated columns support-
fluted or hollow-chamfered.
ing the vault of the Lady Cbapel at Wells, the base-moldings are raised a considerable height
from the
floor.
In the choir at
the Temple Church (1240), the principle of stilting the bases
may
*
be seen, the plinth being very large and high, and the
moldings approximating
to the
Decorated
profile.
Instead of the three half-rounds which ordinarily constitute the Decorated base, one member, generally the second, but often
the
first, is
sometimes, as
what might be
were, scooped out in the middle, in
called the inverted wave-molding, so as to
an ogee curvature.
Lady Chapel,
it
This
seen in PL,
is
Ely), 40, and 42.
the next style (PL.
Compare PL. XXI.
XV. fig.
York Cathedral, with
figs. 1 6,
XIV.
figs.
form
36 (from the
Hence the bell-shaped base of and 2) was immediately derived.
a Decorated base from the nave of
fig. 8,
a Perpendicular base from
Ripon
BASES.
The sharp under-edge
Cathedral.
former example
is
95
member
of the second
in the
a peculiar feature, decisive of Decorated work.
So similar, however, are the two forms, that some pure Deco-
may
rated bases
occasionally be found which would have been
equally correct in a Perpendicular column.
seems
from the several
to be derived
rolls
This ogee curve
which we have seen
were used
in the bases, being a natural
repetition.
It does not appear to occur in early, or geometric
to avoid
variation
Decorated.
But few examples of Decorated bases have been any important
varieties
sufficiently frequent occurrence to render
trate
them.
.
They
standing but a
and thus
are very chaste
little
of modest
given, because
from the forms described are not of
above the
it
necessary to illus-
and elegant
in profile
;
often
floor-line, especially in shafts,
They
and unpretending contour.
the most part of decided character
;
and where any
are for
difficulty
occurs in determining their date, an inspection of the capital,
according to the rules already laid down, will readily remove
The bases
of Perpendicular
in degrees of richness
columns are various
a
is
it.
but rather
and the number of gradations than in
difference of form in the principal characteristic
;
large
members.
The
prevailing-
bell-shaped
spread in the upper part, often rest-
ing on a cushion-like member,
forming with
it
PL. XV.
ogee in section. 2, are
correct
and
the contour of a double figs.
1
and
from Crosby Hall, and give a representation
ordinary kind.
of
the
most
It will be particularly
observed that the lower part
is
almost
invariably octagonal, the upper being
generally round, though sometimes, as
$he capital always
is,
octagonal.
Lancaster.
From
the great size and height of the best examples, they are not so
—
—
;
MANUAL OP GOTHIC MOLDINGS.
96
easily engraved iu a small space;
enough specimens Fig. 5
stances.
Stamford
fig.
;
Colchester
PL. XV., however,
contains
to guide the student under ordinary circumis
from Louth
20 from
fig.
;
17 from Haslingfield
fig.
;
'
.
;
13 from All
fig.
Edward's, Cambridge
St.
Saints',
18 from Holy Trinity, ;
21 from
fig.
Heme, Kent.
s
Almost every Perpendicular base has either one or more stages, sloping off
16,
by a hollow ledgement or -chamfer, as
17; or by a second bell-shaped slope, as
figs. 15,
5, 6, 14.
figs.
The ancient name' for the lower member was the ground-table* (especially
when
applied to mural basement moldings).
Perpendicular bases have an annular of capitals, *
The
for
the uppermost member.
following note
clature," § 39
is
All
resembling the neck
roll,
This
is
often
the
taken from Willis's "Architectural Nomen-
:
The word leggement simply implies lying
or horizontality
;
but as
all
tables are horizontal the epithet cannot be in this case applied in its
general sense, but may fairly be taken in the more limited one of a basement, the whole mass of which lies on the ground below the wall and this is confirmed by the two examples of Fotheringhay and Eton, in which, as I shall show, the basement moldings are described under this epithet.
At the end of the Fotheringhay contract it is covenanted that the mason, W. Horwode, shall be paid by instalments as the work rises, thus, to begin, " when he hath hewyn and set his ground-table stones and his Ugements, and the wall thereto wythyn and without as it ought 8 to be well and duly made, then he shall haf vj 11 xijj iiij d ." The directions for these members in the body of the contract are unfortunately interrupted by an illegible portion, which I shall .
venture to supply as follows
.
:
—
XXXIII. "The ground of the same body and isles to be maad within the erthe under *he ground-table-stones with rough stone and fro the ground-table-stone (to the legements and alio the remanent of the said body and isles unto the bight of the said Quire, with clene hewen Asshler altogedir in the outer side unto the full hight of the said Quire and all the inner side of rough stone except the bcncli-table-sloncs," etc. ;
full
;
This passage shows that the legement-table was immediately above the ground-table, and we may therefore assign b, in adjoining example, to the-
—
ground-table, and d, to the legement-table.
.
;
BASES.
97
debased roll-aud-fillet shown in PL. "VIII. fig.
fig.
15, or the debased scroll-molding, as in
This feature
is
almost invariable, and
is
21, as in
PL. XV.
PL. XV.
fig.
18.
not found in the same
isolated form in any other style. It is singular that edge lines occur less in
Perpendicular
than in any other bases, almost every point being carefully
rounded
There
off.
unbroken
a peculiar naknedess in the straight
is
line of the lower or ground-table, rising, as it does,
abruptly from the floor to the height of two feet and more, as in the interior of King's College Chapel; but the bell of remarkably graceful form,
contour of PL. XIV.
and
figs.
and perhaps few
29 or 32,
to that of
is
will prefer the
PL. XV.
figs.
1
2.
Fig. 4
Carbrook
from the Lady Chapel, Peterborough
is ;
fig.
7 from
from Norwich Cathedral
Swanton Morley
—
all in
Saham ;
fig.
14 from
fig.
22 from Saffron Walden.
St. John's,
fig.
;
Stamford
figs. 12, 1 5, ;
;
fig.
;
6 from
fig.
8 from Dereham
10 from Mattishall
Norfolk
fig.
;
fig.
;
fig.
9
11 from
from Colchester
16 from
St.
Albans
;
MANUAL- OF GOTHIC MOLDINGS.
98
SECTION
XI.
HOOD-MOLDINGS AND STRING-COURSES.
This
by no means an unimportant branch of the study of
is
Gothic moldings, the varieties and peculiar characteristics of the styles being as well hitherto described.
defined in
such
Of the immense
details
diversity of forms only
some of the most ordinary can be enumerated ; irregularities constantly occur, which, as they,
to no certain rule, hardly claim
principles of a system.
the character
is
as in any
for capricious
seem reducible
a place in laying do.wn the
Yet, though the form
may
be arbitrary,
generally maintained.
PL. XVI. contains a
series of
moldings of this sort
(for
hood-
moldings and string-courses must be classed together, being in fact very, often identical, or the
one continued .from the other),
divided into three parts, illustrating the three styles. It has
been
before
observed
regarded as the successors of
that
string-courses
may be
the horizontal lines by which
Classical is principally distinguished from Gothic architecture
and the importance of them that
all
masonry
is
made up
will be felt
when
it is
;
remembered
of successive layers, so that they
form a most genuine piece of decorative construction, and are almost essential to the feeling of repose.
They
consist of pro-
jecting ledges of stone, carried below windows, both within
without
;
and
round buttresses and other angular projections ; and
in cornices, parapets, tower-stages,
used as dividing lines to
set off
and other parts of
edifices,
one particular portion as distinct
from another. Though subordinate, and seemingly insignificant, details,
they are of the greatest possible importance in imparting
a character to a building.
Sometimes, breaking playfully from
the horizontal, they rise in graduated and rectangular heights.
•
HOOD-MOLDINGS AND STRING-COURSES. Sometimes carried over a doorway or round an arch into the wall
;
now, as
now
;
by
reappearing on the other
it,
starting aloof into a window-label,
fantastic tricks before again descending relieves
now dying
were, passing into some interrupting
it
projection, and, nothing baffled side
;
99
naked masonry, and binds
and playing the most
a string-course at once
;
into a whole the geemjngly
detached portions of a rambling and irregular construction.
In most cases, especially in windows, weathering, and of course adapts
it
forms a real drip or
upper surface especially
its
Hood-moldings, when used internally, cannot he
to this end.
said to have any real use
but they form a decorative
;
finish of
too important a kind to be neglected with impunity.
Norman profile
—
the
as
billet,
the
some sculptured decoration of the
is
or three only are given in figs. 6, 7, 8,
or
serrated
The. plain half-hexagon, or square
molding, and the like.
Two
the hatched
chevron,
bead with chamfered angles,
kind, viz.,
In most
of edges or hard chamfered surfaces.
cases they are adorned with style,
and massive
string-courses are generally of heavy
full
and
9.
one of the commonest forms.
PL. XVL. The
as specimens of the
latter is
from the chancel-
arch,* at St. Giles's, Cambridge, erected before the year 1100.
The semi-hexagon, grooved
or
worked on the middle of the outer
face similar to that in fig. 8, is frequently found.
Not
less.than
eleven of this form, with varieties scarcely perceptible and merely accidental, are given in
Abbey.
PL. XIX.
The upper edge
weathei*ed off;
of Potter's
is often left
work on Buildwas
square, instead of being
and the wide but shallow form presents an
appearance suiting well with the massive character of the work
and the low
relief decoration,
though not relieved by the dark
shadows caused by undercutting the lower surface.
The commonest Early English, PL. XVI.
figs.
strings are those given in
13, 15, 18, 22, 25.
very often be found.
They
Figs. 10 and 12
follow the
* Rebuilt in the South Aisle
of
may
same changes
new Church.
h
2
also
as the
;;
MANUAL OP GOTHIC MOLDINGS.
100
on
abaci of capitals of which several successive forms are given
the most
fig.
to
71),
fig.
19 from Eivaulx
The
latter is curious
fig.
;
fig.
;
from
11
Fig.
17 from Tintern 21 from Byland.
form
its late
(see
though the date is about 1200. The same remark applies
20, from Furness, in which even the characteristic Perpen-
dicular ogee of
fig.
4 occurs. Fig. 23 is from Lincoln Minster.
is peculiarly elegant,
and of frequent occurrence. Fig. 24
All Saints', Stamford. Fig. 25 has the scroll-molding;
Both
roll-and-fillet complete.
work.
is
striking characteristic of this, as of
from Furness Abbey
fig.
Early English.
but the undercutting
style,
other moldings of the style.
all is
of the upper edge
The rounding
page 77.
began in this
Fig. 28 generally
are equally
common
perhaps also very
frequent
35 or 48.
figs.
common.
fig.
and
II. is
I.
Figs. 44, 49, 53, are
The scroll-moldiDg with
a half-round next below
the
it,
characteristic, as fig. 36.
same as
Fig. 43 is from the vestibule of the Chapter Fig. 50 is from fig.
House
at Wells,
Cambridge
45 from Bottisham.
weathering, styles ;
mon
of the upper side, or
is characteristic
of the
first
two
the angular or chamfered of the last
—although ciple of the
Fig. 41 is gene-
Over, near
The rounded form
Tradition strings.
in
very
is
found in Transition to Perpendicular.
rally
early in the style.
26 the
Decorated form
the abacus of capitals of this period, Decorated.
It
from
in Decorated
marks the time of Edwards
The most
is
this peculiarity is also very
com-
In this
in late Decorated buildings.
respect a i so string-courses follow the prin-
abacus of capitals.*
PL. XVI. figs. 52 and
* Early English strings are often continued from the abaci which perhaps accounts for this fact.
55,
may
of capitals,
HOOD-MOLDINGS AND STRING-COURSES. therefore be pronounced late in the style.
101
Undercuttings,
it
has already been remarked, occur principally in the time of
Edwards
and
I.
II., as figs. 32, 44, 51.
and
Perpendicular strings
marked by the sloping plane figs.
The
60, 61.
hood-moldings
almost
it
impossible
merous as they
Usually there
is
tolerable
uniformity.
a small bowtell in the lowest
and
part, as in figs. 57, 59, 62, 64, 68, 71,
others,
more or less
clearly developed. .
.
fig.
16, from
p
i
mark
rather a characteristic
PL. XX.
fillet,
Perpendicular Strings.
i
t
Grantham Church,
Fig. 18 is a string-course from the
fig.
This
of the style.
same
most ordinary forms are PL. XVI. double ogee, as
be
are, they will generally
found to recur with
under
are so
anything
give
to
complete account of them; yet, nu-
like a
is
generally
PL. XVI.
underneath
the parts
details of
varied as to render
are
of the upper surface, as
is
another example.
Perhaps the
place.
The
61, 68, 71.
figs.
60, and the combination of the ogee with the
already described, as in
figs.
58, 77, often occur.
Fig. 78 exhibits the peculiar Perpendicular form already pointed out.
A
semicircle
sunk
in the
jecting diagonally,, as in
under side of half a square pro-
66, is
fig.
also a
common
Embattled string-courses occur now and then in
variety.
this style, as in
the cornice of the aisles at Cromer Church, Norfolk.
In copying string-courses,
it
is
better to
draw the parts of
the wall above and below perpendicularly on the paper, not only for a guide to
show the
which, without this,
direction of inclination or projection,
is left
quite indefinite, but also because the
wall often recedes above the string, or even overhangs,
The angles
as" fig.
56.
of the chamfers can best be attained by bending a
piece of lead across them.
Sometimes a
against the wall and the under part, as
foot-rule fig.
67,
may be bent
and thus the
exact angle can readily be transferred to paper.
Much more might, and
indeed ought, to be said on the subject
MANUAL OF GOTHIC MOLDINGS.
102
of moldings, were
the intention of the writer to attempt any-
it
For example, there yet remain
thing like a complete essay.
wholly unnoticed several important cases of the application of
moldings in Gothic architecture.
Basements, weatherings of
cappings of parapets
and battlements, plans of
buttresses,
groin-ribs, timbers of roofs,
monials,
many and
besides
the
floriated
moldings, are
But a great book declared
;
and
it
interesting varieties of ornamental all
or
well deserving of the closest attention.
a great
is
and other wood-work,
evil,
as a philosopher of old has
has been the wish of the author rather to win
the attention of the reader, by pointing out the way to copy and observe, than to deter
and heavy book.
him by
the uninviting form of a grave
Quite enough has been said,
it is
conceived,
to illustrate the really essential principles of the science.
no one need
feel
any
details of the styles, laid
down
difficulty or perplexity in
who
And
recognizing the
will take the trouble to apply the rules
in this little work.
CONCLUSION.
SECTION
103
XII.
CONCLUSION.
In studying the history and development of moldings in the ancient buildings in this country there is
much
that
is
larged
when the student
feels that
has been done heretofore, but, for designs
may
he
if
I
he
is
may
is
term
his alphabet,
it,
himself make in the future.
him
kind, that the study of the subject will assist
be,
siven'ess
and
whether he
and
is
Whatever the
wishing to make
by
its solid character, or
adjusted
carefully
render this by the
flat
proportion,
of designing
some ornament of
so sure to find himself requiring
his design to a successful issue.'
may
en-
learning not only what
so
Whatever building he may have the opportunity he
of great
much
interest to the antiquary, but that interest is very
this
in bringing
class of building
it effective
by
its delicacy of
whether
he
mas-
its
treatment
chooses
to
broad moldings of the Norman period,
or the deeply cut and sharply defined molding of the Early
English period, or the softer and rounder outlines of the Decorated, or
he chooses
if
later work, his
has been done, and his experience of the
more surely than anything work as
will. produce
else,
enable
him
the effect he is aiming
Whether, again, he limits his aims whether he uses his study
to enable
him
knowledge of what
effect
to
produced,
to set out such
at.
mere
selection,
or
to design, as far' as
he
he indulges in mere inventing,
has powers to do
so, or
his knowledge of
what has been done must be of value
One
of the
molding
is
first
the use
even
if
things to be considered in it is
intended
for.
He
it
illustrates the ordinary square angle,
is
to
him.
designing a
Mr. Euskih
brings an example of what I mean, though case.
will,
forcibly
a very simple
and shows that
MANUAL OF GOTHIC MOLDINGS.
104
in
order to prevent the probable chipping and breaking of
a fine edge, the angle was simply rounded
was not Art
it
:
;
he says, this
but, as
was only when the angle was
treated further,
m. 'At
M1 A m
W
Wm^
either as a simple bead or a
mind
of the artist stepped in
really
was
illk
more enriched molding, that the and yet the use of
;
to obtain a surface that
would have a
molding
this
fair
chance of
retaining its form without damage.
A
prominent
very
course
is
to
of the
use
throw the water
running down and staining the wall that
it
will
do this
—a care
ordinary exterior
off the building ;
string-
and prevent
its
and care should be taken
not always thought of in modern
buildings.
Take, again, the case of the ordinary Arcade found in almost
The
.every church.
wall carrying the
main roof
is to
so as to extend the area of the floor into the aisles
:
be pierced
if this
were
done simply by leaving square piers and rectangular arches, the value of
much
space would
be
lost,
and therefore the
columns were reduced in section and the strength maintained
by making them
work
solid stone instead of
of the Artist
comes when
this
and where the
capital is
again where the arch it
is
to
And
formed to receive the arch, and
divided into its various parts to
work harmoniously with the
accomplishing these ends
the
be enlarged
same support from the founda-
at the base so that there is the tion,
mere walling.
column has
may
capital,
&c.
make
The manner
of
Some
of
be varied immensely.
the methods used in ancient work are described above, and the object of the Artist is so to bring all these parts together, that
"
CONCLUSION.
105
while gaining the utmost utility the design forms one harmo-
nious whole.
In order
this there are one or two points
to obtain
should be carefully studied.
In the
first
which
place, moldings should
be designed with a careful attention to the position from which
To say
they will be most commonly seen. surface of the base
and the lower
that the upper
side of the capital should be
those molded seems too obvious to need pointing out
same principle should be carried out where obvious, and where to
make
it
As an
it effective.
old work, I
requires a
may mention
little
it
is
an
but the
not quite so
thought
instance of this in
a purlin which was
taken down in Pembroke College, Cambridge.
The
;
^^HUli
)>
natural tendency of the draughtsmen in office
would be to
moldings
set out the
symmetrically, the roll being placed so that the hollow molds
on each side were alike
;
but the Artist who built Pembroke
noted the fact that the upper side would be
than the lower when viewed
from the
much
floor,
less
seen
and therefore
widened the upper side thus. Other instances
will continually occur,
molding
and
the thought
of where
chiefly seen
from should be continually pre-
the
will
be
^..^^^
-'ij|||jjf\
^^^H/^ ''--•''
sent.
The
question of
scale, is also
a most impor-
Few have any
idea, until they
have been
startled with the appearance of their finished work,
how small
tant consideration.
a molding looks eye, that
And
when executed and placed
had seemed very
large
when on
a few feet from the
the drawing-board.
nothing but actual measurement of executed work, new or
old, will ever fix this
When
this
on the mind.
preliminary difficulty
is
overcome, there
still
remains that of 'whether the work will be coarse from an over attempt to be bold, or weak from a too intense desire to bo
MANUAL OF GOTHIC MOLDINGS.
106
To
refined. free
between these
—
to
scope and emphasize a feature by a
and when is
steer clearly
to
know when
little
draw attention by an exceeding
to allow
over boldness,
delicate treatment,
the knowledge of the Artist which study and experience alone
can give.
The
principles of design are beyond the scope of
this little book, but
points that
may be
it
has been thought well to note a few
useful to the student and those
their career, in the
hope
that,
years on their early work, they
may
the experience of failure in obtaining at.
in future
find that they have learnt
by study and observation what others have had aiming
commencing
when they look back
to discover
by
the results they were
Plate
J.if.ZelX&tji.i! sc.
London..
Gurney &
Ja-dkaaa.,
Paternoster Bow.
1
PLATE
I.
1.
Plain Saxon "Window (Diagram).
2.
4.
Example Example Diagram
5.
Do.
3.
8.
Chamfered Window.
of Sub-arch.
.Chamfered.
do.
—Arch Mold. Cherry Hinton— Cambridgeshire — Chancel Arch. Little Casterton — Transition Norman Arch.
6. Little 7.
of Chamfer. of Thirteenth-Century
Casterton
—
Horningsea, Cambridgeshire c. 1190. Waterbeach, do. Broach Stop. 11. Friesland, Lincolnshire Norman Pier Arch. Early English Pier Arch. do. 12. Skirbeck, 13. Great Grimsby. 9.
10.
—
14. Clee, Lincolnshire.
15. Adel, near Leeds. 16. St. Mary's, Ely. 17. Clee, Lincolnshire
—Respond.
22.
—Groin Eib. Benet's, Lincoln. Lincoln Cathedral — Doorway in Precincts. Fig. 6 enlarged. Bobertsbridge Abbey — Groin Bib.
23.
Diagram
18. Tintern
Abbey
19. St.
20. 21.
of Pointed
and Side
24. Fig. 19 enlarged. 25. Little Casterton, Rutland.
Filleted Bowtell.
Plate 11 4
m# f-
j
§
London. &uni«y *
Ulsii
ul
Jaiiceoii.
Paternoster Row
3Hifii_
i
—
PLATE
1.
2. 3. 5.
6. 7. 8. 9.
10.
II.
—
Middle Basen Early English Pier Arch. Ludborough, Lincolnshire Doorway. Langtoft, Chancel Arch. ,do. Great Grimsby, do. South Porch, Jamb. Cherry Hinton, Cambridgeshire North Door. Do. Chancel Door, do. Do. Pier Arch. do. Over, Doorway. do. Diagram of Planes a Chamfer Plane. b Soffit Plane, c Wall Plane.
—
—
11. Over, Cambridgeshire. 13. 14.
Do. Madingley,
do. do.
17. 18. 19.
do.
—Pier Arch. Trumpington, Cambridgeshire —Doorway. Tintern Abbey— Groin Bib. Cambridge, Clement's — South Doorway. Cherry Hinton— Inner Door, South Porch.
15. Stamford, All Saints' 16.
Window Jamb.
St.
Interior.
Plate
S3
m
Fiji
ml im
l
_
mK mm 1 * '
•
A
HI 1
k
Hi V
'.
J
^HW J.If.Ze A'
London.:
Gurney &
Jackson.,
Paternoster Row.
i,:r
jr
PLATE
1.
2.
3. 4. 5.
6. 7.
—
III.
Louth Early English Doorway. Plymouth Belfry Arch. Ely Cathedral Pier Arches, Choir. Robertsbridge Abbey Groin Rib. Tintern Abbey Fragment. St. Mary's Abbey, York Fragment. Eobertsbridge Abbey Groin Bib.
—
— —
— —
8.
All Saints', Stamford.
9.
Histon, Cambridgeshire
—
—
—Arch over Piscina and Capital.
Northants Chancel Arch. 11. Furness Abbey Chapter House. 12. St. Peter Gowts, Lincoln. 13. Euskington, Lincolnshire. 10. Wittering,
—
14. Utterby,
do.
15. Attleborough, Norfolk. 16.
Common
form
of
Decorated Pier.
17. Skelton, near York.
18. St. John's, Stamford. 19. St. Martin's,
do.
20. St. Mary's,
do.
BARXT EWGLISH.
jOP^'lS
Lon&tm: Girrney* Jaclnjoiv, Paternoster Row.
PLATE
1.
2. 3.
4. 5.
6. 7. 8.
.
Diagram of Boll Molding. Beymerston, Norfolk. Diagram of first sketch of Mold. Barholme semi-Norman Arch.
— —
Barnack Early English Arch. Trumpington Belfry Arch. Glastonbury— c. 1200— Groin Bib. Peterborough Cathedral— Groin Bib.
—
10.
Diagram Diagram
11.
Ludborough, Lincolnshire
9.
IV.
of possible first formation of Fillet.
of
common
form, Boll and Triple Fillet.
— Chancel Doorway.
12.)
Lincoln Cathedral. 13.} 14.
Yaxley, Hunts
15.
—Doorway. — —
16.
Furness Abbey Groin Bib. Lincoln Cathedral Arcade.
17.
Diagram
18.
Do. Do. Do. Do. Do.
19.
20. 21. 22.
of Boll
and
Fillet.
do.
Broad
Fillet.
Scroll Molding.
Fleur-de-lis Molding.
variety of Scroll Molding.
DECORATED.
Lantfon:
Oaww * Jackson, Paternoster
Row.
PLATE
—
2.
Boston Monument. Great Ellingham Doorway.
3.
Attleborough, Norfolk
4.
Boston
1.
5.
6. 7.
V.
—
—West Doorway. —Inner Doorway, South Porch. Ewerby— Monument. Northborough, Northants—Window Jamb. Benington, Lincolnshire — Interior of Window Jamb.
Heckington, do. Interior of Window Jamb. Do. do. Inner Jamb, East Window. 10. Benington, do. Exterior Jamb of Window. 11. Hingharn, Norfolk Chancel Doorway. 12. Attleborough Doorway. 8.
9.
—
13.
West
14.
Hingharn
—
Keal, Lincolnshire
—Window.
—Belfry Arch.
Decorated Pier. Stretham, Cambridgeshire. 17. Variety of Decorated Pier. 15. Variety of 16.
DECORATED
J.ff.ZcfiTctucso-
London. Qurncy .
tc
Jackson., Paternoster Row.
PLATE
VI.
— Doorway. —West Door.
1.
Little Ellingham, Norfolk
2.
Hingham, Norfolk
3.
4.
Do.
do.
Pier Arch.
Boston—Pier Arch.
—-Window Jamb.
5.
Sleaford
6.
Deopham Doorway. Boston Monument in Church Hingham North Doorway.
7.
8. 9.
—
— —
Double Ogee and Hollow. Do. Ellingham, Norfolk Doorway. Deopham Inner Doorway, South Porch. Benington, Lincolnshire South Porch. Hardingham, Norfolk Archway. Boston East Window, Double Ogee and Hollow.
—
10. Little 11.
12. 13. 14.
(a, Soffit).
—
—
—
—
15. Stoke Golding, Leicestershire.
DECORATED.
London- Qurney
tc
Jackson. Paternoster Row.
PLATE
VII.
—
5.
West Doorway. Diagram, Double Chamfer. Trumpington West Doorway. _ Do. Pier Arch. Eivaulx Fragment.
6.
Fen
7.
Northborough, Northants Doorway. Peterborough Outer Archway, west entrance Yaxley, Hunts Window. Clipsham, Butland. Horbling, Lincolnshire. Over, Cambridgeshire Window in Chancel. Northborough Outer Porch Doorway. Eivaulx, Yorkshire Fragment. Do. do. Groin Eib. West Keal Doorway. Wave Molds and Hollow. Swanton Morley, Norfolk.
1.
2. 3. 4.
8.
9.
10. 11.
12. 13. 14-.
15. 16.
17. 18.
19.
20. 21.
22.
Llandaff Cathedral
—
—
Stanton,
Hunts
—Window. —
—
to precincts.
—
—
—
—
—
Hingham, Trumpington
do.
Window.
—East Window. Keddington (or Ketton), Suffolk — Chancel Window. Thurlby, Lincolnshire — Piscina. —
South Doorway. Mold. b Sunken Chamfer. c Deopham Belfry Arch.
23. Langtoft, Lincolnshire
a Shallow
Wave
—
JILZcSkuo, so.
London..
Qnrney &
Jaokaorv, Fa.temoet.er Row.
PLATE
1.
Uffington, near Stamford
2.
Dereham, Norfolk
3.
VIII,
—West Doorway.
—West Doorway in isolated Tower. Saham Toney, do. —West Doorway.
4.
Fishtoft, Lincolnshire.
5.
East Window. Doorway. Louth, Doorway. do. Stewton, Window Jamb. do. Lincoln— Oriel Window. Chesterton, Cambridgeshire East Window. Lincoln Cathedral South Choir Chapel. St. Sepulchre's, Cambridge Arch. Great Gransden, near St. Neots,' Hunts Niche. Staplefprd, Cambridgeshire East Window. Great Shelford, do. Inner Doorway, South Porch. Holy Trinity, Colchester Pier Arch.
6. 7. 8.
9.
10. 12. 13. 14. 15. 16. 17. 18.
Leverton,
do.
Partney,
do.
— — — — Long Melford, Suffolk-Pier Arch. Martin's, Stamford — Doorway. —
19. St.
20. 21.
Do. Louth.
do.
Pier Arch.
—
7 KfiPENDICULAB.
.
J- H. £$ JO-t. jt so.
Landaxt:
Oanuy * JacTcson.
,
Paternoster How.
EATU.Y ENGLISH CAPITALS.
^
in? a =fT'
J.ff.Ed HTsuas, sc-
Londbn.:
Qumey & Jackson, Paternoster
Sow.
PLATE
X.
1.
Diagram
3.
5.
Laceby, Lincolnshire. Middle Basen, do. Walesby, do.
7.
Frieston,
4.
8. 9.
of
rudimentary Capital.
do.
Do.
do.
Stiekney,
do.
Do. do. 12. Lincoln Cathedral. 13. Kuskington. 16. Great Abington, Cambridgeshire. 17. Thurlby, Lincolnshire. 18.. Furness Abbey, Chapter House. 19. Tintern Abbey. 22. Furness Abbey. 23.. Bolton Abbey, Yorkshire. 24. ' < Do. do. 26. Do. do. 28. Tintern Abbey. 29. Arreton, Isle of Wight. 30. Saffron Walden, Essex. 37. Bolton Abbey. 38. Early English Abacus. 39. Decorated Abacus. 40; Early English Capital. 10.
.
BE C ORATED CAPI TAL S
£ITJ.eZe.'J«.«K.
toiidon: \XBCBxy k Jackaon PateragaJSP. Rov .
PLATE
1.
2.
•
Yaxley, Hunts.
Do.
do.
3.
Fletton, Hunts.
4.
Boston, Lincolnshire do. Leverton,
6.
XI.
7.
Do.
do.
9.
Sibsey,
do.
10. Stickford,
do.
11. Partney,
do.
12.
Legburn,
do.
13.
Waltham,
do.
18.
Aswardby,
do.
— Chapel used as Vestr*
22. Abingtbn, Cambridgeshire. 28. Louth.
London. Onrney
A;
Jackson Pat ernoster Row. ,
PLATE
XII.
— Capital of
11.
Trumpington, Cambridgeshire
13.
Little Shelford,
14.
15.
Maxey, Northamptonshire. Hinghan, Norfolk Nave Piers.
16.
Careby, Lincolnshire.
—
Uffington,
19.
22.
do.
do.
-I
23. 1st. Martin's, Stamford. 24.
J
26."\
27
J-St.
John's,
do.
28.
St. George's,
do.'
29.
Bede House,
do.
Nave Monument.
Pier.
PERPENDICULAR CAPITALS.
London: Qurxicy
6c
Jackeon..
Paternoster
Row
PLATE
XIII.
1.
Long Melted,
4.
Louth, Lincolnshire.
Suffolk.
9. }-Colchester.
12. J
Fen Ditton, Cambridgeshire. Harston, do. 16. Dry Drayton, do.
13.
14.
17.
Mattishall, Norfolk.
18.
Elsworth Hall, do. Saham Toney, do.
19.
k 2
Bate XIV
J.fT.Ze 7&uj£, se.
London.: G-urney
& Jackson
,
Paieraooter
"Raw.
PLATE
a /Attic i}'
XIV.
Base.
3.\Italian Gothic Bases, from Willis's " Architecture of the Middle
Ages." Canterbury Cathedral. Central Piers. 6. By land Abbey v 7. Peterborough Cathedral. Do. do. 8. Choir Columns. 9. Bivaulx Abbey
4./ 5.
—
-
—
16.
Ely Cathedral.
17.
Base of Great do. Do. Furness Abbey. Ely Cathedral— Galilee.
18. 20.
26.
Lincoln Cathedral
—
27.
Skelton, near York.
28.
Tintern Abbey. Furness Abbey. Do. do. Tintern Abbey Nave Piers. Coton, Cambridgeshire. Ely Cathedral— Lady Chapel. St. Mary's Abbey, York.
29. 30. 33. 35. 36. '37.
Piers.
—
43.
Ely Cathedral— Lady Chapel. Wells Cathedral Doorway. do. Central Column, Chapter House. Do. Over and Histon, Cambridgeshire. Trumpington Nave Pier. Bottisham, Cambridgeshire Nave Piers.
44.
Boston,' Lincolnshire.
45.
Fishtoft,
38. 39.
40. 41. 42.
—
—
do.
—
2E.ZeJfouc.tf6>
London..
Ourney
&* Jackson.,
Paternoster Row.
PLATE XV.
5.
Crosby Hall. Do. do. Over, Cambridgeshire Chancel. Peterborough Cathedral Lady Chapel. Louth.
6.
Carbrook, Norfolk.
1.
2. 3.
4.
—
—
7.
Sahara,
8.
Dereham, do. Norwich Cathedral.
9.
do.
10. Mattishall, Norfolk.
11.
Swanton Morley,
do.
12. Colchester. 13. All Saints', Stamford. 14. St. John's,
do.
15. Colchester.
16. St. Alban's
Abbey.
17. Haslingfield, Cambridgeshire. 18.
Holy
Trinity, Colchester.
20. St. Edward's, Cambridge. 21.
Heme, Kent.
22. Saffron
Walden, Essex.
STRINGS -AND LABELS.
J.3.ZeJJ!ewx:. jr.
London.: Qurnajr
tk
Jaeltoon.,
Paternoster Row.
PLATE
Examples
'd
of Strings,
XVI.
Hood Molds, &c, from
^
various sources.
/
Plate XV11
LanSaa.:
Quinsy it Jackson., Paternoster Row.
PLATE
1.
2. 3.
4. 5.
6. 8.
9.
10.
Bottisham, Cambridgeshire
XVII.
—
South Porch. Do. do. North Porch. Do. do. South Porch, Inner Doorway. Grantham, Lincolnshire South Aisle Window. Langham, Eutland Doorway. Grantham, Lincolnshire South Aisle Window. Over, Cambridgeshire South Porch. Grantham South Aisle Window. Grantham -Window Jamb.
—
—
— —
—
—
Plate
XVM1
London.: G-u.rn.ey
A
Jackson. Paternoster Row. ,
PLATE
1.
2.
Bivaulx Abbey. Peterborough Cathedral
XVIII.
—Doorway Nave Doorway :
3.
4. 5. 6. 7.
8.
Do. do. Bivaulx Abbey— Window Jamb.
Do.
do.
opposite in Cloister
Buined Doorway.
—
East Window. Beaulieu Abbey South Transept Befectory. Bipon Cathedral Choir. Castle Bising, Norfolk
—
—
10. Castle Bising, Norfolk.
South
Aisle
of
half-inch scale. :
half-inch scale.
Plate
XIX
SAafts aZternatety
St
&
St metier dzam f
ScaZft vneKte
lfi>et.
TXvrniidls
LonioR. 0-uriu37 A Jactoon Paternoster ,
Row
PLATE XIX.
t,"
^Diagrams showing the formation
3.
Bottisham, Cambridgeshire
4.
Saffron Walden, Essex.
5.
Stretton, Eutland.
Grantham, Lincolnshire. Do. do. Crypt. Fountains Abbey Lady Chapel.
8.
—
Wave
— East Window,
6. 7.
of the
Molding.
South Aisle.
T.Tvrnbuil
London.: Currier
& Jackson. Patornoatoi-
Row.
sc.
PLATE XX.
1.
2. 3. 4. 5.
6. 7.
9.
10! 11.
12. 13.
14. 15. 16. 17.
18.
—
Landbeach, Cambridgeshire Doorway. Window. do Guy, Grantham Chancel Window. Peterborough Cathedral Archway in Cloister. Ripon Cathedral. Eivaulx Abbey. Bipon Cathedral Window Jamb, South Aisle. Bolton Abbey Doorway. Newton, near Cambridge West Doorway. Bolton Abbey. Do. do. Grantham Choir Doorway. Lancaster Arch Mold of Nave. Bolton Abbey Monument. Grantham. WOlingham, Cambridgeshire Chancel Door. Grantham. .
—
—
—
— —
—
—
—
—
Plate XXI
T.TurnbuZL jo.
Louden..
Qupn«y & Jackson., Paternoster Row.
PLATE XXI.
1.
2.
4. 5.
6. 7. 8.
9.
10.
Moroot, Rutland. Seaton,
do.
—
Ripon Cathedral Revestry or Chapter Room. York Cathedral—Library. Nave. Do. do. Do.
do.
Ripon Cathedral. Fountains Abbey. Do.
do.
Chapter House.
PAINTED BY
WOOD FALL AND K1NDEB, LONG ACRE, LONDON,