The Project Gutenberg EBook of The Principles of Gothic Ecclesiastical Architecture, Elucidated by Question and Answer, 4th ed., by Matthew Holbeche Bloxam This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Principles of Gothic Ecclesiastical Architecture, Elucidated by Question and Answer, 4th ed. Author: Matthew Holbeche Bloxam Release Date: November 8, 2006 [EBook #19737] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK GOTHIC ECCLESIASTICAL ARCHITECTURE *** Produced by Jonathan Ingram, Julia Miller and the Online Distributed Proofreading Team at http://www.pgdp.net Transcriber’s Note A number of typographical errors have been maintained in the current version of this book. They are marked and the corrected text is shown in the popup. A list of these errors is found at the end of this book. The following less common characters were used. If they do not display properly, please try changing your font. m̅ n̅ mn with a macron over both letters o̅ m̅ om with a macron over both letters o̅ n̅ on with a macron over both letters r̅e̅ re with a macron over both letters “Whereby may be discerned that so fervent was the zeal of those elder times to God’s service and honour, that they freely endowed the church with some part of their possessions; and that in those good works even the meaner sort of men, as well as the pious founders, were not backwards.” Dugdale’s Antiq. Warwickshire. THE PRINCIPLES OF GOTHIC ECCLESIASTICAL ARCHITECTURE, ELUCIDATED BY QUESTION AND ANSWER. BY MATTHEW HOLBECHE BLOXAM. FOURTH EDITION. OXFORD: JOHN HENRY PARKER. The Principles of Gothic Ecclesiastical Architecture PREFACE. In revising this Work for a Fourth Edition several alterations have been made, especially in the Concluding Chapter; and the whole has been considerably enlarged. M. H. B. Rugby, April 1841. CONTENTS. CORRECTIONS AND ADDITIONS. Page 41, line 9, for Cambridge, read Lincoln. Page 49. In addition to the list of churches containing presumed vestiges of Anglo-Saxon architecture, Woodstone Church, Huntingdonshire, and Miserden Church, Gloucestershire, may be enumerated. Page 71. The double ogee moulding is here inserted by mistake: it is not Norman, but of the fifteenth century. Page 137. In some copies the wood-cut in this page has been reversed in its position. CHAP. I. Page Definition of Gothic Architecture; its Origin, and Division of it into Styles CHAP. II. Of the different Kinds of Arches CHAP. III. Of the Anglo-Saxon Style CHAP. IV. Of the Norman or Anglo-Norman Style CHAP. V. Of the Semi-Norman Style CHAP. VI. Of the Early English Style CHAP. VII. Of the Decorated English Style CHAP. VIII. Of the Florid or Perpendicular English Style CHAP. IX. Of the Debased English Style CONCLUDING CHAPTER. Of the Internal Arrangement and Decorations of a Church 17 22 30 51 74 86 102 120 145 153 Two Arches of Roman Masonry, Leicester. Two Arches of Roman Masonry, Leicester. INTRODUCTION. ON THE ORIGIN, PROGRESS, AND DECLINE OF GOTHIC OR ENGLISH ECCLESIASTICAL ARCHITECTURE. Amongst the vestiges of antiquity which abound in this country, are the visible memorials of those nations which have succeeded one another in the occupancy of this island. To the age of our Celtic ancestors, the earliest possessors of its soil, is ascribed the erection of those altars and temples of all but primeval antiquity, the Cromlechs and Stone Circles which lie scattered over the land; and these are conceived to have been derived from the Phœnicians, whose merchants first introduced amongst the aboriginal Britons the arts of incipient civilization. Of these most ancient relics the prototypes appear, as described in Holy Writ, in the pillar raised at Bethel by Jacob, in the altars erected by the Patriarchs, and in the circles of stone set up by Moses at the foot of Mount Sinai, and by Joshua at Gilgal. Many of these structures, perhaps from their very rudeness, have survived the vicissitudes of time, whilst there scarce remains a vestige of the temples erected in this island by the Romans; yet it is from Roman edifices that we derive, and can trace by a gradual transition, the progress of that peculiar kind of architecture called Gothic, which presents in its later stages the most striking contrast that can be imagined to its original precursor. The Romans having conquered almost the whole of Britain in the first century, retained possession of the southern parts for nearly four hundred years; and during their occupancy they not only instructed the natives in the arts of civilization, but also with their aid, as we learn from Tacitus, began at an early period to erect temples and public edifices, though doubtless much inferior to those at Rome, in their municipal towns and cities. The Christian religion was also early introduced,3-* but for a time its progress was slow; nor was it till the conversion of Constantine, in the fourth century, that it was openly tolerated by the state, and churches were publicly constructed for its worshippers; though even before that event, as we are led to infer from the testimony of Gildas, the most ancient of our native historians, particular structures were appropriated for the performance of its divine mysteries: for that historian alludes to the British Christians as reconstructing the churches which had, in the Dioclesian persecution, been levelled to the ground. But in the fifth century Rome, oppressed on every side by enemies, and distracted with the vastness of her conquests, which she was no longer able to maintain, recalled her legions from Britain; and the Romanized Britons being left without protection, and having, during their subjection to the Romans, lost their ancient valour and love of liberty, in a short time fell a prey to the Northern Barbarians; in their extremity they called over the Saxons to assist them, when the latter perceiving their defenceless condition, turned round upon them, and made an easy conquest of this country. In the struggle which then took place, the churches were again destroyed, the priests were slain at the very altars,4-* and though the British Church was never annihilated, Paganism for a while became triumphant. Towards the end of the sixth century, when Christianity was again propagated in this country by Augustine, Mellitus, and other zealous monks, St. Gregory, the head of the Papal church, and the originator of this mission, wrote to Mellitus not to suffer the Heathen temples to be destroyed, but only the idols found within them. These, and such churches built by the Romans as were then, though in a dilapidated state, existing, may reasonably be supposed to have been the prototypes of the Christian churches afterwards erected in this country. In the early period of the empire the Romans imitated the Grecians in their buildings of magnitude and beauty, forming, however, a style of greater richness in detail, though less chaste in effect; and columns of the different orders, with their entablatures, were used to support and adorn their public structures: but in the fourth century, when the arts were declining, the style of architecture became debased, and the predominant features consisted of massive square piers [1] [2] [3] [4] [5] or columns, without entablatures, from the imposts of which sprung arches of a semicircular form; and it was in rude imitation of this latter style that the Saxon churches were constructed. The Roman basilicas, or halls of justice, some of which were subsequently converted into churches, to which also their names were given, furnished the plan for the internal arrangement of churches of a large size, being divided in the interior by rows of columns. From this division the nave and aisles of a church were derived; and in the semicircular recess at the one end for the tribune, we perceive the origin of the apsis, or semicircular east end, which one of the Anglo-Saxon, and many of our ancient Norman churches still present. But independent of examples afforded by some few ancient Roman churches, and such of the temples and public buildings of the Romans as were then remaining in Britain, the Saxon converts were directed and assisted in the science of architecture by those missionaries from Rome who propagated Christianity amongst them; and during the Saxon dynasty architects and workmen were frequently procured from abroad, to plan and raise ecclesiastical structures. The Anglo- Saxon churches were, however, rudely built, and, as far as can be ascertained, with some few exceptions, were of no great dimensions and almost entirely devoid of ornamental mouldings, though in some instances decorative sculpture and mouldings are to be met with; but in the repeated incursions of the Danes, in the ninth and tenth centuries, so general was the destruction of the monasteries and churches, which, when the country became tranquil, were rebuilt by the Normans, that we have, in fact, comparatively few churches existing which we may reasonably presume, or really know, to have been erected in an Anglo-Saxon age. Many of the earlier writers on this subject have, however, caused much confusion by applying the term ‘Saxon’ to all churches and other edifices contradistinguished from the pointed style by semicircular- headed doorways, windows, and arches. But the vestiges of Anglo-Saxon architecture have been as yet so little studied or known, as to render it difficult to point out, either generally or in detail, in what their peculiarities consist: the style may, however, be said to have approximated in appearance much nearer to the Debased Roman style of masonry than the Norman, and to have been also much ruder: and in the most ancient churches, as in that at Dover Castle, and that at Bricksworth, we find arches constructed of flat bricks or tiles, set edgewise, which was also a Roman fashion. The masonry was chiefly composed of rubble, with ashlar or squared blocks of stone at the angles, disposed in courses in a peculiar manner. Anglo-Saxon Arches, Bricksworth Church, Northamptonshire (7th. cent.) The most common characteristic by which the Norman style is distinguished, is the semicircular or segmental arch, though this is to be met with also in the rare specimens of Anglo-Saxon masonry; but the Norman arches were more scientifically constructed: in their early state, indeed, quite plain, but generally concentric, or one arch receding within another, and in an advanced stage they were frequently ornamented with zig-zag and other mouldings. A variety of mouldings were also used in the decoration of the Norman portals or doorways, which were besides often enriched with a profusion of sculptured ornament. The Norman churches appear to have much excelled in size the lowly structures of the Saxons, and the cathedral and conventual churches were frequently carried to the height of three tiers or rows of arches, one above another; blank arcades were also used to ornament the walls. Norman Arcade, St. Aldgate, Oxford. Norman Arcade, St. Aldgate, Oxford. The Norman style, in which an innumerable number of churches and monastic edifices were originally built or entirely reconstructed, continued without any striking alteration till about the latter part of the twelfth century, when a singular change began to take place: this was no other than the introduction of the pointed arch, the origin of which has never yet been satisfactorily explained, or the precise period clearly ascertained in which it first appeared; but as the lightness and [6] [7] [8] [9] Horsley Ch., Derbyshire. simplicity of design to which the Early Pointed style was found to be afterwards convertible was in its incipient state unknown, it retained to the close of the twelfth century the heavy concomitants of the semicircular arch, with which indeed it was often intermixed: and from such intermixture it may be designated the Semi or Mixed Norman. When the original Norman style of building was first broken through, by the introduction of the pointed arch, which was often formed by the intersection of semicircular arches, the facing of it, or architrave, was often ornamented with the zig-zag, billet, and other mouldings, in the same manner as the Norman semicircular arches: it also rested on round massive piers, and still retained many other features of Norman architecture. But from the time of its introduction to the close of the twelfth century, the pointed arch was gradually struggling with the semicircular arch for the mastery, and with success; for from the commencement of the thirteenth century, as nearly as can be ascertained, the style of building with semicircular arches was, with very few exceptions, altogether discarded, and superseded by its more elegant rival. Canterbury Cathedral. Canterbury Cathedral. The mode of building with semicircular arches, massive piers, and thick walls with broad pilaster buttresses, was now laid aside; and the pointed arch, supported by more slender piers, with walls strengthened with graduating buttresses, of less width but of greater projection, were universally substituted in their stead. The windows, one of the most apparent marks of distinction, were at first long, narrow, and lancet-shaped: the heavy Norman ornaments, the zig-zag and other mouldings peculiar to the Norman and Semi-Norman styles, were now discarded; yet we often meet with certain decorative ornaments, as the tooth ornament, which, though sometimes found in late Norman work, is almost peculiar to the Early Pointed style; also the ball-flower, prevalent both in this and the style of the succeeding century. Many church towers were also capped with spires, which now first appear. This style prevailed generally throughout the thirteenth century, and is usually designated as the Early English. Towards the close of the thirteenth century a perceptible, though gradual, transition took place to a richer and more ornamental mode of architecture. This was the style of the fourteenth century, and is known by the name of the Decorated English; but it chiefly flourished during the reigns of Edward the Second and Edward the Third, in the latter of which it attained a degree of perfection unequalled by preceding or subsequent ages. Some of the most prominent and distinctive marks of this style occur in the windows, which were greatly enlarged, and divided into many lights by mullions or tracery-bars running into various ramifications above, and dividing the heads into numerous compartments, forming either geometrical or flowing tracery. Triangular or pedimental canopies and pinnacles, more enriched than before with crockets and finials, yet without redundancy of ornament, also occur in the churches built during this century. Worstead Church, Norfolk. Worstead Church, Norfolk. [10] [11] [12] In the latter part of the fourteenth century another transition, or gradual change of style, began to be effected, in the discrimination of which an obvious distinction again occurs in the composition of the windows, some of which are very large: for the mullion-bars, instead of branching off in the head, in a number of curved lines, are carried up vertically, so as to form perpendicular divisions between the window-sill and the head, and do not present that combination of geometrical and flowing tracery observable in the style immediately preceding. St. Michael's, Oxford. St. Michael's, Oxford. The frequent occurrence of panelled compartments, and the partial change of form in the arches, especially of doorways and windows, which in the latter part of the fifteenth century were often obtusely pointed and mathematically described from four centres, instead of two, as in the more simple pointed arch, and which from the period when this arch began to be prevalent was called the Tudor arch, together with a great profusion of minute ornament, mostly of a description not before in use, are the chief characteristics of the style of the fifteenth century, which by some of the earlier writers was designated as the Florid; though it has since received the more general appellation of the Perpendicular. This style prevailed till the Reformation, at which period no country could vie with our own in the number of religious edifices, which had been erected in all the varieties of style that had prevailed for many preceding ages. Next to the magnificent cathedrals, the venerable monasteries and collegiate establishments, which had been founded and sumptuously endowed in every part of the kingdom, might most justly claim the preeminence; and many of the churches belonging to them were deservedly held in admiration for their grandeur and architectural elegance of design. But the suppression of the monasteries tended in no slight degree to hasten the decline and fall of our ancient church architecture, to which other causes, such as the revival of the classic orders in Italy, also contributed. The churches belonging to the conventual foundations, which had been built at different periods by the monks or their benefactors, and the charges of erecting and decorating which from time to time in the most costly manner, had been defrayed out of the monastic revenues, and from private donations, being seized by the crown, were reduced to a state of ruin, and the sites on which they stood granted to dependants of the court. The former reverential feeling on these matters had greatly changed; and as the retention of some few of the ministerial habits, the square cap, the cope, the surplice, and hood, which were deemed expedient for the decent ministration of public worship, gave great offence to many, and was one of the most apparent causes which led to that schism amongst the Reformers, on points of discipline, which afterwards ended in the subversion, for a time, of the rites and ordinances of the Church of England, any attempt towards beautifying and adorning (other than with carved pulpits and communion-tables or altars) the places of divine worship, which were now stripped of many of their former ornamental accessories, would have been regarded and inveighed against as a popish and superstitious innovation; and a charge of this kind was at a later period preferred against Archbishop Laud. Parochial churches were, therefore, now repaired when fallen into a state of dilapidation, in a plain and inelegant mode, in complete variance with the richness and display observable in the style just preceding this event. Details, originating from the designs of classic architecture, which had been partially revived in Italy, began early in the sixteenth century to make their appearance in this country, though as yet, except on tombs and in wood-work, we observe few of those peculiar features introduced as accessories in church architecture. Hence many of our country churches, which were repaired or partly rebuilt in the century succeeding the Reformation, exhibit the marks of the style justly denominated Debased, to distinguish it from the former purer styles. Depressed and nearly flat arched doorways, with shallow mouldings, square-headed windows with perpendicular mullions and obtuse-pointed or round-headed lights, without foliations, together with a general clumsiness of construction, as compared with more ancient edifices, form the predominating features in ecclesiastical buildings of this kind: and in the reign of Charles the First an indiscriminate mixture of Debased Gothic and Roman architecture prevailing, we lose sight of every true feature of our ancient ecclesiastical styles, which were superseded by that which sprang more immediately from the Antique, the Roman, or Italian mode. 3-* Tempore, ut scimus, summo Tiberii Cæsaris, &c.—Gildas. 4-* Ruebant ædificia publica simul et privata, passim Sacerdotes inter altaria trucibantur.—Bede, Eccl. Hist. lib. i. c. xv. [13] [14] [15] [16] Scutcheon from Beauchamp Chapel, Warwick, circa A. D. 1450. CHAPTER I. DEFINITION OF GOTHIC ARCHITECTURE; ITS ORIGIN, AND THE DIVISION OF IT INTO STYLES. Q. What is meant by the term “Gothic Architecture”? A. Without entering into the derivation of the word “Gothic,” it may suffice to state that it is an expression sometimes used to denote in one general term, and distinguish from the Antique, those peculiar modes or styles in which most of our ecclesiastical and many of our domestic edifices of the middle ages have been built. In a more confined sense, it comprehends those styles only in which the pointed arch predominates, and it is then often used to distinguish such from the more ancient Anglo-Saxon and Norman styles. Q. To what can the origin of this kind of architecture be traced? A. To the classic orders in that state of degeneracy into which they had fallen in the age of Constantine, and afterwards; and as the Romans, on their voluntary abandonment of Britain in the fifth century, left many of their temples and public edifices remaining, together with some Christian churches, it was in rude imitation of the Roman structures of the fourth century that the most ancient of our Anglo-Saxon churches were constructed. This is apparent from an examination and comparison of such with the vestiges of Roman buildings we have existing. Q. Into how many different styles may English ecclesiastical architecture be divided? A. No specific regulation has been adopted, with regard to the denomination or division of the several styles, in which all the writers on the subject agree: but they may be divided into seven, which, together with the periods when they flourished, may be generally defined as follows: The Saxon Or Anglo-Saxon Style, which prevailed from the mission of Augustine, at the close of the sixth, to the middle of the eleventh century. The Norman style, which may be said to have prevailed generally from the middle of the eleventh to the latter part of the twelfth century. The Semi-Norman, Or Transition style, which appears to have prevailed during the latter part of the twelfth century. The Early English, or general style of the thirteenth century. The Decorated English, or general style of the fourteenth century. The Florid Or Perpendicular English, the style of the fifteenth, and early part of the sixteenth century. The Debased English, or general style of the latter part of the sixteenth and early part of the seventeenth century, towards the middle of which Gothic architecture, even in its debased state, became entirely discarded. Q. What constitutes the difference of these styles? A. They may be distinguished partly by the form of the arches, which are triangular-headed, semicircular or segmental, simple pointed, and complex pointed; though such forms are by no means an invariable criterion of any [17] [18] [19] [20] particular style; by the size and shape of the windows, and the manner in which they are subdivided or not by transoms, mullions, and tracery; but more especially by certain minute details, ornamental accessories and mouldings, more or less peculiar to particular styles, and which are seldom to be met with in any other. Q. Are the majority of our ecclesiastical buildings composed only of one style? A. Most of our cathedral and country churches have been built, or had additions made to them, at different periods, and therefore seldom exhibit an uniformity of design; and many churches have details about them of almost every style. There are, however, numerous exceptions, where churches have been erected in the same style throughout; and this is more particularly observable in the churches of the fifteenth century. Q. Were they constructed on any regular plan? A. The general ground plan of cathedral and conventual churches was after the form of a cross, and the edifice consisted of a central tower, with transepts running north and south; westward of the tower was the nave or main body of the structure, with lateral aisles; and the west front contained the principal entrance, and was often flanked by towers. Eastward of the central tower was the choir, where the principal service was performed, with aisles on each side, and beyond this was the lady chapel. Sometimes the design also comprehended other chapels. On the north or south side was the chapter house, in early times quadrangular, but afterwards octagonal in plan; and on the same side, in most instances, though not always, were the cloisters, which communicated immediately with the church, and surrounded a quadrangular court. The chapter house and cloisters we still find remaining as adjuncts to most cathedral churches, though the conventual buildings of a domestic nature, with which the cloisters formerly also communicated, have generally been destroyed. Mere parochial churches have commonly a tower at the west end, a nave with lateral aisles, and a chancel. Some churches have transepts; and small side chapels or additional aisles have been annexed to many, erected at the costs of individuals, to serve for burial and as chantries. The smallest class of churches have a nave and chancel only, with a small bell-turret formed of wooden shingles, or an open arch of stonework, appearing above the roof at the west end. St. Martin's, Leicester, circa A. D. 1250. St. Martin's, Leicester, circa A. D. 1250. CHAPTER II. OF THE DIFFERENT KINDS OF ARCHES. Q. Do the distinctions of the different styles, as they differ from each other, depend at all upon the form of the arch? A. To a certain extent the form of the arch may be considered as a criterion of style; too much dependence, however, must not be placed on this rule, inasmuch as there are many exceptions. Q. How are arches divided generally, as to form? A. Into the triangular-headed or straight-lined pointed arch, the round-headed arch, and the curved-pointed arch; and the latter are again subdivided. Q. How is the triangular-headed or straight-lined pointed arch formed, and when did it prevail? A. It may be described as formed by the two upper sides of a triangle, more or less obtuse or acute. It is generally considered as one of the characteristics of the Anglo-Saxon style, where it is often to be met with of plain and rude [21] [22] [23] construction. But instances of this form of arch, though they are not frequent, are to be met with in the Norman and subsequent styles. Arches, however, of this description, of late date, may be generally known by some moulding or other feature peculiar to the style in which it is used. Q. What different kinds of round-headed arches are there? A. The semicircular arch (fig. 1), the stilted arch (fig. 2), the segmental arch (fig. 3), and the horse-shoe arch (fig. 4). Figs. 1-4 Q. How are they formed or described? A. The semicircular arch is described from a centre in the same line with its spring; the stilted arch in the same manner, but the sides are carried downwards in a straight line below the spring of the curve till they rest upon the imposts; the segmental arch is described from a centre lower than its spring; and the horse-shoe arch from a centre placed above its spring. Q. During what period of time do we find these arches generally in use? A. The semicircular arch, which is the most common, we find to have prevailed from the time of the Romans to the close of the twelfth century, when it became generally discarded; and we seldom meet with it again, in its simple state, till about the middle of the sixteenth century. It is in some degree considered as a characteristic of the Anglo-Saxon and Norman styles. The stilted arch is chiefly found in conjunction with the semicircular arch in the construction of Norman vaulting over a space in plan that of a parallelogram. The segmental arch we meet with in almost all the styles, used as an arch of construction, and for doorway and window arches; whilst the form of the horse-shoe arch seems, in many instances, to have been occasioned by the settlement and inclination of the piers from which it springs. Q. Into how many classes may the pointed arch be divided? A. Into two, namely, the simple pointed arch described from two centres, and the complex pointed arch described from four centres. Q. What are the different kinds of simple pointed arches? A. The Lancet, or acute-pointed arch; the Equilateral pointed arch; and the Obtuse-angled pointed arch. Q. How is the lancet arch formed and described? A. It is formed of two segments of a circle, and its centres have a radius or line longer than the breadth of the arch, and may be described from an acute-angled triangle. (fig. 5.). Q. How is the equilateral arch formed and described? A. From two segments of a circle; the centres of it have a radius or line equal to the breadth of the arch, and it may be described from an equilateral triangle. (fig. 6.) Figs. 5-7 [24] [25] [26] Q. How is the obtuse-angled arch formed and described? A. Like the foregoing, it is formed from two segments of a circle, and the centres of it have a radius shorter than the breadth of the arch; it is described from an obtuse-angled triangle. (fig. 7.) Q. During what period were these pointed arches in use? A. They were all gradually introduced in the twelfth century, and continued during the thirteenth century; after which the lancet arch appears to have been generally discarded, though the other two prevailed till a much later period. Q. What are the different kinds of complex pointed arches? A. Those commonly called the Ogee, or contrasted arch; and the Tudor arch. Q. How is the ogee, or contrasted arch, formed and described? A. It is formed of four segments of a circle, and is described from four centres, two placed within the arch on a level with the spring, and two placed on the exterior of the arch, and level with the apex or point (fig. 8); each side is composed of a double curve, the lowermost convex and the uppermost concave. Figs. 8, 9 Q. When was the ogee arch introduced, and how long did it prevail? A. It was introduced early in the fourteenth century, and continued till the close of the fifteenth century. Q. How is the Tudor arch described? A. From four centres; two on a level with the spring, and two at a distance from it, and below. (fig. 9.) Q. When was the Tudor arch introduced, and why is it so called? A. It was introduced about the middle of the fifteenth century, or perhaps earlier, but became most prevalent during the reigns of Henry the Seventh and Henry the Eighth, under the Tudor dynasty, from which it derives its name. Figs. 10 to 12 Q. What other kinds of arches are there worthy of notice? A. Those which are called foiled arches, as the round-headed trefoil (fig. 10), the pointed trefoil (fig. 11), and the square-headed trefoil (fig. 12). The first prevailed in the latter part of the twelfth and early part of the thirteenth century, chiefly as a heading for niches or blank arcades; the second, used for the same purpose, we find to have prevailed in the thirteenth century; and the latter is found in doorways of the thirteenth, fourteenth, and fifteenth centuries. In all these the exterior mouldings follow the same curvatures as the inner mouldings, and are thus distinguishable from arches the heads of which are only foliated within. [27] [28] [29] St. Thomas's, Oxford, circa 1250. Anglo-Saxon Doorway, Brixworth Church, Northamptonshire. (7th cent.) CHAPTER III. OF THE ANGLO-SAXON STYLE. Q. During what period of time did this style prevail? A. From the close of the sixth century, when the conversion of the Anglo-Saxons commenced, to the middle of the eleventh century. Q. Whence does this style appear to have derived its origin? A. From the later Roman edifices; for in the most ancient of the Anglo-Saxon remains we find an approximation, more or less, to the Roman mode of building, with arches formed of brickwork. Q. What is peculiar in the constructive features of Roman masonry? A. Walls of Roman masonry in this country were chiefly constructed of stone or flint, according to the part of the country in which the one material or other prevailed, embedded in mortar, bonded at certain intervals throughout with regular horizontal courses or layers of large flat Roman bricks or tiles, which, from the inequality of thickness and size, do not appear to have been shaped in any regular mould. [30] [31] Portion of the Fragment of a Roman Building at Leicester. Q. What vestiges of Roman masonry are now existing in Britain? A. A fragment, apparently that of a Roman temple or basilica, near the church of St. Nicholas at Leicester, which contains horizontal courses of brick at intervals, and arches constructed of brickwork; the curious portion of a wall of similar construction, with remains of brick arches on the one side, which indicate it to have formed part of a building, and not a mere wall as it now appears, at Wroxeter, Salop; and the polygonal tower at Dover Castle, which, notwithstanding an exterior casing of flint, and other alterations effected in the fifteenth century, still retains many visible features of its original construction of tufa bonded with bricks at intervals. Roman masonry, of the mixed description of brick and stone, regularly disposed, is found in walls at York, Lincoln, Silchester, and elsewhere; and sometimes we meet with bricks or stone arranged herring-bone fashion, as in the vestiges of a Roman building at Castor, Northamptonshire, and the walls of a Roman villa discovered at Littleton, Somersetshire. Q. Have we any remains of the ancient British churches erected in this country in the third, fourth, or fifth centuries? A. None such have yet been discovered or noticed; for the ruinous structure at Perranzabuloe in Cornwall, which some assert to have been an ancient British church, is probably not of earlier date than the twelfth century; and the church of St. Martin at Canterbury, built in the time of the Romans, which Augustine found on his arrival still used for the worship of God, was rebuilt in the thirteenth century, but, to all appearance, with the same materials of which the original church was constructed. Q. Do any of our churches bear a resemblance to Roman buildings? A. The church now in ruins within the precincts of the Castle of Dover presents features of early work approximating Roman, as a portal and window-arches formed of brickwork, which seem to have been copied from those in the Roman tower near adjoining; the walls also have much of Roman brick worked up into them, but have no such regular horizontal layers as Roman masonry displays. The most ancient portions of this church are attributed to belong to the middle of the seventh century. The church of Brixworth, Northamptonshire, is perhaps the most complete specimen we have existing of an early Anglo-Saxon church: it has had side aisles separated from the nave by semicircular arches constructed of Roman bricks, with wide joints; these arches spring from square and plain massive piers. There is also fair recorded evidence to support the inference that this church is a structure of the latter part of the seventh century. Roman bricks are worked up in the walls, in no regular order, however, but indiscriminately, as in the church at Dover Castle. Pilaster Rib-work Arch, Brigstock Church. [32] [33] [34] Q. What peculiarities are observable in masonry of Anglo-Saxon construction? A. From existing vestiges of churches of presumed Anglo-Saxon construction it appears that the walls were chiefly formed of rubble or rag-stone, covered on the exterior with stucco or plaster, with long and short blocks of ashlar or hewn stone, disposed at the angles in alternate courses. We also find, projecting a few inches from the surface of the wall, and running up vertically, narrow ribs or square-edged strips of stone, bearing from their position a rude similarity to pilasters; and these strips are generally composed of long and short pieces of stone placed alternately. A plain string course of the same description of square-edged rib or strip-work often runs horizontally along the walls of Anglo-Saxon remains, and the vertical ribs are sometimes set upon such as a basement, and sometimes finish under such. Q. What churches exhibit projecting strips of stonework thus disposed? A. The towers of the churches of Earls Barton and Barnack, Northamptonshire, and the tower of one of the churches at Barton-upon-Humber, Lincolnshire, are covered with these narrow projecting strips of stonework, in such a manner that the surface of the wall appears divided into rudely formed panels; the like disposition of rib-work appears, though not to so great extent, on the face of the upper part of the tower of Stowe Church, Northamptonshire, of St. Benedict’s Church, Cambridge, on the walls of the church of Worth, in Sussex, on the upper part of the walls of the chancel of Repton Church, Derbyshire, and on the walls of the nave and north transept of Stanton Lacey Church, Salop. Anglo-Saxon Masonry, Long and Short Work. Anglo-Saxon Masonry, Long and Short Work. Q. Where do we meet with instances where long and short blocks of ashlar masonry are disposed in alternate courses at the angles of walls? A. Such occur at the angles of the chancel of North Burcombe Church, Wiltshire; at the angles of the nave and chancel of Wittering Church, Northamptonshire; at the angles of the towers of St. Benedict’s Church, Cambridge, of Sompting Church, Sussex, and of St. Michael’s Church, Oxford, and in other Anglo-Saxon remains. The ashlar masonry forming the angles is not, however, invariably thus disposed. Q. How are the doorways of this style distinguished? A. They are either semicircular, or triangular-arched headed, but the former are more common. In those, apparently the most ancient, the voussoirs or arched heads are faced with large flat bricks or tiles, closely resembling Roman work. Doorways of this description are to be met with in the old church, Dover Castle; in the church of Brixworth, Northamptonshire; and on the south side of Brytford Church, Wiltshire. The doorway, however, we most frequently meet with in Anglo-Saxon remains, is of simple yet peculiar construction, semicircular-headed, and formed entirely of stone, without any admixture of brick; the jambs are square-edged, and are sometimes but not always composed of two long blocks placed upright, with a short block between them; the arched head of the doorway is plain, and springs from square projecting impost blocks, the under edges of which are sometimes bevelled and sometimes left square. This doorway is contained within a kind of arch of rib-work, projecting from the face of the wall, with strips of pilaster rib-work continued down to the ground; sometimes this arch springs from plain block imposts, or from strips of square-edged rib-work disposed horizontally, and the jambs are occasionally constructed of long and short work. [35] [36] [37] [38] Anglo-Saxon Doorway, St. Peter's Church, Barton-upon- Humber. Q. Mention the names of churches in which doorways of this description are preserved? A. The south doorways of the towers of the old church at Barton-upon-Humber and of Barnack Church, the west doorway of the tower of Earls Barton Church, the north and south doorways of the tower of Wooten Wawen Church, Warwickshire, the east doorway of the tower of Stowe Church, Northamptonshire, the north doorway of the nave of Brytford Church, Wiltshire, and the north doorway of the nave of Stanton Lacey Church, Salop, though differing in some respects from each other, bear a general similarity of design, and come under the foregoing description. Belfry Window, north side of the Tower of Wyckham Church, Berks. Q. How are we able to distinguish the windows of the Anglo-Saxon style? A. The belfry windows are generally found to consist of two semicircular-headed lights, divided by a kind of rude balluster shaft of peculiar character, the entasis of which is sometimes encircled with rude annulated mouldings; this shaft supports a plain oblong impost or abacus, which extends through the whole of the thickness of the wall, or nearly so, and from this one side of the arch of each light springs. Double windows thus divided appear in the belfry stories of the church towers of St. Michael, Oxford; St. Benedict, Cambridge; St. Peter, Barton-upon-Humber; Wyckham, Berks; Sompting, Sussex; and Northleigh, Oxfordshire. In the belfry of the tower of Earls Barton Church are windows of five or six lights, the divisions between which are formed by these curious balluster shafts. The semicircular-headed single-light window of this style may be distinguished from those of the Norman style by the double splay of the jambs, the spaces between which spread or increase in width outwardly as well as inwardly, the narrowest part of the window being placed on the centre of the thickness of the wall; whereas the jambs of windows in the Norman style have only a single splay, and the narrowest part of the window is set even with the external face of the wall, or nearly so. Single-light windows splayed externally occur in the west walls of the towers of Wyckham Church, Berks, and of Stowe Church, Northamptonshire, Caversfield Church, Oxfordshire, and on the north side of the chancel of Clapham Church, Bedfordshire; but windows without a splay occur in the tower of Lavendon Church, Buckinghamshire. Small square or oblong-shaped apertures are sometimes met with, as in the tower of St. Benedict’s Church, Cambridge; and also triangular-headed windows, which, with doorways of the same form, will be presently noticed. [39] [40] [41]