GOTHIC ARCHITECTURE IN GREAT BRITAIN:GENERAL CHARACTER

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CHAPTER XVII.

GOTHIC ARCHITECTURE IN GREAT BRITAIN.

BOOKS RECOMMENDED: As before, Corroyer, Parker, Reber. Also, Bell's Series of

Handbooks of English Cathedrals. Billings, The Baronial and Ecclesiastical Antiquities of

Scotland. Bond, Gothic Architecture in England. Brandon, Analysis of Gothic

Architecture. Britton, Cathedral Antiquities of Great Britain. Ditchfield, The Cathedrals

of England. Murray, Handbooks of the English Cathedrals. Parker, Introduction to

Gothic Architecture; Glossary of Architectural Terms; Companion to Glossary, etc.

Rickman, An Attempt to Discriminate the Styles of English Architecture. Sharpe,

Architectural Parallels; The Seven Periods of English Architecture. Van Rensselaer,

English Cathedrals. Winkles and Moule, Cathedral Churches of England and Wales.

Willis, Architectural History of Canterbury Cathedral; ditto of Winchester Cathedral;

Treatise on Vaults.

GENERAL CHARACTER. Gothic architecture was developed in England under a

strongly established royal power, with an episcopate in no sense hostile to the abbots

or in arms against the barons. Many of the cathedrals had monastic chapters, and

not infrequently abbots were invested with the episcopal rank.

FIG. 128.--PLAN OF SALISBURY CATHEDRAL.

English Gothic architecture was thus by no means predominantly an architecture of

cathedrals. If architectural activity in England was on this account less intense and

widespread in the twelfth and thirteenth centuries than in France, it was not, on the

other hand, so soon exhausted. Fewer new cathedrals were built, but the progressive

rebuilding of those already existing seems not to have ceased until the middle or end

of the fifteenth century. Architecture in England developed more slowly, but more

uniformly than in France. It contented itself with simpler problems; and if it failed to

rival Amiens in boldness of construction and in lofty majesty, it at least never

perpetrated a folly like Beauvais. In richness of internal decoration, especially in the

mouldings and ribbed vaulting, and in the picturesque grouping of simple masses

externally, the British builders went far toward atoning for their structural timidity.

EARLY GOTHIC BUILDINGS. The pointed arch and ribbed vault were importations

from France. Early examples appear in the Cistercian abbeys of Furness and Kirkstall,

and in the Temple Church at London (1185). But it was in the Choir of Canterbury,

as rebuilt by William of Sens, after the destruction by fire in 1170 of Anselm's

Norman choir, that these French Gothic features were first applied in a

thoroughgoing manner. In plan this choir resembled that of the cathedral of Sens;

and its coupled round piers, with capitals carved with foliage, its pointed arches, its

six-part vaulting, and its chevet, were distinctly French. The Gothic details thus

introduced slowly supplanted the round arch and other Norman features. For fifty

years the styles were more or less mingled in many buildings, though Lincoln

Cathedral, as rebuilt in 11851200, retained nothing of the earlier round-arched

style. But the first church to be designed and built from the foundations in the new

style was the cathedral of Salisbury (12201258; Fig. 128). Contemporary with

Amiens, it is a homogeneous and typical example of the Early English style. The

predilection for great length observable in the Anglo-Norman churches (as at Norwich

and Durham) still prevailed, as it continued to do throughout the Gothic period;

Salisbury is 480 feet long. The double transepts, the long choir, the square east end,

the relatively low vault (84 feet to the ridge), the narrow grouped windows, all are

thoroughly English. Only the simple four-part vaulting recalls French models.

Westminster Abbey (12451269), on the other hand, betrays in a marked manner

the French influence in its internal loftiness (100 feet), its polygonal chevet and

chapels, and its strongly accented exterior flying-buttresses (Fig. 137).

MIXTURE OF STYLES. Very few English cathedrals are as homogeneous as the two

just mentioned, nearly all having undergone repeated remodellings in successive

periods. Durham, Norwich, and Oxford are wholly Norman but for their Gothic

vaults. Ely, Rochester, Gloucester, and Hereford have Norman naves and Gothic

choirs. Peterborough has an early Gothic façade and late Gothic retro-choir added to

an otherwise completely Norman structure. Winchester is a Norman church

remodelled with early Perpendicular details. The purely Gothic churches and

cathedrals, except parish churches--in which England is very rich--are not nearly as

numerous in England as in France.

PERIODS. The development of English Gothic architecture followed the same general

sequence as the French, and like it the successive stages were most conspicuously

characterized by the forms of the tracery.

The EARLY ENGLISH or LANCET period extended roundly from 1175 or 1180 to 1280,

and was marked by simplicity, dignity, and purity of design.

The DECORATED or GEOMETRIC period covered another century, 1280 to 1380, and

was characterized by its decorative richness and greater lightness of construction.

The PERPENDICULAR period extended from 1380, or thereabout, well into the

sixteenth century. Its salient features were the use of fan-vaulting, four-centred

arches, and tracery of predominantly vertical and horizontal lines. The tardy

introduction of Renaissance forms finally put an end to the Gothic style in England,

after a long period of mixed and transitional architecture.

FIG. 129.--RIBBED VAULTING, CHOIR OF EXETER CATHEDRAL.

VAULTING. The richness and variety of English vaulting contrast strikingly with the

persistent uniformity of the French. A few of the early Gothic vaults, as in the aisles

of Peterborough, and later the naves of Durham, Salisbury, and Gloucester, were

simple four-part, ribbed vaults substantially like the French. But the English disliked

and avoided the twisted and dome-like surfaces of the French vaults, preferring

horizontal ridges, and, in the filling-masonry, straight courses meeting at the ridge in

zigzag lines, as in southwest France. This may be seen in Westminster Abbey. The

idea of ribbed construction was then seized upon and given a new application. By

springing a large number of ribs from each point of support, the vaulting-surfaces

were divided into long, narrow, triangles, the filling of which was comparatively easy

(Fig. 129). The ridge was itself furnished with a straight rib, decorated with carved

rosettes or bosses at each intersection with a vaulting-rib. The naves and choirs of

Lincoln, Lichfield, Exeter, and the nave of Westminster illustrate this method. The

logical corollary of this practice was the introduction of minor ribs called liernes,

connecting the main ribs and forming complex reticulated and star-shaped patterns.

Vaults of this description are among the most beautiful in England. One of the richest

is in the choir of Gloucester (13371377). Less correct constructively is that over

the choir of Wells, while the choir of Ely, the nave of Tewkesbury Abbey (Fig. 130),

and all the vaulting of Winchester as rebuilt by William of Wykeham (1390),

illustrate the same system. Such vaults are called lierne or star vaults.

FIG. 130.--NET OR LIERNE VAULTING, TEWKESBURY ABBEY.

FAN-VAULTING. The next step in the process may be observed in the vaults of the

choir of Oxford Cathedral (Christ Church), of the retro-choir of Peterborough, of the

cloisters of Gloucester, and many other examples. The diverging ribs being made of

uniform curvature, the severeys (the inverted pyramidal vaulting-masses springing

from each support) became a species of concave conoids, meeting at the ridge in such

a way as to leave a series of flat lozenge-shaped spaces at the summit of the vault

(Fig. 136).

FIG. 131.--VAULT OF CHAPTER-HOUSE, WELLS.

The ribs were multiplied indefinitely, and losing thus in individual and structural

importance became a mere decorative pattern of tracery on the severeys. To conceal

the awkward flat lozenges at the ridge, elaborate panelling was resorted to; or, in

some cases, long stone pendents were inserted at those points--a device highly

decorative but wholly unconstructive. At Cambridge, in King's College Chapel, at

Windsor, in St. George's Chapel, and in the Chapel of Henry VII. at Westminster,

this sort of vaulting received its most elaborate development. The fan-vault, as it is

called, illustrates the logical evolution of a decorative element from a structural

starting--point, leading to results far removed from the original conception. Rich and

sumptuous as are these ceilings, they are with all their ornament less satisfactory

than the ribbed vaults of the preceding period.

CHAPTER-HOUSES. One of the most beautiful forms of ribbed vaulting was

developed in the polygonal halls erected for the deliberations of the cathedral

chapters of Lincoln (1225), Westminster (1250), Salisbury (1250), and Wells

(1292), in which the vault-ribs radiated from a central column to the sides and

angles of the polygon (Fig. 131). If these vaults were less majestic than domes of the

same diameter, they were far more decorative and picturesque, while the chapter-

houses themselves were the most original and striking products of English Gothic art.

Every feature was designed with strict regard for the structural system determined by

the admirable vaulting, and the Sainte Chapelle was not more logical in its

exemplification of Gothic principles. To the four above-mentioned examples should

be added that of York (12801330), which differs from them in having no central

column: by some critics it is esteemed the finest of them all. Its ceiling is a Gothic

dome, 57 feet in diameter, but unfortunately executed in wood. Its geometrical

window-tracery and richly canopied stalls are admirable.

OCTAGON AT ELY. The magnificent Octagon of Ely Cathedral, at the intersection of

the nave and transepts, belongs in the same category with these polygonal chapter-

house vaults. It was built by Alan of Walsingham in 1337, after the fall of the

central tower and the destruction of the adjacent bays of the choir. It occupies the

full width of the three aisles, and covers the ample space thus enclosed with a simple

but beautiful groined and ribbed vault of wood reaching to a central octagonal

lantern, which rises much higher and shows externally as well as internally.

Unfortunately, this vault is of wood, and would require important modifications of

detail if carried out in stone. But it is so noble in general design and total effect, that

one wonders the type was not universally adopted for the crossing in all cathedrals,

until one observes that no cathedral of importance was built after Walsingham's

time, nor did any other central towers opportunely fall to the ground.

WINDOWS AND TRACERY. In the Early English Period (12001280 or 1300) the

windows were tall and narrow (lancet windows), and generally grouped by twos and

threes, though sometimes four and even five are seen together (as the "Five Sisters"

in the N. transept of York). In the nave of Salisbury and the retro-choir of Ely the

side aisles are lighted by coupled windows and the clearstory by triple windows, the

central one higher than the others--a surviving Norman practice. Plate-tracery was,

as in France, an intermediate step leading to the development of bar-tracery (see

Fig. 110).

FIG. 132.--CLOISTERS, SALISBURY CATHEDRAL (SHOWING UPPER PART OF CHAPTER-HOUSE).

The English followed here the same reasoning as the French. At first the openings

constituted the design, the intervening stonework being of secondary importance.

Later the forms of the openings were subordinated to the pattern of the stone

framework of bars, arches, circles, and cusps. Bar-tracery of this description

prevailed in England through the greater part of the Decorated Period (12801380),

and somewhat resembled the contemporary French geometric tracery, though more

varied and less rigidly constructive in design. An early example of this tracery occurs

in the cloisters of Salisbury (Fig. 132); others in the clearstories of the choirs of

Lichfield, Lincoln, and Ely, the nave of York, and the chapter-houses mentioned

above, where, indeed, it seems to have received its earliest development. After the

middle of the fourteenth century lines of double curvature were introduced,

producing what is called flowing tracery, somewhat resembling the French

flamboyant, though earlier in date (Fig. 111). Examples of this style are found in

Wells, in the side aisles and triforium of the choir of Ely, and in the S. transept rose-

window of Lincoln.

THE PERPENDICULAR STYLE. Flowing tracery was, however, a transitional phase

of design, and was soon superseded by Perpendicular tracery, in which the mullions

were carried through to the top of the arch and intersected by horizontal transoms.

This formed a very rigid and mechanically correct system of stone framing, but

lacked the grace and charm of the two preceding periods. The earliest examples are

seen in the work of Edington and of Wykeham in the reconstructed cathedral of

Winchester (13601394), where the tracery was thus made to harmonize with the

accentuated and multiplied vertical lines of the interior design. It was at this late

date that the English seem first to have fully appropriated the Gothic ideas of

emphasized vertical elements and wall surfaces reduced to a minimum. The

development of fan-vaulting had led to the adoption of a new form of arch, the four-

centred or Tudor arch (Fig. 133), to fit under the depressed apex of the vault. The

whole design internally and externally was thenceforward controlled by the form of

the vaulting and of the openings. The windows were made of enormous size,

especially at the east end of the choir, which was square in nearly all English

churches, and in the west windows over the entrance. These windows had already

reached, in the Decorated Period, an enormous size, as at York; in the Perpendicular

Period the two ends of the church were as nearly as possible converted into walls of

glass. The East Window of Gloucester reaches the prodigious dimensions of 38 by 72

feet. The most complete examples of the Perpendicular tracery and of the style in

general are the three chapels already mentioned; those, namely, of King's College at

Cambridge, of St. George at Windsor, and of Henry VII. in Westminster Abbey.

FIG. 133.--PERPENDICULAR TRACERY, WEST WINDOW OF ST. GEORGE'S, WINDSOR.

CONSTRUCTIVE DESIGN. The most striking peculiarity of English Gothic design

was its studious avoidance of temerity or venturesomeness in construction. Both the

height and width of the nave were kept within very moderate bounds, and the

supports were never reduced to extreme slenderness. While much impressiveness of

effect was undoubtedly lost thereby, there was some gain in freedom of design, and

there was less obtrusion of constructive elements in the exterior composition. The

flying-buttress became a feature of minor importance where the clearstory was kept

low, as in most English churches. In many cases the flying arches were hidden under

the aisle roofs. The English cathedrals and larger churches are long and low,

depending for effect mainly upon the projecting masses of their transepts, the

imposing square central towers which commonly crown the crossing, and the

grouping of the main structure with chapter-houses, cloisters, and Lady-chapels.

FIG. 134.--WEST FRONT, LICHFIELD CATHEDRAL.

FRONTS. The sides and east ends were, in most cases, more successful than the

west fronts. In these the English displayed a singular indifference or lack of creative

power. They produced nothing to rival the majestic façades of Notre Dame, Amiens,

or Reims, and their portals are almost ridiculously small. The front of York Cathedral

is the most notable in the list for its size and elaborate decoration. Those of Lincoln

and Peterborough are, however, more interesting in the picturesqueness and

singularity of their composition. The first-named forms a vast arcaded screen,

masking the bases of the two western towers, and pierced by three huge Norman

arches, retained from the original façade. The west front of Peterborough is likewise

a mask or screen, mainly composed of three colossal recessed arches, whose vast

scale completely dwarfs the little porches which give admittance to the church.

Salisbury has a curiously illogical and ineffective façade. Those of Lichfield and

Wells are, on the other hand, imposing and beautiful designs, the first with its twin

spires and rich arcading (Fig. 134), the second with its unusual wealth of figure-

sculpture, and massive square towers.

CENTRAL TOWERS. These are the most successful features of English exterior

design. Most of them form lanterns internally over the crossing, giving to that point a

considerable increase of dignity. Externally they are usually massive and lofty square

towers, and having been for the most part completed during the fourteenth and

fifteenth centuries they are marked by great richness and elegance of detail. Durham,

York, Ely, Canterbury, Lincoln, and Gloucester maybe mentioned as notable

examples of such square towers; that of Canterbury is the finest. Two or three have

lofty spires over the lantern. Among these, that of Salisbury is chief, rising 424 feet

from the ground, admirably designed in every detail. It was not completed till the

middle of the fourteenth century, but most fortunately carries out with great felicity

the spirit of the earlier style in which it was begun. Lichfield and Chichester have

somewhat similar central spires, but less happy in proportion and detail than the

beautiful Salisbury example.

FIG. 135.--ONE BAY OF CHOIR, LICHFIELD CATHEDRAL.

INTERIOR DESIGN. In the Norman churches the pier-arches, triforium, and

clearstory were practically equal. In the Gothic churches the pier-arches generally

occupy the lower half of the height, the upper half being divided nearly equally

between the triforium and clearstory, as in Lincoln, Lichfield (nave), Ely (choir). In

some cases, however (as at Salisbury, Westminster, Winchester, choir of Lichfield),

the clearstory is magnified at the expense of the triforium (Fig. 135). Three

peculiarities of design sharply distinguish the English treatment of these features

from the French. The first is the multiplicity of fine mouldings in the pier-arches; the

second is the decorative elaboration of design in the triforium; the third, the variety

in the treatment of the clearstory. In general the English interiors are much more

ornate than the French. Black Purbeck marble is frequently used for the shafts

clustered around the central core of the pier, giving a striking and somewhat singular

effect of contrasted color. The rich vaulting, the highly decorated triforium, the

moulded pier-arches, and at the end of the vista the great east window, produce an

impression very different from the more simple and lofty stateliness of the French

cathedrals. The great length and lowness of the English interiors combine with this

decorative richness to give the impression of repose and grace, rather than of majesty

and power. This tendency reached its highest expression in the Perpendicular

churches and chapels, in which every surface was covered with minute panelling.

CARVING. In the Early English Period the details were carved with a combined

delicacy and vigor deserving of the highest praise. In the capitals and corbels,

crockets and finials, the foliage was crisp and fine, curling into convex masses and

seeming to spring from the surface which it decorated. Mouldings were frequently

ornamented with foliage of this character in the hollows, and another ornament, the

dog-tooth or pyramid, often served the same purpose, introducing repeated points of

light into the shadows of the mouldings. These were fine and complex, deep hollows

alternating with round mouldings (bowtels) sometimes made pear-shaped in section

by a fillet on one side. Cusping--the decoration of an arch or circle by triangular

projections on its inner edge--was introduced during this period, and became an

important decorative resource, especially in tracery design. In the Decorated Period

the foliage was less crisp; sea-weed and oak-leaves, closely and confusedly bunched,

were used in the capitals, while crockets were larger, double-curved, with leaves

swelling into convexities like oak-galls. Geometrical and flowing tracery were

developed, and the mouldings of the tracery-bars, as of other features, lost somewhat

in vigor and sharpness. The ball-flower or button replaced the dog's-tooth, and the

hollows were less frequently adorned with foliage.

In the Perpendicular Period nearly all flat surfaces were panelled in designs

resembling the tracery of the windows. The capitals were less important than those

of the preceding periods, and the mouldings weaker and less effective. The Tudor

rose appears as an ornament in square panels and on flat surfaces; and moulded

battlements, which first appeared in Decorated work, now become a frequent

crowning motive in place of a cornice. There is less originality and variety in the

ornament, but a great increase in its amount (Fig. 136).

FIG. 136.--FAN-VAULTING, HENRY VII.'S CHAPEL, WESTMINSTER ABBEY.

PLANS. English church plans underwent, during the Gothic Period, but little change

from the general types established previous to the thirteenth century. The Gothic

cathedrals and abbeys, like the Norman, were very long and narrow, with choirs

often nearly as long as the nave, and almost invariably with square eastward

terminations. There is no example of double side aisles and side chapels, and apsidal

chapels are very rare. Canterbury and Westminster (Fig. 137) are the chief

exceptions to this, and both show clearly the French influence. Another striking

peculiarity of the English plans is the frequent occurrence of secondary transepts,

adding greatly to the external picturesqueness. These occur in rudimentary form in

Canterbury, and at Durham the Chapel of the Nine Altars, added 12421290 to the

eastern end, forms in reality a secondary transept. This feature is most perfectly

developed in the cathedral of Salisbury (Fig. 128), and appears also at Lincoln,

Worcester, Wells, and a few other examples. The English cathedral plans are also

distinguished by the retention or incorporation of many conventual features, such as

cloisters, libraries, and halls, and by the grouping of chapter-houses and Lady-

chapels with the main edifice. Thus the English cathedral plans and those of the

great abbey churches present a marked contrast with those of France and the

Continent generally. While Amiens, the greatest of French cathedrals, is 521 feet

long, and internally 140 feet high, Ely measures 565 feet in length, and less than 75

feet in height. Notre Dame is 148 feet wide; the English naves are usually under 80

feet in total width of the three aisles.

FIG. 137.--EASTERN HALF OF WESTMINSTER ABBEY. PLAN.

a, Henry VII.'s chapel.

PARISH CHURCHES. Many of these were of exceptional beauty of composition and

detail. They display the greatest variety of plan, churches with two equal-gabled

naves side by side being not uncommon. A considerable proportion of them date

from the fourteenth and fifteenth centuries, and are chiefly interesting for their

square, single, west towers and their carved wooden ceilings (see below). The tower

was usually built over the central western porch; broad and square, with corner

buttresses terminating in pinnacles, it was usually finished without spires. Crenelated

battlements crowned the upper story. When spires were added the transition from

the square tower to the octagonal spire was effected by broaches or portions of a

square pyramid intersecting the base of the spire, or by corner pinnacles and flying-

buttresses.

FIG. 138.--ROOF OF NAVE, ST. MARY'S, WESTONZOYLAND.

WOODEN CEILINGS. The English treated woodwork with consummate skill. They

invented and developed a variety of forms of roof-truss in which the proper

distribution of the strains was combined with a highly decorative treatment of the

several parts by carving, moulding, and arcading. The ceiling surfaces between the

trusses were handled decoratively, and the oaken open-timber ceilings of many of the

English churches and civic or academic halls (Christ Church Hall, Oxford;

Westminster Hall, London) are such noble and beautiful works as quite to justify the

substitution of wooden for vaulted ceilings (Fig. 138). The hammer-beam truss was

in its way as highly scientific, and æsthetically as satisfactory, as any feature of

French Gothic stone construction. Without the use of tie-rods to keep the rafters from

spreading, it brought the strain of the roof upon internal brackets low down on the

wall, and produced a beautiful effect by the repetition of its graceful curves in each

truss.

CHAPELS AND HALLS. Many of these rival the cathedrals in beauty and dignity of

design. The royal chapels at Windsor and Westminster have already been mentioned,

as well as King's College Chapel at Cambridge, and Christ Church Hall at Oxford. To

these college halls should be added the chapel of Merton College at Oxford, and the

beautiful chapel of St. Stephen at Westminster, most unfortunately demolished when

the present Parliament House was erected. The Lady-chapels of Gloucester and Ely,

though connected with the cathedrals, are really independent designs of late date,

and remarkable for the richness of their decoration, their great windows, and

elaborate ribbed vaulting. Some of the halls in mediæval castles and manor-houses

are also worthy of note, especially for their timber ceilings.

MINOR MONUMENTS. The student of Gothic architecture should also give

attention to the choir-screens, tombs, and chantries which embellish many of the

abbeys and cathedrals. The rood-screen at York is a notable example of the first; the

tomb of De Gray in the same cathedral, and tombs and chantries in Canterbury,

Winchester, Westminster Abbey, Ely, St. Alban's Abbey, and other churches are

deservedly admired. In these the English love for ornament, for minute carving, and

for the contrast of white and colored marble, found unrestrained expression. To these

should be added the market-crosses of Salisbury and Winchester, and Queen

Eleanor's Cross at Waltham.

DOMESTIC ARCHITECTURE. The mediæval castles of Great Britain belong to the

domain of military engineering rather than of the history of art, though occasionally

presenting to view details of considerable architectural beauty. The growth of peace

and civic order is marked by the erection of manor-houses, the residences of wealthy

landowners. Some of these houses are of imposing size, and show the application to

domestic requirements, of the late Gothic style which prevailed in the period to

which most of them belong. The windows are square or Tudor-arched, with stone

mullions and transoms of the Perpendicular style, and the walls terminate in merlons

or crenelated parapets, recalling the earlier military structures. The palace of the

bishop or archbishop, adjoining the cathedral, and the residences of the dean,

canons, and clergy, together with the libraries, schools, and gates of the cathedral

enclosure, illustrate other phases of secular Gothic work. Few of these structures are

of striking architectural merit, but they possess a picturesque charm which is very

attractive.

Not many stone houses of the smaller class remain from the Gothic period in

England. But there is hardly an old town that does not retain many of the half-

timbered dwellings of the fifteenth or even fourteenth century, some of them in

excellent preservation. They are for the most part wider and lower than the French

houses of the same class, but are built on the same principle, and, like them, the

woodwork is more or less richly carved.

MONUMENTS: (A. = abbey church; C. = cathedral; r. = ruined; trans. = transept; each

monument is given under the date of the earliest extant Gothic work upon it, with

additions of later periods in parentheses.)

EARLY ENGLISH: Kirkstall A., 115282, first pointed arches; Canterbury C., choir, 1175

84 (nave, 13781411; central tower, 1500); Lincoln C., choir, trans., 11921200

(vault, 1250; nave and E. end, 126080); Lichfield C., 120050 (W. front, 1275;

presbytery, 1325); Worcester C., choir, 120318, nave partly Norman (W. end, 1375

95); Chichester C., 120444 (spire rebuilt 17th century); Fountains A., 120546;

Salisbury C., 122058 (cloister, chapter-h., 126384; spire, 1331); Elgin C., 122444;

Wells C., 11751206 (W. front 1225, choir later, chapter-h., 1292); Rochester C.,

122539 (nave Norman); York C., S. trans., 1225; N. trans., 1260 (nave, chapter-h.,

12911345; W. window, 1338; central tower, 13891407; E. window, 1407);

Southwell Minster, 123394 (nave Norman); Ripon C., 123394 (central tower, 1459);

Ely C., choir, 122954 (nave Norman; octagon and presbytery, 132362);

Peterborough C., W. front, 1237 (nave Norman; retro-choir, late 14th century);

Netley A., 1239 (r.); Durham C., "Nine Altars" and E. end choir, 123590 (nave, choir,

Norman; W. window, 1341; central tower finished, 1480); Glasgow C., (with remarkable

Early English crypt), 124277; Gloucester C., nave vaulted, 123942 (nave mainly

Norman; choir, 133751; cloisters, 13751412; W. end, 142037; central tower,

145057); Westminster A., 124569; St. Mary's A., York, 127292 (r.).

DECORATED: Merton College Chapel, Oxford, 12741300; Hereford C., N. trans.,

chapter-h., cloisters, vaulting, 127592 (nave, choir, Norman); Exeter C., choir, trans.,

127991; nave, 133150 (E. end remodelled, 1390); Lichfield C., Lady-chapel, 1310;

Ely C., Lady-chapel, 132149; Melrose A., 132799 (nave, 1500; r.); St. Stephen's

Chapel, Westminster, 134964 (demolished); Edington church, 135261; Carlisle C.,

E. end and upper parts, 135295 (nave in part and S. trans. Norman; tower finished,

1419); Winchester C., W. end remodelled, 136066 (nave and aisles, 13941410;

trans., partly Norman); York C., Lady-chapel, 136272; churches of Patrington and Hull,

late 14th century.

PERPENDICULAR: Holy Cross Church, Canterbury, 1380; St. Mary's, Warwick, 138191;

Manchester C., 1422; St. Mary's, Bury St. Edmunds, 142433; Beauchamp Chapel,

Warwick, 1439; King's College Chapel, Cambridge, 1440; vaults, 150815; St. Mary's

Redcliffe, Bristol, 1442; Roslyn Chapel, Edinburgh, 144690; Gloucester C., Lady-

chapel, 145798; St. Mary's, Stratford-on-Avon, 146591; Norwich C., upper part and

E. end of choir, 147299 (the rest mainly Norman); St. George's Chapel, Windsor,

14811508; choir vaulted, 150720; Bath A., 150039; Chapel of Henry VII.,

Westminster, 150320.

ACADEMIC AND SECULAR BUILDINGS: Winchester Castle Hall, 122235; Merton College

Chapel, Oxford, 12741300; Library Merton College, 135478; Norborough Hall,

1356; Windsor Castle, upper ward, 135973; Winchester College, 138793; Wardour

Castle, 1392; Westminster Hall, rebuilt, 139799; St. Mary's Hall, Coventry, 140114;

Warkworth Castle, 1440; St. John's College, All Soul's College, Oxford, 1437; Eton

College, 14411522; Divinity Schools, Oxford, 144554; Magdalen College, Oxford,

147580, tower, 1500; Christ Church Hall, Oxford, 1529.

Ebd

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