Part I

from the screen at Burgh le Marsh, Lincolnshire, is only half the size of the stone one from Bottisham, near Cambridge, but has more members in it. The reader will perhaps be tired of this preliminary chapter, and will be anxious to enter upon the subject at once. And at this point it may be well to proceed, beginning with very early buildings, and endeavouring to discover the origin of the practice, 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 Saxon window or doorway, perhaps nothing more will be found than a rude square-edged aperture in a plain wall, as in PL. I. fig. 1. This may often be met with, even considerably later, in small and rude country churches, especially in belfry-arches. It may, however, be relieved and expanded by splaying it on one or both sides, that is, by sloping or chamfering off the edges, as in fig. 2. So in an ordinary Early English lancet window, the long narrow opening has a very wide splay inside and a very small one on GENERAL PRINCIPLES OF FORMATION. 17 the outside, fig. 3. But in arching over the upper part of such an aperture as fig. 1, made in a thick wall of loose rubhle masonry, it was not uncommon to add, for the sake at once of ornament and security, a sub- arch, or under- rib, like the groin- rib of a vault, constructed of fine-jointed ashlar, as fig. 4. This sub-arch rested either on a pillar at each side, or a projecting impost,* or it was carried continuously down to the ground, that is, without any interruption or change of shape. Now in this rude arrangement, which is observable in many continental Romanesque churches, we shall find the germs of a usage which ever afterwards prevailed, with some improvements of form and detail, 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 impost. The same is observable in several of the Transition arches at Buildwas Abbey, f By chamfering off each arris, or square edge, of this aperture, 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: fig. 5). Of course, there may be two or more sub-arches, if the wall be very thick; each one retiring behind the other. And the chamfer may be hollow, or fluted, as in fig. 7, which is common in Early English and Decorated arches. This is the case in the chancel- arch at Cherry Hinton, near Cambridge, and was much in vogue 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 off at the impost, the jambs being left square, with a small shaft at the .angles. t Potter's Monastic Remains, PL. III. and IV. 18 MANUAL OF GOTHIC MOLDINGS. cut out of a single stone together with the first or outer order of moldings. The accompanying diagram represents a voussoir or arch-stone of an ordinary Decorated nave-arch. It is quite evident that the above was the origin of the commonly occurring arch of two plain chamfered orders. "Were any proof wanting, we might refer to cases where only one side is chamfered and the other left square, as at Horningsea, near Cambridge, circa 1190 (PL. I. fig. 9), or to the peculiar termination represented in elevation in PL. I. fig. 10, and PL. XXI. fig. 3, which is common in Early English arches, as at Waterbeach, near Cambridge, or to the springing of a threequarter edge-roll from a square archivolt immediately above the capital, as in PL. I. fig. 8, which is a Transition Norman arch at Little Casterton, Kutland. Fig. 10 may conveniently be called the broach stop.* It is the way of changing the square into the -chamfered edge without abruptness, or of blending the one into the other. But there was another method of taking off sharp edges, which was introduced perhaps even earlier than the other, and exercised a much more direct influence in the formation of moldings. This was by rounding the edge instead of cutting it away. Hence arose the cylindrical roll or BOWTELL, which was afterwards made more or less nearly a circle by cutting out a small angular channel on each side. PL. I. fig. 6, is one side or face of an arch-mold at Little Casterton, showing this method, which is given more at large in fig. 21. This seems soon to have suggested the contrast of light and shade formed by hollows alternating with (relatively) projecting members. Fig. 11 is the section of a Norman pier-arch at Friesland, * The broaches of an octagonal spire are the semi-pyramidal projections, connecting the four oblique faces with the angles of the square tower. GENERAL PRINCIPLES OF FORMATION. 19 Lincolnshire. In this the square edge is worked into a shallow triple roll. Fig. 12 is an Early English pier-arch at Skirbeck, near Boston. Here the bowtell is formed by rounding the edge as before, and cutting a deep three-quarter hollow on each side. Thus the bowtell becomes attached only by a narrow neck, as was very usual in this style. Fig. 13 is from Great Grimsby, and fig. 14 from Glee, both in Lincolnshire. In the latter church a Dedication inscription still remains,* bearing the date 1192 ; and the other is of very nearly the same period. Both these are good examples of the same principle ; and arch-molds of this kind are of constant occurrence in the Norman and Transition styles. The pierarches in the nave of Peterborough Cathedral are molded precisely in the same manner. These bold early moldings are generally called " edge-rolls,'* because they occur at the external angles of the receding orders, and are yet not extended on each side. They are commonly single, as PL. XXI. fig. 2, an arch from Seaton Church, Rut- land ; but occasionally double, as fig. 1 of the same plate, the belfry arch of Morcot Church, in the same county. From this latter arrangement is derived the double roll and fillet which forms the central member of PL. XVIII. fig. 8, an arch-mold from the choir of Ripon Minster. In considering the origin of the cylindrical roll or bowtell, the first 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, is occupied by a detached column. PL. I. fig. 15, is from Adel Church,f York- shire, and illustrates this arrangement. Now this column seems at first to have borne a square-edged member or sub-arch, * Facsimile given in Rickman's Gothic Architecture, Sixth Edition, p. 234. t See " Churches of Yorkshire," Part VII., from which this example is borrowed. c2 20 MANUAL OF GOTHIC MOLDINGS. which projected above the impost exactly where the jamb receded below it, and which was afterwards, in some cases, rounded off so as to correspond in form and size with the column itself. This may very clearly be seen in an Early Norman doorway at Hauxton, near Cambridge. Hence, by omitting altogether the impost or capital, the idea of continuous moldings is obtained. This subject, however, will be spoken of more fully in treating of capitals and shafts generally. Another form, which occurs frequently in the Transition Norman and Early English periods, is the POINTED BOWTELL, resembling, and coeval with, the introduction of the pointed arch. Its formation may be seen in PL. I. fig. 16, which is the plan of a late Norman arch in St. Mary's Church, Ely. This member arose from a desire to decorate the angles of recessed arches, without either cutting away or rounding off the square edge, as in the annexed example from Croxden Abbey, Staffordshire. Hence its occurrence in Early Gothic may be expected, and in truth it is very frequently found in the Transition period, though not in the pure Norman. Yet something closely resembling this member often occurs in Norman work, between two cylindrical bowtells, as at A, fig. 13. Fig. 17 is a triple respond or half- pier, of very singular form, at Clee ; and fig. 19 shows its use in an Early English arch at St. Benet's, Lincoln. In this case the under- edge is withdrawn at the point, which seems the origin of what is called the scroll-molding, hereafter to be explained. Fig. 24 shows this form more at large. The pointed shaft, the plan of which may be described as a spherical triangle engaged at the base, is of constant occurrence in Early English work, and is generally a mark of its early date. The clustered columns at Byland and Whitby Abbeys (the former circa 1190) exhibit the pointed shaft alternating with the circular. The western porch at Ely is flanked by GENERAL PRINCIPLES OF FORMATION. 21 clustered columns of pointed shafts. Undoubtedly this form existed earlier than, and afterwards led to, the filleted shaft and bowtell, which are so well known by the name of the " roll-andfillet." As a general rule, it may be stated that a shaft may take almost any form to suit the primary molding which it sustains on its capital, on the principle of continuous moldings already alluded to. PL. I. figs. 12 and 23, show the cylindrical and the pointed bowtells with the addition of a small fillet at one side. Fig. 22 is a groin -rib from Kobertsbridge Abbey, where both sides are thus filleted. Fig. 18 is a groin-rib from Tintern Abbey, where the fillet is at the end or central point. And fig. 25 is an Early English arch at Little Casterton, where there are three fillets. Of all these varieties more will be said hereafter. PL. II. fig. 1, is a pier-arch of very Early English date, at Middle Easen. Fig. 2 is a doorway at Ludborough, fig. 3 the chancel-arch at Langtoft, and fig. 5 the jamb of the archway of the south porch at Great Grimsby, all in Lincolnshire. The first three exhibit the use of the pointed bowtell. PL. XVIII. fig. 4, is the jamb of a lancet window at the east end of Kivaulx Abbey. This is one of the commonest moldings at the angles of Early English window-jambs. The student will already have perceived, from the manner adopted here of drawing the sections, first, that all these mold- ings are formed out of the solid block solely by removing edges and sinking hollows, and must never be regarded as excres- cences on a plane surface ; secondly, and in consequence, that the groups lie in the planes of the uncut blocks, the outermost edge of each member touching the rectangular or chamfered surface, that is, not being cut away so as to fall below or short of it. The original planes, or uncut square surfaces, are represented in our engravings by dotted lines. These two facts must be regarded as fundamental canons in the arrangement of moldings. 22 MANUAL OF GOTHIC MOLDINGS. . There are three planes in which moldings will be found to lie ; one parallel with the outer wall, which we shall designate the wall-plane ; one at right angles to it, or parallel with the soffit, which may be called the soffit-plane ; and the third, the plane formed by chamfering an edge, which was generally (not invariably) done at an angle of about forty-five degrees, or the chamfer-plane. In PL. II. fig. 10, A is the chamfer-plane, B the soffit- plane, c the wall-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 first point is to lay down on paper the various planes, that is, to ascertain the plan of the arch, or other feature, be- fore the moldings were cut. When this is done by accurate measurement, the rest of the process becomes comparatively easy, and the most complex and extensive combination, which it appears at first sight impossible to copy with anything like accuracy, may be readily disentangled, analyzed, and sketched with precision. Without attending to these facts, all attempts to do so will be futile. It may be alleged, as a general rule,* that Early English moldings lie on the planes rectangular ; that Decorated, according to their kind, fall either on these, or on the chamferplane alone ; and that Perpendicular moldings almost always lie on the last. If some members seem to fall short of one plane, they will generally be found referable to some other ; * "In the Anglo-Norman style 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- vailing desire to produce a meretricious effect, without any reference to correctness of composition." Brandon's Analysis, p. 50. GENERAL PRINCIPLES OF FORMATION. 23 and if they fall on the segment of a circle, which is much more rarely the case, as in PL. II. fig. 15, a pier-arch at All Saints', Stamford, the inclination must be determined by bending a ruler or piece of lead across them. It is, however, by no means uncommon to meet with moldings of all the styles in which some of the members are withdrawn considerably below the plane of the others. It is obvious that this is the 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 was less and less rigidly adhered to as the styles progressed, and in the latest, or Third-pointed, it was frequently entirely lost. PL. III. figs. 2 and 3, are instances of Early English 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. Fig. 12 is the distorted and inaccurate form it would probably assume if an unpractised and untaught draughtsman were to attempt to copy it by the eye. PL. II. fig. 7, is an Early English molding from the interior of the chancel door, Cherry Hinton. Fig. 8 is a pier- arch, and fig. 6 the northern doorway of the same church. 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 is a doorway, and fig. 13 a window-jamb, both from Over. These are Early Decorated. Fig. 14 is a doorway at Madingley, and fig. 16 one at Trumpington, near Cambridge. These are both pure Decorated. Fig. 18 is a magnificent arch-mold from the doorway of St. Clement's Church, Cambridge, showing the capitals of the two jambshafts. This is not an easy example to copy by the eye, for the central member in each group does not extend to the angle, but falls on the line of the chamfer. The observation of this circumstance immediately removes the principal difficulty. 24 . MANUAL OF GOTHIC MOLDINGS. This section illustrates a very common peculiarity of its style, which may be called the triplicity of moldings. Whether con- structive or symbolical, or (as a writer in the English Review, already quoted, imagines) suggested by philosophical principles of effect, we need not now consider, though symbolism may have had its influence, since the architects of the period seem to have affected representations of the mystic number THEEE. This molding consists of three distinct groups, each group having three members. Occasionally each member has three fillets, so that there is a triple triplicity in the entire composition. It is clear, however, that if an archway has two sub-arches, or consists of three orders, the angle of each will naturally form a group of three rolls with a hollow on each side, as in fig. 5. Early English and Decorated moldings very often consist of three groups. Too much stress has frequently been laid on the theory of architectural symbolism, and we only mention it as an opinion entertained by some. SECTION III. OF COPYING MOLDINGS. THERE are several ways of doing this. The best and simplest of all is by inserting the paper in a loose 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 pressure against them, or by a pencil. These methods, however, are but seldom available, except in ruined buildings, and here care should be taken not to damage or destroy any portion of the little that is left. But many fragments of monials, groinribs, voussoirs, and other molded stones, may be found in every COPYING MOLDINGS. 25 old abbey ; and these may readily be placed upon sheets of paper for the purpose of tracing their outlines. By these means alone a large collection of very valuable specimens may be made. A Another way is by the use of the leaden tape. thin flexible riband of this metal, about a yard in length, may be rolled into a coil so as to be easily portable. By being manipulated and impressed upon the moldings to be copied, and thence carefully removed, and laid upon a sheet of paper, it retains the exact shape it has received, and may be traced off with a pencil. In this process, however, which requires both pains and practice to ensure tolerable accuracy, there are many difficulties to over- come. First, it is clear, that if the molding extends over a considerable space, the tape, by its extreme pliability and great weight, is 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, their relative position to each other, are confused or altogether lost, and the copy is incorrect and worth- less. Secondly, where the molding is much undercut, or contains deep and wide hollows with a narrow neck, the lead when fitted into them cannot be withdrawn. In the first instance, it is better to copy only eight or ten inches of the molding at once ; or the planes in which the members respectively lie (that is, a full-sized plan by measurement of the block, jamb or arch) may be first marked out on the paper, and the tape adjusted to them; in the second case, it is advisable to carry the tape merely over the necks of the hollows, and subsequently to determine 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 off, the lead may frequently be manipulated into a part which is entire, and afterwards drawn upwards or downwards till it finds exit at a broken place. In all cases, dirt, 26 MANUAL OF GOTHIC MOLDINGS. moss, and whitewash must first 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 to size, pro- A jection, bearing, and curvature, by the aid of the measure. pair of compasses with the ends bent inward is very useful in obtaining the breadth of the members ; and if furnished with a segmental scale-bar, or slide affixed to one leg and passing through the other, the width of the neck of each undercut bowtell may be exactly marked. 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, it is so clumsy that it can hardly be recommended to the student. An experienced hand is required for making an accurate copy ; and the process, to produce such a result, is rather tedious. There is a process similar in its nature and results to the use of the leaden tape, which is very successful where the mold- ings are not too much undercut. This is technically called squeezing, and is practised by applying wet clay, plaster, or a composition purposely prepared of wax and some other ingredients, to the part to be copied, the form of which is thus readily and accurately obtained, though the convex and concave surfaces are of course reversed. By pouring plaster of Paris into the matrix thus formed, the original molding is exactly copied. But in the case of undercutting, the difficulty is here insurmountable, and the whole operation is tedious, clumsy, and only fit to be applied when a model is necessary. A beautiful and ingenious instrument has been invented by Professor Willis, and called by him the Cymagraph, by which moldings may be copied with the most perfect accuracy, and of the full size. It is described and illustrated in the Engineers' COPYING MOLDINGS. 27 and Architects' Journal, No. 58. It can be successfully used with a very little practice ; and the most extensive and complex moldings can be taken by its aid. The only disadvantages are, that the instrument, though by no means large, is an inconven- ient appendage to the equipment of a pedestrian, and that only about a foot's width of a molding can be taken at once ; so that a number of separate pieces of paper must be pinned together on the spot, and that with great accuracy, or the planes and bearings will be incorrect. Another instrument of great elegance, and about the same size, has (since the first edition of this work) been brought to a considerable degree of practical utility, though not perhaps fully to perfection, by Mr. Henry Bashforth, a Fellow of St. John's College, Cambridge. This very clever contrivance possesses the remarkable advantage of copying moldings on the spot, reduced to any scale which may be desired ; and by reversing the pro- cess, the reduced copy iaay afterwards be enlarged to its original . or any other size. In smaller and simpler moldings, as in ordinary door and window jambs, bases, and capitals, and the like, this machine answers perfectly, with one and the same application, as the author of the present work can attest, from having used it in company with the inventor ;* but for very extensive and deeply undercut groups, it is generally necessary to take a portion at a time, as in the case of Professor Willis's cymagraph. Geometric methods both of copying and reducing moldings, are fallible ; for the members and curves were very often drawn libera manu,^ especially in earlier work ; so that very consider- * It is to be regretted that this contrivance was not made generall known, and brought under the notice of some enterprising manufacturer. The author is now unable to describe the plan of its construction, though he believes it was very simple. t If not so designed by the master, they certainly were often so cut by the mason. 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. 28 MANUAL OF GOTHIC MOLDINGS. able deviations from geometric precision must be expected in observing ancient examples. Another, and for ordinary purposes much the best and simplest way, is to copy by the eye alone, on a reduced scale, adding the measurements of each face, as in PL. I. fig. 12. If the particular measurements of each member are required, they should be given in respect of a horizontal and a vertical plane, as in PL. II. figs. 20, 21, 22. This is rather a troublesome process, and is apt to produce a complex diagram. Generally, it is enough to give the whole breadth or width of a series of moldings, which is simple and easy when they lie in one plane, as in PL. III. fig. 1, an Early English doorway at Louth. The depth to which hollows are sunk from the surface of any plane may readily be added, as PL. VIII. fig. 3, By adding the measurements of all 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; for the line marked 3|- inches is nearly as long as that marked 7. In this, as in other cases, 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 to the side. The same side of a doorway or a capital should be taken in all cases where it is possible, to avoid the natural awkwardness of presenting to view the position of moldings drawn promiscuously right or left. The practice of copying moldings by the eye alone, is of the greatest importance in acquiring a sound acquaintance with the subject. It is indeed, as before stated, indispensable. The eye becomes perfectly familiar with every kind and variety by fre- COPYING MOLDINGS. 29 quently contemplating new examples and collections previously made ; and thus a great degree of accuracy is in time attained, and a perfect copy of the ordinary and plainer moldings, with their measurements, may he made in two or three minutes. In this way also moldings which are quite out of reach may he sketched very tolerably at the distance of many feet, if the planes in which they lie be carefully attended to. Though the student should always carry his sketch-book and pencil with him, he must be 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 lie, and the relative proportions of the parts, must be invariably observed, and the practised eye will seize the outline almost instinctively, with a very close approximation to truth. It may be remarked, that in the example given by Professor Willis, in his " Archi- tectural Nomenclature," from the Journal of William of Worcester, the plane is marked by a line, 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; and the projection of the abacus over the shaft. Both these are easily taken by dropping a small plummet (a string with a bullet is best) from the outer edge of the abacus, and applying the foot rule and triangle. It has been observed that edges are frequently chamfered at an angle of forty-five degrees. Bub as this is by no means invariably the case, it is advisable in 30 MANUAL OF GOTHIC MOLDINGS. every instance to put it to the test. and effective means of doing this. There are several simple One is hy bending the measure at its joint (PL. II. fig. 15), by which the angle can be accurately transferred to the paper, however small the copy may be : the only difficulty is in the hinge of the rule, which will prevent it being placed close against the wall. Another by the use of a triangle of wood or brass, with angles of forty- five degrees, by applying the hypotenuse of which to the chamfer the two sides will be respectively parallel to the wall- plane and the soffit-plane, if the chamfer is at an angle of forty-five, but not otherwise. See PL. V. fig. 12. The best plan, however, is to measure along the wall and soffit-planes, which may generally be done very easily by placing the rule against one plane and sighting the end of it to a ^P= H line with the other, as in diagram, where the rule is placed against one plane, the end just meeting the other, and thus either the dimension A B or B c may be obtained ; and the enclosed angle being a right angle, the direction of the chamfer is obtained. If, in addition, the cross measurement be taken, the splay will be obtained correctly, whether the walls are at right angles or not. Full-sized moldings are reduced by the use of the well- known instrument called the Pentagraph. All other methods require both time and care. Every member may be reduced separately by means of the compass and scale or ; circles may be drawn, inclosing certain portions of the copy, and re- peated of the proportionate size in the same positions on the reduced drawing. EARLY MOLDINGS IN GENERAL. 31 SECTION IV. OF EARLY MOLDINGS IN GENERAL. HAVING thus far explained the general principles and the methods of drawing moldings in section, the theory of the first formations of moldings must now he considered more fully. The first and-*;udest attempts at molding which are found in th'is country, are the rough and coarsely chiselled members, generally semi-cylindrical, such as occur in the Ante-Norman chancel-arch at Wittering, Northamptonshire, PL. III. fig. 10, the halustre 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 Barnack. This last example, an exact parallel to which occurs in a doorway of the Romanesque palace of Theodoric at Eavenna ; and, indeed, the very nature of the case would lead us to conclude that the earliest element arose out of a desire to relieve, by coarse irregular channelling, A a plain flat surface. square-edged rib easily became a semi-cylindrical bowtell, by first chamfering, and then removing From Mr. Gaily Knight's "Italian Architecture," Part I. indefinitely the remaining angles. Thus, for instance, Norman string-courses often consist of a square projecting fillet, with the angles chamfered off, so as to form a semi-hexagonal projection. St. Sepulchre's Church, Cambridge, affords, both in its groin-ribs and pier-arches, an excellent illustration of the first idea of forming rounds by removing edges, and of 32 MANUAL OF GOTHIC MOLDINGS. setting off the parts thus rounded, by sinking a small channel or furrow on each side a little below the surface. Thus, then, a square- edged arch, with its sub-arch or soffit-rib, was either worked into rounds at each angle, PL. IY. fig. 1, or into pointed rolls, as fig. 2, which is an arch at Eeymerston, Nor- folk, circa 1200 ; or some edges were chamfered, others worked into rolls, and the sub-arch cut away into a broad semi-cylin- drical rib, as in fig. 4, which represents a semi-Norman arch at Barholme, Lincolnshire, and PL. XXI. fig. 1. PL. IV. figs. 7 and 8, are groin-ribs of common profile in Norman work ; the one from Glastonbury, circa 1200 ; the other from Peter- borough, Early Norman : both clearly and satisfactorily ex- hibiting 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 till the Early English period, when it was carried to an extrava- gant excess, so that roll-moldings were extensively undercut or attached only by a small neck of stone; thus having the effect of a series of detached arches or 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 a very Early English pier-arch, at Barnack, in which the first appear- ance 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 contrast between the Norman edge-mold and Transition bowtell with side hollows is well shown. It might appear probable that the true origin of the deep three-quarter circular hollow must be looked for in the wish to form a cutting inwards, at the point of the interior angle, EAKLY MOLDINGS IN GENERAL. 33 corresponding to the bowtell at the edge or point of the exterior rectangle of the sub-arches, as in diagram and PL. VI. fig. 10, and PL. VII. fig. 7. From these two points both the hollow and the bowtells may have been extended each way, till no space was left unoccupied, and thus a great width was covered with minute members, alternately dark and light, hollow and prominent. Still, this inner hollow at the angle is not very observable in the earliest arches, but is rather characteristic of the work of the first two Edwards, so that this view is hardly correct. The roll-molding being once established, it became natural to multiply it as an ornamental feature to an unlimited extent ; and 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 hollows. Now, multiplication naturally implies reduction in size ; 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 principle, but regulated by taste, effect, and no doubt, to a certain extent, by We caprice. may 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 its sur- face. The templet, being applied to every stone to be worked, afforded exactly the same shape for each, so that the pieces, when put together, coincided with perfect accuracy. Deeply recessed archways consist of several courses of molded stones, each order, or sub-arch, having its own independent construction, and each joint being overlapped by the stone next to the back of it. When the moldings are meagre, the arch D 34 MANUAL OF GOTHIC MOLDINGS. generally consists of a single row of voussoirs. In taking a molding of the former kind, it is essential to mark the joints of the different courses. The grouping and multiplying of members was greatly facilitated in its development by the Gothic principle of distributing weights and thrusts under a number of different supports. Thus each group of arch-molding in an Early English doorway is borne by a detached jamb-shaft below the impost. In later times, the shafts were engaged in the wall, and at the latest period the roll-moldings were often continuous, but with small pseudo-capitals and bases attached after the manner of real columns. The Norman architects never got much beyond the plain cylindrical edge-roll and shallow hollow, similar to the annexed example from Coton. They paid so much atten- tion to surface sculpture and shallow ornamental work in the flat faces of their arches, that the notion of alternate hollows and projections does not appear to have been fully comprehended by them, or, if so, was found to be incompatible with the enrichment by detail in Bas-relief. It was reserved 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 way to a great number of new forms, all more or less referable to this common origin, and all used with the most refined taste in varying the members of complex Early English grouping. The first and by far the most important of these is the EOLL-AND-FILLET, PL. II. fig. 4, and PL. I. fig. 20, a doorway in the precinct of Lincoln Cathedral. The introduction of this new feature may be said to have wrought a complete revolution in the system of molding. It is the key-note of almost all the subsequent forma- tions. It may be defined to be a flat bead set ribwise on the surface of a roll-molding, at first with a square under-edge, as EARLY MOLDINGS IN GENERAL. 36 PL. I. fig. 18, afterwards, and most commonly, with a slope or ogee curvature, as in PL. II. fig. 1 7, a groin-rib from Tintern Abbey. It is not certain at what precise period, or from what cause, the fillet was first added to the cylindrical bowtell. It was itself a common enough feature down from Classic times, and in Norman work was used in the abaci of capitals, in strings, A and in other places. certain analogy may be traced in the annexed examples ; and that from Selby is simply the ordinary roll-and-fillet used as a string. An example of a -single side fillet to the roll is figured PL. I. fig. 12. This appears to be an acci- dental one, being merely the un- cut Surface Of the Wall. Forms of this kind have probably first Ovolo and St. Sepulchre's, Selby ; Fillet. Cambridge. String in IN ave. suggested the use of fillets with the roll. Or it may be that the idea of a surface-line having been suggested by the pointed bowtell, the fine feather edge was either cut off (PL. IV. fig. 9), or was throated or widened, so as to produce a more prominent effect. As, however, it will be found in the earliest- examples that this fillet frequently falls in a line with the chamfer-plane, as in PL. II. figs. 9, 15, 19, and in fig. 6, the north doorway at Cherry Hinton, it may possibly have been left as a standing portion of the uncut surface ; a view which is certainly borne out by the general analogy of molding. The position of diagonal projection is undoubtedly the ordinary one throughout the Early English period ; and the fillet is not often found coincident with either of the other planes, as in fig. 8, a pier-arch from Cherry Hinton, till towards the end of the thirteenth century. Still, examples are not wanting in much earlier molding ; so that it is not intended to insist on this theory of its origin. One fact is worthy of notice in the use of the roll-and-fillet ; that it commonly occurs in alternation with the pointed bowtell ; D2 36 MANUAL OF GOTHIC MOLDINGS. whence it would appear to be merely a variety of the latter, introduced for the sake of contrasting and diversifying the members of a group. For example, PL. II. fig. 5, has in the central group a filleted roll between two pointed ones. So also fig. 8 ; and the juxtaposition of these two forms may be noticed in many other instances. Another plausible account of the origin of the roll-and-fillet may be offered. Its occurrence in early groin-ribs cannot have escaped the notice of the observer. Perhaps, indeed, the earliest instances of its use may be 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 making them die into or spring out of plain surfaces, the addition of the 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 first seems the most probable. EARLY ENGLISH MOLDINGS. 37 SECTION V. OF EARLY ENGLISH MOLDINGS. FROM THE ACCESSION OF RICHARD I. TO DEATH OF HENRY III. A.D. 1189 TO 1272. THE characteristics of the moldings of this style may be de- fined as deep undercut hollows between prominent members, which comprise a great variety of pointed and filleted bowtells, clustered, isolated, and repeated at certain intervals ; a great depth or extent of molded surfaces ; and the general arrangement in rectangular faces, as shown in PL. II. fig. 5. The hollows are seldom true circles ; and, like the projecting parts, they assume a great number of capricious forms. PL. 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 pier- arches in the choir of Ely Cathedral. . Both were taken with the cyrnagraph, Early English Arch, Ripon cathedral. 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 moldings may be said to comprise the following members : 1. The plain bowtell or edge- roll 2. The pointed bowtell. 3. The roll-and-fillet. "^" M - 4. The scroll-molding (rare). MANUAL OF GOTHIC MOLDINGS. 5. 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 distinct names and formations. It will be right, therefore, briefly to point out some of the most commonly occurring varieties, leaving a more particular investigation to the student's own exertions. The roll-and-triple-fillet (PL. I. fig. 25 ; PL. IV. fig. 3, A.) is much used in the more advanced buildings of the style, and was the favourite form during the reigns of the first two Edwards. The ordinary roll-and-fillet projecting from a ridge (PL. VI. fig. 5 ; PL. VII. fig. 12), each side of which is undercut by a deep hollow, naturally produces,