Part IV

one foot ; fig. 22 is from Abington, Cambridgeshire. The sections of Decorated capitals in PL. XII. are mostly from churches in the neighbourhood of Cambridge. Fig. 14 is not uncommon in Transition Willingham, Cambridge. to Perpendicular ; it occurs at Maxey, Northamptonshire, and * The student is again referred to Potter's illustrations of this abbey for many beautiful capitals and bases, drawn on a large scale. G2 84 MANUAL OF GOTHIC MOLDINGS. at Louth (see PL. XI. fig. 28). Fig. 13 is from a fine monument at Little Shelford, near Cambridge. The rest of the sections in this plate are Perpendicular. PL. XII. fig. 16, is from Careby, Lincolnshire. This has a A battlement above, and the double ogee below, the abacus. similar feature is the wave-molding, in the same position, in the Decorated capitals of the nave columns at Dunchurch, Warwick- shire. PL. XII. fig. 19, is from Uffington, near Stamford. This and the next illustrate the methods of obtaining the plane of the moldings, which in this style should be attended to. Figs. 22, 23, 24, are from St. Martin's, figs. 26 and 27 from St. John's, fig. 28 from St. George's, and fig. 29 from the Bede House, all in Stamford. PL. XIII. fig. 1, is from Long Melford, Suffolk ; fig. 4 from Louth ; figs. 8, 9, 12, from Colchester ; fig. 14 from Harston, near Cambridge ; fig. 13 from Fen Ditton ; fig. 17 from Mat- tishall, Norfolk. Here the abacus is octagonal, the bell and neck circular. Fig. 18 is from Elsworth Hall,* Norfolk ; fig. 16 from Dry Drayton, near Cambridge ; fig. 19 from Saham Toney. SECTION X. OF BASES. THE earliest examples of bases must be looked for in the rude monolith blocks which support the pillars or pilasters in the Ante-Norman churches, such as at Wittering, near Stamford, and others already mentioned. These are often mere shapeless * An interesting specimen, very little known, of a moated mansion of the Fifteenth Century. OF BASES. 85 lumps, laid down as they were raised from the quarry, and consisting only of the single member thus presented to view. Norman architecture first adopted a more regular method in constructing the footing of a column, and from that arrangement those of the subsequent styles are readily deduced. The Classic pillar was evidently the prototype of all these. Bases consist, in early work, of at least two distinct members the plinth, or lower step, of solid masonry, generally square in early work, but octagonal in later ; and the base-moldings, a series of annular rolls, slopes, or hollows, taking the form of the column, and forming an ornamental junction between the shaft and its essential constructive member, the plinth. In Decorated and Perpendicular columns, the plinth is usually divided into heights, stages, or tables, by gradually spreading courses, each separated from the next by a plain or molded chamfer. Of Norman bases it is not necessary to treat at length. The varieties of form are not numerous ; and as they do not involve complex moldings, like the after styles, it will be sufficient to direct the attention of the student to the upper members, in which the character of a base may be said principally to consist. In shafts, the base often resembles the capital inverted ; in some instances, the one might be substituted for the other with scarcely any perceptible change of appearance. Often a bold annular roll, quirked on the under side (as seen in PL. XIV. figs. 3, 7), divides the shaft from the plinth. PL. XXI. fig. 9, is from Fountains Abbey. Fig. 10 is a little later, from the Chapter House of the same place. A very common form is shown in PL. XIV. fig. 8, from the nave of Peterborough Cathedral. This occurs in St. Sepulchre's, Cambridge, where the present bases were cut from a very small piece, only a few inches wide, which alone remained in the eight massive columns of the circular part. The moldings of the earliest Norman bases are frequently 86 MANUAL OP GOTHIC MOLDINGS. " little better than scratches upon the surface,"* "and gener- ally consist of two reverse curves, a concave above and a convex below. Nothing approaching to developed isolated members and dis- St. Sepulchre. Helmsley Ch.. St. Mary's, Cambridge. Yorkshire. Huntingdon. tinct gradations was known m jt.vh, e !, r>-* early part ^f t4-hV^en twelfth century. A little before the Transition period, a modification (often with very trifling departure from the Classic) of the Attic base was introduced, from which he Early English is directly derived. The Attic base is given in PL. XIV. figs. 1 and 2. It consists of two rounds, with an intervening hollow separated from them by fillets. If we compare this form with some of the early Italian- Gothic bases, figs. 3, 4,f and with one from Canterbury Cathedral j (date about 1180), fig. 5, we shall find them rather identical with than similar to the Classic. The uppermost fillet, or first member at the lower extremity of the shaft, was, however, omitted in most if not in all cases ; and the form in fig. 7, from Peterborough Cathedral, was very much in vogue. This example leads us at once to the ordinary Early English base (fig. 12), the chief peculiarity of which consists in the intermediate hollow being cut downwards rather than sideways, and extended from half to three-quarters of a circle, so that it is capable of containing water, which may often be observed standing in exterior bases. The filleted rolls on each side, above and below the hollow, are naturally formed by A cutting off the feather edges seen in fig. 3. valuable * Willis's Canterbury, p. 76. t From Willis's Architecture of the Middle Ages. I Canterbury Cathedral has a very French character in the work of William of Sens, and this is more like Classic work than English archi- tecture generally. The bases of the pointed Norman columns in the nave of Buildwas Abbey are nearly identical with this. See Potter, PL. X. OF BASES. 87 example of the Transition base is fig. 6, taken from the great central piers of Byland Abbey, shortly after some extensive excavations had revealed a great part of the groundplan and lower portions of the columns of that once splendid church. Here we most distinctly recognize the peculiar feature of the Attic base, the side-hollow of fig. 1 the lateral semicircle in place of the descending three-quarter circle. It must be perfectly remembered that this water-holding base is contemporary with the first dawn of the Transition style, and may commonly be met with in pointed Norman work, i.e. as early as 1160 or 1170. It is found in the Transition work of William of Sens at Canterbury. There are two kinds of Early English bases. The first, and by far the most common, is the form given in PL. XIV. fig. 12 ; the other seems to be derived either from omitting the hollow altogether, as in figs. 10, 11, and thus bringing the rolls into contact, or from supplying its place by another similar roll, as fig. 15, or even by an interposed square edge, or plinthiform member, as fig. 9, the bases of the choir columns in Eivaulx Abbey. Generally, this intermediate roll is rather smaller,, and often a little depressed inwardly, as fig. 16, from Ely. This base occurs almost invariably in Westminster Abbey. It is seldom found except in the more advanced or florid period of the Early English, when geometric windows of two or more lights had begun to supersede the single lancet. Hence was at once derived the ordinary Decorated base, figs. 33, 34, 35. In very rich Early English bases there are often double hollows between filleted rolls after the analogy of the double row of moldings to the bell in capitals. And below these, at * Willis's Canterbury, p. 76. .88 MANUAL OF GOTHIC MOLDINGS. some distance, occur other series of very bold annular rolls, single, double, or even triple. PL. XIV. fig. 18, is tbe base of a great pier in Lincoln Cathedral. Fig. 26, from the beautiful Galilee at Ely, where the bases are worked out of hard Purbeck marble, and have all been elaborately polished. Fig. 27 is from Skelton, near York. Peterborough Cathedral. PL. XXI. fig. 4, is an example, of the most ordinary form, from the revestry or chapter-room at Eipon Cathedral. Fig. 7 is from York Cathedral. Sometimes the fillet is omitted in the upper roll, as PL. XIV. fig. 25. In fig. 20, the hollow again approaches that of the Attic base. Fig. 18, from Lincoln Cathedral, is a fine piece of detail, of great richness and considerable spread. Fig. 30, from Furness Abbey, is remarkable for the omission of the hollow in the upper member. The examples given in -elevation, figs. 28 and 29, the former from Tintern, the latter from Furness Abbey, will convey a correct idea of the general appearance.* The spread of the base generally equals that of the capital, or nearly so. There is something extremely elegant in the form of this, the more usual kind of Early English base ; and it is, more- over, surprising to notice the uniformity which everywhere pre- vails both in it and the capital of this period. The plainer form (figs. 10, 11, 15, 16, 17, 21) may possibly have gradually superseded the more elaborate, either from the difficult and 'complex work of the latter, or because the hollow was exter- nally apt to be filled up with standing water, moss, or earth, * The engraving is slightly incorrect, from the shaft not standing true In the centre. OF BASES. 89 and internally with dust and dirt, as it will almost invariably be found to be. Probably tbe desire of forming a better weather- ing had much influence in the change. In Early English bases it is also to be remarked that the large spreading roll, which forms the lower of the two mem- bers between which the deep hollow is placed, is worked out of the block, with which it usually stands flush, or in the same plane, by a quirk or angular nook. This is almost invariable ; and it is mentioned particularly with reference to Decorated bases, where a marked difference in this part is observable. Here we usually find either the scroll-molding (fig. 35, from Coton, near Cambridge) or a flat under-edge, as fig. 42, from the nave-piers at Trumpington ; or the part of the base below it cut away, so that it overhangs clear, as fig. 40, the base of the beautiful central column in the Chapter House at Wells ; fig. 39, from the doorway in the same place ; fig. 37, from St. Mary's Abbey, York ; fig. 45, from Fishtoft, Lincolnshire. This is generally a mark of late or florid Early English, when found in work of the thirteenth century, as PL. XXI. fig. 5, an elegant base from the library of York Cathedral. One of the commonest Decorated bases is that shown in PL. XIV. fig. 35 ; the number of rolls being generally three, but often only two, as fig. 34. In fig. 39 there are four ; but the uppermost is of lead, by which the shaft is fastened. Not a few modifications of this form occur; but they are seldom very complex. Fig. 43 is from the nave-pillars at Bottisham, near Cambridge ; fig. 38 is from the arcade in the Lady Chapel at Ely, worked in Purbeck marble. Here the lower member is the roll-and-fillet, which is not uncommon. It is partially developed in fig. 41, from Over and Histon; an example which retains a singular trace in its upper member of the side hollow of the Attic base. PL. XV. fig. 3, is of un- usual profile ; it is from the chancel at Over, Transition to Perpendicular. PL. XIV. fig. 33, is from the nave-piers at 90 MANUAL OP GOTHIC MOLDINGS. Tintern already noticed as a specimen of the inverted scrollmolding. Fig. 44 is from Boston. This form is not unusual late in the style. Decorated bases are often stilted, or raised above the floor, with the plinth formed by graduated stages or tables, as before described. This principle was carried to an extravagant excess in the next style ; in some instances, as those under the western tower at Ely, the uppermost member stands six or even eight feet from the ground. The lower part of Decorated bases is sometimes octagonal, or polygonal, as in the columns which support the octagon at Ely ; and sometime^ these faces are fluted or hollow-chamfered. In the Decorated columns supporting the vault of the Lady Chapel at Wells, the base-moldings are raised a considerable height from the floor. In the choir at the Temple Church (1240), the principle of stilting the bases may be seen, the plinth being very large and high, and the moldings approximating to the Decorated profile. Instead of the three half-rounds which ordinarily constitute the Decorated base, one member, generally the second, but often the first, is sometimes, as it were, scooped out in the middle, in what might be called the inverted wave-molding, so as to form an ogee curvature. This is seen in PL. XIV. figs. 36 (from the Lady Chapel, Ely), 40, and 42. Hence the bell-shaped base of the next style (PL. XV. figs. 1 and 2) was immediately derived. Compare PL. XXI. fig. 6, a Decorated base from the nave of York Cathedral, with fig. 8, a Perpendicular base from Eipon Cathedral. The sharp under-edge of the second member in the former example is a peculiar feature, decisive of Decorated work. So similar, however, are the two forms, that some pure Deco- rated bases may occasionally be found which would have been equally correct in a Perpendicular column. This ogee curve seems to be derived from the several rolls which we have seen were used in the bases, being a natural variation to avoid re- OF BASES. 91 petition. It does not appear to occur in early, or geometric Decorated. But few examples of Decorated bases have been given, because any important varieties from the forms described are not of sufficiently frequent occurrence to render it necessary to illustrate them. They are very chaste and elegant in profile ; often standing but a little above the floor-line, especially in shafts, and thus of modest and unpretending contour. They are for the most part of decided character ; and where any difficulty occurs in determining their date, an inspection of the capital, according to the rules already laid down, will readily remove it. The bases of Perpendicular columns are various ; but rather in degrees of richness and the number of gradations than in difference of form in the principal members. The prevailing characteristic is a large bell-shaped spread in the upper part, often resting on a cushion-like member, and forming with it the contour of a double ogee in section. PL. XV. figs. 1 and 2, are from Crosby Hall, and give a correct representation of the most ordinary kind. It will be particularly observed that the lower part is almost invariably octagonal, the upper being generally round, though sometimes, as the capital always is, octagonal. From Lancaster. the great size and height of the best examples, they are not so easily engraved in a small space : PL. XV., however, contains enough specimens to guide the student under ordinary circum- stances. Fig. 5 is from Louth; fig. 13 from All Saints', Stamford ; fig. 17 from Haslingfield ; fig. 18 from Holy Trinity, Colchester ; fig. 20 from St. Edward's, Cambridge ; fig. 21 from Herne, Kent. 92 MANUAL OP GOTHIC MOLDINGS. Almost every Perpendicular base has either one or more stages, sloping off by a hollow ledgement or chamfer, as figs. 15, 16, 17 ; or by a second bell-shaped slope, as figs. 5, 6, 14. The ancient name for the lower member was the ground-table* (especially when applied to mural basement moldings). All Perpendicular bases have an annular roll, resembling the neck of capitals, for the uppermost member. This is often the debased roll-and-fillet shown in PL. VIII. fig. 21, as in PL. XV. fig. 15, or the debased scroll-molding, as in PL. XV. fig. 18. This feature is almost invariable, and is not found in the same isolated form in any other style. It is singular that edge lines occur less in Perpendicular than in any other bases, almost every point being carefully rounded off. There is a peculiar nakedness in the straight unbroken line of the loiver, or ground-table, rising, as it does, abruptly from the floor to the height of two feet and more, as in the interior of King's College Chapel ; but the bell is of remarkably graceful form, and perhaps few will prefer the contour of PL. XIV. fig. 29 or 32, to that of PL. XV. figs. 1 and 2. Fig. 4 is from the Lady Chapel, Peterborough ; fig. 6 from Carbrook ; fig. 7 from Saham ; fig. 8 from Dereham ; fig. 9 from Norwich Cathedral ; fig. 10 from Mattishall ; fig. 11 from Swanton Morley, all in Norfolk; figs. 12, 15, from Colchester; fig. 14 from St. John's, Stamford; fig. 16 from St. Alban's ; fig. 22 from Saffron Walden. * See Willis's Architectural Nomenclature, 39. OF HOOD-MOLDINGS AND STBING-COUESES. 93 SECTION XI. OF HOOD-MOLDINGS AND STRING-COURSES. THIS is by no means an unimportant branch of the study of Gothic moldings, the varieties and peculiar characteristics of the styles being as well defined in such details as in any hitherto described. Of the immense diversity of forms only some of the most ordinary can be enumerated ; for capricious irregularities constantly occur, which, as they seem reducible to no certain rule, hardly claim a place in laying down the prin- ciples of a system. Yet, though the form may be arbitrary, the character is generally maintained. PL. XVI. contains a series of moldings of this sort (for hood- moldings and string-courses must be classed together, being in fact very often identical, or the one continued from the other), divided into three parts, illustrating the three styles. It has been before observed that string-courses may be regarded as the successors of the horizontal lines by which Classical is principally distinguished from Gothic architecture ; and the importance of them will be felt when it is remembered that all masonry is made up of successive layers, so that they form a most genuine piece of decorative construction, and are almost essential to the feeling of repose. They consist of projecting ledges of stone, carried below windows, both within and without ; round buttresses and other angular projections ; and in cornices, parapets, tower- stages, and other parts of edifices, used as dividing lines to set off one particular portion as distinct from another. Though subordinate, and seemingly insignificant, details, they are of the greatest possible importance in imparting a character to a building. Sometimes, breaking playfully from the horizontal, they rise in graduated and rectangular heights. 94 MANUAL OF GOTHIC MOLDINGS. Sometimes carried over a doorway or round an arch ; now dying into the wall ; now, as it were, passing into some interrupting projection, and, nothing baffled by it, reappearing on the other side ; now starting aloof into a window-label, and playing the most fantastic tricks before again descending ; a string-course at once relieves naked masonry, and binds into a whole the seemingly detached portions of a rambling and irregular con- struction. In most cases, especially in windows, it forms a real drip or weathering, and of course adapts its upper surface especially to this end. Hood-moldings, when used internally, cannot be said to have any real use ; but they form a decorative finish of too important a kind to be neglected with impunity. Norman string-courses are generally of heavy and massive profile full of edges or hard chamfered surfaces. In most cases they are adorned with some sculptured decoration of the style, as the billet, the chevron, the hatched or serrated molding, and the like. The plain half-hexagon, or square bead with chamfered angles, is one of the commonest forms. Two or three only are given in PL. XVI. as specimens of the kind, viz., figs. 6, 7, 8, and 9. The latter is from the chancel- arch, at St. Giles's, Cambridge, erected before the year 1100. The semi-hexagon, grooved or worked on the middle of the outer face similar to that in fig. 8, is frequently found. Not less than eleven of this form, with varieties scarcely perceptible and merely accidental, are given in PL. XIX. of Potter's work on Buildwas Abbey. The upper edge is often left square, instead of being weathered off; and the wide but shallow form presents an appearance suiting well with the massive character of the work and the low relief decoration, though not relieved by the dark shadows caused by undercutting the lower surface. The commonest Early English strings are those given in PL. XVI. figs. 13, 15, 18, 22, 25. Figs. 10 and 12 may also very often be found. They follow the same changes as the OF HOOD-MOLDINGS AND STRING-COUBSES. 95 abaci of capitals of which several successive forms are given on page 77. The rounding of the upper edge began in this style, but the undercutting is the most striking characteristic of this, as of all other moldings of the style. Fig. 11 is from Furness Abbey; fig. 17 from Tintern; fig. 19 from Eivaulx ; fig. 21 from Byland. The latter is curious from its late form (see Early English. fig. 71), though the date is about 1200. The same remark applies to fig. 20, from Furness, in which even the characteristic Perpen- dicular ogee of fig. 4 occurs. Fig. 23 is from Lincoln Minster. It is peculiarly elegant, and of frequent occurrence. Fig. 24 is from All Saints', Stamford. Fig. 25 has the scroll-molding ; fig. 26 the roll-and-fillet complete. Both are equally common in Decorated work. Fig. 28 generally marks the time of Edwards I. and II. The most frequent Decorated form is perhaps figs. 35 or 48. Figs. 44, 49, 53, are also very common. The scroll-molding with a half-round next below it, the same as in the abacus of capitals of this period, is very characteristic, as fig. 36. Fig. 41 is generally found in Transition to Perpendicular. Decorated. Fig. 43 is from the vestibule of the Chapter House at Wells, early in the style. Fig. 50 is from Over, near Cambridge ; fig. 45 from Bottisham. The rounded form of the upper side, or weathering, is characteristic of the first two styles ; the angular or chamfered of the last although this peculiarity is also very com- mon in late Decorated buildings. In this respect also string courses follow the prin- Transition strings. ciple of the abacus of capitals.* PL. XVI. figs. 52 and 55, may * Early English strings are often continued which perhaps accounts for this fact. from the abaci of capitals, 96 MANUAL OF GOTHIC MOLDINGS. therefore be pronounced late in the style. Undercuttings, it has already been remarked, occur principally in the time of Edwards I. and II. , as figs. 32, 44, 51. Perpendicular strings and hood-moldings are generally marked by the sloping plane of the upper surface, as PL. XVI. figs. 60, 61. The details of the parts underneath are so varied as to render it almost impossible to give anything like a complete account of them ; yet, nu- merous as they are, they will generally be found to recur with tolerable uniformity. Usually there is a small bowtell in the lowest part, as in figs. 57, 59, 62, 64, 68, 71, and others, more or less clearly developed. This is rather a characteristic mark of the style. PL. XX. fig. 16, from Grantham Church, is another example. Fig. 18 is a string-course from the same place. Perhaps the most ordinary forms are PL. XVI. figs. 61, 68, 71. The double ogee, as fig. 60, and the combination of the ogee with the under fillet, already described, as in figs. 56, 77, often occur. Fig. 78 exhibits the peculiar Perpendicular form already pointed A out. semicircle sunk in the under side of half a square pro- jecting diagonally, as _in fig. 66, is also a common variety. Embattled string-courses occur now and then in this style, as in the cornice of the aisles at Cromer Church, Norfolk. In copying string-courses, it is better to draw the parts of the wall above and below perpendicularly on the paper, not only for a guide to show the direction of inclination or projection, which, without this, is left quite indefinite, but also because the wall often recedes above the string, or even overhangs, as fig. 56. The angles of the chamfers can best be attained by bending a piece of lead across them. Sometimes a foot-rule may be bent against the wall and the under part, as fig. 67, and thus the exact angle can readily be transferred to paper. Much more might, and indeed ought, to be said on the subject CONCLUSION. 97 of moldings, were it the intention of the writer to attempt anything like a complete essay. For example, there yet remain wholly unnoticed several important cases of the application of moldings in Gothic architecture. Basements, weatherings of buttresses, cappings of parapets and battlements, plans of monials, groin-ribs, timbers of roofs, and other wood-work, besides the many and interesting varieties of ornamental or floriated moldings, are all well deserving of the closest attention. But a great book is a great evil, as a philosopher of old has declared ; and it has been the wish of the author rather to win the attention of the reader, by pointing out the way to copy and observe, than to deter him by the uninviting form of a grave and heavy book. Quite enough has been said, it is conceived, to illustrate the really essential principles of the science. And no one need feel any difficulty or perplexity in recognizing the details of the styles, who will take the trouble to apply the rules laid down in this little work. SECTION XII. CONCLUSION. IN studying the history and development of moldings in the ancient buildings in this country there is much that is of great interest to the antiquary, but that interest is very much enlarged when the student feels that he is learning not only what has been done heretofore, but, if I may so term it, his alphabet, for designs he may himself make in the future. Whatever building he may have the opportunity of designing he is so sure to find himself requiring some ornament of this kind, that the study of the subject will assist him in bringing his design to a successful issue. Whatever the class of building H 98 MANUAL OF GOTHIC MOLDINGS. may be, whether he is wishing to make it effective by its mas- siveness and its solid character, or by its delicacy of treatment and carefully adjusted proportion, whether he chooses to render this by the flat broad moldings of the Norman period, or the deeply cut and sharply defined molding of the Early English period, or the softer and rounder outlines of the Decorated, or if he chooses later work, his knowledge of what has been done, and his experience of the effect produced, will, more surely than anything else, enable him to set out such work as will produce the effect he is aiming at. Whether, again, he limits his aims to mere selection, or whether he uses his study to enable him to design, as far as he has powers to do so, or even if he indulges in mere inventing, his knowledge of what has been done must be of value to him. One of the first things to be considered in designing a molding is the use it is intended for. Mr. Euskin forcibly brings an example of what I mean, though it is a v.ery simple case. He illustrates the ordinary square angle, and shows that in order to prevent the probable chipping and breaking of a fine edge, the angle was simply rounded ; but, as he says, this was not Art : it was only when the angle was treated further, either as a simple bead or a more enriched molding, that the mind of the artist stepped in ; and yet the use of this molding really was to obtain a surface that would have a fair chance of retaining its form without damage. A very prominent use of the ordinary exterior string- course is to throw the water off the building and prevent its running down and staining the wall ; and care should be taken CONCLUSION. 99 that it will do this a care not always thought of in modern buildings. Take, again, the case of the ordinary Arcade found in almost every church. The wall carrying the main roof is to he pierced so as to extend the area of the floor into the aisles : if this were done simply by leaving square piers and rectangular arches, the value of much space would be lost, and therefore the columns were reduced in section and the strength maintained by making them solid stone instead of mere walling. And the work of the Artist comes when this column has to be enlarged at the base so that there is the same support from the foundation, and where the capital is formed to receive the arch, and again where the arch is divided into its various parts to make it work harmoniously with the capital, &c. The manner of accomplishing these ends may be varied immensely. Some of the methods used in ancient work are described above, and the object of the Artist is so to bring all these parts together, that while gaining the utmost utility the design forms one harmonious whole. In order to obtain this there are one or two points which should be carefully studied. In the first place, moldings should be designed with a careful attention to the position from which they will be most commonly seen. To say that the upper surface of the base and the lower side of the capital should be those molded seems too obvious to need pointing out ; but the same principle should be carried out where it is not quite so obvious, and where it requires a little thought to make it effective. As an instance of this in old work, I may mention a purlin which was taken down in Pembroke College, Cambridge. The natural tendency of the draughtsman in an office would be to set out the moldings symmetrically, the roll being placed so that the hollow molds on each side were alike ; but the Artist who built Pembroke H2 100 MANUAL OF GOTHIC MOLDINGS. noted the fact that the upper side would be much less seen than the lower when viewed from the floor, and therefore widened the upper side thus. Other instances will continually occur, and the thought of where the molding will be chiefly seen from should be continually pre- sent. The question of scale is also a most important consideration. Few have any idea, until they have been startled with the appearance of their finished work, how small a molding looks when executed and placed a few feet from the eye, that had seemed very large when on the drawing-board. And nothing but actual measurement of executed work, new or old, will ever fix this on the mind. When this preliminary difficulty is overcome, there still remains that of whether the work will be coarse from an over attempt to be bold, or weak from a too intense desire to be refined. To steer clearly between these to know when to allow free scope and emphasize a feature by a little over boldness, and when to draw attention by an exceeding delicate treatment, is the knowledge of the Artist which study and experience alone can give. The principles of design are beyond the scope of this little book, but it has been thought well to note a few points that may be useful to the student and those commencing their career, in the hope that, when they look back in future years on their early work, they may find that they have learnt by study and observation what others have had to discover by the experience of failure in obtaining the results they were aiming at. PLATE I. 1. Plain Saxon Window (Diagram). 2. Example of Chamfer. 3. Example of Thirteenth-Century Chamfered Window. 4. Diagram of Sub-arch. 5. Do. do. Chamfered. 6. Little Casterton Arch Mold. 7. Cherry Hinton Cambridgeshire Chancel Arch. 8. Little Casterton Transition Norman Arch. 9. Horningsea, Cambridgeshire c. 1190. 10. Waterbeach, do. Broach Stop. 11. Friesland, Lincolnshire Norman Pier Arch. 12. Skirbeck, do. Early English Pier Arch. 13. Great Grimsby. 14. Glee, Lincolnshire. 15. Adel, near Leeds. 16. St. Mary's, Ely. 17. Glee, Lincolnshire Respond. 18. Tintern Abbey Groin Bib. 19. St. Benet's, Lincoln. 20. Lincoln Cathedral Doorway in Precincts. 21. Fig. 6 enlarged. 22. Bobertsbridge Abbey Groin Bib. 23. Diagram of Pointed and Side Filleted Bowtell. 24. Fig. 19 enlarged. 25. Little Casterton, Butland. Plate I. London: Gurnevi?<: Jackson. Paternoster Rnw PLATE II. 1. Middle Easen Early English Pier Arch. 2. Ludborough, Lincolnshire Doorway. 3. Langtoft, do. Chancel Arch. 5. Great Grimsby, do. South Porch, Jarnb. 6. Cherry Hinton, Cambridgeshire North Door. 7. DO. do. Chancel Door, Interior. 8. Do. do. Pier Arch. 9. Over, 10. Diagram of Planes do. Doorway. A Chamfer Plane. B Soffit Plane, c Wall Plane. 11. Over, Cambridgeshire. 13. Do. do. Window Jamb. 14. Madingley, do. do. 15. Stamford, All Saints' Pier Arch. 16. Trumpington, Cambridgeshire Doorway. 17. Tintern Abbey Groin Eib. 18. Cambridge, St. Clement's South Doorway. 19. Cherry Hinton Inner Door, South Porch. Plate K. London: Gurney & Jackson, Paternoster Row. PLATE III. 1. Louth Early English Doorway. 2. Plymouth Belfry Arch. 3. Ely Cathedral Pier Arches, Choir. 4. Bobertsbridge Abbey Groin Bib. 5. Tintern Abbey Fragment. 6. St. Mary's Abbey, York Fragment. 7. Kobertsbridge Abbey Groin Bib. 8. AU Saints', Stamford. 9. Histon, Cambridgeshire Arch over Piscina and Capital. 10. Wittering, Northants Chancel Arch. 11. Furness Abbey Chapter House. 12. St. Peter Gowts, Lincoln. 13. Buskington, Lincolnshire. 14. Utterby, do. 15. Attleborough, Norfolk. 16. Common form of Decorated Pier. 17. Skelton, near York. 18. St. John's, Stamford. 19. St. Martin's, do. 20. St. Mary's, do. Plate HE. London: Gu.rney& Jackson, Paternoster Re PLATE IV. 1. Diagram of Koll Molding. 2. Eeymerston, Norfolk. 3. Diagram of first sketch of Mold. 4. Barholme semi-Norman Arch. 5. Barnack Early English Arch. 6. Trumpington Belfry Arch. 7. Glastonbury c. 1200 Groin Eib. 8. Peterborough Cathedral Groin Kib. 9. Diagram of possible first formation of Fillet. 10. Diagram of common form, Eoll and Triple Fillet, 11. Ludborough, Lincolnshire Chancel Doorway. 12< Lincoln Cathedral. 13. j ) 14. Yaxley, Hunts Doorway. 15. Furness Abbey Groin Bib. 16. Lincoln Cathedral Arcade. 17. Diagram of Koll and Fillet. 18. Do. do. 19. Do. Broad Fillet. 20. Do. Scroll Molding. 21. Do. Fleur-de-lis Molding. 22. Do. variety of Scroll Molding. EARLY ENGLISH. Plat London: Gurney^c Jackson, Paternoster Row. PLATE V. 1. Boston Monument. 2. Great Ellingham Doorway. 3. Attleborough, Norfolk West Doorway. 4. Boston Inner Doorway, South Porch. 5. Ewerby Monument. 6. Northborough, Northants Window Jamb. 7. Benington, Lincolnshire Interior of Window Jamb. 8. Heckington, do. Interior of Window Jamb. 9. Do. do. Inner Jamb, East Window. 10. Benington, do. Exterior Jamb of Window. 11. Hingham, Norfolk Chancel Doorway. 12. Attleborough Doorway. 13. West Real, Lincolnshire Belfry Arch. 14. Hingham Window. 15. Variety of Decorated Pier. 16. Stretham, Cambridgeshire. 17. Variety of Decorated Pier. DECORATED Plate V. ___j?r_J PLATE VI. 1. Little Ellingham, Norfolk Doorway. 2. Hingham, Norfolk West Door. 3. Do. do. Pier Arch. 4. Boston Pier Arch. 5. Sleaford Window Jarnb. 6. Deopham Doorway. 7. Boston Monument in Church (A, Soffit). 8. Hingham North Doorway. 9. Do. Double Ogee and Hollow. 10. Little Ellingham, Norfolk Doorway. 11. Deopham Inner Doorway, South Porch. 12. Benington, Lincolnshire South Porch. 13. Hardingham, Norfolk Archway. 14. Boston East Window, Double Ogee and Hollow. 15. Stoke Golding, Leicestershire. DECORATED Plate TI. London: Gurney<k Jackson, Paternoster Row. J.H.I& ITezue, PLATE VII. 1. Llandaff Cathedral West Doorway. 2. Diagram, Double Chamfer. 3. Trumpington West Doorway. 4. Do. Pier Arch. 5. Rivaulx Fragment. 6. Fen Stanton, Hunts Window. 7. Northborough, Northants Doorway. 8. Peterborough Outer Archway, west entrance to precincts 9. Yaxley, Hunts Window. 10. Clipsham, Rutland. , 11. Horbling, Lincolnshire. 12. Over, Cambridgeshire Window in Chancel. 13. Northborough Outer Porch Doorway. 14. Rivaulx, Yorkshire Fragment. 15. Do. do. Groin Rib. 16. West Keal Doorway. 17. Wave Molds and Hollow. 18. Swanton Morley, Norfolk. 19. Hingham, do. Window. 20. Trumpington East Window. 21. Keddington (or Ketton), Suffolk Chancel Window. 22. Thurlby, Lincolnshire Piscina. 23. Langtoft, Lincolnshire South Doorway. A Shallow Wave Mold. B Sunken Chamfer. c Deopham Belfry Arch. Plate VTL London: Gurney <3c Jackson, Paternoster Row. PLATE VIII. 1. Uffington, near Stamford West Doorway. 2. Dereham, Norfolk West Doorway in isolated Tower. 3. Saham Toney, do. West Doorway. 4. Fishtoft, Lincolnshire. 5. Leverton, do. East Window. 6. Partney, do. Doorway. 7. Louth, do. Doorway. 8. Stewton, do. Window Jamb. 9. Lincoln Oriel Window. 10. Chesterton, Cambridgeshire East Window. 12. Lincoln Cathedral South Choir Chapel. 13. St. Sepulchre's, Cambridge Arch. 14. Great Gransden, near St. Neots, Hunts Niche. 15. Stapleford, Cambridgeshire East Window. 16. Great Shelford, do. Inner Doorway, South Porch. 17. Holy Trinity, Colchester Pier Arch. 18. Long Melford, Suffolk Pier Arch. 19. St. Martin's, Stamford Doorway. 20. Do. do. Pier Arch. 21. Louth. i2 R P E R P I-: N DT C IT L A . PlateWT. London: Gurney&. Jackson, Paternoster Row. PLATE IX. 1. St. Martin's, Stamford 2. Do. do. 3. St. John's, do. East Window. West Doorway. West Doorway. 4. Bede House, do. 5. All Saints', do. Pier Arch. 6. Do. do. West Doorway. 7. Histon, Cambridgeshire Window. 8. Skirlaugh, Yorkshire Chancel Doorway. 9. Harlton, Cambridgeshire North Doorway. 10. Skirlaugh, Yorkshire South Doorway. 11. Basingstoke, Hampshire. 12. Diagram of Window Jamb of common form. 13. Haslingfield, Cambridgeshire Belfry Arch. 14. Granchester, do. South Doorway 15. Molding of constant occurrence. 16. St. Alban's. 17. Kyhall, Rutland Doorway. 18. Do. do. Window. London: Gurney& Jackson, Paternoster Row. PLATE X. 1. Diagram of rudimentary Capital. 3. Laceby, Lincolnshire. 4. Middle Easen, do. 5. Walesby, do. 7. Frieston, do. 8. Do. do. 9. Stickney, do. 10. Do. do. 12. Lincoln Cathedral. 13. Euskington. 16. Great Abington, Cambridgeshire. 17. Thurlby, Lincolnshire. 18. Furness Abbey, Chapter House. 19. Tintern Abbey. 22. Furness Abbey. 23. Bolton Abbey, Yorkshire. 24. Do. do. 26. Do. do. 28. Tintern Abbey. 29. Arreton, Isle of Wight. 30. Saffron Walden, Essex. 37. Bolton Abbey. 38. Early English Abacus. 39. Decorated Abacus. 40. Early English Capital. EARLY ENGLISH CAPITALS London: Gurney& Jackson, Paternoster Row. PLATE XL 1. Yaxley, Hunts. 2. Do. do. 3. Fletton, Hunts. 4. Boston, Lincolnshire Chapel used as Vestry, 6. Leverton, do. 7. Do. do. 9. Sibsey, do. 10. Stickford, do. 11. Partney, do. 12. Legburn, do. 13. Waltham, do. 18. Aswardby, do. 22. Abington, Cambridgeshire. 28. Louth. DECORATED CAPITALS. Plate XL London: Gurnej & Jackson, Paternoster Row. PLATE XII. 11. Trumpington, Cambridgeshire Capital of Nave Pier. 13. Little Shelford, do. Monument. 14. Maxey, Northamptonshire. 15. Hingham, Norfolk Nave Piers. 16. Careby, Lincolnshire. 19. Uffington, do. 22.} 23. 1 St. Martin's, Stamford. 24.) 26. i nn St. John's, do. I 28. St. George's, do. 29. Bede House, do. Plate XE. London: Gurney<Sc Jackson, Paternoster Row. PLATE XIII. 1. Long Melford, Suffolk. 4. Lonth, Lincolnshire. 8. | 9.> Colchester. 12.) 13. Fen Ditton, Cambridgeshire. 14. Harston, do. 16. Dry Drayton, do. 17. Mattishall, Norfolk. 18. Elsworth Hall, do. 19. Saliam Toney, do. PJai- "KIEL. London: Gu.rney&: Jackson, Paternoster Row. PLATE XIV. i. 2'1 Attick Base. 3.^ Italian Gothic Bases, from Willis's Architecture of the Middle 4.{ Ages. 5. Canterbury Cathedral. 6. Byland Abbey Central Piers. 7. Peterborough Cathedral. 8. Do. do. 9. Eivaulx Abbey Choir Columns. 16. Ely Cathedral. 17. Lincoln Cathedral Base of Great Piers. 18. Do. do. 20. Furness Abbey. 26. Ely Cathedral Galilee. 27. Skelton, near York. 28. Tintern Abbey. 29. Furness Abbey. 30. Do. do. 33. Tintern Abbey Nave Piers. 35. Coton, Cambridgeshire. 36. Ely Cathedral Lady Chapel. 37. St. Mary's Abbey, York. 38. Ely Cathedral Lady Chapel. 39. Wells Cathedral Doorway. 40. Do. do. Central Column, Chapter House. 41. Over and Histon, Cambridgeshire. 42. Trumpington Nave Pier. 43. Bottisham, Cambridgeshire Nave Piers. 44. Boston, Lincolnshire. 45. Fishtoft, do. London: Gurney <5c Jacksor ps.terrostpr PLATE XY. 1. Crosby Hall. 2. Do. do. 3. Over, Cambridgeshire Chancel. 4. Peterborough Cathedral Lady Chapel 5. Louth. 6. Carbrook, Norfolk. 7. Saham, do. 8. Dereham, do. 9. Norwich Cathedral. 10. Mattishall, Norfolk. 11. Swanton Morley, do. 12. Colchester. 13. All Saints', Stamford. 14. St. John's, do. 15. Colchester. 16. St. Alban's Abbey. 17. Haslingfield, Cambridgeshire. 18. Holy Trinity, Colchester. 20. St. Edward's, Cambridge. 21. Herne, Kent. 22. Saffron Walden, Essex. Plate XV: London: Gurney & Jackson, Paternoster Row. PLATE XVI. Examples of Strings, Hood Molds, &c., from various sources. K2 STR1NCS AND I.ABELS Plate XVI. London: Gurne/3c Jackson, Paternoster Row. PLATE XVII. 1. Bottisham, Cambridgeshire South Porch. 2. Do. do. North Porch. 3. Do. do. South Porch, Inner Doorway. 4. Grantham, Lincolnshire South Aisle Window. 5. Langham, Rutland Doorway. 6. Grantham, Lincolnshire South Aisle Window. 8. Over, Cambridgeshire South Porch. 9. Grantham South Aisle Window. 10. Grantham Window Jamb. Plate 2VH. London: Gumey & Jackson, Paternoster Row. PLATE XVIII. 1. Eivaulx Abbey. 2. Peterborough Cathedral Doorway opposite South Aisle of Nave : half-inch scale. 3. Do. do. Doorway in Cloister : half-inch scale. 4. Kivaulx Abbey Window Jamb. 5. Do. do. Burned Doorway 6. Castle Eising, Norfolk East Window. 7. Beaulieu Abbey South Transept Kefectory. 8. Eipon Cathedral Choir. 10. Castle Eising, Norfolk. Plate ZVIE. London: Gurney & Jackson, Paternoster Row. PLATE XIX. n' r Diagrams showing the formation of the Wave Molding. 3. Bottisham, Cambridgeshire East Window, South Aisle. 4. Saffron Walden, Essex. 5. Stretton, Rutland. 6. Grantham, Lincolnshire. 7. Do. do. Crypt. 8. Fountains Abbey Lady Chapel. Plate Shafts alternately inches duun- 9caZ&'% inch to 1-foot. London: Gurney& Jackson, Paternoster Row. PLATE XX. 1. Landbeach, Cambridgeshire Doorway. 2. Quy, do. Window. 3 Granthani Chancel Window. Peterborough Cathedral Archway in Cloister. 5. Ripon Cathedral. 6. Rivatilx Abbey. 7. Eipon Cathedral Window Jamb, South Aisle. 9. Bolton Abbey Doorway. 10. Newton, near Cambridge West Doorway. 11. Bolton Abbey. 12. Do. do/ 13. Granthani Choir Doorway. 14. Lancaster Arch Mold of Nave. 15. Bolton Abbey Monument. 16. Grantham. 17. Willingham, Cambridgeshire Chancel Door. 18. Granthani. Plate London: Gurney<3c Jackson, Paternoster Row. PLATE XXI. 1. Morcot, Rutland. 2. Seaton, do. 4. Eipon Cathedral Revestry or Chapter Boom. 5. York Cathedral Library. 6. Do. do. Nave. 7. Do. do. 8. Ripoii Cathedral. 9. Fountains Abbey. 10. Do. do. Chapter House. Plate XXI. London: Gurney*: Jackson. Paternoster Row. I