CIVIL ARCHITECTURE. 



MM) Sicily, which were produced by Mr Sourkc tu the 

 Amiquanin Society, have been detected by Sir Hairy 

 EMir&cld to have been additions in time* posterior to 



gome on at Salisbury, where, on the 

 efoi 



HUtory. 



Dr Milner having proved, that the pointed style was 

 net imported into this country, proceeds to trace its rise 

 and pmfrrst in England. 



1 . The intersections were at first sometimes only plain 

 semicircle*, as in the south transept at Winchester. 



8. Resting upon pillars with capitals, or at least an 

 abacus by way of impost, a* on the north transept of 

 Durham, the facade of Lincoln ; in the latter instance 

 they present a pointed arch with a cusp. 



3. By the addition of one or more cusps on each side 

 of the pointed arch, they made a trefoil cinqucfoil. 



l!y four cusps being introduced into the plain circle, 

 or otilae betttf, it was converted into a quatrefoil or cross, 

 and by adding more it became a Catherine wheel or mari- 

 gold window. But these did not make their appearance 

 until the beginning of the 13th century. 



5. During the latter part of the 12th century, is to be 

 found, as usual, during a change, a mixture, or, as Carter 

 calls it, a struggle between the circular and pointed 

 style. This would not have been the case had the latter 

 been copied from models in Syria, Spain, &c. The first 

 pointed arches, were sometimes obtuse, as in St Cross, but 

 more frequently very acute, as in St Mary Magdalene on 

 the Hill, built in 1174. 



6. Pointed arches were used alone before any other 

 feature of that style. 



7. The heavy columns were next made into the form of 

 : in ornamental arcades they were very thin and of 



Purbeck marble, as in the east end of Canterbury cathe- 

 dral, rebuilt from 1 175 to 1 180, by William of Seas, and 

 another person also named William Gervasc, who knew the 

 old cathedral burnt down in 1174, and was present when 

 tike before mentioned repairs were made. He describes the 

 difference which took place in 90 years from its former 

 construction, viz. that the pillars of the new choir were 

 of the same form and thickness, but 12 feet longer than 

 in the old ; that the former capitals were plain, and the 

 new delicately carved ; that there were no marble columns 

 in the old, but an incredible number in the new ; that the 

 stonesof the ancient arches were cut with an axe, but those 

 of the new with a chisel ; that the vaulting of the side aisles, 

 formerly plain, were now pointed with keystones ; that the 

 old was covered with a flat ceiling ornamentally pointed, 

 while the new one was elegantly arched, with hard stone 

 for the, ribs and tough stone for the interstices ; finally, 

 that there was only one triforium or gallery round the an- 

 cient choir, and two in the modern one. Twenty years be- 

 fore the close of the 12th century, no member of Saxon ar- 

 chitecture remained in the chancel or choir of Canterbury, 

 except the main arches of the basement story, and certain 

 billet mouldings, which gave way as the work advanced 

 npwardi, to the quatrefoil moulding, which very soon 

 became universal, and is a sure criterion of the first order 

 of the pointed style in its most pure state. 



8. Canterbury having set the example, others followed 

 a* they required repairs. Lincoln in 1 195 ; t lie choir of 

 Worcester in 1202 to 1218 ; also the galleries and in- 

 tide work of Litchficld, and the cast end of Winchester, 

 by Godfrey de Lucy, in 12O2, were built in the same 

 style, with Uncctshaped arches. 



9. Five of these lancet arcbet placed under one arch, 

 left a space which required to be ornamented with tre- 

 foil, quatrefoil, &c. at in the south cross aisle of York, 

 Wilt bjr ArrthJrtnji Waiter de Grey in 1227 } while the 



same style was _ 



facade, there is a trefoil at the top of the pediment over 

 poinied archen, and also Purbeck marble columns, with 

 cusped capitals. In the upper story of Salisbury there 

 arc three lancet windows placed together, the middle one 

 being raised higher than the others. 



10. At this time, the cornice or moulding, which had 

 formerly been attached to the moulding of the arch of 

 the window, was now, by following the i ciuding arch, 

 raited much higher than the window arches ; it was ter- 

 minated with a trefoil, but as yet had no crocket-. 



11. The north transept of Westminster, begun in 1245, 

 (with the exception of the Catherine wheel), remains 

 nearly in the same style. Here the windows of the side 

 aisles and upper story are larger ai.d well proportioned, 

 with cinquefoils in their heads ; some have a triple cinque- 

 foil under a pointed arch. The arches and windows be- 

 ing placed in rows above each other, led to the idea of 

 the great window with mullions. In the inside of the 

 transept are statues of tolerable workmanship ; and on 

 the outside are niches, with pedestals and plain canopies. 



1. During the reign of Edward I. (begun 1272) point- Changes in 

 ed architecture changed its character : The arches, which ''" uoie 

 had been too sharp, became better shaped. They had Edwir<i * 

 always one or two cusps on each side of the head, form- 

 ing trefoils, &c. They had also newly invented mould- 

 ings ; and the pediments over arches were ornamented 



with foliage, called Crockets. 



2. The pinnacles, which had hitherto been quite plaiif? 

 were now placed at the side of each arch, on the top of 

 every buttress, and were decorated with crockets, and 

 had a flower on the top, called a Finial. A pinnacle of 

 a larger sort was placed on the great tower, and became a 

 spire, as at Salisbury. 



3. The flying buttress, for supporting the upper walls 

 of the nave, which before had been concealed in the 

 roof of the side aisles, was now exposed, and rendered 

 ornamental. The plain niches of the 13th century, were 

 early in the 14th decorated with rich tabernacle filled 

 with statuary. 



4. The windows were formed with mullions and tran- 

 soms, into four, five, six, or sometimes nine bays, and 

 had their heads decorated by tracery and flowers. What 

 favoured the introduction of large west windows, was 

 the abolition of canonical penances, and, of course, peni- 

 tentiary-porches, in consequence of the frequent cru- 

 sades. 



5. Ribs, in groined ceilings, were no longer simple in- 

 tersections, but branched into fine tracery, and were tied 

 where they met by a knot, boss, or orb, usually decora- 

 ted with some device ; as in the work at York-minster, 

 early in the 14th century. 



6. Pediments, or canopies, which had, during the two 

 first Edwards, risen straight up like an equilateral tri- 

 angle, began, towards the end of the third Edward, to 

 form a sweeping curve, as may be seen in Winchester 

 College Tower. 



These changes are very evident in Gcddington and Specimens 

 Wakham Crosses, erected by Edward 1. ; also in the where to 

 tomb of Edmund Crouchback, brother of Edward I. in be found. 

 Westminster Abbey : He died in 1296. But the most 

 perfect example is the nave of York-minster, built from 

 1 290 to 1330, and the choir built thirty years after ; and St 

 Stephen's Chapel, Westminster, built by Edward III. 

 in 1348; but few vestiges of it remain. Before 1321, 

 the Lady Chapel was added to Lichfield, the whole 

 was groined, and the beautiful western facade construct- 

 ed ; as was also about this time the nave of Westminster. 





