158 ARCHITECTURE. 
The English, however, adopted still another method which was less con- 
ducive to the aspiring expression, and which conducted them to a style less 
rich and certainly less varied than any of the other After-Gothic styles. 
This style is called the perpendicular. Erroneously supposing that an 
abundance of vertical lines would increase the Gothic character, the English 
were led to convert all the flowing lines of the window tracery into vertical 
ones, to omit the capitals of nearly all the smaller shafts or shaftlets, thus 
converting what had been blank arcades into mere panels, and then to mul- 
tiply, diminish, and extend these panels with endless repetitions of vertical 
lines over every part of the interior, and in florid buildings even of the 
exterior. Examples cf this style are given in pl. 39, jig. 43, and pl. 40, 
Jigs. 21, 22. 
Rectangular windows occur only in dwelling-houses or below pointed-. 
arch windows, except in some cases in the period from the 13th to the 15th 
century, where they take the place of the gallery near the roof. The older 
quadrangular windows have highly ornamental jambs and lintels under 
arches (fig. 23). When they are very wide the lintel is supported by a 
column in the centre (jig. 24), or the upper courses of the side walls project 
under the lintel, thus approaching the flat arch (jig. 25) ; when their width 
is greater than their height, they are divided by mullions connected by 
trefoil arches under the straight lintel (jig. 26). 
A curious combination of the Romanesque and pointed arch is produced 
by two Romanesque arcades intertwined, which at their intersections pro- 
duce pointed arches (jig. 27) which are perforated for windows, and have 
a very pleasing effect. Windows of this kind were of frequent occurrence 
in the 12th century, but in the subsequent centuries their places were occu- 
pied by apparent perforations in the pointed arches. 
Rosette windows occur as late as the 15th century, but their strictly cir- 
cular form was gradually abandoned for convex-sided triangles (jig. 28) or 
polygons, with strictly geometrical divisions. Such windows of the purest 
taste are very numerous in Germany. 
In the pointed-arch style of architecture doorways are striking and 
important features, indicating in the character of the mouldings and orna- 
ments the style and period of the edifice. They are located either in the 
centre of the more or less decorated facade, or in some other point of the 
exterior wall. Only the former claim our special attention, the latter being 
generally very subordinate in character. The principal doorway of a church 
is always of the character of its windows, except in some cases where the 
erection has been of very long duration, when occasionally a later architect 
has been sufficiently deficient in good taste to vary the style with a view to 
satisfy his own fancy or the taste of his own period. The doorways are 
mostly perspective portals, deep enough to form forehalls, as we have 
already seen (p. 148). If the portal is very wide it is subdivided by a 
pilar in the centre (pl. 39, jig. 44), which is mostly adorned with the 
statue of the tutelary saint of the church. The door wings seldom reach to 
the top of the arch, but end mostly in a horizontal line at the height of its 
springings, the head of the arch receiving a packed window or merely an 
158 
