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 AN 7 
 
 ELUCIDATION 
 
 OF THE 
 
 PRINCIPLES 
 
 OF 
 
 USUALLY DENOMINATED 
 
 BY 
 
 JOHN KENDALL, 
 
 ARCHITECT. 
 
 ILLUSTRATED BY TWENTY -THREE PLATES OF EXAMPLES, 
 ENGRAVED BY J. AND H. 8. STOKER. 
 
 LONDON: 
 
 HENRY G. BOIIX, YORK STREET, COVENT GARDEN. 
 MDCCCXLII,
 
 TO 
 
 THE HONOURABLE AND RIGHT REVEREND THE 
 LORD BISHOP, 
 
 AND 
 
 THE VERY REVEREND THE DEAN AND CHAPTER OF 
 
 EXETER, 
 
 THIS WORK, 
 
 INTENDED TO ELUCIDATE THE PRINCIPLES OF 
 ENGLISH ARCHITECTURE, 
 
 FROM THE ELEGANT EXAMPLES DISPLAYED IN THEIR 
 
 OWN 
 
 CATHEDRAL, 
 
 IS, WITH THE UTMOST RESPECT AND GRATITUDE, 
 INSCRIBED, 
 
 BY 
 
 THE AUTHOR, 
 
 May I, 1818
 
 PREFACE. 
 
 IN this work the term ENGLISH Architecture is used, in pre- 
 ference to that of Gothic, from a persuasion of its superior 
 accuracy, and from an entire conviction of the necessity of 
 exploding an arbitrary appellation, which conveys no distinct 
 idea, but is often applied, at random, to every style of architec- 
 ture practised in this country between the extinction and 
 revival of the Grecian, or Roman. 
 
 It is well known that the term of Gothic, as applied to the 
 architecture of the middle ages, originated with the Italian 
 writers, and was first used, in regard to such buildings amongst 
 the English, by Sir Christopher Wren. The adoption of the more 
 honourable name which prevails throughout the present treatise, 
 is thus defended, in a work published under the sanction of the 
 Society of Antiquaries : " The architecture used by the Saxons 
 is very properly called Saxon. The improvements introduced 
 after the Norman conquest, justify the application of Norman 
 to the edifices of that period. The nation assumed a new 
 character about the time of Henry the Second. The language 
 properly called English, was then formed; and an architecture, 
 founded on the Norman and Saxon, but extremely different from 
 both, was invented by English artists : it is, surely, equally just 
 and proper to distinguish this style by the honourable appellation 
 of English."
 
 8 PREFACE. 
 
 It would appear that the Antiquarian Society is not disposed, 
 on mature reflection, to warrant the circulation of the above, as 
 their collective and decided opinion, to its full extent. But 
 their cause of disavowal can scarcely proceed from the applica- 
 tion of terms. The appellations of SAXON and NORMAN are 
 used, without objection, in describing the structures erected by 
 the Saxons and Normans in Britain. The term ENGLISH (to 
 wave a minute disquisition respecting the people who invented 
 the pointed style, or who carried it to its greatest degree of 
 perfection), may, assuredly, be applied, with as strict propriety, 
 to the architecture practised by the English. 
 
 The author requests the indulgence of his reader for any 
 imperfections of style which may occur in this little work, it 
 having been his principal object to convey useful information, 
 and his endeavour to perform that task within as small a com- 
 pass as possible,
 
 CONTENTS OF THE INTRODUCTION. 
 
 Ornamental Architecture derived from Sacred Structures. 
 Remarks on the Origin of the Gothic Style. Architecture 
 of Home. Origin of the Term Gothic. Ojnnions of Sir 
 Christopher Wren, Bis/top JP~arburton, Rev. James Ben- 
 tham, Rev. J. Milner, Lord Orford, Rev. J. Dallaway, 
 Mr. Murphy, Rev. G. D. Whittington, Mr. Barry. 
 Change of Style occasioned by the necessary Magni- 
 tude of Structures sacred to the Christian Religion. 
 Some of the leading Principles traced from the first Chris- 
 tian Church built by Constantine the Great. Saxon Man- 
 ner. Improved ditto, or early Norman. The pointed 
 Arch, Mr. Murphy's Opinion adopted. Cause of the Im- 
 provement of Architecture in this Country. Master Ma- 
 sons. The Adoption of the Term English Architecture. 
 Its Perfection, Decline, Disuse, Revival. Observations. 
 Object of the Work. Sir IV. Chambers on the Elemen- 
 tary Forms of Ornamental Architecture. Mr. Barry and 
 Mr. R. Mitchells Observations, $c.
 
 AN 
 
 ELUCIDATION 
 
 PRINCIPLES 
 
 architecture* 
 
 INTRODUCTION. 
 
 IN all ages the raising and adorning of sacred structures have 
 encouraged the genius and excited the emulation of mankind. 
 Ornamental architecture first appeared in edifices dedicated to 
 the services of religion ; and as nations increased in power or 
 wealth, their public buildings were decorated with the richness 
 and variety of their temples. 
 
 The origin of that species of architecture usually denomi- 
 nated Gothic, is a subject on which science and industry have 
 been employed from the time of its disuse, A. D. 1520, to the 
 present era. The first inquirers, the architects of Italy and Eng- 
 land, impressed with the sublimity and beauty of the moulder- 
 ing remains of Greece and Rome, viewed with a prejudiced 
 eye this style of building ; and since time has developed 
 its merits and defects, authors have given opinions so varied 
 and numerous, as to defy the possibility of further originality : 
 to select and adopt those theories, best founded on exist- 
 ing examples, must be the object of future investigators. 
 On a subject so interesting, it is to be regretted, that suffi- 
 cient data cannot be ascertained at once to convey conviction 
 and to limit the bounds of fanciful conjecture. 
 
 By the increasing wealth and magnificence of the pontiffs,
 
 10 
 
 the Capital of the world shone forth with renovated splendour. 
 Under their patronage religious structures were raised in purity 
 and taste, rivalling the classic remains of her former grandeur '. 
 The encouragement given to the revival of Roman architecture 
 led to a contempt of every other 2 , and the architects of this coun- 
 try, inclined to adopt the same manner as their brethren on the 
 continent, began their object by depreciating a style they 
 had never studied 3 ; hence arose the term Gothic (before 
 adopted by the Italians) . About the commencement of the 
 twelfth century some of the characteristic forms of the pointed 
 style appeared in this country, whether originating here, or 
 borrowed from edifices on the continent, has not hitherto 
 been satisfactorily decided. Sir Christopher Wren derives this 
 style from Arabia, and believes it to have been introduced to 
 this country by the Crusaders 4 . Bishop Warburton, in his 
 notes to Pope's Epistles, supposes the Goths invented this 
 species of architecture, endeavouring to imitate the solemn 
 and beautiful scenes of nature, as seen in an extended avenue 
 of lofty trees. The Rev. James Bentham 5 and the Rev. J. 
 Milner 6 , suppose the pointed arch to have originated in this 
 country from the intersection of semi-circular mouldings, ob- 
 servable amongst the ornaments of the enlarged Saxon or Nor- 
 man edifices ; and the latter author imagines the peculiar en- 
 
 1 See Bonani, Historia Ternpli Vatican!, the works of Bramante, Michael 
 Agnolo, Palladio, &c. &c. 
 
 2 See the notes to Captain Grose's Preface to the Antiquities of England 
 (Wren's Parentalia, pages 306, 297). This industrious and learned antiquary 
 observes, that " Two flat stones, with their tops inclining to each other, and 
 touching, form the rudiments of the pointed arch." 
 
 3 Walpole's Anecdotes on Painting, page 107. " Inigo Jones, Sir Chris- 
 topher Wren, and Kent, who certainly understood beauty, blundered into the 
 heaviest and clumsiest compositions, whenever they aimed at imitations of 
 the Gothic." Walpole, pp. 108, 109. 
 
 4 Sir Christopher Wren calls this style Saracenic ; and an elegant modern 
 writer supposes the Saracenic to be formed out of a combination of the Grecian 
 and Roman, with a mixture of Moorish or Saracenic, Egyptian, Persian, and 
 Hindoo. See Mr. Payne Knight's Inquiry into the Principles of Taste. 
 
 5 History of the Cathedral Church of Ely. 
 
 6 History and Survey of the Antiquities of Winchester.
 
 11 
 
 richments gradually to have arisen after this new form of the 
 arch was adopted 7 . In the church of St. Cross, built A. D. 
 1 1 37, are windows with the pointed arch. Lord Orford ob- 
 serves, " Shrines for reliques were probably the real prototypes 
 of this fine species of architecture ; it was a most natural tran- 
 sition for piety, to render a whole church, as it were, one 
 shrine. The Gothic style seems to bespeak an amplification of 
 the minute, not a diminution, of the great 8 ." 
 
 From a similarity of ornaments in the baptistery of Pisa, 
 built A. D. 1132, and other buildings in Italy of that period, 
 with those of the pointed style, the Rev. James Dallaway 9 has 
 conjectured, " that some of the members of Gothic ornament 
 originated with Italian architects at Pisa 10 ," &c. Mr. Murphy, 
 
 7 See History of Winchester, and Essays on Gothic Architecture, 2nd. 
 edit. Rev. J. Milner's Essay, page 132, &c. 
 
 8 In the fourth volume of the Transactions of the Royal Society of Edin- 
 burgh, is an Essay on the Origin and Principles of Gothic Architecture, by Sir 
 James Hall, Bart. This gentleman attributes the pointed arch to the inter- 
 section of bending rods, and the various characters of the style to the combi- 
 nations of the same material, and in confirmation of the truth of this system 
 has formed a willow cathedral. 
 
 9 Observations on English Architecture, Military, Ecclesiastical, and 
 Civil. 
 
 10 The baptistery at Pisa, built by DiottiSalvi, in 1153, is a circular build- 
 ing, whose external diameter is 160 Roman palms, supporting a coved roof 
 and lantern. The exterior elevation is divided into three parts, the lower or 
 basement division contains twenty arches, rising partly perpendicular, and 
 at the top forming a semi-circle, from twenty three-quarter columns with 
 Corinthian capitals. From these capitals the arches rise without an impost, 
 after the debased Roman manner; between the columns are long narrow win- 
 dows, with circular heads, and a kind of weather-moulding supported by a 
 bracket or corbel. Above the arches is a cornice which serves as the plinth 
 for the columns of the second division. These columns are smaller, and double 
 in number, supporting similar arches. From every two of these arches arises 
 a pyramid, with leaves running up the external angle, and surmounted by a 
 figure. There are pinnacles between each pyramid, ornamented as in the pointed 
 style. The superior division consists of double pilasters, supporting pediments 
 and pinnacles, and in the dome are likewise canopies with all the peculiarities 
 of the pointed order. The whole height, including dome and lantern, is 250 
 palms. It is also to be remarked, that- the windows in the superior division are 
 separated by a mullion, forming a quatrcfoil on the top.
 
 12 
 
 in his splendid publication on the church of Batalha, after 
 having stated the tendency of every ornament to the general 
 pyramidal form, says, " it appears evident from these in- 
 stances, that the pyramidal form actually exists throughout 
 the several component parts, and the general disposition of 
 the edifice approaches as near to it at least as the ordonnance 
 of an historical painting, which is said to be pyramidally 
 grouped. Hence we may comprehend the reason why the arch 
 was made pointed, as no other forms could have been intro- 
 duced with equal propriety in a pyramidal figure, to answer 
 the different purposes of uniformity, fitness, and strength ; it 
 is in vain, therefore, that we seek its origin in the branches of 
 trees or in the intersection of Saxon or Grecian circles or in 
 the perspective of arches, or in any other accidental or fortui- 
 tous circumstances. The idea of the pointed arch seems 
 clearly to have been suggested by the pyramid, and its origin 
 must consequently not be attributed to accident but to ordina- 
 tion 11 ." 
 
 The late Rev. G. D. Whittington, in his Historical Survey 
 of the Ecclesiastical Antiquities of France >, after having ex- 
 amined the various edifices in that country, and compared 
 the different examples with specimens of the same eras in 
 England, forms the following opinion : " In the twelfth cen- 
 tury a new character of building suddenly appeared, and spread 
 itself over the greatest part of Christendom. This has in latter 
 times been called the Gothic style, out of a silly contempt, 
 though it did not arise till long after the Goths were melted 
 down and lost among the nations of Europe. It has not the 
 most distant similarity either to Grecian or Roman architecture, 
 and its origin has been the subject of much controversy. We 
 are of opinion, that it is of eastern extraction,, and that it was 
 
 11. Murphy's Batalha. Introduction, pages 3 and 4. 
 
 12. See the preface, pages 6 and 7. This work was intended to form a 
 part of an elaborate treatise on the rise of Gothic architecture in Europe. The 
 premature death of the elegant and accomplished writer prevented its further 
 progress.
 
 13 
 
 imported by the crusaders into the west. All eastern buildings, 
 as far back as they go (and we cannot tell how far), have 
 pointed arches, and are in the same style ; is it not fair to sup- 
 pose that some of these are older than the twelfth century, or 
 that the same style existed before that time ? is it at all proba- 
 ble that the dark ages of the west should have given a mode of 
 architecture to the east ? We conceive, therefore, that the cru- 
 saders introduced the fashion of the pointed arch, and the first 
 ornaments of the style, which are few and simple ; but the 
 richness it gathered in process of time, and the improvements 
 and alterations we observe in it from its first rise in the twelfth 
 to its extinction in the fifteenth century, are owing to the 
 munificent encouragement of the church, and the vast abilities 
 of the freemasons of the middle ages. These scientific persons 
 have great claim to our admiration, from the richness and 
 fertility of their inventive powers ; by them this eastern style 
 was transplanted into Ihe west, and under them it was so much 
 altered and amplified, that it assumed almost an entirely new 
 appearance, from which circumstance the confusion and un- 
 certainty which prevails respecting its origin has for the most 
 part arisen." 
 
 The same author questions the propriety of calling this mode 
 the English style of architecture ; since no contemporary churches 
 in this country could vie with the magnificent edifices at Rheims 
 and Amiens. The late Mr. Barry attributes the Gothic style to 
 the corruption of the Grecian and Roman manner, and pro- 
 duces many examples to prove that the pointed arch, with the 
 peculiar ornaments, arose from this source 13 . Notwithstanding 
 some intemperance of his language when writing on this subject, 
 he seems to have felt the general effect of that style which it 
 was his object to depreciate 14 . To recapitulate all the various 
 
 13 See the works of James Barry, Esq. historical painter. Fragment or 
 Materials of a Letter to Mr. Burke, on Gothic Architecture, page 123. 
 
 14 In his letter to his most distinguished friend and patron, Edmund 
 Burke, Esq. dated from Paris, November G, 17C5, he writes "The nave of 
 the church at Beauvais is really very striking ; it is Gothic, and has, I think, 
 incomparably a better effect than any thing I ever saw before." Page 25. 
 
 B
 
 14 
 
 opinions of authors would far exceed the limits of this work. 
 Every lover of architecture must feel grateful for the labours 
 bestowed, tending to direct the attention to those sacred struc- 
 tures, which constitute the most valuable ornaments of the 
 British empire 15 . In proceeding with the object of this Trea- 
 tise, it will be desirable to avail ourselves of the information 
 suggested by each respective theory, while investigating some 
 prominent examples, with a view of ascertaining the rise of 
 this unique and captivating style. 
 
 With the declining grandeur of the Roman empire, archi- 
 tecture, together with other arts and sciences, degenerated ; the 
 simple and elegant decorations of Roman and Grecian art are 
 vainly sought for in the first Christian churches built at this pe- 
 riod 16 . The ancient temples, appropriated generally to one among 
 the numerous deities of Polytheism, were of comparatively small 
 dimensions, the Christian church intended for the accommoda- 
 tion of a multitude, necessarily occasioned many deviations from 
 the accustomed manner '?. The unusual breadth of these edifices 
 required columns in the interior to support the expansion of the 
 roof, and the superior elevation of the centre division gave rise 
 to the pyramidal form ; hence arose the necessity of an upper 
 tier of windows to light the nave and choir. The horizontal 
 
 15 The patronage of his present Majesty, the labours and munificence of 
 the Antiquarian Society, and the many splendid publications on this subject, 
 within the few last years, have eminently tended to direct the public taste to 
 English architecture. 
 
 16 See the church built at Rome by Constantine the Great, in Bonani's 
 Historia Templi Vatican!, A. D. 324, and for the state of the arts at this 
 period, Gibbon's Decline and Fall of the Roman Empire, chap. 14. 
 
 17 Itaque Constantinus, juxta morem ejus temporis, Basilicam suam erexit 
 in earn formam dispositam, non servatis adamussim regulis, quibus juxta 
 morem antiquum Basilicas erigendas esse, posteadocuit Leo Baptista Albertus 
 de re-aedificatoria : "Basilicas enem," ait ille, " aream habere oportet ita 
 comparatam ut sit earum longitude ad latitudinem dupla. Latitude arae 
 dividetur in partes novera, ex quibus dabuntur quinque ambulationi mediae, 
 singuhs autem porticibus binae. Turn et longitudo itidem in partes dividetur 
 novem, ex his unadabitur sinui tribunalis, amplitudini vero tribunalis in fau- 
 cibus dabuntur duae, &e." His regulis neglectis (quas tamen apud antiques 
 in usae fuisse insertum est), Constantinus Basilicam aedificavit in modum 
 crucis, &c.~ Bonani, J. V. caput 11, page 11.
 
 15 
 
 cornice was afterwards omitted, and the semi-circular arches 
 between the columns forming the roof, and springing from the 
 capital without an impost. These innovations, naturally arising 
 from extent of magnitude, form the basis of some of the lead- 
 ing principles afterwards reduced to a system. Our Saxon 
 ancestors, in their confined and massive structures, rudely 
 imitated the debased architecture then prevailing, sculptured 
 with the wild and grotesque fancies of the age 18 . Soon after the 
 conquest, from the accumulation of wealth in the possession of 
 the Norman prelates, they were enabled to cultivate a purer 
 taste in their edifices by adopting, on an enlarged scale, the 
 prevailing manner, associated with a simpler and more ele- 
 gant mode of decoration; but the affinity of the two styles 
 is apparent by examining their early structures. The Abbey 
 church of St. Stephen, the exterior and interior of the abbey 
 church of the Holy Trinity, both at Caen, in Normandy, 
 and built by William the Conqueror, A.D. 1064, are striking 
 examples of simplicity and grandeur 19 . By the partiality of 
 
 18 Anglo-Norman Antiquities, by Dr. Ducarel, page 101. Among the 
 Saxon buildings mentioned by this author are Stewkeley Church, in Bucking- 
 hamshire ; Warwick Church, near Carlisle, in Cumberland; the old Guild- 
 hall at Exeter (now pulled down); Studland Church in Dorsetshire; Bar- 
 freston Church in Kent ; two door-cases of the Church of Patricksbourne in 
 Kent; the Church of Crowle in Lincolnshire; Iffley Church in Oxfordshire; 
 part of the Church of Hales Owen in Shropshire, and St. Kenelin's Chapel 
 there ; St. James's Steeple at St. Edmondsbury in Suffolk ; Tutbury Church 
 in Staffordshire ; the Chapel of St. Mary adjoining to the south side of the 
 parish church of Kingston upon Thames, in Surry ; the doorcase of the portal 
 of Pidmore Church in Worcestershire; the undercroft of Worcestershire 
 Cathedral ; the Chapel of St. Mary in Criptis, in York cathedral ; the 
 remaining part of the Hospital of Leonard in York ; the porch of Ouse 
 Bridge Chapel at York ; the pillars and arches in the ancient Chapel of 
 St. William on Ouse Bridge, at York; Addle Church, near Leeds, in 
 Yorkshire ; the church porch of St. Dennis, in Walingates at York ; Edward 
 the Confessor's chapel at Islip, in Oxfordshire ; St. Peter's Church in Oxford; 
 the porch of St. Margaret's Church at York ; the portal of St. Magdalen's 
 Chaptel adjoining to the Bishop's Palace, at Hereford ; the undercroft of Can- 
 terbury Cathedral ; the staircase leading to the registry, near Canterbury 
 Cathedral; the north front of the Benedictine priory at Canterbury; Green- 
 sted Church, in Essex ; the Church in Dover Castle, &o 
 19 Anglo Norman Antiquities, page 51, &c.
 
 IG 
 
 Edward the Confessor this manner soon became generally 
 diffused; the confined buildings of the Saxons were eclipsed 
 by the lofty and ornamented structures now erected. The 
 towers of Exeter, and Durham Cathedral, Castle Acre Priory, 
 Norfolk; parts of Rochester, Ely, Peterborough, and Glou- 
 cester Cathedrals ; with many other buildings, evince the 
 taste and skill displayed at this period. On comparing the 
 early structures of Normandy with those in England, we find 
 the buildings in the latter more ornamented than those in the 
 former ; many of the enrichments peculiar to the Saxons are 
 engrafted on the enlarged Saxon or Norman style, while the 
 edifices in Normandy, of an earlier period, are examples of a 
 chaste simplicity. These ornaments, adopted or invented by 
 the Saxons, and occasionally used in this country, are very 
 rarely found, excepting in a few of the first examples in the 
 pointed style 80 . 
 
 It has been already observed, that the Christian church 
 required an internal magnitude unknown to the ancients, and 
 the necessary distribution of columns and windows gave rise 
 to the pyramidal form, one of the leading principles. 
 Transverse sections of Constantine's church, as given by 
 Bonani, built A. D. 324, to the abbey church of Bath built 
 A. D. 1532, have necessarily this form. Arches springing from 
 the capitals of columns, without the intervention of horizontal 
 cornices adopted by the Normans from the debased Roman 
 manner, gave rise to another peculiar principle ; namely, the 
 ribs or mouldings forming the vaulting, and issuing from the 
 extremity of the capital. To obtain an equal distribution of 
 light the Normans multiplied their small windows ; these 
 frequent perforations in the walls required external supports 
 or buttresses ; but such are less frequent in their buildings than 
 in the pointed style, where the windows became a prominent 
 feature from their magnitude and decoration, and thereby 
 
 20 For accurate descriptions and examples of the enrichments peculiar to 
 Saxon, and what has been termed Norman buildings, see the twelfth volume 
 of the Archselogia, or the Essays on Gothic Architecture, published by Taylor. 
 Holborn.
 
 17 
 
 rendering buttresses attached to each pier absolutely necessary 
 for the preservation of the fabric : these necessary additions, 
 by subsequent skill being crowned with spires or pinnacles, 
 became highly ornamental, and another characteristic principle 
 of the pointed manner. Mouldings projecting over the tops 
 of windows and doors, supported by a human head or a 
 flower, in order to prevent the rain from falling on the 
 inside, are observable in the baptistry at Pisa", and the 
 earliest Norman edifices-; these mouldings consisted gene- 
 rally of two or three members, formed for the express pur- 
 pose of throwing off the water ; the ingenuity of latter ages, 
 from this simple principle, invented decorations of the most 
 beautiful and elaborate workmanship, sometimes rising to 
 the whole height of the structure. Most of the characteristic 
 forms gradually proceeded from the deviations adopted in 
 the buildings erected in Rome, after the establishment of 
 Christianity ; and it is not improbable that the change in the 
 religious sentiments of mankind may have facilitated the 
 alterations in architecture which took place. Patronage and 
 employment cause the growth of genius ; and however illiterate 
 and barbarous mankind may have become, yet, with the vene- 
 rable and pure models remaining of ancient art, some faint 
 imitations could have been easily made, had not an abhorrence 
 of objects associated with the rites of the exploded religion in 
 some measure sanctioned a capricious novelty of decoration. 
 It still remains to account for the origin of the first essential 
 principle, the pointed arch, which gave at once a decisive cha- 
 racter, unlike the Roman, Saxon, Norman, Moorish, or any 
 other kind of architecture known or practised in the world. 
 The form itself is visible in the various productions of nature, 
 
 21 Weather-mouldings, or canopies over windows, are observable in the 
 elevation given in Ducarel's Anglo-Norman Antiquities of St. Thomas 1'Abhatu 
 near Caen, plate 7, a building said to be prior to the Conqueror. 
 
 22 Mr. Smirke, Jun. amongst various drawings submitted to the Society 
 of Antiquarians, has presented some of this edifice ; but Sir H. Englefield, h;ii 
 proved that all the ornaments in the pointed style found in these structure.;, 
 ire later additions.
 
 18 
 
 obserrable in leaves, flowers, &c. and in the inclination of op- 
 posite and bending branches of trees ; artificially in the inter- 
 section and perspective of circular arches : considered as a form 
 only, it must have been familiar to the mind from the earliest 
 ages ; its adoption in architecture is the only point to be con- 
 sidered. 
 
 Accident can have no place ; it must have been the result 
 of a reflecting mind, necessary to complete the required 
 propriety and general fitness of the structure with the pyramidal 
 form in view. To the scientific mind the pointed arch was 
 an essential or concomitant, in order to produce that general 
 harmony and sublimity of effect, forming the very intent and 
 essence of the fabric ; Mr. Murphy justly observes, that " its 
 origin must consequently be attributed, not to chance, but to 
 ordination." 
 
 The riches and extent of territory subject to England, on 
 the accession of Henry II. to the throne, enabled his prelates, 
 whose power and wealth were unrivalled, to rebuild their 
 churches according to the new manner lately introduced. 
 Among the early examples, Salisbury cathedral proves that 
 unity of design was the ultimate object of architectural science. 
 In this edifice many of the enlarged Saxon enrichments are 
 retained. At this period " all foreign improvements, such as 
 they were in literature and politeness, in laws and arts, seem 
 now to have been in great measure transplanted in 
 England 23 ." Artists of other nations flocked hither, and 
 found ample encouragement from their scientific employers 24 . 
 The master masons were incorporated by papal authority, and 
 removed themselves to the different abbeys and churches as 
 required; and they reduced to a regular system, subordinate to 
 
 23 Hume's Hist, of England, A. D. 1189. 
 
 24 Walpole, in his Anecdotes on Painting in England, observes, " that as 
 all the other arts were formerly confined to cloisters, so undoubtedly was ar- 
 chitecture too, and that when we read that such a bishop or such an abbot 
 built such and such an edifice, they often gave the plans as well as furnished 
 the necessary funds." The histories of our cathedrals bear ample testimony 
 of the truth of this observation.
 
 19 
 
 the pyramidal principle, the various detached ornaments ob- 
 servable in other fabrics on the continent. The freemasons 
 received the blessing of the Pope 85 , and were first encouraged 
 in England by Henry III. where they were constantly employed 
 till the close of Gothic architecture' 6 . To these associated 
 bodies, aided by the advice and assistance of the wealthy and 
 scientific guardians of the church, may be attributed the uni- 
 formity and regularity observable in the decorative part of the 
 pointed style which flourished in this country for a long series 
 of years, while during the same period it was declining on 
 the continent, torn by intestine divisions. Such was the real 
 strength and power of the church that, at a later era, while 
 civil discord between the houses of York and Lancaster filled 
 with blood and misery the kingdom from one extremity 
 to the other, ecclesiastical structures were raised in all the 
 pride of art. From this cause, notwithstanding some of the 
 rudiments may have been derived from the continent, no 
 country possesses so many structures, and in so pure and uniform 
 a style, as can be found in the British empire. The appellation 
 of English architecture is due, when it is considered that in no 
 other country can this manner of building be studied free from 
 heterogeneous and discordant parts. From 1250 to 1450 this 
 system of architecture was in its highest state of perfection; 
 whatever is valuable for correctness and delicacy of execution, 
 
 25 Dallaway, page 45. 
 
 26' Masons, or a select society of initiated persons, were employed by Ca?sar 
 on all public structures in Britain. St. Alban wag a great patron, A. D. 303, and 
 king Alfred the same. Their history, as a society, is blended with that of the 
 various public buildings until the timeoflnigo Jones, grandmaster, A. D. 1603. 
 In the reign of Edward the fourth they were so powerful as to call for the inter- 
 ference of government, they influencing for the rates of labour, &c. See 
 Preston's Illustrations of Masonry. 
 
 The fraternity of masons in England admitted no other profession until 
 the reformation, when their employment and consequence were lost. The 
 alchemists, by giving them work, first joined them, until at length, by the 
 union of Rossicrucians with the worshipful society ol masons, the manners 
 and occupations of the latter were lost in the blaze of the intellectual pursuits 
 of the former, retaining only the name and the masonic emblems. This union 
 took place under the auspices of Inigo Junes, G. M. 1C3G.
 
 20 
 
 general harmony of parts, or beauty and originality of orna- 
 ments, will be found in the various edifices and sepulchral 
 memorials erected during these periods : afterwards, an infi- 
 nity of ornaments without variety, a profuseness of heraldic 
 sculptures, and a peculiar angular minuteness in the mouldings 
 prevailed, unknown in the earlier examples, where convex and 
 concave, mixed with angular forms, afford a pleasing variety. 
 It must however be admitted, that in structures decorated in 
 the florid or latter style, although the eye is wearied in tracing 
 the labyrinth of angles arid the constant repetition of trifling 
 parts, they afford a solemn and pleasing whole 27 . About 1520 
 a sudden change took place ; the pointed style fell amidst the 
 ruins of the grandeur and power of papal jurisdiction in this 
 country. Holbein and Inigo Jones introduced the classic archi- 
 tecture ; and while the latter had power by his structures to show 
 the purity of his taste, a novel style in this country was adopted 
 with felicity. The wretched architecture of succeeding times 
 shows the violent struggle between the pointed and the classic 
 manner, and this mixture of discordant principles continued to 
 the seventeenth century. Happily, the encouragement given 
 and the taste displayed by the nobility, joined with the 
 science and skill of our architects and artists, in exhibiting 
 the beauties of the Grecian and Roman manner, have enabled 
 us to erect buildings in all the grandeur and simplicity of 
 ancient times 28 . To his present Majesty we are indebted for 
 removing the veil which obscured the beauties of our own 
 style during these periods. The example shown by his Ma- 
 
 27 The structures in the latter, or florid style, were chiefly executed by 
 foreigners ; and, notwithstanding they belong to the same system, their varia- 
 tion from the early manner is equal to that between the Corinthian and the Com- 
 posite order. Pietro Toreggiano, a Florentine, was employed about Henry 
 the seventh's chapel and tomb; most of the artists employed by the same king 
 were foreigners. 
 
 28 Among the splendid works exhibiting the venerable remains of anti- 
 quity, the Ionian Antiquities, Stuart's Athens, &c. display with astonishing 
 accuracy the treasures of Greece ; numerous publications likewise present us 
 with the splendor of ancient Rome.
 
 21 
 
 jesty in erecting structures after this manner was followed by 
 many of the nobility and gentry, whose generous patronage, 
 aided and completed by public approbation, is sufficiently appa- 
 rent by the many edifices erected and erecting, and the splen- 
 did publications continually offered to the public. 
 
 The object of this work is to place in a striking point of 
 view the ornaments with their arrangements peculiar to the 
 pointed style; to attain its purity, a scrupulous attention is 
 necessary to those principles observable in the formation of 
 mouldings and enrichments, as well as their general combi- 
 nation. 
 
 To the experienced architect the principles here laid down 
 may be so obvious as to be deemed almost useless; the many 
 heterogeneous attempts to erect buildings in the pointed man- 
 ner prove, however, that they are not sufficiently known or not 
 sufficiently attended to. Nothing can be more offensive to the 
 eye of taste, than an indiscriminate mixture of ornaments 
 belonging to every species of architecture ; how often is this 
 seen, where a less expense would have produced a fair and 
 consistent specimen ! The character and beauty of all archi- 
 tectural subjects, in whatever style designed, depends on the 
 purity and judicious arrangement of their ornaments. The 
 pointed style requires extent and variety of construction, to 
 be adopted with advantage. Pointed arches are ill adapted to 
 cob- walls or thatched roofs. The ornaments of classical archi- 
 tecture would be equally ill adapted to offices of a secondary 
 character, appended to a large edifice. Unless forming part of a 
 general whole, can there possibly be any propriety in erecting 
 offices whose appearance at once impresses on the mind a 
 transitory duration of not more than fifty years from the weak- 
 ness of the materials employed in the style of the fourteenth 
 century ? while the grand feature of the principal fabric, built 
 in the Roman manner, cannot be anterior to the sixteenth. 
 
 Every species of decorative architecture has its peculiar 
 beauties, greatly depending on the judicious choice of 
 situation. What sublime impressions are conveyed by the
 
 22 
 
 massive Grecian temple, built on the rocky promontory I while 
 the same temple erected in a confined situation loses its cha- 
 racteristic charms. The pure Roman style is desirable for civil 
 edifices, uniting elegance with utility. The English, or pointed 
 style, for sacred purposes stands unrivalled ; from the facilities 
 of combination the architect raises the mind " beyond this 
 visible diurnal sphere." In the sequestered vale, or above 
 the hanging wood, its turrets and spires claim affinity with the 
 spreading oaks ; and, on an extended plan, may be made sub- 
 servient both to grandeur and convenience. The judicious 
 application gives to each its characteristic features \ the misap- 
 plication tends to the injury of all. The injudicious mixture 
 which has lately been adopted is to be lamented. It is certainly 
 possible to unite in the same domain the various styles of archi- 
 tecture ; but separations of wood or water should intervene. A 
 connected building must be of one style internally as well as 
 externally ; and the grounds, by their venerable shade and 
 lengthened avenues, should assimilate with the edifice. 
 
 In this work simplicity of arrangement has been attempted, 
 and only the peculiar forms noticed, that all attempts in 
 the pointed style may preserve their purity, and prevent that 
 assimilation with the Grecian or Roman manner, often 
 producing structures really belonging to no system of archi- 
 tecture whatever. 
 
 Sir William Chambers observes, " As in many other arts, 
 so in architecture, there are certain elementary forms which, 
 though simple in their nature and few in number, are the 
 principal constituent objects of every composition, however 
 complicate or extensive it may be." Eight regular mouldings 
 form the basis of the ornamental parts of the Roman architec- 
 ture. What astonishing effects have been produced by a few 
 deviations from the classical manner in the pointed style ! The 
 examples in this work are chosen from the cathedral of Exeter, 
 built during the era of the pure Gothic. This cathedral is 
 celebrated for its grandeur and simplicity of design, and the 
 arrangement and execution of the ornamental parts. The in-
 
 23 
 
 terior, although not remarkable for extent or altitude, is highly 
 impressive from its general harmony. In the recapitulation of 
 the essential principles, the parts common to all are omitted ; 
 for, as Mr. Barry observes, " the differences between Grecian 
 architecture and that of China, Egypt, Persia, and the Gothic, 
 appears to consist in the ornamental parts. They have all the 
 essentials of necessity in common; the fulcrums are perpendi- 
 cular, and there is something at top and bottom resembling 
 capital and base ; in order to prevent the weight of the build- 
 ings from sinking the trunk of the tree or fulcrum into the 
 ground, they have used a broad stone or step, and continued 
 range of plinth ; and that it may not rot at top, they have put 
 on an abacus or tile, to carry off the water clear of the 
 fulcrum ; and the covering or roofs are pointed or raised in the 
 middle, in order to prevent any lodgements of snow, rain, &c. 
 that may annoy the building. The simple nature of the thing, 
 common use, and a few years experience, would teach thus 
 much the Indian hovel and the Grecian temple have this in 
 common." 
 
 Mouldings, therefore, common to all, as toruses, fillets, &c. 
 are omitted, unless there is a peculiarity in their^uTstribution 29 . 
 Mr. R. Mitchel, in the Essay accompanying his Plans and Views 
 of Buildings, 1801, observes, " If we consider how scrupu- 
 lous the antients were in giving correct proportions to their co- 
 
 2<) Objections have been made on the subject of calling the architecture 
 prevailing from A. D. 10GG to 1200, Norman, but Mr. Bunion, in Britton's 
 Architectural Antiquities, vol. iii. asserts the propriety of the term. 
 
 Normandy and England formed but one empire during those periods, ^nd 
 the most friendly intercourse existed long before; the artists engaged them- 
 selves to either country according to the patronage offered them. We must 
 acknowledge that the Normans possessed the wealth of the church in this 
 country ; by their power they commanded the talents of the age, and emulated 
 each other in the magnificence and extent of their buildings, most of which 
 are destroyed, or now mouldering away. The energies of that period claim 
 the gratitude and admiration of posterity, by a praiseworthy distribution of 
 the gifts of fortune, and a liberal encouragement of industry and talents 
 talents afterwards brilliantly displayed in that unique styU- which forms th^ 
 subject of this work.
 
 24 
 
 lumns, and that it was their unvaried opinion that these could 
 not be dispensed with unless by abandoning every thing that 
 was graceful or beautiful in architecture ; when we reflect that a 
 style of architecture, as is the case in the Gothic, has since 
 been invented and established in practice, in which correct 
 forms or strict proportions have been disregarded j and, not- 
 withstanding which, effects are produced in this style of archi- 
 tecture, which in certain cases make stronger impressions upon 
 the mind than can be effected by the Greek or Roman, it will 
 then be confessed, that in the whole circle of human know- 
 ledge there is no example of so astonishing a revolution taking 
 place in any other art or science." Pages 14 and 15.
 
 THE PRINCIPLES 
 
 ENGLISH ARCHITECTURE.
 
 THE PRINCIPLES 
 
 OF 
 
 THE peculiar characteristics of the pointed style may be 
 divided into four general and seven secondary principles. 
 
 The Four General Principles are, 
 
 I. The pyramidal form, observable in the general fabric, 
 and in the minute ornaments composing canopies, shrines, &c. 
 
 II. .Buttresses, or external supports ; these counteracted 
 the pressure of the vaulted roof, wood -work, and the external 
 covering of lead, &c. However massive the walls, the magni- 
 tude of the windows required these supports to be attached to 
 the piers. 
 
 As in the transition from the primitive hut to the splendid 
 temple, so from a projection added from necessity arose 
 beauty, harmony, and grandeur of design. 
 
 The bold projections, and exuberant richness of composi- 
 tion displayed in the western fronts of our cathedrals, arise 
 from the abutments built to resist the pressure of the internal 
 arches, dividing the nave and choir from the aisles ; sur- 
 mounted by pinnacles, they break the horizontal lines of an 
 extended building. 
 
 The buttress erected in the western front of the abbey 
 church of St. Stephen's, at Caen, in Normandy, built about 
 1061, and the buttresses built by Henry VII. about 1500, at 
 Westminster, demonstrate the progress of architectural en- 
 richments. 
 
 The enlarged Saxon or Norman support was simple in its 
 form, and of small substance ; the windows being narrow, the 
 piers were consequently stronger, requiring less support. In
 
 28 
 
 after times, when the pointed style began, the windows were 
 enlarged, divided by mullions and tracery, the vaulting ele- 
 vated, requiring in the buttress bold projections, and consider- 
 able substance, adorned with mouldings, pinnacles, &c. 
 
 In the light and elaborate work displayed in shrines, cano- 
 pies, &c. the buttress was a leading feature, however small the 
 composition. 
 
 PLATE 1st. The front of St. Stephen's, at Caen. 
 A A A A shows the primitive buttresses. In this ex- 
 ample is also seen the deviations from the regular 
 Roman architecture. Coupled columns of very 
 small diameter, and of considerable height, a small 
 facia, without architrave, frieze, or cornice. In the 
 circular arch are some of the Saxon enrichments. 
 
 PLATE 2d. An elevation and side view of a buttress 
 in the pointed style, taken from the cathedral at Exe- 
 ter. This example shows the progress of enrich- 
 ments, the enlarged windows, vaulting, &c. 
 
 A. Front view or elevation. 
 
 B. Side view, showing a section of one half of the 
 building. 
 
 C. Column supporting the nave, &c. 
 
 D. Stone vaulting. 
 
 E. Timber work, with external covering of lead. 
 
 F. Pinnacles.
 
 29 
 
 III. The peculiar form of the arch, composed of segments 
 of circles, and also of nearly straight and undulating lines, ter- 
 minating in a point at the centre, constituting the pointed arch. 
 
 The most ancient arch was narrow at the base, called the 
 lancet form. The most correct arch has been considered that 
 which is described by two segments of circles, drawn from an 
 equilateral triangle; in general the arch most in use is broader 
 at the base. 
 
 In the latter, or florid style, as observable in King's College 
 Chapel, Cambridge, and Henry the Seventh's Chapel, at 
 Westminster, the form of the vaulting was much depressed, or 
 flattened. 
 
 In tombs, shrines, &c. arches of this form are very common. 
 
 PLATE 3d. Are shown lines of various arches, with their 
 respective dates. 
 
 A. The narrow, or lancet form, prevailing in Salisbury 
 Cathedral, &c. 
 
 B. An arch formed by segments of circles, drawn from 
 the exterior points of an equilateral triangle. 
 
 C. One of the series of arches in the choir of Exeter 
 Cathedral, built by Bishop Quivil, A.D. 1288. 
 
 D. The arch of Bishop Bronscombe's Tomb, A.D. 1283. 
 
 E. Ditto of Bishop Stapledon's, A.D. 1330. 
 
 F. The depressed arch of the florid manner. 
 
 IV. The clustered column. In the Grecian and Roman 
 architecture, the shaft of the column was composed of one 
 cylinder, gradually diminishing towards the top, one sixth of 
 its diameter. All parts of the composition were regulated 
 by the size of the column at the base. The clustered column 
 in the pointed style forms an aggregate of small cylinders, 
 and cylinders divided by mouldings; and sometimes a column 
 consisted of one cylinder only. No rules regulated either the 
 diameter, or height; the shaft continuing the same size from 
 the base to the capital.
 
 30 
 
 The cylinders were always so arranged as to appear nearly 
 insulated from the surrounding parts, the whole being con- 
 nected by the base and capital. In some instances, when a 
 single shaft is carried up a considerable height, it is divided by 
 a small horizontal moulding, similar in form to the member 
 marked D, in Plate 6. 
 
 As no rules regulated the proportions of the column, it may 
 be imagined that no pleasing general effect could be created; 
 but the attentive observer of our sacred structures will, by their 
 general harmony, discover that the builder's eye comprehended, 
 in one glance, the whole composition, from the base of the 
 column to the centre of the vaulting. The prominent cylinder 
 of the clustered column, leading the eye to the diverging ribs 
 of the vaulting, uninterrupted by horizontal lines, connected 
 the vaulting with the column. This presents a complete con- 
 trast to the Grecian or Roman manner, where horizontal lines 
 prevail. To this distinctive character may be attributed the 
 cause of the solemn and impressive emotions which the mind 
 feels on viewing buildings erected in the pointed style, and 
 which are seldom created, in an equal degree, by any other 
 system of architecture. For columns of various forms, see 
 Plates 4, 8, 9, 13, 14. 
 
 Having explained the four primary principles, consisting of 
 1st, the pyramidal form 5 2d, the external supports, or but- 
 tresses; 3d, the pointed arch; and 4th, the clustered column; 
 it now remains to treat of seven secondary principles. 
 
 I. Clusters of mouldings, or ribs, issuing from the extremity 
 of the capital, or from a corbel, spreading over the surface of 
 the roof. In the Grecian, or Roman manner, the architrave 
 sets perpendicular with the upper part of the shaft, giving the 
 capital a considerable projection from the superstructure. Jn 
 this style, the mouldings occupy the whole of the upper surface, 
 having only a small projection for the finishing moulding. 
 See Plate 4, A B. 
 
 This principle is always attended to in the general fabric, 
 as well as in smaller works of canopies, shrines, &c.
 
 31 
 
 PLATE 4th. A. A capital of one of the columns, com- 
 posed of a single shaft of Purbeck marble. The 
 mouldings of this capital are used throughout the 
 church. Being placed above the eye, the deeply 
 under cut hollow at C is finely seen, and gives great 
 elegance to the whole composition ; this effect can- 
 not be shown in the Plate. 
 
 B. A capital of a semi-clustered column, proceeding 
 from a corbel similar to that given in its general form 
 in Plate 5. D D, are small hollows sunk in the face of 
 the wall at E, which show how attentive the artists 
 were to that lightness of appearance, which is one of 
 the greatest beauties of the pointed style. This Plate 
 elucidates the 4th primary, and the 1st and 3d se- 
 condary principles. 
 
 II. Corbels, or supports, formed according to the taste, or 
 caprice, of the artist, from masses of foliage, with or without 
 figures, as heads of kings, queens, bishops, grotesque forms of 
 animal?, &c. These corbels were placed as they were required, 
 to support mouldings, galleries, niches, &c.; and, in general, 
 they display workmanship of unrivalled execution, particularly 
 in foliage and flowers. The corbels usually terminate in an 
 upper moulding, which is filled up, as in the capitals, by the 
 ribs they support. This principle extends generally, and in all 
 smaller ornamental compositions. 
 
 PLATE 5th. A corbel, or support, from which springs 
 the semi-clustered column marked B, in Plate 4. 
 
 A. The semi-clustered column. 
 
 C. The moulding of the base. 
 
 B. elevation and plan of the crown, or weather moulding. 
 This plate elucidates the 4th primary, and the 2d and 3d 
 
 secondary principles. 
 
 III. The peculiar forms and combinations of mouldings. 
 vSome are composed of conjoined ovolo's, meeting in an angle, 
 or small band ; others by undulating lines, whose plans give 
 the forms of the pointed arch, used in tombs, &e.
 
 Fillets, or bands, so situated as to present to the eye acute 
 angles. In the Grecian, or Roman mouldings, the fillets are 
 always perpendicular; in the pointed seldom so; with deep 
 under-cut hollows, &c. The effect of these forms is peculiarly 
 striking, from the dark shadows thrown ; and, however minute 
 or trifling these distinctions may appear, no imitations can be 
 correct, without paying the utmost attention to the peculiarities 
 forming the basis of this principle. See Plates 6, 1J. 
 
 PLATE 6th. 1. The impost mouldings extending 
 through the Church. 
 
 A. A moulding formed of an ovolo and an undulating 
 line, meeting in the centre in an angle. 
 
 B. Inclined fillet. 
 
 C. Deeply under cut hollow. 
 
 D. A moulding formed of ovolo's, conjoined in the 
 centre by a small fillet. 
 
 2. The cornice of a sepulchral memorial, over a repre- 
 sentation of the fleeting state of humanity, a skeleton in its 
 winding sheet. This example is more modern than the first. 
 
 3. The impost mouldings of bishop Stapledon's tomb. 
 
 4. Mouldings over the effigies of Lord Mahon. 
 
 E. Shows the superior, or weather mouldings, supported 
 by a corbel. 
 
 IV. The diverging from the horizontal and perpendicular 
 lines of the lower mouldings. In the mouldings forming the 
 tracery of screens, windows, &c. the superior division, or upper 
 mouldings, divide the general composition into regular parts. 
 The lower mouldings, from the flexibility occasioned by their 
 diverging, as required according to the design, give an un- 
 bounded scope to the genius of the artist. From this principle 
 arises a facility of decoration, most extensive and various. All 
 the variety and richness observable in the tracery of windows, 
 screens, &c; the labyrinthing windings in the vaulting; the 
 peculiar forms of triangles, quatrefoils, cinquefoils, leaves, &c. 
 acquire their source in this happy deviation from former rules.
 
 33 
 
 A system of decorative architecture, quite original, and distinct 
 from any other mode practised in the world. 
 
 This principle preponderates in every ornamental compo- 
 sition, and is the cause of that exuberant richness exclusively 
 belonging to the pointed style. The simple manner is shown 
 in Plate 3, in the example marked G. The astonishing exten- 
 sion of this principle, and its further application, will be ob- 
 vious in the various subjects forming the present work. See 
 Plates 9, 12, 16,20, &c. 
 
 V. Weather, or crown mouldings, surmounting, and de- 
 tached from the other parts of the mouldings. This principle 
 gives the origin of canopies over windows, arches, doors, &c. 
 The superior moulding is always introduced in the interior as 
 well as the exterior of the building ; and the same principle is 
 observed in every ornamental composition decorating shrines, 
 sepulchral memorials, &c. 
 
 Plate 5, marked B ; and Plate 6, in the example 4, marked 
 E, show this moulding. See also Plate 9, in which this part 
 of the composition arises from corbels of human heads. 
 
 VI. Tracery, or open work, as seen in windows, or screens, 
 and also over the surface of walls in shrines, tombs, &c. It is 
 in all cases to be observed, that, in forming tracery, the larger 
 members of the mouldings separate the composition into regular 
 divisions; and all the exuberance observed is formed by the in- 
 ferior members. This principle, arising from the 4th, is peculiar 
 to this style of architecture, and is the cause of its uncommon 
 richness. 
 
 The tracery of the Church of Batalha, in Portugal, as pre- 
 sented to us by Mr. Murphy, notwithstanding it was built by a 
 subject of the British Empire, shows an exuberance of imagi- 
 nation, very dissimilar to the manner adopted in the pure 
 pointed style, partaking of the peculiar forms belonging to the 
 Moorish embellishments. The general system of dividing the 
 composition into regular divisions by the superior mouldings, is 
 equally observable in the latter, or florid style. 
 
 The Plates 12^ 16, 20, &c. illustrate the principle here 
 stated.
 
 34 
 
 VII. The introduction of foliage and flowers is a leading 
 and prominent feature in all ornamental compositions. This is 
 opposite to the Grecian, or Roman architecture ; the enrich- 
 ments there introduced being always subordinate, and confined 
 to the forms of the mouldings in which they are placed. The 
 external angles of pinnacles, pediments, &c. are adorned with 
 highly-projecting leaves, commencing from the base of the 
 pyramid, &c. to the apex ; these leaves are called creepers; the 
 apex or top, crowned by a quatrefoil, formed by an assemblage 
 of leaves, &c. is called a finial or crocket. See Plates 2 at F 
 and 22. 
 
 Too much attention cannot be paid to the profiles adopted 
 by the artists of the thirteenth and fourteenth centuries ; to 
 these enrichments ; and to the very peculiar raffling, &c. The 
 delicacy of execution, and undercutting, is astonishing. 
 
 Having explained and illustrated the four primary, and 
 seven secondary principles, I shall now endeavour, by the 
 following plates, to point out in what manner each example 
 will further elucidate them. The same principles will, by 
 experience, be found to apply to every composition in the 
 English, or pointed style of decorative architecture. Simple 
 as this system may be, it cannot be too much impressed on the 
 memory, as every specimen of our venerable fabrics will tend 
 to illustrate the application. It may be stated that this work 
 is too confined to give a complete knowledge of the subject ; 
 it is presumed, however, that enough is here explained to 
 direct the attention of the student to the minute, as well as 
 the general combination of parts, absolutely necessary to be 
 engraven on the memory, in order to preserve the purity of 
 English Architecture. 
 
 PLATE 7th. A part of one of the sides of the east 
 
 window, taken below the springing of the arch. 
 The external line on the plan, shows the upper moulding 
 of the capitals; the second the ribs; the third line the 
 columns and mouldings. The effect of lijrht and shade
 
 35 
 
 produced is very great, by the deep hollows, and particularly 
 by the bold projections of the moulding marked A. 
 
 B. The line of the glass. 
 
 Pi. ATE 8th. The base and plan of the column, &c. 
 
 taken from the organ -gallery, or rood-loft. 
 The base at A, for variety and richness is unequalled 
 
 by any architectural composition of the same kind. 
 
 C. The plan of the plinth; the interior line, the plan of 
 the moulding at A. The mouldings of the capital 
 are given in Plate 4, at A. 
 
 The exterior line of the plan at B shows the extremity 
 of the upper moulding of the capital ; the second, 
 the ribs issuing from it; the third line, the shaft of 
 the column. 
 
 D. A moulding of the arch. 
 R. The superior moulding. 
 
 PLATE 9th. An elevation and section of the triforia, 
 or upper galleries. 
 
 A. Elevation. 
 
 B. Section. 
 
 This example displays in its composition the 3d and 4th 
 primary, and the 2cl, -1th, 5th, and 6'th secondary principles. 
 The galleries continue uninterruptedly on each side through 
 the building, affording a complete interior communication, by 
 apertures through the piers, to within a few arches of the 
 eastern end. These apertures are shown in Plate 11. 
 
 PLATE 10th. An arch of the grandest composition, in 
 bishop Grandison's Chapel. Within it was his tomb, 
 destroyed during the civil wars of the seventeenth 
 century. 
 
 A. The capital and base at B, together with the form 
 of the column, are given in Plate 13. 
 
 CC. The plan* of the arch.
 
 3(5 
 
 PLATE llth. An elevation taken from the triforia, or 
 galleries, as shown in Plate 9, of the sides of the 
 upper windows. 
 
 A. A side view of the capital marked B, in Plate 4, 
 with the semi- clustered column. 
 
 B. The same moulding already described in Plate 7. 
 The continuity of this moulding increases, in a great degree, 
 
 the effect of light and shade, and a judicious division of the 
 ornamental parts. The ribs of the vaulting are also shown, 
 gathering over the apertures of the windows. The plan is 
 marked with letters corresponding with those on the elevation. 
 
 C. A section of the mouldings composing the vaulting. 
 
 PLATE 12th. The stone screen dividing the choir from 
 the aisles. This example shows the 4th and 6th 
 secondary principles. The mullion A A, separates the 
 composition into regular divisions. All the diverging 
 parts arise from the inferior mouldings forming a part 
 of A, and the plan of the same marked B. The 
 lesser mullion, marked C, diverges on each side, 
 forming the pointed arches from the moulding 
 marked 1 . The smaller divisions are composed by the 
 mouldings marked 2. The profile of the upper 
 moulding at D, with the open work at the top, which 
 generally terminated every composition in the English 
 style. 
 
 PLATE 13th. The examples shown in this plate arc 
 very peculiar in their form and enrichments. They 
 constitute part of the tomb of bishop Grandison, A.D. 
 1340, placed under a very magnificent arch, shown in 
 Plate 10. These examples illustrate the 4th primary 
 and 3d secondary principles. 
 
 PLATE 14th. Elevation and plan of the eastern side 
 of a chapel dedicated to St. James, now used as the
 
 37 
 
 priest- vicar's vestry. Simplicity and elegance are 
 united in this composition. In the central division 
 is a finely carved piscina, or lavacrum ; and on the 
 projections under the windows, the ampullae, &c. 
 were placed. The application of this design, in many 
 cases, will be obvious to the experienced architect; 
 illustrating the 3d and 4th primary, and the 1st and 
 3d secondary principles. 
 
 PLATE 15th. An elevation of the interior, showing one 
 complete arch, of the twelve, which separate the nave 
 and choir from the aisles. This example, displaying, 
 in one view, the beauties of the English style, con- 
 nects many of the detached designs given in this 
 work. The plates are numbered the same as the 
 numbers shown on the side, where the examples are 
 situated. The grandeur, and beauty of the vaulting, 
 gathering over the apertures of the upper tier of 
 windows, exhibits a bold and impressive effect of 
 architectural science. 
 
 PLATE 16th. A part of the south wall of the aisles, 
 showing one window, with the columns, &c. between. 
 In describing the screen, Plate 12th, the division of 
 the subject into regular parts, by superior mouldings 
 was explained; and the same principle will be further 
 elucidated by this example. It will be found that all 
 windows of elaborate tracery are divided in the same 
 manner. The semi-mullion on the sides A A, and 
 the mullions marked BIS, divide the tracery into large 
 compartments. The mullions marked C C, provide 
 the inferior mouldings composing the secondary 
 divisions, and the ramifications, diversified into 
 every form which the fertile genius of the artist 
 could imagine. The windows in this cathedral have 
 more variety of tracery than perhaps any others, every 
 
 K
 
 38 
 
 window on one side varying in design, those on the 
 opposite side corresponding in form. Among the 
 many beautiful examples, exhibiting the extension of 
 the fourth secondary principle, few are superior to 
 the west window of York Cathedral. 
 
 PLATE 17th. Mouldings of Bishop Bronscombe's tomb. 
 
 A. A section of the side of the tomb, taken from the 
 part marked A, Plate 18. 
 
 B. The mouldings of the base. 
 
 C. The mouldings of the pedestal marked C, Plate 18. 
 
 D. The upper cornice. 
 
 These sections illustrate the peculiarities forming the 3d 
 secondary principle. 
 
 PLATE 1 8th. Bishop Bronscombe's tomb. This prelate 
 died, A. D. 1281. The letters are the same as in 
 Plate 17; and show where the sections -are taken 
 from. This tomb is in excellent preservation, and is 
 a fine specimen of the arts at that early period. 
 
 PLATE 1 9th. The ornaments decorating the walls, and 
 part of the roof, of Bishop Oldham's Chapel. This 
 bishop died, A.D. 1 523. These are interesting speci- 
 mens of the latter, or florid, style. 
 
 A. One division of the ornaments on the walls. 
 
 B. A part of the ceiling. Owls decorate the walls and 
 roof. The bishop's arms were, sable, a chevron or, 
 between three owls proper, on a chief of the second, 
 three roses gules. 
 
 PLATE 20th. An elevation of the front of Bishop 
 Oldham's chapel. In this design the partiality shown 
 for introducing heraldic sculptures is very striking. 
 This bishop was chaplain to the Duchess of Richmond, 
 the mother of Henry the Seventh. In the front we 
 observe the armorial bearings of that family.
 
 39 
 
 PLATE 21st. Ornaments of Speke's chapel, of the 
 same period. 
 
 A. A division of the ornaments on the wall. 
 
 B. A part of the ceiling. 
 
 PLATE 22d. South side of the three stalls near the 
 altar. This example is given to elucidate the 
 seventh secondary principle. The beauty and deli- 
 cacy of the carving cannot be exceeded. 
 PLATE 23d. A section of the Church. This section 
 
 shows the mathematical skill of our ancestors. 
 A semicircular arch intersects the stone vaulting, and 
 terminates in the centre of the side walls; the 
 extremities of the catenarian arch would fall about 
 the centre of the side buttresses. The pinnacles not 
 only contribute to the beauty, but, by their weight, 
 add to the strength of the building. The whole 
 nearly forms an equilateral triangle, which form is 
 best adapted to durability. There is seen the east 
 window, the side of which affords the subject for the 
 7th Plate. 
 
 It is necessary to observe that to restrict all modern 
 attempts in this system of ornamental architecture, to the 
 buildings, shrines, tombs, &c. already executed, would tend to 
 fetter genius, and prevent its general utility. After having 
 examined, and studied with attention, the examples remaining, 
 the more extensive and various the artist can render the com- 
 binations, provided the purity of English Architecture is 
 preserved, the more useful that style becomes ; affording, at 
 the same time, many opportunities for the display of talents.
 
 40 
 
 An Explanation of some Terms used in the English Style of 
 Architecture, and in describing the ancient Churches of 
 this Country. 
 
 The ALTAR. This was the most highly-enriched, and 
 splendid part of the furniture in ancient Catholic churches. 
 The Altars, properly so termed, were, in numerous instances, 
 taken down, and their place supplied by the communion-table, 
 in the reign of Elizabeth, A. D. 1 551). (See Burnet, vol. iii. 
 p. 368). It may be curious to cite, from the Antiquarian 
 Repertory, the following passage, relating to the entire demo- 
 lition, in the civil wars of the IJth century, of those which 
 were spared by the agents of reformation. " The destruction 
 of Altars during this puritanical frenzy was so general through- 
 out the kingdom, that there is not, at this time, in England 
 or Wales, one to be found of greater antiquity than the Resto- 
 ration ; this fact was lately discovered, upon an inquiry of 
 some judicious antiquaries, with a view to the erection of an 
 Altar in the Church of St. Catherine, near the Tower, that 
 should correspond with that ancient fabric ; and this want of 
 an authentic exemplar for erections of this kind, will account 
 for the heterogeneous appearance in our cathedrals, and other 
 churches, of Gothic choirs, terminated by columns and pilas- 
 ters, in the style of modern buildings." 
 
 APSIS. The circular part at the east end of ancient churches. 
 
 BAYS, or DAYS. The ancient name for separate lights in a 
 window. 
 
 Boss, or ORB. An architectural ornament, introduced at 
 the intersections of the ribs in groined ceilings. The Boss was 
 often intended to convey moral instruction, or historical infor- 
 mation, by means of sculptured devices, rebuses, or armorial 
 badges. 
 
 BUTTRESSES. A mass of masonry attached to, and pro- 
 jecting from, the external surface of the wall, serving to
 
 41 
 
 counteract the pressure of the vaulting, &c. In buildings 
 ascribed to the Anglo-Saxons and Anglo-Normans, the walls 
 are of so great a thickness that we find few external buttresses. 
 Where they occur, in this style of architecture, they have only 
 a slight projection, and are usually quite destitute of ornament. 
 The inferior solidity of the walls in structures erected in the 
 English, or Pointed, style, united with other causes, led to the 
 frequent introduction of buttresses. In this mode of building, 
 they are generally very prominent^ and are often surmounted 
 with enriched pinnacles. 
 
 CAMPANILE. A bell tower. The tower for the reception 
 of bells is well known to have been usually attached to the 
 body of the Church, and to have been commonly placed at the 
 west end. Such, however, was not uniformly its situation. It 
 was, sometimes, detached from the sacred fabric, particularly in 
 the instances of abbey- churches. The cathedrals of Chichester, 
 Salisbury, and Worcester, had each a Campanile, distinct from 
 the church. The bell-tower of the first-named structure is 
 still remaining, at the N. W. angle of the cathedral-close. In 
 Italy (according to the remark of Mr. Dallaway), the Campa- 
 nile is invariably detached from the main building. 
 
 CHARNEL, or CARNARY. To most large cemeteries, or 
 consecrated burial-places, there was attached a charnel, "it 
 being esteemed," says an ingenious catholic writer, " a pious 
 act, and arguing a belief in the general resurrection, to collect 
 every fragment of the human frame which happened to be dis- 
 persed, and to dispose of it, in the most decent manner, in a 
 place appointed for that purpose." To the Charnel, or Carnary, 
 was usually annexed a chapel, in which prayers were offered up, 
 " for the repose of the forgotten dead to whom the said frag- 
 ments belonged." 
 
 CLERESTORY. A range of windows, placed above those 
 constructed in the main walls of the building. 
 
 CLOISTERS. The ancient canons enacted that cloisters 
 should be built near the church. Their four sides had parti- 
 cular designations; the western side was appropriated to the
 
 42 
 
 schools ; the side next the church to moral reading ; and the 
 two other sides seem to be conjoined with the duties of the 
 church and chapter. The centre of the quadrangle was a green 
 plot, with a tree in the midst. 
 
 The cloister, or claustrum, however, in the simplicity of its 
 first mode of construction, appears to have been designed chiefly 
 as a covered walk, or ambulatory, for the exercise, and the 
 contemplative or conversational recreation, of the religious, 
 within the boundary of their own walls. It has been described 
 as an imitation of the peristyle of the Greeks, and the piazza 
 of the Italians. Originally, it was of small proportions and of 
 plain architecture ; but was gradually enlarged, in conformance 
 to the increased splendour of ecclesiastical establishments ; and 
 many cloisters became, at length, conspicuous examples of 
 beauty in decoration. The advantages to health, study, and 
 tranquil relaxation, afforded by their covered walks, were so 
 obvious, that they were progressively appended to nearly every 
 cathedral, and large monastic church, in this kingdom. Al- 
 though in very dissimilar stages of preservation or decay, 
 instances of the architectural talent bestowed on the cloisters 
 attached to opulent religious foundations, are still to be wit- 
 nessed in many parts of England. The most richly ornamented 
 cloister now remaining, is that on the north side of Gloucester 
 cathedral, which was finished in 1390. At Norwich is, also, a 
 cloister of abundant decoration, the chief parts of which were 
 erected at different times between the years 1297, and 1430, 
 through the liberality of various affluent contributors. From 
 the above examples we may, perhaps, be induced to admit that 
 a modern writer is not guilty of exaggeration, when he observes 
 that these buildings were, at length, " found to admit of the 
 full embellishment of the shrines and chapels, existing in other 
 parts of the church." To heighten the dignity of effect, and 
 to add to the warmth and comfort of the ambulatory, the win- 
 dows, at least in the upper part, were filled with painted and 
 stoned glass. The walls were also painted in fresco. Some- 
 times, the claustral ambulatory consisted of two stories, ^as in
 
 43 
 
 the instance of that appended to the old cathedral of St. Paul, 
 London. On the walls of that cloister was painted the Dance 
 of Maccabre (Holbein's Dance of Death). No architects 
 appear to have bestowed so much attention on the claustrum, 
 as those of our own country. It is remarked by Mr. Dallaway, 
 that, on the continent, almost every convent has its cloisters ; 
 and those annexed to the great churches are probably the best ; 
 but they are chiefly plain, unornamented enclosures, for the 
 purposes of exercise and devotion. 
 
 CLUSTERED COLUMN. Shaft, or body of the column, 
 formed of small semi-circular parts, joined towards a common 
 centre; the cylinders were sometimes divided by hollow spaces, 
 or mouldings. The time at which columns of this description 
 were first introduced, together with some further particulars of 
 information, are thus stated by Mr. Essex (Archaeol. vol. iv.) 
 "In the middle of "the 12th century, many alterations were 
 made in the style of architecture; and the bases and capitals 
 of the pillars, and very often the pillars themselves, surrounded 
 with small shafts, were made of marble highly polished. 
 Marble was used for these purposes until the latter end of 
 Edward the Second's reign, though the other parts of buildings 
 were executed with common stones, of moderate dimensions, 
 and laid in the same manner as in the preceding ages. But in 
 the following reign we find that marble was much neglected 
 (either on accotmt of the great labour required in cutting and 
 polishing, or because they found that the line polish that was 
 given it was not of long continuance); and before the end of 
 Edward the Third's reign, it was quite disused. 
 
 CORBEL. A support projecting from the face of the wall, 
 and usually carved in a grotesque head, or a flower, a mass of 
 foliage, &c. From corbels issue columns, ribs of the vaulting, 
 &c. Lord Orford (Anecd. of Painting, vol. i. p. 3.) attributes 
 the introduction of corbels, thus fantastically carved, to 
 Marchion of Arezzo; but Mr. Whittington, in the Appendix to 
 his work on " Gothic Architecture," observes, that "projecting 
 figures and heads, supporting; consoles, like the corbels of
 
 44 
 
 Gothic buildings," are to be found in the remains of the baths 
 of Dioclesian at Rome, as represented in " Adams's Views." 
 
 CREEPERS. Are leaves carved on the outward angles of 
 pinnacles, canopies, spires, &c. 
 
 CRYPT. A vaulted, subterranean apartment, constructed 
 beneath many ancient churches. The dreary recesses so termed, 
 have given rise to much antiquarian speculation. That they 
 were originally, in some instances, connected with devotional 
 purposes, is evident from the writings of Richard, prior of 
 Hexham ; who, in describing the church of that place, notices 
 the " crypts, ivith oratories subterraneous, having winding 
 passages leading to them." It will be recollected that beneath 
 the old cathedral of St. Paul's were situated, in what was called 
 lf the crouds," two places appropriated to divine worship ; 
 Jesus chapel, and the church of St. Faith. In the " under- 
 croft," or crypt, of Canterbury cathedral, is also still existing 
 the " Walloon Church." In regard to the antiquity of these 
 gloomy apartments, it may be remarked that they are usually 
 constructed in the circular (Saxon or Norman) style of architec- 
 ture. That they were sometimes used as places of sepulture is 
 extremely probable ; but an intelligent modern antiquary sup- 
 poses that they were not, in general, designed for such a 
 purpose, but were originally intended as sanctuaries. (See 
 Letter from T. Walford, Esq. F. S. A. to Mr. J. Norris Brewer, 
 Beauties of England and Wales, Introd.) 
 
 FAN-WORK. Is the name bestowed on the ornaments of 
 that species of fretted roof, upon a diminutive scale, which 
 consists in the frequent " reduplication of a small vault, 
 springing from four semicircular groins at the angles, which 
 rest upon pilasters." 
 
 FINIALS. The flowers, or foliage, terminating spires, 
 pinnacles, &c. 
 
 FLYING GROINS. Composing vaulting with galleries over, 
 issuing from corbels only. 
 
 GALILEE. This is the name bestowed on the porch, 
 formerly placed at the west end of most large churches;
 
 45 
 
 instances of which are still remaining at Durham and Ely 
 cathedrals. " In these porches," says Dr. Milner, " public 
 penitents were stationed; dead bodies were sometimes deposited, 
 previously to their interment ; and females were allowed to see 
 the monks of the convent, who were their relatives. We may 
 gather from a passage of Gervase, that, upon a woman's apply- 
 ing for leave to see a monk, her relation, she was answered, in 
 the words of scripture: " He goeth before you into Galilee; 
 there you shall see him." The appropriation of the name is 
 thus explained by Mr. Millers; " As Galilee, bordering on the 
 Gentiles, was the most remote part cf the Holy Land from the 
 holy city of Jerusalem, so was this part of the building most 
 distant from the sanctuary, and was occupied by those unhappy 
 persons, who, during their exclusion from the mysteries, were 
 reputed scarcely, if at all, better than heathens." On the 
 abrogation of canonical penances, in consequence of the frequent 
 crusades, the Galilee, or penitential porch, became unnecessary; 
 and was superseded, greatly to the embellishment of the struc- 
 ture, by a broad and lofty window, sometimes engrossing 
 nearly the whole of the west end. 
 
 HORSE-SHOE ARCH. This species of arch is not of frequent 
 occurrence, and is formed by an arc of a circle somewhat 
 greater than the semi-circle. 
 
 LANTHORN. This term, as applied to architecture, signi- 
 fies that part of the tower of a church which is perforated, and 
 left open, so as to produce the effect of the louvre on the 
 interior. Of this architectural production we have fine speci- 
 mens in the cathedral churches of Ely and Peterborough. As 
 nearly the whole inside of the lanthorn, or perforated tower, 
 is intended to be seen from below, the windows and side arches 
 are generally much wrought and ornamented. 
 
 NODI Are the ornaments covering the intersections of the 
 ribs of the vaulting (See Boss, or Orb). 
 
 PISCINA, or LAVACRUM Is a hollow and perforated basin 
 of stone, placed in a small niche, or fenestella, cut in the sub- 
 stance of the south wall. It is usually situated near the sedilia,
 
 4G 
 
 being evidently designed for the use of the altar, which formerly 
 adjoined that part of the church ; but it is not unfrequently 
 found alone in the south walls of chancels and aisles. Some- 
 times the piscina has a double hollow, both perforated, or 
 having a small hole in the centre. Where two drains occur, 
 it is believed that one was designed to carry away the water in 
 which the priest's hands had been washed, and the other to 
 receive that in which the chalice had been rinced. The con- 
 secrated host, which time or accident had rendered impure, 
 was also dismissed through the same channel. The fenestella, 
 or niche, is generally ornamented, and is sometimes divided 
 into an upper and lower compartment, the former of which 
 acted as a receptacle for the cruets, or ampullae, holding the 
 consecrated wine and water. 
 
 It may not be superfluous to remind the reader, that we 
 frequently see, in ancient churches, a small square cavity in 
 the south wall of the chancel, distinct from the piscina. It is 
 said, in the Work termed " Ecclesiastical Topography," (Arti- 
 cle Bedfont Church), that " this was the sacrarium or aimer) 7 ; 
 and might have been used as a deposit for books, or to preserve 
 the chalices and silver cruets used in the celebration of the 
 mass. Such an one, above or near a piscina, was generally 
 appropriated to the reception of the ciborium, or vessel con- 
 taining the eucharist for the sick, which was consecrated from 
 time to time, as the use or staleness of it might require." 
 
 THE PORCH, So frequently appended to the south door 
 of our ancient churches, has been described as " the shadow, 
 or faint relic, of the Porticus of warm climates." It is said by 
 the late Mr. Wilkins, in the 1 3th volume of Archaeologia, that 
 church-porches are never found in the circular (Saxon or Nor- 
 man) style of architecture. But Mr. Stevenson, in his additions 
 to Bentham's History of Ely Cathedral, shows that this is an 
 erroneous assertion. The porches of St. Margaret's, York, 
 and of the abbey church at Malmsbury, are both in the circular 
 mode. This appendage to our churches is connected with 
 several curious particulars of ancient usage. We are told, by
 
 47 
 
 one of our best legal writers, that " the south door of the church 
 was the place at which canonical purgation was performed; i. e. 
 where the fact charged upon a person could not be proved by 
 sufficient evidence, and the party accused came to the said 
 door of the church, and there, in the presence of the people, 
 made oath that he was innocent." The same writer adds, 
 " that plaints were heard, and determined, at the church door; 
 for which reason large porches were built over them." The 
 justice of these assertions is proved by an ancient author 
 (Eadmer), who observes, that even " suits of the whole realm 
 were determined at the south door of Canterbury Cathedral, as 
 in the highest court of the king." The greater part of the 
 matrimonial ceremony was, likewise, performed in the porch. 
 Thus, Chaucer mentions his " Wife of Bath," as receiving her 
 husbands at the " church-dore." A recollection of these 
 ceremonies, and the sanctity which they imparted to the door 
 and its protecting porch, will enable us to account for the 
 numerous instances in which Saxon, or Norman door-cases are 
 still remaining on the south side of churches, which have been 
 otherwise renovated entirely in the pointed style. 
 
 PRESBYTKRV. This term was formerly applied to the 
 chancel, or east end of a church, but is now disused. 
 
 RIBS Are masses of mouldings, spreading over the surface 
 of the vaulted roof. 
 
 ROOD LOFTS. Galleries across the nave, at the entrance of 
 the choir, or chancel. The rood-loft acquired its name from 
 the great crucifix which was placed there, with its front towards 
 the congregration. Besides the rood, or crucifix, it was also 
 customary, in great churches, to introduce sculptured figures 
 of sanctified personages; as the Virgin Mother, and St. John 
 the Evangelist. It is observed by Dr. Milner that the rood- 
 loft (originally termed the jmljritnni) " answers to the am/to in 
 the basilics of the primitive church, and was used for reading, 
 or chaunting, the lessons of the divine oihYe; as likewise for 
 containing the organ, and the minstrelsy in general, which 
 accompanied the choir below." It may assist the recollection
 
 48 
 
 of the reader to observe, that the roods were taken down from 
 English churches, in consequence of an order of Government 
 issued in the year 1547 ; at which time the royal arms were 
 substituted for the cross, as may still be seen in many churches. 
 Such texts of scripture as condemn the use of images were, 
 also, then ordered to be written on the interior parts of church 
 walls. 
 
 SACRISTRY. A place where is kept the plate, &c. belonging 
 to the church. By old authors this word is sometimes written 
 sextry. Tanner (Pref. to Notit. Monast.) describes the sacrist, 
 as " the sexton, who took care of the vessels, books, and 
 vestments belonging to the church ; looked after and accounted 
 for oblations at the great altar, and other altars and images 
 in the church j and such legacies as were given either to the 
 fabric or utensils. He, likewise, provided bread and wine for 
 the sacrament, and took care of burying the dead." 
 
 SCREEN. A division composed of wood, or stone, separating 
 the chapels from the principal building, the choir from the 
 aisles, &c. 
 
 SEDILIA Are stone seats, found on the south side of 
 churches ; they are often much ornamented, and vary in number 
 from one to five. Many opinions have been formed respecting the 
 use for which these canopied recesses were designed. Some have 
 thought them constructed for the accommodation of the 
 ecclesiastics whose office it was to visit churches; and others, 
 for the bishop while performing consecration ; but it is now 
 supposed to be likely, by the most judicious antiquaries, that 
 they were intended as seats for the priest, deacon, and sub- 
 deacon, in the celebration of mass. The variation in number 
 does not prevent our believing that they were formed for the 
 use of customary priests, officiating in the ordinary celebration of 
 divine service, according to the Catholic rites. In the ill-en- 
 dowed churches of small parishes, where one priest alone per- 
 formed sacred duty, one seat only was provided. In the cele- 
 bration of high mass among the more wealthy, the three minis- 
 ters named above would be attended, for the increase of splen-
 
 49 
 
 dour, by an officer termed ceremoniarius, or by two persons of 
 tbat description. This officer was attired almost as sumptuously 
 as tbe priests. He bore in his band a wbite wand ; and bis 
 duty was not much unlike tbat of a prompter, or marshal of the 
 ceremonies. It may be observed that tbe sedilia are often con- 
 siderably elevated above the pavement of the church. In such 
 instances they were, undoubtedly, ascended by steps, which 
 appear to have been temporary, and were probably of wood. 
 
 SHRINES May be concisely defined as tbe sepulchres of 
 Saints. They were, in fact, the repositories of the bones, and 
 other reliques, of canonized persons ; and, as such, they became 
 objects of great reverence with the superstitious, and the sources 
 of considerable emolument to the churchmen by whom they 
 were erected. In order to convey a due understanding of the 
 term shrine, it may, however, be desirable to enter on some few 
 sentences of explanation. By this word, in its common ac- 
 ceptation, is meant the fixed monument of the saint; which 
 was an erection of considerable magnificence, and generally of 
 rich stone work. Within this gorgeous monument were enclosed 
 portable parts, denominated feretra; which contained the 
 bones and reliques. When the feretory encased the whole 
 body of the sanctified personage, it was moved and exhibited to 
 the public on grand anniversaries only. If (as was often the 
 case), it enclosed a single relique, or divers small reliques of 
 different saints, it was borne in procession on less dignified, 
 though still important occasions. Some of the principal shrines 
 now remaining (although divested of their feretories, and more 
 solid treasures) are those of Edward the Confessor, at Westmin- 
 ster; Bishop Cantilupe, at Hereford; of St. David (now ruinous), 
 in the cathedral of St. David's; of St. Werburgh, (mutilated) 
 at Chester; and of St. Frideswide, at Oxford. These are costly 
 monuments of stone, with the exception of St. Frideswide's, the 
 material of which is wood. 
 
 SPANDRIL. The space between an horizontal line drawn 
 from the top of the arch, and the line forming the arch. 
 
 SUBSILLIA. These are stalls of wood, situated in the choir
 
 50 
 
 of ancient churches. They are usually surmounted by canopies, 
 and are often elaborately carved and enriched. The following 
 remarks occur in the History of Winchester : " That small 
 shelving stool, which the seats of the stalls formed, when turned 
 up in their proper position, is called a miserere. On these the 
 monks and canons of ancient times, with the assistance of their 
 elbows on the upper part of the stalls, half supported themselves 
 during certain parts of their long offices, not to be obliged always 
 to stand or kneel. This stool, however, is so contrived that, if 
 the body became supine by sleep, it naturally fell down, and 
 the person who rested upon it was thrown forward into the 
 middle of the choir. The present usage, in this country, is to 
 keep them always turned down, in which position they form a 
 firm horizontal seat." 
 
 TRACERY. A general term used for the ornamental parts 
 of screens, vaultings, heads of windows, &c. being the part of 
 the composition where the mouldings divide the space into 
 quatrefoils, cinquefoils, trefoils, &c. 
 
 TRIFORIA. Galleries, or upper ways round the fabric. 
 Besides the advantage of an uninterrupted communication with 
 the different parts of the building, formerly tapestry, and diverse 
 ornaments, were suspended on festivals; and here the nuns 
 occasionally attended during divine service. These galleries, 
 or triforia, are frequently seen in cathedral and other churches ; 
 and were often added to buildings of considerable antiquity, for 
 the purpose of rendering them more lofty, or commodious. 
 
 TI1>, END. 
 
 Coe, Printer, Little Carter-lane, St. Paul's.
 
 ERRATA. 
 
 Page 10. Note 1, for Bonani, read Bonanni. 
 Page 14. Note 17, dele comma after esse, line 3. 
 
 Line 4, for enem, read enim and for ita, read itd. 
 
 Line 5, insert a comma between the words comparatum and ut. 
 
 Line 10, for usae, read usu. 
 
 Line 11, for J. V. read T. V. and for Bonani, read Bonanni. 
 Page 19. Note 26, line 12, for Rossicrucians, read Rosicrucians.
 
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