TRANSITIONAL PERIOD.
PRINCIPAL CHARACTERISTIC.
THE CONTEMPORANEOUS USE, IN THE SAME BUILDING, OF CIRCULAR AND POINTED
ARCHES.
_Exterior Compartment._
On the outside the usual prevalence of the circular arch in the WINDOWS
and DOORWAYS, gives still a Norman character to the building; but the
BASE-COURSE and BUTTRESSES begin to show greater projection, and the
walls are lightened in proportion.
The invariable Billet moulding disappears from the STRING-COURSES.
The WINDOWS are more elongated in form, and have lighter shafts.
The circular CORBEL-TABLE gives place to a regularly moulded CORNICE,
carried on a series of blocks of uniform profile; and a sloped COPING
covers the PARAPET.
In some of the latest examples indeed, the BUTTRESSES have SET-OFFS,
and, rising above the parapet, have also a pyramidal Capping.
An increasing lightness of proportion is perceptible in all parts of
the buildings of this Period.
_Interior Compartment._
Except in the earliest examples of this Period, the heavy cylindrical
column disappears; and the PIER consists of a lighter mass of
semicircular shafts, and square edges; occasionally also, a shaft
having a pear-shaped section is substituted for the semicircular shaft.
The CAPITALS consist still of a square block, moulded down to the
circular form below; with this difference, however, that the lower part
of the capital is hollowed down to the circle, instead of being left as
in the Norman Period, full and round; the latter showing a _convex_,
and the former a _concave_ profile. Both the larger and the smaller
Capitals have also very frequently an ornament peculiar to the Period,
which consists of a small volute, forming the curled end of a plain
leaf, which enfolds the bell of the Capital. This volute may be looked
upon as one of the most characteristic features of the Period. The
abacus of the capital is invariably square in plan, and has its upper
edge (except in a few of the latest examples) also square in section.
In the later buildings of the Period, foliage, exhibiting considerable
freedom of design, is occasionally to be seen.
The _Pointed Arch_ first made its appearance in the Transitional
Period; in the earlier buildings it is used in the _Arches of
Construction_ only, or those constituting the framework of the
building, such as the Pier-arches and the Arches of the Vaulting, and
of the Crossing; whilst the Circular Arch is used in the _Arches of
Decoration_ only, or those which may be said to constitute the
panel-work, such as the windows, the arcades, the doorways, and such
like. In the later buildings of the Period, however, the Pointed Arch
is frequently found in some of the smaller arches also.
The PIER-ARCHES, therefore, are almost invariably pointed, in the
earlier examples obtusely, and in the later examples often acutely; the
mouldings, which have become much lighter, are few and plain; carrying
usually a roll, or a pear-shaped moulding, at the angle of each order
of the arch: they frequently have no HOOD-MOULDING. All the usual rich
ornaments of the Norman Style disappear, but the Chevron occurs
occasionally, and another ornamental moulding somewhat resembling it,
but peculiar to this Period, is frequently seen.
The STRING-COURSES do not usually carry any ornament, and have commonly
a simple section peculiar to the Period.
The VAULTING or ROOF-SHAFT has usually a pear-shaped section.
The TRIFORIUM-ARCADE has usually Circular Arches, but in the later
examples the two forms of arch are frequently intermixed. The Shafts
are of a much lighter character, and carry arches of simple mouldings.
The Pointed Arch, if found anywhere in the arches of Decoration, is
generally to be seen in the CLERE-STORY, the highest part of the
building, and consequently the latest in point of construction.
Plain pointed quadripartite VAULTING not unfrequently covers the
side-aisles, and sometimes the centre-aisle.
The contrast presented by the discriminate use of the two forms of arch
before mentioned, is sometimes strikingly exhibited in the side-aisles,
where it is by no means uncommon to find a large plain circular window
placed immediately under an acutely pointed wall rib, forming part of
the contemporaneous pointed VAULTING of the side-aisle.
PRINCIPAL BUILDINGS
OF
THE TRANSITIONAL PERIOD.
MALMESBURY Abbey Church Nave.
NORTHAMPTON St. Sepulchre's Church Nave.
FOUNTAINS Abbey Church Transepts, Nave.
KIRKSTALL Abbey Church Choir, Transepts, Nave.
BUILDWAS Abbey Church Choir, Transepts, Nave.
KELSO Abbey Church West Transept.
ELY Cathedral Church West Transept.
PETERBOROUGH Cathedral Church West Transept.
ST. CROSS Abbey Church Choir, Transepts.
FURNESS Abbey Church Transepts, Nave.
LONDON Temple Church Nave.
RIPON Cathedral Church Choir, Transepts, Nave.
BRINKBURN Cathedral Church Choir, Transepts, Nave.
LLANTHONY Abbey Church Choir, Nave.
OXFORD Cathedral Church Choir, Transepts, Nave.
DURHAM Cathedral Church Galilee.
ROCHE Abbey Church Choir, Transepts, Nave.
NEW SHOREHAM Abbey Church Choir, Transepts.
SELBY Abbey Church Nave.
BYLAND Abbey Church Choir, Transepts, Nave.
JEDBURGH Abbey Church Nave.
HARTLEPOOL Parish Church Chancel, Nave.
GLASTONBURY Abbey Church Choir, Transepts, Nave.
GLASTONBURY Abbey Church St. Joseph's Chapel.
CANTERBURY Cathedral Church Choir.
CANTERBURY Cathedral Church Trinity Chapel, Becket's crown.
CHICHESTER Cathedral Church Choir, North Chapel.
WELLS Cathedral Church Transepts, Nave.