RECTILINEAR PERIOD.
PRINCIPAL CHARACTERISTIC.
THE PREVALENCE OF STRAIGHT LINES, BOTH HORIZONTAL AND VERTICAL, IN THE
TRACERY OF WINDOWS, IN PANELS AND ARCADES.
_Exterior Compartment._
The WALLS and BUTTRESSES of this Period present great contrasts, being
generally perfectly plain, but occasionally, in the richer buildings,
completely covered with rectangular panelling.
The BASE-COURSE is often deep, rises in several stages, and contains a
few large bold mouldings.
The mullions of the WINDOWS almost invariably rise vertically through
the Tracery, and are often crossed at right angles by other straight
lines, as well in the lower part of the Window as in the Tracery
itself.
These _Transoms_ in some of the larger East and West Windows, occurring
at equal intervals, divide the entire design into a series of
rectangular compartments, and give to the whole the appearance of a
huge gridiron. They are sometimes ornamented with a small battlemented
moulding.
The CLERE-STORY WINDOWS, as well as the side windows, where the aisle
walls are low, are often square-headed.
The CORNICE generally carries a large shallow hollow, filled at
intervals with a square flat leaf, and grotesque sculptures.
_Gurgoyles_, formed usually of the head and shoulders of some monster,
and projecting from the cornice, for the purpose of carrying the water
from the gutters clear of the walls, which occur in the former Period,
are now universal.
The PARAPETS are frequently ornamented richly, with rectangular
foliated panelling, and covered with a BATTLEMENT. Both are sometimes
pierced instead of being panelled.
_Interior Compartment._
The PIERS are usually tall and light, and consist generally, as in the
preceding Period, of four shafts with intervening hollows, which latter
are continued uninterruptedly round the Pier-arch.
Frequently the entire Pier is moulded without shafts, and the whole of
the mouldings are carried round the Pier-arch.
The Pier is frequently so disposed that its transverse section is
greater than its longitudinal section, or, in other words, it is
thicker from North to South than it is from East to West.
The CAPITALS are usually octagonal, but sometimes circular. Foliage is
much more rarely seen in their hollows, and they contain plain
mouldings of a more angular character generally than in the preceding
Period. They are also taller, in comparison, to their diameter. They
have sometimes a battlement moulding on their upper edge, which is in
other cases often square.
The BASES are generally tall, narrow, and polygonal, and often of
several stages.
In the PIER-ARCHES occasionally a form occurs for the first time, which
is seen in no other Period. This is the _four-centered_ arch, so called
from the circumstance of its being drawn from four different centres:
its use, however, in _arches of construction_, except in the Vaulting,
is by no means so common as in _arches of decoration_, where it
continually appears. It is often enclosed in doorways, under a square
head. The mouldings of Pier-arches, Window-arches, and all others are
usually plain, broad, and shallow; the double Ogee occurs continually,
as well as a large shallow hollow, drawn from three centres, between a
few small filleted members. Few Arches carry more than two orders.
In the STRING-COURSES, CORNICES, and other hollow mouldings, flat
square leaves at intervals, continuous training foliage, and the
vine-leaf and grapes, frequently occur; but the relief is usually not
considerable, and the amount of undercutting in foliage exhibited in
the two previous Periods is never seen. The Tudor Rose and the Tudor
Flower are frequent ornaments of this Period.
The TRIFORIUM is rarely seen, and in its place the Clere-story Window
is often carried down in blank panelling to the passage or
String-course over the Pier-arches. It is sometimes, however,
represented by a band of panelling or pierced work.
The CLERE-STORY attains considerable height and importance in this
Period; the effect of which, in large buildings, is increased by the
suppression of the Triforium, and the substitution in its place of the
apparent continuation downwards of the Clere-story. In many buildings
the Clere-story windows are in pairs, and so numerous that all blank
wall entirely disappears; and the effect of the mass of light thus
poured down into the Church is very striking and characteristic.
The VAULTING becomes much more complicated and enriched in this Period.
Diverging ribs having bosses and shields at their points of
intersection, cover the surface of the Vault: the plans of these
vaultings are very various: some are called _Fan-tracery_ vaults, and
others _Stellar_ vaults, terms which explain themselves.
Open wooden roofs of elaborate construction, and large span, become
common in this Period. They spring frequently from Corbel shafts,
resting on figures in the Clere-story wall; and have rich cornices of
mouldings and carved work, traceried spandrels, figures of angels, and
richly moulded beams. The AISLE-ARCADE is not often found, but its
place is sometimes supplied by the rectangular surface panelling, so
characteristic of the Period, which in some of the richer buildings
literally covers the whole of the walls, leaving no blank or unoccupied
space.
PRINCIPAL BUILDINGS
OF
THE RECTILINEAR PERIOD.
YORK Cathedral Church Choir.
WINCHESTER Cathedral Church Nave.
CANTERBURY Cathedral Church Transepts.
CANTERBURY Cathedral Church Nave.
YORK Cathedral Church West Towers.
WELLS Cathedral Church Central Tower.
BEVERLEY Minster West Front.
BRIDLINGTON Priory Church West Front.
HOWDEN Collegiate Church Chapter House.
CAMBRIDGE St. Mary's Church Nave.
LONG MELFORD Holy Trinity Church Chancel, Nave.
SAFFRON WALDEN St. Mary's Church Chancel, Nave.
LAVENHAM St. Peter and
St. Paul's Church Nave.
DONCASTER St. George's Church Chancel, Nave.
BURY ST. EDMUND'S St. James' Church Chancel, Nave.
ROTHERHAM All Saints' Church Nave, Transepts.
HULL Holy Trinity Church Nave.
WINDSOR St. George's Chapel Chancel, Nave.
MANCHESTER Cathedral Church Choir, Nave.
TAUNTON St. Mary's Church Nave, Tower.
GLOUCESTER Cathedral Church Choir.
CAMBRIDGE King's College Chapel.
WARWICK St. Mary's Church Beauchamp Chapel.
WESTMINSTER Cathedral Church Henry Seventh's Chapel.
BATH Abbey Church Choir, Transepts, Nave.
THE SEVEN PERIODS
OF
ENGLISH ARCHITECTURE.
ROMANESQUE.
A.D. A.D. YEARS.
I. SAXON PERIOD from ---- to 1066, prevailed --
II. NORMAN PERIOD " 1066 " 1145, " 79
III. TRANSITIONAL PERIOD " 1145 " 1190, " 45
GOTHIC.
IV. LANCET PERIOD " 1190 " 1245, " 55
V. GEOMETRICAL PERIOD " 1245 " 1315, " 70
VI. CURVILINEAR PERIOD " 1315 " 1360, " 45
VII. RECTILINEAR PERIOD " 1360 " 1550, " 190
LONDON:
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,
STAMFORD STREET AND CHARING CROSS.
[Illustration: NORMAN
Exterior ELY CATHEDRAL. Nave]
[Illustration: NORMAN
Interior ELY CATHEDRAL. Nave]
[Illustration: NORMAN
Exterior PETERBOROUGH CATHEDRAL. Choir]
[Illustration: NORMAN
Interior PETERBOROUGH CATHEDRAL. Choir]
[Illustration: TRANSITIONAL
Exterior RIPON CATHEDRAL. Choir]
[Illustration: TRANSITIONAL
Interior RIPON CATHEDRAL. Choir]
[Illustration: LANCET
Exterior ELY CATHEDRAL. Presbytery]
[Illustration: LANCET.
Interior ELY CATHEDRAL. Presbytery]
[Illustration: LANCET
Exterior LINCOLN CATHEDRAL. Nave]
[Illustration: LANCET
Interior LINCOLN CATHEDRAL. Nave]
[Illustration: LANCET
Exterior LINCOLN CATHEDRAL. Choir]
[Illustration: LANCET
Interior LINCOLN CATHEDRAL. Choir]
[Illustration: GEOMETRICAL
Exterior LINCOLN CATHEDRAL. Presbytery]
[Illustration: GEOMETRICAL
Interior LINCOLN CATHEDRAL. Presbytery]
[Illustration: GEOMETRICAL
Exterior LICHFIELD CATHEDRAL. Nave]
[Illustration: GEOMETRICAL
Interior LICHFIELD CATHEDRAL. Nave]
[Illustration: CURVILINEAR
Exterior ELY CATHEDRAL. Choir]
[Illustration: CURVILINEAR
Interior ELY CATHEDRAL. Choir]
[Illustration: RECTILINEAR
Exterior WINCHESTER CATHEDRAL. Nave]
[Illustration: RECTILINEAR
Interior WINCHESTER CATHEDRAL. Nave]
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