ENGLISH GOTHIC FOLIAGE
SCULPTURE
CAMBRIDGE
UNIVERSITY PRESS
LONDON: Fetter Lane
[Illustration: colophon]
NEW YORK
The Macmillan Co.
BOMBAY, CALCUTTA and
MADRAS
Macmillan and Co., Ltd.
TORONTO
The Macmillan Co. of
Canada, Ltd.
TOKYO
Maruzen-Kabushiki-Kaisha
All rights reserved
ENGLISH GOTHIC FOLIAGE
SCULPTURE
BY
SAMUEL GARDNER
[Illustration: colophon]
CAMBRIDGE
AT THE UNIVERSITY PRESS
1927
PRINTED IN GREAT BRITAIN
PREFACE
It is my hope that this little treatise may serve to enhance the
pleasure and interest of such visitors to our ancient Churches as care
for architectural details, and that it may help them to follow the
development of one of the most beautiful features.
With this object I have endeavoured to be clear and concise. This has
necessitated the rejection of scores of illustrations which might have
added to the attractiveness of the book, but would also have added to
its complexity. In making my selection I have had regard in every case
to certain points which are briefly hinted in the list of illustrations.
In suggesting approximate dates I have been guided mostly by the
character of the work, but I have compared my suggestions with records
when available. Appearances are often safer guides than doubtful
records.
For about one-fourth of the photographs from which the illustrations are
made I am indebted to my son Mr Arthur Gardner, F.S.A. The rest are from
my own negatives.
S. G.
HARROW
_January 1927_
CONTENTS
LIST OF ILLUSTRATIONS _page_ ix
ABBREVIATIONS xvi
CHAPTER I: INTRODUCTION 1
Pre-conquest and Anglo-Saxon work--Norman carrying
on of Classical traditions--13th century Renaissance and
progress--English and French development
CHAPTER II: PRIMITIVES 7
Anglian crosses--Anglo-Saxon embryo of Stiff-leaf--Byzantine
elements
CHAPTER III: ROMANESQUE OR NORMAN 14
Shapes of capitals--Lombardic ornaments--Early experiments--French
Corinthian--Scallops
CHAPTER IV: EARLY ENGLISH STIFF-LEAF 22
Basis of trefoils--Two types, the solid mid-rib and the
hollowed or cut-out--Traditional and Progressive--Course
of development
CHAPTER V: NATURALISTIC 33
The Return to Nature--Roses and Daisies, etc.
CHAPTER VI: DECORATED 39
Globular waves and Ripples--Stone-carving gives way
to Wood-carving
CHAPTER VII: PERPENDICULAR 42
Squareness and drilled holes--Sprawling leafage--Final
effort to return to Nature
CHAPTER VIII: MATERIALS 46
Form _v._ Surface--Building stone--Purbeck marble--Wood
CHAPTER IX: CONVENTIONAL ORNAMENTS 53
Dog-tooth--Ball-flower--Tudor-flower
TOPOGRAPHICAL INDEX OF PLATES 55
LIST OF ILLUSTRATIONS
_The figures on the right give the pages where the Plates are described
or mentioned. Small print indicates points to be noted._
1 Shapes of Capitals.....14, 15, 20, 39
(i) Cushion (Winchester Crypt), (ii) Scallop (Tower of
London), (iii) Bell (Boxgrove), (iv) Cup (Bury St Edmunds)
2 Sompting, Sussex (String Course).....11, 23, 25
Saxon trefoils
3 Oxford Galleries (Ivory Casket).....11, 26, 48
Turned-over tips
4 Kimpton, Herts (Arcade).....13, 22
Alternate N. and E.E. caps.
5 Christchurch, Hants (Capitals).....15
Greek anthemion caps.
6 Hemel Hempstead, Herts (Capital).....15, 36, 41, 42, 50
Beaded strands and profile leaves
7 Northampton, St Peter’s (Capital).....16
Triple profile leaves
8 Aylesbury (Base of Font).....16
Triple strands and profile leaves
9 Oxford Cathedral (Capital).....16
Interlaced strands
10 Deerhurst, Glos (Font).....17
Saxon spirals and sprays
11 Deerhurst, Glos (Capital).....17
E.E. copy of font-sprays
12 Durham Cathedral Library (Trees).....17
Beaded straps
13 King’s Walden, Herts (Capital).....18
Transition water-leaf
14 Oxford Cathedral (Capitals).....18
Transition experiments
15 Canterbury Cathedral Choir (Capital).....19
French Corinthian
16 Broadwater, Sussex (Capitals).....19
A.S. type and French
17 Sompting (Capital).....19
Corinthian experiment
18 Canterbury Crypt (Capital).....20
Parallel leaves
19 Black Bourton, Oxon (Capital).....21
Curved scallops
20 Kimpton (Capital).....21, 24
Foliated scallops
21 King’s Walden (Capital).....21, 24
Scallops and parallel leaves
22 Romsey Abbey (Capitals).....21
Enriched scallops
23 Cuddington, Bucks (Capital).....21
A variety of scallops
24 King’s Walden (Capital).....22
Mid-ribbed trefoils
25 Hereford Cathedral (Capitals).....2, 23
Curved variation of Pl. 2
26 St David’s Cathedral (Capitals).....23, 28, 31
Hollowed trefoils
27 Bledlow, Bucks (Capital).....23
Alternate mid-ribbed and hollowed
28 Fountains Abbey (Capital).....23
Alternate mid-ribbed and hollowed
29 Kimpton (Capital).....23
Early stiff-leaf
30 Kimpton (Capital).....24
Early stiff-leaf
31 Minster, Thanet (Capital).....24
Solid and hollowed trefoils
32 Wells Cathedral, S. Transept (Capitals).....25, 28
Stiff-leaf varieties
33 Lincoln Cathedral, Nave (Capital).....25
Characteristic stiff-leaf
34 Hereford Cathedral, N. Transept (Capitals).....25, 28, 53
Convolutions and curved dog-tooth
35 Teversham, Cambs (Corbel).....26
Flat mid-ribs piercing tips
36 Eaton Bray, Beds (Capitals).....26
Wavy garlands
37 Ivinghoe, Bucks (Capitals).....26
Typical trefoils
38 Stone, Kent (Spandril).....27
Good specimen of late stiff-leaf
39 Westminster Abbey (Spandril).....27
The predecessor of Pl. 38
40 Lincoln Cathedral, Nave (Capital).....27, 28
Split trefoils
41 Wells Cathedral, W. Nave (Capitals).....27
Free treatment
42 Wells Cathedral, W. Nave (Corbel).....28
Cut-out trefoils
43 Wells Cathedral, W. Nave (Corbel).....28
Fronts and backs of leaves
44 Lincoln Cathedral, S.E. Porch (Foliage round statuettes).....28
Undercut arbours
45 Lincoln Cathedral, Choir Aisle Doorway (Foliage
on mouldings).....29, 39, 50
Undercut sprays
46 Lincoln Cathedral, Choir Aisle (Capital).....29
Crockets
47 Lincoln Cathedral, E. Angel Choir (Capital).....24, 29
Extreme limits of stiff-leaf
48 King’s Lynn, Norfolk (Capital).....29, 40
Stiff-leaf with flowers
49 Lichfield Cathedral (Capitals).....30, 53
Cinque-foils and 2-leaved dog-tooth
50 Salisbury Cathedral, Chapter House (Capitals).....30
Crocketed trefoils
51 Salisbury Cathedral, Old Choir Screen (Capital).....30
Graceful free treatment
52 Wells Cathedral, W. Nave (Capitals).....30
The Wells development suggesting cornucopiae
53 Wells Cathedral, Nave (Capitals).....31
The Wells development suggesting cornucopiae
54 Ely Cathedral, Retrochoir (Capitals).....32, 50
Bulged centres appearing
55 Llandaff Cathedral (Capitals, etc.).....32
Local varieties
56 Weobley, Heref. (Coffin-lid).....32
Stiff-leaf cross
57 Southwell Cathedral, Chapter House (Capital).....35, 40
Naturalistic hops
58 Southwell Cathedral, Chapter House (Capitals).....35
Naturalistic hawthorn, etc.
59 Southwell Cathedral, Chapter House (Gable).....35
Naturalistic hawthorn, etc.
60 Hereford Cathedral, Cantilupe Shrine (Spandril).....36
Trefoils and cinquefoils
61 Winchelsea, Tomb (Panel).....36, 41, 42, 50
Oak
62 Oxford Cathedral, Shrine (Spandril).....36
Oak
63 Exeter Cathedral, Choir (Corbel).....36
Oak
64 Exeter Cathedral, Choir (Corbel).....36
Celery (?)
65 Iffley, Oxford (Door jamb).....37
Norman rosettes
66 Lincoln Cathedral, Choir Aisle Doorway
(Mouldings).....37, 53
E.E. roses and dog-tooth
67 Fyfield, Essex (Window jamb).....37
Globular roses
68 Rochester Cathedral (Chapter House Doorway).....37
Heraldic roses
69 Erwarton, Suffolk, Font (Rose).....38
Later form of Pl. 68
70 Cambridge, St John’s College Gateway.....38
Tudor roses, etc.
71 Beverley Minster (Capital).....39
Adhesive foliage
72 Winchelsea, Tomb (Panel).....40
Rippling leaves
73 Beverley Minster, Tomb (Capital).....40
Exaggerated bulgings
74 Ely Cathedral, Lady Chapel (Gable).....41
Seaweed type
75 Ely Cathedral, Lady Chapel (Capitals).....41
Elaborate type
76 Lincoln Cathedral, Easter Sepulchre (Panels).....41
Combined naturalism and ripples
77 Exeter Cathedral, Tomb (Decoration).....41
Globular excrescences
78 Patrington, Yorks (Capitals).....41
Sprawling foliage
79 Aldenham, Herts, Tomb (Spandril).....36, 41, 42, 50
Late ripples
80 St Albans Cathedral, Ramryge Chantry (Cornice).....42
Square leaves with holes
81 Ely Cathedral, Alcock Chantry (Cornice).....43
Square leaves with holes
82 North Cerney, Glos (Pulpit).....43
Conventional lilies
83 Oxford, St Mary’s (Cornice and Spandril).....43
Square leaves with knobs
84 Oxford Cathedral, Watching Loft (Decorations).....43, 54
Tudor flowers and vine sprays
85 Cambridge, King’s College Chapel (Mouldings
of W. Doorway).....37, 38, 44, 45
Tudor rose and naturalistic leaves
86 Lincoln Cathedral (Corbel and Capital).....48
Purbeck marble foliage
87 Exeter Cathedral, Tomb (Panels).....49
Purbeck marble foliage
88 York Cathedral, Tomb (Spandril).....49
Purbeck marble foliage
89 Rochester Cathedral (Corbel).....49
Purbeck marble foliage
90 Peterborough Cathedral (Capitals).....49
Wood 13th cent. capital fitted into Renaissance arches
91 Exeter Cathedral (Misericord).....50
Wood stiff-leaf
92 Exeter Cathedral (Misericord).....50
Wood stiff-leaf
93 Exeter Cathedral (Misericord).....50
Wood stiff-leaf with knobs
94 Christchurch, Hants (Misericord).....50
Specimen of 13th cent. wood-carving
95 King’s Lynn, Norfolk (Misericord).....36, 41, 42, 43, 50
Specimen of 14th cent. wood-carving
96 King’s Lynn, Norfolk (Screen).....50
Wood canopies
97 Winchester Cathedral (Stalls).....50
.....14th cent. wood leaves and fruit
98 Tong, Salop (Cornice and Screen).....51
.....15th cent. wood leaves and fruit
99 Tong, Salop (Cornice and Screen).....51
.....15th cent. wood leaves and fruit
100 Abergavenny, Mon. (Cornice and Screen).....51
.....15th cent. wood leaves and fruit
101 Norwich Cathedral (Canopy of Stalls).....51
.....15th cent. wood crockets
102 Mullion, Cornwall (Bench).....52
.....16th cent. wood-carving
103 Crowcombe, Som. (Bench).....52
.....16th cent. naturalistic work
104 Ely Cathedral, Galilee (Wall Arcade).....53
Dog-tooth in mouldings
105 Soham, Cambs (Chancel Arch).....53
.....3-leaved dog-tooth
106 St Cross, Winchester (Arch over W. Doorway).....53
Elaborated dog-tooth
107 Dunstable, Beds (Mouldings).....53
Elaborated dog-tooth
108 Wells Cathedral, W. Doorway (Mouldings).....53
Elaborated dog-tooth
109 Leominster, Heref. (Window).....53
Ball-flower in mouldings
110 Exeter Cathedral (Screen Panel and Mouldings).....53
Stalked ball-flower
111 Tewkesbury Abbey, Tomb (Mouldings).....40, 54
Ball-flower
112 Purse Caundle, Dorset, Tomb (Spandril and
Cornice).....54
Tudor ornaments
ABBREVIATIONS
The following Abbreviations are used:
A.S. Anglo-Saxon, N. Norman, Tr. Transition, E.E. Early English, D.
Decorated, P. Perpendicular, N. North, S. South, E. East, W. West
ENGLISH GOTHIC FOLIAGE SCULPTURE
CHAPTER I: INTRODUCTION
English gothic architecture has been rightly described as a great
national living art. Gothic architecture existed as a living art over a
great part of western Europe for nearly five hundred years. In each
country where it flourished it developed national characteristics. In no
feature was this more conspicuous than in foliage sculpture.
When we describe an art as national, we do not mean that its germs
sprang into existence within the country, but that, once sown or
planted, they took root there and grew up under the influences of
national surroundings. By a living art we mean an art that is not mere
copying, but one that manifests a natural growth and development of
innate force. This does not exclude a power of assimilation of foreign
elements. Just as a tree may produce a variation of fruit or flower by
being grafted with a foreign shoot, so a national art may absorb and be
influenced by foreign ideas. But so long as it possesses a
self-contained force springing from its roots it remains a national
living art. Such was Gothic architecture in England from 1050 to 1550,
if we include Romanesque origins and Tudor survivals.
If we go back further still than 1050 we find certain forms of carved
foliage in use, but they are mostly more suggestive of the cast-off
leaves of autumn than of spring buds. Most of them appear to be
reminiscences or distant copies of forms to be found in decadent
Byzantine or Roman sculpture. But, just as in nature the buds that will
not come to maturity till the spring are found pushing off the autumn
dry leaves, if we search we shall find among these rude and debased
forms the embryo of a form destined to become the basis of that
beautiful type of carving which is called Stiff-leaf, and which
afterwards became the most perfect expression of our exclusively English
Gothic foliage sculpture.
The Anglo-Saxon period was not one of steady progress. There were bright
spots--times when and places where saintliness and learning shone for
brief intervals, and there were schools of art where great excellence
was attained in the illumination of manuscripts. There were also schools
where considerable artistic skill and refinement were shown in
sculptured reliefs. But the general impression produced by a study of
Saxon remains is that from time to time masons were introduced from the
continent, who executed fairly good work, the influence of which faded
away in the course of a generation or two. The constant incursions of
the Danes were not favourable to any steady progress in art, and in the
deteriorating copies of the work of foreign masons we cannot expect to
see many signs of life.
At the same time we must remember that very beautiful art existed in
Ireland under similar conditions. It may be that there is hardly
anything left of numerous works of art produced in Saxon England. Many
must have been destroyed by the Danes, and it is said that the Conqueror
sent many away to France and to the Pope[1]. Of these some may be still
in existence, but it is difficult to differentiate them from similar
work produced elsewhere.
The Normans before and at the time of the Conquest, though they were
great builders, and were inspired by a fresh impulse through the
adoption of free-arch construction, were very poor sculptors. They had
cast aside the dregs of Classical entablatures and placed their arches
directly upon their piers or columns, but they seldom attempted any
sculptured ornament. When they did so, it was either a distant copy of
Classical or, especially when human figures were intended, a rude and
barbarous effort. Later on, as they became more skilled, two rival
influences become apparent--the French, following Roman or Byzantine
models, and the English, which was also reminiscent of Classical
traditions but mixed with Norse and manuscript, and sometimes metal-work
and wicker-work suggestions. The Classical traditions often seem more
associated with Byzantine than Roman sources. It was from the English
and not the French elements that our characteristic English Gothic
foliage arose. The most constant feature of Anglo-Saxon sculpture was
intertwining strands terminating in conventional half-opened leaves
(Pls. 2 and 25) or trefoiled buds. From the trefoil was developed the
Early English stiff-leaf foliage which soon ousted the French
Corinthian, and for a hundred years maintained the style which may be
regarded as our national style of Gothic foliage.
Towards the end of the thirteenth century the various permutations and
combinations of the stiff-leaf convention had been exhausted, and for
some ten or twenty years a pure naturalism prevailed, but it then gave
way to a fresh convention, called the Decorated, in which the naturalism
was modified by a peculiar kind of waving and rippling which is easily
recognised. This style continued in the west until the end of the Gothic
period; elsewhere foliage sculpture in stone came almost to an end
before the Perpendicular period, the straight lines and panelling of
that style not lending themselves to floral decoration. On monuments and
other rich work we sometimes find bands of vine-leaf or other foliage,
generally coarse and square-cut. At the very end of the Gothic period
there was some attempt to return to naturalism, but this was nipped in
the bud by the invasion of Renaissance art (Pl. 85).
It is remarkable that, seeing how close was the connexion between
England and France in the days of our Plantagenet kings, just when
Gothic art on both sides of the Channel was in the full vigour of its
youthful exuberance, the development was so different. In no features
was this difference more marked than in the treatment of foliage
sculpture as well as of mouldings. In northern France there is very
little in the way of intermediate convention between the Romanesque
Corinthian type of foliage, and a naturalistic representation of leaves
and flowers. In fact they were intermingled. There is no parallel at all
to our English stiff-leaf, which is one of the chief glories of our
national architecture, except, possibly, in a few instances in Normandy
under English influence.