English architecture

Preface

IT will be at once apparent that this little book deals with the mere elements — with what may be called the grammar — of the vast subject of English Architecture. The great imaginative characteristics of our architecture — its aesthetic and poetical qualities (I do not speak of Gothic architecture only) its shortcomings, its reflection of national character, the influences which shaped its course and led to its alternate rise and decline — these are questions which cannot well be dealt with in the summary fashion of the following pages. The book might, in fact, be more accurately called an account of English building rather than of English architecture , if indeed it were not impossible to separate the two.

The endeavour has been, first, to trace the gradual development of our architecture so far as to enable the reader “ to discriminate the styles,” as Rickman has it ; that is, to recognise approximately the date of any building he may visit ; and then to give some account of the plan and arrangement of particular classes of buildings.

XI

Xll

PREFACE

The illustrations have been drawn by myself from my own sketches, made during the last twenty years or so, except in a few instances where other sources are acknowledged. For the loan of drawings I am indebted to Professor G. Baldwin Brown, m.a., and to Mr. C. O. King. For permission to use illustrations I have to thank Mr. T. B. Batsford, Messrs. A. and C. Black, Mr. Reginald Blomfield, m.a., f.s.a., Mr. J. A. Gotch, Mr. W. H. St. John Hope, m.a., Messrs. Macmillan and Bowes, Mr. J. T. Micklethwaite, f.s.a., Messrs. Parker, Mr. C. R. Peers, m.a., f.s.a., Mr. E. S. Prior, m.a., and the respective Presidents and Councils of the Society of Antiquaries of London, of the Royal Archaeological Institute, of the Cambridge Antiquarian Society, and of the Cumberland and Westmorland Antiquarian and Archaeological Society.

I also very gratefully acknowledge the kindness of several friends who have helped me with the text and with the illustrations by most valuable advice and criticism, and by reading my manuscript and proofs.

Cambridge,

Christmas , 1903.

T. D. A.

THE subject of English Architecture is so large that it will be necessary to confine the following sketch strictly within the limits — both geographical and chronological — imposed by the term. It will be impossible to attempt a review of Scottish architecture, with its strong national character and piquant French flavour, or of the art of Ireland, which in early days passed through a phase so interesting and far-reaching in its effects. So too with the work of our own country previous to Saxon times. The mighty structures of the Britons, still shrouded in mystery, and the elaborate buildings of the Romans about which we are now learning so much, are connected by so slight a thread with all that followed that the break may, for our present purpose, be considered as absolute.

It has been common to divide English medieval architecture into several distinct styles. But this is in many respects unfortunate, and, indeed, the very use of the word style, except as applied to the great periods, such as Romanesque, Gothic, and Renaissance, is apt to be misleading. The

Xlll xiv ENGLISH ARCHITECTURE terms Early English, Decorated, and Perpendicular are now too well established to be disregarded, but their use, if it does not actually convey an idea of definite breaks in the continuity of the art, at least suggests very rapid change from one style to another through short periods of transition. This, however, was not so. Medieval architecture was always in a period of transition. It was an unwritten law based solely upon precedent, a purely traditional art learned only at the bench, and as such it was continually advancing.

With the Renaissance the case is somewhat different. That period was not, as regards architecture, one of growth and development of at all the same kind as were the Middle Ages, neither was the art in its earlier phases vernacular in the same sense that medieval art had been. Though Renaissance architecture gave as great opportunities for variety of treatment and for originality of the highest order, its progress and development were modified by the fact that the forms in which it was expressed had become in a great degree stereotyped. New combinations and new themes were always open to the artist, but the language in which he expressed himself was scarcely so flexible as the medieval tongue; for our Renaissance architecture was based on that of the Italian masters of the fifteenth and sixteenth centuries, who took as their models the xv architecture of ancient Rome, which in its turn had been derived from that of Athens. That is as far as the pedigree has been traced with certainty. Greek architecture as we know it — the architecture of the great period of Greek art — was perhaps itself a renaissance, a revival of types which had had their period of struggle and growth in some still buried past. When we first meet Greek architecture it is full blown. Further refinements of extraordinary subtilty were yet to be made, but the types or orders are fixed, and are deliberately adopted. The style, eclectic and perhaps exotic, is quite developed, and requires only that perfecting for which the genius of the Greek was so eminently fitted. From the types which he perfected no serious departure has ever been made.

Besides this contrast between the rapid growth of the Western style and the unvarying types of the East, there is the great change in the conditions under which English architecture was produced after the coming of Inigo Jones. In a work of the Middle Ages much was left to the initiative and traditional methods of the craftsmen.

“ For in the loud tlier nas no crafty man,

That geometrye or arsmetrike can,

Ne portreyour, ne kervere of ymages,

That Theseus ne gaf hem mete and wages The theatre for to maken and devyse.”

xvi ENGLISH ARCHITECTURE

But from the beginning of the seventeenth century architecture was a matter for architects.

These facts become apparent as the narrative proceeds, and involve a different treatment of the subject. In the Middle Ages there is incessant change of form in every detail, but the personal element, or at least any proper name, is almost invariably absent. Since Renaissance times the change in details may be told in a few lines, and history is apt to become a purely critical review with a list of architects and their works.

The manner of Inigo Jones and of Wren did, however, in course of time become traditional, and many are the seventeenth and eighteenth century houses, the work evidently of the local builder, which we of to-day would fain copy to the best of our ability. Meanwhile the work of the architects deteriorated from various causes till it reached such a pompous dullness combined with inanity of decoration as to make the Gothic Revival inevitable. It is in this connection that the half - prophetic remark of Campbell, in his Vitruvius Britannicus (written in 1715), becomes of interest. Speaking of the state of architecture in Italy, he says : “With him [Palladio] the great manner and exquisite Taste of Building is lost; for the Italians can no more now relish the Antique Simplicity, but are entirely employed in capricious Ornaments, which must at last end

XVII in the Gothic” The capricious ornaments which, soon after this was written, began to appear in English architecture, did at last end in the Gothic Revival with all its strange productions.

One result of this extraordinary movement has been the “ restoration r* of our medieval buildings. It is impossible to leave this subject without a protest against the mutilation which too often passes under the name.

There can never be absolute agreement on the treatment of old buildings, any more than on any other question ; but the general opinion among those who have given most attention to the subject is becoming more and more in favour of a very strong conservatism, and is slowly, very slowly, leavening the lump of public opinion. We are still living in an age (for indeed hardly a decade has passed) which saw the destruction of great quantities of fifteenth-century work in one of our noblest buildings to make room for modern reproductions of the original Norman and Early English; while in another case it was seriously proposed to pull down a building by Wren in order to replace it by one of modern Gothic. The Jacobean Communion table and the Georgian font, sanctified by the devotion of generations, are even now condemned as unsuitable. This is, of course, restoration in its crudest form, but it is still far from uncommon.

xviii ENGLISH ARCHITECTURE

But though instances of restoration of the most revolutionary sort still occur, most of the damage which is now done is through excessive and injudicious repair. Every stone which shows signs of decay, or has been chipped, is cut out. Maybe it has taken six or eight hundred years to effect this slight degree of damage, and there is therefore presumably yet a good deal of life before it. Every bit of red brick with which a stone building has been repaired is cut out, especially if it be in a church, for it is not thought to be an “ecclesiastical11 material, though these patches are often of excellent workmanship, and their warm colour always makes a delightful harmony with the grey stone. The old patchwork pavement is changed for monotonous red tiles. The screen work, which has generally been covered with brown paint, retains under this the medieval decoration of gilding and colour, but the acids which are applied remove not only the modern oil paint, but often also the medieval colouring, and the work is put up again with a brown, woolly surface, which would have horrified the original builders. The plaster is stripped off the roughest rubble walls, sometimes even inside as well as outside, — a measure generally disastrous to the building aesthetically and very far removed from the ancient practice ; for the medieval builders almost always covered their xix walls, even when built of good masonry, with plaster of exquisite fineness, which they whitewashed if they did not decorate it with colour.

The lines on which the treatment of old buildings should proceed may be briefly laid down thus : No object should be destroyed because it is in a style which we happen to dislike ; the structural parts should be repaired in the best possible way, but no attempt should be made to restore decorative features; alterations should only be made where absolutely necessary for practical reasons ; new work should honestly, though not ostentatiously, show itself as such ; beauty should not be sacrificed to such mistaken notions of archaeology as, for instance, that all constructive features and materials ought to be left exposed to view ; nor, on the other hand, should history and association be wantonly sacrificed to what we consider beautiful.

In conclusion, I may mention a few books which have been very useful to me and will be useful to others. Unfortunately architectural literature, although considerable in bulk, was for a long time unscientific in its methods and limited in its range. In the field of medieval architecture there was too much theory and not enough minute and systematic recording of facts ; in works on classical architecture there has been a tendency merely to describe particular buildings, without

XX ENGLISH ARCHITECTURE any attempt at a connected general history ; and it may be said that until the last few years a reasonable account of Renaissance architecture did not exist. There is still no general work on Roman architecture in England or on conventual buildings. A knowledge of either subject has to be gleaned from scattered papers in the publications of archaeological societies, those on the latter subject by Mr. St. John Hope being especially valuable.

The foundations of intelligent architectural history were laid by Thdmas Rickman in his Attempt to Discriminate the Styles of Architecture in England from the Conquest to the Reformation, published in 1817. This has been several times re-edited and enlarged by John Henry Parker, who added many excellent illustrations and a useful list of dated examples. Mr. Parker also published the invaluable Glossary of Terms used in Grecian , Roman , Italian , and Gothic Architecture (3 vols., 8vo. Oxford, 1850 ; out of print), A Concise Glossary , (1 vol. sm. 8vo, 1879. 7,9. 6d.), and An Introduction to the

Study of Gothic Architecture , besides other works.

R. and J. A. Brandon published in 1847-9 their Analysis of Gothick Architecture , with a great number of illustrations (2 vols. 4to., published at £5 5s.), and Parish Churches (1 vol. £2 2s.).

These works, like most that treat of Gothic xxi architecture, deal almost exclusively with ecclesiastical buildings.

On church architecture in particular there is M. H. Bloxham’s Principles of Gothic Ecclesiastical Architecture (2 vols. 8vo, 11th edition, 1882), which is excellent, though it scarcely deals with 44 principles.'” The third volume is called A Companion to Gothic Architecture , and was reissued separately in 1903 as Essays on Church Vestments , etc., at 3<?. 6d. George Gilbert Scott, the son of Sir Gilbert (whose Lectures are rather for those intending to enter the profession), wrote the learned and very discursive work, An Essay on the History of English Church Architecture (4to. 1881).

Development and Character of Gothic Architecture, by Professor C. H. Moore, of Cambridge, Mass. (8 vo, London, 1890), is a purely critical work on the principles of Gothic architecture, written with considerable power, to show that the Gothic style was never fully developed in any country but France. Mr. E. S. Prior’s History of Gothic Art in England (8vo, 1900, 316*. 6c/.), an original and valuable work, is a critical appreciation of the national style in its local variations.

For Saxon architecture the writings of Professor Baldwin Brown should be consulted, and also the pages of the Archaeological Journal , xxii ENGLISH ARCHITECTURE especially Mr. J. T. Micklethwaite’s valuable paper “ Something about Saxon Church Building ” (vol. liii., 1896).

On the subject of medieval houses the great book is Some Account of Domestic Architecture in England from the Conquest to the time of Henry VIII., by T. Hudson Turner and J. H. Parker (4 vols. 8vo. Parker : 1851-9, 72.?.). On the kindred subject of collegiate architecture there is the great Architectural History of the University and Colleges of Cambridge, by R. Willis and J. W. Clark (4 vols. 8vo. Cambridge, 1886, 4s.) ; and they have drawn up

the ladder after them. The same remark applies to Mr. Clark’s work on library buildings and fittings, The Care of Books (8vo, 1901). Mediaeval Military Architecture in England , by G. T. Clark (2 vols. 8vo. Wyman, 1884) is the standard work on castles.

There are many good books on other special branches of the subject. The Rites of Durham gives a vivid and detailed account of the church and its furniture, the conventual buildings, and the monastic life, written by one of the monks after the suppression of the monastery (8vo. Surtees Society, 1842). This book is difficult to get, but a new edition is being prepared. Mr. Mickle tli waite’s Ornaments of the Rubric and Mr. St. John Hope’s English Altar (both Alcuin

XXlll

Club publications) are the most authoritative works on those subjects. A good account of church vestments is given in Mr. Macalister’s Ecclesiastical Vestments (8vo, 1896, 6s.) and in a number of other works. Cardwell's Documentaiy Annals of the Reformed Church of England (2 vols. 8vo, 1844) is the authority for the changes I of the sixteenth and seventeenth centuries. Bloxha m’s Companion , mentioned above, deals with this subject.

R. and J. A. Brandon's Open Timber Roofs of the Middle Ages (4to, London, 1849) contains excellent drawings, but is out of print. F. A. Paley's Manual of Gothic Mouldings (8vo, 6th ed., 1902, 7s. 6d.) gives a very large and admirable collection of sections, without, however, sufficient indication of their scale and construction and what may be called their context. Professor Willis's papers on the “ Vaults of the Middle Ages " (Trans. Ryl. Inst, of Brit. Aixhts ., vol. i. part ii., 1842) still forms the best text-book on the subject ; perhaps a like remark applies to all his architectural writings. Mr. J. Starkie Gardner's Ironwork (2 vols. 8vo, 6s. South Kensington Mus. Art Handbks., 1893) and Mr. W. R. Lethaby’s Leadwork (8vo, 1893, published at 4s. 6d.) are handy and quite authoritative.

During the eighteenth century a number of large works on contemporary architecture were xxiv ENGLISH ARCHITECTURE published, but Colin Campbell’s Vitruvius Britan - nicus1 is the only one of general interest. This is a valuable work, consisting of large engravings, with a short note on each, but with no text. It is very far from impartial, the selection displaying the usual animus against Wren. It should be explained that the books of this period which profess to illustrate the work of Inigo Jones attribute to him a large number of designs which are really the work of others. 2

As might be expected, little was produced on the subject of Renaissance architecture during the nineteenth century until near its close. But in 1897 Mr. Reginald Blomfield published his History of Renaissance Architecture in England , 1500-1800 (2 vols. 8 vo, 50$.), which the reader will find to be all that can be desired, both in matter and in manner. To it I am particularly indebted. Mr. Blomfield has condensed it into one small volume in his Short History (large cr. 8vo, 1900, 7 s. 6d.).

There are several large works on special phases of the Renaissance, which, though not really dear, are rather expensive, such as Mr. Gotch's Architecture of the Renaissance in England , 1560-

1 FoL, vols. i., ii. , 1715; vol. iii., 1725, continued by

Woolfe and Gandon (vols. iv., v.), 1767-71, and under the title New Vitruvius Britannicus , by Richardson (vols. vi., vii.), 1802-8. 2 Blomfield.

XXV

1635 (2 vols. fol., 1894, £8 8s.), and Messrs. Belcher and Macartney’s Late r Renaissance A rchi - tecture in England (2 vols. fol., 1901, £8 8.?.). These are illustrative works, with short descriptive text. Mr. Gotch has issued a smaller work on the same period (8vo, 21s.), and it is to be hoped that Mr. Belcher will follow his example. Messrs. H. Inigo Triggs and H. Tanner have published Some Architectural Works of Inigo Jones (fol., 30s.), and Mr. G. H. Birch, London Churches of the XVI Ith and XVIIIth Centuries (fol. £4> 4s.).

But however delightful books may be, and necessary as they are in some branches of the art, the true way to study architecture, the only really satisfactory way, and by far the most attractive, is the close examination of the buildings themselves.

b

Contents

PAGE

Preface . . xi

Introduction . . ... xiii

Chapter I Saxon

1. Tower of St. Benedict’s Church, Cambridge. Probably

eleventh century . . ... 2

2. Roman bricks and slab construction : south transept arch

and plan of one pier. Britford Church, near Salisbury. Span, 5 feet 7 inches ; height to springing, 5 feet . 3

3. Top of tower, Sompting Church, Sussex . . 5

4. Quoins : a , long-and-short ; b, ordinary . • • 5

5. Saxon window, with round head cut out of one stone . 6

6. Plans of Saxon windows : a, early, with inner splay ;

b, late, with inner and outer splays . . . 6

7. Tower of Monkwearmouth Church, Durham. Built

674. From a drawing by Professor Baldwin Brown 7

8. Tower of Earl’s Barton Church, Northants. Probably

eleventh century. From Parker’s “ Glossary ” . 7

9. Wall-arcades, Ely Cathedral, west transept, c. 1170 . 8

10. Corbel-table, Ely Priory buildings, c. 1200 . . 9

1 1 . Doorway in north-east corner of cloisters, Ely Cathedral, xxix

XXX LIST OF ILLUSTRATIONS

12. Window in Chapel of Leper Hospital, Stourbridge,

13. Interior of an early Norman window . . .11

14. North-east transept and turret, Canterbury Cathedral . 12

15. Cushion capital . . . . . 13

16. Scollop capital . . . . . 13

1 7. Capital with rude volutes, Ely Cathedral, north tran-

sept, c. 1090. Drawn by Miss H. A. S. Atkinson . 14

18. Scollop capital, a variation, Infirmary, Ely, c. 1140 . 14

19. Capital with reversed volutes, Build was Abbey, Shrop-

20. Capital with reversed volutes, St. Mary’s Church,

21. Capital with acanthus -like foliage, chancel aisle, St.

Cross Hospital, Hants, c. 1160 . . . 14

22. Bird’s-beak enrichment, jamb of window, north tran-

23. Section of arch, St. Bartholomew’s Church, Smithfield,

24. Impost and part of arch, south door, Alsop-in-the-Dale,

Derbyshire . . . . . 16

25. Enrichments of arch, St. Cross Hospital . .16

26. Sculptured tympanum, door from north-west corner of

cloister, Ely Cathedral, c. 1140 . . .17

THE TRANSITION

27. Capital, north pier of chancel arch, St. Mary’s Church,

28. Capital, south transept, the same, c. 1180 . .20

29. Capital, north door, the same, c. 1180 . . .20

Chapter II Early English

30. Lancets : north side of chancel, St. Mary’s Church,

31. Unpierced Norman tympanum : triforiumof St. Bartholo-

mew’s Church, Smithfield, 1133 . . *24

32. Plate tracery: window of Chapter -house, St. Rade-

gund’s Priory (Jesus College), Cambridge, c. 1200 . 24

LIST OF ILLUSTRATION S xxxi

33. Clearstory window, Bourn, Cambridgeshire . . 24

34. Plans of Early English piers . . . . 25

35. Moulded capitals and bases, c. 1200, c. 1250, and

36. Capital of nave arcade, Berkley Church, Gloucester-

37. Scroll in hollow of jamb of door to Chapter-house,

Westminster Abbey, 1250 . . . 28

38. Foliage of the thirteenth century . . . 28

39. Band of foliage from corbel of lectern in Refectory,

Chester Cathedral (see Fig. 154) . . 28

40. Spur of an octagonal base in the ambulatory, West-

minster Abbey, c. 1250 . . . . 28

41. Trefoil arch, Chapter-house, Westminster Abbey, c. 1250 29

42. Section of arch-mould, with rings well marked, c. 1180 30

43. Sections of arch-moulds, c. 1220, c. 1250 . . 30

44. Section of arch-mould ; transition from distinct rings to

the splayed outline, c. 1300 . . . . 31

45. Diapers in Chapter-house, Westminster Abbey, c. 1250 32

46. Dog-tooth enrichment . . . . 32

47. Plans of vaults. I. Diagonal and cross ribs, no ridge

ribs ; ridge ribs added. 2. Sexpartite vault over nave and quadripartite vault over aisles. 3. Intermediate ribs (a) added, the ridge rib {6) stopped against them, and ( c ) continued beyond to the wall.

4. The same. 5. More intermediate ribs added.

6. Fourteenth-century lierne vault . . 33

48. Trussed-rafter roof, with and without ceiling . . 34

49. Trussed-rafter roof, with rudimentary principal truss . 35

DECORATED

50. Simplest bar-tracery : Deanery, Norwich, c. 1240 . 36

51. Soffit cusping . . . . 37

52. Ordinary cusping . . . . . 37

53. Perfect tracery : the triforium, Westminster Abbey,

54. Tracery with both varieties of cusping ; the bar foliated,

e.g. the trefoils ; and with distinct cusps, e.g. the main lights and top circle ; choir, Lichfield Cathedral, c. 1300 . . . . 39

PAGE xxxii LIST OF ILLUSTRATIONS

FIG.

55. Flowing tracery, two-light window

56. Square-headed window with tracery, Hospital of St.

Nicholas, Harbledown, Canterbury

57. Flowing tracery, five -light window, Grantchester

Church, Cambridgeshire, c. 1340

58. Reticulated tracery, Merton College, Oxford, c. 1310 .

59. Ball-flower enrichment . ...

60. Capital with natural foliage, chapel of St. Benedict,

Westminster Abbey. This capital, though it belongs to the reign of Henry III., is given as an example of the natural carving of the fourteenth century .

61. Moulded capital and base, with plan of pier reduced,

Swanington Church, Norfolk, c. 1320 .

62. Moulded base, c. 1260 . . .

65. Section of arch, the sunk chamfer, tower of Leint-

wardine Church, Herefordshire

66. Section of arch, monument in Church of St. Mary the

Great, Cambridge . . ...

67. Mouldings worked on the splayed face, doorway, St.

Mary-the-Less, Cambridge, 1350

68. Plans of columns, fourteenth century

69. Lierne vaulting, north choir aisle, Ely Cathedral, c. 1330

70. Weathering of buttress, St. Mary the Less, Cambridge,

1350 ‘ ; •

71. Roof with arched principals and intermediates, North

Elmham, Norfolk . ...

72. The beginning of Perpendicular tracery, Weston

Church, Norfolk, c. 1365 . ...

73. Further advance towards Perpendicular, Harleton

Church, Cambridgeshire, tr. 1375

74. Pure Perpendicular tracery, with a battlemented tran-

som and a four-centred arch, Cottenham Church, Cambridgeshire, c. 1390 . . . .

LIST OF ILLUSTRATIONS xxxiii

75. Gateway of St. John’s College, Cambridge, 1510.

From “ Cambridge Described and Illustrated ” . 50

76. West doorway, Chester Cathedral, c. 1490 . . 52

77. Four-centred arch with double hood-mould . . 53

78. Plan of pier . . . • • 53

79. Section of string-course . . 54

80. Section of doorway, Impington Church, Cambridge-

81. Plan of window-jamb and mullion, showing “case-

ment ” mouldings . . . . 54

82. Section of doorway, Swanington Church, Norfolk . 54

83. Capital and base of the same doorway, with plan of

jamb reduced . . . . 54

84. Figure on a hammer-beam, Cawston Church, Norfolk 55

85. Arch-mould with niches, Sonning Church . . 55

86. Brattishing, house of John Veysy, Cambridge, 1538 . 56

87. Fan-vaulting, Warwick Chapel, Tewkesbury Abbey

Church, Gloucestershire, 1421 . 57

88. Plan of fan-vault, King’s College Chapel, Cambridge,

1512 . . . . • 57

89. Hammer-beam roof, house at Cochwillan, near Bangor,

North Wales . . . . 59

90. Diagrams of hammer-beam roofs . . . 60

f

Chapter III Tudor

91. Doorway, Whitminster Church, Gloucestershire, c. 1500 63

92. Base of a monument, Spilsby Church, Lincolnshire,

93. Curved gables, Manor House, Fen Ditton, Cambridgeshire . . . ... 65

94. Oriel window, St. John’s College, Cambridge, 1600 . 66

95. Carved beam, house in Shrewsbury . . . 68

96. Plaster ceiling, combination-room (formerly gallery of

Lodge), St. John’s College, Cambridge, 1600 . . 68

PAGE xxxiv LIST OF ILLUSTRATIONS

FIG.

97. Arabesque wood-carving of miserere, King’s College,

98. Plans of mullions, Mediaeval and Tudor . . 68

99. Linen-panel and Tudor framing . . . 68

STUART

100. Banqueting House, Whitehall Palace, by Inigo Jones,

1619. From “ Vitruvius Britannicus” . .71

10 1. Block plan of Whitehall Palace. From Belcher and

Macartney s “ Later Renaissance Architecture in England ” . . . . 72

102. Lindsay House, Lincoln’s Inn Fields, London, by Inigo

Jones, c. 1625. From “ Vitruvius Britannicus” . 73

103. 104, 105. The Greek orders : Doric, Ionic, and Co-

rinthian. (Although the Renaissance architects followed the Roman varieties, it has been thought desirable to give the orders in the original and pure form.) . . . . . . 75

106. Chimney, Clare College, Cambridge . • • 79

107. a, Arch with stepped extrados ; b , rusticated quoins . 79

108. Plan of ceiling, library of Pembroke College, Cam-

109. Plaster cove under eaves, Bishop’s Hostel, Trinity

College, Cambridge, 1670 . . . . 82

1 10. Curved gable, Norfolk . . . 82

hi. Jacobean Gothic, roof of chancel, Whitwell Church, -

1 1 2. Wren’s plan for rebuilding the City. From Blomfieldls

“ English Renaissance Architecture” . . *85

HANOVERIAN

1 13. Choir school, Salisbury, c. 1700 . . . 86

1 14. The Customs-house (formerly the Exchange), King’s

Lynn, Norfolk, by Henry Bell, 1681. Frotn a drawing by Mr. C. O. King . . . 89

1 15. Section of Italian villa, Foot’s Cray Place, Kent,

c. 1720. From “Vitruvius Britannicus” . . 90

LIST OF ILLUSTRATIONS XXXV

116. Wentworth House, Yorkshire, by Henry Flitcroft,

1740. From Jones’s “ Views ” . . . 91

1 17. Head of street doorway, house in Oswestry, Shropshire 92

1 18. Lead rain-water head, Chester . . . 92

1 19. Gateway, St. Catherine’s College, Cambridge, 1679.

From “ Cambridge Described and Illustrated ” . 93

I 120. Front of the University Library, Cambridge, by

Stephen Wright, 1755. From the same . . 95

i 1 2 1. House in Bury St. Edmunds . . . 96

Chapter IV

122. Plan of a pagan basilica: Basilica Ulpia, Rome.

From J. H. Middleton’s “ Remains of Ancient Rome " . . . ... 99

123. Plan of old basilica of St. Peter, Rome. From

G. G. Scott's “ English Church Architecture" . 101

124. Plan of church of basilican type: St. Gall, Switzer-

land. From the same . . . . 102

j 125. Plan of Romano-British church: Silchester, Hampshire. From “ Archceologia" . . . 103

126. Plan of church of Celtic type : Escomb Church,

Durham. From “Archceological Journ.J vol. liii. . 105 | 127. Plan of church of basilica type : Wing, Buckinghamshire. From the same . . . . 105

I 128. Plan of Confessio, Wing (enlarged). From the same 105

129. Transitional plan: St. Pancras Church, Canterbury.

From the same, vol. Iviii. An example of the transition from porches to transepts, and of the three arches to the chancel . . . .107

130. Transitional plan : Worth, Sussex. From the same ,

vol. liii. “Transitional in type, uniting elements from the Italian and the Scottish [or Irish] traditions, and leading up to the purely English cross church.” — Micklethwaite . . . . 108

1 3 1. East end of French type, with aisled apse and radiat-