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sometimes lined with wain-
scot of curious carved hois-
serie on the panels, whif.'h
afterwards became more
adorned, and were hung
with tapestry. At War-
wick was a memorable suit
of arras whereon were re-
presented the acliievements
of the famous Guy Earl of
41 9. The period of wliich
we are treating was as ce-
lebrated for its bridge as
for its military architecture,
^^^^ cxliibits 38 one of its
examples that famed curiosity the triangularly formed bridge of Croyland in Lincolnshire,
erected over the confluence of three streams. Bridge architecture was in many instances
so necessarily connected with the construction of
a fortress, that it may almost, in this age, be taken
as a branch of military architecture.
420. This style exhibits Arches, less acute and
more open
19B, from York IMinster), the
forms varying. Columns. The central and de-
tached shafts now worked together into one, from
experience of the weakness of those of the pre-
vious style, exceedingly various in their combina-
tions. The Jl'in/lows are larger, divided by mid-
lions into several lights spreading and dividing at
top into leaves, flowers, fans, wheels, and fantilul
forms of endless variety. 'J'hese marks are con-
stant, but in the proportionate breadth there is mucli
variation, for after having expanded in the reigns
of Edward I. and II., they grew narrower again in
proportion to their height in that of Edward III,
and also sharper. The head was then formed of lines
just perceptibly curved, sometimes even by two
straight lines, sometimes just curved a little above
the haunches, and then rectilinear to the apex.
Eastern and western windows very lofty and ample,
and splendidly decorated with painted glass.
or Ceiling. The vaulting more decorated. The
principal ribs spread from their imposts running
over the vault like tracery, or rather with transoms
divided into many angular coinpartments, and orna-
mented at the angles with heads, orbs, historical or
legendary pictures, &c., elaborately coloured and
gilded. Ornaments. More various and laboured,
but not so elegant and graceful in character, as
in the preceding style. Niches and tabernacles with statues in great abundance. Tiers
of small ornamental arches are frequent. The ])innacles are neither so lofty nor tapering,
but are more ricldy decorated with leaves, crockets, &c. Sculpture is introduced in much
profusion, and is frequently painted and gilt. Screens, stalls, doors, pannelled ceilings,
and other ornaments, in carved and painted wood. (See Book III. Chap.
421. The principal examples of the ornamented English style in cathedral churches, are
Exeter, the nave and choir.
luiiformly. At Lincoln, the additions to the
central tower.
At ll'orcester, the nave. Fork, nave, choir, and western front. At Canter-
bury, transept. At Gloucester, transept and cloisters begun, Norwich, the spire and tower.
Salisbtiri/, spire and additions. Bristol, the nave and choir. Chichester, the spire and choir.
Ell/, Our Lady's Chapel and the central louvre. i/ere/orc/, the chapter-house and cloisters,
now destroyed. In the later part of the period, the choir at Gloucester
the nave at Can-
terburrj Bishop Beckington's additions at Wells, and from the upper transept to the great
east window at Lincoln. In conventual churches, for the earlier part of the period, the
western facade of Howden
Merton Co'ler/e,
Oxford. Gishorne Priori/,
Yorkshire, Chapel at New College, Oxford. St. Stephen's Cha/iel, Westminster, The ad-
ditions to the pediments of the choir at Kirkstall, Yorkshire. St. Mary's in York.
Kirkham in Yorkshire, and the choir
Selby, in the same county. For the later part of
FiR, 198,