A B C of Gothic Architecture

RCHITECTURAL History can only be understood by the eye, either by seeing the buildings themselves, with time to examine the construction and the details of each period, or by accurate representations of them arranged in chronological order. This is what has been attempted in the present work; and when so arranged, any one, however ignorant of the subject, can see and understand the gradual progress and change from one generation to another. What is thus understood is also easily remembered; we can always remember what we have seen, much better than what we have only heard or read about; an accurate representation of each object is better than many pages of description, or of essays about it. The arrangement made in this little work will enable any one to understand the general principles of what are called the styles or periods of Gothic Architecture. Some persons

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 object to this name, which was undoubtedly given originally in contempt by the admirers of the Palladian style, but it has been so generally adopted all over Europe for the last century or more, that it would be in vain to attempt to change it; it is a convenient name, which everybody understands as a general term for the different styles of MEDIÆVAL ARCHITECTURE. Dr. E. A. Freeman has ingeniously suggested that it is the architecture of the Gothic nations who conquered the Roman Empire, and one of which to be proud rather than ashamed.

Strictly speaking, the Norman is one of the Romanesque styles, which succeeded to the old Roman; but the Gothic was so completely developed from the Norman, that it is impossible to draw a line of distinction between them; it is also convenient to begin with the Norman, because the earliest complete buildings that we have in this country are of the Norman period, and the designs of the Norman architects, at the end of the eleventh century and the beginning of the twelfth, were on so grand a scale, that many of our finest cathedrals are built on the foundations of the church of that period, and a great part of the walls are frequently found to be really Norman in construction, although their appearance is so entirely altered that it is difficult at first to realize this; for instance, in the grand cathedral of

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 Winchester, William of Wykeham did not rebuild it, but so entirely altered the appearance, that it is now properly considered as one of the earliest examples of the English Perpendicular style of which he was the inventor; this style is entirely confined to England, it is readily distinguished from any of the Continental styles by the perpendicular lines in the tracery of the windows, and in the panelling on the walls; in all the foreign styles these lines are flowing or flame-like, and for that reason they are called Flamboyant; a few windows with tracery of that style are met with in England, but they are quite exceptions.

Some persons who object to the name of Gothic, would use the name of Pointed instead; this name was proposed by the Cambridge Camden Society about half-a-century ago, but had never got into general use, and is now seldom met with. I always objected to it, on the ground that it misleads beginners in the study, who invariably consider every round-headed doorway as Norman, and every square-headed window as Perpendicular, which is very far from being the case. The form of the arch is always dictated by convenience, and is in itself no guide to the age or style of a building; the only safe guides are the moldings and details, and these require some study, but are not at all difficult to understand or remember, when a good series of examples are put be

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fore us, as I hope will be found by those who use this little book.

I should mention that this is not at all intended to supersede my “Introduction to the Study of Gothic Architecture,” but rather to serve as a stepping-stone to it, just as that leads people to want my edition of Rickman’s work, with the historical additions that I have made to it.

Rickman was the first to reduce chaos into order, and to shew that the age of a building can be ascertained by the construction and the details, on the principle of comparison with well-known dated examples, and he should always have the credit of being the first to establish this. His work was at first thought rather hard reading, and this was natural, because he trusted too much to words only; my “Glossary of Architecture” was called “Rickman made easy,” and this is true, because, by means of the excellent and accurate woodcuts of Orlando Jewitt, I was able to explain all the technical words which Rickman was obliged to use. In the present work I have avoided the use of these as much as possible, and have trusted to the eye in the numerous examples given, rather than to any words to explain them. The same persons who objected to the name of Gothic, objected also to the name of Early English for the earliest Gothic style in England; but

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 this was undoubtedly developed from the Norman, in England, earlier than anywhere else.

The earliest pure and complete Gothic building in the world is St. Hugh’s choir at Lincoln, which was built between 1192 and 1200, St. Hugh himself having died just before the consecration in the latter year. Of this we have distinct evidence in the life of the good bishop (who was called a saint) by his domestic chaplain, the original MS. of which is preserved in the Bodleian Library, and it has only been published in my time, at my suggestion—through Sir Duffus Hardy, the assistant Keeper of the Rolls—by the Master of the Rolls in the Government series of Chronicles. The best-informed French antiquaries acknowledge that they have nothing like it in France for thirty years afterwards; they thought it was copied from Notre Dame at Dijon, to which there is considerable resemblance, but that church was not consecrated till 1230, so that the Dijon architect might have copied from the Lincoln one, but the Lincoln could not have copied from Dijon.

In England this style is only a natural development from the Norman, in which the transition had been going on for half-a-century before. At the time of the rebuilding of the choir at Canterbury, the change was making rapid progress, the work of William the Eng

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lishman there is considerably in advance of that of his teacher, William of Sens, who began the rebuilding. The eastern transepts and the Corona of Canterbury, finished in 1184, approach very near to Gothic.

The small church of Clee at the mouth of the Humber, of which the chancel and transepts and central tower were rebuilding almost at that time, are still more Gothic, and this work was consecrated by S. Hugh in 1192, as recorded by an inscription; this was the very year in which he began rebuilding the choir at Lincoln, which was finished, as we have said, in 1200. Many of the churches of the rich Norman Abbeys in the south of Yorkshire, and north of Lincolnshire, are nearly as much advanced at the same period; and the west end of the great abbey church at St. Alban’s, begun by De Cella about A.D. 1200, is also pure Gothic: of this, unfortunately, we have only a few remains.

In this work I have purposely omitted the remains of Roman villas, and of the churches between the Roman and the Norman period, of which the remains are more numerous than is generally supposed, especially the substructures, or crypts as they are called, and there are several churches of the eleventh century that do not belong to the Norman style. The Saxons appear to have been more advanced in the fine arts such as

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 Sculpture than the Normans, but their churches were on comparatively a small scale, and were generally swept away by the Normans as not worth preserving: every one of our cathedrals was rebuilt by the Normans, and not always exactly on the same site, the old church being sometimes kept for use whilst the new one was building. Although these remains are of great interest to the antiquary, they have nothing to do with the history of Gothic architecture, which is certainly developed from the Norman, and the change did not begin till after the middle of the twelfth century, or about a century after the introduction of this style by Edward the Confessor: the remains of his abbey at Westminster are clearly Norman, and quite distinct from the Saxon character, but this style is called by the French antiquaries ANGLO-NORMAN, and this is quite correct. Normandy was then a province of the dominions of the King of England, and there are scarcely any buildings in Normandy earlier than the time of the Conquest.

The best-informed Norman antiquaries at the time of the revival of the study of Architectural History, between 1830 and 1840, made a series of excursions to the sites of all the castles of the barons who came over to England with William the Conqueror, in search of some masonry of the first half of the eleventh cen

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tury. To their surprise, they found no masonry at all in any one of them; there were magnificent earthworks to all of them, clearly shewing that castles of that period were of earthworks and wood only. This is recorded in the Bulletin Monumental of the period, and the substance of the observations is given in the ABCédaire of De Caumont[A], who was their leader.

It is a mistake to suppose that the Normans brought this style with them “ready cut and dried,” it began in Normandy and in England simultaneously; the two great abbey churches at Caen were both built after the Conquest, and with English money, and they are not at all in advance of similar buildings in England; both had originally wooden roofs and ceilings only, the stone vaults were not put on until a century after they were built; we have no stone vaults over a space of 20 ft. wide before the middle of the twelfth century, either in England or Normandy. It seemed necessary to say a few words about Normandy, but for any further information about architecture in France or in other parts of Europe, I must refer the reader to my “Introduction,” in which I have given a good deal of information on the subject from personal observation.

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In the present work I have purposely made long extracts from my “Introduction,” on the general character of each style, which are very often the words of Rickman himself, because I could only have said the same thing in other words, and this would rather confuse students than assist them. I have selected other examples, so that one should not be a repetition of the other in the material point, the teaching by the eye; and in those examples where I saw that a few words of description would be useful, they are added, so that this work is complete in itself for beginners, but those who wish to go on further with the subject can do so step by step. The only real way of thoroughly understanding Architectural History, is to go about and see the buildings themselves.