Sidney Heath

“ The most erudite Gothic mason could have possessed but little art knowledge as compared with the modern architect, and yet with our learned societies, wonderful libraries, easily obtained photographs and plans of the best buildings in the world; with writers far superior in intellectual acquirements to those of the Middle Ages, our vast wealth, with our tools such as the mediæval craftsman could never have dreamed of, and with the experience of twenty centuries to guide us we have made no advance during more than half a century. ”

“ When the old basilica style of church with its heavy beam roof and its innumerable columns had ceased to satisfy the lofty aspirations of Latin Christianity, and when the Greeks had inaugurated a new style of church architecture, only two courses were left to the Latins, either to adopt the Greek style in its entirety, or to improve upon the basilica type. Fortunately, although after considerable hesitation, they chose the latter alternative, the result being the genesis of our glorious cathedrals with their long naves and aisles, deep transepts and beautiful variety of form and outline. ”

“ To all those who love old buildings—cathedrals, abbeys, and village churches, which breathe the spirit of an age with which we have entirely broken—and who would fain hand down to posterity, unmutilated, the great building achievements of our forefathers, which we, with all our science, wealth, and means of curtailing labour, can no more imitate than we can reproduce the language of a Chaucer or a Shakespeare ”

“ The slave-built temples of the Greeks offered no scope for the exercise of individual expression—such, in fact, would have been strongly resented—whereas the early Christian craftsman, revelling in his freedom, seized every opportunity of expressing in his work his joy, fear and hope of immortality.
This is made apparent in the study of an old church, whereof every portion—door, window, bench-end, carving, gargoyle—has hidden about it some suggestion of beautiful thought, or some distinct and appropriate symbolism. ”

“ In our grand specimens of ecclesiastical architecture, we may read the world's later history, and to-day they breathe the sombre reverential influence of a faith which sought to satisfy itself with the visible symbolizing of those half-poetical, half-superstitious conceptions with which the religion of the Middle Ages was so deeply imbued. ”

“ It must be pointed out that the arbitrary divisions into which architecture has been divided—Norman, Gothic, etc., are pure figures of the imagination, as by a series of easy transitions, one style became gradually merged into the next without any hard and fast dividing lines whatever. The periods during which one style became gradually blended into another are called the periods of transition. ”

“ The style which followed the Early English is known as the Geometric or Early Decorated style, and it embraces roughly the end of the 13th century and the first twenty or thirty years of the 14th century, and continued in its later or Curvilinear form to near the end of that century. Perhaps the most perfect example of the Geometric style in the world is the cathedral church at Amiens, which is usually called the mother church of this style, and although she has many daughters, none of them can be said to equal their parent in beauty. ”

“ It must be noted that beautiful as are Curvilinear windows, yet they mark a certain decadence in Gothic architecture, in that it is an irrational treatment of stone, and conveys the idea that the material was bent and not cut into the required shape, it being a well-established canon in art that when strength is sacrificed to mere elegance it marks a decline in that art. ”

“ The truth is that many of our churchyards have an antiquity far greater than that of the churches, as many of them constituted the open-air meeting-places of our Saxon forefathers long before the erection of parish churches. In the common meeting-place a cross was set up, either of wood or stone, to mark and hallow the spot, and when a church was subsequently built it was usually in the immediate vicinity of the cross, which accounts for the fact that many churchyard crosses are of older date than the churches themselves. ”

“ The gradual decline of the Gothic style is very evident in late Perpendicular churches, especially in those erected at the beginning of the XVIth century. The elements of Gothic architecture became much degraded and led to that mixture of features called the Debased Gothic in which every real principle of art and of beauty was lost.
The chief characteristics, then, of the Perpendicular style are the vertical mullions, and the general flattening of arches, mouldings and carvings. Should there be no other guide, a Perpendicular church carries its style and period stamped upon its carvings. ”

“ Decorated capitals as a rule follow the contour of the pier in clustered columns, and are either bell-shaped or octagonal. They are frequently only moulded, thus presenting rounds, ogees and hollows, on which the prevailing ornaments of the period, the ball and the square flower, are set. The foliated sculpture is most exquisite, and is gracefully wreathed around the bell, instead of rising from the astrigal or upper member of the capital, as in the earlier style. ”

“ The origin of what is loosely called Gothic architecture—which is generally considered to include the styles, with their transitions, from Early English to late Perpendicular, or Tudor-Gothic—is not free from obscurity, but it is certain that it began to be employed in ecclesiastical edifices about the time that the Goths settled in Italy, although all the available evidence goes to prove that the style originated and underwent its earliest developments in the north-west of Europe, and penetrated by slow degrees to the south and east. ”

“ Architecture being progressive, it was only by the gradual development of one style from another that the art was enabled to advance with social progress, the literature and other arts of the country. The transition from the Norman to the Early English style may be ascribed to a period somewhat earlier than the 12th century, when a great change in the construction of the arch began to manifest itself. ”

“ The roof is flat pitched and is of oak, the principals are adorned with panelled tracery and show vestiges of ancient colour decoration. The windows of the aisles are late Decorated in style; they are of three lights, the traceries elegant and richly moulded. The east window is Perpendicular and is much sub-divided by mullions and transoms; in the upper portions are some heraldic coats of arms, which appear to have formed part of a much earlier window. The chancel is divided from the nave by a fine open oak screen, coeval with the larger part of the building. ”

“ The work in itself is of absorbing interest, and the more one studies these works of past ages the stronger becomes the conviction that our old buildings, whether cathedral, castle or simple village church, are the landmarks of the nation's history, and a priceless inheritance of beauty and art the conservation of which is the duty of all generations.
The principal points to be noted are—1. The name of the church. 2. Its situation. 3. Its dedication. 4. General plan. 5. The style of architecture to which each portion belongs. 6. Any peculiarity of the architecture, blocked up windows, etc. 7. ”

“ Probably the most beautiful feature of a Gothic church is the spire, raising its tapering form far above the town or village and forming a prominent landmark, denoting the location of the House of God. Although found occasionally in other styles, the spire is essentially Gothic, and one of the most marked characteristics of this period. Spires are generally of two kinds, those constructed of timber and covered with slates, lead, tiles or shingles, and those built of stone or brick. ”

“ This is a great feature, but the most striking point in all good Gothic work is the wonderful elaboration of geometric tracery, vesicas, trefoils, quatrefoils and an immense variety of other ornament.
In regard to the sizes of our great churches it may be of interest to note that our longest English cathedral is Winchester. York and Lincoln, although not so long as Winchester, are in superficial area very much larger. The largest English church of a non-cathedral rank is Westminster Abbey, which has, moreover, the distinction of being the loftiest internally; the nave being 104 ft. in height. ”

“ The styles called Romanesque and Lombardic are but geographical varieties of the same architecture and from these the Saxon and Norman styles were soon to be developed. The vaulted basilica church soon became common over the north of Europe, the two most important and practically unaltered examples being the cathedrals of Speyer and Worms, in Germany, although our Anglo-Saxon cathedrals of Peterborough, Ely and Norwich may, so far as regards their naves, be justly regarded as the offspring of the vaulted basilica style of building. ”

“ Our best architects acknowledge that until we get a new method of building, originality in architecture is an impossibility, mainly because all the existing styles of architecture have been worked out to their legitimate conclusion, and have been perfected under circumstances and conditions with which we have entirely broken ”

“ When all was lost and there was no longer a church or home to defend, the Britons retired to the country of their fellow-Christians, the secluded and almost impenetrable hills and forests of the west. The Anglo-Saxon love of gold was quickly recognised by the people of West Wales who saved their property and bought the right of worshipping after the manner of their fathers by the payment of an annual tribute to their conquerors. ”

“ Prompted by a deep and fervent faith in their religion, the Gothic builders and sculptors unconsciously wove into the humblest of their architectural enrichments some portion of their daily life and personality. ”

“ The aim of the author of this little volume has been to indicate the symbolism and meaning attaching to the various portions of our churches and cathedrals, and to endeavour briefly to describe, in language as simple as the subject will allow, the various styles of ecclesiastical architecture with their distinctive characteristics in such a way as will enable the reader to assign each portion and detail of a church to its respective period with an approximate degree of accuracy.
He does not claim to be original, but endeavours to be useful and interesting. ”

“ Before the coming of the Anglo-Saxons the church seems to have established a firm hold on the people, who held tenaciously to their possessions, both secular and religious, which were only wrested from them after a severe struggle. Their enthusiastic love of Christianity led them to make a heroic defence of the churches, rather than see them fall into the hands of the heathen Anglo-Saxons. ”

“ The commercial prosperity of the age produced a class who travelled abroad and cultivated the fine arts, with the result that they desired to see erected in England buildings such as they had seen in Rome, Florence, Genoa and Padua. It is generally admitted that the ramifications of Gothic architecture had reached their utmost limit, and the style was getting out of hand, as is seen by the flamboyant buildings on the continent. ”

“ Features of the church are the many highly carved bench ends, all in oak, representing a great variety of subjects, such as dragons, serpents, etc., while a few bear the arms of local families who probably bore the cost of the work. The pulpit is Jacobean, and has no special feature. The font, which stands in the centre of the nave, is square in form and is supported by a modern round plinth. It is constructed of marble, the four sides being carved in low relief with intersecting patterns. It is possibly of Norman date, and is the only existing feature of a much earlier church. ”

“ In the early years of the Christian Church, when its members became sufficiently free from persecution to erect buildings for the purpose of worship, they were naturally anxious to avoid any of the forms peculiar to either heathen or Jewish temples. Some model, however, was necessary, and their choice being limited, they appear to have adopted the simple style of the Roman basilica, or court of justice. ”

“ During the twelfth and thirteenth centuries the roofs were often richly groined, and upheld by cylindrical columns or clustered piers, and furnished with handsome bases and decorated capitals. There is abundant evidence that crypts were at one time furnished with altars, piscinas, and the various fittings requisite for the celebration of the mass, and they were used as sepulchres, wherein the shrines of relics and martyrs were carefully preserved. Some authorities claim a purely Saxon origin for the crypts at Ripon Cathedral, Hexham Abbey, and Repton Church, Derbyshire. ”

“ The flowing contours and curved lines of the previous style now gave place in the windows to mullions running straight up from the bottom to the top, and crossed by transoms. As the arch became more and more depressed the mouldings became shallower and less effective. In early buildings of this period the drop arch is very prevalent, but as the period advanced a form known as the Tudor arch began to be used. It is an arch in which, as a rule, the centres of the upper portion lie immediately below those of the lower, but this is not always the case. ”

“ Probably few of our so-called Saxon churches were built earlier than thirty or forty years before the Norman Conquest, and it seems certain that for some years after they had settled in England, the Normans employed [32] Saxon masons to build in the Saxon manner, as is seen by the tower of S. Michael's Church, Oxford, which, although showing all the characteristics of reputed Saxon masonry was built many years after the Battle of Hastings. ”

“ The crypts so generally found beneath our cathedrals and abbeys, and so frequently under our churches, rarely extend beyond the choir or chancel and its aisles, and are sometimes of very small dimensions. They are often coeval with the upper parts of the building, and although not so elaborate in ornamentation as the fabric they support, they are almost without exception well constructed and well finished pieces of building. In some cases the crypt is of much older date than any portion of the superstructure, as is the case at York, Worcester and Rochester cathedrals. ”

“ Norman architecture is in the use of the pointed form of arch, yet in the study of the early buildings of this date it is curious to notice how evenly the balance is held between the pointed and the round arch, and how at one time it was quite an open question whether the Gothic style would be distinguished by a round or a pointed arch. ”

“ Early English mouldings are very complicated and yet very beautiful, and consist of beads, keel and scroll patterns, separated by deep hollows giving a rich effect of light and shade round the arch. These deeply-cut hollows are also a distinctive mark of the style. ”