The Principles of Gothic Ecclesiastical Architecture Part 3

A. In a very rude manner, of two or more long blocks of stone, placed slantingly or inclined one towards the other, thus forming a straight line, or triangular-headed arch; the lower ends of these sometimes rest on plain projecting imposts, which surmount other blocks composing the jambs. We find a doorway of this description on the west side of the tower of Brigstock Church, forming the entrance into the curious circular-shaped turret attached and designed for a staircase to the belfry; an arched recess of this description occurs in the tower of Barnack Church, and a panel on the exterior of the same tower, and in windows in the tower of the old church, Barton-upon-Humber, and in the tower of Sompting Church, and St. Michael's Church, Oxford. The arch thus shaped is not, however, peculiar to the Anglo-Saxon style, but may occasionally be traced in most if not all of the subsequent styles, but not of such rude or plain construction.

[Ill.u.s.tration: Recess in the Tower of Barnack Church.]

Q. Were the Anglo-Saxon architects accustomed to construct crypts beneath their churches?

A. There are some subterranean vaults, not easily accessible, the presumed remains of Bishop Wilfrid's work, at Ripon and Hexham, of the latter part of the seventh century; but the crypt beneath the chancel of Repton Church, Derbyshire, the walls of which are constructed of _hewn_ stone, is perhaps the most perfect specimen existing of a crypt in the Anglo-Saxon style, and of a stone vaulted roof sustained by piers, which are of singular character; the vaulting is without diagonal groins, and bears a greater similarity to Roman than to Norman vaulting.

[Ill.u.s.tration: Crypt, Repton Church, Derbyshire.]

Q. Are mouldings, or is any kind of sculptured ornament, to be met with in Anglo-Saxon work?

A. Although the remains of this style are for the most part plain and devoid of ornamental detail, we occasionally meet with mouldings of a semicylindrical or roll-like form, on the face or under the soffit of an arch, and these are sometimes continued down the sides of the jambs or piers. Foliage, knot-work, and other rudely sculptured detail occur on the tower of Barnack Church, and some rude sculptures appear in St.

Benedict's Church, Cambridge; and the plain and simple cross of the Greek form, is represented in relief over a doorway at Stanton Lacey Church, and over windows in the tower of Earls Barton Church.

Q. What was the general plan of the Anglo-Saxon churches?

A. We have now but few instances in which the complete ground plan of an Anglo-Saxon church can be traced: that of Worth Church, Suss.e.x, is perhaps the most perfect, as the original foundation walls do not appear to have been disturbed, although insertions of windows of later date have been made in the walls of the superstructure. This church is planned in the form of a cross, and consists of a nave with transepts, and a chancel, terminating at the east end with a semicircular apsis--a rare instance in the Anglo-Saxon style, as in general the east end of the chancel is rectangular in plan. The towers of Anglo-Saxon churches are generally placed at the west end, though sometimes, as at Wotten Wawen, they occur between the chancel and nave. No original staircase has yet been found in the interior of any. The church at Brixworth, an edifice of the seventh century, and that of St. Michael, at St. Alban's, of the tenth century, have aisles. Sometimes the church appears to have consisted of a nave and chancel only.

Q. Why have we so few ecclesiastical remains of known or presumed Anglo-Saxon architecture now existing?

A. There are probably many examples of this style preserved in churches which have hitherto escaped observation[49-*]; still they are, comparatively speaking, rarely to be met with: and this may be accounted for by the recorded fact, that in the repeated incursions of the Danes in this island, during the ninth and tenth centuries, almost all the Anglo-Saxon monasteries and churches were set on fire and destroyed.

[Ill.u.s.tration: Anglo Saxon Doorway and Window, interior of the tower of Brigstock Church, north side.]

FOOTNOTES:

[49-*] All the Anglo-Saxon remains noticed in this chapter, except those alluded to as supposed to exist at Ripon and Hexham, together with the tower of the church of St. Benedict's, Lincoln, have been inspected by the author; and the ill.u.s.trations of this chapter are, with three exceptions, from his sketches made on the spot. Of the remaining three vignettes, two are from drawings made whilst the author was present, and one only, viz. that of the crypt beneath the chancel of Repton Church, has been reduced from a larger engraving. Besides the churches which have been referred to, several others which have not been visited by the author exhibit vestiges, more or less, of presumed Anglo-Saxon work. Of such churches the following is a list, and, with those mentioned in the chapter, const.i.tute all which have yet come under his notice:

Caversfield, Oxfordshire. Church Stretton, Salop. Trinity Church, Colchester. Deerhurst, Gloucestershire. Daglinworth, Gloucestershire.

Jarrow, Durham. Laughton-en-le-Morthen, Yorkshire. Kirkdale, Yorkshire.

Monkswearmouth, Durham. Ropsley, Lincolnshire. Stoke D'Abernon, Surrey.

Wittingham, Yorkshire.

Of these, seven are noticed by Mr. Rickman.

[Ill.u.s.tration: Norman Chancel, Darent Church, Kent.]

CHAPTER IV.

OF THE NORMAN OR ANGLO-NORMAN STYLE.

Q. To what era may we a.s.sign the introduction of the Anglo-Norman style?

A. To the reign of Edward the Confessor, since that monarch is recorded by the historians, Matthew Paris and William of Malmesbury, to have rebuilt (A. D. 1065) the Abbey Church at Westminster in a new style of architectural design, which furnished an example afterwards followed by many in the construction of churches.[52-*]

Q. Is any portion of the structure erected by Edward the Confessor remaining?

A. A crypt of early Norman work under the present edifice or buildings attached to it is supposed to have been part of the church constructed by that monarch.

Q. During what period of time did this style prevail?

A. From about A. D. 1065 to the close of the twelfth century.

Q. By what means are we to distinguish this style from the styles of a later period?

A. It is distinguished without difficulty by its semicircular arches, its ma.s.sive piers, which are generally square or cylindrical, though sometimes multangular in form, and from numerous ornamental details and mouldings peculiar to the style.

Q. What part of the original building has generally been preserved in those churches that were built by the Normans, when all the rest has been demolished and rebuilt in a later style of architecture?

[Ill.u.s.tration: Norman Doorway, Wolston Church, Warwickshire.]

A. There appears to have been a prevalent custom, among those architects who succeeded the Normans, to preserve the doorways of those churches they rebuilt or altered; for many such doorways still remain in churches, the other portions of which were built at a much later period. Thus in the tower of Kenilworth Church, Warwickshire, is a Norman doorway of singular design, from the square band or ornamental facia which environs it. This is a relic of a more ancient edifice than the structure in which it now appears, and which is of the fourteenth century; and the external masonry of the doorway is not tied into the walls of more recent construction, but exhibits a break all round. The church of Stoneleigh, in the same county, contains in the north wall a fine Norman doorway, which has been left undisturbed, though the wall on each side of Norman construction, has been altered, not by demolition, but by the insertion, in the fourteenth century, of decorated windows in lieu of the original small Norman lights.

Q. Were the Norman doorways much ornamented?

A. Many rich doorways were composed of a succession of receding semicircular arches springing from rectangular-edged jambs, and detached shafts with capitals in the nooks; which shafts, together with the arches, were often enriched with the mouldings common to this style. Sometimes the sweep of mouldings which faced the architrave was continued without intermission down the jambs or sides of the doorway; and in small country churches Norman doorways, quite plain in their construction, or with but few mouldings, are to be met with. There is, perhaps, a greater variety of design in doorways of this than of any other style; and of the numerous mouldings with which they in general abound more or less, the chevron, or zig-zag, appears to have been the most common.

Q. In what other respect were these doors sometimes ornamented?

A. The semicircular-shaped stone, which we often find in the tympanum at the back of the head of the arch, is generally covered with rude sculpture in ba.s.so relievo, sometimes representing a scriptural subject, as the temptation of our first parents on the tympanum of a Norman doorway at Thurley Church, Bedfordshire; sometimes a legend, as a curious and very early sculpture over the south door of Fordington Church, Dorsetshire, representing a scene in the story of St. George; and sometimes symbolical, as the representation of fish, serpents, and chimerae on the north doorway of Stoneleigh Church, Warwickshire. The figure of our Saviour in a sitting att.i.tude, holding in his left hand a book, and with his right arm and hand upheld, in allusion to the saying, _I am the way, and the truth, and the life_, and circ.u.mscribed by that mystical figure the _Vesica piscis_, appears over Norman doorways at Ely Cathedral; Rochester Cathedral; Malmesbury Abbey Church; Elstow Church, Bedfordshire; Water Stratford Church, Buckinghamshire; and Barfreston Church, Kent; and is not uncommon.

Q. Are there many Norman porches?

A. Norman porches occur at Durham Cathedral; Malmesbury Abbey Church; Sherbourne Abbey Church; and Witney Church, Oxfordshire; but they are not very common. The roof of the porch was usually groined with simple cross springers and moulded ribs; and in some instances a room over has been added at a later period. Numerous portals of the Norman era appear constructed within a shallow projecting ma.s.s of masonry, similar in appearance to the broad projecting b.u.t.tress, and, like that, finished on the upper edge with a plain slope. This was to give a sufficiency of depth to the numerous concentric arches successively receding in the thickness of the wall, which could not otherwise be well attained.

Q. What kind of windows were those belonging to this style?

A. The windows were mostly small and narrow, seldom of more than one light, except belfry windows, which were usually divided into two round-headed lights by a shaft, with a capital and abacus. Early in the style the windows were quite plain; afterwards they were ornamented in a greater or less degree, sometimes with the chevron or zig-zag, and sometimes with roll or cylinder mouldings; in many instances, also, shafts were inserted at the sides, the window jambs were simply splayed in one direction only, and the s.p.a.ce between them increased in width inwardly.

[Ill.u.s.tration: Norman Window, Ryton Church, Warwickshire.]

Q. Do we meet with any circular or wheel-shaped windows of the Norman era?

A. A circular window, with divisions formed by small shafts and semicircular or trefoiled arches, disposed so as to converge to a common centre, sometimes occurs in the gable at the east end of a Norman church, as at Barfreston Church, Kent; and New Sh.o.r.eham Church, Suss.e.x; and are not uncommon.

[Ill.u.s.tration: Early Norman Window, Darent Church, Kent, with incipient zig-zag moulding.]

Q. What kinds of piers were the Norman piers?

A. Early in the style they were (with some exceptions, as in the crypts beneath the cathedrals of Canterbury and Worcester) very ma.s.sive, and the generality plain and cylindrical; though sometimes they were square, which was indeed the most ancient shape; sometimes they appear with rectangular nooks or recesses; and, in large churches, Norman piers had frequently one or more semicylindrical pier-shafts attached, disposed either in nooks or on the face of the pier. We sometimes meet with octagonal piers, as in the cathedrals of Oxford and Peterborough, the conventual church at Ely, and in the ruined church of Buildwas Abbey, Salop; and also, though rarely, with piers covered with spiral flutings, as one is in Norwich Cathedral; with the spiral cable moulding, as one is in the crypt of Canterbury Cathedral; and encircled with a spiral band, as one appears in the ruined chapel at Orford, in Suffolk; sometimes, also, they appear covered with ornamental mouldings. Late in the style the piers a.s.sume a greater lightness in appearance, and are sometimes cl.u.s.tered and banded round with mouldings, and approximate in design those of a subsequent style.

Q. How are the capitals distinguished?