Page:Cassell's Illustrated History of England vol 1.djvu/480

466 have attained its greatest excellency; this was its culminating point. Up to this period it had gone on improving from change to change; its principles had been fully carried out, and the fancy seems to have run wild in imagining new forms of beauty. The more we contemplate the buildings of this period the more we are struck with admiration of the wonderful powers of invention possessed by the architects and workmen of the time. Wherever ornament was wanted, there it was ready, and always beautiful and appropriate. They possessed a keen perception of the beauties of Nature, and hands capable of giving form to those perceptions. But when so much perfection had been attained, it is not unnatural, however it may be regretted, that the next change should be in a downward direction. This was the case here; and the introduction of the straight line led to the entire destruction of all that grace and freedom so much admired in Decorated Gothic architecture.

Many of our finest ecclesiastical buildings are in this style. The beautiful crosses of Northampton, Waltham, and Geddington, erected by Edward I. to the memory of his Queen Eleanor, are of the early or Geometrical period, and afford many valuable details.

Exeter Cathedral, the nave of York, the chapel of Morton College, Oxford, and the Chapter House, Wells, offer excellent examples of the Geometrical period.

The west front of York is the finest specimen of a Decorated front we possess, and the details are of the most exquisite description, both in design and execution.

The Chapter House, York, is of Early Decorated character. It is octagonal and groined, and is said by Rickman to be "by far the finest polygonal room without a central pillar in the kingdom, and the delicacy and variety of its ornaments are nearly unequalled." That it must, even at the time of its erection, have been considered "unequalled" is shown by the inscription at the entrance—

The Chapter House, Wells, is another extremely beautiful building of the same period; but this is supported by a central pillar.

Many fine churches of this style are to be found in various parts of the kingdom, of which one of the finest is Howden, Yorkshire; but many of them, though belonging to this period, are very plain in their details.

The monuments of this century are, both in composition and execution, the finest which exist. We have many fine bold compositions in Early English, and many very elaborate ones in the Perpendicular style, but none of them equal the Decorated in chasteness of design and delicacy of execution. The monument of Aymer de Valence in Westminster Abbey is a fine specimen of Early Decorated; the Percy shrine at Beverley Minster is another splendid example; and the effigy of Queen Eleanor in Westminster Abbey is one of the most elegant figures in this or any other country.

—Many church towers in this style are finished with spires, which are frequently crocketed and have spire lights, and sometimes they are banded with quatrefoils.

— These are the most important features of the Decorated style, and will require the greatest attention. In its early period, or what is called Geometrical, the lancet window is still sometimes used; but it is foliated and not plain, as in Early English. The heads of two-lights windows are divided by arches springing from the mullions. The spaces are filled with triangles, trefoils, quatrefoils, circles, &c., all the forms being such as could easily be drawn with the compasses; but the ogee, or flowing curve, is never used. In larger windows the same filling up of the head with geometrical forms is used, and plain intersecting tracery is not uncommon. These forms are combined in many different manners, and great variety is produced. The window given from Meopham is an example of early tracery.

By an easy and natural process this stiff tracery gave way to the flowing line which succeeded it. One of the earliest modifications was to fill the head of the window with flowing quatrefoils. This was much used in the time of Edward II. The use of the flowing line gave such great facilities for design, that the varieties of tracery are almost innumerable; so much so, that they are difficult to describe, or even to classify, and in our small space it is impossible. They, however, all agree in one principle—that is, the mullions branching into tracery, and not being carried through to the head of the window, as in the next style. The one given from St. Mary's, Beverley, is a good example for showing the manner in which the lines of the mullions were carried up. There are many windows in this style which have ogee heads and canopies.

—In small churches the doorways have frequently but little, except the mouldings, to distinguish them. Those are carried without interruption down to the ground. They are commonly quite plain, but have sometimes hollows filled with the ball-flower or foliage. In cathedrals and large buildings the doorways are usually of large dimensions, and are often very deeply recessed. They are richly moulded, and the hollows filled with a profusion of ornament and foliage, among which the four-leaved flower and ball-flower are conspicuous. They have generally shafts, with capitals and bases; these shafts are not detached, as in the Early English, but cut in the same stone as the mouldings. Sometimes a series of niches with figures is carried round the door.

The finest examples we have of decorated doors are those of the west front of York, and the south door of the choir, Lincoln. A canopy, either single or double, sometimes flowing and sometimes straight-lined and richly crocketed, is often carved over the door.

Porches are not numerous, but of great variety of form, and can in general be only distinguished by their mouldings and details. They have frequently a considerable projection, with windows in their sides and groined roofs. There is a very curious one at Over, in Cambridgeshire, which has clustered shafts and pinnacles at the angles. Wooden porches with ornamental barge-boards are not uncommon.

The of this style are usually very rich. The earlier ones are in general finished with a small gable or canopy reaching as high as the parapet, as at Merton College, Oxford, where the pediment is filled with a trefoil, and the gargoyle, or water-spout, of grotesque