The Principles of Gothic Ecclesiastical Architecture, Elucidated by Question and Answer, 4th ed | Page 3

ancient churches, as in that at Dover Castle, and that at Bricksworth, we find arches constructed of flat bricks or tiles, set edgewise, which was also a Roman fashion. The masonry was chiefly composed of rubble, with ashlar or squared blocks of stone at the angles, disposed in courses in a peculiar manner.
[Illustration: Anglo-Saxon Arches, Bricksworth Church, Northamptonshire (7th. cent.)]
The most common characteristic by which the NORMAN style is distinguished, is the semicircular or segmental arch, though this is to be met with also in the rare specimens of Anglo-Saxon masonry; but the Norman arches were more scientifically constructed: in their early state, indeed, quite plain, but generally concentric, or one arch receding within another, and in an advanced stage they were frequently ornamented with zig-zag and other mouldings. A variety of mouldings were also used in the decoration of the Norman portals or doorways, which were besides often enriched with a profusion of sculptured ornament. The Norman churches appear to have much excelled in size the lowly structures of the Saxons, and the cathedral and conventual churches were frequently carried to the height of three tiers or rows of arches, one above another; blank arcades were also used to ornament the walls.
[Illustration: Norman Arcade, St. Aldgate, Oxford.]
The Norman style, in which an innumerable number of churches and monastic edifices were originally built or entirely reconstructed, continued without any striking alteration till about the latter part of the twelfth century, when a singular change began to take place: this was no other than the introduction of the pointed arch, the origin of which has never yet been satisfactorily explained, or the precise period clearly ascertained in which it first appeared; but as the lightness and simplicity of design to which the Early Pointed style was found to be afterwards convertible was in its incipient state unknown, it retained to the close of the twelfth century the heavy concomitants of the semicircular arch, with which indeed it was often intermixed: and from such intermixture it may be designated the SEMI or MIXED NORMAN.
When the original Norman style of building was first broken through, by the introduction of the pointed arch, which was often formed by the intersection of semicircular arches, the facing of it, or architrave, was often ornamented with the zig-zag, billet, and other mouldings, in the same manner as the Norman semicircular arches: it also rested on round massive piers, and still retained many other features of Norman architecture. But from the time of its introduction to the close of the twelfth century, the pointed arch was gradually struggling with the semicircular arch for the mastery, and with success; for from the commencement of the thirteenth century, as nearly as can be ascertained, the style of building with semicircular arches was, with very few exceptions, altogether discarded, and superseded by its more elegant rival.
[Illustration: Canterbury Cathedral.]
The mode of building with semicircular arches, massive piers, and thick walls with broad pilaster buttresses, was now laid aside; and the pointed arch, supported by more slender piers, with walls strengthened with graduating buttresses, of less width but of greater projection, were universally substituted in their stead. The windows, one of the most apparent marks of distinction, were at first long, narrow, and lancet-shaped: the heavy Norman ornaments, the zig-zag and other mouldings peculiar to the Norman and Semi-Norman styles, were now discarded; yet we often meet with certain decorative ornaments, as the tooth ornament, which, though sometimes found in late Norman work, is almost peculiar to the Early Pointed style; also the ball-flower, prevalent both in this and the style of the succeeding century. Many church towers were also capped with spires, which now first appear. This style prevailed generally throughout the thirteenth century, and is usually designated as the EARLY ENGLISH.
[Illustration: Horsley Ch., Derbyshire.]
Towards the close of the thirteenth century a perceptible, though gradual, transition took place to a richer and more ornamental mode of architecture. This was the style of the fourteenth century, and is known by the name of the DECORATED ENGLISH; but it chiefly flourished during the reigns of Edward the Second and Edward the Third, in the latter of which it attained a degree of perfection unequalled by preceding or subsequent ages. Some of the most prominent and distinctive marks of this style occur in the windows, which were greatly enlarged, and divided into many lights by mullions or tracery-bars running into various ramifications above, and dividing the heads into numerous compartments, forming either geometrical or flowing tracery. Triangular or pedimental canopies and pinnacles, more enriched than before with crockets and finials, yet without redundancy of ornament, also occur in the churches built during this century.
[Illustration: Worstead Church, Norfolk.]
In the latter part of the fourteenth century another transition, or gradual change of style, began to be effected,