PERPENDICULAR ARCHITECTURE.
The Transition from Decorated to Perpendicular architecture is not so apparent at first sight as between the other styles; but it may be traced quite clearly. The change was seen in the choir and transepts of Gloucester Cathedral before the middle of the fourteenth century.
This Transition begins the decline of Gothic architecture from the perfect and symmetrical Decorated to the style which showed more elaborate and richer work, but was wanting in the elegant effect for which the Decorated Period stands unequalled. The Perpendicular Period is very much the longest in point of time, extending, as it did, over 170 years.
The name is both descriptive and appropriate to the style, and the chief instrument by which this effect is produced is the straight-sided, shallow, sunk panelling. In previous times the panel had been used but sparingly, but now the whole surface, inside and outside, was covered with it. The beautiful flowing tracery of the Decorated Period was supplanted by the mullions, running, as a rule, straight up from the sill to the window top. The spaces between were frequently divided and subdivided by similar perpendicular lines, so that perpendicularity is most distinctly the characteristic of these windows. In fact, by this subdivision the windows became simply an arrangement of panels, pierced to let in the light. As the tendency of the Perpendicular style is to employ the vertical line at the expense of the horizontal, a general squareness spread from the characteristic tracing and panelling to the other features and details.
In the later examples of this period the arches of the windows and doorways became flattened, and the four-centred Tudor arch, so called because it was formed of curves described from four centres (Pl. [45], Fig. 4), began to be extensively used, until all beauty and proportion were lost, and stiffness and squareness became the striking characteristics of this style. The later windows had frequently great width in proportion to their height, and they were placed so near together that the wall space was reduced and the strength of the building entirely depended upon the buttresses.
The windows were originally filled with painted glass, and the panel form of the subdivision lent itself admirably to this decoration.
Square-headed Windows (Pl. [45], Fig. 6) are frequent in this style, and the doorways were generally set in a square frame (Fig. 4), though many of the later doorways are frequently very rich in the decoration over them.
The foliage employed in this style, by reason of its squareness, is much less beautiful than that of the Decorated Period. It has neither the vigour and beauty of the Early English nor the imitative skill of the Decorated. It is angular, shallow, and often wooden in appearance.
An ornament used very extensively during this period was the so-called “Tudor ornament.” (Pl. [45], Fig. 7, and Pl. [46], Fig. 7.) It is founded on the fleur-de-lis alternate with a trefoil or ball, but although poor in invention, has frequently a very rich effect, as in Henry VII.’s chapel at Westminster.
Perpendicular mouldings differ much from those of the preceding styles, and show a marked falling off. They are, in general, shallower, having more breadth and less depth. In arches they are often carried down to the ground without any capitals or columns. In country churches the mouldings are often feeble or coarse and clumsy.
The Capitals of the columns are either circular or octagonal. The bell portion is mostly plain, but is sometimes curved, with foliage of a shallow and formal character, twisted horizontally round it. Particularly in the churches of Devonshire this foliage is found, and it is often spoken of, consequently, as “Devonshire foliage.”
The Buttresses are similar to those of the preceding style, but are frequently panelled and project more from the wall.
Many churches were built in the Perpendicular style, and the majority of early churches were either enlarged or rebuilt during this period, so that it is the prevailing characteristic English style, and there are comparatively few churches which do not display some features belonging to it.
The redeeming features of the Perpendicular style are its towers, its elaborate stone vaultings, and its timbered roofs.
The towers are often extremely rich, and are ornamented very elaborately, having four or five storeys of large windows with rich canopies and pinnacles, double buttresses at the bottom, and rich parapets with crocketed turrets at the corners. One of the most beautiful is that of Magdalen College, Oxford.
Parapets with square battlements become an important feature. They are often panelled or pierced with tracery, which frequently contains shields with armorial bearings and heraldic devices. A very rich form of vaulting was frequently used, composed of inverted, curved semi-cones covered with foliated panel work. When seen from below, these present a fan-like appearance, and the work received the name of “fan-tracery.” (Pl. [46], Fig. 1.) One of the richest examples of it is Henry VII.’s Chapel at Westminster Abbey, where an almost incredible point was reached in the lightness and delicacy of its lace-like stonework.
During the fourteenth century carpentry had been brought to a high pitch of perfection. Timber roofs reached their highest development in what is known as the Hammer-beam roof. (Pl. [46], Figs. 5, 6.)
In this, a bracket called the Hammer-beam (Pl. [46], Fig. 5 H) rests on the top of the wall and projects into the building, to strengthen the latter and to diminish the lateral pressure that falls on the walls. This form of roof lends itself to a highly decorative treatment, the finest example being that of Westminster Hall (in the Houses of Parliament), erected in the reign of Richard II.
PLATE 45.
(Fig. 1): Perpendicular window from St. Mary’s, Devizes, Wilts., about 1450 A.D. (Fig. 2): Perpendicular window from the Clere-story, York Minster, A.D. 1361-1408. (Fig. 3): Perpendicular capital with Devonshire foliage, from Stoke-in-Teignhead, Devonshire, about 1480 A.D. (Fig. 4): Perpendicular doorway from St. Peter’s, Chester. (Fig. 5): Panelled buttress from the Divinity School, Oxford, about 1450 A.D. (Fig. 6): Perpendicular square-headed window from Christchurch College, Oxford. (Fig. 7): Perpendicular battlements, panelled and decorated with the “Tudor flower,” from S. Lavenham, Suffolk. (Fig. 8): Part of arch from St. Agnes’, Cawston, Norfolk, showing a crocket (A) and cusping (B).
PLATE 46.
(Fig. 1): Fan tracery from St. Stephen’s Cloister, Westminster Hall. (Fig. 2): Perpendicular capitals and foliage from Beverley Minster, Yorkshire. (Fig. 3): Base of Perpendicular column from the Lady Chapel, Winchester, about 1460 A.D. (Fig. 4): Section of Perpendicular moulding from St. Mary’s, Oxford, 1488 A.D. (Fig. 5): Section showing construction of Hammer-beam roof. H, H, hammer beams; R, R, rafters. (Fig. 6): Portion of the Hammer-beam timber roof from St. Stephen’s Church, Norwich. The Eastern counties are particularly rich in these fine timbered roofs. (Fig. 7): The “Tudor flower” ornament from Henry VII.’s Chapel in Westminster Abbey. (Fig. 8): Plan of oblong Perpendicular pillar. Oblong pillars are common in large buildings. (Figs. 9 and 10): Base of Perpendicular columns. (Fig. 11): Carved Perpendicular ornament from the (wooden) screen at High Ham.