Doorways.—These, like the windows, are either round or triangular-headed. The arches are generally turned of plain stones, without any moulding or ornament whatever—sometimes simple, and sometimes recessed; but the projecting framework of plain stone is not unfrequent, as may be seen at Earl's Barton, Stanton Lacy, &c. The imposts are as a rule plain, but sometimes ornamented with a series of singular mouldings, usually square-edged and plain, as at Barnack, or with a kind of fluting, as at Earl's Barton. At Sompting it is ornamented with a kind of scroll-work, though sculpture is seldom attempted. A cross is sometimes introduced above the door, as at Stanton Lacy, and it is remarkable that whenever the cross is used it is of the Greek form—that is, with the limbs of equal length in contradistinction to the Latin type, in which the lower member is the longest. The triangular heads of the doorways are formed either by two stones placed diagonally, and resting one upon the other, or partly by horizontal stones cut obliquely. Both these varieties may be seen at Barnack. Doorways are also sometimes built of tiles, taken from Roman buildings, as at Brixworth.
WINDOW (SAXON) OF DEERHURST CHURCH, GLOUCESTER.
(From a Photograph by F. R. Turner, Tewkesbury.)
Mouldings and Sculptures.—There are very few mouldings belonging to this style, the strings and other members being mostly square-edged and plain, though, as at Dunham Magna, they are sometimes alternately notched on the edges. The capitals and bases of the shafts and balusters, which divide the windows, are moulded chiefly with round and square moulding. The sculptures are few, and very rude, as at St. Benet's, Cambridge, where two lions are sculptured at the spring of the tower arch.
WINDOW (SAXON) OF JARROW CHURCH, DURHAM.
Capitals.—The abacus seems in all cases to be a plain, square-edged, flat member, without chamfer (in which it differs from the Norman). The bell of the capital is either globular, as at Jarrow, or moulded, as before mentioned, or cut into a rude imitation of foliage, or of the Corinthian volute, as at Sompting.
It is curious to observe the evident imitation of Roman work in these capitals. The beautiful capital of the Corinthian order appears to have attracted the attention of the rude English workman, and his first attempt at sculpture seems to have been to copy it. Its delicate and complicated foliage was too difficult for his hand, but he could make an imitation of its more prominent feature, the volute. This partiality for the volute was continued in the next century, through the early and late Norman, until, in the transition to the Early English, it produced those magnificent capitals of which we have a few examples in England, and so many on the Continent.
