LIST OF PLATES.
| NORMAN PERIOD. | ||
|---|---|---|
| [Exterior] | Ely Cathedral | Nave. |
| [Interior] | " " | " |
| [Exterior] | Peterborough Cathedral | Choir. |
| [Interior] | " " | " |
| TRANSITIONAL PERIOD. | ||
| [Exterior] | Ripon Cathedral | Choir. |
| [Interior] | " " | " |
| LANCET PERIOD. | ||
| [Exterior] | Ely Cathedral | Presbytery. |
| [Interior] | " " | " |
| [Exterior] | Lincoln Cathedral | Nave. |
| [Interior] | " " | " |
| [Exterior] | " " | Choir. |
| [Interior] | " " | " |
| GEOMETRICAL PERIOD. | ||
| [Exterior] | Lincoln Cathedral | Presbytery. |
| [Interior] | " " | " |
| [Exterior] | Lichfield Cathedral | Nave. |
| [Interior] | " " | " |
| CURVILINEAR PERIOD. | ||
| [Exterior] | Ely Cathedral | Choir. |
| [Interior] | " " | " |
| RECTILINEAR PERIOD. | ||
| [Exterior] | Winchester Cathedral | Nave. |
| [Interior] | " " | " |
THE SEVEN PERIODS
OF
ENGLISH ARCHITECTURE.
CHAPTER I.
INTRODUCTION.
To present at a single glance a comprehensive view of the History of English Church Architecture from the Heptarchy to the Reformation, and to do this in a manner, which, without taxing too seriously the memory of the student, may enable him to fix in his mind the limits, and the general outline of the inquiry he is about to enter upon, is the object of the present treatise.
Instead therefore of entering, as is usual in elementary works of this nature, into a detailed account of all the parts of an Ecclesiastical structure, a certain portion only of such a building has for this purpose been selected, and so exhibited in the garb in which it appeared at successive intervals of time, as to present to the reader a means of comparison that will enable him readily to apprehend the gradual change of form through which it passed from the Eleventh to the Sixteenth Centuries, and at once to recognise the leading characteristics of the several Periods into which it is here proposed to divide the History of our National Architecture. Having thus fixed these leading characteristics in his mind, he will then be in a condition to follow us hereafter, if he pleases, into the detail of the whole subject, and to become familiar with those niceties of distinction, the detection of which—escaping, as they do, the eye of the general observer—contributes so materially to the enjoyment of the study, and a perfect acquaintance with which is so absolutely essential to a correct understanding of the true History of the Art.