A. They are far more numerous than those we meet with in all the previous styles; and we frequently find churches of early date in which the original roofs, having perhaps become decayed, have been removed and replaced by roofs designed in that style prevalent during the fifteenth century. The slope or pitch of the roof is much lower than before, and the form altogether more obtuse, and sometimes approaching nearly to flatness. The exterior is on this account often entirely concealed from view by the parapet. Many roofs of this style are divided into bays or compartments by horizontal tie-beams faced with mouldings, and apparently supported by curved ribs springing from corbels, and forming spandrels filled with open worked tracery; and the spaces between the tie-beam, the king-post, and the sloping rafters of the roof, are filled with pierced or open-work tracery. The sloping bays or compartments of the roof are divided by rib mouldings into squares or parallelograms of panel-work, which are again often subdivided into similar-shaped panels by smaller ribs with carved bosses at the intersections. Some roofs are nearly flat, and simply panelled. On many roofs traces of painting and gilding may still be discerned, more especially in that part which was over an altar, and where the roof often bears indications of having been more ornamented than other parts. Roofs painted of an azure colour and studded with gilt stars are not uncommon. Sometimes the roof is coved, and the boards are painted in imitation of clouds. A great variety of wooden roofs is to be met with in this style, many of them exceeding rich; whilst the cornice under the roof is sometimes elaborately carved and enriched. Some roofs are much plainer in construction than others; and it was, during this era, a part of the church on the enrichment of which no small expense and attention were bestowed.
Q. What may be noted respecting the parapets of this era?
A. Many embattled parapets are covered with sunk or pierced panelling, and ornamented with quatrefoils or small trefoil-headed arches; and they have sometimes triangular-shaped heads, as at King’s College Chapel, Cambridge, and at the east end of Peterborough Cathedral. We also find horizontal or straight-sided parapets, covered with sunk or pierced quatrefoils in circles. A plain embattled parapet, with the horizontal coping moulding continued or carried down the sides of the embrasures, and then again returning horizontally, as at St. Peter’s Church, Dorchester, Dorsetshire, is also common. A bold but shallow cavetto or hollow cornice moulding is frequently carried along the wall just under the parapet.
Q. Was the panelled or sunk quatrefoil much used in decorative detail?
A. In rich buildings of this style the base, the parapet, and other intermediate portions were decorated with rows or bands of sunk quatrefoils, sometimes inclosed in circles, sometimes in squares, and sometimes in lozenge-shaped compartments.
Q. What other ornamental detail is peculiar to this style?
A. The rose, which, differing only in colour, was the badge both of the houses of York and Lancaster, and as such is often to be met with. Rows of a trefoil or lozenge-shaped leaf, somewhat like an oak or strawberry leaf, with a smaller trefoil more simple in design intervening between two larger, was frequently used as a finish to the cornice of rich screen-work, and is known under the designation of the Tudor Flower. It is also common to find the tendrils, leaves, and fruit of the vine carved or sculptured in great profusion in the hollow of rich cornice mouldings, especially on screen-work in the interior of a church.
