Q. What may be considered as one great cause of this falling off?
A. The devastation of the monasteries, religious houses, and chantries, which followed their suppression, discouraged the study of ecclesiastical architecture, (which had been much followed by the members of the conventual foundations, who were now dispersed, in their seclusion,) and gave a fatal blow to that spirit of erecting and enriching churches which this country had for many ages possessed.
Q. How could this be the cause?
A. The expenses of erecting many of our ecclesiastical structures, or different portions of them, from time to time, in the most costly and beautiful manner, according to the style of the age in which such were built, were defrayed, some out of the immense revenues of the monasteries, which at their suppression were granted away by the crown, and others by the private munificence of individuals who frequently built an aisle, with a chantry chapel at the east end, partly inclosed by screen-work, or annexed to a church, a transept, or an additional chapel, endowed as a chantry, in order that remembrance might be specially and continually made of them in the offices of the church, according to the then prevailing usage; which chantries having been abolished, one motive for church-building was gone.
Q. What concurrent causes may also be assigned for this change?
A. The almost imperceptible introduction and advance, about this period, of a fantastic mode of architectural design and decoration, which is very apparent in the costly though in many respects inelegant monuments of this age, and in which details of ancient classic architecture were incorporated with others of fanciful design peculiar to the latter part of the sixteenth and early part of the seventeenth centuries.
Q. What are the characteristics of this style?
A. A general heaviness and inelegance of detail, doorways with pointed-arched heads exceedingly depressed in form, and also plain round-headed doorways, with key stones after the Roman or Italian semi-classic style now beginning to prevail; square-headed windows with plain vertical mullions, and the heads of the lights either round or obtusely arched, and generally without foliations; pointed windows clumsily formed, with plain mullion bars simply intersecting each other in the head, or filled with tracery miserably designed, and an almost total absence of ornamental mouldings. Indications of this style may be found in many country churches which have been repaired or partly rebuilt since the Reformation. In the interior of churches specimens of the wood-work of this style are very common, and may be perceived by the shallow and flat carved panelling, with round arches, arabesques, scroll-work, and other nondescript ornament peculiar to the age, with which the pews, reading-desks, and pulpits are often adorned. The screens of this period are constructed in a semi-classic style of design, with features and details of English growth, and are often surmounted with scroll-work, shields, and other accessories. Of this description of work the screen in the south aisle of Yarnton Church, Oxfordshire, constructed A. D. 1611, may be instanced as a curious specimen.
Q. What peculiarity may be noted in the alterations and additions of this era?