DECORATED OR GEOMETRIC PERIOD.
In this, the piers have engaged shafts with capitals having plain mouldings or enriched with finely carved foliage of the oak, maple, or mallow. The pier arches have mouldings of three orders, also enriched, usually with the characteristic ball flower, or foliage similar to that upon the capitals.
The Triforium consists of double arches, with subordinate cusped arches, adorned with Geometric tracery.
The inner arcading of the Clearstory is absent, the one large window being divided by mullions and geometrical tracery, or by equilateral triangles enriched with circular and bar tracery (fig. 3, [plate 14]). Above the pier capitals an enriched corbel is usually placed from which springs the vaulting shafts, terminating with a richly carved capital under the Clearstory string.
The aisle arcading, as a rule, is very beautiful, having geometric tracery and finely proportioned mouldings, the aisle windows with mullions and bold geometric tracery. The circular rose windows of the transepts are typical of this period.
PERPENDICULAR AND TUDOR.
The Piers of this style are lofty and enriched with shallow mouldings carried round the pier arch, where capitals are introduced, they frequently resemble a band round the pier at the springing of the arch, or occasionally they are octagonal in form, and decorated with an angular treatment of the vine. In some instances, the upper part of the plain octagonal capital is relieved with an embattlement. The latter is also frequently used as a cresting for the elaborate perpendicular screens, or for relieving the clearstory strings.
The Triforium is absent in this period, the bay consisting of two horizontal divisions only. The Clearstory, owing to the suppression of the Triforium becomes of more importance. The windows are large and often in pairs, with vertical mullions extending to the arch mouldings of the window head. The aisle windows are similar, and when lofty have horizontal transoms, on which the battlement ornament is displayed. The aisle arcading being also suppressed, all plain wall space was covered with perpendicular surface tracery. Enrichment of this type was used in the greatest profusion upon walls, parapets, buttresses, and arches, also upon the jambs and soffits of doorways. This, together with the use of the four-centred arch, forms the characteristic features of the Perpendicular or Tudor period. English cathedrals show a marked contrast in scale to contemporary French buildings. The English nave and choir is less in height and width but greater in length than French cathedrals. For instance, Westminster is the highest of our English cathedrals, with its nave and choir 103 ft. from floor to roof, 30 ft. wide, and 505 feet in length. York is next with 101 ft. from floor to roof, 45 ft. wide, and 486 ft. in length. Salisbury is 84 ft. from floor to roof, 32 ft. wide, and 450 ft. in length, and Canterbury 80 ft. from floor to roof, 39 ft. wide, and 514 ft. in length. Lincoln with 82 ft. and Peterborough with 81 ft. are the only other examples reaching 80 ft. in height; York with 45 ft. being the only one reaching above 40 ft. in width of nave.
The measurements of contemporary French cathedrals on the other hand, being as follows:—Chartres, 106 ft. from floor to roof, 46 ft. wide, and 415 ft. in length; Notre Dame, 112 ft. from floor to roof, 46 ft. wide, and 410 ft. in length; Rheims, 123 ft. from floor to roof, 41 ft. wide, and 485 ft. in length, while that at Beauvais reaches the great height of 153 ft. in the nave, 45 ft. in width, and only 263 ft. in length.
The remarkable growth of the Gothic style during the 13th and 14th centuries was contemporary in England, France, Flanders, Germany, and in a less degree in Italy. One of the most beautiful churches in Italy, is, S. Maria della Spina, at Pisa, with its rich crocketed spires and canopies, features which were repeated a little later at the tomb of the famous Scaligers at Verona. At Venice, the Gothic is differentiated by the use of the ogee arch with cusps and pierced quatrefoils. It was in France and England where Gothic architecture reached its culmination; the abbeys and cathedrals, with pinnacles, spires, and towers, enriched with the most vigorous and beautiful sculpture; the arcadings and canopies with crockets, finials, and cusps, vibrating with interest and details, and the splendid windows filled with glorious coloured glass, are all tributes to the religious zeal and splendid craftsmanship of the middle ages.