Lectures on the rise and development of medieval architecture; vol. 1

by Sir George Gilbert Scott

In the towers of two churches in the lower city you have specimens of what may be fairly called Saxon, though of the date of the Conqueror; for when he drove out the old inhabitants from the upper city, to make way for his cathedral and castle, they erected for themselves churches in their own old architecture below the hill, while his people were at work in “the new manner of building” above. Of that “new manner” you will find specimens looking anything but new (excepting for the endeavours of the present chapter to impart that look to them[68]) in the west front; and if their surface shakes your faith in their authenticity, you will find within some parts, once external, but for six centuries enclosed in an early English appendage, which you will not doubt to be the work of old Remigius.

In the central doorway you have Norman of later date, and in the side ones truly exquisite specimens of the latest and most refined period of Romanesque, just before its transition into the Pointed style; and you will find the same work extending upward through the lower stages of the towers.

Here occurs, so far as I recollect, the only hiâtus. I do not remember any of that early variety of the Early Pointed of which the special characteristic is the square abacus, and on which I have dwelt so much at length in former lectures, such as that which prevails in Byland Abbey, and is seen in such high perfection in the entrance to the chapter-house of St. Mary’s Abbey at York.[69] The two late Norman doorways I have just mentioned tread close upon it, and the work which I shall next mention follows so closely after it as to differ only in the shape of the abacus, but the exact style is absent, its place being supplied by an almost unique variety of Early Pointed, which I would advise you specially to study. I refer to the work of Bishop Hugh, which forms the staple of the eastern transept with its appendages, the choir, and half of the east side of the great transept. At first sight this work looks like the fully-developed Early Pointed, and its date, which closes in 1200, seems an anachronism; but on closer inspection it will be found that this antedate quality is limited to the abaci of the shafts, which are nearly all circular. In every other particular the details agree with their date, and belong clearly to the early variety of the style. The mouldings are of that peculiarly beautiful and studied profile which we find at no other period, and are worthy of your most careful study; indeed, I know of no work which will better repay the laborious and accurately measured drawing of its details.

I had intended to have gone carefully into a description of the varied beauties of Lincoln. I recollect, however, that in one of my early lectures I dwelt long on this cathedral, and I must not repeat myself; but having spent lately nearly a week in the careful study of its details, I wish, from personal and recent experience, to urge its claims upon you. As I said in the lecture referred to, you will find in the nave one of the finest examples we have of the fully developed and typical Early English, and in its eastern parts perhaps the very finest of its latest form. The Easter Sepulchre is a fine specimen of Early decorated of about the period of the Eleanor Crosses, and the sleeping soldiers beneath it are charming pieces of sculpture; the choir screen is an excellent specimen of later Decorated, and the stall-work of fine early Perpendicular work.

In studying these various authorities, each among the highest of its class, I would suggest that they, particularly the productions of the three great periods

Fig. 174.—Easter Sepulchre, Lincoln Cathedral.

of Early Pointed architecture, should be followed out systematically and relatively; comparing them part by part, by means of drawings not only carefully measured, but plotted down accurately on the spot. Thus, I would compare bay with bay of each period both within and without, and then follow up this more general comparison by comparing the details, as, for example, pillar with pillar, base with base, capital with capital, string-course with string-course, and so on through the arch-moulds, the triforium, the windows, the vaulting, the wall arcading, and other features. By such a comparison you would obtain a very accurate knowledge of the whole course of thirteenth century architecture, as exemplified by one of the finest series of works that this or any other country can boast.