A MANUAL OF GOTHIC MOLDINGS

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being

subordinate to

the

vertical principle.

Gothic architecture revelled in the use of moldings, not only

what are usually

called ornamental moldings, such as the dog-

tooth, the ball-flower,

of light

&c, but

also the plain

and shadow ; though they are in

continuous lines

effect identical, since

MANUAL OF GOTHIC MOLDINGS.

16

the former are nothing

serrated ridges,*

but

rounded and modified from the window, monial.f every edge,

first

more

process.

vertical or horizontal, every

less

band,

arch, and jamb, whether of wood

string, groin-rib, roof, label,

Of course

or stone, internal or external, was generally molded.

the effect

or

Every door,

produced by so free and extended a use of them was Construction gained thereby a

magnificent in the extreme.

rich perspective, a depth of shade,

an attempering of bare

prominent outlines, a fine tone, which arrested the eye, and

made

dwell on certain parts of higher pretension and more

it

exquisite elaboration than others.

And yet moldings

are merely

the ornamental adjuncts, not the essentials, of architecture.

Some

buildings of the best periods were quite devoid of mold-

ings; whence a

perfect

it

is

design.

evident that they are not necessary even to

Boldness and simplicity produce

different indeed in their kind, yet not less

than richness

effects,

solemn and striking

But the power of moldings was

of detail.

appreciated to the fall by the ancient architects, and evident that they delighted in their extensive use.

It

it is

quite

was

their

ambition to work them wherever they could possibly find means

and opportunity.

Hence

it is

that such a vast quantity every-

where remains, that no ordinary pains are requisite in examining

any considerable moiety of them gating their principles.

been tolerably to

strict, it

master the subject

;

for the purposes

of investi-

If the uniformity in their use had not

had indeed been a hopeless task ever indeed,

if

there had not been a system

of molding, there would have been nothing to investigate. so little did the mediaeval

But

masons depart from the conventional

forms, that a capital, a base, or an arch-mold is often found of perfectly the

same

profile in

village church at the other * This

may

an abbey or a cathedral, and in a end of the kingdom

;

so that

we

occasionally be seen, when the molding was left for some reason or accident partially uncut. It is probable that they were generally worked out after the completion of a building. t The mediaeval term for what we now call mulUon.

;

THE GENERAL PRINCIPLES OF FORMATION.

17

might almost suspect that the very same working drawing had been used for both. And this, when it is considered, must appear a very wonderful

fact.

Although the examples given here are in nearly every case from stonework, the student would do well to notice those in other materials, such as wood, iron,

&c,

though the same

for

forms will be found at the same date

as in

stonework, they are on a more delicate scale,

according to the fine-

B

^IBF

i

ness of the material thus, in the annexed

examples, the monial t,

trom

,1

Burgh

Woodwork, Burgh.

.

the

screen

Marsh, Lincolnshire,

le

in

Cambridge, but has more

it.

The reader and

will

will

perhaps be tired of this preliminary chapter,

be anxious to enter upon the subject at once.

this point

it

may

early buildings, practice,

only half the size of the

is

stone one from Bottisham, Dear

members

Stonework, Bottisham.

at

And

at

be well to proceed, beginning with very

and endeavouring

to discover the origin of the

and then gradually trace the progress of development

until the forms have all

been analyzed and

classified according

to their respective dates.

On examining

the plan of a

perhaps nothing more

will

aperture in a plain wall, as in

be met

is,

PL.

This

I. fig. 1.

with, even considerably later, in small

churches, especially in relieved

Saxon window or doorway,

be found than a rude square-edged

belfry-arches.

and expanded by splaying

by sloping or chamfering

an ordinary Early English

off

it

It

may

often

and rude country

may, however, be

on one or both

the edges, as in

lancet window, the

sides, that

So in

fig. 2.

long narrow

opening has a very wide splay inside and a very small one on c

;

MANUAL OF GOTHIC MOLDINGS.

18

the outside, ture as it

In arching over the upper part of an aperin a thick wall of loose rubble masonry,

fig. 3.

fig. 1,

made

was not uncommon

and

security,

rib of a vault,

to add, for the sake at once of

sub-arch,

a

or

ornament groin-

the

like

under-rib,

constructed of fine-jointed ashlar,

as

fig.

This sub-arch rested

either on a pillar at each side,

projecting impost,* or

it

ground, that

Now

was carried continuously down

a

to the

without any interruption or change of shape.

is,

in this rude arrangement,

continental

4.

or

which

observable in

is

Romanesque churches, we

some improve-

a usage which ever afterwards prevailed, with

ments of form and

detail,

many

germs of

shall find the

but no alteration of principle.

In

the abbey church of St. Alban's, the nave and transept-arches are constructed of two rectangular sub-ribs, or soffit-pilasters,

which are continued from the ground with the intervention: of a

mere band or

string-course

at

the

The same

impost.

observable in several of the Transition

arches

at

is

Buildwas

Abbey, f

By ture,

chamfering

off

each arris, or square edge, of this aper-

which now becomes recessed, or of two orders or retiring

members, the plan

is

at once obtained

which was most con-

stantly used, especially in pier arches, without the least change

of form, for centuries afterwards (PL. I.

there

may be two

or

more sub-arches,

each one retiring behind the other. hollow, molded, or simply as in

English and Decorated arches.

fig. 7,

This

if

fig.

5).

Of

course,

the wall be very thick

And

the chamfer

may

be

which is common in Early is

the case in the chancel-

arch at Cherry Hinton, near Cambridge,

and was much

in

TOgue from about 1260 to 1320. In practice, however, when worked on a small

scale, the sub-

arch was no longer a separate constructive formation, but was *

In Transition arches, the inner order, or sub-arch, is often corbelled jambs being left square, with a small shaft at the

off at the impost, the

angles.

f Potter's Monastic Remains, PL. III. and IV.

lllatS

MANUAL OP GOTHIC MOLDINGS.

20

In this the square edge

Lincolnshire.

is

worked into a shallow

triple roll.

Fig. 12

an Early English pier-arch at Skirbeck, near

is

Here the howtell

Boston.

formed by rounding the edge as

and cutting a deep three-quarter hollow on each

before,

was very usual Fig. 13

is

in this style.

from Great Grimsby, and

remains,* bearing the date 1192

nearly the same principle

fig.

14 from Clee, both

In the latter church a Dedication inscription

in Lincolnshire.

same

side.

bowtell becomes attached only by a narrow neck, as

Thus the

still

is

period.

;

;

and the other

is of

Both these are good examples

very

of the

and arch-molds of this kind are of constant

Norman and

occurrence in the

The

Transition styles.

pier-

arches in the nave of Peterborough Cathedral are molded precisely in the

same manner.

t

These bold early moldings are generally called " edge-rolls," because they occur at the external angles of the receding

and are yet not extended on each single, as

land

PL. XXI.

latter

They

are

fig.

1 of the

same

Morcot Church, in the same county.

arrangement

is

derived the double roll and

member

forms the central

commonly

an arch from Seaton Church, Rut-

fig. 2,

but occasionally double, as

;

belfry arch of

side.

ordei's,

of

PL. XVIII.

fig. 8,

plate, the

From fillet

this

which

an arch-mold

from the choir of Ripon Minster. In considering the origin of the cylindrical first

roll

or bowtell, the

element of moldings, the influence of jamb-shafts must be

taken into account.

In Norman doorways every nook formed

by the receding under-ribs, already described, detached column. shire,

and

seems

at first to

PL.

I. fig.

illustrates this

is

occupied by a

15, is from Adel Church,fYork-

arrangement.

Now

this

column

have borne a square-edged member or sub-arch,

* Facsimile given in Eiokman's " Gothic Architecture," Seventh Edition, p. 158. + See " Churches of Yorkshire," Part VII., from which this exampleis

borrowed.

THE GENERAL PRINCIPLES OP FORMATION. which projected above the impost receded below

rounded

column

it,

correspond in form and

may

This

itself.

where the jamb

exactly

and which was afterwards, in some

off so as to

Norman doorway

21

with the

in

an Early

very clearly be seen

Hauxton, near Cambridge.

at

cases,

size

by

Hence,

omitting altogether the impost or capital, the idea of continuous

moldings of

more

is

This subject, however, will be spoken

obtained.

fully in treating of capitals

and shafts generally.

Another form, which occurs frequently

Norman and Early English

periods,

coeval

p'

with, the introduction of the pointed arch.

may be

Its formation

which St.

seen in

yC/^

r

I. fig. 16,

^r

Norman arch in This member arose from

is the plan of a late

Mary's Church, Ely.

a desire to

angles of recessed arches, without either cutting

decorate the

away or rounding example from

off

the square edge,

Abbey,

Croxden

occurrence in Early Gothic is

PL.

Transition

«^

the

is

pointed bowtell, resembling, and

the

in

as

the

in

may be

expected,

annexed

Hence

Staffordshire.

and in truth

its it

very frequently found in the Transition period, though not

in the pure

member

Norman.

Yet something

often occurs in

Norman

Fig. 17 is a triple respond or

bowtells, as at a, fig. 13. pier, of very

closely resembling this

work, between two cylindrical

singular form, at Clee

and

;

use in an Early English arch at St. Benet's, Lincoln. this case the under-edge

the origin of what explained.

The

-is

is called

withdrawn

half-

19 shows

fig.

at the point,

its

In

which seems

the scroll-molding, hereafter to be

Fig. 24 shows this form

more

pointed shaft, the plan of which

at large.

may be

described as a

spherical triangle engaged at the base, is of constant occurrence in Early English work, date.

The

and

is

generally a

mark

clustered columns at Byland and

(the former circa 1190)

with the circular.

of its early

Whitby Abbeys

exhibit the pointed shaft alternating

The western porch

at

Ely

is

flanked by

;

MANUAL OF GOTHIC MOLDINGS.

22

Undoubtedly this form

clustered columns of pointed shafts.

existed earlier than, and afterwards led to, the filleted shaft and bowtell,

which are so well known by the name of the " roll-and-

As a

fillet."

general rule,

may be

it

may

stated that a shaft

take almost any form to suit the primary molding which

it

sustains on its capital, on the principle of continuous moldings

already alluded

PL.

I. figs.

to.

12 and 23, show the cylindrical and the pointed

bowtells with the addition of a small is

where both sides are

a groin-rib from Eobertsbridge Abbey,

thus

Fig. 18 is

filleted.

where the

at the

fillet is

Fig. 22

at one side.

fillet

from Tintern Abbey,

a groin-rib

And

end or central point.

25

fig.

is

an Early English arch at Little Casterton, where there are three

fillets.

PL.

Of

all

these varieties more will be said hereafter.

II. fig 1, is a pier-arch

Middle Easen.

Fig. 2

is

of very Early English date, at

a doorway at Ludborough,

jamb

chancel-arch at Langtoft, and fig/ 5 the

the south porch at Great Grimsby, first

all in

the

jamb

of a lancet

window

at the east

Abbey.

3 the

The

Lincolnshire.

PL. XVIII.

three exhibit the use of the pointed bowtell.

fig. 4, is

fig.

of the archway of

This

end of Rivaulx

one of the com-

is

monest moldings

at the angles of

Early English window-jambs.

The student adopted

here

sections,

first,

have

will already

from

perceived,

of

manner

the

drawing

that

all

the

these

moldings are formed- out of the solid Soffit

edges

plane.

block

solely

and sinking

by

removing

hollows,

must never be regarded as Nave Arcade,

New Shoreham,

(Brandon's Analysis, PI.

8,

Sussex.

Vol. II.)

crescences

on

a plane

and ex-

surface

secondly, and in consequence, that the groups lie in the planes of the

uncut blocks, the outermost

THE GENERAL PRINCIPLES OE FORMATION. member touching

edge of each

The

it.

represented

original

the rectangular or chamfered

away

surface, that is, not being cut

of

so as to fall below or short

planes, or uncut

square surfaces,

are

These two

our engravings by dotted lines.

in

must be regarded as fundamental canons

facts

23

in the arrange-

ment of moldings. There are three planes in which moldings lie

will be

found to

one parallel with the outer wall, which we shall designate

;

the wall-plane soffit,

;

one at right angles to

which may be called the

or parallel with the

it,

soffit-plane

;

and the

third, the

plane formed by chamfering an edge, which was generally (not invariably) done at

chamfer-plane.

b the

an angle of about

In PL. II.

fig.

10,

soffit-plane, c the wall-plane.

forty-five degrees, or the

a

is

the chamfer-plane,

It is clear that

by sinking

hollows in any one of these surfaces, a group of moldings would

be developed.

In considering any series of moldings previously to copying them, the that

is,

first

point

down on paper the various

When

moldings were cut.

measurement, the

it

lay

planes,

to ascertain the plan of the arch, or other feature, be-

fore the

easy,

is to

rest

this is

of the process

done by accurate

becomes comparatively

and the most complex and extensive combination, which

appears at

accuracy,

first

may be

with precision.

sight impossible to copy with anything like readily disentangled, analyzed,

Without attending

and sketched

to these facts, all attempts

to do so will be futile. It

may be

.alleged, as a general rule,* that

Early English

* " In the Anglo-Norman stylo the jamb-molds were almost always worked in the wall and soffit planes and this continued to be the general arrangement throughout the Early English Gothic period, although we occasionally find the jamb molded on the chamfer-plane. During the earlier portion of the Decorated Gothic period, the wall and soffit planes still continued to be most generally used, but then in tolerably frequent connection with the chamfer-plane, which at this time was in most cases worked exactly at an angle of 45° and as the style advanced towards the ;

;

era of decided architectural debasement, the moldings shared in the pre-

MANUAL OF GOTHIC MOLDINGS.

24

on the planes rectangular; that Decorated, according to their kind, fall either on these, or on the chamfermoldings

lie

and that Perpendicular moldings almost always on the last. If some members seem to fall short of one

plane alone lie

;

plane, they will generally be found referable to

and

if

they

fall

some other;

on the segment of a circle, which is

PL.

rarely the case, as in

much more

II. fig. 15, a pier-arch at All Saints',

Stamford, the inclination must be determined by bending a ruler or piece of lead across

means uncommon

to

them.

however, by no

It is,

meet with moldings of

all

the styles in

which some of the members are withdrawn considerably below It is obvious that this is the

the plane of the others.

.

most

expensive kind of molding, because more has to be cut away

from the solid block. - The arrangement of moldings on the original block-planes styles progressed,

was

less

and

and in the

PL.

frequently entirely lost. of Early English

less rigidly

latest, or

adhered to as the

Third-pointed,

III. figs. 2

and

was

it

3, are instances

moldings not uniformly falling upon the

regular planes.

PL.

II. fig, 11, is

an example of a molding from Over, Cam-

bridgeshire, truly copied according to the above rules. is

the distorted and inaccurate form

if

an unpractised and untaught draughtsman were

to copy

PL.

it

to attempt

by the eye.

II. fig. 7, is

an Early English molding from the

of the chancel door, Cherry Hinton. fig.

Fig, 12

would probably assume

it

Fig. 8

is

interior

a pier-arch,

6 the northern doorway of the same church.

and

'Fig. 19 is a

very fine molding from the inner door of the south porch.

(The

semicircle round the central group represents the capital of the

jamb-shaft.)

Fig. 9

both from Over.

way

a doorway, and

is

fig.

These are Early Decorated.

at Madingley,

and

fig.

13 a window-jamb, Fig. 14 is a door-

16 one at Trumpington, near Cam-

vailing desire to produce a meretricious effect, without

correctness of composition."

—Brandon's Analysis,

p. 50.

any reference

to

THE GENERAL PRINCIPLES OF FORMATION. These

bridge.

magnificent

both pure Decorated.

are

arch-mold from

Fig.

the doorway of St.

25

18

is

a

Clement's

Church, Cambridge, showing the capitals of the two jambshafts.

This

the central

but

falls

is

not an easy example to copy by the eye, for

member

on the

in each group does not extend to the angle,

line of the chamfer.

The

observation of this

circumstance immediately removes the principal

This section illustrates a very

which may be called the

common

triplicity of

difficulty.

peculiarity of its style,

Whether

moldings.

con-

structive or symbolical, or (as a writer in the English Review,

already quoted, imagines) suggested by philosophical principles of effect,

had

we need not now

its influence, since

consider, though

symbolism may have

the architects of the period seem to have

affected representations of the

mystic number three.

This

molding consists of three distinct groups, each group having three members. that there clear,

is

Occasionally each

member has

three

fillets,

a triple triplicity in the entire composition.

however, that

if

so

It is

an archway has two sub-arches, or con-

sists of three orders,

the angle of each will naturally form a

group of three

with a hollow on each side, as in

rolls

fig. 5.

Early English and Decorated moldings very often consist of three groups.

Too much

stress has frequently

theory of architectural symbolism, and

an opinion entertained by some.

been laid on the

we only mention

it

as

MANUAL OF GOTHIC MOLDINGS.

26

SECTION

III.

COPYING MOLDINGS.

The

There

are several ways of doing this.

of

by inserting the paper in a loose

all is

best and simplest

joint, or

by applying a

large sheet of paper where a stone has been removed,

and

left

the edges sufficiently clear and sharp to trace their outlines by

These methods, how-

pressure against them, or by a pencil. ever, are but

seldom available, except in ruined buildings, and

here care should be taken not to damage or destroy any portion

But many fragments

of the little that is left.

and other molded

ribs, voussoirs,

old abbey;

and these may

stones,

may

of monials, groin-

be found in every

readily be placed

upon sheets of

By

paper for the purpose of tracing their .outlines.

means alone a

these

large collection of very valuable specimens

may

be made.

Another way

is

by the use of the leaden tape.

riband of this metal, about a yard in length,

By

a coil so as to be easily portable.

A

thin flexible

may be

rolled into

being manipulated and

impressed upon the moldings to be copied, and thence carefully removed, and laid upon a sheet of paper, shape

it

has received, and

this process, however,

may be

traced off with a pencil.

First, it is clear, that if the

by

siderable space, the tape,

weight,

is

retains the exact

which requires both pains and practice

ensure tolerable accuracy, there are

come.

it

its

many

In to

difficulties to over-

molding extends over a con-

extreme pliability and great

almost unavoidably bent in transferring it to the paper,

which must be spread

flat

on the ground, or some

level surface

nearest at hand.

If this should happen, the true bearings of

the members, that

is,

confused or altogether

their relative position to each other, are lost,

and the copy

is incorrect

and worth-

;

COPYING MOLDINGS. Secondly, where the molding

less.

is

27

much

undercut, or con-

tains deep

and wide hollows with a narrow neck, the lead when

fitted into

them cannot be withdrawn.

In the

first

better to copy only eight or ten inches of the

is

once

may be them

members

or the planes in which the

;

a full-sized plan

is,

;

first

instance,

it

molding at

respectively lie (that

by measurement of the block, jamb or arch)

marked out on the paper, and the tape adjusted

in the second case,

is

it

to

advisable to carry the tape

merely over the necks of the hollows, and subsequently to deter-

mine

their breadth

and width by inserting a measure into them.

As Early English moldings are

often mutilated, from being so far

undercut that portions of the projecting members have fallen or

been broken

the lead

off,

may

frequently be manipulated into a

part which is entire, and afterwards drawn upwards or down-

wards

In

finds exit at a broken place.

till it

moss, and whitewash must

first

all cases, dirt,

be scraped clear away from the

part to be copied, or the sharp and rounded edges, the depth of the hollows,

&c, cannot

truly be ascertained.

In using the tape, the rough draught of the pencil must invariably be corrected

by

close

comparison with the original,

and every separate member should be tested as

and curvature, by the aid

jection, bearing,

of the measure.

pair of compasses with the ends bent inward

obtaining the breadth of the

segmental scale-bar, or

members

slide affixed

through the other, the width of bowtell

may be

;

and to

to size, pro-

if

is

furnished with a

one leg and passing

the neck of each

exactly marked.

A

very useful in

undercut

Sharp edges and angular

hollows cannot be closely copied with the leaden tape, so that these especially

must be supplied by the eye

;

on the whole,

though the tape has in some cases been successfully used, so clumsy that

An

it

experienced hand

and the process, There

is a

it is

can hardly be recommended to the student. is

required for

making an accurate copy

to produce such a result, is rather tedious.

process similar in its nature and results to the

MANUAL OF GOTHIC MOLDINGS.

28

use of the leaden tape, which ings are not too

much

squeezing, and

practised

is

very successful where the mold-

This

undercut.

gredients, to the part to

wax and some

copied.

By

other in-

thus

is

pouring plaster of Paris

But

and only

fit

be applied when a model

to

A beautiful

may be

the full size.

here

clumsy,

is tedious,

necessary.

little

him the Cymagraph, by which

and

No. 58.

practice;

moldings can be taken by

appendage

to the

illustrated in the Engineers'

It can be successfully used

and the most extensive and complex its aid.

that the instrument, though by no

The only disadvantages

means

large, is

are,

an inconven-

equipment of a pedestrian, and that only

about a foot's width of a molding can be taken at once

number

exactly

copied with the most perfect accuracy, and of

It is described

Architects' Journal,

with a very

is

is

difficulty is

and ingenious instrument has been invented by

Professor Willis, and called by

moldings

molding

in the case of undercutting, the

insurmountable, and the whole operation

a

a

and accurately obtained, though the convex and concave

into the matrix thus formed, the original

ient

clay, plaster, or

he copied, the form of which

surfaces are of course reversed.

and

technically called

is

hy applying wet

purposely prepared of

composition

readily

is

of separate pieces of paper

;

so that

must be pinned together

on the spot, and that with great accuracy, or the planes and bearings will be incorrect.

Geometric methods both of copying and reducing moldings are fallible libera

;

for the

manu*

members and curves were very

especially in earlier

work

;

able deviations from geometric precision

often

drawn

so that very consider-

must be expected

in

pbserving ancient examples.

Another,

and

simplest way,

for ordinary

is to

purposes

much

the best

copy by the eye alone, on a reduced

and scale,

* If not so designed by the master, they certainly were often so cut by Mr. Potter, in giving the full-sized sections of moldings from Tintern Abbey, has drawn them for the most part with the compasses, and in this case no doubt correctly. ,

the mason.

COPYING MOLDINGS. adding the measurements of each If the particular

29

they should be given in respect of wall and

PL.

II. figs. 20, 21, 22.

and

is

to give the

ings,

which

as in

PL.

The depth

may

plane

This

is rather a

is

soffit

simple and easy

Generally,

it is

when they

lie

in one plane,

an Early English Doorway at Louth.

which hollows are sunk from the surface of any

readily be added, as

By adding

planes, as in

whole breadth or width of a series of mold-

III. fig. 1,

to

I. fig. 12.

troublesome process,

apt to produce a complex diagram.

enough

PL.

face, as in

measurements of each member are required,

PL. VIII.

the measurements of

all

fig. 3.

the parts, any inaccuracy

of proportion resulting from a hasty sketch will readily be rectified,

should the molding be adopted in practical architecture.

For example,

in

PL. XVII.

fig. 3, it is

obvious that the double

groove or hollow chamfer in the centre cuts off a less portion of the projecting angle than the diagram represents line

marked 3f inches

this, as in other cases,

for the

;

nearly as long as that marked 7.

is

In

the measurement serves to correct the

drawing.

For the sake of neatness, in copying moldings,

it

is well to

adopt uniformly the plan, already pointed out, of drawing the outer wall-line parallel with the bottom of the page, and the soffit parallel

The

to the side.

practice of copying moldings

by the eye alone,

is

of the

greatest importance in acquiring a sound acquaintance with the It is indeed, as before stated, indispensable.

subject.

The eye

becomes perfectly familiar with every kind and variety by quently contemplating

made and

measurements,

way

may be made

also moldings

lie

is

in time attained,

and plainer moldings, with in two or three minutes.

which are quite out of reach

sketched very tolerably at the distance of planes in which they

fre-

collections previously

and thus a great degree of accuracy

a perfect copy of the ordinary

their this

;

new examples and

many

be carefully attended

to.

feet,

In

may

be

if

tha

MANUAL OP GOTHIC MOLDINGS.

30

Though the student should always pencil with him, he

must be

carry his sketch-book and

careful not to neglect to get full-

sized details whenever he has the opportunity, as they will tend

very

much

to correct the eye for sketching,

and frequently show

important deviations from geometric forms which are liable to be overlooked at

first sight.

These two points, the planes in which moldings

will seize the outline almost instinctively,

with a very close approximation to truth.

It

may

be remarked,

" Archi-

that in the example given by Professor Willis, in his tectural

and the

must be invariably observed,

relative proportions of the parts,

and the practised eye

lie,

from the

Nomenclature,"

Journal

Worcester, the plane line,

of is

William

of

marked by a

as in the illustrations of the pre-

sent work.

In copying the moldings of capitals,

measure the depth from the top of the abacus to the under side of the neck-

molding abacus

;

and the projection of

over

the shaft.

are easily taken

plummet

Both these

by dropping a small

string, with

(a

the

a

bullet

is

best) from the outer edge of the abacus,

and applying the It

foot rule

and

triangle.

has been observed that edges are

frequently chamfered at an angle of forty-five degrees.

as this

is

by no means invariably the

every instance

to

and

means

effective

measure

put

at its joint

it

to the test.

(PL.

be

-.

it

is

II. fig. 15),

to the paper,

One

is

by bending the

by which the angle can however small the copy

the only difficulty is in the hinge of the rule, which

will prevent it being placed close against the wall. fey

But

advisable in

There are several simple

of doing, this.

be accurately transferred

may

case,

the use of a triangle of

wood

Another

or brass, with angles of forty

COPYING MOLDINGS. five

degrees, by applying

the

31

of which

hypotenuse

to

the

chamfer the two sides will be respectively parallel to the wallplane and the soffit-plane, forty-five,

See PL. V.

but not otherwise.

plan, however, is to

at

is .fig.

an angle of

The best

12.

measure along the wall and

which may generally be easily

the chamfer

if

soffit-planes,

done very

by placing the rule against one

plane and sighting the end of line with the other, as

Where the rule

is

in

it

to a

diagram,

placed against one

plane, the end just meeting the other,

and thus

either the dimensions a b or b c

may be

obtained

;

and

the enclosed angle being a right angle, the direction of the

chamfer If,

is

obtained.

in addition, the cross

will be obtained correctly,

measurement be taken, the splay

whether the walls are at right angles

or not.

Full-sized moldings are reduced by the use

known instrument

called the Pentagraph.

require both time and

separately by

may be

means

care.

of the

the

of

well-

All other methods

Every member may be reduced compass and

scale

;

or

circles

drawn, inclosing certain portions of the copy, and re-

peated of the proportionate size in the same positions on the

reduced drawing.

MANUAL OF GOTHIC MOLDINGS.

32

SECTION

IV.

EAKLY MOLDINGS IN GENEKAL.

Having thus

far explained

general

the

methods of drawing moldings in

section, the theory

formations of moldings must now

first

and the

principles

of

considered

be

the

more

fully.

The

first

and rudest attempts

at

molding which are found in

rough and coarsely chiselled members,

this country, are the

generally semi-cylindrical, such as occur in the

chancel-arch at Wittering, Northamptonshire,

Ante-Norman

PL.

III.

fig.

10,

the balustre shafts in the tower of St. Benet's, Cambridge, and other churches of that date, to which

must be added the very

curious and antique attempt at a molded architrave on the impost of the belfry-arch at Barna:ck.

parallel to

the

This

last

example, an exact

which occurs in a doorway of

Bomanesque palace

Bavenna

;

of Theodoric at

and, indeed, the very nature

of the case would lead us to conclude that

the earliest element arose out of a desire to relieve, From Mr.

Gaily Knight's " Italian Architecture," Parti.

a plain easily

by

first

angles.

by coarse

flat surface.

irre'gular channelling,

A

square-edged rib

became a semi-cylindrical bowtell

chamfering, and then removing indefinitely the remaining

Thus,

for instance,

of a square projecting

fillet,

Norman

string-courses often consist

with the angles chamfered

as to form a semi-hexagonal projection.

PL. XVI.

Sepulchre's Church, Cambridge, affords, both in

and

pier-arches,

an excellent

illustration

its

fig.

off,

so

14, St.

groin-ribs

of the first idea of

forming rounds by removing edges, and of setting

off the parts

EARLY MOLDINGS IN GENERAL.

33

thus rounded, by sinking a small channel or furrow on each side a little below the surface.

Thus, then, a square-edged

arch with

was either worked into rounds

at

sub-arch or

its

each angle, PL. IV.

which

is

soffit-rib

fig. 1,

or into pointed rolls, as

an arch at Keymerston, Norfolk, circa 1200

edges were chamfered, others worked into

semi-Norman arch

and PL. XXI.

fig. 1.

common circa

profile in

1200

clearly

and

PL. IV.

at

figs.

Norman work

;

fig.

2,

some

or

and the sub-

rolls,

arch cut away into a broad semi-cylindrical rib, as in represents, a

;

which

fig. 4,

Barholme, Lincolnshire,

7 and

8,

are

groin-ribs of

the one from Glastonbury,

the other from Peterborough, early

Norman

:

both

satisfactorily exhibiting the formation of the

roll-

;

molding or bowtell.

The deep rounded hollow

(as contrasted

with the mere notch),

by which the contrast of light and shade was obtained, was an after-thought, which was not developed period,

when

it

was carried

to

till

the Early English

an extravagant excess, so that

roll-moldiDgs were extensively undercut or attached only by a small neck of stone

detached arches or

;

thus bearing the

effect of a series of

ribs, rising in succession

above and behind

each other, each independent and unconnected, the eye being

unable to penetrate to the depth of the dark hollow.

PL. IV.

fig. 5, is

which the

in

first

a very Early English pier-arch, at Barnack,

ap-

pearance of the deep hollows

may be

traced.

The accompanying example of a similar kind

is

engraved in p.

85 of Professor Willis's

"Canterbury," where the

the

Contrast

between

j^tffc

^j^.

From Winto .. "Canterbury," p.

Norman edge-mold

b and Transition bowtell A with side hollows

is

well shown.

D

85.

;

MANUAL OF GOTHIC MOLDINGS.

34

might appear probable that the true origin of the deep must be looked for in the wish to

It

three-quarter circular hollow

form a cutting inwards, at the point of the interior angle, corresponding to the bowtell at

the

edge or point of the

diagram and PL. VI.

exterior rectangle of the sub-arches, as in

and PL. VII.

10,

fig.

two

way,

the

may have been extended each no space was

till

left

unoccupied,

and thus a great width was covered with

'>i

minute members,

',

light,

inner hollow at the angle

alternately

hollow and prominent.

is

Edwards, so that this view

is

it

and

Still, this

work of the

first

two

hardly correct.

The roll-molding being once to multiply

dark

not very observable in the earliest

arches, but is rather characteristic of the

and

these

and

both the hollow

points

bowtells

.

From

fig. 7.

established,

it

became natural

as an ornamental feature to an unlimited extent

to prevent

sameness of

effect

many

modifications in the

forms of the projecting members were introduced, as well as considerable variety in the size and depth of the alternating

Now,

hollows. size

;

multiplication naturally implies reduction in

so that, in place of two or three heavy round moldings

placed at the angles only, and without hollows of any great depth,

we

find a

whole series of minute and

skilfully diversified

members, designed not on any exact geometric regulated by taste, caprice.

effect,

We may

and no doubt,

principle, but

to a certain extent,

by

suppose the architect to have drawn on a

board or a stone, with a free hand, the outline to be followed in working out the

hollows

;

and PL. IV.

fig.

3,

represents

such a stone, with the profile scratched or marked on face.

The

afforded exactly the

when put

its

sur-

templet, being applied to every stone to be worked,

same shape

for each, so that the pieces,

together, coincided with perfect accuracy.

Deeply recessed archways consist of several courses of molded

EAELY MOLDINGS IN GENERAL. stones, each order-,

construction, to the

back of

by the stone next

joint being overlapped

When

it.

own independent

or sub-arch, having its

and each

35

the moldings are meagre, the arch

In taking a

generally consists of a single row of voussoirs.

molding of the former kind,

it is

essential to

mark the joints

of

the different courses.

The grouping and multiplying

of

members was

greatly facili-

tated in its development by the Gothic principle of distributing

weights and thrusts under a number of different

Thus each group way

is

supports.

of arch-molding in an Early English door-

borne by a detached jamb-shaft below the impost.

In

were engaged in the wall, and at the

later times, the shafts

latest period the roll-moldings

were often continuous, but with

manner

small pseudo-capitals and bases attached after the

of

real columns.

The Norman

architects never got

cylindrical edge-roll

much beyond

and shallow hollow, similar

They paid

example from Coton.

so

much

in the fiat faces

annexed

to the

atten-

tion to surface sculpture and shallow ornamental

work

the plain

Ip

of their arches, that the

Jp

notion of alternate hollows and projections does

jj§

not appear to have been fully comprehended by Coton.

,

them,

or,

if

so,

was found

to be incompatible

with the enrichment by detail in Bas-relief.

was reserved

It

for the period of Transition to effect this.

The invention

of the pointed bowtell, contemporaneously with

the general use of the pointed arch, opened the

number origin,

of

and

members by

all

all

more

to a great

common

used with the most refined taste in varying the

most important

II. fig. 4,

way

or less referable to this

of complex Early English grouping.

far the

PL.

new forms,

and PL.

Lincoln Cathedral.

I. fig. 20, a

The

The

first

and

of these is the eoll-and-fillet,

doorway in the precinct

introduction of this

new

feature

of

may

be said to have wrought a complete revolution in the system

d 2

MANUAL OP GOTHIC MOLDINGS.

36

of molding. formations.

subsequent

It is the keynote of almost all the

may

It

be defined to be a

band

flat

set

on the

surface of a roll-molding, at

first

with a square under-edge,

as at Little Casterton, or as

PL.

I.

and

18, afterwards,

fig.

Great Shelford, Cambs.

Little Casterton, Rutland.

most commonly, with a slope or ogee curvature, as at Great.

PL.

Shelford, or as in

Abbey.

was

fillet

itself a

was

first

added to the cylindrical bowtell.

common enough

feature

and in Norman work was used

A

and in other places. annexed examples

;

a groin-rib from Tintern

what precise period, or from what,

It is not certain at

cause, the

17,

II. fig.

down from

It.

Classic times,,

in the abaci of capitals, in strings,,

certain analogy

and that from Selby

may

roll-and-fillet

An example

be traced in the

simply the ordinary

is

used as

PL.

to the roll is figured

12.

a string.

of a single side

fillet,

I. fig.

This appears to be an

acci-

dental one, being merely the unOvolo and

Sepulchre's Selby; Cambridge. String Nave.

St.

Fillet.

m

suggested the use of the

idea

of a

pointed bowtell,

(PL. IV. a

fig. 9),

fillets

surface-line

the or

more prominent

fine

cu t surface of the Wall.

first,

may be

that,

with the

Or

roll.

having been feather

it

suggested

edge was either

was throated or widened, so as effect.

Forms

of this kind have probably

As, however,

the earliest examples that this

fillet

it

will

by the cut

off

to produce-

be found in

frequently falls in a line

with the chamfer-plane, as in PL. II.

figs. 9, 15, 19,

and in

;

EAELY MOLDINGS IN GENEEAL. fig.

the north doorway at Cherry Hinton,

6,

have been

left

view which

may

it

possibly

as a standing portion of the uncut surface certainly borne out

is

The

molding.

37

by

the general analogy of

position of diagonal projection is undoubtedly

the ordinary one throughout the Early English period

the

fillet is

fig. 8,

a pier-arch from Cherry Hinton,

the end of the thirteenth century.

wanting in much

that

fact is

molding

earlier

on this theory of

One

;

Still,

so that

till

it

members

not intended to

its origin.

worthy of notice in the use of the

roll-and-fillet

would appear

to be

merely a variety of the

of a group.

For example, PL.

in

has in the

So also

and the juxtaposition of these two forms may be noticed

many

other instances.

Another plausible account of the origin of the

may

latter,

diversifying the

II. fig. 5,

central group a filleted roll between two pointed ones. ;

towards

examples are not

it is

introduced for the sake of contrasting and

8

and

commonly occurs in alternation with the pointed bowtell

it

whence

fig.

;

not often found coincident with either of the other

planes, as in

insist

a

;

be offered.

roll-and-fillet

Its occurrence in early groin-ribs cannot

escaped the notice of the observer. instances of its use

may be

have

Perhaps, indeed, the earliest

traced to the obvious propriety of

forming sharp and hard edge-lines instead of mere round

mem-

bers in positions in which, from their distance, the eye would

otherwise have an ill-defined and imperfect outline.

Again, in

mitering, or joining rolls at right angles, as well as in

them the

making

die into or spring out of plain surfaces, the addition of

fillet

presents important advantages in neatness of con-

struction.

But

all

these are mere conjectures.

The author has devoted

considerable pains and attention to the discovery of the true origin of this very important feature, but without satisfying

himself with any of the theories given above, though the

seems the most probable.

first

—

;

MANUAL OP GOTHIC MOLDINGS.

38

SECTION

V.

EARLY ENGLISH MOLDINGS.

FROM THE ACCESSION OF RICHARD

characteristics of the moldings of this style

fined as deep undercut hollows between

and repeated

hollows

a great

;

and the general arrange-

shown

in rectangular faces, as

m_™.

;

de-

filleted bowtells,

at certain intervals

depth or extent of molded surfaces

ment

may be

prominent members,

which comprise a great variety of pointed and clustered, isolated,

III.

1189 TO 1272.

A.D.

The

TO DEATH OF HENRY

I.

in

PL.

^ie ^ e

The

II. fig. 5.

seldom true

are

circles

P roJ ec ting parts, they

%'^^^K*

an(^'

fTjkw

assume a great number of capricious

|Mj

PL.

forms.

III. figs. 2

and

3,

would

alone be quite sufficient to convey to the eye

an idea of the general

method. The

first is

the belfry- arch

\at Plymouth, the second the pierarcheS in the choir ° f

Ea^English Arch, Ripen

g^

Cathedral.

were taken

E ty Cathedral.

^.^

^

^^^

graph, and are reduced to a scale of half an inch to a foot.

The annexed

section will also serve as an illustration of the

ordinary forms of Early English moldings.

-.-

Early English

W/a

llilli^

Wmit

llllllp-

^ e sa

^

moldings

may

comP r i se *ne

following

The plain bowtell or

edge-roll.

*°

'

(

/

'

p

members:

V

\

\ r~\

~

1.

4

2.

The pointed

3.

The

4.

bowtell.

roll-and-fillet.

The scroll-molding

(rare).

EARLY ENGLISH MOLDINGS. 5.

39

Angular forms, consisting of chamfered ridges and

inter-

vening projections, of irregular character.

The other forms

chiefly consist of modifications of the roll-

and- fillet, which are so capricious as almost to defy any attempt to assign

them

names and formations.

distinct

right, therefore,

It will

be

out some of the most com-

briefly to point

monly occurring varieties, leaving a more particular investigation to the student's

The is

own

exertions.

roll-and-triple-fillet

much used

(PL.

I. fig.

25

;

PL. IV.

fig. 3, a.)

more advanced buildings of

in the

the style, and was the favourite form during the reigns of the

fig.

12), each

side of

compound molding. figs. 7,

8;

ordinary

from a ridge (PL. VI.

which

naturally produces, and

PL. VII.

The

two Edwards.

first

roll-and-fillet projecting

PL. VII.

undercut by a deep hollow,

is

therefore probably

It will

PL.

5;

fig.

suggested,

be observed in PL. V.

II. figs.

18 and 19.

A

figs. 5, 6,

9;

plain bowtell

upon a short ridge

or roll very often stands forward

this

or

neck

in Transition moldings, the edges being

sharp on each side, in consequence of a slight hollow immediately below.

of

This

is

frequent occurrence even in semicir-

may be found in doorkind in many of our abbeys,

cular arches, and

ways of that

as at Fountains. ,

p.

90 of Professor Willis's " Canterbury "

the choir. a

fillet

Doorway, Fountains Abbey.

It is illustrated also in

Sometimes only one

attached (PL.

figs.

I.

Sometimes there are two

(fig.

37), pier-arches of

side has

12,

fillets,

23).

one at

the top, the other on the side, as in the cut from Ripon, and

PL. XVIII.

fig. 1.

PL. V. PL.

fig. 3,

II. figs.

and

11 and

Ripon Cathedral.

13, are varieties of very frequent occurrence.

PL. IV. fig.

12, is a form often found in labels, as

fig.

13,

MANUAL OF GOTHIC MOLDINGS.

40

both from Lincoln Minster ; the latter also illustrates the

fillet

as

Fig. 11 is the chancel doorway

it

were depressed into the

at

Ludborough, Lincolnshire, which shows some other

roll.

varieties;

in fact, the combination of the roll-and-fillet having been once

suggested, they seem to have been

utmost

PL.

Fig. 15 is a groin-rib from Furness Abbey.

licence.

4 and

III. figs.

Abbey ; 5 and 6

Robertsbridge

groin-ribs from

are

are fragments from Tintern

and

St.

Mary's

from Histon, near Cambridge.

The members plane, as in style.

7,

Fig. 9 is the arch-mold of a double piscina with

Abbey, York. its capital

used together with the

PL.

in

PL. IV.

III. fig. 1,

Three pointed

rolls

fig.

11, fall wholly on the chamfer-

which

is

seldom the case in this

placed together, somewhat in the

form of a fleur-de-lis,* form a combination of very frequent occurrence.

It

may often be found between

of large doorways, as at Peterborough

any position, with many minor fig.

21, and

PL.

II. fig. 5, are

the detached shafts

and Ely, and indeed

examples.

in

PL. IV.

varieties of shape.

In some cases

it

closely approaches the character of the roll-and-triple-fillet, as

PL. V.

fig. 6,

the beautiful Decorated window-jamb at North-

borough, Northamptonshire.

In Decorated work the fillet became extremely broad, PL. IV. 19, often as

fig.

case

it

may be

much

as three, or even four inches.

clustered piers, where

it

very often occurs, as in those to the

east of the octagon at Ely.

But

always a narrow edge-line.

in Early English

If set square

generally a sign of early work. * There lis

is

In this

said to lose its original character, especially in

sometimes so

close a

in this complex molding, that

it is

on the

almost

roll, it is

See the outline diagrams in

resemblance to the head of a fleur-deit is difficult to disconnect the idea of

the one from the other. An example is given, Potter's Monastic Remains, Tintern Abbey,

in PL. XIII. of work, we may here observe, which is quite invaluable in showing the curves and geometric formations of early moldings, and which every lover of Gothic architecture ought to possess. It contains an immense number of moldings full size,

—a

of the finest era

and the

richest design.

;

EARLY ENGLISH MOLDINGS. PL. IV. fig.

41

The depressed %and elongated forms on each

11 are principally found in later buildings, the

side of first

in

been before stated that a great degree of licence

is

Decorated, the latter in perpendicular. It has

observable in the forms of Early English roll-and-fillet moldings, in respect of size, shape,

and composition, and that geo-

metric accuracy was avoided in a rather remarkable manner the irregular shape, and the freely undulating curve, having

been commonly preferred.

Almost every conceivable modifica-

tion of the plain roll, peaked, depressed, elliptical, grooved at

the end, might be found and catalogued by a careful observer.

An

important form, generally considered distinctive of Deco-

rated,

but not very

work,*

is

uncommon

the sceoll-molding

;

advanced Early English

in

so called from its resemblance

to a roll of thick paper, the outer edge of

the side exposed to view. the under half of which the upper.

may be

It

is

which overlaps upon

described as a cylinder,

withdrawn, or shifted a

little

behind

It is almost universally used in the abacus

and

neck of Decorated capitals, and very often in strings and basemoldings. It is certain that this

form was known and in use even in the

pure lancet architecture of 1200-1240. St. Benet's, Lincoln, is a

It

I.

fig.

It is represented in at Yaxley,

PL. IV.

fig.

Hunts, and in

arcade in Lincoln Minster.

19, from

also occurs, per-

an accidental or undeveloped form, in PL.

haps in

way

proof of this.

PL.

II. fig. 3.

14, an Early Decorated door-

figs.

Here

11 and 16, is

—the

latter

an

seen the unusual com-

bination of the scroll-molding and the

side-fillet.

PL. VII.

* It occurs, for example, in the moldings of the very elaborate triplet at the east

PL. VIII.

end of Castle Eising Church, PL. XVIII. fig. 6, engraved in Mr. Bowman's account of that church in his Specimens of

of

Ecclesiastical Architecture.

marks

The presence

of the scroll-molding in

any

approach towards the Geometric age. See PL. XVII. fig. 6, which, together with the contiguous sections, figs. 4 and 9, represent the jambs of the immense Early Decorated and Geometric windows in the south aisle of Grantham Church. elaborate group

its

MANUAL OP GOTHIC MOLDINGS.

42

Fig. 7, the rich and

a fragment from Rivaulx Abbey.

fig. 5, is

beautifully

molded doorway at Northborough,

circa a.d. 1270,

exhibits the scroll form on the interior order.

Antiquaries are not agreed as to the origin of this molding.

may

It left

perhaps be regarded as a

uncut, either because

capitals, or afforded a

ings, line

where

it

more

roll-and-fillet

with one side

was removed from

sight, as in

effective drip in strings

and weather-

it

The shadowed edge-

most constantly occurs.

was presented by the scroll-molding as well as by the

and-fillet

;

and the principles of

roll-

which suggested both

effect

Ik. Ha Roche Abbey,

Byland.

forms are probably identical.

But

it is

was derived from the pointed bowtell.

more probable that

may be

It

it

traced from

one form to the other through such gradual changes, as to leave but

little

The

doubt on the subject.

earliest pointed bowtell

was simply the new form of the pointed arch used as a

molding

(as at

Roche

and Byland), but

this

was soon modified by having a slight sinkBarnwell, Cambridge.

Ely.

ing close to the edge, so as to

make

it

Barnwell and Ely.

a

little

sharper, as in these examples from

This form has been called the keel molding,

from

its likeness to

the section of a ship show-

ing the form of the keel.

When

with more deeply cut moldings Rivauix.

isolated, with a long

neck

the combination of the two forms, we find

it

;

it

worked in

stood more

and, probably from occasionally turning

EAKLY ENGLISH MOLDINGS PL. XVIII.

the edge to one side, as in

and in this case

;

it

and 10, from

1

figs.

which we immediately obtain the form in regular scroll-molding

43

fig.

6,

which

a

is

be observed that

will

pairs off with a pointed bowtell.

it

The annexed examples,

from

also,

Mary's Abbey, York,

St.

and Tintern Abbey, show

how

closely allied the

two

Jj|

<Wm

forms are; and those in

^^^^^^^k

the choir arches of Ei-

\

P.

\aulx Abbey are an early

|

example, in a position in

llllL

'

Hr'

:

^mBi

7;2*|

might naturally J be °

r

§ JSt>

Hil

which the pointed bowtell

>

'

f.

_ Jt* St. Mary s, York. ,

,

Tintern.

expected.

Though the under edge rounded, of

it is

frequently to be found cut square where sharpness

shadow was desired

criterion of date, as

at

of the scroll-molding is usually

but this can hardly be considered as a

;

is to

it

be found both in early work, as

Warmington, Northants, and down

fourteenth

century,

as

at

Elsworth, near Cambridge.

The

scroll-edge

times,

though

is

jjlf

some-

rarely,

to the middle of the

2

in-

IS jj|

J|jj|

with-

i|»

^ll

placed

Jm

|j|

uppermost, as in some of

**

that

verted,

so

drawn

surface

the is

the bases at Tintern Abbey

(PL. XIV.

fig.

/

™™

Ilk

™^

Wm

Warmington,

St. Michael's,

Northants.

Cambridge.

rolls-and-fillets

conjoined

Elsworth, Cambridge.

33).

Two |||L

^mm--

^Ujimli'

.

bases, so

that their respective

right angles

double-ogee, anciently

to

each

called,*

* Professor "Willis says this molding

other,

—one

is

of

are at

constitute

the

as

was

double-ressant,

or

their

at

fillets

the

it

commonest

sometimes called a brace, from

MANUAL OF GOTHIC MOLDINGS.

44

It

moldings of the Decorated and Perpendicular styles. rare in Early English,

and

rather than

when

fig.

intention

PL. VII.

12.

it

does occur,

fig.

hear the two moldings fig. 6, is

shafts

a decorated

The

the same

common arrangement PL. V.

figs.

capitals

which

molding of

sufficiently

common

archway at Trumpington), where the

which carry the capitals are

And

PL. IV.

in

question are marked in outline.

in

occurrence (as in the belfry

double-ogee.

as

1, is the west doorway of Llandaff

Cathedral, of pure Early English detail.

PL. IV.

is

apparently the result of accident

set together so as to

may be

form the

constantly observed in the

of Early English and Decorated piers,

See also PL. II.

14 and 15.

fig.

17.

Early English arch-moldings are so easy to distinguish

from

all

others, that

it

is

not necessary either to say more in

explanation of their peculiarities, or to give a great

They

of examples.

are by far the

most

number

difficult of all to

copy

with exactness, from the irregular and capricious forms of the curves and undercuttings feet across, renders it

of the rich

;

and their great

extent, often

many

an extremely tedious process to draw any

and complex examples on a reduced

scale.

The

numerous deep and dark hollows constitute the most characteristic difference

between the moldings of this and those of the

succeeding style, in which most of the forms already enumerated will be

But the extravagant

found to recur.

cavernous undercutting

is

lost

display of deep

We

in Decorated moldings.

there find a hollow of three-quarters of a circle, accurately

formed with the compasses, in the angle of every receding subarch, as in

Norfolk;

Deopham

PL. VI.

;

fig.

12,

and PL. XVII. these hollows its

fig.

2,

the west doorway at

11, the inner doorway of the south

fig.

Hingham, porch at

the same from Benington, Lincolnshire

fig. 3,

must be

from Bottisham, Cambridgeshire.

;

And

particularly observed as the real division,

resemblance to a printer's bracket

r-*-N.

("History of Winchester

Cathedral," p. 60, Proceedings of the Archseological Institute, 1845.)

EARLY ENGLISH MOLDINGS. of the orders of moldings when they

The Decorated hollows English

and there

;

all lie

45

on the chamfer-plane.

are usually of larger size than the Early

is this

general difference in their use, that

in the Decorated they divide groups, in the Early English individual members.

The

exquisite

skill,

and patient labour invariably

taste,

evinced in the working of Early English moldings, are truly

The ingenuity

admirable.

that was never at a loss in any

and the minute-

difficulty of finish or constructive irregularity,

ness with which even the most concealed and darkened parts

were executed, are circumstances of

much

and show a

interest,

love for the art above the sordid considerations of cost.

The deepest hollows are

as the

most prominent and conspicuous

village

church as

But

much

all

minimum

as cleanly and perfectly cut details

;

and in the

so as in the most glorious cathedral.

there was evidently a feeling that the designs had

become

weakened by the use of a large number of small members of

much

the same size massed together so

readily distinguish the different groups,

that the eye did not

and

in correcting this

tendency the Decorated moldings were developed.

Early English doorway

however It is

little it

may

most pleasing

is

often

a

of art,

attract the attention of ordinary observers.

to

notice the

long

trails

of

dog-tooth

lurking in the dark furrow of a label or chancelled recess see the end of

some inconvenient member got

a flower across the point

the wall

;

to

an

Still,

wonderful piece

where

it

rid of

;

to

by throwing

suddenly stops or dies into

admire the floriated boss and the foliaged capital

intruding their luxuriance upon the moldings and hollows, as if

they had overgrown their original and proper limits.

beautifully, too, the knots of pierced like

some

petrified garland or

and hanging leaves extend

bower of

filigree

work round the

arch, dividing the plainer moldings into groups,

imparting

life

and vegetation

abundance of doorways of

How

to the very stones

this style

!

and almost There are

which exhibit the most

MANUAL OF GOTHIC MOLDINGS.

46

delightful varieties in their forms

and groupings

Some examples

never, the same.

occur at Bolton and Furness

Abbeys, whose arch-moldings extend

The west

five or six feet in width.'

English

fronts of several .of our cathedrals have Early

The entrance doorway of

doorways of amazing magnificence.

House

the Chapter

molding of this

at Lichfield is a very fine

example of the

But almost every cathedral and every

style.

ruined abbey will supply good specimens, so that Plate XVIII.

useless to multiply illustrations.

doorway in the

cloisters

Peterborough

at

immediately opposite, in the south scale of half

an inch to one

at Bivaulx Abbey.

Kising Church;*

Fig. 6

fig.

9

it

Fig. 5

is

a

both on a

aisle of the nave,

foot.

is

3,

a doorway

fig. 2,

;

would be

fig.

a ruined doorway

from the east window of Castle

is

from Beaulieu Abbey, t the southern

fig. 7,

triplet of the Eefectory

Ripon Minster;

yet

always,

;

fig. 8,

;

is

an arch-mold from the choir of

borrowed from Brandon's " Analysis of

Gothic Architecture."

These

latter

examples

ing the tooth ornament

(6, 7,

show the method of

10)

insert-

Many

in, or rather across, hollows.

of

the more elaborate groups of Early English

moldings contain several successive

trails

of

this decoration, often of different sizes, shape

and planes of

projection.

west doorway at

Binham

curious variety of

hollows

In the very beautiful

the

Priory, Norfolk, a

dog-tooth

of such depth, that the eye

\\\/^j§

fathom the point of attachment.

i/^jilfjJ!

molding

f^plll||

Norman

is

by cutting

in

cannot

The

an evident development

nail-head

set

is

tooth the

of

incisions

on

|

each

side,

as the

accompanying

illustration

Dog-tooth.

shows. * This

10 from the same, are taken from Mr. PL. VIII. Weale's Quarterly Papers, Vol. II. PL. II.

and

fig.

trations of that church,

t

From

Bowman's

illus-

DECORATED MOLDINGS.

SECTION

47

VI.

DECORATED MOLDINGS. DURING THE REIGNS OF THE FIRST THREE EDWARDS, 1272-1377.

The

student will bear in mind that the details of Decorated

moldings are in great measure identical with those of the preceding

style,

with the addition of some new members, and

And

several important modifications of grouping.

found to produce an entirely different

will be

description the distinction

must be

may

appear very

the latter

though in

effect,

The eye

trifling.

familiarized to the profile and general appearance of

moldings of different dates, so that, without dismembering, and, as

it

analyzing the group, of examining the separate

were,

details,

it

may

discern at a glance the style

example belongs.

And

this

may

to

which any

be done with a considerable

degree of certainty by practice and attention; though

it

can

hardly be asserted that all the differences of style admit of being

reduced to unvarying and infallible rules. are

met with

of

much

earlier or later date

Sometimes moldings than we should have

expected from other characteristic marks in the building

;

and

there are not a few instances in which, without the aid of such

marks,

it

would be impossible

to say

whether a molding

the fourteenth or the fifteenth century.

In

is

quite

of

fact, this science

does not appear capable of more than general

though there

is

enough of uniform system

treatment

;

to enable us to

apprehend the broad distinctive principles which obtained in the different periods.

Generally, then,

much

may be projecting mem-

greater geometrical precision

observed in drawing both the hollows and the

bers than prevailed in the preceding style, and the size of the

MANUAL OP GOTHIC MOLDINGS.

48

members

somewhat

is

Segments

larger.

of

both

circles,

much used, and there was a softness

concave and convex, were

of blending, a delicacy and gentleness of grouping, an avoid-

ance of strong and violent contrasts of light and shade, which

imparted a more pleasing, though

much

less striking, effect.

Early English arch-moldings have sometimes a monotonous effect,

which

but imperfectly remedied by the free use of

is

and

quaint, irregular,

that frequently the

is, first,

numerous members do not vary materially in

.

The reason

members.

fanciful

size

;

stands

and, secondly, that each

between two deep hollows, so that tbe entire

WgUm,

group looks like a mere alternation of dark

I

and

light, repeated

with

little

change several

\

Ww§ Decorated

Jill

times over.

the composition of Deco-

For

rated moldings is essentially different.

roii-and-fiiiet.

not only do the

Now

members vary

in size, but also in kind

;

the

deep hollows are principally confined to the inner angles, and there

is

no extravagant

The

parts.

as possible, as in

enough

is

PL. XVII.

formed with as figs. 2, 3, 9,

undercutting

little

10

:

in fact, only just

hollowed away at the sides to develop the outline.

In the Geometric-Decorated age (that first

and unimportant

isolation of small

roll-and-fillet is

two Edwards), the

is,

in the reign of the

moldings of arches and jambs

very slightly from those of pure Early English

;

so

differ

slightly,

indeed, that they cannot alone be taken as decisive of this or that date.

It

was not until the Flowing- Decorated era

(that is,

during the reign of Edward III.), that these moldings took the characteristic turn roll-and-fillet,

and

which brought about the surrender of the its

many

varieties, for the ogees,

bowtells,

and wide shallow casements of the Perpendicular period. Rich Decorated moldings are of rather rare occurrence. great

many

A

of the finest buildings in this style scarcely afford

as good examples of molding as small and

the Early English age.

humble churches of

Very often plain chamfers are used in

— DECORATED MOLDINGS. all

the windows, doorways, and pier-arches

such as bases, capitals,

for the best

arches, doorways,

(PL.

I. fig.

while minor parts,

sedilia, sepulchral recesses,

have fine and elaborate details.

we must look

;

49

It is in this

and the

like,

kind of work that

moldings in the Decorated

In

style.

and windows, the plain chamfer of two orders

5) is

Windows

perhaps most commonly found.

especially are often singularly

ever rich their tracery

may

meagre in

be.

their moldings,

how-

The monials stand near the

outer surface of the wall, and separated from or recessed behind it

PL.

only by a single order with a plain or hollow chamfer, as

VII.

figs.

20 and 21.

Frequently, indeed, the tracery of good

Decorated windows stands quite flush with the wall, so that the

jamb-moldings

are, as it were, entirely

omitted.*

And

again,

the monials and tracery often consist of merely chamfered planes,

without any edge-lines to relieve them; and the east window

Trumpington,

at

fig.

PL. VII.

so,

19, a window at

fig.

20,

Hingham,

Norfolk, is one degree richer than this, two orders being intro-

duced in the monial, though of equally plain character.

There appear to be three moldings

may

distinct kinds to

generally be referred

examples

which

it

might be

difficult

to

assign to any one of

them. 1.

These are

The

plain,

:

;

which Decorated

though there are many

m

a

>et.

TXvrniidls

LonioR. 0-uriu37 A Jactoon Paternoster ,

Row

PLATE XIX.

t,"

^Diagrams showing the formation

3.

Bottisham, Cambridgeshire

4.

Saffron Walden, Essex.

5.

Stretton, Eutland.

Grantham, Lincolnshire. Do. do. Crypt. Fountains Abbey Lady Chapel.

8.

—

Wave

— East Window,

6. 7.

of the

Molding.

South Aisle.

T.Tvrnbuil

London.: Currier

& Jackson. Patornoatoi-

Row.

sc.

PLATE XX.

1.

2. 3. 4. 5.

6. 7.

9.

10! 11.

12. 13.

14. 15. 16. 17.

18.

—

Landbeach, Cambridgeshire Doorway. Window. do Guy, Grantham Chancel Window. Peterborough Cathedral Archway in Cloister. Ripon Cathedral. Eivaulx Abbey. Bipon Cathedral Window Jamb, South Aisle. Bolton Abbey Doorway. Newton, near Cambridge West Doorway. Bolton Abbey. Do. do. Grantham Choir Doorway. Lancaster Arch Mold of Nave. Bolton Abbey Monument. Grantham. WOlingham, Cambridgeshire Chancel Door. Grantham. .

—

—

—

— —

—

—

—

—

Plate XXI

T.TurnbuZL jo.

Louden..

Qupn«y & Jackson., Paternoster Row.

PLATE XXI.

1.

2.

4. 5.

6. 7. 8.

9.

10.

Moroot, Rutland. Seaton,

do.

—

Ripon Cathedral Revestry or Chapter Room. York Cathedral—Library. Nave. Do. do. Do.

do.

Ripon Cathedral. Fountains Abbey. Do.

do.

Chapter House.

PAINTED BY

WOOD FALL AND K1NDEB, LONG ACRE, LONDON,