The rare and the interference of those ecclesiastics who studied architecture and had attained a proficiency in the art, was not calculated, as we may safely presume, to induce an important deviation from any great standard example, unless on the occurrence of a mastergenius, whose boldness of invention was rendered authoritative by influence of rank and depth of pecuniary resources. existence of such a combination of talent and power, inevitably produced a new era in the art. The structure suggested by so dignified an architect would necessarily be of the first class, as to extent and grandeur; and would, as naturally, find imitators in the projectors of minor buildings, and advocates in the artificers with whom its novelties had become familiar and approved by successful operation. If this conjectural explanation should be deemed unsatisfactory, we may find more elaborate attempts at solution in several modern writers. As an example of these, some remarks of Mr. Britton, in the third volume of his Architectural Antiquities, are presented to the notice of the reader: "Wherever monastic establishments were fixed, there architecture was studied, and every new church rose up in strict accordance with the new style, and novel inventions of the age. Buildings of a coeval date generally display an uniformity of design and ornament. We are thus indeed to suppose that a regular system of communication was established among the ecclesiastical community, and that every invention in architecture, as well as all new regulations in monastic economy, either emanated from a centre,-from a governing power,- -or was submitted to that power for sanction and authority. The Pope, we know, was the supreme head and ruler of the one, and it does not appear improbable, in supposing him to have been the law-giver, or licencer of the other. The freemasons or architects, as well as the provincial abbots, might deem it requisite, perhaps it was imperious, to consult their allpowerful master respecting every novelty, or innovation, which either might wish to see introduced.”* * Architectural Antiquities, Vol. III. p. 48./ This This decided uniformity of style in all ecclesiastical buildings which are accurately traced to their date of erection, is a subject of some gratulation with the antiquarian examiner, as the same want of written documents that has been lamented in previous sections, frequently prevails in the ages now under consideration. Even where monastic records have survived the injuries of time and the destructive ordeal of reformation, they are often found to contain little intelligence, as to the dates at which particular parts of respective buildings were erected. The architectural history of cathedrals is, in many instances, developed with conclusive authenticity; and our most satisfactory examples are, therefore, derived from those edifices, which at once illastrate the progress of art and exhibit its most splendid and happiest efforts. Parochial churches were usually built by degrees, from the pious offerings of manorial lords, or other neighbouring residents. Direct memorials of such progressive labours, arising from private benefaction, cannot be expected to occur in great frequency. As the use of letters grew more common, we, however, find auxiliaries of information that were but little known in periods antecedent to the commencement of the pointed style. The dates at which churches in this mode were built, and the names of the founder and contributors, are sometimes ascertained by attached inscriptions, expressly commemorating the erection and consecration;* or by laudatory passages in epitaphs on such de vout • As some obscurity prevails, in regard to the time at which churches were usually consecrated, the following remarks of Mr. Pegge may be acceptable to the reader ;-" Churches were not always immediately consecrated upon erection, for Otto, the legate, in the very first of his canons, A. D. 1238, observes, that he himself had seen, and had heard from many, that there had been great neglect in the consecration of churches; that several of them, and even some cathedrals, had not been consecrated, though built of old; wherefore he ordained, that all cathedral, conventual, and parochial churches, which had their walls perfected, should be consecrated by vout persons. Armorial allusions, sculptured on the spandrils of arches, carved on roofs, or emblazoned in windows of stained glass, likewise assist in perpetuating the memory of those who imparted aid to the erection, or restoration, of an edifice; and thus often conduct to the discovery of positive dates. The introduction of such heraldic memorials was frequent in the fifteenth century, but was by no means confined to that era. It may not be superfluous to remind the reader that the richest, most delicate and elaborate efforts of artists in the English style, are exhibited in the ornamental parts of small chapels and oratories, and in the decorations of tombs; the most costly instances of which last fabrics invariably display, in beautiful miniature delineation, the peculiar fashion, and select ornaments, of the ages in which they were constructed. ECCLESIASTICAL STRUCTURES DISPLAYING THE North side of the westtransept of Roches ter cathedral............... The chapel of the Holy Trinity at Canterbury, which has windows in the lancet shape, appears to have been completed about the commencement of this reign. See Archæol. Vol. XI. p. 367, and 2 K Kent, P. 642. Kent, P. 796. Upper by their diocesan, or some other person authorized by him, within two years. And it is certain that, in pursuance of this ordinance, many dedica tions actually ensued. But still I am of opinion that, in a common way, dedications were solemnized as soon as conveniently could be after the completion of the fabrics; and, in general, the dedication or consecration, where that can be known, necessarily implies an erection to have been perfected be». fore that date, except in case of a re-edification." Pegge's Sylloge of Ancient Inscriptions, &c. p. 1-~2. H REIGN OF HENRY THE THIRD. FROM 1216 TO 1272. The long reign of this king, although clouded by sanguinary civil contests, and thence unfavourable to the cultivation of many useful arts, is conspicuous for the munificent patronage bestowed on ecclesiastical architecture. Few of the Middle ages were more prolific of moral and political turpitude; and the supcrstitious humour of the period led afluent criminals to seek an expiation of offence against Heaven and mankind, by the foundation of structures devoted to mediatory religious ceremonies.The emulative spirit of the times, when once aroused into action, was not confined to monastic or collegiate institutions, but was honourably exercised in the erection and improvement of splendid cathedral and other churches. The pointed order of architecture had now attained so enthusiastic a degree of approbation, that' that the labours of the architect were not restricted to entire buildings in the new style, but the more weighty and objectionable parts of numerous existing buildings were taken down, and reedified in the prevailing mode. This may be particularly remarked in the eastern, and more sacred, portions of many remaining edifices. It has been stated that some changes, implicating an increase of ornament, are observable in the vaulting of buildings erected in this lengthened reign. Some other variations are also percepti ble, and require notice. The chief of these relate to the windows, and are exemplified in the Abbey church of Westminster. "The design of this building," as is remarked by Mr. Carter, “gives a style peculiar to the period; and immediately succeeded that mode of work made use of in the erection of Salisbury cathedral, perfected in the early part of Henry's sovereignty. The transi tion from the Salisbury to the Westminster style was not, however, marked by any extraordinary change: the alterations were few, and not very obtrusive, they occurring principally in the windows. At Salisbury the windows are given plain in their openings (excepting those to the side aisles in the west front, shewing mullions and tracery, and which were inserted, probably, some time after;) while the windows at Westminster contain both mullions and tracery. The mouldings of each pile had not much. variation; and battlements seem, about this period, to have been introduced, at the latter place, in room of the parapet so characteristic at the former."* The windows to which the above writer refers, have the cinquefoil introduced in their heads; and those which light the triforium externally, consist of a triple cinquefoil under a pointed arch. It may not be undesirable to observe that painted or stained glass, for the use of church windows in England, is believed to have been introduced, or at least so frequently adopted as to constitute 2 K 2 Carter's Ancient Architecture of England, Part II. p. 1. |