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2d, The Early Pointed; from the reign of Richard I., 1189, down to the reign of Edward I., 1307.

3d, The Decorated; which prevailed during the greater part of the fourteenth century.

4th, The Perpendicular, sometimes called the Florid Gothic; which commenced about the reign of Richard II., and prevailed during the whole of the fifteenth century and the early part of the sixteenth, down to the period of the Reformation.

The arch being the most promising and distinguishing feature in this style of architecture, I shall close these introductory remarks by a short description of the different forms of arches introduced, with the periods during which they principally prevailed: these, and any other illustrations which may be necessary, will be in the simplest possible style, to enable any person who can handle a lead pencil and a pair of compasses to make himself master of their contour and method of delineation.

The semicircular arch (fig. 151.) is the only one employed in edifices erected prior to the reign of Stephen, A. D. 1136. From that period to the end of the twelfth century, it is found associated with pointed arches, as in the circular part of the Temple Church, London, built about 1180; and in that of St. Bartholomew the Great, West Smithfield, built some time during the reign of Henry II., in which last the great arches at the intersection of the transepts of the original church are pointed, and the arches of the chancel semicircular. The clere-story windows of the present church are of later date.

151

T

152

153

There are two forms of the horseshoe arch (figs. 152. and 153.), in which the centres are above the line of the springing. This arch is not common; but is sometimes introduced along with semicircular arches, apparently for the sake of variety. Fig. 154. is the segmental arch, in which the centre is below the springing line. This form is rarely combined with semi

154

circular arches. Its general application was to interior doors and openings, during the early and decorated periods; but even in these it is not of frequent

occurrence.

Fig. 155. is the lancet arch, the height of which is greater than its width. Where this arch is used for the main outlines of doors, windows, and other openings, they

155

may safely be at-
tributed to the
early pointed pe-
riod. The tran-
sept of Beverley
Minster, and the

nave of Lincoln

156

Cathedral afford beautiful specimens of this form of arch. In the composition of tracery and wood carving, the lancet arch is continued through all the varieties.

Fig. 156. is the equilateral arch, of which height and width are equal.

Fig. 157. is the drop arch, the height of which is less than its width. Fig. 158.

157

is the pointed seg-
mental, the centres
of which are be-
low the line of

springing.

The three last

158

mentioned arches are used indifferently in

the early, decorated, and perpendicular styles.

Fig. 159. is the pointed horseshoe. This form of arch occurs in a few buildings in the mixed or transition style, immediately

159

succeeding the Norman.

The choir of Canter-
bury Cathedral, erected
A. D. 1184, offers the
finest specimens.

Fig. 160. is the ogee

arch. This form was

160

never used for the main arches of doors and windows of ancient buildings, as is sometimes absurdly done at the present day.

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Its use was confined to tracery, niches,

tabernacle work, and other ornamental situations. The ogee form was also frequently applied to the canopies of doors and windows in the late decorated and early perpendicular.

Fig. 161. is the four-centred or Tudor arch. This form belongs exclusively to the reigns of Henry VII. and VIII., after which time the Gothic style ceased to exist in any degree of purity. This peculiar form of arch has sometimes led to a separate classification of

this period, under the denomination of Tudor Gothic; but the

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mere form of the arch hardly seems sufficient to warrant this multiplication of classes.

Fig. 162. is the three-centred or elliptic arch. This arch is sometimes, though very rarely, met with in England, in buildings of the late perpendicular: it frequently, however, occurs on the Continent; but marks the debasement and near approach of the extinction of the style.

It will be perceived, by the foregoing remarks, that the form of the arch is not, in most cases, sufficient of itself to determine the period or class to which an edifice belongs. Recourse must be had to the mouldings, tracery, buttresses, and other details, which will be noticed in future articles.

Liverpool, Aug. 23. 1834.

ART. IV. Design for a Villa in the Norman Style of Architecture. By E. B. LAMB, Esq., Architect.

THE situation of this villa is supposed to be on a gentle slope, backed by rich woody scenery, and facing a highly cultivated country.

Fig. 163. is the ground plan. In this figure, a is the porch; b, the hall; c, the principal staircase; d, the drawingroom; e, the library; f, the dining-room; g, the passage leading to the dining-room, and opening on the lawn; h, the passage leading to the domestic offices; i, stairs leading to the level, the kitchen, &c., which is lower than the rest of the building; k, domestic offices; 1, conservatory; m, lobby between the drawingroom and conservatory. The entrance is by an ascent (a) of two flights of steps to the porch, which is on a level with the principal floor. This porch has a simple groined roof, springing from columns in the angles. On the left of the arched entrance is the hall door: b is the hall, also simply groined in the same manner. The hall is lighted by a rather small window glazed with stained glass. Opposite this window is the door to the domestic offices; and at the end are two arches, one communicating with the principal staircase (c), and the other with the passage to the diningroom, ending with a sash door to the lawn, &c. This door should have a rich stained glass border, and crimson head. The passage should have a simple ribbed ceiling, in imitation of oak: the appearance should be rather dark and intricate, to increase the effect the colour of the walls should be dark stone, rather resembling the effects of age than otherwise. From this passage would be seen the staircase; and from the extremity near the

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sash door the contrast of light and shade would, I think, be agreeable. Directly opposite the archway to the passage should be a rich stained glass window in the staircase. The staircase should also be lighted by the small windows round the top of

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the tower, which are shown in the elevation. (fig. 164.) The roof of the staircase is groined, the ribs painted various colours,

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