fig. 1126 is very small for so large a building. The basement to Lichfield Cathedral is not much more defined. Fig. 1277. is a richer example.

The basement in the perpendicular period is one of the glories of the style. That shown in fig. 1306. from Winchester, may be considered very plain, as is also that at Bath, fig. 1319. Reversed ogees and hollows, variously disposed, are the principal members. Fig. 1128. being the basement round the outside of Henry VII.'s chapel, will afford some idea of the work bestowed upon this feature. Yelvertoft Church, Northamptonshire, has four rows of diagonal, square, and circular panelling, one above the other (Rickman, page 213., 6th edit.). In Norfolk, where flint work was used in the erection of the building, it was introduced in upright panelling in the lowest face, above an ogee moulding (ibid, page 214.).

SECT. X.

PARAPETS.

The Norman period may be said not to have exhibited any parapet, the roof being finished by the tiles or lead work projecting over the wall and supported by a corbel blocking.

During nearly the whole of the early English period, the parapet in many buildings was often plain, as figs. 1129. and 1126.; or with a series of arches and panels; or with quatre. foils in small panels, as fig. 1277., which is of the next period; or plain, with a rich cornice under it.

In the decorated period it was still plain but with moulded capping and cornice, as figs. 1130. and 1131., and with the ball flower, as in fig. 1128., but also closer and connected by tendrils; it is often pierced in various shapes, of which quatrefoils (fig. 1277), in circles, or without that enclosure, are very common; but another, consisting of a waved line, is more beautiful and less usual; the spaces are trefoiled. Pierced battlements are very common, with a round or square quatrefoil. The plain battlement most in use is one with small intervals, and the capping moulding only horizontal.

The

They continued to be used in the perpendicular period. trefoiled panel with waved line is seen, but the dividing line is more often straight, making the divisions regular triangles. One of the finest examples of a panelled parapet, consisting of quatrefoils in squares with shields and flowers, is that at the Beauchamp Chapel, Warwick. The pierced parapet on Henry VII.'s Chapel (fig. 1133.) is a fine example, with its angle pinnacle. That on the choir at Winchester Cathedral consists of upright panelling only (fig. 1306.). Early period battlements frequently have quatrefoils either for the lower compartments or on the top of the panels of the lower, to form the higher. The later examples have often two heights of panels, or richly pierced quatrefoils in two heights, forming an inducted HENRY VIL'S CHAPEL. battlement. They have generally a running cap moulding carried round the indentations.

Fig. 1128.

In a few late buildings the capping is ornamented, somewhat like a cresting: and in a few instances figures resembling soldiers on guard have been carved on the battlements.

Plain battlements have been divided into four descriptions. I. Of nearly equal divisions, having a plain capping running round the outline. II. Of nearly equal intervals,

Fig 1131.

TINTERN ABBEY: CHOIR.

Fig. 1132. HOWDEN CHURCH; CHOIR.

and sometimes with large battlements and small intervals, the capping being only placed on the top, and the sides cut plain. III. Like the last, but with a moulding running round the outline, the horizontal capping being set upon it. And IV. The most common late battlement, with the capping broad, of several mouldings running round the outline, often narrowing the intervals (Rickman). It is seldom that the battlements will tell the age of the building, as they have been so often rebuilt. A small battlement differing to these four descriptions, is shown in fig. 1128., under the windows of Henry VII.'s chapel. A few more words may be said in the section TOWERS AND SPIKES.

SECT. XI.

MOULDINGS IN WOODWORK.

"If this kind of work be attentively examined, it will be seen that it was wrought altogether on the same principles as the corresponding sculpture in stone. We see the thoroughly conventional early school, the naturalesque middle-pointed school, and the again conventional thirdpointed school of carvers, succeeding each other in exactly the same way, the main difference between the two being that the work in wood is ordinarily very much more thin, flat, delicate, and sharp, than the work in stone; that it has always some limits set to its exuberance by the nature of the framework in which it was wrought. In carpenter's work, it was always the rule only to mould the useful members, and so it was also as regards the carving. It was not useful or convenient to put on to a piece of oak framing a mass of oak to be carved as a boss or a stopping to a label (this sort of

device was reserved for the ingenuity of nineteenth century architects), and so it will be found that most of the old wood-carving is so contrived as to be wrought out of the same plank or thickness as that which is moulded or else is a separate piece of wood -in a spandril, for instance, enclosed within the constructional members. The spandri's in the arcades behind the stalls at Winchester Cathedral are an admirable example; they are carved in thin oak, perforated in all directions, and then set forward about half-an-inch in advance of the back panelling. The effect of this is, as may be supposed, to give the

2

4.

Fig. 1153.

HENRY VII,'s CHAPEL.

carving the most distinct relief; and it is an effect strictly lawful, because it was impossible in other material, and yet natural in woodwork. The same attention to the material will be found exemplified very remarkably in all old wooden mouldings. The accompanying illustrations (figs. 1134. and 1135) will show how extraordinarily minute, delicate, and sharp they were. In the stalls at Selby we see an elabo

rate cap, only 1 inches high; at Winchester, a band 7ths of an inch in height, and yet consisting of four distinct members, and showing in elevation as many as eight

distinct lines. The finish of the wall plates in the porch at Horsemonden, and the carving of the miserere seat, so curiously preserved in the midst of woodwork some three hundred years later in date, in Henry VII.'s chapel, are fair illustrations of the goodness of the earlier sculpture."

"The whole of the early mouldings are sharp, delicate, minute, and quaintly undercut. They are very often unlike any stone mouldings, just as many wooden traceries (eg. those of the screen at St. Mary's hospital, at Chichester (fig. 1135.), and the stalls at Lancaster), are quite unlike what could conveniently be executed in stone. In spite of a bad fashion which obtains just now," among some of the present mediæval architects, "of ignoring the value of mouldings, I maintain that they prove conclusively the existence of a school of art in this country of almost unsurpassable excellence." Street, On English Woodwork in the 13th and 14th centuries, read at the Royal Institute of British Architects, 20th February, 1865.

As an example of early work we give figs. 1136. and 1137., from Bury, Woodwork, being the details of the screen in Northfleet Church, Kent. M, in the first figure, is the first column (the details being given to a larger scale at S) in the screen abutting upon the

centre opening, the arch of which is shown at N. The corresponding positions on plan are exhibited in fig. 1137. The section O, represents the face of the buttress P, while the plan Q is that of the arch mouldings at R.

Fig. 1138. is a section of the screen on the south side of the chancel at Lavenham Church, Suffolk, wherein the details N, O, and P, are those belonging to the buttress Q, which even in late mediæval carpentry was not omitted, though somewhat out of accordance with the "true principles" attributed to design in that style.

Fig. 1139, being the capital and base mouldings from the screen in Aldenham Church, Hertfordshire, are of the perpendicular period. These examples are all further illustrated in Bury's work above-mentioned, as well as figs. 1140. to 1144., showing the general style of mouldings adopted for seats and bench ends, as noticed in par. 2192b. Fig. 1140. is the rail of the bench; fig. 1141. the division under the seat; and flg. 1142. the section of the arm of the stall and of a bench end, all at Bridgenorth Church, Somerset

Fig. 1139.
SCREEN; ALDENHAM, HERTS,

Ins

shire. Fig. 1143. is the arm of the stalls at Wantage Church, Berkshire; and fig. 1144. the rail and stall mouldings at Swinbrook Church, Oxfordshire. The ends of the stall even in Henry VII.'s chapel are worked out of only 3-inch planks, and formed into three attached shafts, similar to fig. 1143.

Other notices of the thickness of stuff are given in par. 2175d.

Having given illustrations of the principles of constructing timber roofs during the medieval period, we now append some of their details, which, on comparison with the

figures just given, will tend to show the mode in which the rougher and larger timbers were ornamented, especially those so much further from the sight than screens and other

like decorative work. Fig. 1145. shows the rafters used at Pulham Church, Norfolk fig. 7010.), L being the main, and M the common, rafters, with the boarding N sunk

1000

Fig. 1151.

Fig. 1150.

Fig. 1149.

CAPEL ST. MARY, SUFFOLK.

Fig. 1152.

in between them. Fig. 1146. is the purline; fig. 1147. the wall piece; and fig. 1148. the collar-beam. Fig. 1149. illustrates the rafters in the church at Capel St. Mary,

the purline. These will all be found to a larger scale, Analysis. All the illustrations from figs. 1145. to

Suffolk (fig. 701q.), O being the section of the common rafter. Fig. 1150. is the collar-beam with the arched truss under it; and P the ridge piece; fig. 1151. shows the moulded cornice abut. ting upon the hammer-beam, fig. 1152., and Q the lower purline. Fig. 1153. gives the details of the roof of late work at Knapton Church, Norfolk (fig. 701t.), being the section of the lower hammer-beam; fig. 1154, the post abutting upon it; fig. 1155. the ridge piece; and R with the other details, in Brandon's 1155. are drawn to the same scale.

The following sections represent the roof timbers in the south aisle of Lavenham Church,

Fig. 1156. Fig. 1157. Fig. 1158.

Fig. 1159.

LAVENHAM, SUFFOLK.

Fig. 1160. ST. ALBAN'S.

Suffolk, from which building the screen in fig. 1138. was also derived. Fig. 1156. is the cornice; fig. 1157. the wall strut, and fig. 1158. the purline. Fig. 1159. is the cornice in the chancel aisle. These are likewise derived from Bury, Woodwork.