on paper, from its appearance in perspective reality, that the same forms may scarcely be recognised in the other.

"Gothic architecture revelled in the use of mouldings;-and yet, mouldi the ornamental adjuncts, not the essentials, of architecture. Some buildi periods were quite devoid of them, whence it is evident that they are not to a perfect design. Boldness and simplicity produce effects, different indee yet not less solemn and striking than richness of detail. If the unifo use had not been very strict and close, it had been a hopeless task ever subject; indeed, if there had not been a system of moulding, there would thing to investigate. But so little did the medieval masons depart from ventional forms, that we often find a capital, a base, or an arch mould of per profile in an abbey or a cathedral which we had copied in our note-book church at the other end of the kingdom, so that we might almost suspec saine working drawing had been used for both."-Thus far we have quoted whose work we shall again have recourse in the further development of this se condensed a form, that it should not prevent the student from himself possessin a work, of which a third edition was issued in 1865, with an accession of ill We must now attempt to give some idea of the nomenclature of media "The most complete specimen," writes Professor Willis, in his Architectura of the Middle Ages, 1844, "is that preserved to us by William of Worceste who was born in Bristol, in 1415, and is now best known by a manuscrip maining in the library of Corpus Christi College, Cambridge; it was p by Nasmith. Two of its pages contain lists of technical words attached to outlines of jamb mouldings, the one showing the north door of St. Stephe other the west door of St. Mary's Redcliffe Church, both at Bristol. Thes in existence; on comparison, the former agrees perfectly with the mouldin porch of the church in question, except that two little boltels have been so The west door of Redcliffe Church has undergone a much severer skinni represents the outline of the former door; "the names given to the mould are, A, a cors wythoute; B, a casement, C, a bowtelle; D, a felet; E, a d

Fig. 1063.

Fig. 1062.

Fig. 1061.

F, a boutel; G, a felet; H, a ressant; I, a felet; K, a casement wyth Le a boutel, a felet; M, a ressant; N, a felet; O, a casment wyth trayler felet, a boutell, a filet; Q, a casement; R, a felet; S, a casement; T, a myddes of the dore a boutelle." Of these terms (which display his variou ling) perhaps the only ones needing remark are K and O, which are ide square leaves or flowers in them of the usual form, set at regular intervals, continuous train. "Benet le Ffremason" appears to have worked the orig The section of the mouldings of the west door of Redcliffe Church is sho to which the names were also attached, the additional terms obtained being C, a double Ressant wyth a filet; O, a Ressant lorymer; M, a lowryng ca a grete bowtelle." "I cannot help pointing out," writes Professor Willis,

a nomenclature must be, which can make no stronger distinction between the combinations E and C, than by calling one a 'double ressant,' and the other a double ressant with a fillet.' The universal moulding O, in fig. 1062, is a 'ressant lorymer.'" Fig. 1063. is an outline of the jamb mouldings as they appear at present, engraved from a drawing made expressly for us by Mr. T. S. Pope, of Bristol, and exhibits the skinning they have undergone.

Mouldings of an arch or jamb are said to be grouped when they are placed in combination as they are generally found; but a group is a branch of mouldings or separate members, standing prominent or isolated, either on a shaft, or between two deep hollows. An arch of two or more orders is one which is recessed by so many successive planes or retiring arches (see fig. 1065. &c.), each placed behind or beneath the next before it, reckoning from the outer wall line. The accompanying figures exhibit both groups and orders.

We have adopted the usual architectural system of exhibiting the mouldings in the manner of a mould or pattern, and it likewise carries out the principle of this work, It is also preferred to the popular way of engraving sections, that is, by an apparently perspective representation of a stone cut out of an arch. The several sets of figures are all drawn to scale. The examples selected are, Fountains Abbey, Yorkshire, for the transition and for the early English period; Tintern Abbey, Gloucestershire, for the geometric period; Howden Church, Yorkshire, for the late decorated period; and Henry VII.'s Chapel, Westminster, for the perpendicular period. For those from the three first buildings, we have to express our grateful acknowledgment to E. Sharpe's Architectural Parallels, 2 vols. fol. 1845-48, a work combining technical precision, without which it would be useless to the architect, with artistic character, by which it will recommend itself to every one interested in such antiquities. The illustrations of Tintern are valuable examples of the geometric period. The work contains many geometrical plans, elevations, and sections of 14 buildings, with all the principal mouldings to a large scale (those herein are all reduced, and therefore less useful), with an additional valuable volume of the mouldings engraved full size. For the illustrations of the fourth period we are indebted to Cottingham's work on the Chapel, fol. 1822-29, perhaps the only perfect monograph of a large structure yet published in England.

One reason for selecting the illustrations in this manner has been that, with the very limited space at our disposal for so extensive a subject as the detail of Gothic architecture, we could not emulate either the very satisfactory work which now, with its useful illustrations, passes as Rickman's Attempt to Discriminate the Styles of Architecture in England, 8vo. 1865, 6th edit., or Brandon's Analysis of Gothic Architecture, which is full of examples of detail drawn to scale. Another reason was, to give the means of comparing the use of details in similar parts of edifices of nearly the same general dimensions; otherwise we could merely have given the prettiest selection that it had been possible to have made for the purpose.

"During the period in which the so-called Anglo-Saxon architecture prevailed, little
decorative work was done. The very rude carvings are extremely shallow, being such as
could be worked with the hammer or pick, and
without the chisel. In some doors and larger arches
there is a regular impost at the springing, having
a rude resemblance to Roman mouldings; other-
wise the jambs and arch stones are merely returned
square. The tower of Sompting Church possesses
early carved work, and boltels at the angles of the
window openings, and also a very peculiar orna-
mented string course. The chancel arch at Witter-
ing Church, Northamptonshire, is among the early
attempts at moulding observed in this country,
being rough and coarsely chiselled members, gene-
rally semi-cylindrical. A square-edged reveal soon
became a boltel, by first chamfering, and then re-
moving indefinitely the angles. Thus, a square-
edged arch with its sub-arch or soffit rib, was either
worked into rounds at each angle or into pointed
rolls; or some edges were chamfered, others worked
into rolls, and the sub-arch cut away into a broad
semi-cylindrical rib.

"The Norman architects never got much be-
yond the plain semi-cylindrical roll (fig. 1064. Fig. 1064.
does not show even so much work).

2ft

They paid more attention to surface sculpture

and shallow ornamental work in the archivolts and soffits. Some of the early mouldings and ornaments are illustrated in fig. 188., in Book I.

"The invention of the pointed boltel, contemporaneously with the pointed arch, opened

the way to a great number of new forms, all more or less referable to this common origin, in varying the members of com

plex early English groupings. The first and by far the most important of these is the roll and fillet, as A in figs. 1065. and 1066. It is the keynote of almost all the subse. quent formations. The characteristics of the mouldings of this style may be defined to be, deep undercut hollows between prominent members, which comprise a great variety of pointed and filleted boltels, clustered, isolated, and repeated at certain intervals, a great depth or extent of moulded surfaces, and the general arrangement in rectangular faces. The hollows, giving the effect of a series of detached arches or ribs, rising in succession, are seldom true circles (A, fig. 1067.); and, like the projecting parts, they assume a great number of capricious forms. They are not always arranged in exact planes; the student must be fully prepared to find great irregularity in this respect.

"Early English mouldings may be said to comprise the following members :-I. The plain boltel or edge roll ; II. The pointed boltel; III. The roll and fillet; IV. The scroll moulding (rare); and V. Angular forms, consist. ing of chamfered ridges and intervening projections of irregular character. The other forms chiefly consist of capricious modifications of the roll and fillet. The roll and triple fillet (of which B, fig. 1067., is a modification), is much used in the more advanced buildings of the style, and was the favourite form during the reigns of Edwards I. and II. Sometimes only one side has a fillet attached, as at C, and others. Three pointed rolls, placed together somewhat in the shape of a fleur-de-lis, form

Fig. 1066.

Fig. 1067.

TIXTERN ABBEY; NAVE.

TINTERN ABBEY CHOIR.

a combination of very frequent occurrence (as figs. 1097. and 1104.), with many minor varieties of shape. The fillet is almost always a narrow edge line. The irregular shape and the freely undulating curve of the roll and fillet moulding has been commonly preferred. Almost every conceivable modification of the plain roll, peaked, depressed, elliptical, grooved at the end, throated, isolated, and combined, might be found and catalogued by a careful observer. The scroll moulding, also called edge moulding or ressant lorymer, as O in fig. 1062. and D in the above figures, was used in advanced early English work; it is

1

so called from its resemblance to a roll of thick paper, the outer edge of which overlaps the side exposed to view. It was extensively used in the decorated period."

The exquisite skill, taste, and patient labour invariably evinced in the working of early English mouldings, are truly admirable. The deepest hollows are all as clearly and perfectly cut as the most prominent and conspicuous details; and as much so in the village church as in the cathedral. Some examples (of doorways) occur at Bolton and Furness Abbeys, whose arch mouldings extend 5 to 6 feet in width.

"The details of decorated mouldings are for the most part identical with those of the preceding style, with the addition of some new members, and several important modifica tions of grouping. The latter will be found to produce an entirely different effect, though in description the distinction may appear very trifling. Much greater geometrical precision in drawing both the hollows and the projecting members prevailed. Segments of circles, both convex and concave, were much used, with an avoidance of strong contrasts of light and shade, which imparted a more pleasing, though much less striking, effect. The perfection of moulding, as of all architectural detail, is considered by many to have been attained in this period; yet rich mouldings in it are of rather rare occurrence. often plain chamfers are used in all the windows, doorways, and pier arches, while minor parts, such as bases, sedilia, and the like, have fine and elaborate details.

Very

"There appear to be three distinct kinds to which decorated mouldings may be generally referred:-I. The plain or hollow chamfer of two or more orders, which, properly speaking, is only the step preparatory to moulding. II. Roll and fillet mouldings, and fillets with hollows between each group. III. A succession of double ogees, or double ressants, divided by hollows of three-quarters of a circle. Sometimes the mouldings of II. are combined with those of III. The mouldings of class II. are generally borne by jamb shafts, now engaged in, and not detached, from the wall. Those of III. are almost always continuous, except in pier arches, where they constantly occur. Four or five of these together give a very deep and rich effect to a doorway. One member of a double ogee is often considerably larger than the other, or those of one order of different size from the others. "The principal forms found in decorated work are:-I. The roll and fillet, the fillet being extremely broad, often as much as 3 and 4 inches. II. The roll and triple fillet, invariably producing a fine effect. Its edge lines are sharp and delicate, and the profile beautifully relieved by the deep side hollows with which it is

necessarily connected.

III. The ogee. IV. The double ogee, or double ressant.

V. The scroll

moulding, or ressant lorymer. VI. The wave
moulding, which may be called the undy-boltel
(A in fig. 1068.), from its gently undulating surface:
scarcely any method of moulding is so common in,
or so characteristic of, this period, as two orders of
the wave moulding, with a hollow between them:
all the varieties of this moulding appear to occur
without any definite distinction throughout the
decorated and perpendicular periods; it is wider
and shallower in early than in late work; the wavy
line is even at times very faint. VII. The plain,
or hollow, chamfer; and VIII. The sunken chamfer. The boltel, or three-quarter round, is
used very sparingly. The hollows are usually of larger size than those of the early English;
and there is this general difference in their use, that in this style they divide groups, in the
early English, individual members. A few exceptional instances occur of a tongue-shaped
member projecting from the inner side of the principal roll and fillet; this is a very cha-
racteristic detail of the class II.

Fig. 1068.

HOWDEN CHURCH; CHOIR.

"In windows, the plane in which the mouldings of the jamb lie is seldom coincident with that on which the side of the mullion is arranged, for this would in most cases give too great thickness to the latter. The difference of inclination may be very slight, but it requires attention.

In mouldings of the perpendicular period, a comparatively meagre save-trouble method of working them is perceived. Large and coarse members, with little of minute detail; wide and shallow hollows; hard wiry edges in place of rounded softened forms, are all conspicuous characteristics. Their general arrangement on the chamfer plane (figs. 1061. and 1062.), which is a marked feature of this period, gives a flatness unpleasing to the eye in comparison with the rectangularly recessed grouping of the two preceding styles. Three peculiarities are so common, that their absence almost forms the exception to the general usage. These are:-I. A wide shallow hollow, usually occupying the centre of the group, and equal to about one third of the entire width. When the hollow is deep and narrow, it is generally a mark of early work; of late, when wide and shallow; and of debased, when sunken but little below the chamfer plane. One or both ends of the hollow are sometimes returned in a kind of quasi-boltel (as I. fig. 1062.). The boltel is often

formed from a plane by sinking a channel on each face; and occasionally it stands like an excrescence on the surface of a plane (as in figs. 1061. and 1062.); but this is a departure from the usual practice, as well as from the principle of mouldings. II. The constant use of boltels, or beads, of three-quarters of a circle, resembling small shafts. And III. The frequency of the double ogee, and some varieties of it peculiar to the period, as shown in the figures above-named. This double ogee appears to be composed of a semi-circular hollow continued in a boltel. All varieties may be considered distinctive criteria of the period. The double ressant is sometimes of a large and clumsy size. The roll and fillet was not extensively used; its form is that of B, fig. 1071.

"Rich and good perpendicular mouldings are not very common, most examples consisting but of three or four very ordinary members, offering nothing either novel or interesting to the view. The doorways are, however, often very deeply recessed, and the engaged jamb shafts bear isolated groups of considerable delicacy. The distinction of the orders-is often completely lost in this period, while it is seldom undefinable in the previous one. The chamfer plane in many cases is either more or less than an angle of 45°. Sometimes two parallel chamfer planes are taken for the basis of the arrangement of the mouldings."

Among the characteristics of the tertiary French style, or the Flamboyant, which has been described and illustrated in pars. 546, et. seq., is that called by Professor Willis, in a most ingenious and valuable paper, read in 1840 before the Institute of British Architects, penetration or interpenetration of the different mouldings and parts. The French antiquaries have called the system in question moulures prismatiques. Neither of these terms seem satisfactory, but of the two we are inclined to prefer the first as most significant. In the paper above mentioned, he observes that the practice is very rarely to be seen in English buildings, but produces an instance of it in the turrets of King's College chapel, at Cambridge (fig. 1069.), where the cornice A of the pedestal seems to pierce the plinths of the angle buttresses, and

appears at B. This is, however, by no means a capricious, but rather an indispensable arrangement, by

1: 5 3/16

Instances of interpenetration are abundant in France. Amongst those selected by him is one from a screen, in the cathedral at Chartres; it is given here geometrically (fig. 1070.). Fig. 1071. is from the stone cross at Rouen, in which the interpenetration principle is displayed in many of the vertical as well as horizontal members of the structure. the fillet of the mullion pierces the chamfered and moulded parts of the sill. Flamboyant examples, small knobs and projections may be observed, and on a superficial

Fig. 1071.

The parts AA, mark where "In many