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Fig. 1081. is the front face of the shaft shown in fig. 1077., as is also fig. 1082. of that of fig. 1078., &c.

"Capitals may be divided into moulded and floriated. In the latter, the foliage in the transition Norman and early English period is arranged vertically, in the decorated i

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twines horizontally, or rather transversely, round the capital (fig. 1083.). In the per pendicular, more frequently small leaves or pateræ are set like studs at intervals round the shaft above the neck. The capital consists of three parts, the abacus, the bell, and the neck. In the early English period the abacus is almost invariably undercut. In the decorated it consists of the scroll moulding with a cylindrical roll of less size below it. The bell, in early English caps, is sometimes double, with a very handsome effect, while in decorated work it is seldom so deeply undercut. It is also much more varied by elaborate and capricious forms, as by a number of fine edge lines; and the underpart of the bell is often composed of a roll and fillet. The necking forms an important detail in judging of the dates of the work. In the early English it is usually of a bold annular outline; or a semihexagon. The neck during the decorated period is almost always the scroll moulding, but many other forms will be found to occur. Even a practised eye may occasionally be deceived in the date of capitals of the two early periods.

"The capitals in the perpendicular period present such marked features that they are seldom liable to be mistaken. The mouldings are large, angular, meagre and few. Neither abacus nor bell is clearly defined. The latter is reduced to a meagre slope, al

though it sometimes still remains. The upper part of the abacus is usually sloped off to a sharp edge, and the section of the moulding below resembles the letter S inverted, being a

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mere corruption of the decorated scroll moulding; above all, the capital is octagonal, while that of the preceding styles is round. The shaft, however, is circular in the perpendicular work, while octagonal capitals most generally occur in the other styles in the case of large single columns of the same shape. The base in the later style is generally circular in its upper members and octagonal below. The capitals are often embattled. The astragal or neck is either a plain round or a kind of debased scroll moulding with the upper edge chamfered as in the abacus. It will be found that a much greater license was taken in designing the mouldings of this style than in any other. Fig. 1092. is the section of the capital of the shaft to the arch between the nave piers in Henry VII.'s Chapel, (as at C, fig. 1325.). Fig. 1093. is the base of shaft to nave piers, as E, fig. 1324. and B, in fig. 1325. Fig. 1094. the base, and capital 8 inches high, to the vaulting shafts in the aisles; the capitals in the small chapel at the end of the building are nearly the same in section.

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Fig. 1092

Fig. 1091.
CHURCH.

HOWDEN
Vaulting Shaft,
CHOIR AISLE.

Fig. 1093.

Fig. 1094.

HENRY II.'S CHAPEL.

Scale, the saine as to Fig. 1085,

SECT. VI.

BASES.

The bases of the shafts in the 11th and 12th centuries are often chamfered and frequently moulded in the Attic form, more or less modified and debased. In the latter period the Attic base is sometimes found almost pure. In early work the base consists of the plinth or lower step, of solid masonry, generally square (fig. 1080. see the curious modifications of it in the plan fig. 1076.), but in early English often octangular (fig. 1077. and 1081.); and the base mouldings, a series of annular rolls, slopes, or hollows. taking the form of the column. In decorated and perpendicular columns, the plinth is apparently omitted, and the base is divided into heights, stages, or tables, by gradually spreading courses, each separated from the next by a plain, or by a moulded, order. The lower part of the base is sometimes octagonal or polygonal. A cavetto above a quarter round is a very common form in early work. A bold annular roll, quirked on the under side, often divides the shaft from the plinth.

The early English base is very similar to the Attic form, the chief peculiarity consisting in the hollow being cut downwards and extended from half to three quarters of a circle, so that it is capable of containing water (figs. 1081., 1084., and 1085.). The earlier the base is in the period, the shallower, as a general rule, is this water-holding hollow (fig. 1086.). A common form is obtained by omitting the hollow altogether, and thus bringing the rolls into contact (like fig. 1088.). In very rich early English bases there are often double hollows between filleted rolls, and below these occur other bold annular rolls, single, double, and even triple, as at the beautiful Galilee porch at Ely, where the bases are worked out of Purbeck marble and were polished. The spread of the base in the uppermost members generally equals that of the capital, or nearly so. By far the commonest decorated base is that shown in fig. 1087. and fig. 1089., the number of rolls being generally three, but often only two. A few modifications may be perceived, but they are seldom very complex. The large spreading roll is worked out of the block, with which it usually stands flush, and is separated by a quirk or angular nook. This is also observable in the previous style. A simple form of base is shown in fig. 1091.

The prevailing characteristic of the bases of perpendicular columns is a large bell-shaped spread in the upper part, often double, forming the contour of a double ogee in section, as fig. 1093.; and is one of the ordinary kind. The lower part is almost invariably octagonal, the upper being generally round, but also frequently octagonal, irrespective of the shape of the shaft (fig. 1300.). It has either one or more stages sloping off by a hollow chamfer, or by a second bell-shaped slope. The first member of the base is always an annular roll, resembling the neck of capitals; this is often in the form of the debased roll and fillet. Edge lines scarcely ever occur. Other examples of bases are given in the last section of this book. The usual distribution of the table mouldings of a late base consist of a plair. slope F (fig. 1320.), reckoning upwards from the ground line C, a flat surface E and a projecting moulding D. In more elaborate structures, the number of these base tables

and intermediate champs or fascia is increased, and the latter are often carved in panels, &c. Thus a second table, B, is introduced above the ground line G. Professor Willia applies the term "ground table, grass table, or earth table," to the slope B, and states that to such tables as D the term "ledgement tables" were probably applied.

SECT. VII.

VAULTING SHAFTS AND RIBS.

When the main shaft supporting the clerestory had an attached circular shaft in front, the latter was often carried up as a shaft to the roof (fig. 1266.) The point

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has not yet been settled whether this shaft in some early buildings was, or was not, so carried up to receive the cross-rib of a vault, or simply to bear the beam of the roofing. When vaulting became more general, the purpose of the shaft was undis guised (fig. 1278.), and being made correspondent with the vaulting ribs, the groups of the latter were received on a colonnette

or on small columns. The vaulting ribs
at St. Saviour's (Southwark) Church,
are given in fig. 662e. In the latter
part of the 15th century engaged colon-
nettes for receiving the vault ribs rise
from corbels placed on or above the
capitals of the shafts, and sometimes
the ribs themselves spring from the
corbels (figs. 1274. and 1275.), and
later, or in the perpendicular period,
the older form was, as it were, reverted to,
to, and received the vaulting ribs, as in figs.
CORBELS very fre-
quently supplied the
place of capitals both
for the springing of
arch mouldings and for
vaulting. These corbels
were either moulded or
carved to correspond
with the capitals (fig.

Fig. 1101.

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NAVE AND AISLES.

Fig. 1102.
Wall Rib.
TINTERN ABBEY. VAULTING RIBS.

1109.), or they were Aisles, Transverse Rib, and Diagonal. fashioned into a mass of foliage, into heads of males and females, or of animals. Even whole figures were introduced, occasionally deformed if not purposely so carved for admission within the

space.

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In the vaulted sacristy at Winchester College, its "springers present an archbishop in benediction, a bishop, and a king, and over the door a guardian angel. Bosses of

L

A

VAULTING RIB.

Fig. 1108.

A and B, Ribs for groining. HENRY VAL.'S CHAPEL; AISLE.

B

WESTMINSTER

ABBEY CHURCH; NORTH
AISLE OF CHOIR

oak leaves and roses alternately, carved with great taste and 'subtilitè,' enrich and cover the junction of the ribs.--The uncouth and barbaric heads in the corbels which surround the principal figures contrast with their graciousness, and form that antithesis which the great masters in fine arts of the succeeding centuries employed so abundantly. The virgin patroness presides over the western pinnacle of the chapel; the angel Michael at the other terinination of the building menaces with his flaming falchion the several demons which might approach the hall, refectory, cellar, and Fig. 1109. kitchen; the angel Raphael points out the entrance to the house of prayer at New College; the king and the bishop support the label of the gateways to the college at Winchester, and the entrance of the chapel; and as the appointed guardians and supporters of temporal and spiritual things, they sustain alter. nately the corbels or springers of the ceiling of the chapel. At the entrance of the hall and kitchen, the recreating psaltery and bagpipes are affixed; over the kitchen window is 'excess,' a head vomiting; and opposite is frugality' in the figure of a bursar with his iron-bound money chest. Over the master's windows are the pedagogue instructing, and a listless scholar, scarcely attentive to the book he holds in his hand. Elsewhere we recognise the soldier, the scholar, the clergyman, &c, as suggesting the various professions in which the inmates may occupy themselves in after life. The inept substitutions for these significant and appropriate ornaments are amongst the most palpable evidences of the insufficiency and inaptness of our mimiery of this style, in most instances in the present day; and they betray great ignorance of the poetical mind and spirit of medieval sculpture."— Cockerell, The Wykeham Buildings.

SECT. VIII.

HOOD MOULDINGS AND STRING COURSES.

"The strings consist of projecting ledges of stones carried below windows, both within and without a building, round buttresses, and other angular projections, and to cornices, parapets, tower stages, and other parts of edifices, being used as dividing lines. Though subordinate, they are of the greatest possible importance in imparting a character to a building. They at once relieve naked masonry, and bind into a whole the seemingly detached portions of a rambling or irregular construction. In most cases, especially to windows, a string course forms a real drip or weathering, and adapts its upper surface especially to this end, thus becoming what is termed a hood moulding, which when used

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internally, cannot be said to have any real use; but they form a decorative finish of too important a kind to be neglected with impunity."

Norman string courses are generally full of edges or hard chamfered surfaces (fig. 1110.). In most cases they have some sculptured decoration of the style, as the billet, the chevron,

F1115.

CLAKESTORY.

Fig. 1118.

TRIFORIUM.

Fig. 1116 Fig. 1117.
Fig. 1119.
Fig. 1120.
TINTSRN ABBEY; NAVE, ETC.
HOWDEN CHURCH; CHOIR,
AISLE.
AISLE.
AISLE.
AISLE.
The scale of the last ten Sections is the same as that attached to fig. 1085.

the hatched or serrated moulding, or the like (fig. 188.). Figs. 1111. and 1112, are among the simplest. being the latest in the period. The commonest early English strings are like figs. 1114. and 1115.; the under-cutting giving a bold projection is a striking feature

of this moulding as of all others of the style. The most frequent decorated form is fig. 1116. That shown on figs. 1179. and 1181. is also very common. The scroll, with a half

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Fig. 1121.-HENRY VI'S CHAPEL.

round next below it, fig. 1115., is very characteristic. The rounded form of the upper side, or weathering (fig. 1118.), is peculiar to the two first styles; the angular or chamfered, of the last (figs. 1119. and 1120.). String courses follow the principle of the abacus of the capitals, from which indeed they are often continued along the wall of the building.

Perpendicular strings and hood mouldings are generally marked by the plane slope of the upper surface. The details of the parts underneath are so varied as to render it impos ible here to give any account of them. A characteristic mark of the style is a small boltel in the lower part (fig. 1121.). The wall often recedes above the string, or even overhangs it. Fig. 1122, is the section of the "Angel cornice" over the arches in Henry VII.'s chapel, as shown in the elevation, fig. 1325., at D. Fig. 1123. is the cornice and base over it, over the panelling above the octagon windows. The scale is the same as to fig. 1085.

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SECT. IX.

BASE COURSES OR PLINTHS.

This term is applied to that series of mouldings formed at the base of a wall, which leads the eye from the upright face gradually into the ground. The lowest course of them is even called the "earth table." The early examples are very plain, consisting of one or of more chainfered set-offs at various heights, as fig. 1124.

In the early English period, the roll moulding was introduced at the upper edge of a deep chamfer, as figs. 1125. and 1272., and with one or two

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chamfered set-offs. They then became very similar, as in the transepts of Beverly Minster, to fig. 1126., of the geometric or decorated period, in which the tablet or slope took a curved or ogee outline, and was generally only one in number, finished at top by a scroll moulding, with occasionally a string above it, as at Ewerby.

The height of

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