An Introduction to English Church Architecture From the Eleventh to the Sixteenth Century, Vol. 2 (Classic Reprint)

Francis Bond

History

Forgotten Books

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Fonts and Font Covers

Waterstone & Co Ltd

Screens and galleries in English churches Volume 1

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Excerpt from An Introduction to English Church Architecture From the Eleventh to the Sixteenth Century, Vol. 2The piers of a medieval church are often considerably less thick than the pier-arches and clerestory walls which they support; e.g., in Lincoln choir the piers are 2 ft. 8 in. thick, the arches over them about 3 ft., and the clerestory wall 4 ft. 7 in. thick. The primary function, therefore, of the capital is to provide a surface broader than that of the pier, on which to build the springers of the pier-arches and the clerestory wall. Artistically, the capital is valuable because it demarcates the support from the load: this is especially so where the arch and the pier are different in plan; the junction of two dissimilar sets of moldings would have an unpleasant effect but for the interposition of a capital; as also would the juxtaposition of the vertical line of the pier with the curve of the arch. Nevertheless, in some work, chiefly of late date, the capital is omitted, the moldings of the arch being continued down to the ground.Of these the chief varieties are: (1) Corinthianesque capitals; (2) Cubical and Scalloped capitals; (3) Capitals with Interlacings; (4) Capitals with Figure sculpture; (5) Capitals with Naturalistic foliage.These are of ancient and honourable lineage, being descendants of the famous Corinthian capital of Greece.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Wood Carvings in English ChurchesThe subject dealt with in this volume, so far as the writer knows, is virgin soil; no book has appeared, here or abroad, on the subject of stallwork. Abroad, the great mass of stallwork has perished; sometimes at the hands of pious vandals, often through neglect, more often still through indifference to or active dislike of mediæval art. In the stallwork of Belgium not a single tabernacled canopy remains; in France and Italy the great majority of the Gothic stalls have been replaced by woodwork of the Classical design that was dear to the seventeenth and eighteenth centuries; only in Spain can the wealth and splendour of English stallwork be rivalled. In England a great amount of magnificent stallwork still remains; on the stallwork indeed and the concomitant screens time and labour and money were lavished without stint in the last two centuries of Gothic art. Hitherto, however, this important department of English mediæval design has almost wholly lacked recognition and appreciation; attention had not been called to its value in the study of artistic woodwork, and even the most splendid examples of this branch of English art have been passed over with uncomprehending indifference. Vet it is no overstatement to say that there is nothing in this country more consummate in design or execution than the stallwork of Lancaster, Chester, Ripon, and Manchester. To most of the readers of this volume the illustrations which have been here gathered together will come as a revelation of beauty and interest. It is to be hoped that the book will help to inform those who are heritors of a great artistic past, will make them proud of their heritage as Englishmen, and faithful to preserve it and hand it on in turn unimpaired to their successors.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Wood Carvings in English Churches (Classic Reprint)

Arts & Photography

Architecture

Excerpt from Westminster AbbeyThen we turn to the architectural and artistic side of the monument. With the details of the design we are not here concerned; they are treated at length in connection with English mediaeval architecture in general in a larger work of the writer. What is attempted here is something different; it is to get at the fundamentals of the design. The Abbey is a large church, hugely long and enormously tall; why is it so long, so tall, and so narrow? And how was each of these precise dimensions arrived at? And what lies at the bottom of its system of proportions? These and the like are much bigger questions than the foliation of a capital or the contour of a base, and, with whatever success, an attempt has been made to deal with them.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Westminster Abbey (Classic Reprint)

Wood Carvings in English Churches

"[...]by two angels, between whom is a scroll with the date 1494. Attached to the latter is a collared baboon; beneath is a shield charged with the arms of the see of York, two keys in saltire. Of the two examples illustrated from Chester (10), one represents the Annunciation; the other is a most elaborate Jesse Tree (9).  Manchester  Manchester     The ends of the desks usually terminate in poppy heads; at Chester, Ripon, Manchester and Beverley there are magnificent examples. At Blythburgh, Suffolk (11), is a foliated poppy head with a lion in front; in front of the desks and those on the opposite side of the chancel are niches containing statuettes of the apostles; these stalls were brought into the chancel from the Hopton chapel, which is said to have been founded in 1452; the Hopton arms appear on the[...]".

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An Introduction to English Church Architecture From the Eleventh to the Sixteenth Century, Vol. 2 (Classic Reprint)

Fonts and Font Covers

Screens and galleries in English churches Volume 1

An Introduction to English Church Architecture From the Eleventh to the Sixteenth Century, Vol. 2 (Classic Reprint)

Wood Carvings in English Churches (Classic Reprint)

Westminster Abbey (Classic Reprint)

Wood Carvings in English Churches