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

Francis Bond

History

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Fonts and Font Covers

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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. 1A few words are necessary as to the intent and scope of this book. As the title indicates, it is an introduction to the study of English church architecture, excluding work done before the Norman Conquest and after the Reformation, It may be thought that a book in two quarto volumes is somewhat voluminous for an "Introduction." The answer is that a general treatment, especially if aided, as in these volumes, with all manner of plans, drawings, sections, and diagrams, as well as photographs, will be found at once easier to follow and more enjoyable than the unpalatable pemmican of a condensed text-book. It may be added that though the book contains over 1,000 pages, yet if the glossaries and indexes and the numerous excursuses in small type be omitted, the text proper does not amount to more than 400 pages, fully half of the book being occupied with illustrations. The book is intended not so much for the professional student as for the great body of readers who nowadays are interested in mediæval architecture and wish to obtain some general knowledge of it. For them it seemed desirable to attempt an account which without ceasing to be thorough and detailed, should be elementary in character. With that intent, technical terms have been eliminated where possible, and where the use of them was unavoidable, the meaning of each has been defined in the text, and again in an alphabetical glossary prefixed to the first volume. Archæological history also has been as far as possible eschewed; what has been attempted is to give a plain, straightforward account of mediaeval building construction as controlled by mediæval ritual.Being intended chiefly for those with little or no previous knowledge of the subject, the book demanded exceptional copiousness of illustration. Fortunately, the last decade has been marked by a large advance in the practice of architectural photography. There are more architectural photographers than ever before, and their work is marked by greater technical excellence. Formerly general views of exteriors and interiors could be had in abundance, but very little architectural detail; it is now easy to obtain photographs of vaults and roofs, in plan as well as in perspective, window tracery, foliated and molded capitals, bases, ground-courses, and the like.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.

An Introduction to English Church Architecture, From the Eleventh to the Sixteenth Century, Vol. 1 (Classic Reprint)

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

A Few Practical Arguments Against The Theory Of Emigration

Head

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[...]".

Wood Carvings In English Churches

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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. 1 (Classic Reprint)

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

Wood Carvings in English Churches (Classic Reprint)

A Few Practical Arguments Against The Theory Of Emigration

Wood Carvings In English Churches