The Principles of Gothic Ecclesiastical Architecture Part 4

A. The general outline and shape of the Norman capital is that of a square cubical ma.s.s, having the lower part rounded off with a contour resembling that of an ovolo moulding; the face on each side of the upper part of the capital is flat, and it is often separated from the lower part by an escalloped edge; and where such division is formed by more than one escallop, the lower part is channelled between each, and the s.p.a.ces below the escalloped edges are worked or moulded so as to resemble inverted and truncated semicones.

[Ill.u.s.tration: Norman Capital, Steetley Church, Derbys.h.i.+re.]

Besides the plain capital thus described, of which instances with the single escalloped edge occur in the crypts beneath the cathedrals of Canterbury, Winchester, and Worcester, and with a series of escalloped edges, or what would be heraldically termed _invected_, in many of the capitals of the Norman piers in Norwich Cathedral, an extreme variety of design in ornamental accessories prevail, the general form and outline of the capital being preserved; and some exhibit imitations of the Ionic volute and Corinthian acanthus, whilst many are covered with rude sculpture in relief. They are generally finished with a plain square abacus moulding, with the under edge simply bevelled or chamfered; sometimes a slight angular moulding occurs between the upper face and slope of the abacus, and sometimes the abacus alone intervenes between the pier and the spring of the arch. There are also many round capitals, as, for instance, those in the nave of Gloucester Cathedral, but they are mostly late in the style.

[Ill.u.s.tration: Norman Arcade, St. Augustine's, Canterbury.]

Q. What is observable in the bases of the piers?

A. The common base moulding resembles in form or contour a quirked ovolo reversed; there are, however, many exceptions.

[Ill.u.s.tration: Norman Base, Romsey Church, Hants.]

Q. How are the arches distinguished?

A. By their semicircular form; they are generally double-faced, or formed of two concentric divisions, one receding within the other. Early in the style they are plain and square-edged; late in the style they are often found enriched with the zig-zag and roll mouldings, or some other ornament. Sometimes the curvature of the arch does not immediately spring from the capital or impost, but is raised or stilted.

Q. What parts of Norman churches do we generally find vaulted?

A. In cathedral and large conventual churches built in the Norman style we find the crypts and aisles vaulted with stone, but not the nave or choir; and over the vaulting of the aisles was the triforium. In small Norman churches the chancel is generally the only part vaulted; and between the vaulting and outer roof is, in some instances, a small loft or chamber.

Sometimes we find the original design for vaulting to have been commenced and left unfinished.

[Ill.u.s.tration: Norman Arch and Piers, Melbourne Church, Derbys.h.i.+re.]

Q. Of what description was the Norman vaulting?

A. The bays of vaulting were generally either squares or parallelograms, though sometimes not rectangular in shape, and each was divided into four concave vaulting cells by diagonal and intersecting groins, thus forming what is called a quadripart.i.te vault. Early in the style the diagonal edges of the groins appear without ribs or mouldings; at an advanced stage they are supported by square-edged ribs of cut stone; and late in the style the ribs and groins are faced with roll or cylinder mouldings. They are also sometimes profusely covered with the zig-zag moulding and other ornamental details.

Q. What is observable with respect to Norman masonry?

A. In general the walls are faced on each side with a thin sh.e.l.l of ashlar or cut stone, whilst the intervening s.p.a.ce, which is sometimes considerable, is filled with grouted rubble. Ma.s.ses of this grout-work masonry, from which the facing of cut stone has been removed, we often find amongst ruined edifices of early date.

Q. Were there any b.u.t.tresses used at this period?

[Ill.u.s.tration: Norman b.u.t.tress, Chancel of St. Mary's, Leicester.]

A. Yes; but the walls being enormously thick, and requiring little additional support, those in use are like pilasters, with a broad face projecting very little from the building; and they seem to have been derived from the pilaster strips of stonework in Anglo-Saxon masonry. They are generally of a single stage only, but sometimes of more, and are not carried up higher than the cornice, under which they often but not always finish with a slope. They appear as if intended rather to relieve the plain external surface of the wall than to strengthen it. Norman portals not unfrequently occur, formed in the thickness of a broad but shallow pilaster b.u.t.tress, as at Iffley Church, Oxfords.h.i.+re, and at Stoneleigh and Hampton-in-Arden Churches, Warwicks.h.i.+re, and elsewhere. This kind of b.u.t.tress was also used in the next, or Semi-Norman style.

Q. Were there any towers?

A. Yes; they were generally very low and ma.s.sive; and the exterior, especially of the upper story, was often decorated with arcades of blank semicircular and intersecting arches; the parapet consisted of a plain projecting blocking-course, supported by the corbel table.

Q. Do pinnacles appear to have been known to the Normans?

A. Although some are of opinion that the pinnacle was not introduced till after the adoption of the pointed style, many Norman buildings have pinnacles of a conical shape, which are apparently part of the original design.

Q. What distinction occurs in the construction of the small country churches of this style, and the larger buildings of conventual foundation?

A. Small Norman churches consisted of a single story only; cathedral and conventual churches were carried up to a great height, and were frequently divided into three tiers, the lowest of which consisted of single arches, separating the nave from the aisles: above each of these arches in the second tier were two smaller arches constructed beneath a larger; sometimes the same s.p.a.ce was occupied by a single arch; and in this tier was the triforium or gallery. In the third tier or clerestory were frequently arcades of three arches connected together, the middle one of which was higher and broader than the others: and all these three occupied a s.p.a.ce only equal to the span of the lowest arch. Blank arcades were also much used in the exterior walls, as well as in the interior of rich Norman buildings; and some of the arches which composed them were often pierced for windows.

Q. What were the mouldings princ.i.p.ally used in the decoration of Norman churches?

A. The chevron, or zig-zag, which is not always single, but often duplicated, triplicated, or quadrupled.

[Ill.u.s.tration]

[Ill.u.s.tration]

The reversed zig-zag.

[Ill.u.s.tration]

The indented moulding.

[Ill.u.s.tration]

The embattled moulding.

[Ill.u.s.tration]

The dovetail moulding.

[Ill.u.s.tration]

The beak head.

[Ill.u.s.tration]

The nebule, chiefly used for the fascia under a parapet.

[Ill.u.s.tration]

The billet.

[Ill.u.s.tration]

The square billet, or corbel bole, used for supporting a blocking course.

[Ill.u.s.tration]

The cable moulding.

[Ill.u.s.tration]

The double cone.

[Ill.u.s.tration]

The pellet, or stud.