DOI Page / Citation link:
https://doi.org/10.11588/diglit.29899#0399
Bk. YII. Ch. III.
EXTERNAL PROPORTIONS.
379
a great deal to be said in favour of the new style. It was pre-
eminently constrnctive and reasonable. JXotbing in a masonic point
of view could be better than the straight lines running through
from bottom to top of the window, strengthened by transoms when
requisite for support, and doubled in the upper division. The orna-
ments, too, were all appropriate, and, externally at least, the whole
harmonised perfectly with the lines of the building. Internally, the
architects were more studious to prepare forms suitable by their
dimensions and arrangements for the display of painted glass, than to
spend much thought on the
form of the frames themselves.
The poetry of tracery was
gone, but it was not only in
this respect that we miss the
poetic feeling of earlier days.
The mason was gradually
taking the guidance of the
work out of the hands of the
educated classes, and applying
the square and the rule to
replace the poetic inspirations
of enthusiasts and the delicate
imaginings by which they
were expressed.
It is curious to observe how different the course of events was in
France. While Saxon common sense was gradually coming to the
surface in this country and curbing every fancy for which a good
economic reason could not be given, the Celtic fancy of our neighbours
broke loose in all the playful vagaries of the Flamboyant style. Their
tracery became so delicate and so unconstructive that it is a wonder it
ever stood, and no wonder that half the windows of that date are now
without tracery at all. They were carved, too, with foliage so delicate
that it ought to have been -executed in metal and never attempted in
stone—in wonderful contrast to the plain deep mouldings which
surround most of our windows of that period.
833. Perpendicular Tracery, Winchester Cathedral.
External Proportions.
If the sobriety of proportion whic-h characterised the design of
English architects led to satisfactory results internally, its inüuence
was still more favourable on the external appearance of their
churches. An English cathedral is always a part of a group of buildings
-—the most important and most dignified part, it is true, but always
coinciding and harmonising with its chapter-house, its cloister and
EXTERNAL PROPORTIONS.
379
a great deal to be said in favour of the new style. It was pre-
eminently constrnctive and reasonable. JXotbing in a masonic point
of view could be better than the straight lines running through
from bottom to top of the window, strengthened by transoms when
requisite for support, and doubled in the upper division. The orna-
ments, too, were all appropriate, and, externally at least, the whole
harmonised perfectly with the lines of the building. Internally, the
architects were more studious to prepare forms suitable by their
dimensions and arrangements for the display of painted glass, than to
spend much thought on the
form of the frames themselves.
The poetry of tracery was
gone, but it was not only in
this respect that we miss the
poetic feeling of earlier days.
The mason was gradually
taking the guidance of the
work out of the hands of the
educated classes, and applying
the square and the rule to
replace the poetic inspirations
of enthusiasts and the delicate
imaginings by which they
were expressed.
It is curious to observe how different the course of events was in
France. While Saxon common sense was gradually coming to the
surface in this country and curbing every fancy for which a good
economic reason could not be given, the Celtic fancy of our neighbours
broke loose in all the playful vagaries of the Flamboyant style. Their
tracery became so delicate and so unconstructive that it is a wonder it
ever stood, and no wonder that half the windows of that date are now
without tracery at all. They were carved, too, with foliage so delicate
that it ought to have been -executed in metal and never attempted in
stone—in wonderful contrast to the plain deep mouldings which
surround most of our windows of that period.
833. Perpendicular Tracery, Winchester Cathedral.
External Proportions.
If the sobriety of proportion whic-h characterised the design of
English architects led to satisfactory results internally, its inüuence
was still more favourable on the external appearance of their
churches. An English cathedral is always a part of a group of buildings
-—the most important and most dignified part, it is true, but always
coinciding and harmonising with its chapter-house, its cloister and