Chapter XI: Part 11

[24] A more careful examination shows that far the larger part of Darlington is of later date, using up, as would appear, details prepared by Pudsey, who died before the church had made any great progress. (G. G. S.)

[25] There is work of the Canterbury type in the double chapel to the keep of Dover Castle, and interpolated work by the same hand in the church hard by, in which Saxon work is re-used as material for transitional work. (G. G. S. 1878.)

[26] The dates are given in Professor Willis’s excellent paper on the Abbey. They are from 1186 onwards. The older Abbey was burnt down in 1186. The Chapel now known as that of St. Joseph, but which was really the Lady Chapel, was first rebuilt, and the church followed immediately afterwards. (G. G. S. 1878.)

[27] The clerestory and triforium of St. Germain des Pres have undergone some alterations from the original forms. (G. G. S. 1878.)

[28] This work at Chichester was executed at the close of the century, after the fire of 1186; but Professor Willis has shown that some early Pointed work of a very marked character, which exists in the western part of the Lady Chapel, must have been erected previously to that event.

[29] This unfoliated capital I have since noticed in the Church at Tulle in Limousin, where simplicity was suggested by the material--granite. (G. G. S.)

[30] I read a paper on the English Transition, especially viewed in reference to its English and French elements, before the Archæological Institution at Canterbury in 1875. See their Journal. (G. G. S. 1878.)

[31] For illustration see Lecture IV., Fig. 109.

[32] For illustration see Lecture V., Fig. 116.

[33] It is fair to say that Professor Willis doubted the date given to this Galilee. (G. G. S. 1878.)

[34] In the church of St. Francis at Assisi, a German and an Italian architect worked together. The former imported into the work a German version of the French Pointed style, while the latter retained the semi-classic Romanesque of his own country--the two indefinitely commingled. (G. G. S. 1878.)

[35] The last sentence, though expressing a general truth, must not be taken too literally; for, though it is the great principle of Gothic architecture to decorate construction, this may be effected simply or richly, and with or without sculpture or carving, according to the requirements of the case. (G. G. S.)

[36] I remember conducting for the first time M. Reichensperger through Westminster Abbey, being surprised at his objecting to some details as “Bysantinisch.” This arose from his having mentally adopted later styles as his models, in which no trace of Romanesque origin remains. (G. G. S. 1878.)

[37] See Lecture VII. page 248.

[38] See capital from S. Eusèbe, Auxerre, Lecture III., page 101; also capitals from Montmartre, Lecture VIII., page 319.

[39] See capitals from Nôtre Dame, Saint Chapelle, etc., Lecture III. pages 102 and 103.

[40] I have since discovered that the great four and five light windows of the chapter-house at Westminster were finished in 1253. These are of the fullest development, and have cusped heads to their lights. (G. G. S.)

For illustration, see Interior of Chapter-House, Lecture XIV. Vol. ii.

[41] For illustration, see Lecture V., Fig. 122.

[42] For illustration, see Lecture V., Fig. 116.

[43] I remember, in the report of one of the parish meetings, Mr. Barclay having proposed the restoration of the glorious old nave, an intelligent parishioner exclaiming, “What! keep them great elephants’ foots?” (G. G. S. 1878.)

[44] I am glad to learn that the drawings _are_ preserved, and that they will, D.V., be published by Mr. Dollman. (G. G. S. 1878.)

[45] Or rather, in some respects, of Beauvais. The two were, no doubt, jointly referred to by the Cologne architect. (G. G. S.)

[46] Since writing this I have had the privilege of restoring it, and in these days of ante-restoration I am glad that so clear a record had been kept of its previous condition. (G. G. S. 1878.)

[47] See Lecture VIII., p. 312, Figs. 178, 179.

[48] See Lecture VIII., p. 313, Fig. 180.

[49] Much discussion has taken place as to who this Pietro--“Petrus Romanus Civis”--was. Virtue, as quoted by Walpole, says it was Pietro Cavallini, but he was only a child when this work was done. The ciforium in the Church of St. Paul without the Walls bears this inscription; †HOC OPUS FECIT ARNOLFUS CUM SUO SOCIO PETRO!! Monsegnor Xavier Barbier de Montault, who wrote a chapter for Mr. Parker’s work on Rome, says that this was Pietro Cavallini. If so, he was probably the father of the more celebrated artist. The date of the work last named is 1285, being sixteen years later than that at Westminster.

[50] For east and west windows, see “Digression concerning Windows,” inserted between Lectures VII. and VIII.

[51] For illustration, see Lecture IV., Fig. 109.

[52] More recently, on opening out other walled-up arches, etc., the greater part of this substructure has been found. The fragments--about 2000 in number--have been fitted together and built up in their old place. (G. G. S. 1878.)

[53] Since this was written, the church has gained additional interest through the opening out of the wall paintings, which probably formed a sort of reredos over each of the small altars which stood against the Norman piers in the nave. (G. G. S.)

[54] This is really somewhat later. (G. G. S. 1878.)

[55] This notion has since been entirely disproved, and the architect proved to have been a member of an English family. (G. G. S. 1878.)

[56] For illustration, see Lecture IV., Fig. 87.

[57] See Lecture III. p. 121, Fig. 82.

[58] For a bay of this chapter-house, see “Digression concerning Windows,” inserted between Lectures VII. and VIII. Fig. 170.

[59] See Lecture XV., vol. ii.

[60] For illustration, see Lecture IV. p. 164.

[61] The practical and universally acknowledged success of the Assize Courts at Manchester, as compared with those at Liverpool, speaks volumes as to the _rationale_ of our style. (G. G. S.)

[62] It is amusing to observe the triumphant tone with which modern writers delight to parade the bits of untruthfulness which they chance to find in ancient Classic and other structures. I wonder whether the old architects would enjoy the compliment if they could see works of _our_ day. (G. G. S. 1878.)

[63] For illustration, see Lecture III., Fig. 81.

[64] See Lecture IV., Fig. 87.

[65] The manner in which our glass painters turn out these fragments--more precious than gold--to make way for their (often vile) memorial windows is only paralleled by the ruthlessness with which they tear away the iron-work which once sustained the painted glass. (G. G. S. 1878).

[66] There seems to be a perfect crusade going on against these relics which give such a charm to our villages, though nothing shows more painfully the contrast between the tastefulness of former times and the tastelessness of the present than a comparison between these despised remains and the structures by which they are constantly being replaced. (G. G. S.)

[67] Or how were stone gables made to fit themselves to a _thatched_ roof? (G. G. S. 1878).

[68] A practice now happily _long_ discontinued. (G. G. S. 1878).

[69] See Lecture III., pp. 107, 108.

[70] See Lecture V., Fig. 122.

[71] To follow up these studies well, it will be desirable to have an introduction to the authorities, which may exempt you from a galling system of _espionage_ for many years prevalent in this cathedral. (G. G. S. 1878.)

[72] See Lecture V., Fig. 113.

[73] See Lecture XII., vol. ii.

[74] See Lecture XIV., vol. ii.

[75] See Lecture III., Fig. 79; and Lecture V., Fig. 110.

[76] See Lecture V., p. 183, Fig. 115; also “Digression concerning Windows” inserted between Lectures VII. and VIII.

[77] It is melancholy to think how our privileges are neglected! The Architectural Museum itself is a _perfect mine_ of the finest objects of study; yet how insufficient are the uses made of it. (G. G. S. 1878.)

[78] Since I wrote this--eleven years ago--the tide has turned. We are too apt to follow _rages_ and mere _fashions_. We were, when I wrote, becoming too French; we have since got to think of French architecture with a self-righteous horror. (G. G. S. 1878.)

[79] For illustrations, see Lecture III., p. 82, Figs. 20, 21.

[80] Many original capitals from the Sainte Chapelle are lying in the open air in the gardens of the Hôtel Cluny. The most precious morsels which can be conceived! (G. G. S. 1878.)

[81] When I wrote this, they were double-locked in the old _schatzzimmer_, but they are now displayed in the triforium gallery. (G. G. S. 1878.)

[82] I mean the Romanesque architecture of _Lombardy_: not that of the _Lombard Kings_, which was probably a mere version of the Basilican. See note on this subject to Lecture I. (G. G. S. 1878).

[83] The small secular Basilica, called the “_Basilica Jovis_” built, I think, by Domitian on the Palatine Hill, proves more clearly than any other building I know how directly our churches are derived from the old Halls of Justice. The recent excavations have shown both the marble _cancelli_ which parted off the apse, and the altar within it for the administrative oath. (G. G. S. 1878.)

[84] Surely we may claim it now! (G. G. S. 1878.)

[85] For illustrations, see Lecture V. p. 199, Fig. 121.

[86] For illustration, see “Digression concerning Windows,” inserted between Lectures VII. and VIII.

[87] So rapidly do _fashions_ change that, though when I wrote the above I expected to be found fault with for speaking so well of _late_ styles, I am now far behind the age! Sixteen years earlier I had done the same at the risk, nay, with the certainty, of being pronounced a heretic by some of the very persons who now think the latest Mediæval art the best, and that far later than Mediæval _better still_. (G. G. S. 1878.)

[88] Those who most despised the less _foreign_ and the less _early_ men, are, in many cases, those who have subsequently rejected all that was foreign, and all that was early; if not yet, all that is Mediæval. (G. G. S. 1878.)

[89] I fear my love of the early styles has led me to be unfaithful to my theory. (G. G. S. 1878.)

[90] The French variety of our style has not only been vulgarised by _exaggeration_, but still more by _ignorance_ and _incapacity_. The hideousness of the capitals constantly palmed off as _French_ would surpass belief if we were not used to it! (G. G. S. 1878.)

[91] I must mention, as noble exceptions to this, the restoration, by Mr. Hardman, of the east window of Okeover Church, Derbyshire; and of two windows in the north aisle of Gloucester Cathedral, which are works deserving the highest praise. (G. G. S.)

[92] I fear this term only applies to him in respect of his liberality in this particular. (G. G. S. 1878.)

[93] I cannot but feel that our glass painters fail grievously in real progress. Even those who are really acquainted with their art too frequently so _scamper_ over it as to render their figures and subjects _mere caricatures_. The majority really know nothing about their art, and these are the favourites with the public! Another section, who really understand what art is, and are able to practise it, proudly set at naught its harmony with the architecture in which it is set. (G. G. S. 1878.)

[94] If the local and other architects who feel themselves to be open to this charge would reconsider their ways, and determine henceforth to devote themselves to the conservation of all the antiquities which pass through their hands, they would earn and receive the hearty support of all who love and value our ancient buildings, as well as securing the gratitude of future generations. (G. G. S.)