Table Of ContentTThhee SSpplleennddoouurr
ooff
EEnngglliisshh GGootthhiicc
AArrcchhiitteeccttuurree
JJoohhnn SShhaannnnoonn HHeennddrriixx
Author:
John Shannon Hendrix
Layout:
Baseline Co. Ltd
61A-63A Vo Van Tan Street
4th Floor
District 3, Ho Chi Minh City
Vietnam
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
© Sirrocco, London
IImmaaggee--BBaarr www.image-bar.com
All rights reserved.
No part of this publication may be reproduced or adapted without
the permission of the copyright holder, throughout the world. Unless
otherwise specified, copyright on the works reproduced lies with the
respective photographers, artists, heirs or estates. Despite intensive
research, it has not always been possible to establish copyright
ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-78042-891-8
2
John Shannon Hendrix
The Splendour
of
English Gothic Architecture
Contents
Introduction 7
Early English 23
Decorated 95
Curvilinear 123
Perpendicular 201
Acknowledgements 252
Bibliography 253
Index 254
5
Introduction
T he purpose of this book is to examine and celebrate the expression of a coherent idea, representing the theology,
richness of English Gothic architecture, in its use of materials, philosophy, and epistemology (Scholasticism) of medieval
light, space, pattern, texture, and colour. Cathedrals and England. The buildings are intended as catechisms, as three-
churches in England are among the most beautiful buildings in the dimensional models for didactic purposes, to represent and
world; they display less material splendour, but a more spiritual or communicate basic ideas about man, God, and being to
experiential splendour. The experience of many of the buildings is everyone. Such concepts of the structure of the universe, being,
unparalleled: being in the buildings, it is possible to find a sense of and intellect permeated the culture of medieval England, and
fulfillment through pleasure in the senses, intellectual stimulation in from 1180 to 1540 contributed to a homogeneous cultural
the complex structures and patterns, and the spirituality to which the expression, particularly in the architecture of the cathedral.
spaces are devoted. The buildings make possible an architectural Cathedral architecture developed as a response to the zeitgeist
experience which is unique, and have a richness beyond most of the era; there was little concept of individual artistic expression
buildings, especially modern buildings. Architecture is closer to or creativity. The result is a lasting representation, in built form, of
reaching its potential in these buildings than in most others; its the theology, philosophy, and epistemology of a civilisation in
potential to create a fulfilling experience in which human identity the Middle Ages in England.
is understood in relation to nature and the divine. The architecture
speaks, through its materials, spaces, structures, textures, and The architecture is presented chronologically, beginning at the end
patterns, to both the senses and intellect; it is among the most poetic of the 12th century and culminating at the beginning of the 16th
of all architecture, and is among the closest of all buildings which century. The chronological development is divided into periods,
form art while still fulfilling the aspirations of architecture. The hope periods which were established by Thomas Rickman in the
of this book is for the details of the buildings to be seen together Attempt to Discriminate the Style of Architecture in England in
as a whole, as a myriad of variations on a theme, which, taken 1815. The periods are Early English (1180-1250), Early
together, represent an extraordinary architectural experience. Decorated (1250-1290), Decorated or Curvilinear (1290-1380),
and Perpendicular (1380-1540). The names given to the periods
The development of English Gothic architecture throughout the by Rickman are not exhaustive or completely accurate in relation
Middle Ages, from 1180 to 1540, is relatively homogeneous and to the architecture of the periods, but they suffice to provide the
consistent, contributing to the same campaign, the same particular simplest and most accepted way of naming the periods.
use of vocabulary elements, with surprising and innovative
variations, and the same expressive intentions. Consistently The chapter “Early English” presents architectural developments at
throughout the development of English Gothic architecture, there Canterbury, Wells, Lincoln, Winchester, Ely, Beverley, Chester,
is an intention in the architecture to express a poetic idea through York, Salisbury, Worcester, Southwell, and Gloucester. Canterbury
the juxtaposition of non-structural geometries with the structural Cathedral is the first English Gothic cathedral, where the work of
geometries of the architecture. Its characteristic “handwriting”, William of Sens and William the Englishman marks a departure
the linear networks, surface patterns, geometrical articulations, from Norman or Romanesque precedents, where forms and
and spatial interpenetrations contribute to the creation of an approaches are invented which would be influential throughout the
architecture in which form contradicts function, resulting in a development of English Gothic architecture. The first phase of
poetic expression. In order for architecture to be art, its form must building at Wells, including the nave, was contemporary with the
contradict its function, as architecture, unlike other arts, can first phase of building at Lincoln, and the two buildings represent
never be free and independent from its function. The cathedrals different departures from the architecture at Canterbury, but
and churches of English Gothic architecture contribute to an each equally and distinctively defining English Gothic architecture,
Nave vault, 1475-1490. Sherborne Abbey.
John Constable,Salisbury Cathedral from the Bishop’s Grounds, 1823.
Oil on canvas, 87.6 x 111.8 cm. Victoria and Albert Museum, London. (pp. 8-9)
7
Wells more in its homogeneity and Lincoln more in its syncretism. openwork arcading, in a purification of the intentions at Lincoln.
The east and west transepts at Lincoln show the influence of The elevations of the south transept of York Minster, begun
Canterbury in an experimental approach to spatial relationships around 1220, are similar to Lincoln and Beverley, as are the
and a variety of materials. The rose windows in the west elevations of the retrochoir of Worcester Cathedral, built in the
transept, along with the Dean’s Eye and Bishop’s Eye, are the first 1220s; the vault of Worcester retrochoir is a tierceron vault
great examples of stained glass in an English Gothic cathedral. derived from Lincoln. The motifs of the retrochoir elevations are
Ely Cathedral was the first to exhibit the influence of Lincoln, continued into the choir at Worcester.
visible in the detailing of the west front and the Galilee Porch, in
particular the overlapping double arcading. The eastern part of The architects of Salisbury Cathedral, Elias of Dereham and
Winchester Cathedral, the Lady Chapel, shows the influence of Nicholas of Ely, incorporated Lincoln motifs into the new
Lincoln in the early 13th century. The overlapping double arcade design in the 13th century, combining them with themes from
occurs at Beverley Minster, along with Purbeck shafts and Wells. The choir of Southwell Minster is based on the Lincoln,
Girart de Roussilon, Chanson de Geste: Builing Site,
second half of the 15th century. Nationalbibliothek, Vienna.
10
