An analysis of Gothic architecture Illustrated by a series of upwards of seven hundred examples of doorways, windows, mouldings, roofs, arches, crosses, panels, buttresses, seats, screens, etc., and accompanied with remarks on the several details of an ecclesiastical edifice . lost sight of by le undue projection of the latter, become converted into one. ow a close examination of ancient examples will establish, as a meral rule,* that the head mold was the most projecting ember; then came the bell, falling back a little from it; and stly, the neck mold, which receded still further from the fac
An analysis of Gothic architecture Illustrated by a series of upwards of seven hundred examples of doorways, windows, mouldings, roofs, arches, crosses, panels, buttresses, seats, screens, etc., and accompanied with remarks on the several details of an ecclesiastical edifice . lost sight of by le undue projection of the latter, become converted into one. ow a close examination of ancient examples will establish, as a meral rule,* that the head mold was the most projecting ember; then came the bell, falling back a little from it; and stly, the neck mold, which receded still further from the face the bell. In other words, we might regard a Gothic capital as consisting of three •cular pieces of stone: the lower one a thin slab, out of which the neck mold would produced; the second, a thick block projecting considerably over the first, would •m the bell; and lastly, another slal) at top, somewhat thicker than the first, and ejecting the most of the three, out of which would be cut the head mold. The heaviness observable in some modern capitals is principally owing to theylect of this simple arrangement. The bell, wdien not foliated, generally consisted of a group of moldings in the3er part, which were united to the neck mold by a. beautifully undercut anil. * Examples arc occasionally found in old work in which this principle has not been followed, but theiroccurrence in no way affects the general rule. 54 ANALYSIS OF GOTHIC AECHITECTURE. gracefully curved outline; or occasionally, and the effect is extremely beautiful, thebell was double, consisting of two different groups, the one receding from the other,as in Fig. 3, Section I. Early English, Plate 24; and Fig. 2, Decorated, Plate 35. Theneck mold of the Gothic period did not acquire more importance than it had duringthe Norman; it still consisted of a bead or some other simple molding. Finally, wewould remark that while a general squareness of outline marked the Norman capitals,the Early English and Decorated we
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