Lectures on the rise and development of medieval architecture; vol. 2Scott, George Gilbert, Sir
History
Lectures on the rise and development of medieval architecture; vol. 2
Scott, George Gilbert, Sir
Architecture, Gothic; Architecture, Medieval
This was effected by the introduction of strong transverse arches
crossing the whole chapel, and springing much lower than the vaulting
(Fig. 397). These crossed the narrower spans, striking arbitrarily into
their fans, and uniting themselves with the central vaulting. The
pendants are not to be looked upon as constructionally interfering with
these transverse arches, as they become, in fact, part of them, and the
arches may be supposed to pass through them in an imaginary line, so
that, as in the case of the Lady Chapel at Caudebec, the pendant is in
reality a voussoir, the greater portion of which hangs down below the
face of the vaulting; the small arches upwards towards the wall help to
strengthen and weight the transverse arches at their weakest part.
[Illustration: Fig. 398.--Divinity Schools, Oxford.
Begun 1445. Finished about 1480.]
In the Divinity Schools (Fig. 398) these great arches show themselves
throughout as the supports of the otherwise helpless vault; in Henry
VII.’s Chapel they are visible only in the side vaults, which are
strutted up from them with strong tracery, but their upper portions
penetrate the central vault, and become concealed from view.
The same system is carried into the apse (Fig. 399), and that with the
most surprising skill. The apse is supposed to be a portion of an entire
octagon, with an aisle supported by eight small columns, of which two
are lost by its conjunction with the straight part of the chapel. These
columns being converted into pendants, the structural arches supply, as
before described, the support demanded, but in this case they converge
to the central part of the octagon.
[Illustration: Fig. 399. Henry VII.’s Chapel, Westminster Abbey, Plan of
Apse.]
The treatment of this point in detail cannot intelligibly be described
in words. It is, perhaps, the most consummately skilled piece of
designing to be found in the whole range of Mediæval vaulting.
I have now completed my running (and all too rapid) sketch of the arched
and vaulted systems of Mediæval architecture, though purposely leaving
to another occasion the subject of domes. The limits of three lectures
have only sufficed to give a somewhat cursory glance at its salient
points, leaving the treasures of its detail to be searched out by the
zealous student.
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