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Perpendicular Gothic

Perpendicular Gothic is the third and final phase of English Gothic architecture, emerging in the mid- to late 14th century and extending into the mid-16th century, distinguished by its strong emphasis on verticality through grid-like tracery patterns in windows and walls that create a sense of upward movement and uniformity.^[1]^[2] This style, also known as Rectilinear or Late Pointed, evolved from the earlier Decorated Gothic period and was influenced by post-Black Death labor shortages that favored simpler, more efficient designs.^[2]^[3] Originating under royal architects such as William Ramsey and John Sponlee during the reign of Richard II (1377–1399), Perpendicular Gothic flourished through the Lancastrian and Tudor periods, incorporating elements like immense glazed windows, fan vaults, and open timber roofs that maximized light and space in ecclesiastical and secular buildings.^[1]^[3] Key characteristics include straight vertical and horizontal lines in tracery—often forming rectangular panels—bold buttresses, embattled parapets, and later innovations such as four-centered arches blending with emerging Renaissance motifs in the early 16th century.^[1]^[4] These features marked a shift toward a more rectilinear and less ornate aesthetic compared to the curvilinear Decorated style, reflecting both technical advancements and cultural priorities of late medieval England.^[2] Notable examples include the east window of Gloucester Cathedral (c. 1350–1370), one of the largest in Europe at 38 feet wide by 72 feet high, exemplifying the style's emphasis on expansive glazing; Westminster Hall's hammerbeam roof (1394–1399), spanning nearly half an acre without supports; and King's College Chapel in Cambridge (1446–1515), renowned for its intricate fan vaulting.^[1]^[2] Henry VII's Chapel at Westminster Abbey (1503–1519) represents the style's Tudor culmination, with elaborate paneling and tracery that influenced subsequent architectural developments.^[4] Perpendicular Gothic's legacy lies in its adaptation of Gothic principles to create brighter, more unified interiors, paving the way for the transition to Renaissance architecture in England.^[3]

Overview

Definition and Chronology

Perpendicular Gothic represents the third and final phase of English Gothic architecture, succeeding the Decorated Gothic style and distinguished by its pronounced emphasis on verticality, achieved through grid-like patterns in tracery and elevations that create a sense of unified upward movement.^[5] The term "Perpendicular" derives from this focus on strong vertical lines, particularly in the stone tracery of windows and the overall linear composition of walls and arcades, which prioritize rectilinear forms over the flowing curves of earlier periods.^[6] This style emerged in the mid-14th century, with origins traceable to around 1330–1360, marked by innovative developments in major ecclesiastical structures beginning in 1337.^[7] It reached its peak between approximately 1375 and 1500, during which time it dominated English architectural production, before gradually extending into the early 17th century in some provincial areas, blending with emerging Renaissance influences.^[8] Unlike continental Late Gothic styles such as the French Flamboyant, which featured intricate, flame-like curvilinear tracery and ornate surface decoration, Perpendicular Gothic developed as a uniquely English phenomenon without direct parallels elsewhere in Europe, emphasizing structural clarity and expansive glazing over flamboyant elaboration.^[5]^[9] This indigenous evolution reflected local responses to social and economic changes, including labor shortages following the Black Death, resulting in a more restrained yet geometrically sophisticated aesthetic.^[5]

Significance in English Architecture

Perpendicular Gothic architecture played a pivotal role in late medieval England by embodying the era's economic prosperity, deepening religious piety, and remarkable advancements in stone masonry techniques. Emerging in the 14th century and flourishing through the 16th, this style reflected the wealth accumulated in the post-Black Death recovery period, where grand ecclesiastical structures served as expressions of communal devotion and social status. Technically, it showcased innovations in stonework, particularly through the development of intricate rib vaulting systems that distributed weight more efficiently, allowing for taller, lighter walls and expansive interiors filled with light. These advancements in masonry enabled builders to create vast, airy spaces that symbolized spiritual transcendence, marking a high point in English engineering prowess.^[5]^[10] The style's emphasis on vertical lines and uniformity further underscored its symbolic importance, representing an aspiration toward the divine and reinforcing England's emerging national identity as a distinct architectural tradition separate from continental Gothic forms. Patronized extensively by the monarchy and the Church, Perpendicular Gothic became a vehicle for royal and ecclesiastical authority, with monarchs like Henry VII commissioning structures such as the Henry VII Chapel at Westminster Abbey to assert dynastic legitimacy and piety. Bishops and monastic orders similarly funded major cathedrals, integrating the style into the fabric of English religious life and fostering a sense of unified cultural heritage. This patronage highlighted the style's role in projecting England's technical and artistic maturity, often described as a product of "the English mind."^[11]^[5] Socio-economically, Perpendicular Gothic's proliferation was closely tied to the booming wool trade, which generated immense wealth in regions like East Anglia and the West Country, enabling local parishes and merchants to finance ambitious building projects. In East Anglia, for instance, wool merchants from families like the Cloptons in Suffolk funded lavish reconstructions, such as Holy Trinity Church in Long Melford, transforming modest structures into grand Perpendicular edifices with multiple altars and ornate features. Similarly, parishes in Mildenhall and Boxford utilized trade profits for towers, rood screens, and clerestory enhancements, linking regional economic surges directly to the style's widespread adoption and regional variations. This economic foundation not only sustained construction amid labor shortages but also embedded the architecture within England's commercial landscape.^[12]

Historical Development

Origins in the 14th Century

The Perpendicular Gothic style emerged as a distinct evolution from the preceding Decorated Gothic phase, marked by a shift from the flowing, curvilinear tracery of ogee arches and intricate floral motifs to a more rigid emphasis on straight lines, geometric patterns, and verticality in window designs. This transition began tentatively in the 1320s and gained momentum through the 1330s, as architects sought greater uniformity and repetition in stonework to enhance structural clarity and visual harmony.^[13] A pivotal early manifestation of this new style appeared in the chapter house at Old St Paul's Cathedral in London, designed around 1332 by the royal architect William Ramsey. This octagonal structure introduced rectangular tracery panels that subdivided windows into grid-like compartments, prioritizing perpendicular lines over the undulating curves of earlier Gothic forms and setting a precedent for the style's hallmark emphasis on uniformity and light-flooded interiors.^[14]^[15] The style's initial adoption is exemplified by the cloisters at Gloucester Cathedral, constructed between 1351 and 1412, which featured the earliest surviving English fan vaults—radiating rib patterns that simplified vaulting construction while achieving dramatic height and openness. The Black Death pandemic of 1348–1350 profoundly influenced this development, decimating approximately half of England's population and creating acute labor shortages among skilled masons, which prompted architects to favor efficient, modular designs that reduced the need for highly specialized carving and assembly.^[16]^[5]^[17] Perpendicular Gothic originated primarily in southern England, with London serving as a key hub due to royal patronage and Gloucester as an early regional center for innovation, from where the style gradually spread northward and westward through ecclesiastical commissions.^[7]^[18]

Peak and Key Figures in the 15th Century

The Perpendicular Gothic style reached its maturation around 1400, with the full integration of emphatic verticality in building elevations, as exemplified in the work of master mason Henry Yevele on the nave of Westminster Abbey from approximately 1375 to 1390.^[19] Yevele, serving as King's Master Mason from 1360 until his death in 1400, played a pivotal role in standardizing these features through royal commissions, emphasizing grid-like tracery and reduced ornamental complexity to heighten the sense of upward thrust.^[20] His contributions bridged the late 14th and early 15th centuries, influencing the style's consolidation during its peak period. Key figures in the 15th century further advanced Perpendicular Gothic, including William Wynford, who as master mason redesigned the nave of Winchester Cathedral starting in 1394 and oversaw the west front of Wells Cathedral in the 1390s, introducing refined vertical paneling and lierne vaults that became hallmarks of the mature style.^[20] Later, Reginald Ely emerged as a prominent architect, leading the construction of King's College Chapel in Cambridge from 1446 until 1461 under royal directive, where he implemented expansive fan vaults and intricate perpendicular tracery that epitomized the era's technical and aesthetic sophistication.^[21] These masons, often working under royal or ecclesiastical oversight, disseminated the style through their workshops, training apprentices who carried innovations to provincial sites. Patronage during this peak was dominated by the Crown and academic institutions, with King Henry VI providing substantial funding for Eton College's chapel construction in the 1440s, mirroring his support for Cambridge's university buildings and promoting Perpendicular as a symbol of Lancastrian piety and learning.^[22] Parish churches also proliferated under this influence, fueled by wealthy bequests from merchants and gentry, leading to widespread reconstructions that incorporated Perpendicular elements like large traceried windows.^[18] By 1450, the style had achieved dominance in southern and midland England, evident in the extensive rebuilding of numerous parish churches that adopted its vertical motifs, reflecting the era's economic recovery and devotional fervor.^[17] This geographic concentration underscored Perpendicular Gothic's role as England's preeminent architectural expression during the 15th century.

Decline in the 16th Century

The Dissolution of the Monasteries between 1536 and 1541 under Henry VIII severely curtailed major ecclesiastical construction projects, as the suppression of religious houses redirected resources away from grand Gothic undertakings and repurposed monastic sites for secular use, such as converting Titchfield Abbey into a country house with added gatehouses.^[4] This Reformation-driven shift, combined with the gradual introduction of Renaissance influences from Italy through European craftsmanship and royal patronage, eroded the dominance of pure Perpendicular forms by the mid-16th century, favoring simpler or hybridized designs in new builds.^[4] Despite these pressures, Perpendicular elements persisted in secular architecture into the 1550s, particularly in manorial houses and palace extensions where vertical tracery and fan vaulting informed ongoing designs, as seen in the Tudor additions to Hampton Court Palace under Henry VIII, which retained Gothic-influenced proportions amid expanding residential complexes.^[4]^[23] This continuation reflected the style's adaptability in non-ecclesiastical patronage, contrasting with the peak 15th-century emphasis on cathedral and abbey expansions. The style increasingly hybridized with emerging Tudor architecture, incorporating classical motifs like strapwork and round-headed openings while preserving Perpendicular tracery in windows and vaults, evident in elite residences such as the extensions at Acton Court in 1535.^[4] Such blends marked a transitional phase, with Perpendicular's verticality softening into the flatter arches characteristic of early Tudor work.^[4] Final manifestations appeared in late 16th-century rural parish churches, where local builders maintained Perpendicular detailing in modest additions like clerestories and porches, though these dwindled as Jacobean styles—infused with greater classical symmetry—gained prominence around 1620.^[4]^[24]

Architectural Characteristics

Structural Innovations

One of the defining structural innovations of Perpendicular Gothic was the evolution of vaulting systems, building on earlier Gothic rib vaults to achieve greater complexity and efficiency. Lierne vaults, which incorporated additional short ribs intersecting the main ribs to form star-like patterns, allowed for more intricate load distribution while maintaining structural stability over expansive interiors.^[25] These were further advanced in fan vaults, where ribs radiated conically from a single point like an opened fan, originating in the late 14th century in regions like Gloucestershire and enabling lighter, more uniform ceiling constructions across spans up to 12 meters by the early 16th century.^[26] The construction typically involved jointed masonry or rib-and-panel techniques, with vertical ribs and conoids providing both support and a sense of rhythmic unity, reducing the need for heavy infill and minimizing outward thrust through upfill in vaulting pockets.^[26] Arch design also saw significant refinement, with the widespread adoption of four-centered arches that produced flatter profiles compared to earlier pointed arches, facilitating wider doorways and window openings while enhancing load-bearing efficiency for horizontal expansions.^[25] This arch form, often supporting the elaborate vaulting, contributed to the style's emphasis on balanced vertical and horizontal forces, allowing architects to integrate structural elements seamlessly into expansive spatial volumes.^[27] Wall construction underwent a radical transformation, shifting from solid masonry to a skeletal framework of slender piers and buttresses that bore the primary loads, thereby permitting vast glazed areas that flooded interiors with light.^[28] This "cage-like" system reduced wall thickness dramatically, prioritizing transparency and openness over mass, and exemplified the engineering prowess in distributing weight to external supports.^[28] In towers and spires, Perpendicular Gothic favored robust, horizontally accented designs over soaring verticality, incorporating octagonal lanterns for illuminated upper levels and crocketed pinnacles for added stability and visual rhythm along parapets.^[25] Tall spires were rare, as the style emphasized battlemented silhouettes that integrated defensive and aesthetic functions, with structural reinforcement through clustered piers and flying buttresses to support these expansive upper features.^[27] These innovations culminated in distinctive spatial effects, where uniform grid-like tracery patterns extended rhythmic vertical lines from the nave arcade through the clerestory, creating an illusion of infinite height and continuity within the interior.^[28] This grid system not only optimized light penetration but also unified the architectural composition, emphasizing perpendicularity in both plan and elevation for a harmonious, ethereal atmosphere.^[25]

Decorative and Ornamental Features

Perpendicular Gothic architecture is distinguished by its rectilinear tracery patterns, often referred to as "panel tracery," where vertical mullions extend unbroken from the sill to the head of the window, intersected by horizontal transoms to form repeated rectangular motifs.^[29] This design typically appears in four- or five-light windows, creating a grid-like "stone grating" effect that emphasizes uniformity and verticality, as seen in the expansive clerestory windows of Canterbury Cathedral's choir.^[29] The tracery's repetitive geometry extends beyond windows to wall panels, fostering a sense of symmetry and visual continuity across surfaces.^[29] Ornamentation in this style features flamboyant cresting along parapets and roofs, intricate blind arcading that mimics structural elements without bearing weight, and the incorporation of heraldic badges such as the Tudor rose or portcullis to denote patronage.^[29] Purbeck marble, prized for its polish and durability, was frequently employed in tombs and effigies, providing a contrasting sheen against stone surroundings, as exemplified in the recumbent figures at Westminster Abbey. These decorative elements, with their shallow and stiff mouldings, contribute to the style's overall intricacy while maintaining a flattened, planar quality.^[29] Interior embellishments include hammerbeam roofs, which span wide spaces without ties and are adorned with carved wooden angels poised in flight, symbolizing divine presence and adding dynamism to the ceiling plane, notably in Westminster Hall.^[1] Stained glass employed grisaille techniques—monochromatic grisaille painting on clear or lightly tinted glass—to diffuse light softly and create ethereal effects, allowing greater illumination in large window areas compared to earlier colored narratives.^[29] The emphasis on symmetry and repetition in these features culminates in the "wall of glass" effect, particularly in choirs and transepts, where expansive glazed surfaces unify the interior with rhythmic patterns and flood spaces with natural light.^[29]

Notable Examples

Major Ecclesiastical Structures

Gloucester Cathedral stands as a foundational example of Perpendicular Gothic in ecclesiastical architecture, particularly through its cloisters, where the world's earliest surviving fan vaults were constructed between the 1350s and 1390s. These vaults, radiating like an open fan from slender piers, mark a pivotal innovation in the style, emphasizing verticality and intricate stonework that would define later Perpendicular designs.^[30] The cloisters' lierne ribs transition into pendants, creating a sense of upward movement and lightness, and their completion by around 1412 established Gloucester as the archetype for fan vaulting in English cathedrals.^[16] The cathedral's nave saw significant Perpendicular rebuilding in the mid-15th century, particularly in the second half of the 1400s, where Norman elements were overlaid with vertical tracery and large windows to unify the structure in the new style. This reconstruction, including aspects of the clerestory and west end, incorporated grid-like patterns and flattened arches, enhancing the interior's illumination and height while preserving the Romanesque core.^[31] These adaptations highlight Perpendicular Gothic's ability to retrofit earlier architecture, transforming Gloucester into a cohesive showcase of the style's structural elegance. King's College Chapel in Cambridge exemplifies the pinnacle of Perpendicular Gothic ecclesiastical design, constructed from 1446 to 1515 under the patronage of Henry VI. Its vast interior features an immense fan-vaulted roof that spans 40 feet (12 m) without intermediate supports, reaching an interior height of 80 feet (24 m), composed of intricate stone ribs descending into pendants that evoke a celestial canopy.^[32] The chapel's walls are dominated by expansive stained glass windows in Perpendicular tracery, filling the space with light and color; these windows, largely original and depicting scenes from the Bible, were completed by the early 16th century, underscoring the style's emphasis on glazing over solid masonry.^[33] This harmonious integration of vaulting and fenestration makes the chapel a masterful liturgical space, prioritizing height and transparency. The Henry VII Chapel at Westminster Abbey, built between 1503 and 1519, blends late Perpendicular Gothic with nascent Tudor ornamentation, serving as a royal mausoleum and extension to the eastern arm. Commissioned by Henry VII, it features exceptionally ornate fan vaults with elaborately carved pendants and lierne ribs that create a star-like ceiling pattern, demonstrating the style's decorative peak under royal influence.^[19] The chapel's exterior and interior tracery show vertical emphasis with four-centered arches, while its integration with the abbey extended the eastern arm's Perpendicular elements, including enhanced choir areas. This structure's fusion of Gothic precision and Renaissance-inspired details marks a transitional ecclesiastical monument.^[34] St George's Chapel at Windsor Castle, constructed from 1475 to 1528, illustrates Perpendicular Gothic's role in royal ecclesiastical patronage, primarily funded by Edward IV and completed by Henry VIII. Its choir boasts a complex fan-vaulted ceiling with twisting ribs and pendants, complemented by richly carved wooden stalls for the Knights of the Garter, featuring misericords and canopies that highlight the style's ornamental depth.^[35] The chapel's nave and aisles incorporate large Perpendicular windows with reticulated tracery, flooding the interior with light and emphasizing vertical lines that draw the eye heavenward. As a collegiate chapel, it uniquely combines liturgical function with monarchical symbolism, its vaults and stalls exemplifying the period's technical and artistic patronage.^[36]

Secular and Domestic Applications

While Perpendicular Gothic is most renowned for its ecclesiastical applications, the style extended significantly to secular and domestic buildings, particularly in prosperous regions where economic growth funded ambitious constructions. Parish churches in wool-producing towns exemplify this adaptation, where local merchants financed expansive rebuilds to reflect community wealth and piety. The Church of St Peter and St Paul in Lavenham, Suffolk, stands as a prime example, rebuilt primarily in the late 15th century with characteristic Perpendicular features such as tall, rectilinear windows filling the nave clerestory and a soaring west tower reaching 141 feet, constructed between 1486 and 1495 from knapped flint and stone.^[37] These elements emphasize verticality and intricate tracery, transforming modest parish structures into grand civic landmarks that served both religious and communal functions in thriving textile centers. Educational institutions also embraced Perpendicular Gothic for their expansions, integrating the style into collegiate architecture at Oxford and Cambridge. At Magdalen College, Oxford, the Founder's Tower exemplifies this, begun in 1492 under master mason William Orchard and completed around 1505, featuring gridiron tracery, embattled parapets, and a pronounced vertical emphasis typical of the style's later phase.^[38] Similarly, additions to other colleges, such as cloisters and halls, incorporated large Perpendicular windows and fan-vaulted interiors, blending scholarly utility with decorative grandeur to symbolize institutional prestige. In domestic settings, Perpendicular Gothic influenced manor houses and great halls, where owners adapted ecclesiastical motifs for residential splendor. Compton Wynyates in Warwickshire, constructed around 1500 with later additions circa 1520, illustrates this transition, employing Tudor brickwork alongside Gothic tracery in its mullioned windows and oriel bays, creating a fortified yet ornate family seat.^[39] Such features, including four-centered arches and hood moulds, allowed for expansive great halls that hosted feasts and assemblies, marking the style's evolution toward more intimate, secular spaces. Civic structures further demonstrate Perpendicular Gothic's versatility, appearing in guildhalls and market crosses that served commercial and administrative roles, often crowned with battlements for a fortified aesthetic. The tower of St Botolph's Church in Boston, Lincolnshire—known as the Boston Stump—extends this application, with its Perpendicular phase from the early 15th to 1520, rising to 272 feet in limestone with octagonal lanterns, crocketed pinnacles, and traceried panels that made it a navigational beacon for the port's trade.^[40] Comparable civic markers, like the Chichester Market Cross (built 1477–1503), feature vaulted arcades, buttressed piers, and Perpendicular detailing in its octagonal form, underscoring the style's role in urban identity and market regulation.^[41]

Legacy and Influence

Transition to Tudor and Beyond

As the Perpendicular Gothic style waned in the early 16th century amid the rise of Renaissance influences, it seamlessly integrated into Tudor architecture, retaining key elements like vertical emphasis and symmetric facades while incorporating classical motifs. Cardinal Wolsey's expansions at Hampton Court Palace between 1514 and 1520 exemplify this hybrid approach, where Perpendicular-inspired Tudor forms—characterized by flattened arches, intricate window tracery, and balanced compositions—blended with restrained Renaissance details such as Roman busts and entablatures. This retention allowed Perpendicular's geometric rigor to underpin the emerging Tudor aesthetic, evident in the palace's inner courts and overall symmetry, which prioritized grandeur and uniformity over medieval irregularity.^[23] The influence persisted into the Elizabethan period, where Perpendicular's grid-like patterns and fenestration informed the design of prodigy houses, adapting late Gothic verticality to secular, Renaissance-driven structures. Hardwick Hall, constructed in the 1590s by architect Robert Smythson for Bess of Hardwick, showcases this through its expansive mullioned windows arranged in Perpendicular-style grids that increase in height toward the upper stories, framing long galleries and emphasizing light-filled interiors. These features, combined with projecting towers and minimal external ornament, bridged Perpendicular's decorative linearity with Elizabethan symmetry and ostentation, marking a shift toward more open, domestically focused architecture.^[42]^[4] Perpendicular Gothic's motifs also echoed in English colonial architecture, particularly in 17th-century ecclesiastical buildings in territories like Bermuda, where settlers adapted familiar styles to tropical conditions using local limestone. St. Peter's Church in St. George's, first built in wood around 1620 and rebuilt in stone by 1713, incorporates basic elements of English ecclesiastical architecture, such as pointed arches, serving as an early example of exported English Gothic traditions that emphasized durability and symbolic continuity with the homeland. This adaptation highlighted the style's versatility, influencing modest colonial worship spaces amid the broader Tudor vernacular.^[43] By the 18th century, critical assessments of Perpendicular Gothic reflected its transitional legacy, with architects like James Wyatt engaging in restorations that modified its elements, such as the choir screen at Salisbury Cathedral (c. 1780s–1790s), often aligning them with Picturesque ideals amid broader debates on Gothic's relation to neoclassical forms. These views underscored Perpendicular's role as a bridge to modernity, balancing admiration for its technical prowess with the era's preference for rational forms.^[44]

Revival in the 19th and 20th Centuries

The Gothic Revival movement in the 19th century prominently featured Perpendicular Gothic elements, particularly in restorations and new constructions led by architects like Augustus Welby Northmore Pugin and George Gilbert Scott. Pugin, a fervent advocate for medieval Gothic as the ideal Christian architecture, collaborated with Charles Barry on the Palace of Westminster (Houses of Parliament, 1836–1870), where the design drew heavily on Perpendicular style for its towers and overall vertical emphasis, symbolizing national heritage after the 1834 fire.^[45]^[46] Scott, inspired by Pugin's writings such as Contrasts (1836), extended this approach in numerous church restorations, emphasizing ethical medievalism and structural fidelity to Perpendicular forms like fan vaulting and rectilinear tracery.^[45] During the High Victorian phase, George Edmund Street advanced Perpendicular Gothic in ecclesiastical restorations, most notably at Bristol Cathedral (1868–1888), where he constructed a new nave in harmony with the existing late medieval structure, incorporating tall, unified aisles to evoke the style's hallmark verticality and geometric patterns.^[47] Street's work reflected a commitment to historical accuracy, blending restoration with subtle innovations like enhanced structural supports while prioritizing the moral and aesthetic purity of medieval precedents. In the 20th century, Perpendicular influences persisted in extensions and blends with emerging styles, as seen in Edwin Lutyens' country houses from the 1910s, such as Castle Drogo (1911–1930), which adopted stripped Perpendicular Gothic features like crenellated towers and vertical massing alongside Arts & Crafts craftsmanship for a modern vernacular interpretation.^[48] Post-World War II restorations, including Coventry Cathedral's ruins preservation (1950s onward), retained partial Perpendicular elements from the original 14th–15th-century structure—such as window tracery and perpendicular orientation—integrating them with modernist designs to symbolize reconciliation and continuity.^[49] The modern legacy of Perpendicular Gothic extends to its impact on Art Deco's verticality, where soaring lines inspired by Gothic Revival interpretations informed skyscraper aesthetics in the early 20th century, as in the Chrysler Building's spire (1930).^[50] Today, it shapes heritage conservation debates, with organizations like Historic England advocating balanced preservation of Perpendicular structures using techniques that respect original vertical and ornamental integrity amid urban pressures.^[18]

References

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Below is a merged summary of the segments on "Wool Trade and Perpendicular Gothic Architecture Funding in East Anglia and West Country," combining all provided information into a concise yet comprehensive response. To retain maximum detail, I’ve organized key information into a table in CSV format, followed by a narrative summary that integrates the remaining context and examples. This approach ensures all details are preserved while maintaining readability.
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[38]
[PDF] The Chronology of Perpendicular Architecture in Oxford - Oxoniensia
PERPENDICULAR architecture started at the point at which Gothic architecture had reached its logical end. The history of Gothic archi-.
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Compton Wynyates - Historic England
List entry 1024349. Grade I Listed Building: Compton Wynyates. May include summary, reasons for designation and history.
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The history of St Botolph's & John Cotton - British Heritage Travel
Nov 29, 2024 · The highest tower of any parish church in England at 272 feet, the squat appearance of its 15th-century perpendicular architecture is the likely ...
[41]
Market cross, Chichester - 1005890 - Historic England
The Market Cross is a vaulted octagonal building with an open arcade. It has 8 buttress piers at the angles which serve to sustain a superincumbent wall, over ...
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Exterior view by SMYTHSON, Robert
Hardwick Hall is an Elizabethan country house in England, a leading example ... Perpendicular Gothic fenestration. These windows increase in height ...Missing: influence | Show results with:influence
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Bermuda Architecture & Styles
Oct 5, 2022 · Bermuda architecture began as English stone architecture of the mid 17th century, modified to suit local environmental or building conditions ...
[44]
James Wyatt's Choir Screen at Salisbury Cathedral Reconsidered
views of his most outspoken antiquarian critics ... observations on James Wyatt's Gothic Style, 1790-1797',Journal ofthe Society ofArchitectural Hist.
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Gothic Revival Architecture: Origins, Features & Legacy | RIBA
The Gothic Revival was a conscious movement that began in England to revive medieval Gothic forms, from the second half of the 18th century and throughout ...
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A new Gothic vision - UK Parliament
The draughtsman Augustus Welby Pugin became an important figure in the revival of Gothic architecture in England. Pugin later designed many Catholic churches, ...
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The Project Gutenberg eBook of George Edmund Street
Mainly within the next ten fall the great commissions—for the Law Courts, for building the nave of Bristol cathedral, for rebuilding the cathedral at Dublin, ...
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[PDF] Cathedral Acoustics: Bristol Cathedral as a Case Study - SEA acustica
The reconstruction works stopped for a century, until the Central Tower and Transepts were erected in Perpendicular Gothic style in the late 15th or early 16th ...
[49]
[PDF] Lutyens houses and gardens
civic and monumental design. Meanwhile Sir Edwin has received the Royal Gold Medal of the Royal Institute of British Architects, which is held.
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[PDF] Coventry Cathedral Conservation Management Plan - Getty Museum
Coventry and still dominates the city today. A massive structure built in the Perpendicular Gothic style, it is notable for its scale, elegance and ...
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What is Art Deco?
Also influenced by soaring vertical Gothic lines, it reinvented and modernized them. He also employed a series of setbacks as the building rose from the ...