English Church Architecture of the Middle Ages: An Elementary Handbook — Background and Themes

Symbols as the Motive of Gothic Design

The introduction, as described in the preface, deals with symbols as the motive of Gothic design. This framing is crucial: Smith argues that architectural forms are not arbitrary but carry meaning derived from the faith of their builders. The handbook then defines periods of English Gothic from the seventh to the sixteenth centuries, using simple examples to avoid confusion. The reader is encouraged to see each structural element—arches, columns, roofs—as part of a coherent symbolic language rather than mere decoration.

Perpendicular Period Details

The excerpt on the Perpendicular period provides concrete observations. Tudor door-heads feature a label or square dripstone with carved spandrils. Columns are circular with octagonal bases and capitals, moulded or carved with oak-leaf foliage or conventional ornament. Corbels often display shields, armorial bearings, or the Tudor rose. The text notes that many Perpendicular churches are rich in ornamental woodwork: choir stalls with lifting seats (misereres) featuring grotesque carvings, poppy-head bench ends sometimes carrying small carved figures among foliage, and panelled screens crowned with brattishing. Smith defines brattishing as also applied to open tracery of some battlements.

The Climax and Decline of Gothic Construction

Smith states that the Perpendicular period is the longest of English Gothic periods, during which Gothic construction attained its climax. However, ornamentation declined from refined realism to coarse conventionalism, coinciding with a decline of spiritual life in the Church. Cathedrals and churches increased in all dimensions, showing a tendency toward the Renaissance of classic art. Classic mouldings were imitated, and carved ornament of pure Italian design was applied to decorate Gothic forms. Notable instances cited are the tomb of Henry VII in Westminster Abbey and the Salisbury Chantry in Christchurch Priory, both by Torregiano, a contemporary of Michelangelo. The English people clung to their Gothic style for a century after it had almost disappeared from the Continent.

Roof Construction and Climate

A separate section on roofs emphasizes their importance: next to substantial walls, weather-proof and storm-proof roofs preserve wall stability. The rigours of the English climate require coverings that prevent rain penetration and supports strong enough to resist snow and hurricane pressure. The high-pitched roof is common to all periods of English Gothic. The average Norman roof was pitched about 45°, its apex being a right angle composed agreeably with semicircular arches. Higher-pitched roofs came with the pointed arch, sometimes at 60°, ultimately declining to about 20° or less in late Perpendicular. Outer covering is generally boards overlaid with tiles or sheet-lead, the latter imperative for low-pitched roofs. The text includes diagrams of principals or trusses to explain construction principles.

Smith’s handbook is best read with a willingness to move between text and actual buildings. The preface’s emphasis on personal acquaintance with standards of excellence is not mere formality: the book’s value lies in how it trains the eye to see symbolic intent in structural choices. Readers should note that the excerpts are incomplete, so the full work likely contains more period definitions and plate references. Approach it as a primer that clarifies terminology and period distinctions, then test those observations against cathedrals or parish churches.

The rain drummed on the windows that afternoon while I underlined passages about Perpendicular fan vaulting, the sheer geometry of it. Instead of finishing, I kept thinking about the faith behind those ribs. Later, I found myself lost in Gothic Architecture — Text and Context, which seemed to understand that quiet weight. It felt less like a lesson, more like a conversation continued.