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Nave vault, 1475–1490. Sherborne Abbey.
The purpose of this book is to examine and celebrate the richness of English Gothic architecture, in its use of materials, light, space, pattern, texture, and colour. Cathedrals and churches in England are among the most beautiful buildings in the world; they display less material splendour, but a more spiritual or experiential splendour. The experience of many of the buildings is unparalleled: being in the buildings, it is possible to find a sense of fulfillment through pleasure in the senses, intellectual stimulation in the complex structures and patterns, and the spirituality to which the spaces are devoted. The buildings make possible an architectural experience which is unique, and have a richness beyond most buildings, especially modern buildings. Architecture is closer to reaching its potential in these buildings than in most others: its potential to create a fulfilling experience in which human identity is understood in relation to nature and the divine. The architecture speaks, through its materials, spaces, structures, textures, and patterns, to both the senses and intellect; it is among the most poetic of all architecture, and is among the closest of all buildings which form art while still fulfilling the aspirations of architecture. The hope of this book is for the details of the buildings to be seen together as a whole, as a myriad of variations on a theme, which, taken together, represent an extraordinary architectural experience.
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The nave vault at Bristol, reconstructed in the 19th century, is a tierceron vault. The flying rib appears again in the antechamber of the Berkeley Chapel in Bristol Cathedral, designed by William Joy in 1310. The nave elevations at Worcester are based on the nave elevations of Lincoln. The pulpitum of Lincoln represents an early example of the use of the ogee arch and carved decoration associated with the Curvilinear style. The pulpitum at Exeter, designed by Thomas Witney, incorporates ogee arches, cusping (decoration on the edge of the tracery) and crocketing (foliate decoration on the vertical edge), and a lierne vault. The nave vault of Tewkesbury Abbey combines the lierne patterns of St Mary Redcliffe with the thick ribs of Exeter to create a catechism of the vault of the cosmos, as an architectonic texture in the form of a “net” vault. The pulpitum at Southwell Minster contains flying ribs, ogee arches and crocketed gables, and fragments of architectural vocabulary elements which produce a literary or poetic architecture.
Crossing vault and lantern, c. 1322–1336. Ely Cathedral.
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