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    Gothic Architecture: 158 Plates from the Brandons' Treatise, 1847
    Gothic Architecture: 158 Plates from the Brandons' Treatise, 1847
    Gothic Architecture: 158 Plates from the Brandons' Treatise, 1847
    Ebook189 pages21 minutes

    Gothic Architecture: 158 Plates from the Brandons' Treatise, 1847

    By Raphael Brandon and J. Arthur Brandon

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    About this ebook

    This comprehensive study of Gothic architecture traces the distinctively beautiful elements of Gothic style through the medieval churches of Europe. Gathered from a rare two-volume Victorian classic, over 700 meticulously rendered details and illustrations display every intricate aspect of Western culture's most magnificent ecclesiastical structures, including London's Westminster Abbey Church. The only edition of these antique architectural plates in print, this splendid book is a one-of-a-kind source of authentic Gothic design.
    In page after fascinating page, this rich retrospective features the finest examples of medieval masonwork, woodwork, and metalwork dating back to the thirteenth century. Explore the soaring Gothic characteristics of vaulted ceilings, arched windows, flying buttresses, pointed spires, ornamental filials, and decorative panels, plus doorways, moldings, roofing, porches, door hinges, and other elaborate architectural elements.
    Filled with fascinating insights into the creation of Gothic-style churches and cathedrals, this sweeping survey also provides lively observations of the medieval period.
    LanguageEnglish
    PublisherDover Publications
    Release dateAug 21, 2012
    ISBN9780486135922
    Gothic Architecture: 158 Plates from the Brandons' Treatise, 1847

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      Book preview

      Gothic Architecture - Raphael Brandon

      II.

      PREFACE.

      OF the numerous works recently called into existence by the prevalent spirit of inquiry and research into the Ecclesiastical Architecture of the Middle Ages, none has supplied such an analysis of details as is absolutely essential, no less for the complete abstract elucidation of the principles of this great art, than for their correct practical application. The present work has been undertaken with a view to supply this deficiency, by presenting a series of good and pure specimens of the various details which occur in Church Architecture, as they are exemplified in existing Edifices. The examples thus selected commence with the closing style of the Romanesque,¹ and range throughout the Gothick era, properly so called.

      The Authors, desirous to adhere in every respect to their plan of producing a practical rather than an historical work on English Church Architecture, have purposely avoided all notice and illustration of the architecture of the Anglo-Saxons. Many excellent treatises have been devoted to the investigation of the style of building at this remote period, and much of both curious and valuable information has been thus elicited. Saxon Architecture, however, though abounding in materials for interesting research to the antiquary and historian, is at best but rude and barbarous as a constructive system, and consequently by the architect of the present day it cannot be considered as a guide or authority. And indeed its successor, the Anglo-Norman, has but very few, if any claims to our regard and adoption. That this style possesses many features in themselves highly meritorious, we readily admit ; yet on the one hand, we trace in it all the impress of a lingering barbarism, and on the other, true to its Roman prototype, it is shackled even in its noblest efforts by the characteristick horizontality of classick architecture. Indeed we do not find Mediaeval Architecture to have been absolutely set free from the influence of debased ancient principles, until, with the complete establishment of the pointed arch, the manifold elements of building had undergone an entire, although a gradual renovation. It was then that, in the Early English style, Gothick Architecture attained to its first decided development.

      With the same view to their practical usefulness, the examples given in this work have been entirely derived from English Churches. Continental Gothick, beautiful as it is in itself and influenced by the same spirit with our own, cannot be consistently associated with English details: each possesses peculiarly distinctive features, which it is impossible to blend together without serious injury to both.

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