LITMIR.BIZ

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had been a difficulty found in suitably filling the tracery of the heads of the windows with subjects when these heads were occupied by geometrical figures composed of circles and arcs intersecting.

      In the west window of Exeter Cathedral may be seen a capital example of "Decorated" tracery, and in the east window one in the "Perpendicular" style.

      Skill in glass staining and painting had become advanced, and the windows were made much larger than before, so as to admit of the introduction of more stained glass.

      Pointed arches struck from two centres had succeeded round arches struck from a single centre, and now the arches were made four-centred.

      Foliage in carving had, under Early English treatment, been represented as just bursting, the leaves uncurling with the breath of spring. In the Decorated style the foliage is in full summer expansion, generally wreathed round a capital. Superb examples of Decorated foliage may be seen in the corbels in the choir at Exeter. In Perpendicular architecture the leaves are crisped and wrinkled with frost.

      In Devonshire the earlier towers had spires. When the great wave of church building came over the land, after the conclusion of the Wars of the Roses, then no more spires were erected, but towers with buttresses, and battlemented and pinnacled square heads. In the country there are no towers that come up to the splendid examples in Somersetshire; but that of Chittlehampton is the nearest approach to one of these.

      In the Somerset towers the buttresses are frequently surmounted by open-work pinnacles or small lanterns of elaborate tabernacle work, and the parapets or battlements are of open tracery; but in Devon these latter are plain with bold coping, and the pinnacles are well developed and solid, and not overloaded with ornament. Bishop's Nympton, South Molton, and Chittlehampton towers are locally described as "Length," "Strength," and "Beauty."

      A fine effect is produced when the turret by which the top of the tower is reached is planted in the midst of one side, usually the north; and it is carried up above the tower roof. There are many examples. I need name but Totnes and Ashburton.

      A curious effect is produced among the Cornish towers, and those near the Tamar on the Devon side, of the pinnacles being cut so as to curve outwards and not to be upright. The effect is not pleasant, and the purpose is not easily discoverable; but it was possibly done as being thought by this means to offer less resistance to the wind.

      The roofs are usually "waggon-headed." The open timber roof, so elaborated in Norfolk, is not common. A magnificent example is, however, to be seen in Wear Gifford Hall. But cradle roofs do exist, and in a good many cases the waggon roofs are but ceiled cradle roofs. A good plain example of a cradle roof is in the chancel of Ipplepen, and a very rich one at Beaford.

      The mouldings of the timbers are often much enriched. A fine example is Pancras Week. The portion of the roof over the rood-screen is frequently very much more elaborately ornamented than the rest. An example is King's Nympton, where, however, before the restoration, it was even more gorgeous than at present. The waggon roof presents immense advantages over the open timber roof; it is warmer; it is better for sound; it is not, like the other, a makeshift. It carries the eye up without the harsh and unpleasant break from the walling to the barn-like timber structure overhead.

      Wherever white Beer stone or rosy Hatherleigh stone could be had, that was easily cut, there delicate moulding and tracery work was possible; but in some parts of the county a suitable stone was lacking. In the neighbourhood of Tavistock the doorways and windows were cut out of Roborough stone, a volcanic tufa, full of pores, and so coarse that nothing refined could be attempted with it. Near Launceston, however, were the Polyphant quarries, the stone also volcanic, but close-grained and of a delicate, beautiful grey tone. This was employed for pillars and window tracery. The fine Decorated columns of Bratton Clovelly Church, of a soft grey colour, are of this stone. The run of the stone was, however, limited, and was thought to be exhausted. It was not till the Perpendicular style came in that an attempt was made to employ granite. The experiment led to curious results. The tendency of the style is to flimsiness, especially in the mouldings; but the obduracy of the material would not allow of delicate treatment, and the Perpendicular mouldings, especially noticeable in doorways, are often singularly bold and effective. A tour de force was effected at Launceston Church, which is elaborately carved throughout in granite, and in Probus tower, in Cornwall. For beauty in granite work Widecombe-in-the-Moor tower cannot be surpassed; there the tower is noble and the church to which it belongs is mean. In using Ham Hill stone or Beer stone, that was extracted in blocks, the pillars, the jambs of doors and windows were made of several pieces laid in courses and cut to fit one another. But when the architects of Perpendicular times had to deal with granite there was no need for this; they made their pillars and jambs in single solid blocks. A modern architect, bred to Caen stone or Bath oolite, sends down a design for a church or house to be erected near Dartmoor, or in Cornwall, and treats the granite as though it came out of the quarry in small blocks; and the result is absurd. An instance of this blundering in treatment is the new east window of Lanreath Church, Cornwall, designed by such a "master in Israel" as Mr. Bodley. The porch doorway is in six stones, one for each base, one for each jamb, and two form the arch. The old windows are treated in a similar fashion – each jamb is a single stone. But Mr. Bodley has built up his new window of little pieces of granite one foot deep. The effect is bad. Unhappily, local architects are as blind to local characteristics as London architects are ignorant of them. So also, when these gentry attempt to design hood mouldings, or indeed any mouldings, for execution in granite, they cannot do it – the result is grotesque, mean, and paltry: they think in Caen stone and Bath, and to design in granite a man's mind must be made up in granite.

      In Cornwall there are some good building materials capable of ornamental treatment, more delicate than can be employed in granite. Such are the Pentewan and Catacleuse stones. The latter is gloomy in colour, but was used for the finest work, as the noble tomb of Prior Vivian, in Bodmin Church.

      As stone was an intractable material, the Devonshire men who desired to decorate their churches directed their energies to oak carving, and filled them with very finely sculptured bench-ends and screens of the most elaborate and gorgeous description.

      So rich and elaborate are these latter, that when a church has to be restored the incumbent trembles at the prospect of the renovation of his screen, and this has led to many of them being turned out and destroyed. South Brent screen was thus wantonly ejected and allowed to rot. Bridestowe was even worse treated: the tracery was cut in half and turned upside down, and plastered against deal boarding – to form a dwarf screen.

      "What will my screen cost if it be restored?" asked a rector of Mr. Harry Hems.

      "About four hundred pounds."

      "Four hundred pounds! Bless me! I think I had best have it removed."

      "Very well, sir, be prepared for the consequences. Your name will go down to posterity dyed in infamy and yourself steeped in obloquy."

      "You don't mean to say so?"

      "Fact, sir, I assure you."

      That preserved the screen.

      Then, again, some faddists have a prejudice against them. This has caused the destruction of those in Davidstow and West Alvington. Others, however, have known how to value what is the great treasure in their churches entrusted to their custody, and they have preserved and restored them. Such are Staverton, Dartmouth, Totnes, Harberton, Wolborough. That there must have been in the sixteenth century a school of quite first-class carvers cannot be doubted, in face of such incomparable work as is seen in the pulpit and screen of Kenton. But if there was good work by masters there was also some poor stuff, formal and without individual character – such as the screens at Kenn and Laneast.

      The pulpits are also occasionally very rich and of the same date as the screens. There are noble examples of stone pulpits elaborately carved at South Molton, Bovey Tracey, Chittlehampton, and Harberton, and others even finer in wood, as Holne, Kenton, Ipplepen, Torbrian.

      Among churches which have fine bench-ends may be noted Braunton, Lapford, Colebrook, Horwood, Broadwood Widger (dated 1529), North Lew (also dated), Plymtree, Lew Trenchard, Peyhembury.

      Several early fonts remain of Norman style, and even in some cases perhaps earlier. The finest Norman

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