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    The Seven Periods of English Architecture Defined and Illustrated
    The Seven Periods of English Architecture Defined and Illustrated
    The Seven Periods of English Architecture Defined and Illustrated
    Ebook145 pages46 minutes

    The Seven Periods of English Architecture Defined and Illustrated

    By T. Austin and Edmund Sharpe

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013
    The Seven Periods of English Architecture Defined and Illustrated

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      Book preview

      The Seven Periods of English Architecture Defined and Illustrated - T. Austin

      The Project Gutenberg EBook of The Seven Periods of English Architecture, by

      Edmund Sharpe

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: The Seven Periods of English Architecture

      Defined and Illustrated

      Author: Edmund Sharpe

      Illustrator: T. Austin

      Release Date: February 14, 2012 [EBook #38879]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK THE SEVEN PERIODS OF ENGLISH ***

      Produced by Chris Curnow, Diane Monico, and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive)

      THE

      SEVEN PERIODS

      OF

      English Architecture.

      THE

      SEVEN PERIODS

      OF

      English Architecture.

      DEFINED AND ILLUSTRATED.

      BY

      EDMUND SHARPE, M.A.,

      ARCHITECT.

      TWENTY STEEL ENGRAVINGS AND WOODCUTS.

      THIRD EDITION.

      E. & F. N. SPON, 125, STRAND, LONDON.

      NEW YORK: 12, CORTLANDT STREET.

      1888.

      PREFACE.

      "We have been so long accustomed to speak of our National Architecture in the terms, and according to the classification bequeathed to us by Mr. Rickman, and those terms and that classification are so well understood and have been so universally adopted, that any proposal to supersede the one, or to modify the other, requires somewhat more than a mere apology. To disturb a Nomenclature of long standing, to set aside terms in familiar use, and to set up others in their place which are strange, and therefore at first unintelligible, involves an interruption of that facility with which we are accustomed to communicate with one another on any given subject, that is only to be justified by reasons of a cogent and satisfactory nature.

      "The sufficiency of Mr. Rickman's Nomenclature and Divisions, and their suitableness at the time and for the purpose for which they were made, are best evidenced by the fact that, although the attempts to supersede them have been both numerous and persevering, they have remained for nearly half a century the principal guide to the Architectural Student; and Mr. Rickman's 'Attempt to discriminate the Styles of Architecture in England,' is still the Text-book from which the greater part of the popular works of the present day have been compiled.

      "In referring, however, to these attempts to supersede Mr. Rickman's system, it is proper to remark that one observation applies to the whole of them;—although they propose to change the Nomenclature of his different styles, or to subdivide them, his main division of English Architecture into four great Periods or Styles, is adopted by all, and still remains undisturbed. No point, therefore, has been hitherto proposed to be gained by these alterations, beyond a change of name; and this may be taken as a sufficient reason why none of these attempts have been successful: men are not willing to unlearn a term with which they are familiar, however inappropriate, in order to learn another, which, after all, means the same thing.

      "Although, however, Mr. Rickman's simple division of Church Architecture into four Periods, or Styles, may perhaps have been the one best suited to his time, and to the elementary state of the knowledge of the subject possessed by the best informed Archæologists of his day, it may with propriety be questioned how far such a division is suited to the exigencies of writers of the present day, or to the present advanced tastes of knowledge on the subject.

      "Simplicity was doubtless the object Mr. Rickman had in view in his division of English Architecture into four Styles only. This is a recommendation, however, which can hardly be said to hold good at the present day: it behoves us to consider well, perhaps more especially at the present moment, whether Mr. Rickman's system fulfils all the conditions essential to one calculated for popular and universal use; and whether we should therefore seek to confirm and to perpetuate it, or whether the time

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