119 One can guard against this to a certain extent by checking the demi-profile of the mullion on the window surround, which is less subject to restoration, particularly internally.

120 Wave mullions (p. 23), sunk chamfer mullions (p. 29), and the mullion with undercut hollow chamfers (pp. 44 sqq.).

121 So established in the ecclesiastical context that examples survive into the seventeenth century (e.g. chapels of Hatfield House, 1608-12, and Wadham College, Oxford, 1610-13).

122 Nor does it assume much significance in Perpendicular, with local exceptions (e.g. a group around ‘Coventry — St Michael’s tower, 1373 sqq.; St John Baptist’s nave aisles, after 1357; Kenilworth Castle hall, 1390-93).

123 e.g. in region A, Tournai east end (triforium, 1243-55), Hal (dado and triforium, 1341/2-1410); C, Evron (c. 1320), Rouen Cathedral (south transept rose, after 1280); D, Amiens nave and choir aisles (after 1220, an important early example, illustrated in Durand, op. cit., 1, pp. 230, 272); E, Auxerre Cathedral (nave aisles, east bays) and St Germain (Lady chapel, 1277 sqq.), Chaumont (porch, blind tracery, c. 1340), Troyes St Urbain (east end, 1262-66); F, St Sulpice (c. 1245 sqq.); G, Tours Cathedral (transept clerestory, 1.1350).

124 e.g. in region A, Antwerp (nave aisles, c. 1400-50), Malines (east chapels), Maastricht St John’s (east end and tower, mainly fifteenth century) and St Servaas (south chapels, fourteenth century), Tongres (nave, later chapels). In B, only Schwäbisch Gmünd (nave, c. 1320 sqq., Fig. 10 A) and Aachen (1355 sqq.), the latter apparently belonging with the Low Countries’ group above.

125 e.g. Westminster Abbey (1245 sqq.), where a detached marble shaft is substituted for the roll moulding.

126 The important early examples in France are in region F — St Denis (1231 sqq.), Paris Notre-Dame (aisle chapels, 1230s sqq.) and Ste Chapelle (upper chapel, c. 1241 sqq.): the last two use hollow chamfers. Fourteenth-century examples in the Low Countries are the eastern chapels at Antwerp (1352 sqq.) and Malines; and in Germany, Soest, Wiesenkirche (north-east chapel, 1331 sqq.).

127 Exeter Cathedral is a remarkable case of conservatism in this respect, keeping the mullion design from the east end (c. 1280 sqq.) in the nave work of post-1329. Other fourteenth-century instances are Carlisle Cathedral (choir aisle east windows and surround of great east window, 1317 sqq.), Dorchester Abbey (Jesse window), and Winchester Cathedral (transept east aisles): all use plain chamfers.

128 The profile is also incorporated in the mullions of the nave aisle dado at York Minster, 1291 sqq. (Fig. 12 A, i). At St Albans, the mullions of the choir aisles (after 1257), though actually of the freestanding fillet variety, also represent an important stage in this development (Neale, op. cit., pl. 55).

129 e.g. (in approximate chronological order) Tournai, chevet clerestory (1243-55) and chapel of the Sacrament (probably early fourteenth century); Laon Cathedral, chapels added to south choir aisle, and Soissons Cathedral, exterior blind tracery on north wall of north transept (both late thirteenth or early fourteenth century); Amiens, north transept rose (c. 1325) and Lagrange chapels (1373-75, Fig. 11 N). It is not uncommon in the Low Countries in the fourteenth century (e.g. Malines, dado of chevet chapels; Tongres, eastern chapels of nave north aisle); and at least one example occurs in Normandy (Evron, chevet chapels on south side). The development of this mullion type is connected with that of the freestanding fillet moulding (Part 1, 46 sqq.).

130 The prototype seems to be the clerestory mullion design of Lincoln Angel choir (1256-80, Fig. 11 M), with which the Lichfield nave mullions are obviously connected (Fig. 11 K), and which may well have been the direct source for its appearance in the Hardingstone cross.

131 See Part 1, 25 (wave moulding, variety 4) and 45-46 (undercut hollow chamfer).

132 For the St Stephen’s mullion, see Mackenzie, op. cit., pl. XII. Even if the window tracery and vault were not executed until c. 1320, the fact that the demi-profile of this mullion type was used in the window jambs from the sill means that it is quite probably a design established in the first campaign in the 1290s.

133 e.g. Winchelsea parish church, lateral windows (heads only, 1288 sqq.); Peterborough, nave aisles and south choir aisle windows with tracery of stepped lancet lights (stylistically c. 1300); Beverley Minster nave, south aisle, 1308 sqq. (window jambs only).

134 Morris, ‘Worcester Nave’, op. cit., Fig. 4 G.

135 Sometimes only the axial moulding is a roll and fillet, with the two behind as plain rolls; alternatively, this sequence is reversed, particularly in Perpendicular (e.g. Coventry St Michael, nave clerestory, after c. 1400; Oxford Divinity School, 1424 sqq.).

136 The earliest example at Ely is in the south aisle (easternmost window) of Bishop Hotham’s three presbytery bays (1322 sqq.); the design is still slightly tentative, in that a small hollow separates the axial roll and fillet from those behind it. It is also used at Ely in the presbytery clerestory, and other examples in the period are — Trumpington, north transept; Lincoln, Bishop’s Eye; Hawton, chancel.

137 Tongres — the chapels are off the fourth bay of the nave from the east; the south chapel in the fifth bay was founded in 1365 — Thys, M. T., ‘L’Eglise de Notre-Dame de Tongres’, Annales de l’Académie d’ Archéologie de Belgique, XXII (1866), 199 sqqGoogle Scholar. The mullions employed at Amiens are of the fourth variety popular in the Humber area (cf. Fig. 11 N and P). At Vendôme, the windows in question are in the third and fourth bays of the nave aisles, where the detail is quite unlike that of the fifteenth-century Flamboyant bays to the west, and therefore may possibly be late fourteenth century; a known English connexion is the burial there in 13 51 of Guy, son of Thomas I de Beauchamp, Earl of Warwick ( Dugdale, , Antiquities of Warwickshire (1656), 284 Google Scholar). One other recorded example is at Tours Cathedral, in the surrounds of the east windows of the nave south aisle, which belong with work on the south transept somewhere between c. 1300 and the 1370s ( Salet, F., Congrès Archéologique de France, 106, Tours (1948), 29–40 Google Scholar): but the tracery here is more conventional late Rayonnant.

138 The windows at Amiens and Vendôme both have curvilinear elements, for which reasonable similarities can be found at e.g. Beverley Minster nave, especially the north aisle (c. 1330s or 40s), or Bury St Edmund’s gatehouse, a derivative Yorkshire work (blind tracery, c. 1340s) : the latter also uses the variety 5 type mullion, as at Amiens. A comparable arrangement to the four-petal pattern set in a curved-sided square, as used in the Tongres windows, occurs in the south transept window at Cley in Norfolk (second quarter of the fourteenth century).

139 For St Albans, see Neale, op. cit., pl. 53; and for its dating, see n. 55. The design continued at St Albans — Lady chapel (mainly after 1308) and cloister (blind tracery surviving against nave south wall, after 1323): and other examples are recorded at Ely, presbytery west bays (every aisle window except the third from the crossing on the south, 1322 sqq., Fig. 11Q), and the Crauden chapel, c. 1324; and at Beverley Minster, reredos (mullions of blind tracery, 1330s, Fig. 11 S).

140 Examples of Fig. 12 B are Canterbury, St Augustine’s gatehouse (windows of west front, c. 1308), and St Anselm’s chapel window (1334-36); and of Fig. 12 A, York nave aisles, 1291 sqq. (dado and window mullion), and the identical designs used for the east front at Selby (frames only, c. 1290-1300) and the blind tracery of Little St Hugh’s shrine at Lincoln, c. 1300-10.

141 The Laon choir aisle chapels may date ftom either the late thirteenth or early fourteenth centuries, so it is difficult to be sure whether this example antedates York (1291 sqq.); but undoubtedly the ultimate source for this formation, used for dados and responds, is French (e.g. Fig. 12 F).

142 e.g. Selby, north choir aisle (c. 1280-1300, Fig. 4E); Ely, Crauden chapel (c. 1324); Southwell, pulpitum (blind tracery). A lone western example occurs in the ballilo wer studded windows of St Katharine’s chapel, Ledbury (probably 1330s).

143 The recorded examples for mullions are all early fourteenth century — Laon (south transept window), Coutances (nave south aisle, eastern chapels, blind tracery), and Auxerre St Germain (presbytery triforium). See also Part I, 27.

144 See further Part I, 41 and 45 sqq., and Fig. 8 D.

145 The mullions of the tomb chest of Aymer de Valence (d. 1324) are very similar, but with an angular junction between shaft and hollow instead of an ogee curve; also, a mullion fragment from Old St Paul’s, perhaps connected with William Ramsey’s chapter house/cloister work, 1332 sqq., incorporates an ogee bowtell (Figure 3 H). Note that the mullion illustrated in Figure 12 K, ii is the same as that in the south transept at Gloucester.

146 e.g. at Gloucester, the cloister tracery (east walk only, before 1377) and Lady chapel (c. 1450 sqq.); elsewhere, the remodelling of Glastonbury presbytery (Abbot Monington, 1342-74) and the north porch of Exeter Cathedral west front, c. 1380 (Robert Lesyngham is probably the link between Gloucester and Exeter — see Harvey, Dictionary, 166).

147 e.g. Canterbury Cathedral (nave west door, c. 1380 sqq., and cloister, 1397 sqq.) — illustrated in Harvey, Mediaeval Architect, op. cit., p. 185; Oxford, New College Chapel, 1380 sqq., which employs the variant used on Aymer de Valence’s tomb (see n. 145).

148 e.g. (besides Gloucester Lady chapel) Oxford, Merton College chapel (north transept, c. 1420 sqq.); Warwick, Beauchamp chapel (1443 sqq.); Coventry, St Michael’s, nave south chapels (c. 1465).

149 For the spiked hollow, see further Part I, 49 sqq. Other recorded early examples are at Canterbury Cathedral (cloister) and Oxford, New and Merton College chapels (as n. 147).

150 Rouen in particular seems to have remained a centre for its use throughout the fourteenth century, e.g. cathedral, north transept (after 1280), and probably west front (openwork tracery flanking rose window, c. 1370 — needs checking from scaffolding); St Ouen, east end through to nave (1318 sqq.). Other examples in France include: region C, Evron (chevet east chapel); D, Noyon (nave north chapels); E, Dijon, Champmol (fragment of the north oratory, 1383 sqq., a very late example); H, Avignon, papal palace (Clement VI’s hall, after 1342). It also spread to the Rhineland in the first half of the fourteenth century, e.g. Oppenheim (1317 sqq.), Worms (St Joseph chapel); and it appeared later in the chevet of St Andrew’s, Cologne (curvilinear tracery, probably early fifteenth century). Its distribution is generally related to that of the single ogee moulding (Part I, 38).

151 The spiked ogee bowtell mullion is apparently not found earlier in Normandy, but it was in use across the Channel in Canterbury (see n. 149). It is recorded that the English captain of the town from 1435 to 1447 made a gift of English stained glass to the church: see Lafond, J., ‘The English window at Caudebec-en-Caux’, Journal of the British Society of Master Glass Painters, XII (1956), 42–47 Google Scholar.

152 e.g. Wells, chapter house stairs, 1286 sqq.; Grantham, nave north aisle, c. 1280.

153 Among the earlier dated examples are: Amiens east end (1236 sqq., Fig. 11 G, ii); Paris, Ste Chapelle (c.1241 sqq.) and Notre-Dame, south transept (1258 sqq.); St Germer, Lady chapel (1259 sqq.); Troyes, St Urbain (1262-66); Auxerre, St Germain (1277 sqq.). It continues in use in northern France and Belgium until at least the third quarter of the century; a late datable example is in the chapel off the fifth bay of the nave south aisle at Tongres, founded 1365.

154 The Purbeck marblers used this formation in their work from at least the third quarter of the thirteenth century until the mid-fourteenth, e.g. tombs of Bishop Aquablanca in Hereford Cathedral (d. 1268, sideshafts of canopy) and of Archbishop Stratford in Canterbury (d. 1348, blind tracery of tomb chest); Old St Paul’s cloister (1332 sqq., mullions).

155 e.g. Westminster Hall, 1394 sqq.; Canterbury Cathedral cloisters, 1397 sqq.; Oxford, New College, 1380 sqq.; Warwick, St Mary’s (chapter house, c. 1370 sqq., Fig. 12 G).

156 e.g. Sherborne (nave and choir aisle mullions, C. 1420 sqq.); Oxford Wadham College chapel (east window mullions, 1610-13).

157 e.g. the dados of St Denis (1231 sqq.) and the Ste Chapelle (c. 1241 sqq.). It is especially in the lower chapel dado of the Ste Chapelle that the three-quarter roll effect begins to appear, and this idea is fully developed inside the north transept of Notre-Dame, Paris (blind tracery, c. 1245, Fig. 12 F). Villard de Honnecourt illustrates the design for the chevet chapels at Reims Cathedral, c. 1210 sqq. : see Hahnloser, H. R., Villard de Honnecourt (rev. ed., 1972), pls. 60, 63 Google Scholar.

158 e.g. in region C, Rouen Cathedral, south transept (c.. 1280 sqq.) and St Ouen, east end window frames (1318 sqq.); St Germer, Lady chapel vestibule (c. 1270); and continuing in the early fifteenth century, e.g. Caudebec, arcade arches (1426 sqq.): D, Laon, north choir aisle chapels (Fig. 4 F): E, Auxerre Cathedral, transept and nave (c. 1310 sqq.): G, Vendôme, Lady chapel (1306 sqq.). In the Low Countries, there is a lone example at Tournai, in the vault responds of the south choir aisle chapels (1243-55), probably connected with the early roll and chamfer mullions at Amiens (Fig. 11 G).

159 Window surrounds of the chapter house undercroft, illustrated in Harvey, ‘The Origin of the Perpendicular Style’, Fig. 8.3.

160 The examples in the South East, at Westminster and Canterbury, are all illustrated in Harvey, Mediaeval Architect, pp. 185, 187. Gloucester (cloister, before 1377, Fig. 12 H), is the direct source for the examples at Warwick (chancel, c. 1370 sqq.), Worcester (transept, 1375-76), and Exeter (west front porch, c. 1380), but its presence at Yeovil is more likely to be an offshoot of the works of William Wynford (e.g. at Wells).

161 The seeds of the first variation are already present in the responds of the Lady chapel vestibule at St Germer (c. 1270, Fig. 12 E, ii). Outside Normandy, parallels for the termination (only) of the second variation may be found at Amiens (nave south aisle, third chapel from the east, mullions, early fourteenth century); in mullions derivative of Amiens at Tongres (nave, four east chapels on north side — probably amongst the chapels dated 1306, 1312, 1343 by Thys, n. 137); and probably at Schwäbisch Gmünd (east end arcade arches, 1351 sqq. — but needs confirming by close-up inspection). A possible Kentish intermediary between Rouen and the second variation at Gloucester is suggested by the mullions of St Augustine’s gatehouse, Canterbury (c. 1308, Fig. 12 B).

162 Harvey, ‘The Origin of the Perpendicular Style’. The only other fourteenth-century examples recorded are at Old St Paul’s (chapter house, 1332 sqq. — but here the intermediate roll mouldings are linked to the three-quarter rolls by hollow chamfer mouldings rather than by continuous casements); Windsor (responds of the aerary porch, 1353); Warwick, St Mary’s (chancel and vestry, c. 1370 sqq.); Oxford, New College (chapel transept, 1380 sqq.); and Bristol, Redcliffe (nave vault shafts, after 1376). The Windsor and St Paul’s examples are illustrated in Harvey, Mediaeval Architect, pp. 117, 179.

163 e.g. in the fourteenth century, at Worcester, on the south side of the nave (c. 1340-50 sqq. — see Morris, ‘Worcester Nave’, Fig. 5) and in the chapter house remodelling (1386 sqq.); and in the windows of the two westernmost bays of the north choir aisle at Wells (probably 1340s). In the fifteenth century, Gloucester Lady chapel, Tewkesbury cloister, Sherborne (choir clerestory), Oxford Divinity School, Warwick Beauchamp chapel. The only examples known in the east are some fragments recovered from the 1978 excavation on the chapter house site at St Albans, which seem to be vertical ribs of a fan vault probably executed during the completion of the chapter house remodelling in the abbacy of William Wallingford, 1476-92. I am grateful to Martin Biddle for permission to refer to these as yet unpublished fragments.

164 Though a thorough collection of relevant data on a regional basis (particularly the size of chamfer and the geometry used to establish its angles) should reveal useful gradations of chronology and workshops.

165 Morris, ‘Worcester Nave’, 123, and Figure 3.

166 On stylistic grounds, the earliest of these should be the mullions in the east end of Milton Abbas, which may antedate those at Worcester. Possibly the connexion between Worcester and the South West group is William de Schokerwych, documented as master mason to the cathedral priory in 1316: Morris, ‘Worcester Nave’, 122.

167 Though the design is used later in the east end of the cathedral, in the two bays directly east of Hotham’s presbytery, work generally linked with Bishop Barnet, 1366-73 (north gallery, ruined tracery).

168 e.g. Sherborne choir aisles (c. 1420 sqq.); Oxford, Merton College, crossing tower (1448-51); St George’s chapel, Windsor (1475 sqq.); Thornbury Castle (c. 1511-21).

169 The jamb of a window surround (with a ballflower capital) surviving in the outer wall of the east range of monastic buildings at Gloucester (just north of the chapter house) employs this mullion profile, and may be associated with work on the reredorter, 1303-13 (observation of Mr B. J. Ashwell, architect to the dean and chapter); but stylistically the fragment looks later.

170 At Tintern, there is a steady abandonment of shafting after its employment in the early parts of the church — the main east and south windows, and the lowest parts of the west front (see also the evolution of the spiked hollow moulding in the west, in Part I, 49). The tracery remains in the east aisle of the north transept are reminiscent of the multi-foiled designs employed in the east end of Exeter in the 1290s, and are therefore amongst the last works to be executed before the church’s completion in 1301.

171 The moulding had been used earlier in Canterbury — though not for an actual mullion — in the quatrefoil roundels of the west façade of St Augustine’s gatehouse (c. 1308), and Continental influence in Kent is also possible (see below, main text).

172 e.g. Coventry, St Michael’s (sanctuary windows, c.. 1400 sqq.); Taunton, St Mary Magdalene (west window, c. 1480-90).

173 For the dating of the Frankfurt transept, see Part I, 48; the examples at Tongres are in the four easternmost chapels on the nave north side — for dating, see n. 161. The Rayonnant tracery of the relevant chapels in St Andrew’s, incorporating curved-sided squares, could also belong to the first half of the century and, in this connexion, it is interesting to note that one of the earliest English examples of the mullion type is in another Dominican church — the Blackfriars at Norwich.

174 The exceptions being Cologne, St Andrew’s (nave north chapels, tracery stylistically c.1300); and Tongres, where it is employed for the blind tracery on the division walls between the first five chapels on the south side (1306 sqq.), and also in the fifth on the north side (here with roll moulding attached). The masons at Tongres clearly were fond of this family, for the terminations of the dado and window mullions in the two easternmost south chapels are stepped chamfers, and the presence of variety 2 mullions in the north chapels has already been noted (n. 173).

175 Other recorded examples in region E are: St Thibault (windows of the chevet, c. 1290-1300); and, about the same period, St Maclou at Bar-s-Aube (chevet) and Vignory (south chapel). Occasional examples appear in Normandy and the Rhineland in the early fourteenth century, e.g. Evron (south transept and two chevet chapels), and Oppenheim (nave, south windows). Like Tongres, Oppenheim was obviously a centre fond of second family mullion types (see notes 177, 178).

176 See Pevsner, N., ‘Bristol, Troyes, and Gloucester’, Architectural Review, CXIII (1953)Google Scholar, and Morris, ‘The Remodelling of the Hereford Aisles’, ut supra. Note also the connexion between ribs at St Urbain, St Thibault, Bristol, and Gloucester (see section 7, (b) ).

177 In region B, Strasbourg Cathedral, curtain tracery of second stage of west front (probably before 1318); Oppenheim, nave north windows (1317 sqq.): D, Noyon, nave north chapels (except the two easternmost): E, Auxerre, St Germain, nave aisles and clerestory (c. 1365 sqq.).

178 Variety 1, in region B, Oppenheim (west choir). Variety 2, in region A, Antwerp (clerestory of east end and north transept, exterior, 1352-c. 1500): H, St Bertrand-de-Comminges, choir aisle south chapel (curvilinear tracery). Variety 3, in region A, Antwerp (clerestory of east end and nave, interior profile, and some nave chapels). Variety 4, in region A, Antwerp (some nave chapels): B, Cologne, Minorites (curvilinear window over south door of nave) and Franciscans (cloister); Schwäbisch Gmünd (east end clerestory, 1351 sqq.): G, Poitiers, ducal palace (windows behind hall fireplace, 1382-88); Tours Cathedral (curvilinear windows of nave clerestory).

179 The mullions at Tewkesbury, in the west window of the Lady chapel and the easternmost windows of the nave aisles, are unusual in being triple stepped chamfers.

180 e.g. Canterbury Cathedral, choir screen openwork tracery (1304 sqq., Fig. 9 D), and dado in St Anselm’s chapel (1334-36); see further Part I, 45.

181 See Part I, 46 and 50, and notes 101, 117. Badgeworth is linked stylistically to both Tewkesbury and Caerphilly (e.g. ballflower; tracery with curved-sided triangles; mouldings with semicircular hollows and fillets).

182 Perhaps before 1349, but stylistically more likely to be a decade or two later: see n. 167.

183 e.g. the windows associated with Bishops Edington (1345-66) and Wykeham (1394 sqq.) in the nave at Winchester Cathedral (Fig. 13 L); the mullions of New College chapel, Oxford (1380 sqq.), identical in design to those of Wykeham’s work above, both attributable to Master William Wynford; and in the chapter house mullions at Worcester (1386 sqq.), a work closely connected in style to the Perpendicular remodelling at Gloucester.

184 e.g. Merton College, Oxford (chapel, north transept, c. 1420); Great Malvern (nave, c. 1460 sqq.); Sherborne (choir clerestory, after 1437).

185 See first family, variety 4, and n. 129. The examples relevant to Chartham (i.e. without a roll termination) are the mullions of the chapel of the Sacrament at Tournai, and the dado mullions of the south choir aisle chapels at Laon (Fig. 13 N), both stylistically c. 1300; there are also fourteenth-century examples in the north rose at Amiens, and in the exterior blind tracery on the north transept of Soissons Cathedral; and, in region C, in the east chapels at Evron (subsidiary mullions in all cases).

186 The design continues in this region up to the mid-fourteenth century at least, e.g. Amiens, all the nave chapels except Lagrange (c. 1295 sqq.); Laon, south transept window (early fourteenth century), subsidiary mullions in both cases. The use of the design for ribs in this area should also be noted (see further section 7, (a)).

187 e.g. Auxerre, St Germain, transept triforium (c. 1313 sqq.); Oppenheim, window surrounds of nave north chapels (1317 sqq.); Schwäbisch Gmünd, east end (1351 sqq.).

188 See Part I, section 5, especially 47 sqq.

189 AU the drawings in this section marked with an asterisk were recorded by the second method; this is the case with almost all the Continental examples, but it should be noted that many of these are situated in aisles or chapels where observation from the ground is fairly reliable.

190 The nave vault employs type (iii): illustrated in Durand, op. cit., 1, 216.

191 e.g. type (i), in region B, Essen (nave) : C, Evreux Cathedral (east end, transverse ribs) : E, Auxerre Cathedral (nave aisles); Troyes, St Urbain (east chapels and aisles): G, Vendôme (east end): H, Bayonne (nave aisles). Type (ii), only in C, St Germer (Lady chapel vestibule). Type (iii), in A, Maastricht, Lady Church (crossing) : C, Evreux Cathedral (east end, diagonal ribs) : D, Amiens (crossing): E, Dijon, Champmol: H, Avignon palace (hall). Type (iv), in A, Hal (east end): C, St Germer (Lady chapel) : D, Amiens (most of nave south chapels and Lagrange chapels).

192 Though the vault proper may not have been executed until c. 1320, its springers (which incorporate this rib profile) may well be a design of the 1290s: see Colvin, H. M. (ed.), The History of the King’s Works, 1 (1963), 519 sqq.Google Scholar, for a summary of the arguments.

193 See Part I, 28 and 32 sqq.

194 e.g. Ely presbytery aisles (lesser rib, 1322 sqq.); Worcester, nave south aisle (lesser rib, c. 1350); York Minster, east end (aisles, 1361 sqq.); Warwick, St Mary’s (chancel, c. 1370 sqq.).

195 The use of a Lincoln tierceron design for the crossing vault at Amiens (before 1269) is another sign of this contact; as far as one can tell from the ground, the crossing rib profile is type (iii).

196 Other examples occur at Tongres (nave chapels) and Malines (east end, aisles and chapels). The prototype may be a very similar rib design in the chapels added to the north choir aisle of Laon Cathedral, stylistically late thirteenth century or early fourteenth.

197 See section 6, (a); and Part I, 27.

198 There are possible examples at Evron (c. 1320) and Aachen (1355 sqq.), but both need close-up inspection : in the design used in the ambulatory at Evron, the curves of the hollows and the axial roll moulding appear not to be continuous. If the Aachen example is confirmed, it is likely to relate to contemporary developments in the Low Countries (e.g. Antwerp, Fig. 14 L).

199 Other recorded examples are: in region D, St Martin-aux-Bois: E, Troyes, St Urbain, transept porches (need a close-up inspection to be absolutely certain) and west bays of the nave (with small chamfers added, see further n. 203): F, Rampillon, St Sulpice-des-Favières.

200 In the bishop’s chapel and hall, and the chapter house; also in the elder Lady chapel window at Bristol Cathedral, c. 290-1300.

201 In the Newton and Berkeley chapels, in the first bay of the aisle vaulting adjacent to the former, and for the wall-ribs only in the rest of the north and south choir aisle bays. The variation with lateral roll and fillet mouldings also occurs in some loose rib fragments at Tintern (stylistically late thirteenth century).

202 e.g. Westminster Abbey (chapter house vestibule) and St Albans (choir aisles, 1257 sqq.).

203 Others are in the east ends of Auxerre, St Germain (1277 sqq.) and Vendôme (1306 sqq.), but the former adds nothing more than a hollow and short chamfer behind each lateral roll (see also the west bays of the nave at St Urbain, Troyes). A much earlier example of this kind may exist in the east chapels of St Rémi, Reims (c. 1170s), but needs checking close-up.

204 Many rib sections of one design, stored in the cathedral library, and which, judging by their curvature, seem to belong with the tracery fragments from the upper cloister (1332 sqq.).

205 e.g. Wells, ribs of north porch, before 1209 — see Brakspear, ‘West Country School’, pl. XVII, top left illustration; the mouldings here are demi-roll and fillets.

206 e.g. Pershore choir aisles (c. 1220-39); Tewkesbury, St James’s chapel (c. 1230s); Much Wenlock Priory, nave ruins (mid-thirteenth century, Fig. 15 A). Later thirteenth-century examples include Hereford Cathedral, north transept (c. 1260 sqq.) and Hailes, chevet (1271-77, fragments put in the museum in 1977).

207 The full list of examples of this pattern reads : Evesham, chapter house entrance (c. 1317); Hailes, loose fragment (date and provenance unknown); Pershore, choir vault (c. 1288-1310), southeast chapel, and sacristy remains; Tewkesbury, Lady chapel (c. 1320 sqq.) and choir vault. The inverted pattern survived exceptionally as late as 1377, when the construction of the Worcester nave vault began, working from springers laid down almost fifty years earlier: see Morris, ‘Worcester Nave’, 134.

208 Is Winchester the connexion between Exeter and Norwich, through the carpenter, William Lyngwode? His choir stalls at Winchester (Part I, n. 87) are characterized by a sort of tiny beaked roll moulding (Fig. 8 G), and Harvey has demonstrated links that also exist between Winchester and Exeter, in the person of Master Thomas of Witney (Mediaeval Architect, 133 sqq.).

209 See Bock, H., ‘The Exeter Rood Screen’, Architectural Review, cxxx (1961), 313-17Google Scholar.

210 Plain and hollow chamfers had long been in use in many regions for undercrofts, and were also the most common rib type in secular buildings, such as gatehouses and porches. Simplicity presumably also dictated its use in Cistercian churches, as in the choir aisles at Netley (1239 sqq.).

211 The fact that this profile is absent from what appear to be the earliest works at Bristol (i.e. the Newton chapel, the west bay of the south choir aisle, and the renovation of the elder Lady chapel) inclines one towards a date considerably later than the official starting date of 1298. Only one instance in the west is likely to be earlier, and that is the use of a chamfer-based rib (actually a semi-sunk chamfer) in the short westernmost bay of the choir at Exeter (?c. 1310).

212 Morris, ‘Tewkesbury Abbey: the Despenser Mausoleum’, 149.

213 The same design continued in use in the north transept (1368-73). The south transept vault (1329-37) has ribs based on a stepped chamfer design with a roll attached (see Morris, ‘Worcester Nave’, Fig. 7 M). This may also be seen as influence from Bristol, here adapting the pre-existing stepped chamfer mullion (Worcester, north aisle, 1317-27) for use as a rib; but given the strong French character of other mouldings in the transept, including the responds (Fig. 12 C) and the termination of the main rib itself, it is possible that the inspiration comes from eastern France (e.g. Fig. 13 F). This design appears again at Worcester (nave south aisle, c. 1350), and at Kenilworth Castle (hall porch, 1390-93).

214 Morris, Thesis, op. cit., 431 and n. (xx).

215 Another example of this interchange is the use of profiles related to those of Gloucester south transept and choir in the vault of the aerary porch at Windsor (1353), a work under the direction of Master John of Sponlee, whom Harvey also links with Gloucester (Dictionary, 248-49).

216 The examples at Worcester (cloister, after 1372), St Mary’s, Warwick (chancel and vestry, c. 1370 sqq.), and Exeter west front (fan-vaulted porch, c. 1380) are all influenced by the work at Gloucester: for Exeter, see further n. 146.

217 In domestic architecture, it survives as late as the gatehouses of Burghley (1577, with ovolo mouldings added) and Wadham College, Oxford (1610-13).

218 At St Urbain, the chancel piscina vault uses the design of Figure 15 L, and in the transept porches the subsidiary ribs that spring from the door frames are essentially the design of Figure 15 J; at St Thibault, the ribs of the chancel vault consist of large hollow chamfers.

219 See section 6, (b), and n. 176.

220. Mullion designs of this kind also appear at Wells for the first time in the Lady chapel and retro-choir. Master Thomas of Witney is a possible intermediary — see Harvey, Mediaeval Architect, 133 sqq.

221 A design found also in mullions in this area (e.g. Fig. 11 S).

222 See further Part I, section 4.

223 See section 6, (c), for the vogue for this termination in Perpendicular mullions (e.g. Fig. 13 L).

224 See further mullions, section 6, (a), variety 4, and (c), especially notes 129 and 185. For Amiens, see Durand, op. cit., 1, 41 sqq. and his illustration of the rib type on p. 466.

225 An important early example is in the Duke of Berry’s chapel at Riom (c. 1380-90); typical fifteenth-century examples are at Alençon, Caudebec, and Cléry.

226 For this reason, the number of Continental examples for comparison is smaller in this section than in any other.

227 In this section, ‘unit’ refers to a projecting moulding or coherent group of projecting mouldings, generally — and sometimes misleadingly — termed a ‘roll’ in the earlier literature (e.g. Bond, op. cit., 443-44).

228 In Westminster Abbey, most of the arcade capitals of the east end (after 1245) have single scrolls whereas those of the nave east bays consistently employ two (illustrated in R.C.H.M., London, 1, op. cit., 95).

229 See Bond, op. cit., Ch. XXVIII.

230 e.g. Lincoln Angel choir (1256-80); Southwell chapter house (c. 1280s sqq.). Visually, this differs from the three-unit capital in that the top and middle units are generally closer together, and foliage decoration is used (cf. Fig. 16 A and G).

231 Other recorded examples, by region, are: I, St Stephen’s chapel, undercroft (window capitals, after 1292); Westminster, Aymer de Valence’s tomb (d. 1324): IV, Guisborough (1289 sqq.): V, Lichfield, presbytery (? French ideas of William Ramsey, after 1337): VI, Worcester, refectory (pulpit canopy, 1370s).

232 The only exceptions are the three-unit capitals of the tower arcades of St Mary Redcliffe, Bristol, stylistically later thirteenth century (?1294 sqq.), in which the top two-thirds of each is polygonal: do they represent a local survival/revival of Early English practice in the West Country ?

233 Certainly, the style of decorative work in Ely Lady chapel is that of the North East Midlands: see further Part I, 25 and 27, and Fig. 3 F, G.

234 See also further comparisons between this tomb and works at Canterbury in n. 35, and in section 9 (Fig. 17 L and M).

235 e.g. probably the arcade capitals of York Minster nave (1291 sqq.), but this needs confirmation from a close-up inspection.

236 Examples also derived ultimately from Gloucester occur outside the region at Exeter (west front porch), Kenilworth Castle (hall undercroft), and Shrewsbury, St Mary’s (south east chapel).

237 e.g. in the South East, at Herne (tower vault, probably c. 1330-40) and Battle (gatehouse, licence to crenellate, 1339).

238 See Morris, ‘Pembridge and Mature Decorated Architecture in Herefordshire’.

239 For Westminster, see R.C.H.M., , London, 1, op. cit., 95 Google Scholar (capitals of east arm and transepts, nave 1st-5th piers, and north cloister walk). For further comparisons between the detail of Badgeworth (which was a manor of the lord of Tewkesbury), Caerphilly Castle hall, and the South East, see Part I, 46 and 50; these relationships add further substance to Harvey’s observation that Thomas and John de la Batalle were associated with Leeds Castle in Kent (Dictionary, 26-27).

240 e.g. Westminster Palace, painted chamber (1236, and after 1263); the Eleanor crosses (1291-94), and the Crouchback tomb (d. 1296).

241 Brayley, E. W. and Britton, J., History and Description of the late Houses of Parliament and Ancient Palatial Edifices of Westminster (1836), pl. VI Google Scholar.

242 Two other eastern examples, Sutton-in-the-Isle (south door, c. 1360s) and Irnham (Easter sepulchre, c. 1340), stem from Ely.

243 The Windsor example is illustrated in Hope, W. H. St J., Windsor Castle (1913), 150 Google Scholar, Fig. 13. Lichfield in turn may have provided the inspiration for the mid-century examples at Richards Castle and Wigmore in north Herefordshire, as other stylistic ties exist between these two areas : see further, R. K. Morris, ‘Late Decorated Architecture in Northern Herefordshire’, Transactions of the Woolhope Naturalists’ Field Club, forthcoming.

244 Though a famous early example of a miniature crenellated parapet occurs in the chancel piscina of St Urbain, Troyes, c.1270, and must be related to English developments.

245 And St Urbain, Troyes, if its transept porches are 1262-66.

246 See further, Morris, ‘Worcester Nave’, 129; and Recht, R., L’Alsace Gothique de 1300 à 1365 (1974), 60 sqq.Google Scholar, though he does not take sufficient account of the examples in Eastern France.

247 The Winchester choir stalls, which employ this variety, are assigned to region II: see further n. 87.

248 Fragment of a three-unit capital, partly hexagonal in plan, now in the cathedral library, and which might possibly come from the main chamber of William Ramsey’s chapter house, 1332 sqq. (though note that Ramsey consistently favoured octagonal bases). I am very grateful to Christopher Wilson for his comments on this fragment.

249 S. Rigold, ‘Romanesque bases . . .’, ut supra.

250 e.g. Morris, ‘Worcester Nave’, 120 and n. 9.

251 Other early examples include the Ste Chapelle (exterior) and Reims Cathedral (west bays, where the plinth is still square in plan); and other fully developed examples in the thirteenth century include St Germer (Lady chapel), Evreux Cathedral (east end), and Auxerre, St Germain (Lady chapel). It lost its popularity in France in the second half of the fourteenth century.

252 See Part I, 27 and 31.

253 See further, Morris, ‘The Remodelling of the Hereford Aisles’, 32 sqq.

254 e.g. Wells north porch, illustrated in Brakspear, ‘West Country School’, pls. XVI and XVII.

255 Some examples exist in other regions too, e.g. in the east end of Exeter, all the variety 1 designs used in the window frames are scroll-moulded on the bottom lip.

256 See also n. 35, and Fig. 16 J and N.

257 Also called a ‘double-fold base’: Harvey, ‘The Origin of the Perpendicular Style’, Appendix iii.

258 Rayonnant examples of (i) include: in region C, Evron, Rouen Cathedral (transepts) and St Ouen: D, St Martin-aux-Bois : E, Auxerre Cathedral (nave): F, Notre-Dame, Paris (chapels): H, Bayonne (nave). Of (ii), in B, Cologne Cathedral, Essen (nave) : C, Evron : D, Reims Cathedral (nave, west bays) : E, Chaumont (porch): F, Ste Chapelle, St Sulpice-des-Favières.

259 e.g. region A, Antwerp (nave), Hal (east end), Malines (east end), Tongres : B, Cologne Antonines : E, Auxerre Cathedral (nave), St Thibault, Troyes St Urbain: G, Clermont-Ferrand (south transept portal).

260 For Clermont, see Harvey, ‘The Origin of the Perpendicular Style’, Fig. 8.8, detail E.1. The only other recorded examples are in the eastern nave piers of Auxerre Cathedral (after c. 1310), and rather similar in appearance to the presbytery north arcade piers at Ely (after 1322, Fig. 17 Q, ii).

261 Seefurthern. 151. The bases of Westminster Abbey nave (west bays, c. 1375 sqq.) and Westminster Hall (1394 sqq.) are of the Caudebec type: illustrated in Harvey, Mediaeval Architect, p. 186.

262 Illustrated in R.C.H.M., , London, 1, 95 Google Scholar, bottom row.

263 e.g. John of Eltham’s tomb; Rochester chapter house door; Percy tomb, Beverley. Examples also occur occasionally elsewhere, e.g. Bristol, St Mary Redcliffe, nave south arcade. They are always bases rather than sub-bases.

264 See Morris, ‘Worcester Nave’, 130 and Fig. 5 K.

265 If the Lady chapel was complete by the time of the re-burial of Bishop Bytton I there in 1319, then the four retrochoir bases integral with its western arcades must be earlier. The fillet-necked type appears in the bases of the retrochoir proper, probably dating from the 1320s.

266 The fillet-necked type occurs in the interior surround of the sanctuary east window, and also in the sedilia/piscina of the south aisle; the roll-necked type in the surround of the ruined west windows of the transept. All are sub-bases. For dating, see n. 15.

267 For the suggested involvement of John Ramsey at Ely and William Ramsey at Gloucester, see Harvey, Dictionary, 213-18: William Ramsey’s debt to East Anglia is summarized in Harvey, ‘The Origin of the Perpendicular Style’, 150-51, in which he also illustrates double bell bases for William Ramsey’s chapter house at Old St Paul’s, 1332 sqq. (Fig. 8.8). In a paper to the British Archaeological Association at Ely (Easter, 1976), Christopher Wilson argued for a close connexion between William Ramsey and parts of the Ely presbytery work.

268 e.g. regions A and B, rare, only Cologne Antonines (chancel, capitals only); Schwäbisch Gmünd (nave, capitals only); Tournai (chapel of the Sacrament, stylistically related to region D) : C, Eu (nave); Rouen Cathedral (north transept) and St Ouen; St Germer (Lady chapel and vestibule): D, perhaps the source area, Amiens (capitals only); Laon (east chapels); St Martin-aux-Bois (capitals only); E, Auxerre Cathedral (transept, nave); Troyes St Urbain (transept portals, capitals only): F, St Sulpice-des-Favières (capitals only).

269 Discounting occasional thirteenth-century experiments, such as the large hexagonal plinth around the corner shaft clusters on the buttresses of Newstead Abbey west front (Notts., c. 1275).

270 e.g. cloister, Easter sepulchre, Little St Hugh’s shrine canopy, the frame of the Bishop’s Eye, St Hugh’s shrine base, and the Burghersh tombs. The only other example recorded in the north east is the later monument of Bishop Hatfield at Durham (c. 1370 sqq.).

271 Other works with hexagonal bases influenced by Gloucester are found in Herefordshire, all mid-fourteenth century or later (Dilwyn, south porch; Kinnersley, nave south arcade; Richards Castle, west window), and in Shropshire (Ludlow, north transept; Shrewsbury St Mary, south east chapel).

272 Both works associated by Harvey with Master Thomas of Witney : see Mediaeval Architect, 133 sqq. Some of the Wells bases are fundamental to the Lady chapel arcades, but others seem to belong with the presbytery works of the 1320s (see further n. 265).

273 The full list, by region, is: I, Canterbury, Meopham tomb (d. 1333); II, Ely, monumental two-bay canopy in north choir aisle; III, Irnham, Easter sepulchre (c.1340, plinth of ‘tomb chest’); Lincoln, St Hugh’s shrine base and the Burghersh tombs (c. 1330s, plinth of tomb chests in the latter); IV, Beverley Minster, reredos (east face, 1330s).

274 See distribution list for Variety 3 below.

275 See Hastings, M., St Stephen’s Chapel and the Development of the Perpendicular Style (1955), pl. 28 Google Scholar, detail of the second bay of the upper chapel, from J. T. Smith, Antiquities of Westminster (1807-09). The idea of quatrefoil bands is especially popular in shrine bases (e.g. St Frideswide’s, Oxford, before 1289; St Alban’s, 1302-08), and in this context seems to derive from metalwork: see N. Coldstream, ‘English Decorated Shrine Bases’, ut supra.

276 e.g. Bredon, Worcs. (north aisle); Leintwardine, Richards Castle, and Wigmore in Herefordshire (all north chapels); also the fan-vaulted porch in the west front at Exeter, c. 1380.

277 This includes the free-stone bases, which are not likely to have been imported, unlike the Purbeck marble ones (see n. 33).

278 The presence of the feature here may be the result of influence from the South East.

279 This too may imply influence from the South East.

280 Including the Lady chapel, if Scott’s restoration there can be trusted.

281 Fig. 18 is not a comprehensive distribution list, and common mouldings are represented only in those regions in which they are most prevalent (especially in the Decorated period); the reader is referred to each section for complete lists.

282 Other similarities (though not of Continental inspiration) are the early development of ‘roll and fillet plus hollow chamfer mullions’, and the use of mullions with lateral rolls and hollows (section 6, (a), varieties 2 and 6 respectively). This trend is complemented by the appearance of Kentish tracery patterns in the North at Kirkham, Whitby, and Hull.

283 In section 2, the prototype sunk chamfers (ii) and (iii) (Part I, 32 sqq.); in section 7, the late twelfth-century rib type (first family, variety 3).

284 That is, the presence of masons with experience in the east (as at Caerphilly under Hugh le Despenser the younger, and at Gloucester after 1329) is more spasmodic than in region VII.

285 e.g. the wave, the three-scroll capital, and the standard Decorated base, all of which appeared early in region VII even though eventually they had less impact there than in VI.

286 Note that the rib design with prominent fillets (section 7, (b), variety 3) is also likely to be derived from mullions with detached fillets in use at an early date in the South East.

287 The fact that some of the features that link I to VII are not recorded in VIII may well be because VIII, with IX, is the least thoroughly surveyed of the regions.

288 See Harvey, Mediaeval Architect, 133 sqq., and Dictionary, 104-05 and 307-10.

289 Especially the unusual feature of parallel fillets flanking wave and sunk chamfer mouldings (sections 1, variety 3, and 2, variety 3).

290 Other parallels exist, such as the ribs of the Lady chapel and presbytery at Lichfield, which are closest in design to varieties 1 (type iv) and 2 of the first family (Fig. 14 D and J respectively), both characteristic specifically of the North.

291 See Part I, 46 sqq.

292 See sections 6, (c); and 7, (a), variety 1, type (iv), and (c).

293 See section 6, (a), variety 5.

294 The others are the ogee bowtell mullion and the three-quarter roll and hollow chamfer formation (section 6, (a), Fig. 12 K, ii and J); the rib with lateral rolls directly adjoining the axial roll moulding (section 7, (a), Fig. 14 E); and hexagonal bases and capitals (section 9). One could add the fussy fourth variety of wave moulding, though the North East Midlands provides an example apparently slightly earlier than those recorded in the South East (Part I, 25 sqq.).

295 The trade is documented in Salzman, L. F., Building in England down to 1540 (rev. ed., 1967), 135-37Google Scholar.

296 See especially notes 151 and 261.

297 Section 6, (b). Note that Bony demonstrated strong ties between the south east of England and the same area of the Continent in the later twelfth and early thirteenth centuries: Bony, J., ‘The Resistance to Chartres in Early Thirteenth-Century Architecture’, Journal of the British Archaeological Association, 3rd ser., XX-XXI (1957-58), 35–52 Google Scholar.

298 Part I, 37-38. The early appearance of Kentish split-cusping in the south portal of Auxerre Cathedral west front (c. 1260-70) and in Bishop Bradfield’s tomb at Rochester (d. 1283) is a similar example.

299 For Badgeworth and Caerphilly, see Part I, 46 and 50; for Badgeworth and Tewkesbury, see Morris, Thesis, Ch. III, part 4.

300 Harvey, Dictionary, 26-27.

301 Harvey, ‘The Origin of the Perpendicular Style’, 155.