SAHGB Publications Limited

An English Glossary of Medieval Mouldings: With an Introduction to Mouldings c. 1040-1240

Author(s): Richard K. Morris
Source: Architectural History, Vol. 35 (1992), pp. 1-17
Published by: SAHGB Publications Limited
Stable URL: http://www.jstor.org/stable/1568569
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An

English glossary of

medieval mouldings:
with an introduction to mouldings c. I040-I240
by RICHARD

K. MORRIS

(University of Warwick)

A comprehensive glossary of medieval mouldings has never been published, a surprising fact which alone justifies the appearance of this article. The foundations for such a
study were laid, of course, by the antiquarians and architectural writers of the
nineteenth century. Willis (I844) analysed the medieval nomenclature of mouldings.
Sharpe published surveys of full-size profiles of an unsurpassed quality,1 and many
other splendid profile drawings are to be found in the various nineteenth-century
'sketchbook' publications.2 Paley (1847) wrote his famous manual, and the number of
terms in my glossary which derive from this source is testimony to the lasting
significance of his contribution. At the same time Viollet-le-Duc compiled his
Dictionnaire,3 which incorporates invaluable information about French mouldings,
albeit scattered through nine volumes. But none of these constitutes a glossary.
A second concern of the article is to address issues which have arisen in more recent
detailed studies of medieval architecture. Significant new shapes in stone have been
identified, which largely or wholly escaped comment by the antiquarians, for which a
terminology needs to be agreed and a history written (e.g. 'beaked roll', 'chamfered
mitre'). A greater familiarity with the continental context for English mouldings has
necessitated a full understanding of European terminology and usage (e.g. 'grooved
roll', 'pear'). A less positive trait of twentieth-century scholarship has been a proliferation of different terms to refer to the same configurations in stone, as more architectural writers from varying backgrounds (archaeology, architecture, history, art
history) and from both sides of the Atlantic, concern themselves with mouldings. The
canons of the classical language of architecture have no equivalent for Gothic.
In an earlier pair of articles in ArchitecturalHistory, I dealt with some of these aspects
for later Gothic mouldings, c. I25o-I400.4
So it seemed appropriate here to preface the
glossary with an essay on the main mouldings from the earlier medieval period, viewed
as far as possible in a European perspective, because many Early English mouldings
which we might regard as especially indigenous are reciprocated on the continent.
ROMANESQUE

Mouldings which are consistently and distinctively medieval first appear in the
eleventh century, at the same time as the emergence of the Romanesque style of

ARCHITECTURAL

HISTORY 35:

I992

architecture. The variety of types available increased considerably in the twelfth

century, coinciding with the advent of Gothic but in actuality related more to the
decorative experiments of that century than to the structural advances of the style.
The most significant development in Romanesque was the rediscovery of the roll
moulding and its application to arches. It may be inferred from its appearance on arches
in early Islamic buildings (e.g. Mshatta, Jordan, hall c. 740) that this usage was known
in Roman architecture, though the most common use of the roll in classical antiquity is
the torus moulding in bases. The actual starting point for Romanesque experimentation was probably the Roman half-column applied to wall surfaces (e.g. Nimes,
Maison Carree), which led to the early medieval compound pier consisting of a square
or cruciform core with a half-column attached to each face. This design may have been
invented in northern Italy, but as early as the eleventh century it had appeared in eastern
France. It was to be the basis for the articulation of mature Romanesque church
interiors, but usually the arches above the half-columns had flat soffits (e.g. Jumieges
Abbey, nave, c. Io05o-65) like classical arcades. However, at an early stage in north-east
France, the half-column profile was extended to the arch as the soffit roll (e.g. Auxerre
Cathedral, crypt, c. 1030). This fundamental development was to lead eventually, in
the Gothic period, to the most typical form of medieval arch profile, with its mouldings
arranged on a chamfer plane and centred on an axial roll moulding (e.g. Fig. 3.19).
More immediately, it prefigured the application of roll mouldings to other parts of the
arch, such as the angle roll, which assumed a smaller diameter more comparable in size
to the classical torus. Its use suggests a desire to imbue arches with the same quality as
the increasingly complex compound piers which supported them.
In Normandy, St Etienne, Caen (io60s-iO70s) is regarded as an important building
in this development, though the full potential of the roll moulding was realized in
England only after the late eleventh century. The soffit roll had been introduced into
Normandy by c. I040 (e.g. Bernay Abbey). At St Etienne, Caen, the angle roll occurs
apparently for the first time, separated from the wall face by a quirk (Fig. 3.20; e. g. nave
arcades); a combination which became the hallmark of the 'Caennais school'. The
possibility of Anglo-Saxon influence in these developments cannot be excluded.5 The
crossing arch profile at St Etienne is more remarkable, in that it combines a soffit roll
with face rolls and two orders of angle rolls (Fig. I. I, A, B, c). However, the arch was
recut in the twelfth century, so its eleventh-century authenticity is questionable, and
certainly such a complex profile is rare on the continent before early Gothic. During the
first half of the twelfth century, various forms of heavy angle rolls became common for
the exterior frames of windows and portals, but arcade arches generally remained
rectangular in section, following the square shape of the abacus. This is the likely reason
why the soffit roll had no further important influence on the continent in the eleventh
century.
By contrast, the soffit roll flourished in England, as a consequence of the decorative
environment of late Anglo-Saxon architecture. In the second half of the eleventh
century, the soffit roll, probably from Normandy, was combined with the face roll and
the hollow chamfer to create elaborate arch profiles (e.g. Wittering, Hunts., chancel
arch, c. Io60-80, Fig. 1.3). However, in the great churches immediately after the
Conquest, arcades remained unadorned in typical continental fashion, and it was not

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

that roll mouldings, including angle rolls, reappeared in what has

until c. 1090-1140
been viewed as an 'Anglo-Saxon revival' (e.g. Durham Cathedral, I093 sqq.,
Fig. 1.2).6 Variations on the soffit roll were a particular feature of this period - used
with hollow chamfers, especially in the Durham group and employed also for ribs;
paired as double soffit rolls in the more plastic decorative style of south and west
England (e.g. Christchurch Priory, Hants., c. II20); and double rolls separated by an
angle-fillet, especially popular in early ribs (e.g. Gloucester Cathedral, nave, c. 112030; Fig. I.5). From c. II20 the soffit roll for arcades and ribs was taken up again in
Normandy under English influence (e.g. Evreux Cathedral, after I I I9); outliers of this
development occur at Soignies, Belgium (c. I Ioo) and in Norman Sicily at Monreale,
cathedral cloister (II8os). In the second quarter of the twelfth century, it became a
significant element in early Gothic buildings in the Paris basin (e.g. Paris, St Martindes-Champs; Saint-Denis, abbey), and after c. II50 bold roll mouldings spread to
Cistercian architecture in Burgundy and elsewhere, e.g. Fontenay, chapter house and
cloister, c. II50.
The mouldings of capitals and bases were mainly, if loosely, derived from antique
and early Christian models. The attic form of base predominated, but recent research
by Rigold has drawn attention to numerous meaningful variations of it, e.g. 'modified
attic' (Fig. 3.16).7 Entirely different designs such as the 'cone base' and 'double hollow
base' (Fig. 3.I5) are also significant, especially in Normandy.8 Abaci and imposts
provide the only mouldings associated with capitals: the bottom edge is commonly
chamfered and from c. Io50 the quirk and hollow chamfer are introduced, as in
Normandy and post-Conquest England (Fig. 3.12; e.g. Caen, St Etienne).
EARLY AND HIGH GOTHIC

The main rationale for treating these two periods together is that they witnessed the
invention and development of a whole series of new mouldings which are more
sophisticated versions of the roll moulding. None of them have any real precedents in
antiquity, and they are the essential vocabulary for the creation of a distinctly northern
Gothic architecture. In the period c. 140-75 the examples derive predominantly from
northern France, the key pioneering area, and from England, with Cistercian architecture in Burgundy also assuming a significant role in the twelfth century. The acceptance
of Chartres, with its simple mouldings, as the model for High Gothic churches tended
to stultify further development of mouldings in northern France in the early thirteenth
century, but invention continued unabated in England, and influenced Normandy in
particular.
The keel is distinctive to the first century of Gothic and may have been the earliest
new moulding to appear. It occurs in the piers of St Etienne, Beauvais (c. I 30-40),9
where it may have originated. It spread rapidly in northern French Gothic, employed
mainly as the axial moulding for vault ribs (e.g. St Denis, western block, first master,
I13 7-40). 10In this usage it was common in many regions of France and elsewhere (e. g.
Burgundy, the Rhineland) until supplanted by ogee keel or roll-and-fillet mouldings in
the later thirteenth century. It often assumed an almond shape, in contrast to the blunter
form found usually in early Gothic and in England. Probably under Burgundian

ARCHITECTURAL

1 CAEN

HISTORY 35:

I992

3 WITTERING

2 DURHAM

4 FURNESS
A

5 HEDINGHAM

.VM

9 CANTERBURY

7 REIMS

I.
RKMH

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

Cistercianinfluence, the keel spreadto Spain (e.g. Cuenca Cathedral,c. I 190 sqq.) and
later to Czechoslovakia, where it occurs in conjunctionwith other mouldings, such as
the beak, likely to be of similarderivation.11However, it was taken up pre-eminently
in the Cistercianenvironment of northernEngland from the i I6os, brought there by
masons with northernFrenchexperience(e.g. Roche Abbey, Ripon Minster).12 From
there it was introduced to Scotland (e.g. St Andrew's Cathedral, II62 sqq.) and to
Norway (TrondheimCathedral,c. I 170-80). In northernEngland, it was incorporated
into more elaboratearchprofilesthanin France(e.g. Byland Abbey, nave, I I 8os), and a
particularfeature of the region was its use in clusteredpiers well into the thirteenth
century (e.g. Whitby Abbey, choir, c. I220sqq.). It is less frequent elsewhere in
England, where roll mouldings and detachedshafts were preferredin the south, and
ogee keel mouldings in the west.
The grooved roll and the beak mouldings were invented in northernFrancealmost
simultaneouslywith the keel, and often appeartogether in early Gothic buildings (e.g.
St Leu-d'Esserent,narthex, c. II40). From the IISos, they spread to England (York
Minster, choir, c. II60; London, Temple Church, nave, c. 160-80), and thence to
Ireland (e.g. Mellifont Abbey, lavabo, c. I200) and Norway. The grooved roll is
regardedas an indicationof early Gothic influencefrom the Ile-de-France,Picardyand
the Soissonnais (e.g. York Minster, choir; Cologne, St Gereon),13 and is seldom
encountered after I200 except in Czechoslovakia and Italy.14 However, the beak
moulding continued in use in the thirteenthcentury especiallyas a lateralmoulding in
ribs in some French regions (e.g. Burgundy) and in the Rhineland, Austria and
Czechoslovakia (e.g. MaulbronnAbbey);15but most notably in England. The beaked
roll appears to have been invented there (e.g. Furness Abbey, transept, c. II80;
Fig. 1.4), for it is virtually unknown on the Continent, and with the beak moulding it
became a hallmarkof Gothic in south and west Englandin the firsthalf of the thirteenth
century (e.g. SalisburyCathedral, 1220sqq.). 16
The appearanceof the ogee keel and roll-and-filletmouldings was more significant
ultimately for the development of Gothic style, and for Paley the roll-and-fillet
symbolized the 'revolution'leadingto the complex moulding profilesof laterGothic.17
Like the keel moulding, both mouldings are refinementsof the roll. Some early but
isolated examples are recorded for ribs in northern France (e.g. St Denis Abbey,
narthex, second master, c. II40, filleted roll;18ChartresCathedral,south-west tower,
c. 1150, ogee keel). But their main development in early Gothic takes place in
England
from the i i6os, with the ogee keel generallyprecedingthe roll-and-filletby one or two
decades. The first English usage of the ogee keel appearsto be in northernEngland for
shafts (e.g. Ripon Minster, i i6os sqq.), followed in the same area by roll-and-fillet
mouldings for ribs in the late twelfth century (e.g. Byland Abbey); leading to
Fig. I Romanesqueand Early/High Gothicmouldings.Scale: Nos 1-8 = 1:12 approx.; No. 9 = 1:8.
1 Caen, St Etienne, crossing(detail, schematic). 2 DurhamCathedral,choirarcade(detail, afterBilson
1922).
3 Wittering(Hunts.), chancel(detail, after Taylor). 4 FurnessAbbey (Lancs.), northtransept
(detail, afterBilson 19o9). 5 Castle Hedingham(Essex), keep (innerorder,afterBond). 6 Lincoln
Cathedral,St Hugh's choir,main arcade(detail). 7 ReimsCathedral,main arcade(detail, afterDehio).
8 SalisburyCathedral,east end, mainarcade(innerorder). 9 CanterburyCathedral,east arm, main
vault, diagonalrib (dogtoothdecorationomitted).

ARCHITECTURAL

KEEL

ROLL

OGEE KEEL

HISTORY 35:

I992

GROOVED
ROLL

ROUNDED OGEE KEELS

11

BEAKED
OGEE KEEL

BEAKED
ROLL

BEAKED
R &F

020

18 SCRO

BEAK

SCROLLS

25

26

227/

CHAMFERED
BEAK

(28

>

SPIKED
FREESTANDING CHAMFERED CHAMFERED
MITRE
SPIKE
FILLET
HOLLOW
Fig. 2

DEMIR& F

ROLL + 3
FILLETS

ROLL + 2
FILLETS

7-9. ROLL-AND-FILLET

\< /
ANGLE
FILLET

UNDERCUT
ANGLE F.

Moulding types I. Scale: Nos 1:5 approx.

1 Roll. 2 Keel. 3 Ogee keel. 4-5 Roundedogee keel. 6 Groovedroll.

7-9 Roll-and-fillet. o1 Roll with twofillets. 11 Roll with threefillets.
12 Demi-roll-and-fillet.
13 Beaked roll. 14 Beaked ogee keel. 15 Beaked roll-and-fillet
16 Triple roll (in a row).

17 Triple roll (in echelon).

18-19 Scroll.

20 Beak.

Chamferedbeak. 22 Fillet. 23 Concavefillet. 24 Bead. 25 Spikedhollow.

26 Freestanding fillet. 27 Chamfered spike. 28 Chamfered mitre. 29 Angle-fillet.
30 Undercutangle-fillet.
21

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

L 4Q

[3

WAVE

CHAMERS
CHAMFERS

SUNK
CHAMFER

QUADRANT

DOUBLE
OGEE

OGEE

WAVE

ABACI

12
10
HOLLOW
CHAMFER

SEMI-CIRCULAR
I
HOLLOW

-HOLLOW

-3.4-HOLLOW

DOUBLE
HOLLOW

QUIRK AND
HOLLOW

CASEMENT

17

BASES

CASEMENT

18

MODIFIED
ATTIC

WATERHOLDIF
JG

BELL

HOLLOW
AND BEAD

CYMA
RECTA

19

20
FACE
QUIRK

RKM 1.92
Fig. 3

ANGLE

SOFFIT
=
= 1:7 approx.
II.
Scale:
Nos
1-11
Nos
12-20
1:5 approx.;
Moulding types

1-2 Chamfer. 3 Sunk chamfer. 4 Quadrant. 5 Wave. 6 Ogee. 7 Double ogee.

8 Hollow chamfer. 9 Semicircularhollow. 10 Three-quarter
hollow. 11 Casement.
Abaci: 12 Quirk and hollow chamfer,Bayeux Cathedral,crypt(afterRuprich-Robert).
13 Hollow and bead, Furness Cathedral, north transept (after Bilson 1909).

14 Cyma recta,

Holme CultramAbbey (Cumberland),nave (after Wilson1986). Bases: 15 Double

16 Modifiedattic, Gloucester
hollow, Westminster
Abbey, c. 1o6o (afterR.C.H.M.).
Cathedral,nave (afterRigold). 17 Waterholding,GlastonburyAbbey, nave. 18 Bell
base, Rouen, St Maclou, nave. 19 Amiens Cathedral,nave vault, transverserib (after
Durand). 20 Arch with angle rolls.

ARCHITECTURAL HISTORY 35: 1992

combinations of large keeled and filleted shafts for piers characteristic of the north for
much of the thirteenth century (e.g. Whitby Abbey, c. 1220sqq.). In south-west
England, the ogee keel occurs from c. I175 in piers and arch profiles (e.g. Worcester
Cathedral, west bays), and multiple groups of ogee keeled shafts are a feature of the
twelfth-century west country school (e.g. Glastonbury Abbey, choir, c. 1185 sqq.). In
the meantime, the roll-and-fillet moulding appeared in ribs and arches in the south-east
(e.g. Canterbury Cathedral, William the Englishman's work, I179-84), occurring
more widely after c. I200. In particular, filleted multiple shafts replaced ogee keeled
ones in piers and responds of the west country school (e. g. Shrewsbury, St Mary, nave,
c. I200; Dublin, Christ Church Cathedral, 1216 sqq.). In the thirteenth century, the
ogee keel (c. I200-50) and the roll-and-fillet (c. 1220 sqq.) typify Early English arches
and ribs all over the country, and further embellishments such as the roll with multiple
fillets and the beaked ogee keel are entirely distinctive to English masons.
In French Gothic, no equivalent exists for this development in the twelfth century.
Ogee keeled and filleted shafts are unknown until the later thirteenth century, and the
inclusion of the ogee keel in arches and ribs is rare before the advent of Rayonnant
architecture (an early example is Troyes Cathedral, choir, c. 12I0-28).19 None the less,
it was in northern France that a really significant step for the future was taken with the
introduction of a bold roll-and-fillet as the axial moulding of the main arcade arch
profile at Reims Cathedral (I211 sqq., Fig. 1.7). Occasional earlier instances are known
(e.g. Canterbury Cathedral, entrance arch to east transept chapels, c. II80; Soissons
Cathedral, south transept, 1177-85, combination of roll-and-fillet/grooved roll); but
not employed in the prominent position of the main arcade. Villard de Honnecourt
recorded the Reims profile in his sketchbook,20 and its influence slowly spread during
the thirteenth century so that it became the basis of fourteenth-century arcade arches.
Contemporaneously there was a renewal of interest in northern France in applying the
roll-and-fillet to ribs (e.g. Amiens Cathedral, nave, I220-36; Fig. 3.I9).
Nevertheless, in the century c. 1140-1240 the most common moulding for all types
of arches was the angle roll. The robust angle roll in use in Anglo-Saxon Romanesque
was refined in the pioneer works of French Gothic (e.g. St Denis, second master,
I I40-44).21 Typically, it relieved the angles of arcade arch profiles, which retained an
overall rectangular shape in section throughout this period. The classic High Gothic
arcade arch consists of two orders with angle rolls and a flat soffit, popularized at
Chartres Cathedral, 1194sqq. (e.g. Fig. 3.20). It was remarkably persistent in the
thirteenth century in France and French-influenced architecture elsewhere (e.g. Spain,
Le6n Cathedral, c. 1255 sqq.), despite the appearance of the axial roll-and-fillet design
at Reims Cathedral. Occasional variations exist in twelfth-century France (e.g. Reims,
St Remi, choir, c. I I7080,
semicircular hollow moulding and fillets for the soffit),22
but the main area for experiment inevitably was England. There the soffit roll flanked
by angle rolls formed the basis for more elaborate designs from c. I 160 in the Cistercian
related churches of the north (e.g. Ripon Minster, choir, I I6os sqq.; Fig. I .4).23 Before
1200, remarkable arcade arch profiles had been produced in two key centres in the west
and north (Wells Cathedral, c. 175 sqq.; Lincoln Cathedral, St Hugh's choir,
I I92 sqq.; Fig. 1.6). These anticipate later Gothic in the way that multiple rolls and
hollow mouldings are deployed to disguise the rectangular shape of the orders and

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

create diagonal planes; prefiguring the undulating profiles with deeply cut hollows
which characterizeEnglish Gothic in the thirteenthcentury (e.g. SalisburyCathedral,
A reflection of these ideas is also found in north-west France and Normandy
1220-66).
(e.g. Le Mans Cathedral, choir, 1217-54); Lasteyrie termed such profiles 'irrational'.24
None the less, the basic premise of classic French High Gothic arch design, namely
some form of paired angle rolls for the soffit, predominated in Early English arches into
the thirteenth century (e.g. Fig. 1.8). It was not until the I230s that a single prominent
axial moulding (the descendant of the soffit roll) became the focal point of arcade arch
design (e.g. London, Temple Church, choir, c. 1230), and in this respect English
Gothic was not in advance of developments in northern France (i.e. Reims Cathedral).
Vault ribs were the main new architectural components to establish themselves in
this period, and their designs generally relate to arcade arches and are ahead of them in
some instances. For example, the roll-and-fillet was employed as the axial moulding in
diagonal rib profiles (e.g. Canterbury Cathedral, east arm, 1175-84, Fig. 1.9; London,
Temple Church, nave, c. I6o-8o) well before its general acceptance in arcade arches.
Also, it was often the adoption of the rib vault, and associated French rib profiles,
which first introduced Gothic mouldings like the angle roll to conservative areas like
Italy during the thirteenth century.
Basically two types of rib profile are encountered. (i) Rectangular in section with
paired angle rolls separated by an angle-fillet (e.g. Sens Cathedral, ambulatory,
c. 1150); or by a large fillet (Fig.

or by a hollow

3.20),

(e.g. Chartres Cathedral,

high

vaults, I 94-C. 1235, both patterns). (ii) Triangular in general shape, with a single axial
roll moulding, frequently flanked by a pair of lateral mouldings in a stepped formation
(Fig. 3.I9). A characteristic form of the latter in twelfth-century Romanesque and in
early Gothic in northern France and England is the triple roll rib (e.g. Paris, St
axial chapel, c. I 30-40).25 By the early thirteenth century, the
Martin-des-Champs,
form common in later Gothic, with hollow mouldings separating the rolls, was
evolving especially in England (e.g. Winchester Cathedral, retrochoir aisles, c. I20020) and then in France (e.g. Amiens

Cathedral, nave, I220-36;

Fig. 3.I9).

The deployment of the two main types of rib profiles in vaults c. II40-I240
is
significant. In early rib vaults it was common to combine the angle roll type for
transverse ribs with axial roll type for diagonal ribs (e.g. Durham Cathedral, choir
aisles,

I093-96;

Beauvais,

St Etienne,

nave aisles,

c. II25-30),

and this remained

popular in the aisles of High Gothic cathedrals (e.g. Chartres), and in the high vaults of
English churches up to c. 1250 (e.g. Lincoln Cathedral,

nave, c. 1240). However,

the

classic formula for high vaults in French Gothic was to employ the angle roll type for all
ribs (e.g. Sens Cathedral, c. II45-65; Chartres Cathedral, II94-c. 1235), though still
differentiating in detail between transverse and diagonal; a formula found less frequently

in England

(e.g.

Wells

Cathedral,

c. 1175-1220).

The most

progressive

development took place in the early thirteenth century with the adoption of the axial
type for all the ribs of high vaults (e.g. Bourges Cathedral, c. I 95-1214), anticipating
the sharper profiles of later Gothic. This occurred in English high vaults apparently
slightly later (e.g. London, Temple Church, choir, c. I230). In French High Gothic
examples, the transverse rib generally remained larger than the diagonal in this period,
but uniform profiles, consisting of a single axial roll, appeared relatively early in the

io

ARCHITECTURAL

HISTORY 35:

I992

more decorative Angevin rib vaults of western France (e.g. Angers, St Serge, choir,
C. I21-20).26

A greater variety of mouldings appeared in the abaci of capitals in this period, and the
same designs were also applied to stringcourses and hoodmoulds. The hollow and bead
abacus (Fig. 3.13)27 is typical in northern France and England from the mid-twelfth
century, and the 'cyma recta' abacus (Fig. 3.I4)28 appeared in Cistercian Burgundy
c. I 150 and in northern England from the i i6os. The lip was often extended into a beak
moulding, a characteristic profile for abaci c. II60-I200
(e.g. Paris, Notre-Dame
Cathedral, I 163 sqq.; Wells Cathedral, c. I I75 sqq.). By c. I200, the lip consisted more
usually of a roll moulding, often a keel or ogee keel in England, with the roll-and-fillet
soon becoming popular there in the thirteenth century; whereas the plain roll remained
more usual in France up to c. 1240.
For bases, the attic design remained the dominant general type. The main development was the revival of a more correct classical design ('neo-attic') in northern France
by c. I 50 (e. g. Sens Cathedral, c. I1154-65), brought to England by William of Sens at
Canterbury Cathedral in II75. It became the basis of the characteristic Early English
'waterholding' base (Fig. 3.I7), and was also adapted for the mouldings of stone
annulets, which came into fashion from c. I I60 with the advent of detached shafts. The
mouldings of sub-bases often received additional roll mouldings from the later twelfth
century (e.g. Lincoln Cathedral, east transept, I 92 sqq.; Reims Cathedral, 1211 sqq.).
Ground-course mouldings followed similar trends, and other types of roll moulding
were employed for them in England, producing distinctively complex profiles by the
thirteenth century (e.g. Lincoln Cathedral).
Important developments occurred in the plan shape of capitals and bases in this
period. Square abaci and sub-bases remained standard in many parts of Europe for
main arcades, including the Ile-de-France, but circular and octagonal plans emerged in
areas which experimented with less orthodox pier and arch forms (e.g. Picardy,
Burgundy, Normandy, England). The use of columnar and clustered piers was
influential, and also arch profiles which emphasized the diagonal plane (e.g. Fig. 1.6).
Circular sub-bases appeared in Picardy as early as c. I I40, and circular abaci are found in
the second half of the century, particularly in Cistercian contexts (e.g. England,
Kirkstall Abbey, dormitory undercroft, II52sqq.; Spain, Moreruela Abbey,
158 sqq.).29 By c. I I80 circular abaci and sub-bases were in use in southern England
(e.g. Canterbury Cathedral, east transept chapels, I79-84, William the Englishman),
and in the thirteenth century the consistent employment of both components was
distinctive to Early English Gothic, especially in the south and usually with
undecorated moulded capitals (e.g. Salisbury Cathedral, 1220-66). The occurrence of
circular moulded capitals in Normandy and Brittany in the thirteenth century relates to
English usage (e.g. Coutances Cathedral, 1218 sqq.).
In the mid-twelfth century the Cistercians also experimented with octagonal abaci
and sub-bases (e.g. Fontenay Abbey, chapter house, c. I 150), and early examples occur
in northern France and northern England (e. g. Fountains Abbey, nave abaci, c. I I 506osqq.). Between c. II8o and c. 1220, part-octagonal abaci and sub-bases became
features of the English west country school, related to the clustered shafts of the piers
(e.g. Wells Cathedral, c. II75-I220), and a strikingly similar usage occurs in

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

II

Normandy and Maine in the first half of the thirteenth century (e.g. Le Mans
Cathedral, choir, I217-54). Elsewhere in France, octagonal abaci and sub-bases often
appear in conjunction with columnar piers from the end of the twelfth century (e.g.
Braine, St Yved, c. I190-12I6). An exceptional instance of part-octagonal abaci on
cantonne piers occurs at Reims Cathedral (1211 sqq.), presumably connected with the
adoption of a single axial moulding for the arch soffit, whereas generally the employment of part-octagonal abaci was shunned in the main elevation of High Gothic
churches well into the thirteenth century, because of the retention of a rectangular
section for the arcade arch. However, sub-bases of part-octagonal plan were adopted
for the shafts of cantonne piers from the I220S (e.g. Amiens Cathedral, nave, I220-36),
and this change, together with the developments in England, was an important step
towards the growing interest in diagonal planes in later Gothic architecture.

GLOSSARY

OF MOULDINGS

The glossary is not intended to be prescriptive, though the key-word introducing each
section (or sub-section) represents the author's preferred term. Remarks on chronological and geographical distribution provide evidence for main or distinctive usages, but
are not intended to be comprehensive. Applications of a particular moulding to capitals
and related mouldings (corbels, stringcourses, hoodmoulds) and to bases may be taken
to be unusual unless specifically stated in the entry. The chronological parameters
employed here for the main period terms of Gothic architecture are as follows:
Early Gothic
High Gothic

Later Gothic

c. 1140-c. 1190.
c. I I9-c. 1240.

Late Gothic

Rayonnant,etc., c: 124o-laterfourteenthcentury (andoften continuing in

the fifteenth century).
Mainly fifteenth and early sixteenth centuries.

Early English
Decorated

c. II70s-C. I270s.
c. I280s-c. I360s, England.

Perpendicular

c. I37os-early sixteenth century, England.

DEFINITIONS
ROLL
Roll moulding on the corner of a profile, usually of an arch, Fig. 3.20.
Very common in Early and High Gothic. 'Quirked roll' (Bilson I909) or 'edge roll'
(Paley).
ANGLE

(Bilson 1909)
Wedge-shaped moulding (Fig. 2.29), typically a
subsidiary component in a Romanesque or Early Gothic arch, Fig. 1.5. 'Mitre'
(Jansen). In later Gothic usually undercut on one or both sides by hollow mouldings
(Fig. 2.30), mainly continental (German, 'zweikanter', Kletzl), especially for arches
and continuous mouldings. Rare after the thirteenth century in England, except for
capitals ('chisel-nosed', Morris 1979). See also CHAMFERED MITRE, SPIKED HOLLOW.
ANGLE-FILLET

Small roll moulding of continuous section, typically less than one inch
'Little bowtell' (Willis). Wide occurrence as a subsidiary moulding, often employed instead of a fillet. Common on capitals.
BEAD

(25 mm) in diameter, Fig. 2.24.

ARCHITECTURAL

12

HISTORY 35: 1992

Delicate moulding resembling a bird's beak, Fig. 2.20. Also 'peaked'

(Paley), 'hook' (Stalley) and 'horn' (Wilson 1986). Found especially as the lateral
moulding of ribsin the twelfth-thirteenthcenturies.'Beakedhalf-roll'has been applied

BEAK

especially to larger examples (see also BEAKED ROLL). Small examples have been

describedas forming a 'convex lip' (Bilson 1909) or 'tongue-shapedmember' (Paley),

e.g. for abaci. Sometimes the tip is truncated flat, here termed 'chamfered beak'
(Fig. 2.21), especiallyin EarlyEnglish stringcourses,hoodmoulds;note also demi-rolland-fillet (Fig. 2. I2).
BEAKED ROLL
Roll moulding typically undercut on both sides, Fig. 2.I3. Early
English, mainly archesand ribs. May also be appliedto other roll-type mouldings, e.g.

beaked ogee keel, Fig. 2. I4; beaked roll-and-fillet, Fig. 2.15.

BELL
Ogee- or bell-shaped profile (Fig. 3. 8). Term applied mainly to bases,
later/late Gothic (Morris, I979); 'trumpet' base (Neagley). Also for capitals with a

section loosely like an inverted bell (Bilson 1909, Wilson I986). Early Gothic,

Burgundian Cistercian.
BOWTELL

See ROLL, BEAD.

Late medieval term for a hollow moulding (Willis), now applied

to
a
specifically
large hollow of compound curve, often flanked by fillets, Fig. 3.11.
late
Gothic, for piers, arches,window frames;usually a continuous moulding.
Mainly
CASEMENT

See also WAVE ('ogee casement').

Also 'plain chamfer'(Paley), Fig. 3.2. Early use in abaciand plinths. In

use
for
arches,ribsandmullions from the thirteenthcentury, andin laterGothic
regular
for piers, responds and continuous mouldings. The angle of chamfer-typemouldings
generally becomes narrower from the fourteenth century, Fig. 3. . See also CHAMCHAMFER

FERED MITRE, HOLLOW CHAMFER,

SUNK CHAMFER.

CHAMFERED
MITRE (Jansen)
Angle fillet with flat termination and undercut by
hollows (Fig. 2.28). Common in later Gothic, especially continental (German,
'dreikanter',Kletzl), as the axialmoulding of ribs, mullions and continuous mouldings

or arcades. 'Polygonal termination' of mullions (Morris 1979). Note also SPIKED

HOLLOW('chamfered spike').

DOUBLE
OGEE (Paley)
Two ogee mouldings forming a 'cupid's bow' profile,
Fig. 3.7. Mainly late Gothic, especiallyEnglish, for archesor as a continuous moulding

(Morris 1978).

Suggested term for a roll moulding, usually semicircularin section, on

the face of a wall or framing an arch (e.g. Fig. I.3, B). Early Romanesque, especially
FACE ROLL

England/Normandy.

Cf. ANGLE ROLL, SOFFIT ROLL.

FILLET
Projecting flat strip of continuous section (Fig. 2.22). Typically less
1/2 in. (38 mm) wide (e.g. roll-and-fillet, Fig. 2.7), but it can be broader,

than

especially in

Early/High Gothic. Wide occurrenceas a subsidiarymoulding, including on capitals

and bases. 'Concave fillet' (Morris I979) is a fillet of slightly hollow section (Fig. 2.23),
mostly encounteredas the fillet of a roll-and-filletmoulding. English, specificallyfor
capitals/corbels, thirteen and fourteenthcenturies.'Filletbase' is a base with a promi-

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

I3

nent fillet in plan, mainly continental late Gothic (Neagley). See also ANGLE-FILLET,
FREE-STANDING
FILLET. For 'fillet moulding', see ROLL-AND-FILLET.
FREE-STANDING
FILLET
Fillet standing in isolation, typically
(Morris I978)
between two hollow mouldings, Fig. 2.26. Later Gothic, especially continuous mouldings in window frames.
GROOVED ROLL (Paley)
Roll moulding with a continuous curved recess cut into it,
Fig. 2.6. Usually for arches and ribs. Rare, distinctive to Early Gothic. 'Channelled
roll' (Wilson I986): 'roll with channel on the face' (Bilson I909): 'roll with a gorged
profile' (Fergusson). French 'canal' or 'gorge' (Enlart).
HOLLOW
MOULDINGS
(CONCAVE)
(i) Hollow chamfer (Paley). Hollow carved
on the chamfer plane, typically of a quarter circle, Fig. 3.8; also 'cavetto' (Italian).
Common in Gothic, but known also in English Romanesque. (ii) Hollow roll
(Fernie). Term used for some hollow mouldings in Romanesque architecture (but not
hollow
chamfer),
generally carved on the face. Especially England/
Semicircular
hollow. Flanked by fillets or flat surfaces, Fig. 3.9;
(iii)
Normandy.
semi-circle'
'sunken
(Paley). Mainly twelfth to fourteenth centuries, for arches, ribs,
piers. (iv) Three-quarter hollow (Paley). Hollow of more than a semi-circle, characteristically of about three-quarters of a circle. Primarily English, thirteenth-fourteenth
centuries, typically flanked by fillets after c. 1250, Fig. 3. I (Morris I978). Mainly in

and some
See also
arches,
CASEMENT, SPIKED
stringcourses,
capitals.
HOLLOW. (v) Scotia. Hollow moulding of classical derivation, applied exclusively

to bases (see Rigold). Romanesque and Early Gothic. The source for the 'waterholding' base (Paley), Early/High Gothic (Fig. 3. I7).

Roll moulding with an arris resembling the keeled hull of a ship in

(keeled)
section. The term has been applied to two different profiles, causing frequent confusion
in the literature, especially as applied to Cistercian and related architecture in the British
Isles. (i) Keel. The surfaces flanking the arris are flattish, Fig. 2.2. Also called 'pointed
bowtell' (Paley); 'pointed or keel-shaped' (Bilson I909); 'keeled roll' (Wilson I986).
Mainly Early Gothic, for arches, ribs, piers ('keeled shafts'), stringcourses; small
examples on capitals, especially thirteenth century. (ii) Ogee keel. The surfaces
flanking the arris are concave, Fig. 2.3. 'Ogee keeling' (Wilson I978). Paley called it
'keel' but clearly differentiated it from (i) above. Bilson (1909) described it as a 'sharp
fillet' or 'sharp arris formed by a sharp reverse curve'. Nib (nibbing, nibbed) is another
equivalent term (Wilson 1986). Sometimes the arris is replaced by a narrow fillet, 1/8in.
(3 mm), here termed 'filleted ogee keel'; or by a rounded tip, 'rounded ogee keel',
Fig. 2.4; 'a coarse keel mould' (Paley). Often hard to distinguish from an ogee keel. A
version with a more prominently rounded tip occurs occasionally in later Gothic,
Fig. 2.5 (e.g. in capitals). The ogee keel was popular in Early English (arches, ribs,
piers, occasionally stringcourses), but not until later Gothic on the continent. See also
KEEL

BEAKED ROLL ('beaked ogee keel').

An S-curve profile, Fig. 3.6, subject to considerable variation in size

(Paley)
and proportion (Morris I978, section 3). Later Gothic, especially England and
Germany (see PEAR), for arches and continuous mouldings. The equivalent classical
OGEE

HISTORY 35: 1992

ARCHITECTURAL

I4

moulding is a 'cyma' (strictly 'cyma reversa'); a 'cyma recta' abacus employs a small
ogee moulding, Early Gothic, Fig. 3.14 (Wilson 1986). See also BELL,DOUBLEOGEE,
PEAR, WAVE ('ogee casement').
See KEEL.
OGEEKEEL
(i) Specifically German concept ('birnstab') to describe any mouldings
incorporating two apposed ogee ('half pear') curves, such as an elongated roll-and-fillet
(Fig. 2.9), an ogee keel or a rounded ogee keel (see below). Especially late Gothic, for
shafts, arches and ribs. (ii) Moulding shaped like a pear, found in England and on the
Continent, and here termed 'rounded ogee keel', Figs 2.4 and 2.5 (see KEEL).
Convex moulding of quarter circle profile, usually terminated by
QUADRANT
Also
termed 'half roll-and-fillet' (Paley); 'quarter-round moulding';
fillets, Fig. 3.4.
ovolo (classical). Later twelfth and thirteenth centuries, apparently primarily English.
Likely predecessor of the wave moulding. Arches and continuous mouldings (door and
window frames).
An angular incision, Fig. 3.20. Mainly Romanesque and Early Gothic.
QUIRK
Subsidiary moulding in wide use, including on abaci. 'Hollow quirk' for larger
concave-sided examples (Bilson I909), Fig. 3.19. See also ANGLE ROLL.
PEAR

Large convex moulding, usually semicircular or three-quarters of a circle in

section, Fig. 2. I. The latter form has been called a 'bowtell' or 'great bowtell', a late
medieval term (Willis), now archaic. One of the commonest mouldings, from which
many other roll-type mouldings derive: see ANGLE ROLL, FACE ROLL, GROOVED
ROLL

ROLL,

KEEL, PEAR,

ROLL-AND-FILLET,

SCROLL,

SOFFIT ROLL. Note

also BEAD.

'Triple roll' is a term applied to a group of three rolls, usually arranged in echelon (e.g.
Fig. 2. 17) but also in a row (e.g. Fig. 2. I6), and not necessarily contiguous; e.g. 'triple
roll rib' (Bilson 1909). A 'torus' moulding is a roll employed in a base of classical
derivation (see Rigold). Also encountered in the study of French architecture (French,
'tore') as an alternative term for a roll moulding in arches and ribs, Romanesque and
Early Gothic; e.g. 'double torus' formeret (Gardner).
ROLL-AND-FILLET
Roll moulding with a single axial fillet. Also called
(Paley)
'filleted roll'. Prevalent in England from the thirteenth century, in all types of features
including stringcourses, capitals and some bases; but generally later in France. In earlier
examples the junction between the fillet and roll is often angular, Fig. 2.7; in later
Gothic, curved, and closer to the profile of an ogee, Fig. 2.8. 'Fillet moulding' (also
'sharp-nosed fillet') is applied particularly to French late Gothic examples which
assume an elongated 'almond' shape, Fig. 2.9 (Murray, Neagley); see also PEAR.
Composite forms found in England are the roll with two fillets ('side-filleted', Paley),
Fig. 2. Io; roll with three fillets ('roll-and-triple-fillet', Paley), Fig. 2. I I; demi-roll-andfillet ('half-roll with frontal fillet', Forrester), Fig. 2. 12; and beaked roll-and-fillet,
Fig. 2. 15. Note also

QUADRANT

MOULDING

('half roll-and fillet').

(Paley)
Resembling in outline the end of a rolled scroll of paper; the
overlapping edge may be either angular or curved, Figs 2. 8 and 2.19. Perhaps derived
from the keel moulding. Distinctively English, I250-I 3 50. Decorated style, especially
for capitals (Morris I979), stringcourses and some arches.
SCROLL

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

I5

Roll moulding, usually semicircular, on the soffit of an arch

SOFFIT ROLL
I.
I,
A). Romanesque. Also 'double soffit roll', which continues into early Gothic,
(Fig.
Fig. i.5.
HOLLOW
Angle-fillet with concave sides, Fig. 2.25 (Morris 1978). Related
to the use of fluting for shafts and bases. Some use in English later Gothic (e.g.
mullions), but especially Continental late Gothic, e.g. French Flamboyant, for ribs,
mullions, continuous mouldings. 'Chamfered spike' is the suggested term for a
chamfered mitre with concave sides, also late Gothic, e.g. Fig. 2.27; 'undercut hollow
chamfer' (Morris 1978).
SUNK CHAMFER,
Chamfer moulding with shallow flat
'sunken chamfer' (Paley)
recess and raised edges, Fig. 3.3. English, mainly c. I290-I350, particularly mullions,
door and window frames (Morris I978, Maddison).
WAVE (Paley)
Undulating moulding, consisting of shallow concave/convex/
concave curves, Fig. 3.5. Later Gothic, predominantly English Decorated, c. I2901360 (Morris 1978, Maddison), but large waves also continue intermittently in
Perpendicular; 'ogee casement' (Roberts). Mainly arches, mullions, door and window
frames.
SPIKED

PRINCIPLES

OF ORGANIZATION

A combination of two or more mouldings may be described as a 'group' (Paley) or

'moulding formation' (Morris I978). Frequently a group coincides with an architectural component, such as a rib or the order of an arch, Fig. 3.I9. A typical group
consists of a centrally placed moulding and one projecting on each side of it (Fig. 3.19, x
and Y). x is described as 'the axial moulding', and Y as 'the lateral moulding', flanking
the axial moulding. Willis called x 'on the keel', and Y 'on the wing'.
Various terms are used to locate a moulding on an arch or related architectural
feature. 'Soffit', 'face' and 'angle' are more usually applied in Romanesque and
Early/High Gothic (Fig. 3.20). The soffit of an arch may be coincidental with the axial
moulding. An angle moulding (e.g. angle roll) occurs where the arch profile is
essentially rectangular in section. In later Gothic, the block is characteristically
chamfered, and the angle is replaced by mouldings worked on the chamfer plane. A
'continuous moulding' is one which flows from a jamb/respond/pier into the arch
without interruption by a capital or stringcourse.
NOTES

I E. Sharpe, Supplementto architectural

parallelsin the 12th and 13th centuries(London, 1848); the Supplementis a
separate volume containing full-size profiles. Also The Mouldingsof the six periodsof Britisharchitecture
from the
Conquestto the Reformation,3 parts (London, 1871-74), never completed.
2 E.g. Abbey Square Sketch Book, ArchitecturalAssociation Sketch Book, John o'Gaunt Sketch Book, etc. Their
contents are all indexed in the Victoria and Albert Museum, Topographical
indexto measureddrawingsofarchitecture
in
principalBritisharchitectural
publications(London, I908).
duXIe au XVIesicle, Io vols (Paris, I867-70). See
3 E. Viollet-le-Duc, Dictionnaireraisonnedel'architecturefranfaise
vol. vII, 'profil', and additional information occurs in other entries throughout volsI-Ix, e.g. 'arc', 'base',
'chapiteau', etc.
4 Morris (1978) and Morris (1979).

i6

ARCHITECTURAL

HISTORY 35: 1992

5 Fernie, pp. I66-68.

6 J. Bony, 'Durham et la tradition saxonne', Etudesd'art offertesa Louis Grodecki,ed. S. Crosby (Paris I98I),
p. 8i sqq.
7 Rigold, p. 122 sqq.
8 Ibid., pp; I08-Io; and F. Deshoulieres, 'Essai sur les bases romanes', Bulletin Monumental,LXXV (19I),
pp. 77-101.
9 Enlart, pp. 325-27.
Io Gardner, p. 578, note 15, and fig. I.
I I V. Mend, 'Tvary klenebnich zeber v ceske goticke architekture', Zprdvypamdtkovepece,xI (1952), pp. 270-7I,
fig. II/8 and 12, e.g. Mnichovo Hradiste and Velehrad.
12 Wilson (I986), p. 107.
13 Ibid., p. 96; and Lasteyrie, I, p. 295, note 2.
14 For Czechoslovakia, see V. Mencl, 'Vyvoj stredovekeho portalu v ceskych zemich', Zprdvypamdtkovepece,xx
(1960), pp. II2-I3, Mnichovo Hradiste c. 1250-60; and idem, I952 (see note II), p. 271, fig. 11/3and 23. I have
noted the grooved roll in Italy, in the brick ribs of S. Niccolo, Treviso, c. 1305.
I5 Dehio, vol. 5 (Stuttgart, 1901), pl. 572/4.
16 Jansen, pp. 84-85, and Appendix I for a list.
17 Paley, 3rd rev. ed., p. 33.
I8 Gardner, p. 578, note I5.
19 N. Bongartz, Diefriihen BauteilederKathedralin Troyes (Stuttgart, 1979), fig. Z8.
20 H. R. Hahnloser (ed.), Villardde Honnecourt(Vienna, 1935), pl. 65 (32r).
21 Gardner, p. 582.
22 Lasteyrie, vol. I, p. 296, fig. 303.
23 Bilson (I909), p. 260 sqq.; and Wilson (1986), p. 88 sqq. and fig. 5(a).
24 Lasteyrie, I, pp. 296-97; and II, p. 73, fig. 657.
25 For English examples, see Bilson (I909), p. 266 and fig. 13.
26 A. Mussat, Le style gothiquede l'ouestde la France,XIIe-XIIIe siecles(Paris, 1963), p. 223 sqq.
27 Bilson (I909), p. 258.
28 Wilson (1986), p. o16, note 69.
29 Ibid., p. 88, note 3; p. 98, note 39; p. 104, note 69.

Abbreviations
Bilson I909
J. Bilson, 'The Architecture of the Cistercians with special reference to some of their earlier
churches in England', Archaeological
Journal, LXVI (I909), pp. 185-280
Bilson 1922
J. Bilson, 'Durham Cathedral, the chronology of its vaults', ArchaeologicalJournal,
LXXIX (1922),
pp. o10-60
Bond
F. Bond, Gothicarchitecture
in England(London 1906)
Dehio
G. Dehio and G. von Bezold, Die KirchlichebaukunstdesAbendlandes(vol. 3, Stuttgart, 1892)
Durand
G. Durand, Monographiede l'egliseNotre-Damecathedraled'Amiens,2 vols (Amiens, I90I-03)
Enlart
C. Enlart, Manueld'archeologiefranfaise:
architecture,vol. I, Architecturereligieuse(Paris, I902)
P. Fergusson, Architectureof solitude:Cistercianabbeysin twelfth-century
Fergusson
England(London, 1984)
Fernie
E. Fernie, Anglo-Saxon Architecture(London, 1983)
Forrester
H. Forrester, Medieval Gothicprofiles:a guide (Chichester, 1972)
Gardner
S. Gardner, 'Two campaigns in Suger's western block at St Denis', Art Bulletin, LXVI/4 (1984),
pp.574-87
V. Jansen, 'Architectural remains of KingJohn's abbey, Beaulieu (Hampshire)', Studiesin Cistercianart
Jansen
and architecture,ed. M. P. Lillich, vol. II (Kalamazoo, 1984), pp. 76- 14
Kletzl
0. Kletzl, Plan-fragmentsaus derdeutschenDombauhuttevon Prag in Stuttgartund Ulm (Stuttgart, 1939)
R. de Lasteyrie, L'architecture
Lasteyrie
religieuseen Francea lI'poquegothique,2 vols (Paris, 1926-27)
Maddison
J. M. Maddison, 'The Choir of Chester Cathedral', Journal of ChesterArchaeologicalSociety, 66
(1983), pp. 31-46
Morris 1978
R. K. Morris, 'The Development of later Gothic mouldings in England, c. I25o-I400, Part I',
ArchitecturalHistory, xxi (I978), pp. 18-57
Morris 1979
R. K. Morris, 'Part 2', ibid., xxII (979), pp. 1-48
S. Murray, Building TroyesCathedral:the late Gothiccampaigns(Bloomington, 1987)
Murray
L. E. Neagley, 'The Flamboyant architectureof St Maclou, Rouen, and the development of a style',
Neagley
Society of ArchitecturalHistorians(US)Journal, XLVII/4 (1988), pp. 374-96
F. A. Paley, Manualof Gothicmouldings(London, 1847)
Paley 1847

ENGLISH GLOSSARY OF MEDIEVAL MOULDINGS

I7

S. E. Rigold, 'Romanesque bases in and south-east of the limestone belt', Ancientmonumentsand their
Rigold
interpretation:essayspresentedto A.J. Taylor, ed. M. R. Apted etal. (London, 1977), pp. 99-I37
Roberts
E. Roberts, 'Moulding analysis and architecturalresearch:the late Middle Ages', Architectural
History,
xx (1977), pp. I-I3
V. Ruprich-Robert, L'architecture
normandeaux XIe et XIIe siecles,2 vols (Paris, 1884-89)
Ruprich-Robert
H. M. andJ. Taylor, Anglo-Saxon architecture,2 vols (Cambridge, 1965)
Taylor
Willis 1844
R. Willis, Architecturalnomenclature
of the MiddleAges (Cambridge, 1844)
Wilson 1978
C. Wilson, 'Sources for the late twelfth-century work at Worcester Cathedral', MedievalArt and
Architectureat WorcesterCathedral,British Archaeological Association Conference Transactions, I (1978),
pp. 8-90
Wilson 1986
C. Wilson, 'The Cistercians as "missionaries of Gothic" in northern England', Cistercianartand
architecture
in Britain, eds E. C. Norton, D. Park (Cambridge, 1986), pp. 86-1 6

ACKNOWLEDGEMENTS

I am particularly grateful to the following for answering queries relating to matters in this article:
Paul Crossley, Peter Draper, Richard Fawcett, Eric Fernie, John Harvey, John James, Virginia
Jansen, Stephen Murray, Linda Neagley, Roger Stalley, Christopher Wilson. Travel to
numerous Early English Gothic buildings to draw their mouldings was made possible by grants
from the Research Fund of the Society of Antiquaries (London) and the American Council of
Learned Societies; for the latter I am most indebted to the good offices of Virginia Jansen. For
invaluable assistance in the fieldwork, I am grateful to Jennifer Alexander (Lincoln), Phillip
Lindley (Ely), and especially to Carol Lovelock and Jim Bugslag.