381:
27:
179:
501:
38:
603:, who believed that "ornamental carved work, decorative painting, encaustic tiles, and stained glass were foolish vanities which lead the heart astray", and from others who were concerned about the cost: "For the cost of one stone church with a groined roof, or even an open timbered roof, two might be built in brick with plaster ceilings; and who could dare to say that worship in the plainer building would be less devout or sincere than that which was offered in the other?"
427:
pitch, removing the vestry, incorporating the south porch into the south aisle and removing the door, re-flooring the nave, installing new oak benches and replacing an earlier gallery. Butterfield also installed clear windows in the clerestory, allowing more light to enter the nave. He extended the aisles by knocking down the dividing walls of two chambers at the west end. On the exterior of the church, Butterfield removed the crumbling
528:, in which he stated that "as a general rule it is highly desirable to preserve those vestiges of the growth and history of buildings which are indicated by the various styles and irregularities of its parts". However, he did not follow this principle in practice, generally sweeping away all later changes and reconstructing the church in a uniform early style, sometimes on the evidence of just one remaining early feature.
149:
579:
293:, as a club for those who shared a common interest in Gothic church design. It rapidly became popular: its membership increased from 8 to 180 in its first 12 months. Although initially a society for recording and discussing medieval church features, the members of the CCS soon began to expostulate in their journal
590:
But of late years a great uprising of ecclesiastical zeal, coinciding with a great increase of study, and consequently of knowledge of medieval architecture has driven people into spending their money on these buildings, not merely with the purpose of repairing them, of keeping them safe, clean, and
328:
put it, they said that one could "either restore each of the various alterations and additions in its own style, or restore the whole church to the best and purest style of which traces remain". The
Society wholeheartedly recommended the second option and since virtually every medieval church had at
194:
reforms, which were typified by a minimum of ritual and decoration and by an unambiguous emphasis on preaching, there had been an ongoing removal of any emotion or colour from
English religious services as a means of distancing itself from what was seen as the excesses of Catholicism but towards the
595:
Despite his opposition, though, it is known that Morris profited greatly by his firm's provision of stained glass to many restoration projects, and it has been noted that his criticism only started after his firm was securely established as a supplier to these projects. But after 1880, in line with
203:
encouraged people to seek more interest in their religious services. The popularity of the Gothic
Revival was seen by Church officials as a way to reverse the decline in church attendance, and thereby start to reassert the Church's power, prosperity and influence. They therefore pushed for massive
426:
in London. Butterfield's restoration involved the removal of some original features, including the obliteration of paintings on the pillars. The most substantial structural changes involved raising both the roof and the floor of the chancel, raising the roof of the south transept to its original
170:
onwards, apart from necessary repairs so that buildings might remain in use, and the addition of occasional internal commemorative adornments, English churches and cathedrals were subjected to little building work and only piecemeal restoration. This situation lasted for about 250 years with the
669:
that could have been adopted—the others being Early
English which had "very little detail which an ordinary craftsman could not manage", and Perpendicular which was "infinitely the most adaptable of medieval styles". Clark pointed out that Decorated was the most difficult to execute, not least
406:
in the forty years up to 1875, with the most active decade being the 1860s in which there were more than 1,000 such consecrations. Over 7,000 parish churches in
England and Wales – which is nearly 80% of all of them – were restored in some way between 1840 and 1875. There were 150% more people
410:
The retention of original material (carving, woodwork, etc.) tended to be of little importance to the early restorers: appearance was all, and much good old work was discarded to be replaced by modern replacement in the chosen style. Different architects had different degrees of sympathy with
677:
However, not all restoration work was purely negative: a side effect of a number of restorations was the rediscovery of long-lost features, for instance Anglo-Saxon carving that had been incorporated into Norman foundations, or wall-paintings that had been whitewashed over, as at
554:
that it was not possible "to restore anything that has ever been great or beautiful in architecture". The
Society of Antiquaries of London urged in 1855 that "no restoration should ever be attempted, otherwise than ... in the sense of preservation from further injuries".
140:. In retrospect the period of Victorian restoration has been viewed in a generally unfavourable light, though it did result in the rediscovery of some long-lost features and some churches that would otherwise have fallen into disrepair were saved.
329:
least some small remnant of decorated style, maybe a porch or even just a window, the whole church would be "restored" to match it. If the earliest portions were too late, then it was a candidate for a complete rebuild in the "correct" style.
401:
was the only correct style, and by the Oxford
Movement's theories concerning the nature of worship, a spate of "restoration" was soon under way. Some figures give an idea of the scale. A total of 3,765 new and rebuilt churches were
124:
enthusiastically accepted commissions for restorations. It is estimated that around 80% of all Church of
England churches were affected in some way by the movement, varying from minor changes to complete demolition and rebuilding.
336:
declared, "is to revive the original appearance ... lost by decay, accident or ill-judged alteration". They did later admit, though, that such "restoration" might create an ideal state that the building had never been in.
407:
identified as professional architects in the 1871 census than in 1851 – it is known that established architects passed small restoration jobs on to their newly qualified colleagues, since such work provided good practice.
653:
From a 20th-century perspective the process of
Victorian restoration has often been viewed unfavourably, with terms such as "ruthless", "insensitive" and "heavy-handed" being commonly used to describe the work done.
591:
wind and water-tight, but also of "restoring" them to some ideal state of perfection; sweeping away if possible all signs of what has befallen them at least since the
Reformation, and often since dates much earlier.
574:
by Scott. The principles espoused by SPAB took some time to attract support, but the policy of putting "Protection in place of Restoration" eventually took hold, and are adhered to today. Morris also wrote in 1877:
457:. It includes many ornate carved figures of kings, queens and saints, created from original materials where possible and new imitations and additions when the originals were not available. Wyatt's
665:
wrote "The real reason the Gothic Revival had been neglected is that it produced so little on which our eyes can rest without pain". Clark also reckoned that Decorated Gothic was the worst of the
316:
The CCS's firm insistence on one style being correct proved to be a beacon for those who were no longer able to judge for themselves what was "good" in architecture—the certainties of the
411:
original material, and as the century progressed greater care was generally taken; this was at least partly as a result of the increasingly louder voices that were raised in opposition.
305:" style, in which churches had been built during the hundred years centred on 1300. Ecclesiology obviously struck a chord in society: it was closely linked with the ongoing interest in
57:
architectural features, replacing them with his own designs. These are considered unsympathetic to the fabric of the building, and were criticised by commentators even at the time.
497:
became enthusiastic "restorers" and the wave of restoration spread across the country so that by 1875 something like 80% of all churches in England had been affected in some way.
1422:"Architecture at the Service of Ideology: William Morris, the Anglican Church and the Destruction, Restoration and Protection of Medieval Architecture in Victorian England"
445:, the 18th century had been a period of decay: the 15th-century library was pulled down, most of the statues on the west front were removed, and the stonework covered with
544:(1841), until his death in 1868. The Archaeological Society was founded in 1845 by antiquarians anxious to bring the love of old buildings to a wider audience. Although
230:, was seen as further evidence of this shortfall. To fulfil this need, between 1818 and 1824 the Government had granted £1.5 million for building new churches. Known as
105:
advocated a return to a more medieval attitude to churchgoing. The change was embraced by the Church of England which saw it as a means of reversing the decline in
136:
were opposed to such large-scale restoration, and their activities eventually led to the formation of societies dedicated to building preservation, such as the
234:, most of them cost only £4,000 to £5,000 each to build, and dissatisfaction with their indifferent design and cheap construction provoked a strong reaction.
1440:
Miele, Chris (1995). "Chapter 7. Their interest and habit: Professionalism and the Restoration of Medieval Churches, 1837–77". In Brooks, Chris (ed.).
324:
that had been in vogue since the middle of the 18th century. The CCS stated that there were two possible ways in which a church could be restored. As
898:
1520:
567:
137:
1332:
Bailey, Richard N. (2003). "What mean these Stones?: Some Aspects of pre-Norman Sculpture in Cheshire and Lancashire". In Donald Scragg (ed.).
699:
1284:
See, for instance, Reed 1997, p.338: "Much of his restoration work was undoubtedly insensitive, heavy-handed, and ruthless"; and
237:
Equivalent movements existed in most of Europe, especially northern Europe, with the French architect and architectural historian
1530:
1421:
461:
had utilised medieval stone-work which Scott in turn used to create the clergy's seats in the sanctuary. A new metal screen by
171:
fabric of many churches and cathedrals suffering from neglect. The severity of the problem was demonstrated when the spire of
1525:
1470:
918:
563:
415:
385:
50:
398:
302:
1535:
610:
made it clear that his preference was for Renaissance art, as might be expected of a religious order of Italian origin.
1491:
1451:
1341:
1297:
1115:
1090:
997:
971:
365:. Consequences of this included moving the pulpit from a more central position to the side of the church, replacing
1047:
748:
211:
had resulted in many people living in cities that had few churches to cater for their religious needs—for instance
550:
380:
1153:
Luxford, Julian M (2000). "In Dreams: The sculptural iconography of the west front of Bath Abbey reassessed".
596:
SPAB principles, the firm refused to accept stained glass commissions for historic ecclesiastical buildings.
1236:
1515:
473:
pavement stretching from choir screen to altar, inspired by medieval tiles found in the Choir foundations.
227:
682:. It is also true to say that had they not been restored many churches would have fallen into disrepair.
666:
423:
113:
373:
to give a better view of the altar, and the removal of galleries. Another consequence was that a larger
1358:
178:
290:
947:
1237:"Charles L. Eastlake on Evangelical Protestant and Roman Catholic Resistance to the Gothic Revival"
1131:
278:
231:
98:
238:
282:
910:
116:" style of architecture which existed between 1260 and 1360, and many famous architects such as
219:
1359:"St Albans Cathedral and Abbey Church, Hertfordshire: A Case History in Victorian Restoration"
1287:
208:
500:
494:
482:
454:
269:
172:
157:
117:
83:
54:
26:
8:
730:
679:
490:
442:
419:
167:
153:
46:
1410:
1396:
301:
of 1844 that the only "correct" form for a church building was the "middle pointed" or "
935:
548:
was generally in favour of new buildings in an early Gothic style, in 1849 he wrote in
466:
349:, which advocated moving the centre of importance in the church from preaching to the
1487:
1466:
1447:
1337:
1293:
1111:
1086:
993:
967:
914:
106:
75:
72:
1406:
1162:
1078:
906:
607:
571:
537:
462:
286:
89:
Against a background of poorly maintained church buildings, a reaction against the
1481:
1441:
987:
346:
215:
had a population of nearly 34,000 but church seating for only 2,500. The rise in
102:
163:
A number of factors working together led to the spate of Victorian restoration.
112:
The principle was to "restore" a church to how it might have looked during the "
1188:
1166:
582:
559:
517:
486:
310:
196:
133:
121:
94:
1500:
1048:"Victorian Wolverhampton: Churches and Religious Buildings. 1 – The Anglicans"
68:
1509:
1392:
1267:
662:
636:
513:
325:
79:
78:
and cathedrals that took place in England and Wales during the 19th-century
509:
458:
446:
414:
As an example of the type of work undertaken in one church, in 1870–71 the
403:
16:
Movement to refurbish and rebuild Church of England churches and cathedrals
545:
450:
321:
306:
200:
129:
600:
505:
277:
One of the main driving forces for the restoration of churches was the
964:
Sharpe, Paley and Austin: A Lancaster Architectural Practice 1836–1942
435:
354:
350:
317:
223:
216:
212:
966:, Lancaster: Centre for North-West Regional Studies, pp. 44–6,
512:
that replaced the ancient wooden ceiling to the original design by
183:
97:, and a shortage of churches where they were needed in cities, the
671:
470:
374:
366:
191:
148:
90:
82:. It was not the same process as is understood today by the term
37:
578:
540:
was a staunch and well-respected opponent from his first book,
431:
that had been added in 1820 and re-faced the church walls with
428:
358:
1033:
Clark 1962, pp. 172–3, p. 211; Mari 2010, p. 3.
1304:"... prior to a ruthless Victorian restoration ..."
453:, the ornate west front (pictured above) was restored by Sir
432:
370:
362:
570:(SPAB) in 1877 when he heard of the proposed restoration of
49:
before and after restoration in 1880. The amateur architect
526:
A plea for the faithful restoration of our Ancient Churches
1463:
600 New Churches: the Church Building Commission 1818–1856
606:
Not all Catholics were in favour either: late in his life
449:. After some structural work early in the 19th century by
345:
Church restorations were also strongly influenced by the
1289:
St Albans, 1650–1700: a thoroughfare town and its people
751:. Chichester Cathedral Restoration and Development Trust
53:'s rebuilding of the west front removed the cathedral's
1401:(3rd ed.). New York: Holt, Rinehart & Winston.
1015:
Mari 2010, p. 34 quoting Miele 1995, p. 156.
1483:
The Landscape of Britain: from the beginnings to 1914
986:
Brooks, Chris; Saint, Andrew (1995). "Introduction".
241:
especially associated with the French manifestation.
674:
that set it apart from the other two Gothic styles.
1334:
Textual and material culture in Anglo-Saxon England
562:who campaigned against the proposed restoration of
1110:. King's Langley: Alpine Press. pp. 100–102.
264:I only wish I had known its founders at the time.
1292:. University of Hertfordshire Press. p. 78.
1507:
1446:. Manchester University Press. pp. 151–72.
418:, was the subject of a restoration programme by
568:Society for the Protection of Ancient Buildings
397:Persuaded by the Cambridge Camden Society that
249:
182:The unrestored interior of the Puritan Chapel,
138:Society for the Protection of Ancient Buildings
1443:The Victorian Church: Architecture and Society
1146:
989:The Victorian Church: Architecture and Society
729:
422:, whose other works included churches such as
1011:
1009:
256:My first church dates from the same year with
190:In addition, ever since the mid-17th century
1195:(1877), quoted in Mari 2010, pp. 19–20.
1050:. Wolverhampton History and Heritage Website
899:"Architectural conservation and restoration"
469:to designs by Scott was installed, as was a
985:
876:
874:
260:Society, to whom the honour of our recovery
1285:
1077:
1006:
992:. Manchester University Press. p. 9.
175:suddenly telescoped in on itself in 1861.
911:10.1093/gao/9781884446054.article.T003774
320:rules having lost their power during the
1405:
1266:
1045:
871:
577:
499:
379:
377:was required for the associated ritual.
281:(CCS), which was founded in 1839 by two
177:
147:
1336:. Cambridge: D. S Brewer. p. 215.
1221:
1219:
1152:
697:
195:end of the 18th century the burgeoning
1521:Gothic Revival architecture in England
1508:
1465:(2nd ed.). Reading: Spire Books.
1331:
1105:
892:
890:
888:
886:
714:
258:the foundation of the Cambridge Camden
1439:
1391:
1041:
1039:
961:
564:St John the Baptist Church, Inglesham
416:Church of St Peter, Great Berkhamsted
262:from the odious bathos is mainly due.
1479:
1460:
1419:
1356:
1216:
896:
1286:Smith, J. T.; North, M. A. (2003).
1108:Berkhamsted: an Illustrated History
883:
536:There were opponents. The Reverend
369:with open pews, creating a central
13:
1415:. London: Longmans, Green, and Co.
1234:
1036:
823:Quoted in Clark 1962, p. 162.
670:because of the complicated window
646:(traditional tune settings include
585:, who strongly opposed restoration
340:
14:
1547:
1085:. The Bookstack. pp. 30–32.
704:. London: George Bell & Sons.
701:The Cathedral Church of St Albans
388:, with Butterfield's restorations
244:
67:was the widespread and extensive
897:Meek, Harold and Marion (2003).
657:In the introduction to his book
613:
558:A later vociferous opponent was
476:
36:
25:
1412:A History of the Gothic Revival
1373:
1350:
1325:
1316:
1307:
1278:
1260:
1251:
1228:
1207:
1198:
1182:
1173:
1124:
1099:
1071:
1062:
1046:Albutt, Michael; Amison, Anne.
1027:
1018:
979:
955:
862:
853:
844:
835:
826:
817:
808:
566:, in the 1880s and started the
551:The Seven Lamps of Architecture
1531:Victorian architectural styles
1083:A Short History of Berkhamsted
841:Eastlake 1872, pp. 196–7.
799:
796:Port 2006, pp. 17–18, 24.
790:
781:
772:
763:
741:
723:
708:
691:
542:Remarks on Church Architecture
1:
1225:Eastlake 1872, p. 190–1.
698:Perkins, Rev. Thomas (1903).
685:
599:Further opposition came from
531:
392:
143:
1526:Revival architectural styles
1132:"History – The 19th Century"
749:"Chichester Cathedral Spire"
299:Few Words to Church-builders
272:, Recollections, p. 86.
250:The Cambridge Camden Society
228:Religious Society of Friends
7:
1322:Clark 1962, pp. 171–2.
1257:Eastlake 1872, p. 347.
1179:Eastlake 1872, p. 273.
859:Eastlake 1872, p. 187.
661:(first published in 1928),
648:"Ellacombe" and "Aurelia").
643:The Church's One Foundation
626:Not what there used to be.
524:In 1850 Scott wrote a book
424:All Saints, Margaret Street
10:
1552:
1536:Architectural conservation
1486:. Routledge. p. 338.
1385:
1167:10.1163/156852901750359103
832:Clark 1962, pp.155, 160–1.
624:Has left for contemplation
481:Famous architects such as
297:and particularly in their
735:The Cathedrals of England
1427:. University of Montreal
1213:Miele 1995, p. 153.
1024:Miele 1995, p. 159.
880:Clark 1962, p. 173.
868:Clark 1962, p. 160.
814:Clark 1962, pp. 98, 107.
622:In eighteen-eighty-three
620:The Church's Restoration
386:St Peter's, Berkhampsted
279:Cambridge Camden Society
128:Influential people like
99:Cambridge Camden Society
93:ethic manifested in the
1501:Victorian Churches blog
1420:Mari, Philippe (2010).
1379:Reed 1997, p. 338.
952:(subscription required)
601:evangelical Protestants
232:Commissioners' churches
207:As a third factor, the
80:reign of Queen Victoria
1480:Reed, Michael (1997).
1357:Banerjee, Jacqueline.
1313:Clark 1962, p. 7.
1204:Mari 2010, p. 26.
1106:Hastie, Scott (1999).
805:Mari 2010, p. 30.
787:Port 2006, p. 22.
769:Mari 2010, p. 66.
628:
593:
586:
521:
508: – Scott's stone
389:
266:
204:restoration programs.
187:
160:
1155:Religion and the Arts
1134:. Lichfield Cathedral
1068:Mari 2010, p. 4.
962:Price, James (1998),
905:. Oxford Art Online.
778:Mari 2010, p. 7.
715:Harvey, John (1961).
667:three possible styles
618:
588:
581:
503:
383:
254:
239:Eugène Viollet-le-Duc
209:Industrial Revolution
181:
166:From the time of the
151:
65:Victorian restoration
1461:Port, M. H. (2006).
1407:Eastlake, Charles L.
850:Clark 1962, p.170–1.
737:. Thames and Hudson.
731:Clifton-Taylor, Alec
495:George Edmund Street
483:George Gilbert Scott
455:George Gilbert Scott
270:George Gilbert Scott
173:Chichester Cathedral
158:George Gilbert Scott
118:George Gilbert Scott
84:building restoration
1516:Churches in England
1361:. The Victorian Web
1239:. The Victorian Web
680:St Albans Cathedral
491:William Butterfield
443:Lichfield Cathedral
420:William Butterfield
168:English Reformation
154:Lichfield Cathedral
47:St Albans Cathedral
1398:The Gothic Revival
1235:Landow, George P.
717:English Cathedrals
659:The Gothic Revival
587:
522:
467:John Birnie Philip
390:
334:The Ecclesiologist
295:The Ecclesiologist
188:
161:
152:The west front of
71:and rebuilding of
1472:978-1-904965-08-4
1079:Birtchnell, Percy
920:978-1-884446-05-4
903:Oxford Art Online
322:Romantic movement
107:church attendance
73:Church of England
1543:
1497:
1476:
1457:
1436:
1434:
1432:
1426:
1416:
1402:
1380:
1377:
1371:
1370:
1368:
1366:
1354:
1348:
1347:
1329:
1323:
1320:
1314:
1311:
1305:
1303:
1282:
1276:
1275:
1264:
1258:
1255:
1249:
1248:
1246:
1244:
1232:
1226:
1223:
1214:
1211:
1205:
1202:
1196:
1186:
1180:
1177:
1171:
1170:
1150:
1144:
1143:
1141:
1139:
1128:
1122:
1121:
1103:
1097:
1096:
1075:
1069:
1066:
1060:
1059:
1057:
1055:
1043:
1034:
1031:
1025:
1022:
1016:
1013:
1004:
1003:
983:
977:
976:
959:
953:
951:
945:
941:
939:
931:
929:
927:
894:
881:
878:
869:
866:
860:
857:
851:
848:
842:
839:
833:
830:
824:
821:
815:
812:
806:
803:
797:
794:
788:
785:
779:
776:
770:
767:
761:
760:
758:
756:
745:
739:
738:
727:
721:
720:
712:
706:
705:
695:
649:
608:Cardinal Wiseman
572:Tewkesbury Abbey
538:John Louis Petit
463:Francis Skidmore
399:Decorated Gothic
287:John Mason Neale
285:undergraduates,
273:
199:and interest in
186:, West Yorkshire
40:
29:
1551:
1550:
1546:
1545:
1544:
1542:
1541:
1540:
1506:
1505:
1494:
1473:
1454:
1430:
1428:
1424:
1388:
1383:
1378:
1374:
1364:
1362:
1355:
1351:
1344:
1330:
1326:
1321:
1317:
1312:
1308:
1300:
1283:
1279:
1272:Collected Poems
1265:
1261:
1256:
1252:
1242:
1240:
1233:
1229:
1224:
1217:
1212:
1208:
1203:
1199:
1193:The Lesser Arts
1187:
1183:
1178:
1174:
1151:
1147:
1137:
1135:
1130:
1129:
1125:
1118:
1104:
1100:
1093:
1076:
1072:
1067:
1063:
1053:
1051:
1044:
1037:
1032:
1028:
1023:
1019:
1014:
1007:
1000:
984:
980:
974:
960:
956:
943:
942:
933:
932:
925:
923:
921:
895:
884:
879:
872:
867:
863:
858:
854:
849:
845:
840:
836:
831:
827:
822:
818:
813:
809:
804:
800:
795:
791:
786:
782:
777:
773:
768:
764:
754:
752:
747:
746:
742:
728:
724:
713:
709:
696:
692:
688:
651:
647:
645:
640:
630:
625:
623:
621:
616:
534:
479:
395:
347:Oxford Movement
343:
341:Oxford Movement
275:
268:
263:
261:
259:
257:
252:
247:
156:as restored by
146:
103:Oxford Movement
61:
60:
59:
58:
51:Lord Grimthorpe
43:
42:
41:
32:
31:
30:
17:
12:
11:
5:
1549:
1539:
1538:
1533:
1528:
1523:
1518:
1504:
1503:
1498:
1492:
1477:
1471:
1458:
1452:
1437:
1417:
1403:
1393:Clark, Kenneth
1387:
1384:
1382:
1381:
1372:
1349:
1342:
1324:
1315:
1306:
1298:
1277:
1268:Betjeman, John
1259:
1250:
1227:
1215:
1206:
1197:
1189:William Morris
1181:
1172:
1161:(3): 314–336.
1145:
1123:
1116:
1098:
1091:
1070:
1061:
1035:
1026:
1017:
1005:
998:
978:
972:
954:
919:
882:
870:
861:
852:
843:
834:
825:
816:
807:
798:
789:
780:
771:
762:
740:
722:
707:
689:
687:
684:
617:
615:
612:
583:William Morris
560:William Morris
533:
530:
518:William Vertue
487:Ewan Christian
478:
475:
394:
391:
342:
339:
332:"To restore,"
311:Gothic Revival
253:
251:
248:
246:
245:Driving forces
243:
197:Gothic Revival
145:
142:
134:William Morris
122:Ewan Christian
95:Gothic Revival
45:
44:
35:
34:
33:
24:
23:
22:
21:
20:
15:
9:
6:
4:
3:
2:
1548:
1537:
1534:
1532:
1529:
1527:
1524:
1522:
1519:
1517:
1514:
1513:
1511:
1502:
1499:
1495:
1493:9780415157452
1489:
1485:
1484:
1478:
1474:
1468:
1464:
1459:
1455:
1453:0-7190-4019-1
1449:
1445:
1444:
1438:
1423:
1418:
1414:
1413:
1408:
1404:
1400:
1399:
1394:
1390:
1389:
1376:
1360:
1353:
1345:
1343:0-85991-773-8
1339:
1335:
1328:
1319:
1310:
1301:
1299:9780954218935
1295:
1291:
1290:
1281:
1273:
1269:
1263:
1254:
1238:
1231:
1222:
1220:
1210:
1201:
1194:
1190:
1185:
1176:
1168:
1164:
1160:
1156:
1149:
1133:
1127:
1119:
1117:0-9528631-1-1
1113:
1109:
1102:
1094:
1092:1-871372-00-3
1088:
1084:
1080:
1074:
1065:
1049:
1042:
1040:
1030:
1021:
1012:
1010:
1001:
999:0-7190-4019-1
995:
991:
990:
982:
975:
973:1-86220-054-8
969:
965:
958:
949:
937:
922:
916:
912:
908:
904:
900:
893:
891:
889:
887:
877:
875:
865:
856:
847:
838:
829:
820:
811:
802:
793:
784:
775:
766:
750:
744:
736:
732:
726:
718:
711:
703:
702:
694:
690:
683:
681:
675:
673:
668:
664:
663:Kenneth Clark
660:
655:
650:
644:
638:
637:John Betjeman
634:
627:
614:In retrospect
611:
609:
604:
602:
597:
592:
584:
580:
576:
573:
569:
565:
561:
556:
553:
552:
547:
543:
539:
529:
527:
519:
515:
511:
507:
502:
498:
496:
492:
488:
484:
477:Practitioners
474:
472:
468:
464:
460:
456:
452:
448:
444:
439:
437:
434:
430:
425:
421:
417:
412:
408:
405:
400:
387:
382:
378:
376:
372:
368:
364:
360:
356:
352:
348:
338:
335:
330:
327:
326:Kenneth Clark
323:
319:
314:
312:
308:
304:
300:
296:
292:
291:Benjamin Webb
288:
284:
280:
274:
271:
265:
242:
240:
235:
233:
229:
225:
221:
220:denominations
218:
214:
210:
205:
202:
198:
193:
185:
180:
176:
174:
169:
164:
159:
155:
150:
141:
139:
135:
131:
126:
123:
119:
115:
110:
108:
104:
100:
96:
92:
87:
85:
81:
77:
74:
70:
69:refurbishment
66:
56:
55:Perpendicular
52:
48:
39:
28:
19:
1482:
1462:
1442:
1431:18 September
1429:. Retrieved
1411:
1397:
1375:
1365:21 September
1363:. Retrieved
1352:
1333:
1327:
1318:
1309:
1288:
1280:
1274:. J. Murray.
1271:
1262:
1253:
1243:18 September
1241:. Retrieved
1230:
1209:
1200:
1192:
1184:
1175:
1158:
1154:
1148:
1138:22 September
1136:. Retrieved
1126:
1107:
1101:
1082:
1073:
1064:
1054:18 September
1052:. Retrieved
1029:
1020:
988:
981:
963:
957:
924:. Retrieved
902:
864:
855:
846:
837:
828:
819:
810:
801:
792:
783:
774:
765:
755:18 September
753:. Retrieved
743:
734:
725:
716:
710:
700:
693:
676:
658:
656:
652:
642:
632:
629:
619:
605:
598:
594:
589:
557:
549:
541:
535:
525:
523:
510:fan vaulting
504:The nave of
480:
459:choir-screen
447:Roman cement
440:
413:
409:
396:
384:The nave of
344:
333:
331:
315:
298:
294:
276:
267:
255:
236:
206:
189:
165:
162:
127:
111:
88:
64:
62:
18:
944:|work=
719:. Batsford.
546:John Ruskin
471:Minton tile
451:James Wyatt
404:consecrated
357:: from the
307:medievalism
201:medievalism
130:John Ruskin
1510:Categories
686:References
641:parody of
532:Opposition
506:Bath Abbey
393:Activities
222:, such as
144:Background
946:ignored (
936:cite book
926:17 August
436:flushwork
355:Eucharist
351:sacrament
318:Vitruvian
303:Decorated
283:Cambridge
224:Methodism
217:dissenter
213:Stockport
114:Decorated
1409:(1872).
1395:(1962).
1270:(1959).
1081:(1960).
733:(1967).
367:box pews
309:and the
226:and the
184:Bramhope
101:and the
76:churches
1386:Sources
672:tracery
375:chancel
361:to the
353:of the
192:Puritan
91:Puritan
1490:
1469:
1450:
1340:
1296:
1114:
1089:
996:
970:
917:
514:Robert
429:stucco
359:pulpit
1425:(PDF)
631:From
433:flint
371:aisle
363:altar
1488:ISBN
1467:ISBN
1448:ISBN
1433:2011
1367:2011
1338:ISBN
1294:ISBN
1245:2011
1140:2011
1112:ISBN
1087:ISBN
1056:2011
994:ISBN
968:ISBN
948:help
928:2022
915:ISBN
757:2011
633:Hymn
516:and
493:and
465:and
289:and
132:and
120:and
63:The
1163:doi
907:doi
635:by
441:At
1512::
1218:^
1191:,
1157:.
1038:^
1008:^
940::
938:}}
934:{{
913:.
901:.
885:^
873:^
489:,
485:,
438:.
313:.
109:.
86:.
1496:.
1475:.
1456:.
1435:.
1369:.
1346:.
1302:.
1247:.
1169:.
1165::
1159:4
1142:.
1120:.
1095:.
1058:.
1002:.
950:)
930:.
909::
759:.
639:,
520:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
