The building is lit by 52 windows. Fan vaulting over the nave at Bath Abbey.
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An 1843 drawing by Frederick Russell shows five bays of fan vaulting over the chancel arch.
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The interior fan vaulting ceiling, originally installed by Robert and William Vertue, was restored by Sir George Gilbert Scott between 1864 and 1874. The fan vaulting provides structural stability by distributing the weight of the roof down ribs that transfer the force into the supporting columns via the flying buttresses. Gilbert Scott's work in the 1870s included the installation of large gas chandeliers made by the Coventry metalworker Francis Skidmore. They were converted to electricity in 1979.
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With fan vaulting done in stone, the vaulting would serve as both an ornamental and fireproof layer. The stone in turn would be protected from the elements by a steep wooden roof.
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The beginning of fan vaulting dates to the 14th century when Romanesque and Norman buildings were adapted by inserting a “shell form” into the existing structure.Salter 2011, p. 70. This “shell form” differed from earlier versions of Gothic vaulting primarily in its structural character. Whereas earlier Gothic vaulting directed load paths to its ribs, fan vaulting distributed loads across the curved vaulting. For the conoid to function properly, it had to be supported on all sides; as “walls that support it vertically, the tas-de-charge supports its bottom, and the central spandrel panel provides the necessary compressive load along its upper edge.”Leedy 1980, p. 22.
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Pendant fan vault of Henry VII's chapel at Westminster Abbey. Pendant vault, St. Madeleine, Troyes. Pendant vaulting is considered to be a type of English fan vaulting. The pendant vault is a rare form of vault, attributed to fifteenth century English Gothic architecture, in which large decorative pendants hang from the vault at a distance from the walls.
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Heyman 2000, p. 357. As fan vaulting was expensive to construct, a majority of the examples of the vaulting are found in chantry chapels, commissioned by wealthy patrons.UC Davis 2018. A variety of building methods were employed as builders of the vaults were more concerned with keeping to the aesthetic aggregate of the finished product rather than technical particulars.
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There is a heritage museum in the cellars. The abbey is a Grade I listed building, particularly noted for its fan vaulting. It contains war memorials for the local population and monuments to several notable people, in the form of wall and floor plaques and commemorative stained glass. The church has two organs and a peal of ten bells.
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Second, the fans spring not from the walls of the Chapel, but from pendants placed about 2m from the walls.”Heyman 2000, p. 368. Here, concealed transverse arches intersect the conoids and provide support for the hanging pendants. While fan vaulting is purported to be confined to England, versions of pendant vaulting came to be characteristic of the Flamboyant period in France.
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The fan vaulting The church has ten misericords dating from the building of the church in 1350, five showing the arms of Bishop John de Grandisson. The church interior also has two medieval carved stone green men. There is a small stone plaque commemorating the poet Samuel Taylor Coleridge, who was born here on 21 October 1772, in the south churchyard wall.
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The fan-vaulting in St. Mary's Porch was done in 1637, and the great fan-vaulted staircase at Christ Church was not done until 1640. So there is no reason at all why it should not have seemed quite the natural thing to cover even a partially Renaissance building in this manner, especially one with so much Gothic feeling about its windows.
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205 Notably, this ceiling was also the first to combine pendants with fan vaulting. The fan vault is created by first dividing the ceiling into groin vaulted compartments. These groin vaults are created by the combination of arches along the wall and larger, transverse arches bridging the nave of the chapel. In the fan vault at the Henry VII Chapel, the compartments are nearly square in shape.
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The chapel, in particular, was a mix of architectural styles – Gothic revival and baroque.Crook (2008). p. 79. The chapel is mixture of late Gothic tracery, Renaissance swags of fruit and foliage, cherubs and cusps, fan-vaulting and Corinthian capitals. In the first place there was the old chapel of St. Mary's College, the roof and window jambs of which were used up again in the new building.
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Fan vaulting over the nave at Bath Abbey, Bath, England. Made from local Bath stone, this is a Victorian restoration (in the 1860s) of the original roof of 1608. A fan vault is a form of vault used in the Gothic style, in which the ribs are all of the same curve and spaced equidistantly, in a manner resembling a fan. The initiation and propagation of this design element is strongly associated with England.
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Mediaeval churches are more prevalent in Dorset; most are 15th century and are of a Perpendicular style.Lehane (p. 7) Sherborne Abbey, one of the county's largest, is noted for its broad fan vaulting added during an extensive 15th century rebuild.Newman & Pevsner (p. 369) Founded in AD 705 by Aldhelm, the Abbey contained the chair of the Bishop of Sherborne and was granted cathedral status until 1075 when the diocese was transferred to Old Sarum.
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The corner panels have fan vaulting on corbels, the other outer panels slope and the centre has a moulded roundel. There is a small plug in the centre, which, when removed, allows observers in the bell ringing chamber to view the crossing.This is known as a Holy Ghost hole, which could serve the purpose of allowing the image of a dove to be lowered for Pentecost. The massive arches, supporting the equally monumental tower, is apparently early thirteenth century.
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Another feature was that doorways were often enclosed by squared mouldings and the spaces between the moulding and the door arch – called spandrels were decorated with quadrifoils etc. Ornate stone ceilings, using so-called fan vaulting, made for huge unsupported spaces. King's College Chapel, Cambridge has magnificent specimens of these. Meanwhile, the Lady Chapel of Ely Cathedral has an unsupported stone ceiling approximately 30 feet by 80 feet, using a star formation of lierne vaults and bosses.
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The more domestic rooms of No. 13 are at the front of the house, many of them highly unusual, but often in subtle ways. The domed ceiling of the Breakfast Room, inset with convex mirrors, has influenced architects from around the world. The Library-Dining Room reflects the influence of Etruscan tombs and perhaps even gothic design in its repertoire of small pendants like those in fan vaulting. It is decorated in a rich 'Pompeian' red.
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In the late 15th century much of the old stonework in the nave was covered over in stonework of this style (hence their substantial thickness) and the two easternmost arch pillars were rebuilt. The fan-vaulting in the nave, by William Smyth, was finished around 1490. A consequence of having the new perpendicular clerestory sit atop the old Normal pillars is that the two do not line up. However, this is not really noticeable from the outside.
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In the Blackheath chapel, a blue celestial light is designed to fall in the shape of a cross or sword across the central altar of the basilica- shapedi.e. the early meeting-room form interior from the east side. The tall, rectangular windows of the building were inspired by the gallery of shadowy pillars in the background of the painting. There is a theory that medieval pillars and fan vaulting had some connection with the appearance of an avenue of trees.
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The work included the installation of fan vaulting in the nave, which was not merely a fanciful aesthetic addition but a completion of the original design. Oliver King had arranged for the vaulting of the choir, to a design by William and Robert Vertue. There are clues in the stonework that King intended the vaulting to continue into the nave, but that this plan was abandoned, probably for reasons of cost. In addition a stone screen between the choir and nave was removed.
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The Norman stone floor of the nave, however, survived until its replacement in 1786. Perpendicular style nave Canterbury Cathedral, fan vaulting of the crossing From 1396 the cloisters were repaired and remodeled by Yevele's pupil Stephen Lote who added the lierne vaulting. It was during this period that the wagon-vaulting of the chapter house was created. A shortage of money and the priority given to the rebuilding of the cloisters and chapterhouse meant that the rebuilding of the west towers was neglected.
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Today, the 1.3 acre campus includes the church, a lovely churchyard, Gage Hall, and a Religious Education Annex. The Sanctuary is often referred to as the Landmark as it was named a National Historical Landmark in 1976. In 2005, the outside of the building was cleaned, sealed and resurfaced, and in 2010, the inside was also repaired and repainted. It remains today a fine example of fan- vaulting and, with its lovely painted and stained-glass windows, is a pleasant place to sit in quiet contemplation.
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The pointed arches used in Perpendicular were often four-centred arches, allowing them to be rather wider and flatter than in other Gothic styles. Perpendicular tracery is characterized by mullions that rise vertically as far as the soffit of the window, with horizontal transoms frequently decorated with miniature crenellations. Blind panels covering the walls continued the strong straight lines of verticals and horizontals established by the tracery. Together with flattened arches and roofs, crenellations, hood-mouldings, lierne vaulting, and fan vaulting were the typical stylistic features.
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Between the thirteenth and fourteenth centuries, the style of church architecture could be called 'Early English' and 'Decorated'. This time is considered to be when England was in its prime in the category of a church building. It was after the Black Death that the style went through another change, the 'perpendicular style', where ornamentation became more extravagant. An architectural element that appeared soon after the Black Death style change and is observed extensively in Medieval English styles is fan vaulting, seen in the Chapel of Henry VII and the King's College Chapel in Cambridge.
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Looking west from the choir, the fan vaulting is mostly 19th-century Bath Abbey is a parish church of the Church of England and former Benedictine monastery in Bath, Somerset, England. Founded in the 7th century, it was reorganised in the 10th century and rebuilt in the 12th and 16th centuries; major restoration work was carried out by Sir George Gilbert Scott in the 1860s. It is one of the largest examples of Perpendicular Gothic architecture in the West Country. The medieval abbey church served as a sometime cathedral of a bishop.
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Inside the house, the entrance lobby has decorative plasterwork in Adam style including roundels, fan vaulting and an oval ceiling.Scran: Domestic Architecture Retrieved 14 May 2012. At the back there is a dogleg staircase which has a cast iron balustrade; above this is an octagonal lantern. Viewfield House had substantial grounds surrounded by trees in the nineteenth century, as shown on J. Wood's 1823 town plan, and (illustrated) the 1854 Ordnance Survey 1:1056 map, which also shows the staircase extension on the south side of the house.
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Rideau Street Chapel rebuilt at the National Gallery of Canada The Convent of Our Lady of the Sacred Heart (also known as the Rideau Street Convent) was built in 1869. In 1888, a new wing designed by the architect and priest Georges Bouillon opened that included the Rideau Street Convent Chapel on the second floor. The plan of the Gothic Revival chapel was traditional, with a nave and two side isles lit by stained-glass windows. Its unique feature was a ceiling overspread with decorative fan vaulting supported on slender cast iron columns, creating an effect of spacious elegance.
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1235; when the arch under construction has been completed, the tree trunk may be removed to leave a hanging voussoir.”Heyman 2000, p. 369. At Henry VII’s chapel, the development of ornamentation and design in pendant vaulting is furthered as the arch is concealed within the conoid. In differentiating pendant vaulting from other types of fan vaulting at the chapel, Heyman states, “First, it is constructed throughout of jointed masonry; the ribs and panels are cut from a single stone, so that the ribs are effectively surface decoration, giving visual definition to the shape of the vault.
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In the middle of the 14th century the division between the nave and chancel was moved back to where it had been in the 12th century. The 13th- century chancel arch was removed, but its imposts remain in the north and south walls of the chancel. An arch was cut in the north wall of the chancel, presumably to connect with a new chapel. Alabaster effigies of Sir William Wilcote (died 1410) and his wife After 1439 this chapel was replaced with a new Perpendicular Gothic style chapel, which has fine fan vaulting of unusually high quality for a parish church.
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Slender columns support the fan vaulting of the ceiling, which is particularly elaborate above the altar, incorporating sixteen stained glass windows in a half-dome. Three large paintings above the altar depict, from left to right: Saint Patrick, the Transfiguration of Jesus, and Jesus Christ pulling Saint Peter from the sea. The architect of St. Patrick's Church was James H. Dakin, who designed a number of buildings in Louisiana, including the Old State Capitol in Baton Rouge. Problems related to the city's notoriously high water table drew in another prominent local architect, James Gallier, to oversee the construction.
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Eton College Chapel, seen from Windsor Castle Eton College Chapel is the main chapel of Eton College, an independent school in the United Kingdom. The chapel was planned to be a little over double its actual length, but this plan was never completed owing to the downfall of the founder Henry VI. A plaque on a building opposite the west end marks the point to which it should have reached. The Chapel is built in the late Gothic or Perpendicular style. The fan vaulting was installed in the 1950s after the wooden roof became infested with deathwatch beetles.
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The design of church interiors went through a final stage that lasted into the 16th century. This was the development of fan vaulting, first used in about 1370 in the cloisters at Gloucester, then in the retrochoir at Peterborough in the early 15th century. In a still more elaborate form with stone pendants it was used to roof the Norman choir at Oxford and in the great funerary chapel of Henry VII at Westminster Abbey, at a time when Italy had embraced the Renaissance. alt=This picture of Chichester Cathedral shows the Norman windows of the Nave clerestory, the Early English windows of the tower, the Geometric windows of the aisles and the large Perpendicular window of the transept.
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One good example of the fan vault is that over the staircase leading to the hall of Christ Church, Oxford, where the complete conoid is displayed in its centre carried on a central column. This vault, not built until 1640, is an example of traditional workmanship, probably in Oxford transmitted in consequence of the late vaulting of the entrance gateways to the colleges. Fan vaulting is peculiar to England, the only example approaching it in France being the pendant of the Lady-chapel at Caudebec, in Normandy. In France, Germany, and Spain the multiplication of ribs in the 15th century led to decorative vaults of various kinds, but with some singular modifications.
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He later added the cloister, which connects it to the cathedral.Glanmor Williams, ‘Houghton, Adam (died 1389)’, in Oxford Dictionary of National Biography (2004) The episcopacy of Edward Vaughan (1509–1522) saw the building of the Holy Trinity chapel, with its fan vaulting which some say inspired the roof of King’s College, Cambridge. This period also saw great developments for the nave, whose roof and Irish oak ceiling were constructed between 1530 and 1540. Bishop Barlow, unlike his predecessor as bishop, wished to suppress the following of David, and stripped St David's shrine of its jewels and confiscated the relics of St David and St Justinian in order to counteract "superstition" in 1538.
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The exterior and interior of the ranges are topped by an alternating pattern of decorative gables. The gate house has a Perpendicular portal and canted Gothic oriel windows, with fan vaulting in the entrance. The room above has a particularly fine plaster ceiling and chimney piece of stucco caryatids and panelling interlaced with studded bands sprouting into large flowers. The cartouches over staircases one, two, three, five and six and the chapel, bar and provost's lodgings entrances bear the arms of important figures in the college's history: (1) Anthony Blencowe (Provost 1574–1618) who left money that paid for building the west side of First Quad. (2) Richard Dudley (Fellow 1495–1536) who gave property for fellowships.
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An 18th-century engraving of the villa William Robinson of the Royal Office of Works contributed professional experience in overseeing construction. They looked at many examples of architecture in England and in other countries, adapting such works as the chapel at Westminster Abbey built by Henry VII for inspiration for the fan vaulting of the gallery, without any pretence at scholarship. Chimney-pieces were improvised from engravings of tombs at Westminster and Canterbury and Gothic stone fretwork blind details were reproduced by painted wallpapers, while in the Round Tower added in 1771, the chimney-piece was based on the tomb of Edward the Confessor "improved by Mr. Adam". He incorporated many of the exterior details of cathedrals into the interior of the house.
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The complexity of the vault is another significant feature of English cathedrals. The vaults range from the simple quadripartite vault in the French manner at Chichester through increasingly elaborate forms including the multi-ribbed (“tierceron”) vault at Exeter, the similar vault with inter- connecting (“lierne”) ribs at Norwich, the still more elaborate variation at Winchester, the array of unique lierne vaults at Bristol, the net-like stellar vaulting of the choirs at Gloucester and York, the fan vaulting of the retro- choir at Peterborough, and the pendant vaulting of the choir at Oxford, where elaborate long stone bosses are suspended from the ceiling like lanterns. Many of the more elaborate forms are unique to England, with stellar vaulting also occurring in Spain and Germany.
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The focal point of the facade, the gatehouse, has multi-faceted turrets at its corners, In 1885, the gatehouse was given a Gothic makeover, which included raising its height and adding the fan vaulting to the ceiling of the passage leading, not to a great base court, as such grandiose architectural feature would suggest, but to a small glazed inner courtyard (the Winter Garden). The north wing was included in the remodelling work of 1805 and given ogee headed windows in the delicate Strawberry Hill Gothic style, popular at turn of the 19th century; it was a forerunner of the more medieval ecclesiastical Gothic style that was to characterise the architecture of the 19th century, and employed at Ashton Court during the 1885 alterations.
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However, it was much more ornate, having been elaborately designed by Sydney architect Henry Eli White, who based his work on that of American theatre architect John Eberson, and was invited to work with him on this theatre in Australia. The theatre building has Gothic-style street facades and an elaborate late Gothic street lobby complete with fan vaulting, a Neoclassical domed stairhall, elaborately detailed foyers and lobbies, while the main auditorium is a richly detailed Baroque styled space with three tiers of seating and a coffered domed ceiling. The first sound film screened was Paramount's A Dangerous Woman on 29 June 1929. The last all silent film screened (before later revivals) was United Artists' Evangeline on 6 December 1929.
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In 1509 Henry VIII appointed him dean of St George's Chapel, Windsor Castle (during which times its fan vaulting was completed), and in 1515 he was elected bishop of Ely. Prior to his elevation, West was (or was also) Archdeacon of Derby.Fasti Ecclesiae Anglicanae 1300-1541: Archdeacons of Derby West's long and successful career as a diplomatist began in 1502 through his friendship with Richard Foxe, bishop of Durham. In the interests of Henry VII he visited the German king Maximilian I and George, Duke of Saxony; in 1506 he negotiated an important commercial treaty with Flanders, and he attempted to arrange marriages between the king's daughter Mary and the future emperor Charles V, and between the king himself and Charles's sister Margaret.
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The present church was built 1907 to designs by Thomas H. Poole & Company, and dedicated the same year. The interior was noted for its remarkable fan vaulting and celebrated German stained glass (from the still operating studio of Mayer of Munich, famed stained glass makers for the Holy See and Catholic churches around the world). The AIA Guide to NYC describes the church as follows: “No name is to be found on this church, but its finely detailed neo-Gothic façade, prominently entered via a stairway and an arcaded porch, demands attention.” The building is a blend of English Perpendicular Gothic, Moorish and Venetian Gothic, in what is described as “berserk eclecticism”, “unnameable but wonderful.”Norval White and Elliot Willensky, AIA Guide to New York City, rev. ed.
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Margam Castle, grand staircase Margam Ruthin Castle, Denbighshire In the 1830s the Castellated Gothic was developed further by Thomas Hopper, who had been responsible for the severe Romanesque revival Penrhyn Castle and the Shrewsbury architect Edward Haycock, Sr. at Margam Castle in Glamorgan which was built between 1830 and 1840. This was a more ornate and flamboyant form of Tudor Gothic with a massive central lantern tower, modelled on the 16th- century prospect tower at Melbury House in Dorset. Newman sees the Hopper and Haycock deriving their designs from James Wyatt's Ashridge of 1808–1813 and William Wilkin's Dalmeny House near Edinburgh of 1814–1817. While the exterior is Tudor Gothic, there is a spectacular staircase inside the tower in a late Gothic or Perpendicular style with impressive fan-vaulting"Newman", (2000), 430–1.
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Suggett, R (1995) John Nash Architect in Wales, The Royal Commission on the Ancient and Historical Monuments of Wales, In particular, the top lantern tower at Hafod over library is very similar to the lantern tower over the stairs at Garth. The design of Garth is conservative and dates back to Horace Walpole's Strawberry Hill, with very similar interior fan-vaulting and plaster-work to that at Strawberry Hill, while the columns of veranda and a exterior balcony are reminiscent of the work of the Shrewsbury architect Thomas Farnolls Pritchard. It looks as if the plans for Garth had been prepared sometime before, and it is possible that the re-building of Garth for Devereux had started in the later years of the 18th century, with the Riding House being added in 1809.
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Fan vaulting over the nave at Bath Abbey The most spectacular of Bath's terraces is the Royal Crescent, built between 1767 and 1774 and designed by the younger John Wood. Wood designed the great curved façade of what appears to be about 30 houses with Ionic columns on a rusticated ground floor, but that was the extent of his input: each purchaser bought a certain length of the façade, and then employed their own architect to build a house to their own specifications behind it; hence what appears to be two houses is in some cases just one. This system of town planning is betrayed at the rear of the crescent: while the front is completely uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration.
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Bath Abbey, vaults The Abbey is built of Bath stone, which gives the exterior its yellow colour, and is not a typical example of the Perpendicular form of Gothic architecture; the low aisles and nave arcades and the very tall clerestory present the opposite balance to that which was usual in perpendicular churches. As this building was to serve as a monastic church, it was built to a cruciform plan, which had become relatively rare in parish churches of the time. The interior contains fine fan vaulting by Robert and William Vertue, who designed similar vaulting for the Henry VII chapel, at Westminster Abbey. The building has 52 windows, occupying about 80% of the wall space, giving the interior an impression of lightness, and reflecting the different attitudes towards churchmanship shown by the clergy of the time and those of the 12th century.
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Fan vaulting (detail) in Peterborough Cathedral The existing mid-12th-century records of Hugh Candidus, a monk, list the Abbey's reliquaries as including two pieces of swaddling clothes which wrapped the baby Jesus, pieces of Jesus' manger, a part of the five loaves which fed the 5,000, a piece of the raiment of Mary the mother of Jesus, a piece of Aaron's rod, and relics of St Peter, St Paul and St Andrew – to whom the church is dedicated. The supposed arm of Oswald of Northumbria disappeared from its chapel, probably during the Reformation, despite a watch-tower having been built for monks to guard its reliquary. Various contact relics of Thomas Becket were brought from Canterbury in a special reliquary by its Prior Benedict (who had witnessed Becket's assassination) when he was "promoted" to Abbot of Peterborough. These items underpinned the importance of what is today Peterborough Cathedral.
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Armorials above front entrance to Hengrave Hall Work on the house was begun in 1525 by Thomas Kitson, a London merchant and member of the Mercers Company, who completed it in 1538. The house is one of the last examples of a house built around an enclosed courtyard with a great hall. It is constructed from stone taken from Ixworth Priory (dissolved in 1536) and white bricks baked at Woolpit. The house is notable for an ornate oriel window incorporating the royal arms of Henry VIII, the Kitson arms and the arms of the wife and daughters of Sir Thomas Kitson the Younger (Kitson quartered with Paget; Kitson quartered with Cornwallis; Kitson quartered with Darcy; Kitson quartered with Cavendish). The house is embattled, and in the great hall there is an oriel window with fan vaulting by John Wastell, the architect of the chapels at Eton College and King’s College, Cambridge.
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Chief amongst them was the wish to retain the earlier Norman towers, which became obsolete when the Gothic front was added. Instead of being demolished and replaced with new stretches of wall, these old towers were retained and embellished with cornices and other gothic decor, while two new towers were added to create a continuous frontage. The Norman tower was rebuilt in the Decorated Gothic style in about 1350–1380 (its main beams and roof bosses survive) with two tiers of Romanesque windows combined into a single set of Gothic windows, with the turreted cap and pinnacles removed and replaced by battlements. Between 1496 and 1508, the Presbytery roof was replaced and the "New Building", a rectangular building built around the end of the Norman eastern apse, with Perpendicular fan vaulting (probably designed by John Wastell, the architect of King's College Chapel, Cambridge and the Bell Harry Tower at Canterbury Cathedral), was added.
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Fan vaulting over the nave at Bath Abbey, Bath, England The fan vault would seem to have owed its origin to the employment of centerings of one curve for all the ribs, instead of having separate centerings for the transverse, diagonal wall and intermediate ribs; it was facilitated also by the introduction of the four- centred arch, because the lower portion of the arch formed part of the fan, or conoid, and the upper part could be extended at pleasure with a greater radius across the vault. The simplest version is that found in the cloisters of Gloucester Cathedral, where the fans meet one another at the summit, so that there are only small compartments between the fans to be filled up. In later examples, as in King's College Chapel, Cambridge, on account of the great dimensions of the vault, it was found necessary to introduce transverse ribs, which were required to give greater strength. Similar transverse ribs are found in Henry VII's chapel and in the Divinity School at Oxford, where a new development presented itself.
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Fan Vaulting (1512-1515), King's College Chapel, Cambridge The late mediaeval period saw an unequalled development in church architecture in England. Walls became thinner; solid buttresses became more elegant flying buttresses surmounted by pinnacles; towers, often surmounted by stone spires became taller, and more decorated, often castellated; internal pillars became more slender; unsupported spaces between them wider; roofs, formerly safely steeply pitched became flatter, often decorated with carved wooden angels and a bestiary, where they were steep they were supported by carved hammer beams; windows occupied more and more of the wall space; decorative carving more freely flowing; figures multiplied, particularly on the west fronts of cathedrals and abbeys. Finally with the cessation of the wars with the French and the apparent ending of the Wars of the Roses with the return of Edward IV in 1471, there was more money around so that new buildings could be put up and existing buildings enlarged. "Hardly had such towers risen on all sides; never had such timber roofs and screens been hewn and carved..." (Harvey) This is the period of the building of wool Churches like Long Melford and Lavenham and of King's College Chapel in Cambridge.
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