By Edward R. Ford
The Architectural Detail is writer Edward R. Ford's life's paintings, and this can be his most vital booklet up to now. Ford walks the reader via 5 extensively permitted (and wildly diversified) definitions of aspect, in an attemptto locate, as soon as and for all, the fundamental definition of aspect in architecture.
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These are referred to as “Trondheim Piers”, as it is believed that Lincoln masons worked at Trondheim Cathedral. Bishop’s Eye, western transept. Lincoln Cathedral. Chapter house, around 1220-1245. Lincoln Cathedral. (pp. 40-41) 43 44 45 Southeast transept. Lincoln Cathedral. Northeast transept. Lincoln Cathedral. (pp. 44-45) 46 One of the piers is without the crockets. Nikolaus Pevsner considers this to be the original, an invention of Geoffrey de Noyers, while the rest of the columns are ruined by the excessive crockets.
To the extent that French motifs would be employed at Lincoln Cathedral, such as the sexpartite vault, they are subject to extreme revision, and rendered unrecognisable. Nevertheless, the sexpartite vault, elevation scheme, bundled shafts, and experimental spatial relationships of Canterbury are continued at Lincoln. The dematerialisation is reminiscent of the ambulatory of Abbot Suger at St Denis north of Paris, where arcade walls are replaced by thin arcade shafts. The Abbot Suger is believed to Lincoln Cathedral is the Cathedral Church of Saint Mary in Lincoln.
As it is generally agreed that the vaulting was later than the rest of the chapter house, perhaps during the bishopric of Grosseteste, flying buttresses on the exterior were much later, built to shore the vaulting following the experimental use of the umbrella column. At Wells Cathedral (pp. 124, 144, Cathedral Church of St Andrew in Somerset, begun by Bishop Reginald Fitz Jocelin, or Lombardus, in 1176), the nave, choir, transepts, and west front are roughly contemporary with the major building period of Lincoln Cathedral, between 1176 and 1240.