dresses of the latter part of the fifteenth century, or the beginning of the sixteenth, to which period most of our carved bench-ends and poppies belong.
In the strictly architectural part of the work, we have, as usual, specimens of all the styles in parts of the different churches, without any entire specimen of one style.
Of Norman work we have a very rich chancel-arch at Headington, the tower-arches at Cuddesden, a singular window at Sandford, and a good font at Albury, which has been preserved, though the church has been rebuilt[1].
Scoup, Horsepath.
Of the transition from Norman to Early English, the nave-arches at Marston and Waterpery, and doorways at Holton, Forest Hill, and Cuddesden; the latter a remarkable specimen, with that sort of lozenge ornament the points of which stand free with a hollow under them, which seems to have led to the tooth ornament, and is as difficult to draw as to describe clearly: in this instance the Society's artists have not succeeded so well as usual. There is also a very curious stoup at Horsepath, which seems to be of this period.
Of the Early English style, Elsfield is nearly a perfect specimen, and very good, though plain; the west end especially with its central buttress to carry the bell-cot, is of very good design; the low-side window, with the stone seat within, is a curious example, and the roof seems also original. The chancel of Cowley is a singular specimen with a very good east end, and with square-headed windows at the sides, evidently original. The west end of Toot-Baldon is of similar design to Elsfield, but has aisles, and rather wants more height in the centre. There is a rich doorway at Milton, and a plain one at Headington, with a good trefoil-headed window of this style, and a plain tower at Garsington. The walls of Woodeaton are also of this period, but the tower is of the fifteenth century, introduced within the original plan of the church, and standing on detached piers on the east side and on the original wall on the west, and on wooden arches on the north and south: this is a singular and very economical arrangement.
Of the transition from the Early English to the Decorated styles, or what may be called the style of Edward the First, perhaps the most beautiful period of medieval art, we have a very interesting specimen in the
- ↑ Iffley had been previously published by Dr. Ingram, and is therefore omitted from the Guide.
