Page:Encyclopædia Britannica, Ninth Edition, v. 2.djvu/526

468 ARCHITECTURE [GLOSSARY. MOULDINGS, ORNAMENTED. The Saxon and early Norman mould ings do not seem to have been much enriched, but tho complete and later styles of Norman are remarkable fora profusion of orna mentation, the most usual of which is what is called the zig-zag. This seems to be to Norman architecture what the meander or fret was to the Grecian ; but it was probably derived from the Saxons, as it is very frequently found in their pottery. Bezants, quatrefoils, lozenges, crescents, billets, heads of nails, are very common . ornaments ; besides these, battlements, cables, large ropes, round which smaller ropes are turned, or, as our sailors say, "wormed," scallops, pellets, chains, a sort of conical barrels, quaint stiff foliages, beaks of birds, heads of fish, ornaments of almost every conceivable kind, are sculptured in Norman mould ings ; and they are used in such profusion as has been attempted in no other style. The decorations on Early English mouldings are chiefly the dog-tooth, which is one of the great characteristics of this style, though it is to be found in the Transition Norman. It is generally placed in a deep hollow between two projecting mouldings, the dark shadow in the hollow contrasting in a very beautiful way with the light in these mouldings. In this period and in the next the tympanum over doorways, particularly if they are double doors, is highly ornamented. Those of the Decorated period resemble the former, except that the foliage is more natural, and the dog-tooth gives way to the ball-flower. Some of the hollows also are ornamented with rosettes set at intervals, which are sometimes connected by a running tendril, as the ball-flowers are frequently. Some very pleasing leaf-like ornaments in the labels of windows are often found in Continental architecture. In tho Perpe: .dicular period the mouldings are ornamented very frequently by square four-leaved flowers set at intervals, but the two characteristic ornaments of the time are running patterns of vine leaves, tendrils, and grapes in the hollows, which by old writers are called "vignettes in casements," and upright stiff leaves, generally called the Tudor leaf. On the Continent mould ings partook much of the same character. MULLION, MUNION, often corrupted into munting, monyal (Fr. mencau, Ital. rcgolo, Ger. Fensterpfoste). The perpendicular pieces of stone, sometimes like columns, sometimes like slender piers, which divide the bays or lights of windows or screen work from each other. In all styles, in less important work, the mullions are often simply plain chamfered, and more commonly have a very flat hollow on each side. In larger buildings there is often a bead or bowtell on the edge, and often a single very small column with a capital ; these are more frequent in foreign work than in English. Instead of the bowtell they often finish with a sort of double ogee. As tracery grew richer, the windows were divided by a larger order of mullion, between which came & lesser or subordinate set of mullions, which ran into each other. MUTULE (Lat. mutulus, a stay or bracket), the rectangular impend ing block under the corona of the Doric cornice, from which guttae or drops depend. Mutule is equivalent to modillion, but the latter term is applied more particularly to enriched blocks or brackets, such as those of Ionic and Corinthian entabla tures. NAOS (Gr. va6s, a temple). This term is sometimes used instead of the Latin edict, as applied to the interior ; strictly, however, it means the body of the edifice itself, and not merely its interior or cell. NAHTIIEX (Gr. j/ap07jf, a ferula or rule), the long arcaded porch forming the entrance into the Christian basilica. Sometimes there was an inner narthex or lobby before entering the church. "When this was the case, the former was called exo-narthex, and the latter eso-narthex. In the Byzantine churches this inner narthex forms part of the solid structure of the church, being marked off by a wall or row of columns, whereas in the Latin churches it was usually formed only by a wooden or other tem porary screen. NAVE (Lat. navis, Ital. navata, Fr. nef, Ger. Schijf), the central part between the arches of a church, which formerly was separated from a chancel or choir by a screen. It is so called from its fancied resemblance to a ship. In the nave were generally placed the pulpit and font. Abroad it often also contains a high altar, but this is of rare occurrence in England. Instances of this, however, are to be found at Durham and St Albans. NECKING, the annulet or round, or series of horizontal mouldings, which separates the capital of a column from the plain part or a shaft. In Norman work they are often corded. NEWEL (Fr. noyau, Ital. albero d una scala, Ger. Spindet), in mediaeval architecture, the circular ends of a winding staircase which stand over each other, and form a sort of cylindrical column. NICHE (Fr. niche, Ital. niccliia, Gr. Nische), a recess sunk in a wall, generally for the reception of a statue. They sometimes are terminated by a simple label, but more commonly by a canopy, and with a bracket or corbel lor the figure, in which case they are often called tabernacles. OCTASTYLE (Gr. OKTW, eight, and trrios, a column), a portico oi eight columns in front. OGEE (Lat. cyma rcversa, Ital. gola dritta, gola a rorcscio, Fr. cimaise, doucine, gorge, gueule, gueule renvcrsde, talon, Ger. Hohl- Icisteri), the name applied to a moulding, partly a hollow and partly a round, and derived no doubt from its resemblance to an placed over a G. It is rarely found in Norman work, and is not very common in Early English. It is of frequent use in the Decorated, where it becomes sometimes double, and is called a wave moulding ; and later still, two waves are connected with a small bead, which is then called a brace moulding. In ancient MSS. it is called a RESSAUNT, q.v. OGIVE, a term applied by the French to the pointed arch. OGIVE RIB, the main ribs which cross each other on the intersection of the vaulting. (See GROINED VAULTING.) ORATORY (Fr. oratoire], a small chapel or place for prayer for the use of private individuals, generally attached to a mansion, and sometimes to a church. The name is also given to small chapels built to commemorate some special deliverance. ORDER. A column with its entablature and stylobafe is so called. The term is the result of the dogmatic laws deduced from tho writings of Vitruvius, and has been exclusively applied to those arrangements which they were thought to warrant. For th different details of an order, see Plate XXIV., fig. 1. ORDER, the name given to the subordinate mullions and tracery which are of smaller size than others in the same window, &c. It is also applied to the groups of mouldings arranged on square faces set back behind one another in Norman and Early English work, and not cut in on the splayed faces of the jambs and arch moulds as in subsequent periods. ORDINANCE, a composition of some particular order or style. It need not be restricted to a columnar composition, but applies to any species which is subjected to conventional rules for its arrange ment. ORIEL or ORYEL. See BAY WINDOW. ORTHOGRAPHY (Gr. op66s, straight or true, and ypa^, a description or representation), a geometrical elevation of a building or other object, in which it is represented as it actually exists or may exist, and not perspectively, or as it would appear. ORTHOSTYLE (Gr. op06s, straight or true, and O-TVOS, a column), any straight range of columns. This is a term suggested to designate what is generally but improperly called a PERISTYLE, q.v., that is, columns in a straight row or range, but not forming a portico. OSSUAIRE. See CHARNEL HOUSE. OVOLO (from the Ital.* meaning egg- formed), the name most com monly applied to the moulding which appears to have originated in tho moulded head of the Doric column, and which, with an abacus, formed its capital. OYLEMENTS, a word used in the Bcauchamp Roll, signifying th small quatrefoil lights in the head of a Perpendicular window. OYLETS, or OIELLETS, a name sometimes applied to the arrow-slita in towers, &c. ; but it seems more probable its strict meaning is the round hole or circle with which these terminate. PACE, the landing on a broad step in a stair ; also any stage raised above the floor. PAN or PANE. See POST AND PANE WORK. PANE, probably a diminutive of panneau, a term applied to a bay of a window, compartment of a partition, side of a tower, turret, &c. (See BAY.) PANEL (Fr. panneau, Ital. quadrctlo, formcllo, Ger. Fold), properly the piece of wood framed within the styles and rails of a door, filling up the aperture, but often applied both to the whole square frame and the sinking itself ; also to the ranges of sunken compartments in cornices, corbel tables, groined vaults, ceilings, &c. In Norman work these recesses are generally shallow, and more of the nature of arcades. In Early English work the square panels are ornamented with quatrefoils, cusped circles, &c. , and the larger panels are often deeply recessed, and form niches with trefoil heads and sometimes canopies. In the Decorated style the cusping and other enrichments of panels become more elabo rate, and they are often filled with shields, foliages, and some times figures. Towards the end of this period the vails of important buildings were often entirely covered with long oi square panels, the former frequently forming niches with statues. The use of panels in this way became very common in Perpendi cular work, the wall frequently being entirely covered with long, short, and square panels, which latter are frequently richly cusped, and filled with every species of ornament, as shields, bosses of foliage, portcullis, lilies, Tudor roses, &c. Wooden panellings very much resembled those of stone, except in the Tudor period, when the panels were enriched by a varied design, imitating the plaits of a piece of linen or a napkin folded in a great number of parallel lines. This is generally called tho linen pattern. Wooden ceilings, which are very common, are composed of thin oak boards nailed to the rafters, collars, &c., and divided into panels by oak mouldings fixed on them, with

carved bosses at the intersections.