GLOSSARY.] ARCHITECTURE 465 figures which may be relevant to the object of the structure. The frieze is also called the ZOOPIIORUS, q.v. FRONTISPIECE, the front or principal elevation of a structure. This term, however, is generally restricted in application to a Decorated entrance. FUMEREL. See FEMERELL. GABLE, sometimes Gavil (Fr. pignon, Ital. cohna, Ger. GicleT). When a roof is not hipped or returned on itself at the ends, its ends are stopped by carrying up the walls under them in the triangular form of the roof itself. This is called the gable, or, in the case of the ornamental and ornamented gable, the pediment. Of course gables follow the angles of the slope of the roof, and differ in the various styles. In Norman work they are generally about half pitch ; in Early English, seldom less than equilateral, arid often more. In Decorated work they become lower, and still more so in the Perpendicular style. In all important buildings they are finished with copings or parapets. In early times the copings were nearly flat. In the later styles gables are often surmounted with battlements, or enriched with crockets ; they are also often panelled or perforated, sometimes very richly. The gables in ecclesiastical buildings are mostly terminated with a cross ; in others, by a finial or pinnacle. In later times the parapets or copings were broken into a sort of steps, called corbie steps. In buildings of less pretension, the tiles or other roof covering passed over the front of the wall, which then, of course, had no coping. In this case the outer pair of rafters were concealed by moulded or carved verge boards. (See BATTLE MENT, COPING, CORBIE STEPS, PARAPET, VERGE BOARD, &c.) GABLE WINDOW, a term sometimes applied to the large window under a gable, but more properly to the windows in the gable itself. GABLED TOWERS, those which are finished with gables instead of parapets, as at Sompting. Many of the German Eonianesque towers are gabled. GABLETS, triangular terminations to buttresses, much in use in the Early English and Decorated periods, after which the buttresses generally terminate in pinnacles. The Early English gablets are generally plain, and very sharp in pitch. In the Decorated period they are often enriched with panelling and crockets. They are sometimes finished with small crosses, but oftener with finials. GALILEE. This name is said to be derived from the Scriptural expression, " Galilee of the Gentiles." Galilees are supposed to have been used sometimes as courts of law, but chiefly for penitents not yet admitted to the body of the church. At Durham the galilee is a chapel at the main entrance into the nave. GALLERY, any long passage looking down into another part of a building, or into the court outside. In like manner, any stage erected to carry a rood or an organ, or to receive spectators, was latterly called a gallery, though originally a loft. In later times the name was given to any very long rooms, particularly those intended for purposes of state. (See LOFT, TRIFORIUM.) GARGOYLE or GUUGOYLE (Fr. gargouillc, canon, lanccur, Ital. doccia di gronda, Ger. Ausguss), the carved termination to a spout which conveyed away the water from the gutters, supposed to be called so from the gurgling noise made by the water passing through it. Gargoyles are mostly grotesque figures. GARRETTIXG, properly GALLETTING, from gallet, a small piece of stone chipped off by the chisel. A method of protecting the mortar joints in rcugh walls by sticking in chips of stone while the mortar is wet. GATE-HOUSE, a building forming the entrance to a town, the door of an abbey, or the enceinte of a castle or other important edifice. They generally had a large gateway protected by a gate, and also a portcullis, over which were battlernented parapets with holes (machicolations) for throwing down darts, melted lead, or hot sand, on the besiegers. Gatehouses always had a lodge, with apart ments for the porter, and guard-rooms for the soldiers ; and generally rooms over for the officers, and often places for prisoners beneath. They are sometimes open in the rear, as at Cooling Ccstle, and often have doors with portcullises, &c., on both sides, in case the enemy should scale the walls, and attack them both in front and rear. In this case, the space between, on the ground floor, was generally groined over, with holes for missile weapons. GLYPH, a vertical channel in a frieze. (See TIUGLYPH.) GRADING (Ital. dim. of gradus, a step). Architects frequently apply the plural of this term, gradini, to such series of great steps as are found at the mausoleum at Halicarnassus. GRANGE, a word derived from the French, signifying a large barn or granary. They were usually long buildings with high wooden roofs, sometimes divided by posts or columns into a sort of nave and aisles, and with walls strongly buttressed. In England the term is applied not only to the barns, but to the whole of the buildings which formed the detached farms belonging to the monasteries ; in most cases there was a chapel either included among these or standing apart as a separate edifice. GRIFFE, a French term for an ornament at the angles of the base ot early pillars, for which we have no proper equivalent. It first consisted of a single leaf, which became more elaborate, and was, no doubt, the origin of the foliated bases. GRILLE, the iron work forming the enclosure screen to a chapel, or the protecting railing to a tomb or shrine ; more commonly found in France than in England. Our best example, -perhaps, is that round the tomb of Queen Eleanor in Westminster Abbey. They are of wrought iron, ornamented by the swage and punch, and put together either by rivets or clips. GROIN, by some described as the line of intersection of two vaults where they cross each other, which others call the groin point ; by others the curved section or spandril of such vaulting is called a groin, and by others the whole system of vaulting is so named. GROIN ARCH (Fr. arc doubleau), the cross rib in the later styles of groining, passing at right angles from wall to wall, and dividing the vault into bays or travees. GROIN CEILING, a ceiling to a building composed of oak ribs, the spandrils of which are filled in with narrow, thin slips of wood. There are several in England ; one at the Early English church at Warmington, and one at Winchester Cathedral, exactly resembl ing those of stone. GROIN CENTERING. In groining without ribs, the whole surface is supported by centering during the erection of the vaulting. In ribbed work the stone ribs only are supported by timber ribs during the progress of the work, any light stuff being used while filling in the spandrils. GROIN POINT, the name give by workmen to the arris or line of intersection of one vault with another where there are no ribs. GROIN RIB (Fr. iierf d arete, Ital. costola, Ger. Eippe), the rib which conceals the groin point or joints, where the spaudrils intersect. GROINED VAULTING (Lat. fornix, testudo, Fr. vodie d arete, Ital. fornice), the system of covering a building with stone vaults which cross and intersect each other, as opposed to the barrel vaulting (vff&te de bcrceau), or series of arches placed side by side. The earliest groins are plain, without any ribs, except occasionally a sort of wide band from wall to wall, to strengthen the construction. In later Norman times ribs were added on the line of intersection of the spandrils, crossing each other, and having a boss as a key common to both ; these ribs the French authors call nerfs en ogive. Their introduction, however, caused an entire change in the system of vaulting ; instead of arches of uniform thickness and great weight, these ribs were first put up as the main con struction, and spandrils (rcmplissage) of the lightest and thinnest possible material placed upon them, the haunches only being loaded sufficiently to counterbalance the pressure from the crown. Shortly after, half ribs against the walls (formcrcts) were intro duced to carry the spandrils without cutting into the walling, and- to add to the appearance. The work was now not treated as continued vaulting, but as divided into bays (travecs), and it was formed by keeping up the ogive or intersecting ribs and their bosses ; a sort of construction having some affinity to the dome was formed, which added much to the strength of the groining. Of course the top of the soflit or ridge of the vault was not hori zontal , b ut rose from the level of the top of the formeret-rib to the boss and fell again ; but this could not be perceived from below. As this system of construction got more into use, and as the vaults were required to be of greater span and of higher pitch, the spandrils became larger, and wanted more support. To give this another set of ribs was introduced, passing from the springers of the ogive ribs, and going to about half-way between these and the ogive, and meeting on the ridge of the vault ; these inter mediate ribs are called by the French tierccrons, and began to come into use in the transition from Early English to Decorated. About the same period a system of vaulting came into use called hcxpartite, from the fact that every bay is divided into six com partments instead of four. It was invented to cover the naves of churches of unusual width. The filling of the spandrils in this style is very peculiar; and, where the different compartments meet at the ridge, some pieces of harder stone have been used, which have rather a pleasing effect. The arches against the wall being of smaller span than the main arches, cause the centre springers to be perpendicular and parallel for some height, and the spandrils themselves are very hollow. As styles progressed, and the desire for greater richness increased, another scries of ribs called lierncs, was introduced ; these passed cross-ways from the ogives to the tierccrons, and thence to the doublcaux, dividing the spandrils nearly horizontally. These various systems increased in the Perpendicular period, so that the vaults were quite .a net work of ribs, and led at last to the Tudor, or, as it is called by many, fan tracery vaulting. In this system the ribs are no part of the real construction, but are merely carved upon the vous- soirs, which form the actual vaulting. Fan Tracery is so called because the ribs radiate from the springers, and spread out liko the sticks of a fan. These later methods are not strictly groins, for the peridentives are not square on plan, but circular, and there is therefore no arris intersection or GIIOIN POINT (which see). GROINS, WELSH, or UNDERPITCII. When the main longitudinal
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