Excerpt: ...and to have continued to about the middle of the seventeenth century; but it is difficult to assign a precise date either for its introduction or discontinuance. Q. Why is this style called the Debased ? 146 A. From the general inferiority of design compared with the style it succeeded, from the meagre and clumsy execution of sculptured and other ornamental work, from the intermixture of detail founded on an entirely different school of art, and the consequent subversion of the purity of style. Q. What may be considered as one great cause of this falling off? A. The devastation of the monasteries, religious houses, and chantries, which followed their suppression, discouraged the study of ecclesiastical architecture, (which had been much followed by the members of the conventual foundations, who were now dispersed, in their seclusion,) and gave a fatal blow to that spirit of erecting and enriching churches which this country had for many ages possessed. Q. How could this be the cause? A. The expenses of erecting many of our ecclesiastical structures, or different portions of them, from time to time, in the most costly and beautiful manner, according to the style of the age in which such were built, were defrayed, some out of the immense revenues of the monasteries, which at their suppression were granted away by 147 the crown, and others by the private munificence of individuals who frequently built an aisle, with a chantry chapel at the east end, partly inclosed by screen-work, or annexed to a church, a transept, or an additional chapel, endowed as a chantry, in order that remembrance might be specially and continually made of them in the offices of the church, according to the then prevailing usage; which chantries having been abolished, one motive for church-building was gone. Q. What concurrent causes may also be assigned for this change? A. The almost imperceptible introduction and advance, about this period, of a fantastic mode of...
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