When I attended my first spring conference of the Vernacular Architecture Croup in Essex, England, in 1984, I decided to investigate the flint-walled medieval parish church in the small village where several dwellings were open for our inspection. After a couple of days of touring, I had seen one too many for-rnmer open-hall houses with smoke-blackened trusses and so unlatched the ancient porch door and walked inside the church. Alone among many treasures, I gazed up at the exposed roof frame, which, to me at that stage of my education in English framing, appeared as early and certainly more complete than any that I had seen in the nearby dwellings.
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