WE have seen that during the half-century which intervened between 1125 and 1175 an immense number of churches were built or rebuilt in England, and that the art of building consequently made rapid progress, the work becoming every year better executed, more highly finished, and of lighter character, it being one of the characteristics of a good workman not to waste his material. In the early Norman period the masonry was very bad, and, to make the work secure, great masses of material were used; but at the period to which we have now arrived the masonry is as good as at any subsequent period, and the workmen were fast discovering the various modes of economizing their material. This practice, in combination with other causes, tended greatly to introduce the change of style, and to facilitate its ready and rapid adoption, in the generality of cases, when introduced. The custom of vaulting over large spaces, which was now being commonly adopted, and the difficulty of vaulting over spaces of unequal span, also without doubt contributed largely to the use of the pointed arch.

The capitals of the period are also very characteristic, and the gradual change may be clearly traced; at first the abacus-molding is very wide, and frequently only chamfered; a little later it is molded.

The church of Nun-Monkton, in Yorkshire, is a very curious and fine example of this great period of Transition; the details are very boldly and well executed. The rich doorway by itself would be late Norman, whereas the niches on each side of it, and the three lancet-windows in the west front, are quite Early English. The square buttresses at the angles are late Norman, and the small square tower on the point of the gable has Norman corbel-tables. The heads of the windows in the tower are of the form sometimes called the shouldered-arch. The capitals of the window-shafts are a singular mixture of the two styles; the capital itself is well-molded Early English, and there is a hollow molding by the side of the shaft, with the tooth-ornament.

In the work at Fountains Abbey already mentioned, the aisles are vaulted, and the width of the aisle being greater than the space between the pillars, it follows that each compartment, or bay, of the vault was not square, but oblong; the greater length being across the aisle, where we have the semicircular arch or arch-ribs to carry the vault, the narrower space being from pillar to pillar towards the choir: we have there the pointed arch, and thus we have a succession of semicircular arches down the length of the aisle, and a range of pointed arches towards the choir: and the same on each side. But although this may account for the use of the pointed arch, it is still quite distinct from the Gothic style; we have it at Fountains in pure Norman work half-a-century before we have the same arrangement again at Canterbury, in the work of William of Sens after the fire. Here, however, we have not only the pointed arch, but it is accompanied by a general change of style,—all the accessories are undergoing a rapid change. The moldings, the ornaments, the sculpture, and all other details are of a more highly finished and a lighter style. The triforium-arcade of Canterbury Cathedral is an excellent example, with the arches pointed and recessed, abacus well-molded, and foliage in the capitals.

Canterbury, as has been pointed out, is the earliest

and the best-authenticated example of the change of style in England which we possess, and it enables us to fix a precise date to this great change; it serves as a type for very many others which were being carried on simultaneously, or soon after. The contrast drawn by Gervase between the old church and the new one has been already quoted in describing the earlier Norman work, and need not here be repeated. It will be sufficient to say that the masonry and the sculpture in the new work are both excellent, and that the peculiar ornament known by the name of the ‘tooth-ornament’ occurs abundantly in the new work: the moldings, especially of the bases, are almost of pure Early English character.

The hall of Oakham Castle, Rutlandshire, built by Walkelin de Ferrers, between 1165 and 1191, is an excellent specimen of transitional work. It retains a great deal of the Norman character, but late and rich: the capitals are very similar to some of those at Canterbury, and more like French work than the usual English character; the tooth-ornament is freely introduced; the windows are round-headed within and pointed without, with good shafts in the jambs, and the tooth-ornament down each side of the shafts.

The triforium-arcade of St. Mary’s, Shrewsbury, is also an excellent example; the arches are pointed, but square-edged only, and in the spandrel between the two lower arches is pierced with an open quatrefoil; it is also square-edged only, while the capitals have good foliage and a square abacus molded.

St. Frideswide Church, now Christ Church Cathedral, Oxford, is a fine example of late Norman and transitional work of early character. It was consecrated in 1180, and was probably building for about twenty years previously: the confirmation, by Pope Hadrian IV. (Breakspeare, the only English Pope), of the charters granting the Saxon monastery of St. Frideswide to the Norman monks was not obtained until 1158, and it is not probable that they began to rebuild their church until their property was secured. The Prior at this period was Robert of Cricklade, called Canutus, a man of considerable eminence, some of whose writings were in existence in the time of Leland. Under his superintendence the church was entirely rebuilt from the foundations, and without doubt on a larger scale than before, as the Saxon church does not appear to have been destroyed until this period. The design of the present structure is very remarkable; the lofty arched recesses, which are carried up over the actual arches and the triforium, giving the idea of a subsequent work carried over the older work; but an examination of the construction shews that this is not the case, that it was all built at one time, and that none of it is earlier than about 1160. In this church, the central tower is not square, the nave and choir being wider than the transepts, and consequently the east and west arches are round-headed, while the north and south are pointed: this would not in itself be any proof of transition, but the whole character of the work is late, though very rich and good, and the clerestory windows of the nave are pointed without any necessity for it, which is then a mark of transition.

Westminster Abbey. Rich moldings from the original church, c. A.D. 1160.