Development of Sexpartite Vaulting
The true six-part vault, as used in Saint Étienne, was far from being perfect. In the first place, it possessed a number of inherent structural faults. These lie chiefly in the unequal distribution of thrusts, and the unequal size of the panels into which the vault is divided. From an aesthetic point of view, two other faults might be added: first, the decrease in the apparent length of the nave, due to the fact that it was divided into a few large bays, instead of twice as many smaller ones; and second, the fact that the crowns of the vault cells above the windows do not run out perpendicularly from the clerestory wall but at an awkward angle, thus greatly injuring the symmetry of the bays. Yet in spite of these drawbacks, which were common to all six-part vaulting, this system had a long period of popularity. There are, however, certain structural weaknesses in these early Norman vaults which were largely due to lack of experience on the part of the builders, and not to the form of the vaults themselves. Wall ribs were, for example, omitted, and the diagonals were made of segmental section, thus rendering unnecessarily severe the thrusts of the vaults. Moreover, such a church as St. Étienne was not planned from the ground for vaulting and the piers had not the proper arrangement of shafts. Last of all, the intermediate arches were of a rather ugly, stilted character, possibly so constructed with an eye to a better distribution of light, but in any event presenting an awkward appearance. All these faults were gradually overcome in the Transitional and Early Gothic churches of the Ile-de-France.