THE SAXON AND NORMAN STYLES.

As we have seen in the previous chapter, the whole subject of pre-Saxon church building is still very obscure, and for some considerable time after the Anglo-Saxon invasion little is known concerning church architecture, nor has it yet been fully ascertained whether any buildings of this period exist. By the year 588 the Saxons were in complete possession of the land. Christianity was to all appearance wiped out and the Church, to the superficial observer was dead. In his "History of English Church Architecture," Scott expresses the opinion that the oldest English churches may be divided into three groups. First, those which preceded the Danish invasion; secondly, those from the above epoch to the invasion of Sweyn; and thirdly, those onward to the Norman Conquest.

Saxon
Archi­tecture.

What exactly constituted Saxon architecture has long been a controversial point and one which will probably never be definitely settled. Parker, in his "Glossary of Architecture," says:—

"For a considerable time, after they (the Anglo-Saxons) had established themselves in this country, their buildings were of wood, and this appears to have been the prevailing material employed at the time of the Conquest, although stone had been occasionally used several centuries earlier…. No timber-work of Saxon date can be in existence at the present time, but it is contended by some antiquaries that several of our churches exhibit specimens of Saxon masonry; the truth of this theory, however, is not fully established, nor has the subject of Saxon architecture been yet sufficiently investigated to clear away the obscurity in which it is involved."

Probably few of our so-called Saxon churches were built earlier than thirty or forty years before the Norman Conquest, and it seems certain that for some years after they had settled in England, the Normans employed Saxon masons to build in the Saxon manner, as is seen by the tower of S. Michael's Church, Oxford, which, although showing all the characteristics of reputed Saxon masonry was built many years after the Battle of Hastings. Certain it is that these pre-Norman buildings in England were singularly rude and rough and show how much our Saxon ancestors were, at that period, behind the Italians, French and Germans in architectural skill.

Saxon Churches.

Our best examples containing Saxon work are possibly the churches at Sompting and Bishopstone, Sussex; Bradford-on-Avon; Wootton Wawen (sub-structure of tower); Wing; Brixworth, and Barnack, Northants; Greenstead in Essex; and S. Martin's at Wareham, Dorset. Of towers of this date the best are possibly those of S. Mary's and S. Peter's, Lincoln and S. Benet's, Cambridge. Of crypts, the finest examples are at Ripon Cathedral, York Minster (part) and S. Mary's Church, York. In addition to these, many other churches have chancel arches, doorways or some other less important features which are considered to be of Saxon origin.

These early buildings generally show the semi-circular arch on the doorways, but the windows usually have a triangular head; at Sompting church, however, the windows have the semi-circular arch. It is necessary to say a few words in detail about the more important churches of this era.

S. Lawrence, Bradford-on-Avon.

The church of S. Lawrence at Bradford-on-Avon is one of the oldest unaltered churches in England, and it seems to be beyond question that it is the actual church built by Ealdhelm at the beginning of the eighth century and dedicated by him to S. Lawrence. It consists of a chancel, nave and north porch, and among its remarkable features is its great height and the extreme narrowness of the round-headed arch between the nave and the chancel, a feature it has in common with the Saxon church of S. Martin at Wareham; the ground-plan measurements of both these churches are identical. At S. Lawrence's church, an incised arcade is seen outside the walls, and on either side of the west aspect of the chancel arch are two sculptured figures of angels, which are thought to represent the earliest extant fragments of church carving in England.

Tower of Earls' Barton Church
Generally considered to have characteristics
of Saxon masonry.

Brixworth, Earls' Barton and Barnack.

Brixworth church is possibly older than S. Lawrence's and it is said to have been in continuous use for Divine Service ever since it was erected. The tower appears to be of rather later date than the nave and rests upon the walls of a "narthex" or portico, which may have extended along the whole breadth of the front, as is still to be seen in churches at Rome and Ravenna. The curious pile of masonry built up against the tower may have been added for defence, as it could hardly have formed part of the original design.

Earls' Barton and Barnack churches both have towers so covered with narrow projecting strips of stonework that the surface of the walls appears divided into rudely formed panels. The west doorways of both show primitive imitations of Roman mouldings in the imposts and architraves. The tower of Earls' Barton consists of four stages, each of which is slightly smaller than the one below. In that of Barnack church, the upper stages of the tower represent the period of transition from Norman to Early English.

S. Michael's Church, Oxford.

S. Michael's, Oxford, has a massive tower of solid masonry, unpierced in its lowest stage by either door or window, the second stage shows but one window and the highest is pierced by several windows of more elaborate construction. Although generally consisting of rubble and stone, Saxon churches were sometimes built of wood as we see from the existing nave of the parish church of Greenstead, Essex.Greenstead Church, Essex. A brick chancel has been added at the east and a timber belfry at the west end, but the old Saxon portion is composed of large chestnut trees split asunder and set upright close to each other with the round side outwards. The ends are roughly hewn so as to fit into a sill at the bottom, and into a plate at the top, where they are fastened with wooden pins. There are 16 logs on the south side where are two doorposts, and on the north side twenty-one logs and two spaces now filled with rubble. There is a tradition that this church was erected to receive the body of S. Edmund, on its return from London to Bury, in 1013.


An Example of a Norman Tower.
Bishopstone, Sussex.
Homeland Copyright.
Click to [ENLARGE]

The semi-circular arch has long been considered to be one of the most distinctive marks of Norman architecture, but Mr. Rickman, who made an exhaustive study of the early churches of France and England, says:—

"In various churches it has happened that a very plain arch between nave and chancel has been left as the only Norman feature, while both nave and chancel have been rebuilt at different times; but each leaving the chancel arch standing. I am disposed to think that some of these plain chancel arches, will, on minute examination, turn out to be of Saxon origin."

It would be tedious to enter into any more minute account of the Anglo-Saxon ecclesiastical remains, and the reader whose enquiries conduct him to the more elaborate works on the subject will be startled by the contrary opinions that he will surely encounter.

In concluding these brief remarks on early buildings, we must again quote from Parker's work to which reference has already been made:—

"The class of buildings referred to as being considered to belong to this style contain some rather unusual features, and they require to be particularly described, both because they are in themselves remarkable, and because there is a probability that some of them may be Saxon."

Norman
Archi­tecture.The Norman style of church architecture with its varied forms of columns, moulded and recessed arches and vaulting, may be roughly stated to have been introduced into England at the time of the Conquest. The Saxon masons do not appear to have understood vaulting sufficiently well to have roofed over any large space with stone, and for this reason alone the Saxon form of building was bound to give way before the Norman, which of all the earlier styles was the most advanced in this respect.

A Norman Pier Arcade.
Abbots Langley, Herts.
Photograph Mr. A. W. Anderson.
Click to [ENLARGE]

Generally speaking, Norman arches were semi-circular, but they were by no means universally so, for a form frequently found is one in which the spring of the arch does not take place from the abacus, or upper member of the capital, but at some distance above it and when it assumes this form it is called a "stilted" arch, suggested by some authorities to have been unintentional and the result of imperfect construction or planning. See page [10].

Chevron or Zig-zag.Star.

Alternate Billet.Square Billet.

Double Cone.Lozenge.

Beak Head.Bird Head.
Examples of Norman Mouldings.

Ornament.

The main features in the ornamentation of this period are the sculptured bands worked round the arches, which, although generally called "mouldings," are more in the nature of decoration, and in some instances they appear to be additions carved on the originally unadorned surface of the masonry. The earliest and most general ornament is the chevron or zig-zag, which is frequently found doubled, trebled and quadrupled. The next most common form is the beak-head, consisting of a hollow and large round.

A Late Norman Parish Church.
Castle Rising, Norfolk.
Drawn by Gordon Home.
Click to [ENLARGE]

In the hollow are placed heads of beasts or birds whose tongues or beaks encircle the round. On the west doorway of Iffley church, Oxford, are many of these beak-heads extending the whole length of the jamb down to the base moulding. They also figure prominently among the ornamentations of the hospital church of S. Cross, near Winchester. The zig-zag moulding is very common on Norman churches and is so easily recognised that no further description is needed here. The less prominent decorations of Norman mouldings include the alternate billet, the double cone, and the lozenge, together with an immense number of others less commonly found.

Windows.

The Early Norman window was little better than a narrow slit finished with a plain semi-circular head, and was generally only a few inches wide. They were, it is believed, filled with oiled linen and the sides of the aperture were splayed towards the interior. Later in the period, the windows were enriched by the zig-zag and other mouldings and at a still later period an improvement was made by inserting nook-shafts in the jambs similar to those in doorways.

The towers of Norman churches often show windows of two lights separated by a central shaft, all enclosed under a large semi-circular arch, the spandrel of which is rarely pierced. Plain circular windows of small dimensions are sometimes found in other positions and in churches of later date, and occasionally in gable walls. Larger windows of the same form, with small shafts radiating from the centre and connected at the circumference by semi-circular or trefoiled arches, are also found as at Barfreston church, Kent, where there is a fine example.

Doorways.

Norman doorways are found in great numbers and variety, even in churches which present no other features in this style. The most usual form consists of a semi-circular-headed aperture with a hood-mould springing from plain square-edged jambs. Frequently, however, the doorways are recessed, having a nook-shaft in the angle formed by a recession from the capital, in which case it presents two soffits and two faces, besides the hood-moulds. The depth of these doorways is largely due to the great thickness of the walls usual in buildings of this period, but in many cases that portion of the wall in which the entrance is inserted is made to project forward beyond the general face, which projection is finished either with plain horizontal capping, or a high-pitched gable.

West Doorway of Rochester Cathedral
Duncan Moul
Click to [ENLARGE]

Norman porches thus have generally but little projection, and are frequently so flat as to be little more than outer mouldings to the inner door. They are, however, often richly ornamented and have rooms above, which rooms are wrongly called "parvises." The shallow aperture often follows the form of the arch, but is frequently square-headed, having a semi-circular tympanum of masonry filling the space between the

lintel of the door and the intrados of the arch. These tympana are usually sculptured in low relief with a representation of some scriptural or traditional event, while the assertion of the Apostle that "we must, through much tribulation, enter into the kingdom of God," may account for the fondness of the Norman sculptors in representing different stages of martyrdom on the tympana of their doors. A very singular tympanum is that on the door of the church of Fordington S. George, at Dorchester, whereon is represented some incident in the life of S. George.

Tympanum of Norman Doorway.
Fordington S. George, Dorset.
Drawn by E. M. Heath.
Click to [ENLARGE]

The principal figure is on horseback with a discus round his head. The other figures are in hauberks and chausses, and generally bear, in point of costume, much resemblance to the figures on the famous Bayeux tapestry. Barfreston church, Kent, has an interesting tympanum, as also has Patrixbourne church in the same county, where the sculpture shows the Saviour with dragons and at his feet a dog. At Alveston church, Warwickshire, the sculpture shows two quadrupeds with enormous tails, fighting, with between them a small bird, possibly intended for a dove. Our best example of a Norman doorway and tympanum is generally considered to be the west doorway of Rochester Cathedral, where the sculpture is of a very advanced character for its date, which is probably about 1130-40.

Piers.

A distinctive feature of the Norman style are the massive pillars, usually circular, and with capitals either of the same form, or square; occasionally in plain buildings the pillars themselves are square with very little or no ornamentation. Towards the end of the period, an octagonal pillar was often used, having a much lighter appearance than the earlier forms. Besides these plain styles, compound or clustered piers are very numerous, differing considerably in plan; the simplest consists of a square having one or more rectangular recesses at each corner, but one more frequently met with has a small circular shaft in each of the recesses and a larger semi-circular one on each side of the square.

Norman.
Crypt, Winchester.		Traditional.
Christ Church, Oxford.		Norman.
Winchester Cathedral.

Examples of Capitals.

Capitals.

Norman capitals are very varied, having many different forms of ornamentation; the commonest is one which resembles a bowl with the sides truncated, reducing the upper part to a square; sometimes the lower part is cut into round mouldings and ornamented, but it is frequently left plain.

The Norman capital in its earliest style was of short proportions, but afterwards it became longer, with lighter ornamentation, gradually merging into the Early English. The bishops and abbots of this period appear to have possessed considerable skill in architecture, for no fewer than fifteen of our English cathedrals contain some important Norman work, as the older portions of the cathedrals of Canterbury, Durham, Winchester, Gloucester, Peterborough, Ely, Norwich, Lincoln and Oxford.

A Curious Norman Capital.
Seaford, Sussex.
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Norman Buttresses.

The Norman buttress, better described by Mr. Sharpe as a pilaster strip, unlike those of the later period, projects but very little from the wall, and this is especially so in buildings of the earlier part of the period. They are usually quite plain and are more used for finish than actual support; the Norman builder relying principally upon the thickness and weight of his walls to sustain any roof thrust (see page [17]).

The Round Churches.

There are in England a few round churches which are thought to have been built by the Knights Templars, a religious community banded together for the purpose of wresting the Holy Sepulchre at Jerusalem from the Saracens. Their object was to defend the Saviour's tomb and to guard Palestine, for which purpose they built numerous monasteries throughout the Holy Land and fortified them like castles.

Another famous order which combined the religious instincts of the cloister with the military ardour of the warrior was that of the Knights of S. John Baptist or Knights Hospitallers, who, besides fighting, were to tend the sick and provide for the welfare of all Christian travellers. The churches belonging to the Templars were usually built in circular form in imitation of the church of the Holy Sepulchre at Jerusalem. They were capped with vaulted concave roofs said to be symbolical of the vast circuit and concave of the heavens. Our best example is the Temple Church, London, to which was added at a later period, a beautiful Early English Gothic extension. Other round churches are those of S. Sepulchre, Cambridge; S. Sepulchre, Northampton; Temple Balsall, Warwickshire, and of Little Maplestead, Essex, which last, although the smallest, is by no means the least interesting. It is attributed to the Hospitallers, an order founded about the year 1092, and introduced into England in the reign of Henry I. At Clerkenwell may still be seen the ancient gateway leading to their hospital.

Norman and Early English Doorways.
Showing the transition from one style to another.
Dunstable Priory Church.
Drawn by Worthington G. Smith.
Click to [ENLARGE]

The order was suppressed in 1545. The church at Little Maplestead was built early in the 12th century, and in 1186 the adjoining manor was given by Juliana Doisnel to this order, which gift was confirmed by King John and Henry III. This church is thought to reproduce with more fidelity than the others the original church of the Holy Sepulchre.

These famous Norman round-chancelled churches have much in common with the old basilica form.

It must be pointed out that the arbitrary divisions into which architecture has been divided—Norman, Gothic, etc., are pure figures of the imagination, as by a series of easy transitions, one style became gradually merged into the next without any hard and fast dividing lines whatever. The periods during which one style became gradually blended into another are called the periods of transition.

The Transition.

Architecture being progressive, it was only by the gradual development of one style from another that the art was enabled to advance with social progress, the literature and other arts of the country. The transition from the Norman to the Early English style may be ascribed to a period somewhat earlier than the 12th century, when a great change in the construction of the arch began to manifest itself. Alone, however, the form of the arch is no real test, for many pure Norman works have pointed arches. The square abacus may be taken as the best test. In its incipient state the pointed arch exhibited a change of form only, whilst the accessories and details remained the same as before; and although this change gradually led to the Early Pointed style in a pure state, with mouldings and features altogether distinct from those of the Norman, and to the general disuse, in the 13th century, of the semi-circular arch, it was for a while so intermixed as, from its first appearance to the close of the 12th century, to constitute that state of transition called the semi-Norman.

Windows showing the Origin of Tracery.
Click to [ENLARGE]

CHAPTER IV.