and Denmark, just as it did in England and Scotland, and from Norway it would be transplanted into Orkney. We find that the “transition” style and pointed styles follow here a similar course to that observed in other countries, although, no doubt, with certain modifications, such as might be looked for at so great a distance from the centre of origin.
Sir Henry Dryden, who has given a great deal of study to Kirkwall Cathedral, finds the differences of the architecture there as compared with that of England so great that the usual terms in England are not applicable; but we believe that, with some allowances, the same general stages of progress can be observed at St. Magnus’ as in the South.
It is well known that French architects were sent for to carry out the Cathedral of Upsala, while the architecture of the Cathedral of Throndhjeim is English in character. A certain mixture of design is traceable in the details of these northern structures, but the general scope of the architecture follows that of the rest of Europe.
The Cathedral of St. Magnus was, as above mentioned, begun by Earl Rognvald in 1137, and was, doubtless, carried on with as great expedition as possible. It was a gigantic work to be undertaken in this situation at the time, and difficulty arose with regard to funds. This, however, was overcome by allowing the proprietors of lands in Orkney to redeem their property by a single payment of a sum per acre, paid at once, instead of according to the usual practice, on each succession.
The first parts of the cathedral built (shown by black tint on Plan) were the three westmost or Norman bays of the choir, with their aisles, both the transepts, the crossing (afterwards altered), intended to receive a tower over it, and two bays of the nave, which served to form an abutment for the crossing. These portions are all (where unaltered) in the earliest style of Norman work in the edifice. The round piers and responds of the choir, the two south piers and one north pier of the nave (with their cushion caps) ([Fig. 233]), the main arches (with their label mouldings in the choir and transept) (see Figs. 227 and 234), the round arched and labelled windows in choir, transept, and nave (see [Fig. 228.]), and the interlaced arcades in the latter ([Fig. 235]), all point to a somewhat advanced period of Norman work.
The choir originally terminated with a central apse beyond the third pier (as shown by dotted line), but it is impossible to say whether the side aisles also had apses, or whether the aisle was continued round the apse.
The Norman windows of the choir aisle have three external orders, with a label ornament in the outer order. The single shafts have cushion caps, and the windows are largely splayed internally.
An interlacing arcade of round arches, with single shafts and cushion caps (some with volutes), runs round the north, south, and west sides of
