The Norman style of architecture continued to prevail in England till near the close of the twelfth century, and in Scotland for some time thereafter. At that period a further and completer development awaited the architecture of the Middle Ages. We have seen that the “subordination” of all the parts had been achieved, together with the use of the groined vault, with its accompanying buttresses and pinnacles, in the round arched style. The employment of the round arch was, however, found to involve many practical difficulties in connection with the vaulting. The bays of the nave, so long as they were square in plan, could be conveniently vaulted with intersecting semi-circular groins; but when they were of an oblong form, the width being greater than the length (as was often found necessary in order to suit the vaulting of the side aisles), the round arch was found very inconvenient in consequence of the large arch which spanned the nave rising to a greater height than the smaller arch of the side walls. It was endeavoured to overcome this difficulty by stilting the arch of the side vault so as to make its apex of the same height as the main transverse vault; but this scheme interfered with the lines of the groins or intersection of the vaults in such a manner as to render it unworkable. It therefore became necessary to seek for a more flexible form of arch, which would enable the apex of all the arches of the vaults, whatever their span, to rise to any required height. This useful form was discovered in the pointed arch, which had long been in use in Provence, and which the builders of the North of France now found themselves forced to adopt by the exigencies of their vaults, and which ultimately led to the development of the pointed style.
The new life and growth of architecture which, as we have seen, sprung into existence in the twelfth century, had been adopted with eagerness by the builders of the Royal Domain of France. Not being trammelled by the traditions of an ancient and long-used system, these architects had thrown themselves with energy into the new development of architecture, and it was in this locality that the application of the pointed arch to the difficulties of the vaulting seems to have been first successfully carried out.
As early as 1144 the pointed vaulting of the side chapels of the Cathedral of St. Denis was completed by the Abbé Suger. Some time elapsed until the effect of this new system of vaulting was fully realised, either in France or England; but when its advantages were at last seized, the pointed arch was speedily adopted. At first it was applied in both countries, for the sake of strength, to the main bearing arches; but gradually the round arch was superseded, and the pointed form adopted, for the sake of harmony, in all wall openings. The pointed style thus became completed in its main elements towards the close of the twelfth century. The pointed form of the vaulting gradually ruled every other feature. The large windows of the clerestory, being near the vaults, naturally assumed the same pointed form as the wall ribs, and the other windows and the doorways speedily followed, in sympathy with the general movement.
The fresh vigour of the mouldings and foliage begun under the Normans went on improving in the pointed style, and the energy and devotion of the builders in France and England wrought out in each country a separate pointed architecture, each founded on the use of the pointed arch, but each showing original and distinct elements.
In France there is visible, in the early pointed architecture, a constant effort to attain to some new development—a restless striving after novel and more expanded forms, leading to great magnitude and height in the churches, many of which were, in consequence, never finished. In England, while novelties of design are sought after, there is more contentment and completeness in the architecture. There is not the same soaring ambition and striving after spacious buildings and lofty vaults; consequently, the English cathedrals and large churches are more frequently finished, a greater amount of attention being devoted to rendering the structure complete and varied in its different parts than in the production of one great and striking result. The English cathedrals are thus more picturesque, while those of France are grander in appearance. The former effect is produced by the multiplicity and variety, as well as the completeness, of all the parts, many of the English cathedrals (as Salisbury, [Fig. 19.]) having double transepts, eastern lady chapels, large vaulted cloisters, detached chapter-houses, &c.; while the grand effect of the French cathedrals arises from their great size and height, and the apparent unity and simplicity of the design. In one respect the cathedrals and churches of the two countries greatly differ. Owing to
Fig. 19.—Salisbury Cathedral. View from the North-East. (From Britton’s Cathedrals.)
their immense height, the French churches require a vast quantity of lofty buttresses and pinnacles, which, to the eye accustomed to those of England, produce a feeling of confusion and unrest. The great flying