A B C of Gothic Architecture

by John Henry Parker

they are, as a general rule. The spire is an early one, though that is not likely to be Norman. The belfry-windows in the tower, and the corbel-table under the eaves of the roof, are early. The porch is evidently a later addition.

At Iffley the tower is later; the original choir was square, with a flat east end, and another square bay has been added eastward at a later period, more in the Early English style.

The Augustinian priory of Dunstable, in Bedfordshire, was also founded in 1131; the original parts of the west front and of the nave are remarkably fine and rich Norman work.

In the time of William Rufus the work begun by the Norman bishops was carried on so vigorously, that, before the close of this century, every one of the Saxon cathedrals was undergoing the same process of destruction, to be rebuilt on a larger scale and in a better manner. Some of the buildings which remain to us of the work of this reign are the crypt of Worcester; the crypt, the arches of the nave, and part of the transepts of Gloucester; the choir and transepts of Durham; the nave and transepts of Christchurch in Hampshire; the choir and transepts of Norwich.

The history of Canterbury Cathedral has been so carefully preserved by contemporary records, and these have been so thoroughly investigated by Professor Willis, and compared with the existing structure, that we may almost put a date upon every stone of this magnificent fabric; it is therefore our best and safest guide in the study of the architecture of that period in England. The work in the older part of the crypt agrees exactly with that at Lincoln, and the other early Norman works above mentioned. The crypt is, however, not part of Lanfranc’s work, for it is remarkable that his church was entirely pulled down and rebuilt by his successor, St. Anselm, between 1096 and 1110, under the direction of Priors Ernulf and Conrad. Even in the time of Gervase, writing in 1170, he says, “You must know, however, good reader, that I never saw the choir of Lanfranc, neither have I been able to meet with any description of it: Eadmer indeed describes the old church, which before the time of Lanfranc was constructed after the Roman manner; he also mentions, but does not describe, the work of Lanfranc, which succeeded this old church, and the choir of Conrad, constructed in the time of St. Anselm.” From this we may fairly conclude that the work of Lanfranc was of very inferior character. It is now said by some, that parts of the walls of the present crypt at the west end belong to this early period, “after the Roman manner;” Willis considered this to be of the time of Lanfranc.

During the first fifteen or twenty years of the twelfth century, and of the reign of Henry I., there was no perceptible change of style; the numerous great works which had been begun during the preceding twenty years were carried on, and many of them were completed. During this period we have the dedications,—which shew that the work was sufficiently forward for the choir to be used,—of Ely, Rochester, Norwich, Canterbury, and some others. Several new works were commenced also, as Tewkesbury Abbey, St. Botolph’s, Colchester, St. Bartholomew’s, Smithfield, the nave of Durham, the choir of Peterborough, and Reading Abbey: but we do not find any difference between the early parts of these and those which immediately preceded them. There is no difference whatever between those built on the sites of the Saxon cathedrals, and those which were now first erected on entirely new sites.

We find in early Norman work that the chisel was very little used; most of the ornaments are such as could be readily worked with the axe, and whatever sculpture there is appears to have been executed afterwards, for it was a general practice to execute sculpture after the stones were placed, as is evident in the early work at Westminster: some of the capitals in the crypt of Canterbury are only half finished to this day, the work of carving having probably gone on until it was stopped by the great fire in 1174. If the sculpture is early it is very rude, and the work is shallow. But shallowness of carving depends partly on the nature of the material to be carved; from this cause buildings of a hard stone, such as granite, often appear much older than they really are. Baptismal fonts especially are frequently made of hard stone or marble, which admit of shallow sculpture; and rich Norman work cut shallow may be found as late as the time of Henry II.

Crypt, Canterbury, A.D. 1110.

Norman capital, with carving commenced and left unfinished.