Nun-Monkton, Yorkshire, c. A.D. 1220.
In the work at Fountains Abbey already mentioned, the aisles are vaulted, and the width of the aisle being greater than the space between the pillars, it follows that each compartment, or bay, of the vault was not square, but oblong; the greater length being across the aisle, where we have the semicircular arch or arch-ribs to carry the vault, the narrower space being from pillar to pillar towards the choir: we have there the pointed arch, and thus we have a succession of semicircular arches down the length of the aisle, and a range of pointed arches towards the choir: and the same on each side. But although this may account for the use of the pointed arch, it is still quite distinct from the Gothic style; we have it at Fountains in pure Norman work half-a-century before we have the same arrangement again at Canterbury, in the work of William of Sens after the fire. Here, however, we have not only the pointed arch, but it is accompanied by a general change of style,—all the accessories are undergoing a rapid change. The moldings, the ornaments, the sculpture, and all other details are of a more highly finished and a lighter style. The triforium-arcade of Canterbury Cathedral is an excellent example, with the arches pointed and recessed, abacus well-molded, and foliage in the capitals.
Canterbury, as has been pointed out, is the earliest
Triforium Arcade, Canterbury Cathedral, A.D. 1178.
In this example the general arch is semicircular, while the two sub-arches under it are pointed, recessed, and square-edged, resting on coupled shafts with capitals of foliage, and molded bases on square plinths.
and the best-authenticated example of the change of style in England which we possess, and it enables us to fix a precise date to this great change; it serves as a type for very many others which were being carried on simultaneously, or soon after. The contrast drawn by Gervase between the old church and the new one has been already quoted in describing the earlier Norman work, and need not here be repeated. It will be sufficient to say that the masonry and the sculpture in the new work are both excellent, and that the peculiar ornament known by the name of the ‘tooth-ornament’ occurs abundantly in the new work: the moldings, especially of the bases, are almost of pure Early English character.