The so-called Pyx House in Westminster Abbey, a low narrow solemn-looking vaulted room with a row of massive pillars in the centre, and a single archway in the south transept, are all that are left of the noble sanctuary built under the direction of the last of the Saxon kings, but these relics, with a few conventual buildings, suffice to connect with Anglo-Saxon times a church that is perhaps more intimately associated than any other with the history of England from the close of the 11th to the middle of the 16th century, it having been added to under every successive occupant of the throne.
The Anglo-Norman style, that succeeded the Saxon, prevailed in Great Britain from the conquest to the last decade of the 12th century, becoming at that time either merged in or superseded by the earliest phase of the Gothic.
Always most enthusiastic builders, the Normans found in the land of their adoption fuller scope for their energies than in their own, and before they became absorbed in the race they had conquered, they left their impress throughout the length and breadth of their new domain, monasteries, cathedrals, and parish churches, castles, and dwelling houses rising up in every direction, all stamped with a most distinctive character, the result of the welding into one of Anglo-Saxon and Norman traditions, and the modification of a foreign style by local conditions of material and environment. In many cases somewhat crude and heavy, Norman work has yet always an imposing dignity, and is, as a general rule, admirably suited to the site it occupies and the purpose for which it is intended.
The chief characteristics of Anglo-Norman ecclesiastical buildings are a cruciform plan; the great length in comparison with the breadth of the nave, which joins the choir without the intervention of a screen, such screens as are in situ being of much later date than the churches in which they are found; columns of greater girth and height than the Saxon type, some circular, others six or eight sided, the circular type occasionally clustered in groups of six or more, with roughly carved capitals of which the so-called cushion form is of most frequent occurrence, upholding arches of wide span, massive walls, those of the nave with rows of purely ornamental arcading, beautifully proportioned triforia and clerestories; long, narrow, round-headed windows, two or three being often grouped together; deeply recessed and finely decorated doorways; strong external buttresses; twin western towers and a loftier central one rising from the intersection of nave and transepts. With certain notable exceptions referred to below, Norman churches have flat timber roofs, but those of the crypt beneath them are generally of groined stone with plain or only slightly ornamented ribs.
Another very distinctive characteristic of the Norman style is the richness of the surface decoration of the interiors of cathedrals and churches, the bases, shafts, and capitals of the columns, the arches, headings of windows, mural arcades, &c. being all enriched with mouldings of an infinite variety of form, including the so-called cable resembling a rope, the billet not unlike short bits of rounded wood, the chevron or zig-zag, the fret or fillet, the lozenge, the trellis, the cone, the scollop, and wave with the so-called torus, a convex swelling, and the cavetto, a hollow moulding, the last two used almost exclusively on the bases of columns.
