The roofs, internally, may be proved to have been masked by level ceilings, no doubt gorgeously painted like that which still remains over the contemporary church at Hildesheim in North Germany, or that but recently executed by Mr. Burges, aided by the charming art of Mr. Poynter, over the nave of Waltham Abbey. The present painted ceilings are, no doubt, the lineal successors of the Norman ones.
In the midst rose the stupendous piers and arches which sustained the tower, between which the open lantern soared high above the church, while beneath this lofty centre of the stupendous cross were ranged the stalls of the monastic choir.
I illustrate this wonderfully dignified and impressive structure by several drawings of the whole and of parts. It will be seen from this how simply and almost exclusively it trusts to the most elementary principles for its architectural effect. First, to its general grouping and proportions, which are a perfect model of a typical Norman church, bereft of its usual details; and, secondly, to the simple principle of divided orders, which I have before explained, but used in nearly all instances without the aid of decorative shafts or mouldings.
The proportions of the internal elevation are such that, if the entire height of the wall be divided into nine parts, four go to the main arcade, two to the triforium or gallery, and three to the clerestory ([Fig. 253]).
Fig. 253.—Sectional view of Nave, St. Alban’s.
The arches of each are of three orders, and are, for the most part, without shafts; the section of the jamb and arch being the same, severed only by a simple impost. A broad pilaster buttress runs up the face of each pier from floor to ceiling.
