appearance; the single or
double-faced semicircular arches, both of doorways and windows, as well as
the arches supporting the clerestory walls, are generally devoid of
ornament, and the edges of the jambs and arches are square. The undercroft
of Canterbury Cathedral, the work of Archbishop Lanfranc, between A. D.
1073 and A. D. 1080; the crypt and transepts of Winchester Cathedral, built
by Bishop Walkelyn between A. D. 1079 and A. D. 1093; the plain Norman work
of the Abbey Church at St. Alban's, built by Abbot Paul, between
1077-1093; and the north and south aisles of the choir of Norwich
Cathedral, the work of Bishop Herbert, between A. D. 1096 and A. D. 1101,
not to multiply examples, may be enumerated as instances of plain and
early Norman work. In buildings late in the style we find a profusion of
ornamental detail of a peculiar character, and numerous semi and
tripartite cylindrical mouldings on the faces and edges of arches and
vaulting-ribs. The transepts of Peterborough Cathedral, built by Abbot
Waterville between A. D. 1155 and A. D. 1175, exhibit vaulting-groins faced
with roll mouldings, and other details of an advanced stage; whilst the
Galilee, Durham Cathedral, built by Bishop Pudsey, A. D. 1180, is
remarkable for the lightness and elongation of the piers, which are formed
of clustered columns; and the semicircular arches which spring from these
are enriched both on the face and soffits with the chevron or zig-zag
moulding. There are many intermediate gradations between the extreme plain
and massive work of early date, and the enrichments, mouldings, and
elongated proportions to be found late in the style; and in detail we may
perceive an almost imperceptible merging into that style which succeeded
the Norman.

[Illustration: Base. Crypt, St. Peter's, Oxford, c. 1100.]

FOOTNOTES:

[52-*] Defunctus autem Rex beatissimus in crastino sepultus est Londini,
in Ecclesia, quam ipse novo compositionis genere construxerat, a qua post,
multi Ecclesias construentes, exemplum adepti, opus illud expensis
oemulabantur sumptuosis.--MATT. PARIS.

[Illustration: Vesica Piscis in the tympan of the south doorway, Ely
Cathedral]

CHAPTER V.

OF THE SEMI-NORMAN STYLE.

Q. What is the Semi-Norman style?

A. It is that style of transition which, without superseding the Norman
style, prevailed more or less, in conjunction with it, during the latter
part of the twelfth century, and probably even from an ear