rally looks for information on this subject, the society of Antiquaries, have only in years comparatively recent, been seriously addressed to enquiries concerning the history and characteristics of our ancient architecture.

Bentham, Gray, and Warton afforded bright examples, which, perhaps, the free and elegant pen of Horace Walpole (Earl of Orford) greatly assisted in rendering objects of emulation in the esteem of the polite, as well as the erudite.

Aided by such incitements, the investigation of the ancient architecture of this islaud has been adopted, on the only judicious principle, and one that was too long neglected,-that of local, scientific, enquiry, and an appropriation of styles upon the secure basis of analogy, proceeding from data of unquestionable authority. Much may be expected from the exertion of talent so well directed, if sustained by public encouragement. But this union of energy and judgment is only of late occurrence: and it must be repeated, that a knowledge of the architectural antiquities of this country is still of an infantile and unintelligent growth.

A variety of styles, in regard to the character and disposal of ornaments, if not sufficiently distinguished to admit of a positive classification, is observable in the ecclesiastical buildings of the Anglo-Normans. The appropriation of these to respective ages must depend on such a careful investigation, and comparison of the mouldings of arches, and other particulars of architectural decoration, as is not known to have been yet carried into effect. An attempt of this kind could be executed only in a regular and extensive work of art, and will scarcely be expected in a volume embracing so many topics as the present. While subject to the want of a satisfactory dissertation, the following remarks may act as useful outlines of information.

If we rely on that statement of Dr. Ducarel, which is noticed in previous pages of this section, we shall find cause for believing that the architectural style prevailing in the early part of the conqueror's age, was marked by great plainness; the heavy round

arches, and the narrow windows, of the two buildings of St. Stephen and the Holy Trinity at Caen, having few enriched mouldings; and all other parts of those structures, both within and on the exterior, being destitute of sculptural decorations,

But the inference arising from the above intelligence conveyed by Dr. Ducarel, must by no means be wrought into a rule of severe application, in regard to the first buildings of the Normans in this country. It is, however, to be ascertained that such structures were sometimes of a plainer description than those raised in succeeding years; an instance of which may be remarked in the chapel of St. John, in the Tower of London.*

The observations of two writers, whose opinions upon this subject are rendered of additional value by their professional pursuits, may be adduced, in illustration of the procedure of Anglo-Norman architectural taste in early ages.

"In the eleventh century," writes Mr. Wilkins (unfortunately using terms of too general a character, for the wishes and purpose of the critical enquirer) some alterations in the Saxon style of architecture took place. They were introduced by the Normans, and were executed in a very rough massive way at first; but, in a short time they became more expert workmen. We find them improving in their workmanship until the middle

of

This curious chapel was erected for King William the First, by Bishop Gundulph. It is distinguished by massive simplicity; the arches, and every part of the building, except the capitals of some of the columns, being entirely destitute of ornament.

The weighty columns are uniformly round and plain; their plinths square and unornamented. The capitals are all square, but are not entirely similar in any other respect. Their studied want of uniformity is, however, less striking than in many other Anglo-Norman structures, and ornament is bestowed on them with a very rigid hand. The cross is the embellishment most frequent; and that holy emblem is displayed on the capitals of many succes sive columns.

The capitals partaking most freely of decoration are those two which are opposed to each other, at the western termination of the structure. These have the cable moulding; a narrow billet; and a lozenge moulding.

of the 12th century, in almost every province in the kingdom, particularly at Rochester under the superintendance of Bishop Gundulph, whose skill and expertness in masonry caused it there to be styled Gundulph's Architecture. Ernulph, a native of France, soon after the death of Gundulph, was promoted to the abbacy of Peterborough. He, also, became proficient in this style of building; and various specimens of his taste are still to be seen at Rochester, Canterbury, Peterborough, &c."*

Mr. J. A. Repton, in a contribution towards Mr. Britton's His. tory and Antiquities of the Cathedral church of Norwich, remarks that "the style called Norman is well known by the semicircular arches, the square-headed capitals and bases of the columns, and the massive contour of the mouldings. The archi tecture of the Saxons and the early Normans, (that is, from the time of the Conquest to Henry the First,) is extremely massive; not only in the general design of the building, but also in the detail of mouldings, &c. Soon after the reign of Henry the First, the heavy character of the Norman style began gradually to partake of more elegant forms: the capitals of the columns became lighter, though with bolder projections; the inouldings of the arches and cornices were more delicately finished; the bead mouldings began to change their massive forms, and towards the reigns of Henry the Second, and Richard the First, they were ornamented with fillets and ogees; the hollow mouldings were more open; the square shape of the abacus of the capital of columns was changed, by degrees, into the octangular, or circular, forms, while the contour of the arch-mouldings began to lose their square outline, and to sweep round with the shape of the columus."†

An instance of the early Anglo-Norman mode, together with an exception from the prevalence of a uniform style in the same 2 C 2

age,

Essay towards a History of the Venta Icenorum of the Romans, &c. Archæol. Vol. XII.

+ Britton's History and Antiquities of Norwich Cathedral, p. 28.

age, is afforded in the following continuation of Mr. Repton's ob servations:-" The earliest part of Norwich Cathedral, begun about the reign of William Rufus, still retains its cumbrous and massive character; and the same style is continued through the nave, although raised in the reign of Henry the First. This seems to have been done to preserve uniformity in the whole building. It should be observed, however, that the plainness or the richness of a building is no proof of its antiquity; because the same Bishop (Herbert, consecrated in 1094,) who founded this cathedral, adopted the plain and massive style, as being applicable to a structure on a great scale; but, on the contrary, in erecting the monks' houses (commonly called the dormitory) a small building of nearly the same date as the cathedral, he displayed a considerable degree of taste in the richness and lightness of design.”

Mr. Burdon, in a letter to the author of the "Architectural Antiquities," supposes that "it is not very difficult to distinguish THREE DIFFERENT KINDS OF THE NORMAN ARCHITECTURE. The early, which began before the Conquest, and of which Waltham, Durham, &c. are specimens; the middle, which is the style of Peterborough, Malmsbury, &c. and the latter, which is that of Lincoln, the choir of Canterbary, &c."†

This scheme appears to be worthy of attention; but the opinions of its author are not sufficiently defined to admit of useful application. It is, however, founded on a principle which all local and historical examination proves to be correct:-that the architecture of the Anglo-Normans progressively increased in ornament and skilfulness of execution: the whole detail of embellishments becoming less weighty and rude in each new age, and gradually ameliorating towards the delicacy of the pointed style, and its attendant crowd of luxuriant beauties.

That

• Britton's History and Antiquities of Norwich cathedral, p. 28, with a reference to Archæologia, Vol. XV.

+ Architectural Antiquities, Vol. III. p. 26.*

That the exchange of the heavy circular arch for that of the light, graceful, and pointed form, was not a circumstance of abrupt transition, but proceeded at first with reluctant steps and an intermixture of styles, is sufficiently evident, although seve ral authors have insinuated to the contrary. The following passage in Mr. Bentham's History of the Cathedral church of Ely, is open to such an interpretation:-"It cannot be expected that we should be able to enumerate all the decorations which the Saxons and Normans made use of, for they designed variety in the choice of them; but a judicious antiquarian, who has made the prevailing modes of architecture in distant times his study, will be able to form very probable conjectures concerning the age of most of these ancient structures; the alterations that have been made in them, since their first erection, will often discover themselves to his eye. Perhaps the most usual change he will find in them is in the form of the windows; for, in many of our oldest churches, I mean such as were built within the first age after the Conquest, the windows, which were originally roundheaded, have since been altered for others of a more modern date, with pointed arches. Instances of this kind are numerous, and may often be discovered, by examining the courses of the stonework about them: unless the outward face of the building was new cased at the time of their insertion, as it sometimes happened without attending to this, we shall be at a loss to account for that mixture of round and pointed arches we often meet with in the same building."

:

That such alterations were frequent, is undoubted; and the above extract affords a criterion for distinguishing the result of innovation from the design of the first builder. But the pointed arch appears in the original parts of structures where AngloNorman features have determinately the ascendant, long before that mode of architecture of which it forms a characteristic, was 2 C3 methodised

• Hist, of Ely Cathedral, p. 55-$36,