N OR ANGLO-N

sign the introduction of

William of Malmesbury, to have rebuilt (A. D. 1065) the Abbey Church at Westminster in a new style of archi

structure erected by Edwa

ifice or buildings attached to it is supposed to hav

riod of time did

1065 to the close of

istinguish this style from t

piers, which are generally square or cylindrical, though sometimes multangular i

in those churches that were built by the Normans, when all the re

Wolston Church

orman doorway of singular design, from the square band or ornamental facia which environs it. This is a relic of a more ancient edifice than the structure in which it now appears, and which is of the fourteenth century; and the external masonry of the doorway is not tied into the walls of more recent construction, but exhibits a break all

rman doorways

n to this style. Sometimes the sweep of mouldings which faced the architrave was continued without intermission down the jambs or sides of the doorway; and in small country churches Norman doorways, quite plain in their construction, or with but few mouldi

ect were these doors

early sculpture over the south door of Fordington Church, Dorsetshire, representing a scene in the story of St. George; and sometimes symbolical, as the representation of fish, serpents, and chimer? on the north doorway of Stoneleigh Church, Warwickshire. The figure of our Saviour in a sitting attitude, holding in his left hand a book, and with his right ar

e many Norm

ulded ribs; and in some instances a room over has been added at a later period. Numerous portals of the Norman era appear constructed within a shallow projecting mass of masonry, similar in appearance to the broad projecting buttress

dows were those bel

acus. Early in the style the windows were quite plain; afterwards they were ornamented in a greater or less degree, sometimes with the chevron or zig-zag, and sometimes with roll or cylind

Ryton Church,

ircular or wheel-shaped

disposed so as to converge to a common centre, sometimes occurs in the gable at the east end of a

ent Church, Kent, with i

f piers were th

ndrical pier-shafts attached, disposed either in nooks or on the face of the pier. We sometimes meet with octagonal piers, as in the cathedrals of Oxford and Peterborough, the conventual church at Ely, and in the ruined church of Buildwas Abbey, Salop; and also, though rarely, with piers covered with spiral flutings, as one is in Norwich Cathedral; with the spiral cable moulding, as

he capitals

the face on each side of the upper part of the capital is flat, and it is often separated from the lower part by an escalloped edge; and where such division is formed by more t

, Steetley Chu

eme variety of design in ornamental accessories prevail, the general form and outline of the capital being preserved; and some exhibit imitations of the Ionic volute and Corinthian acanthus, whilst many are covered with rude sculpture in relief. They are generally finished with a plain square abacus moulding, with the under edge simply

St. Augustine

vable in the bas

n form or contour a quirked ovolo rever

, Romsey Ch

he arches di

ly in the style they are plain and square-edged; late in the style they are often found enriched with the zig-zag and roll mouldings, or

man churches do we g

over the vaulting of the aisles was the triforium. In small Norman churches the chancel is generally the only part vaulted; and between the vaulting and

iers, Melbourne C

ription was the

roins, thus forming what is called a quadripartite vault. Early in the style the diagonal edges of the groins appear without ribs or mouldings; at an advanced stage they are supported by square-edged

able with respect

ning space, which is sometimes considerable, is filled with grouted rubble. Masses of this grout-work mason

y buttresses use

Chancel of St.

are generally of a single stage only, but sometimes of more, and are not carried up higher than the cornice, under which they often but not always finish with a slope. They appear as if intended rather to relieve the plain external surface of the wall than to strengthen it. Norma

there an

r story, was often decorated with arcades of blank semicircular and intersecting arches; t

ear to have been kn

after the adoption of the pointed style, many Norman buildings have pinn

of the small country churches of this style, an

econd tier were two smaller arches constructed beneath a larger; sometimes the same space was occupied by a single arch; and in this tier was the triforium or gallery. In the third tier or clerestory were frequently arcades of three arches connected together, the middle one of which was higher

principally used in the dec

s not always single, but often dupl

ersed z

ented m

attled

etail m

beak

y used for the fas

bi

rbel bole, used for supp

ble mo

ouble

llet,

hed, or

nail

loze

udded

iamon

meda

st

ed or invec

l accessories are also to be met with, but

ually find carried along the walls of

nder part bevelled, is of most frequent occurrence; a plain semihexagon string-course is al

m Binham Church, Norf

ral character and appearance between the ear

t 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 de

t. Peter's, Ox

quam ipse novo compositionis genere construxerat, a qua post, multi Ecclesias cons

tympan of the south d