EMI-NORM

the Semi-No

during the latter part of the twelfth century, and probably even from an earlier period, and gradually led to the complete adop

this style c

arch, and the pointed arch with its accompaniments of features, mouldings, and ornamental accessories, exactly similar to those of the N

ng Arches, St. Botolph's Pri

derive the origin

ersection of semicircular arches, which intersection we frequently find in ornamental arcades; others contend that it originated from the mode of quadripartite vaulting adopted by the Normans, the segmental groins of which, crossing diagonally, produce to appearance

iscina, Jesus Colleg

characteristic

tails and mouldings of this style generally partake of late Norman character; and the zig-zag and semicylindrical mouldings on the faces of arches appear to predominate, though other Norman mouldings are common; but we also frequently meet with specimens in the Semi-Norman style in which extreme plainness prevails, and the character is of that nature as to induce us to ascribe such buildings to rather an early period. Single and double, and sometimes even triple-faced arches, with the edge

his style is there of

ch, Abbey Chur

inted arches, with square edges, and hood mouldings over, which spring from massive cylindrical piers with square bases and capitals; whilst the clerestory windows above (for there is no triforium) are semicircular-headed. The general features of early Norman character,

d specimens are th

Arches, St. Cross

nd pointed arches, of cotemporaneous date, enriched with the zig-zag and other Norman decorative mouldings, and is a structure, i

hwell Church, Northamptonshire, has much of Semi-Norman character: the aisles are divided from the nave by four lofty, plain, and triple-faced pointed arches, with square edges, springing from square piers with attached semicylindrical shafts on each side, and banded round midway between the bases and capitals; and the latter, which are enriched with sculptured foliage, are surmounted by square abaci; the west doorway is also of Semi-Norman character, and pointed, and is set within a projecting mass of masonry resembling the shallow Norman buttress.

Window, Oxfo

n style has been noticed by any cotemporaneou

ive years. Gervase, a monk of the cathedral, and an eyewitness of this re-edification, wrote a long and detailed description of the work in progress, and a comparison between that and the more ancient structure which was burnt; he does not, however, notice in any clea

i or Mixed Norman style

h, St. Cross Ch

century,) we have perhaps no remains of this kind to which we can attribute an earlier date than that included between the years 1130 and 1140, unless we except the intersecting arches at St. Botulph's, Priory Church, C

rist Churc

itself, and formed by two circles intersecting each other in the centre. This was the most common symbol used in the middle ages, and thus delineated it abounds in Anglo-Saxon illuminated manuscripts. Every where we meet with it during the middle ages, in religious sculptures, in painted glass, on encaustic tiles, and on seals; and in the latter, that is, in those of many of the ecclesiastical courts, the form is yet retained. Even with respect to the origin of the pointed arch, that vexata qu?stio of antiquaries, with what degree of probability ma

e confounded with that of its actual erection, which was often many years

ion, he seems to allude, though in obscure language, to the altered form of the vaulting in the aisles of the choir (in circuitu extra chorum); and his co

veteribus opus erat planum, in novis sculptura subtilis. Ibi in chori ambitu pilarii viginti duo, hic autem viginti octo. Ibi arcus et c?tera omnia plana utpote sculpta secure et non scisello, his in omnibus fere sculptura idonea. Ibi columpna nulla marmorea, hic innumer?. Ibi in circuitu extra chorum fornices plan?, hic arcuat? sunt et clavat?. Ibi murus super pilarios directus cruces a ch

aulscray C