Eikqn Ekkaiisiasikh.

EIKQN EKKAIISIASIKH .

LONDON , SATURDAY , NOVEMBER 5 , 1859 .

AT tlio invasion of the Turks and Moors in tiie east and south of Em-ope , religious architecture had in those regions become greatly degenerated . Indeed it had been matter for surprise to have found it otherwise for the reason already assigned—namely , the fierce and bloody contests that took p lace for dogmatic ascendancy . The practical advantages of

Christianity had been ignored for some filmy abstraction , and men instead of following precepts upon the value of which there could be no discussion , must inquire into the nature of God before thoy could obey his commandments . The result was unavoidable , men vaunted their knowledge of the unknowable—and in the confusion which smote their pride , fell

back for support upon a furious intolerance . But in the north ancl west of Europe , Christianity had taken deep root . So different seemed its development , that it appeared more like a reformation of the manners of the rude races of the North than a revolution of thought . Barbarous customs were indeed relinquishedbub there was

, nothing like subversion . The same simple tastes continued to prevail . Thus , while Christianity was torn by polemical ferocity in the East , on account of the undeterminate relation of the divine Spirit to the poor comprehension of man—in the West its precepts were practised because controversy was yet unknown , and the lord and the serf knelt on the

same floor , and asked for the same mercy and favour , ignoring the difference of their relative positions in this , for the knowledge of their equality in the next world . The stimulus given' to ecclesiastical architecture in Eranee and England at this time was exceedingly great . It has been doubted whether the Anglo-Saxons built churches

of permanent character ; but it would seem that the organization of the clergy was sufficient to render such edifices absolutely necessary , and there arc several remains of Anglo-Saxon towers which should set the question at rest . It appears , at the same time , that none of these buildings were at all comparable with the least celebrated of those which

were built by tiie Normans . In Dugdale ' s Monaslicon there is a very remarkable illustration of the zeal of the Normans for magnificent churches . William the Conqueror had vowed that if his expedition against England should prove successful , he would build an abbey in honour of the Most High God , which he would

liberally endow . In the hour of triumph he gave orders therefore , for building the Abbey of Battle , near the scene of conflict . It happened that when the foundations were dug , no water could be found ; the architect therefore recommended that some other site should be chosen ; and begged of William to be informed of his pleasure . " Work on ! work on ! " cried the king , "if Gocl gives me life there shall be more wine for the monks of the abbey to drink than there is now clear water in the best convent in Christendom . " William

and his wife Matilda had already founded two abbeys at Caen , which had just been completed . Upon the settlement of his empire the conqueror again turned his attention to reli gious architecture , and superintended himself the details of -Battle Abbey , Norman art being at this period at its zenith . The nobility had been accustomed to build magnificent

churches upon their domains in Normandy , and their success in England was almost immediately followed by the diffusion of similar tastes . Their first care was indeed to huild fortresses , to secure their English possessions . However rapaciousl y the Normans may have possessed themselves ° ithe resources and wealth of their conquestthey

_ new , certainl y scattered them abroad with a , not unsparing hand . -Ihe erection and restoration of ecclesiastical buildings proceeded so rapidly , that before the end of the eleventh coniuy their strongholds and reli gious establishments were '• istrib-uted . -oyer the remotest | iarts of the country , "You

might see , " says William of Malmsbury , " churches rise in every village , and monasteries in . the towns and cities , built in a style unknown before . You might behold the country flourishin g with renovated sites , so that each wealthy man accounted that day lost to him which he neglected to signalize by some munificent action . "

The Norman architecture is a link between the Roman ancl the Gothic ; and we find in it much that recalls the memory of the one at the same time that wc observe in it a great deal that connects it with the other . The arches are circular not pointed , but the shafts and columns are of such variety as to illustrate the progress of the new style which at

a later period came into vogue . Polygonal shafts , the prototypes of the clustered ' pillar and plain rectangular piers , are sometimes met with . The walls are so thick ancl massive that buttresses are not required , ancl where these appear , they are used rather as essential to the general design than to the strength of the building . The windows are small

, divided frequently by two lights , the arch being here reproduced on a smaller scale within the external arch . Circular windows are often met with , divided by small shafts , from which , sprung the wheel windows of a Liter ckte . Tiie cornices " are extremely bold , and supported by corbels of fantastic shape , sometimes monstrous and grotesque heads ,

sometimes exaggerated forms of animals ; but sometimes the cornice consists merely of a band indented and forming a parapet . The details of the Norman style are exceedingly varied . The decorations are , however , simple ancl harmonious . We shall have several opportunities as we proceedto

bring-, before the reader specimens of the most celebrated of these buildings . The capitals retain most of the peculiarities of the classic form , but in somewhat more of a campanulate form , with a massive square abacus . The foliage with which these are adorned follows no particular rule . Sometimes instead of foliage the capital is adorned with elaborate

interlacings of stonework . The mouldings and running decorations are also exceedingly various , ancl are referable , like the capital , to the classic idea . The antique scroll v / ork is found in innumerable modifications . There are some ornaments which are peculiar to the Norman style—such for instance as the chevron or

zigzag , which will be found in tho greatest jirofusioii ancl in its most elaborate application in Durham cathedral . Frets , reticulations of various forms , right angled and triangular lozenge shaped cabled spiral ranges of beaked heads , and billetted , sometimes used in arches , sometimes in horizontal bands , were all more or less used , but a general uniformity was maintained .

It is upon the church doorways that the Anglo-Norman architects seem , to have lavished their greatest display of ornament . These principally consist of an arch , which is a repetition of several enriched bands one within another , and surrounded by an archivolt . These bands admit of every variety of ornament , and 'the archivolt is decorated either

with floral designs , symbolic groups , heads of figures , or even groups of human forms , and terminated at either extremity with a bust or other large figure . The doors themselves were usually arched , but instances aro found where the door is square , the space occupied by the arch being filled up with sculpture . But perhaps the most remarkableand certainl

, y not the least beautiful , of the characteristics of the Norman style , was that interlacing of arches whicli covered the face of the building . Sometimes these arcades are simple , when they admit of greater scope of treatment , but the interlaced form gives to the aspect of the building an appearance of lightnessgracefulnessancl uniformity . These peculiarities

, , aro found in greatest profusion in the cathedral at Canterbury , Christ Church , and Winchester cathedral . In tho cathedral at Norwich they appear as a band between the upper and lower , yinclows . The ; whole lac-ado of Rochester