Normandy and England
The next major development took place farther north, in Normandy, and
for good reason. Ruled by a succession of weak Carolingians before being
ceded by the aptly named Charles the Simple to the Danes in 911, the
duchy developed under the Capetian dynasty into the most dynamic force
in Europe by the middle of the eleventh century. Although it came late,
Christianity was enthusiastically supported by the Norman dukes and
barons, who played an active role in monastic reform and established
numerous abbeys. Normandy soon became a cultural center of international
importance.
ST.-ETIENNE, CAEN.

407. West facade, St.-Etienne, Caen.
Begun 1068
The architecture of southern France was assimilated and merged with
local traditions to produce a new school that evolved in an entirely
different direction. The west facade of the abbey church of
St.-Etienne at Caen (fig. 407), founded by William the
Conqueror a year or two after his invasion of England in 1066, offers a
striking contrast with that of Notre-Dame-la-Grande. Decoration is at a
minimum. Four huge buttresses divide the front of the church into three
vertical sections, and the vertical impetus continues triumphantly in
the two splendid towers, whose height would be impressive enough even
without the tall Early Gothic helmets. St.-Etienne is cool and composed:
a structure to be appreciated, in all its refinement of proportions, by
the mind rather than the eye. The interior is equally remarkable, but in
order to understand its importance we must first turn to the
extraordinary development of Anglo-Norman architecture in Britain during
the last quarter of the eleventh century.
NORWICH CATHEDRAL.

Norwich Cathedral, England
Norwich Cathedral is a Church of England cathedral built in Norwich,
Norfolk, dedicated to the Holy and Undivided Trinity.
The cathedral was started in 1096 and
constructed out of flint and mortar and faced with a cream coloured Caen
limestone. A Saxon settlement and two churches were demolished to make
room for the buildings. The building was finished in 1145 and had the
fine Norman tower, that we see today, topped with a wooden spire covered
with lead. Several periods of damage caused rebuilding to the nave and
spire but after many years the building was much as we see it now, from
the final erection of the stone spire in 1480. The large cloister has
over 1,000 bosses including several hundred carved and ornately painted
ones. The buildings are on the lowest part of the Norwich river plain
and surrounded on three sides by hills and an area of scrubland,
Mousehold heath, to the fourth and North direction. This means that the
Cathedral could be seen from just about any location in the city.
The structure of the cathedral is
primarily in the Norman style, having been constructed at the behest of
Bishop Herbert de Losinga, and retains the greater part of its original
stone structure. Building started in 1096 and the cathedral was
completed in 1145. It was built from flint and mortar and faced with
cream coloured Caen limestone. A Saxon settlement and two churches were
demolished to make room for the buildings and a canal cut to allow
access for the boats bringing the stone and building materials which
were taken up the Wensum and unloaded at Pulls Ferry, Norwich. It was
damaged after riots in 1270, which resulted in the city paying heavy
fines levied by Henry III, rebuilt by 1278 and re–consecrated by Edward
I. It has the finest Norman tower in England with the original spire
being made of wood and covered with lead. The spire was blown down by a
hurricane in 1362 and was replaced.
A large cloister with over 1,000 bosses
was started in 1297 and finally finished in 1430 after black death had
plagued the city. The building was vaulted between 1416 and 1472 in a
spectacular manner with hundreds of ornately carved, painted and gilded
bosses. In 1463 the spire was struck by lightning and caused a fire to
rage through the nave which was so intense it turned some of the creamy
Caen limestone a pink colour. The Bishop of Norwich, James Goldwell,
built the stone spire in 1480 which is still in place today with flying
buttresses later added to help support the roofs of the building.

Norwich Cathedral, England
Norwich Cathedral, interior
The total length of the building is 461 feet (140 m).
Significant alterations from later periods include the 315 foot (96 m)
spire and a two-storey cloister, the only such in England, as well as
the vaults of the nave and chancel. Standing at 315 feet, the
cathedral's spire is the second tallest in England, and dominates the
city skyline — only the spire of Salisbury Cathedral is higher at 404
feet. Along with Salisbury and Ely the cathedral lacks a ring of bells
which makes them the only three English cathedrals without them. One of
the best views of the cathedral spire is from St. James's Hill on
Mousehold Heath. The bosses of the vault number over 1,000. Each is
decorated with a theological image and have been described as without
parallel in the Christian world. The nave vault shows the history of the
world from the creation; the cloister includes series showing the life
of Christ and the Apocalypse.The precinct of the cathedral, the limit of
the former monastery, is between Tombland (the Anglo-Saxon market place)
and the River Wensum and the Cathedral Close, which runs from Tombland
into the cathedral grounds, contains a number of interesting buildings
from the 15th through to the 19th century including the remains of the
infirmary. The grounds also house the King Edward VI school, statues to
the Duke of Wellington and Admiral Nelson and the grave of Edith Cavell.
DURHAM CATHEDRAL.
Its most ambitious product is the Cathedral of Durham (figs.
408-10), just south of the Scottish border, begun in 1093. Though
somewhat more austere in plan, it has a nave one-third wider than St.-Sernin's,
and a greater overall length (400 feet), which places it among the
largest churches of medieval Europe. The nave may have been designed to
be vaulted from the start. The vault over its eastern end had been
completed by 1107, a remarkably short time, and the rest of the nave,
following the same pattern, was finished by 1130. This vault is of great
interest, for it represents the earliest systematic use of a ribbed
groin vault over a three-story nave, and thus marks a basic advance
beyond the solution we saw at Autun. Looking at the plan, we see that
the aisles consist of the usual groin-vaulted compartments closely
approaching a square, while the bays of the nave, separated by strong
transverse arches, are decidedly oblong and groin-vaulted in such a way
that the ribs form a double-design, dividing the vault into seven
sections rather than the conventional four. Since the nave bays are
twice as long as the aisle bays, the transverse arches occur only at the
odd-numbered piers of the nave arcade, and the piers therefore alternate
in size, the larger ones being of compound shape (that is, bundles of
column and pilaster shafts attached to a square or oblong core), the
others cylindrical.

408. Durham Cathedral.
1093-1130

Durham Cathedral.
1093-1130

Durham Cathedral. 1093-1130

409. Plan of
Durham Cathedral (after Conant)
410. Transverse section of Durham
Cathedral (after Acland)

408. Nave (looking east). Durham
Cathedral. 1093-1130
Perhaps the easiest way to visualize the origin of this peculiar system
is to imagine that the architect started out by designing a
barrel-vaulted nave, with galleries over the aisles and without a
clerestory, as at St.-Sernin, but with the transverse reinforcing arches
spaced more widely. The realization suddenly dawned that putting groin
vaults over the nave as well as the aisles would gain a semicircular
area at the ends of each transverse vault which could be broken through
to make a clerestory, because it had no essential supporting functions (fig.
411, left). Each nave bay is intersected by two transverse barrel
vaults of oval shape, so that it contains a pair of Siamese-twin groined
vaults which divide it into seven compartments. The outward thrust and
weight of the whole vault are concentrated at six securely anchored
points on the gallery level. The ribs were necessary to provide a stable
skeleton for the groined vault, so that the curved surfaces between them
could be filled in with masonry of minimum thickness, thus reducing both
weight and thrust. We do not know whether this ingenious scheme was
actually invented at Durham, but it could not have been created much
earlier, for it is still in an experimental stage. While the transverse
arches at the crossing are round, those to the west of it are slightly
pointed, indicating a continuous search for improvements.

411. Rib vaults (after Acland)
There were other advantages to this system as well. Aesthetically, the
nave at Durham is among the finest in all Romanesque architecture. The
wonderful sturdiness of the alternating piers makes a splendid contrast
with the dramatically lighted, saillike surfaces of the vault. This
lightweight, flexible system for covering broad expanses of great height
with fireproof vaulting without sacrificing the ample lighting of a
clerestory marks the culmination of the Romanesque and the dawn of the
Gothic.
ST.-ETIENNE, CAEN.

412. Nave (vaulted
ñ 1115-20), St.-Etienne,
Caen
Let us now return to the interior of St.-Etienne at Caen (fig. 412).
The nave, it seems, had originally been planned to have galleries and a
clerestory, with a wooden ceiling. After the experience of Durham, it
became possible, in the early twelfth century, to build a groined nave
vault instead, with only slight modifications of the wall design. But
the bays of the nave here are approximately square, so that the double-X
rib pattern could be replaced by a single X with an additional
transverse rib (see fig. 411, right), producing a groined vault
of six sections instead of seven. These sexpartite vaults are no longer
separated by heavy transverse arches but by simple ribs—another saving
in weight that also gives a stronger sense of continuity to the nave
vault as a whole and makes for a less emphatic alternating system of
piers. Compared to Durham, the nave of St.-Etienne creates an impression
of graceful, airy lightness closely akin to the quality of the Gothic
choir that was added in the thirteenth century. And structurally, too,
we have here reached the point where Romanesque merges into Early
Gothic.
Lombardy
We might have expected central Italy, which had been part of the
heartland of the original Roman Empire, to have produced the noblest
Romanesque of them all, since surviving classical originals were close
at hand. Such was not the case, however. All of the rulers having
ambitions to revive "the grandeur that was Rome," with themselves in the
role of emperor, were in the north of Europe. The spiritual authority of
the pope, reinforced by considerable territorial holdings, made imperial
ambitions in Italy difficult to achieve. New centers of prosperity,
whether arising from seaborne commerce or local industries, tended to
consolidate a number of small principalities, which competed among
themselves or aligned themselves from time to time, if it seemed
politically profitable, with the pope or the German emperor. Lacking the
urge to re-create the old Empire, and furthermore having Early Christian
church buildings as readily accessible as classical Roman architecture,
the Tuscans were content to continue what are basically Early Christian
forms, but enlivened them with decorative features inspired by pagan
architecture.
S. AMBROGIO, MILAN.

413. S. Ambrogio, Milan. Late 11th and
12th centuries
Instead, the lead in developing the Romanesque in Italy was taken by
Lombardy, where ancient cities had once again grown large and
prosperous. At the time when the Normans and Anglo-Normans constructed
their earliest ribbed groined nave vaults, the same problem was being
explored in and around Milan, which had devised a rudimentary system of
vaulting in the late ninth century during the so-called First
Romanesque. Lombard Romanesque architecture was both nourished and
impeded by a continuous building tradition reaching back to Roman and
Early Christian times and including the monuments of Ravenna. We sense
this background as we approach one of its most venerable and important
structures, S. Ambrogio in Milan (figs. 413-15), on a site
that had been occupied by a church since the fourth century. The present
building was begun in the late eleventh century, except for the apse and
southern tower, which date from the tenth. The brick exterior, though
more ornate and far more monumental, recalls the proportions and the
geometric simplicity of the Ravenna churches (compare figs. 303
and 319). Upon entering the atrium, we are confronted by the
severely handsome facade, with its deeply recessed arcades. lust beyond
it are two bell towers, separate structures just touching the outer
walls of the church. We had seen a round tower of this kind on the north
side of S. Apollinarein Classe (fig. 303), probably the earliest
surviving example, of the ninth or tenth century. Most of its successors
are square, but the tradition of the free-standing bell tower, or
campanile, remained so strong in Italy that they hardly ever became an
integral part of the church proper.

414. Interior, S. Ambrogio
The nave of S. Ambrogio, low and broad (it is some ten feet wider than
that at Durham), consists of four square bays separated by strong
transverse arches. There is no transept, but the easternmost nave bay
carries an octagonal, domed crossing tower or lantern. This was an
afterthought, but we can easily see why it was added. The nave has no
clerestory and the windows of the lantern provide badly needed
illumination. As at Durham, or Caen, there is an alternate system of
nave piers, since the length of each nave bay equals that of two aisle
bays. The latter are groin-vaulted, like the first three of the nave
bays, and support galleries. The nave vaults, however, differ
significantly from their northern counterparts. Constructed of brick and
rubble, in a technique reminiscent of Roman groined vaults such as those
in the Basilica of Constantine, they are a good deal heavier. The
diagonal ribs, moreover, form true half-circles (at Durham and Caen,
they are flattened), so that the vaults rise to a point considerably
above the transverse arches. Apart from further increasing the height of
the vault, this produces a domed effect and gives each bay the
appearance of a separate entity.

415. Longitudinal section of S.
Ambrogio
On a smaller scale, the Milanese architect might have attempted a
clerestory instead of galleries. But the span of the nave was determined
by the width of the tenth-century apse, and Lombardy had a taste for
ample interior proportions, like those of Early Christian basilicas
(compare fig. 305), instead of height and light, as in
contemporary Norman churches. Under these circumstances, there was no
reason to take risks by experimenting with more economical shapes and
lighter construction, so that the ribbed groined vault in Lombardy
remained conservative and never approached the proto-Gothic stage.