Many writers apply the term Lombardic to this style; lint although, as we betiire observed, there is a near resem blance in many points, yet, on the other hand. there are not a few distinctions between the Norman and Italian Loinbar die, e. g., the former is wanting in a feature which is very conspicuous in Lombardie churches, the dome or cupola, nor has it the low' pedimental roof extending over the whole thcade. The sloping arcade in the gable is absent, as are likewise the tiers of external galleries or arcades in the facades and sides of buildings. Circular windows are not so common or prominent as in Italian buildings, nor do we meet with the peculiar projecting porch, with its colnnms resting on the backs of animals. Some of the details of the style, such as mouldings, windows, &c., are similar to those of the Byzantine. It agrees also with the Saxon in its massive proportions, the shape of its arches and piers, and in general construction ; .in some matters of detail also, such as the zig z ig ornament ; it differs front it, however, amongst other matters, hi finish and general decoration, the Norinan bear ing a much greater share of enrichment than its predecessor, and being, in fact, a much more highly-cultivated style of building.
Having given this general and rapid sketch of the origin and nature of Norman architecture, as well as of the relation it bears to other cognate modes of building, we shall proceed to consider the subject somewhat more in detail. referring more especially to the character and peculiarities of the style. We must prem se, that it is our intention to confine ourselves almost exclusively to the consideration of the style as it is developed in this country ; the iliGrence, however, between the English and Continental mode of treatment, is not very considerable.
The style may be said to have been fully developed in this country soon after the successful invasion, by Duke William of Normandy ; whether it had arrived at any degree of perfection beffire that time, it is difficult to say; but it may be said to have flourished from the middle of the eleventh century, and prevailed to the latter part of the twelfth, or the close of the reign of Henry II. It is styled generally, the architecture of the twelfth century, and dates from 1066 to 1170, or, if the Transition or Semi-Norman be included, to The conqueror and his countrymen were great Molders, and the monkish chronicles tell us, that after their arrival, churches were erected in almost every village, and monasteries were seen to arise in the towns and cities, designed in a new style of architecture. From Doomsday book, we learn that the number of churches had increased to such an extent, that at the time of its compilation, there were no less than seventeen hundred in existence.
The plaits of the larger churches belonging to this style, such as those of cathedrals, and 'utter ecclesiastical establish ments, are usually cruciti inn ; a low massive tower at the intersection lietween the nave, choir, and transepts ; die choir being frequently terminated with a semicircular apse. The aisles of the nave are frequently continued at the sides of the choir and round the apse, and in this case the high altar is situated between the easternmost piers, with a screen or reredos at its hack, stretching between the piers. Thus a space was left clear behind the altar, which was named the retro-altar, and this allowed of passing entirely round the church. In some instances, the choir is surrounded with chapels, having likewise apsidal termina tions. The aisles were extremely narrow, sometimes not more than from fine• to six feet in width. The western fa cades are occasionally flanked by towers, but more frequently by only turrets or buttresses.
The parish churches are generally of small dimensions, and consist of a nave usually without either porch or aisles, chancel and tower, the latter being sometimes at the west end, and at others between the nave and choir, as in cruci form churches. This last disposition is somewhat curious, hut in some instances of the kind, arches of construction have been discovered in the north and south walls of the tower, a fact which gives every reason to suppose, that transepts formed a part of the original design, and were intended to be added at some subsequent period. The chancel in these smaller churches also, sometimes terminated in a semicircular apse. Not unfrequently, small churches consisted of nave and chancel only, without tower or other appendage.
The walls of buildings of this period, were of immense, thickness, but the masonry was not solid, being composed of two external walls, or facings of ashlar-work, having the intermediate space filled in with grouted rubble, gravel, flints, &c. Sometimes, however, the walls are made up of solid rubble - work, with quoins of ashlar. The joints of ashlaring in early work are extremely wide, being frequently as much as an inch in thickness. Many walls of the first description have failed, from the outward pressure of the core of loose material, and it is not an unfrequent occurrence to see a Norman wall considerably out of the perpendicular. The introduction of buttresses at a later period, led to a great improvement in the construction of walls, adding materially to their efficiency and strength ; while at the same time it lessened the consumption of material.