History of mediæval art . Etienne. Hisnephew, Paulus, was not so well enabled to follow the designs ofhis native country in the building of the Cathedral of St. Albans,finished in 1116, as the materials which had been provided by hisSaxon predecessors obliged him to retain in great measure themethods of construction previously customary. Gundulphus ofCaen, who superintended the re-erection of the Cathedral of Roch-ester, had been the military engineer of William the Conqueror, and GREAT BRITAIN. 381 appears to have transferred the style of his fortifications even toecclesiastical edifices—thes
History of mediæval art . Etienne. Hisnephew, Paulus, was not so well enabled to follow the designs ofhis native country in the building of the Cathedral of St. Albans,finished in 1116, as the materials which had been provided by hisSaxon predecessors obliged him to retain in great measure themethods of construction previously customary. Gundulphus ofCaen, who superintended the re-erection of the Cathedral of Roch-ester, had been the military engineer of William the Conqueror, and GREAT BRITAIN. 381 appears to have transferred the style of his fortifications even toecclesiastical edifices—these characteristics being observable in theChapel of St. John in the Tower of London {Fig. 235). Its simpleplan, without a transept, the passage surrounding the choir withoutradial chapels, the plain and massive columns, and the walls andbarrel-vault entirely without architectural memberment, are verydifferent from the forms common in Normandy during this the more important buildings of England, erected. Fig. 235.—Interior of the Chapel of St. John in the Tower of London. during the twelfth century, closely follow the style of effect was generally more heavy and gloomy, because of themassiveness of the masonry, resulting from the employment of acasting of cement and stone chips between ashlar facings. Whencolumns were introduced instead of piers they were exceedinglythick and short, being built up of small stones, and appearing themore clumsy because of the comparatively low and insignificantcapitals and bases. The capitals were commonly ribbed like thoseof Normandy, and in some instances display a grouping which was 382 ARCHITECTURE OF THE ROMANIC EPOCH. evidently derived from the imposts of piers, and was entirely with-out organic connection with the shaft. The galleries and clerestorywindows were generally similar in form to those of Normandy, butthe engaged shafts of the Romanic epoch were not at this time em-ployed in England as the support
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