History of mediæval art . the elevation it is plainthat the foreign designer did not long retain his functions of super-intendent, the work being carried on by native masons, who be-trayed in various ways their training in the earlier style. Modest attempts to transform the Norman system were made, ENGLAND. 523 early in the thirteenth century, in the choir of the Cathedral ofWinchester, begun in 1202, and in the nave of the Abbey Church ofSt. Albans. In the choirs of the cathedrals of Lincoln and Worces-ter clustered columns, pointed arched arcades, and narrow pointedwindows, became more promi
History of mediæval art . the elevation it is plainthat the foreign designer did not long retain his functions of super-intendent, the work being carried on by native masons, who be-trayed in various ways their training in the earlier style. Modest attempts to transform the Norman system were made, ENGLAND. 523 early in the thirteenth century, in the choir of the Cathedral ofWinchester, begun in 1202, and in the nave of the Abbey Church ofSt. Albans. In the choirs of the cathedrals of Lincoln and Worces-ter clustered columns, pointed arched arcades, and narrow pointedwindows, became more prominent, and in the eastern part of theCathedral of Salisbury, built between 1220 and 1258, the styleknown as the early English Gothic appears fully developed. Thelast-mentioned cathedral (Fig. 325), afterwards completed in thesame style, is the most important of the structures of this class ref-erable to the second half of the thirteenth century, among whichare the Minster of Beverley, the choir of the Collegiate Church of. i ^^m^.mf,,^^^-^^^^. Fig. 325.—Plan of the Cathedral of Salisbury. Southwell, the facade of the Cathedral of Wells, the transepts ofthe Cathedral of York, and portions of other buildings begun at anearlier period. This phase of development had been brought aboutthrough the influence of the French designer of the choir of Canter-bury. Westminster Abbey in London, the last of the buildings be-longing to this group, and the most magnificent edifice of Englanddating to the second half of the thirteenth century, was also con-structed under French superintendence. Hence this church mustbe omitted in defining the character of the early English style. In the arrangement of the plan the native designers, perhapsencouraged by the example of the before-mentioned Cistercian 524 THE EXTENSION OF GOTHIC ARCHITECTURE. churches, returned to the straight-lined termination of the choir,which the later English architects and those called from abroad,like Guillaume de Sens, ha
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