History of mediæval art . ddecoration was the more required, as thearrangement of plan and the constructiveforms by no means equalled those of theRhenish countries or of Burgundy. At firstthe continental choir with an apse was em-ployed, but a return was soon made to the »•«•—1 1 1 1 long-accustomed rectangular termination, Fig. of the Nave which in Germany and France had onlyof Steyning Church. been retained by the dull and inartistic Cistercians. On the other hand, the pres-bytery beyond the transept was so extended that it almost equalledthe nave in length, the transept being pl
History of mediæval art . ddecoration was the more required, as thearrangement of plan and the constructiveforms by no means equalled those of theRhenish countries or of Burgundy. At firstthe continental choir with an apse was em-ployed, but a return was soon made to the »•«•—1 1 1 1 long-accustomed rectangular termination, Fig. of the Nave which in Germany and France had onlyof Steyning Church. been retained by the dull and inartistic Cistercians. On the other hand, the pres-bytery beyond the transept was so extended that it almost equalledthe nave in length, the transept being placed in the middle of thechurch. The perspective effect of the interior was thus decidedlyimproved. Notwithstanding the lack of a surrounding passage andradial chapels in the choir, the necessary sites for the altars wereprovided by an extension of the eastern side of the transept by asmany chapels as there were compartments, or by adding a secondtransept at the end of the choir, as, for instance, in the Cathedral. GREAT BRITAIN. 383 of Durham, where space is thus provided for six subordinate altars{Fig. 237). A more remarkable deviation from the style of Normandy isnoticeable on the exterior. By their massiveness, low proportions,and bald horizontality the English churches were even more re-moved in character from those of the Rhenish countries than werethe buildings of Northern France. The three stories of windows
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