History of mediæval art . resque Illustrations of the CathedralChurches of England and Wales. London, without date.— Hall, The Baronial Halls ofEngland. London, 1858. 52: THE EXTENSION OF GOTHIC ARCHITECTURE. at Malmsbury, in that of the Augustines at Cartmel, and in the por-tico of the Cathedral of Ely, that the determining influences werenot exclusively derived from Burgundian Citeaux. This is corrobo-rated by the Church of the French Knights of St. John in older parts of this concentric structure, consecrated in 1185,show further indications of the new style, notably in the ribbe
History of mediæval art . resque Illustrations of the CathedralChurches of England and Wales. London, without date.— Hall, The Baronial Halls ofEngland. London, 1858. 52: THE EXTENSION OF GOTHIC ARCHITECTURE. at Malmsbury, in that of the Augustines at Cartmel, and in the por-tico of the Cathedral of Ely, that the determining influences werenot exclusively derived from Burgundian Citeaux. This is corrobo-rated by the Church of the French Knights of St. John in older parts of this concentric structure, consecrated in 1185,show further indications of the new style, notably in the ribbedvaults and in the clustered columns. The only English building of the twelfth century which is knownwith certainty to have been designed by an architect of NorthernFrance, well acquainted with the chief features of the Gothic style,did not display any advance beyond the transitional forms. Thereconstruction of the choir of the Cathedral of Canterbury, whichhad been destroyed by fire in 1174, was intrusted to William of. Fig. 324.—Plan of the Cathedral of Canterbury. Sens, whose architectural skill had without doubt been broughtto the notice of the canons of Canterbury through ArchbishopThomas a Becket, who had taken refuge in Sens shortly before hisassassination in 1170. The Choir of Canterbury {Fig. 324), built be-tween 1175 and 1185, shows distinct reminiscences of the Cathedralof Sens {Fig. 299). The architect was obliged, however, by the ex-istence of two earlier towers, to deviate from his model by dimin-ishing the width of the chancel,—a considerable and by no meansadvantageous change. From the details of 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, b
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