84 The Architecture of Malmeshury Abbey Church. 



of even the earliest portions of the church is remarkably advan- 

 ced for that date, but this is no more than we might reasonably 

 expect in the works of a Prelate so renowned for his architectural 

 skill, and whom we might therefore naturally expect to find at the 

 head of the artistic developments of his age. If, then, we accept 

 this date, we may recognize in the foundation of this church one 

 of the most memorable epochs in the history of architecture in this 

 island ; for we may safely set it down as exhibiting the first English 

 example, not indeed of the incidental use of the pointed arch, 

 when any special necessity rendered it desirable, but — what is a 

 very different matter — the first instance of its distinct preference 

 on aesthetical grounds in the main arcades of a great church. 

 When this point had been gained, the battle between Romanesque 

 and Gothic was really won by the latter ; every Gothic detail now 

 followed as a natural development in its natural order. Malmesbury, 

 however, happily exhibits the style just after this first and greatest 

 change had been accomplished, and no other commenced ; every 

 other feature is still Romanesque. In short, while, in a history of 

 English architecture, we ought to speak of Malmesbury as the 

 earliest of Transitional examples, it will in practically describing 

 the building itself, be far more convenient, and indeed far more 

 accurate, to speak of its earliest portions as a specimen of the pure 

 Norman style. 



One remark, however, I must make. I mentioned 1135 as the 

 date assigned to the commencement of the Church. We must, on 

 the one hand, remember that great churches were not, least of all 

 in the reign of Stephen, finished in a year or two, and that the 

 west end would probably be the last part finished ; consequently, 

 Malmesbury nave may well be twenty or thirty years later than 

 1135. But, on the other hand, there is no reason why the whole 

 may not, as was often done, have been gradually erected from one 

 original design ; and, indeed, the great uniformity of the Norman 

 work throughout would lead us to believe that such was really the 

 case. As far as the church is perfect, and as far as existing frag- 

 ments enable us to judge of the choir, the four great limbs essen- 

 tially Norman, always remained with considerable Decorated and 



