Simon Thurley - The Building of England - How the History of England Has Shaped Our Buildings

Fig. 52 Norwich Cathedral; the spectacular crossing tower was the last part of the cathedral to be completed in around 1140; it was erected only after the foundations of the crossing had been allowed to settle, thus avoiding the sort of collapse that had been experienced at Winchester or Ely. The turrets at the corners are part of the original conception – the spire was added in the 1480s.

Sculptural traditions after the Conquest, as with architectural ones, were cosmopolitan, and masons working on the great cathedrals blended influences from Normandy, Burgundy, the Loire, Germany and Scandinavia to produce a rich variety of forms. The most expressive example of this is a group of churches in Herefordshire. One of these, St Mary and St David’s, Kilpeck, displays 85 carved corbels, as well as carved door and window surrounds ( fig. 53). Here a Scandinavian great beast with a snake-like body and a dragon’s head winds its way through the stems of a plant of Anglo-Saxon decorative origin. 25

Fig. 53 St Mary and St David, Kilpeck, Herefordshire, one of the most perfect 12th-century churches in England. The richness of its decoration, done in the 1130s, is due to the patronage of Hugh of Kilpeck, the Lord of the Manor who also built a castle next door and founded a nearby priory. The south door has a tree of life in its tympanum and otherwise is a writhing mass of dragons, birds, lions, serpents, with the addition of angels and a phoenix.

Fig. 54 Canterbury Cathedral, Kent. St Anselm’s Crypt was unaffected by the fire of 1174 and perfectly preserves the exuberance of the Canterbury masons in around 1100. The subject of most capitals is fighting beasts which give them a restless, writhing quality.

Despite our ability to visit many of these buildings, none gives the modern spectator anything other than a ghost of what was intended. Like Saxon churches, Anglo-Norman cathedrals were filled with colour and texture. Most important were wall paintings. At Canterbury Cathedral the apse of St Gabriel’s chapel was walled up in the late 12th century, preserving – untouched – a complete set of wall paintings only rediscovered in the 19th century. Here it is possible to gain some sense of the brilliance of the painters working in c .1130. The scenes, set out in bands and with strict symmetry, show the annunciations to Zachariah and the Virgin presided over by Christ in Majesty. Vast areas of cathedrals familiar to us as plain stone halls would have glowed with colour, walls would have been whitewashed and imitation masonry blocks outlined in red. Windows would have thrown a coloured glow onto all this splendour, as most were glazed in coloured glass. Along with the glass, almost every scrap of painted woodwork, embroidered textile and gilded metalwork that gave sparkle to early Anglo-Norman cathedrals has gone. Contemporary illuminated manuscripts are now our guide, in miniature, to the sensory delight of these great interiors.

William the Conqueror died knowing that the military conquest of England was complete and that a matrix of royal castles secured his power in its county towns. There were remarkably few new castles built during the following century; royal architectural attention had turned to Normandy, where the military imperative now lay. In England many castles, such as Canterbury, remained nominally in royal hands but in practice were under the control of constables or sheriffs. One still in royal hands was Norwich, newly elevated to the capital of a diocese.

Fig. 55 Norwich Castle Keep, though extensively repaired and restored by Anthony Salvin in 1835–9 its external elevations still exude the flamboyance and excess of the years around 1100.

Norwich, as we have seen, was England’s second town (p. 77), and the construction of a palatial tower there by William Rufus is a parallel to the White Tower in London. But the Norwich tower was more audacious. It was sited on a high artificial mound or motte, linked to an outer bailey by a giant arched bridge. The same masons worked on the tower and on the cathedral, and the architectural exuberance of Rufus’s reign is apparent in both. Although the tower has been refaced, a series of watercolours of 1796 shows a building without corner turrets, but with massive buttresses framing an intricately composed decorative façade. Inside, the plan centred on a great ceremonial hall lit by high windows. 26

These towers were very much a feature of the first generation of Norman overlords. There is scant evidence that the White Tower was ever used as a regular residence, and many, such as Norwich, had long interruptions in their construction. Others, such as Colchester, remained unfinished. The vastness of these structures, conceived in a militarised society for feasting, security and image, was becoming unnecessary as quickly as they were built. But the image of power they were able to convey remained a desirable and fashionable accessory for more than a century to come (p. 102). Two of Henry I’s courtiers demonstrate the allure of the great tower. In the 1120s Geoffrey de Clinton, chamberlain and treasurer to Henry I, was granted lands in Warwickshire, where he founded a castle and priory. The castle at Kenilworth was hugely ambitious and was bankrolled by the king, who wanted to establish it as a royal centre of power against the nearby Earl of Warwick, who was of doubtful loyalty. A great tower was erected and an inner courtyard enclosed around it by a wall. At Portchester, Hampshire, another Norman magnate, Hugh Pont de l’Arche, replaced the Saxon residential buildings inside the Roman walls in the 1130s with a square-plan great tower with a hall at first-floor level. 27

The 11th century saw a revolution in English building. The reconstruction of thousands of local churches in stone and, after 1066, the rebuilding of the cathedrals meant a huge expansion in all branches of stone production. The quantity of stone required to sustain this boom was colossal, perhaps even greater than that quarried by the Egyptians for the building of the pyramids. We have already seen that Saxon quarries generally only produced rubble and small quantities of cut stone, but the effects that architects were trying to achieve from the 1050s onwards demanded much more cut ashlar (i.e. rectilinear blocks). These ashlar blocks formed the internal and external structural walls, with an internal core of rubble mixed with mortar. Much of the expense of stone building was the cost of bringing it to site, so great efforts were made to secure stone locally. At Battle, Sussex, William the Conqueror first contemplated importing stone from Normandy for the construction of his abbey but found that stone could, in fact, be quarried nearby. This was ideal; in many instances, however, the solution was not so straightforward. In Kent, where the local building stone is less suitable for ashlar, Archbishop Lanfranc turned to other sources of stone for Canterbury Cathedral. Whilst the rubble core work could be extracted locally, ashlar came by sea from Caen in Normandy, Quarr on the Isle of Wight and from Marquise near Boulogne. 28

If stone had to be moved more than about 12 miles by land the cost of carriage exceeded the value of the stone and so it was better to bring it in by water, a slower but cheaper solution. Before the Conquest canals were cut to bring stone from the Peterborough area to Fenland abbeys. A sunken barge excavated at Whittlesey contained large blocks of Barnack stone perhaps destined for Ramsey. After 1066 many more waterways were dug and diverted to make the movement of stone easier. Much of the stone for Norwich Cathedral was brought by sea to Great Yarmouth and then put into barges that came right up to the cathedral by means of a new canal. 29Whilst new sources of stone were found and old ones continued to be exploited, the plunder of Roman buildings continued. Lanfranc’s Canterbury also made use of Roman brick and tile, and in 1077 the abbot at St Albans found stockpiles of already salvaged Roman materials. Meanwhile, a cathedral such as Winchester, which was largely built of relatively local Quarr stone, made use of the masonry of its Anglo-Saxon predecessor.