is given of the chief buildings in parallel columns with their
dates. It must not be imagined, however, that two con-
temporary buildings represent of necessity the same stage
in the art-development of the two countries. They may, or
they may not. Amiens and Salisbury do so very fairly;
Notre Dame and Peterborough not at all. Other circum-
stances and conditions must also be allowed for, to which it
is impossible to do more than refer very briefly from time
to time.

Amongst the chief of these are the different schools of
art, with their different traditions and resources which ex-
isted at the same time in the two countries. In France,
especially, it is impossible really to grasp the true story of
her thirteenth-century art without knowing what these
were, how Provence, Burgundy, Champagne, Auvergne,
and Anjou had each their influence on the Ile de France,
as well as Normandy and the Beauvaisis. Yet considera-
tions of space compel us to limit our outlook to these last.

In the same way in England but little stress has been
laid on the difference between the strong, broad treatment
of the Northern builders, as contrasted with the rather more
detailed beauty of south-eastern England, with the bold
soaring perpendicular and glorious timber work of the
wealthy shipbuilding eastern counties, or the keen, clever
masoncraft of Gloucester, rich in its stores of Cotteswold
oolite.

Again in the Isle of Wight, where timber was scarce, very
little is used in the construction of the churches, and many
of the porches are covered with stone slabs supported by
arched ribs without any framework of wood, and the mould-
ings over the doors and windows are unusually bold. In
some parts of Essex, from the want of stone, the churches
are poor in architectural display, and many of the belfries
are of wood. In the north of Herefordshire, a thinly in-
habited and woody district, we meet with many small plain
Norman or Early English churches, consisting only of a
nave and chancel, with sometimes a low, square, Early
English tower rising only to the ridge of the nave roof.
Many churches in Wales, and in parts of Cornwall, are
exceedingly plain and poor in design, owing to the hard
grtit or granite not being suitable for mouldings, and many

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