rough other parts of the edifices.
The two kingdoms can scarcely boast more noble, or more perfect
buildings, of the Norman style; and there is the farther advantage, that
the difference between the periods of their respective erection is but
small. Our English cathedral rose in the early part of the reign of
William Rufus, when his follower, Herbert de Losinga, who, not content
with having purchased the bishopric for L1900, bought also the abbacy of
Winchester for his father, for L1000, was cited before the Pope for this
double act of simony, and, with difficulty, retained his mitre, upon the
condition of building sundry churches and monasteries. Norwich has,
indeed, a superiority in its tower, in regard to which, it may safely be
put in competition with any edifice of the same style, in Normandy or in
England. For beauty, richness, variety, and purity of ornament, there is
nothing like it. On the other hand, Norwich has undergone various
alterations, as well in its interior, as its exterior[5], and it has no
decoration of the same description comparable with the capitals in the
church of St. Georges. These are so curious, that it has been thought
right to devote to them the _ninth_ and _tenth plates_ of this work[6].
The capitals near the west end of the church, are comparatively simple:
they become considerably more elaborate on advancing towards the choir;
and it is most interesting to observe in them, how the Norman architects
appear, in some instances, to have been intent upon copying the Roman
model, or even adding to it a luxury of ornament, which it never knew,
yet still preserving a classical feeling and a style of beauty, of which
the proudest ages of architecture need not be ashamed; while, in other
cases, the rudeness of the design and execution is such, that it can
scarcely be conceived, but that they were executed by a barbarous
people, just emerged from their hyperborean woods, and equally strangers
to the cultivation of art, and the finer feelings of humanity. And yet,
even in some of those of the latter description, attentive observation
may lead to traces of classical fables, or representations of the holy
mysteries of Christianity. Thus, one of the capitals[7] seems designed
to portray the good Shepherd and the Lamb; another[8] appears to allude
to the battle between the followers of AEneas and the Harpies. It would
not, perhaps, be going too far, to say, that many of the others have
reference to the n