Contemporary with the close of this structure is the great western tower of the Cathedral at Ely, erected by Bishop Ridel, between 1174 and 1189, in a very grand and effective style, for the most part purely English in character, but occasionally displaying the influence of French examples in the use of the _crochet_ capital. This brings me to the great type of the third class--those buildings which are unquestionably in the Pointed style, but retain sufficient reminiscences of their Romanesque origin to distinguish them from the fully-developed Early English. I allude to the choir (Fig. 69) and Trinity Chapel (Fig. 70) at Canterbury. I may here save myself and you much time by referring you to Professor Willis’s admirable architectural history of this cathedral, a book with which every architectural student should be familiar. I will only mention that the splendid late Norman choir having been destroyed by fire in 1174, the monks committed its restoration to William of Sens, who had, in all probability, been engaged on the recently-completed cathedral in that city. He carried on the works till disabled by an accident in 1179, when he left them in the hands of his assistant, called, by way of distinction, William, the Englishman, who brought them to a close in 1184 or 1185. [Illustration: Fig. 71.--Canterbury Cathedral, Capitals. William of Sens.] The work of the first William is almost purely French, and, though far more elaborate than that at Sens, very strongly resembles it. He had, however, the good judgment to Anglicise it in a slight degree, as we see in the liberal use of the zigzag and other [Illustration: Fig. 69.--Canterbury Cathedral. Choir.] [Illustration: Fig. 70.--Canterbury Cathedral. Trinity Chapel.] Norman ornaments. His capitals are some of the Byzantine character of Sens, and others in the newly-developed style of Nôtre Dame at Paris, and are very finely carved (Fig. 71). The arches are not all pointed, the pier arches, wall ribs, and triforium arches being round. [Illustration: Fig. 72--Trinity Chapel, Canterbury Cathedral. Capital. William the Englishman.] William the Englishman discarded the Byzantine foliage, and adopted, almost exclusively, the Nôtre Dame type and the capital _à crochet_, which he carried out with extreme beauty. His work is far more beautiful than that of his master, though from the resemblance of the plan to that of Sens, and from the use of doubled columns, it must have been laid down by the French William. I know no work of the age finer than those of these two architects. One thing I will remark about the second architect, that he made his crypt, in which he worked unfettered by the designs of another, more English than the superstructure, using there (as he did also in one or two other places) the round abacus, subsequently so characteristic of English work.