Mediæval architecture usually classified under heads of centuries--Actual points of change do not coincide with these divisions--Auspices for the development of the Early Pointed style--Great works in England and France--Artistic disturbance in Germany--Progress in Italy--Energy pervades every branch of art--Perfected Early Pointed a natural growth from Romanesque--Leading characteristics--Columns--Bases of Columns--Capitals--Plan of the abacus--Circular plan--Whence this arose--Moulded capitals--Windows--Bases of buildings--Cornices and foliated bands--Doorways--French and English compared. In the two lectures I delivered during the last session, my object was to trace out the development of Pointed architecture from the Romanesque nucleus of the preceding age; to show how far this was the result of constructional necessities and the natural progression of art, and how far it was aided and furthered by external influences; and to illustrate the unity and grandeur of the artistic movement which, in so short a time, generated an art at once so original and so truly noble. My object on the present occasion will be to give a general sketch of that art when it had arrived at its culminating point, or rather during that wonderful century through which it reigned triumphant, rejoicing in the full attainment of the object of its strivings, and, proceeding from strength to strength and from beauty to beauty, filled the countries of Western Europe with creations at once new to art, and in many respects nobler than anything the world had previously seen. Though it is convenient to classify our Mediæval architecture under heads of centuries, its points of change do not, in reality, coincide with such a division. It would, perhaps, be nearer to the fact if we classed the last quarter in each century with that which follows: thus, in this country the Norman style would be supposed, roughly speaking, to occupy the interval between 1075 and 1175; the Early Pointed style from thence to 1275; the Middle or Decorated periods from 1275 to 1375; and so on. On this view of the case, a great deal of what I treated of in my last lecture belongs artistically to the present one, and a portion of what I am embracing under the head of the thirteenth century would better go with the fourteenth. As, however, I should wish to be as comprehensive as possible in defining the period of the unimpaired integrity of the style, I gladly extend it to the very end of the century, and will not quarrel with those who would dip a little into the succeeding one; for, though I prefer the strength and boldness of the works of the earlier part of the century, the style can hardly be regarded as complete if deprived of the more delicate productions which characterise its close.