In my last lecture I showed how, both in France and England, the last quarter of the twelfth century was occupied in bringing the earlier phase of Pointed architecture from a state of mere transition to one of full development and consistency, and how that the works of this period of especial earnestness in onward striding are characterised by a masculine vigour, scarcely equalled at any other stage. We have now to view the Early Pointed style at the period of the full attainment of its aims, and when its endeavours were rather to amplify and to extend its means than to construct a style. The thirteenth century commenced under the most favourable auspices for the development of the newly-created architecture. In France, both the secular and the ecclesiastical powers were in the highest state of prosperity; and if in England such was not the case with the Crown, and we were checked by a bad and mean-spirited King, it is clear that both the Barons and the Church were in a state of high prosperity, for, from the very opening of the century, we find works on the grandest scale to have been everywhere undertaken. Whether in the castle, the palace, the cathedral, the monastery, or the parish church, we find the newly-developed style to have been put largely into practice, so that scarcely a building of note fails to show the impress of the youthful art. Every great church must have its share of it; thus, at Canterbury, though they had just completed the eastern half in the style of the transition, the cloisters were added in the perfected manner. At York, again, the choir had been rebuilt in the last half of the preceding century; but the perfected style must have its sway, so the Norman transepts were rebuilt in it. At Lincoln the transformation of style had commenced under St. Hugh before the close of the twelfth century, and before 1280, but small vestiges of the Norman structure remained. At Ely the century commenced with the building of the western porch, which was followed up by the magnificent eastern arm of the cathedral. At St. Alban’s the gigantic Norman church had not been completed much more than half a century before its western façade was demolished and recommenced in the new style, in which one-half of the nave partook; and before the thirteenth century was finished the choir had also been rebuilt. At Durham the Norman church received the magnificent addition of the Chapel of the Nine Altars: at Fountains a similar addition was made, with an entirely new choir and many noble appendages. Wells Cathedral was almost rebuilt in the new style. Indeed, it is scarcely possible to single out any great church which does not more or less evince the influence of the great architectural movement which ushered in the thirteenth century. Its most complete work is the cathedral at Salisbury; and among its later creations we may enumerate the eastern portion of Westminster Abbey, the whole of Tintern Abbey, and the