I will only notice one more building in the present lecture, and that in the farthest south; and I make this long stride,--from the Wear to the New Forest,--for the sake of noticing the other great work of the notorious prime minister of Rufus. Mr. Ferrey, who has every right to judge of all that relates to Christchurch, has traced out certain resemblances between Christchurch and Durham. The difficulty in connecting such resemblances with the influence on each of Bishop Flambard, is (as I have before said) that Durham was commenced, and had made great progress before his succession to the see. I am, however, disposed to think that it was Durham that influenced Christchurch,--as it was not while dean, but subsequently, when patron of Christchurch, that Flambard rebuilt that church; and this was contemporaneous with his holding the see of Durham. Flambard’s Church is extremely bold and simple in its parts, and well studied in its proportions. The clerestory and vaulting are of a later date; but Mr. Ferrey gives reasons for thinking the latter to have been from the first intended. The details are good and well considered; the capitals are of the cushioned form, and of that type noticed in the Tower of London and elsewhere. Some appear to have been subsequently carved with exquisite taste, in a manner which reminds one of Greek foliage. The windows of the triforium gallery, with the corbel tabling over them, still remain, and are of excellent, though simple, design; while the beautifully arcaded stair-turret to the northern transept is one of the choicest relics of the Norman style (Fig. 273). [Illustration: Fig. 273.--Stair-turret, North Transept, Christchurch, Hants.] The buildings I have thus imperfectly described I have selected as having been all commenced within the eleventh century. I trust I may be able during the next session to follow on the style through its subsequent and more ornate stages, and on again through the interesting period of its transition into the Pointed style; and, while doing this, I hope to illustrate my remarks by means of many of the smaller creations of the style, and by some which are other than ecclesiastical.[32] For the present,--after travelling over an eventful period of nearly seven centuries, and tracing out the rise of British[33] architecture through many phases,--I must bring my course for this session to a close, apologising if I have, in the warmth of patriotism, been induced to lead you out of the beaten and accredited track of art; though at the same time convinced that the architecture we have been considering will be found on close examination to contain germs and principles which have been and may again be made to germinate into styles of art of the highest and noblest character. LECTURE XIII. The Practical and Artistic Principles of Early Architecture in Great Britain.