The Anglo-Norman cathedrals were, perhaps, as much distinguished above other works of man in their own age, as the more splendid edifices of a later period. The science manifested in them, according to the authority here quoted, is not very great; and their style, though by no means destitute of lesser beauties, is, upon the whole, an awkward imitation of Roman architecture, or, perhaps, more immediately of the Saracenic buildings of Spain, and those of the lower Greek Empire.[340] But about the middle of the twelfth century, when Llanthony, Tinterne, and so many remarkable edifices sprang up, this manner began to give place to what is improperly denominated the Gothic architecture. We are not concerned at present to inquire whether this style originated in France or Germany, Italy or England, since it was almost simultaneous in all these countries; nor from what source it was derived--a question of no small difficulty. I would only venture to remark, that whatever may be thought of the pointed arch, for which there is more than one mode of accounting, we must perceive a very oriental character in the vast profusion of ornament, especially on the exterior surface, which is as distinguishing a mark of Gothic buildings as their arches; and contributes, in an eminent degree, both to their beauties and their defects. This, indeed, is rather applicable to the later than the earlier stage of architecture; and rather to Continental than English churches. The Cathedral at Amiens is in a far more florid style than its contemporary at Salisbury. The Gothic species of architecture is thought by some to have reached its perfection--considered as an object of taste--by the middle of the fourteenth century; or at least to have lost something of its excellence by the corresponding part of the next age--an effect of its early and rapid cultivation; since arts appear to have, like individuals, their natural progress and decay. Yet this seems, if true at all, only applicable to England; since the Cathedrals of Cologne and Milan--perhaps the most distinguished monuments of this architecture--are both of the fifteenth century. The mechanical execution, at least, continued to improve; and is so far beyond the apparent intellectual powers of those times, that some have ascribed the principal ecclesiastical structures to the fraternity of Freemasons--depositaries of a concealed and traditionary science. There is probably some ground for this opinion; and the earlier archives of that mysterious association, if they existed, might illustrate the progress of Gothic architecture, and perhaps reveal its origin. The remarkable change in this new style, that was almost contemporaneous in every part of Europe, cannot be explained by any local circumstances, or the capricious taste of a single nation.[341]