It was after the promulgation, A. D. 1162 and 1172, of the famous bull _omne datum optimum_, exempting the Templars from the ordinary ecclesiastical jurisdiction, and enabling them to admit priests and chaplains into their order, and appoint them to their churches without installation and induction, and free from the interference of the bishops, that the members of this proud and powerful fraternity began to erect at great cost, in various parts of Christendom, churches of vast splendour and magnificence, like the one we now see at London. It is probable that the earlier portion of this edifice was commenced immediately after the publication of the above bull, so as to be ready (as churches took a long time in building in those days) for consecration by the Patriarch on his arrival in England with the Grand Master of the Temple. As there is a difference in respect of the time of the erection, so also is there a variation in the style of the architecture of the round and oblong portions of the church; the one presenting to us a most beautiful and interesting specimen of that mixed style of ecclesiastical architecture termed the semi-Norman, and by some writers the intermediate, when the rounded arch and the short and massive column became mingled with, and were gradually giving way to, the early Gothic; and the other affording to us a pure and most elegant example of the latter style of architecture, with its pointed arches and light slender columns. These two portions of the Temple Church, indeed, when compared together, present features of peculiar interest to the architect and the antiquary. The oblong portion of the venerable fabric affords, perhaps, the first specimen of the complete conquest of the pointed style over the massive circular or Norman architecture which preceded its erection, whilst the Round displays the different changes which the latter style underwent previous to its final subversion. The Temple Church is entered by a beautiful semicircular arched doorway, an exquisite specimen of the Norman style of architecture, still unfortunately surrounded and smothered by the smoke-dried buildings of studious lawyers. It is deeply recessed and ornamented on either side with columns bearing foliated capitals, from whence spring a series of arched mouldings, richly carved and decorated. Between these columns project angular piers enriched with lozenges, roses, foliage, and ornaments of varied pattern and curious device. The upper part of these piers between the capitals of the columns is hollowed out, and carved half-length human figures, representing a king and queen, monks and saints, have been inserted. Some of these figures hold scrolls of paper in their hands, and others rest in the attitude of prayer. Over them, between the ribs of the arch, are four rows of enriched foliage springing from the mouths of human heads.