This is an experimental section where John James is attempting to identify the carvers though the use of common templates and/or a recognisable manners of carving. Such a large-scale analysis of all the capitals in these buildings has not been attempted before. As an ongoing enterprise that is still in its infancy, we seek your input. John believes this has the potential to increase our understanding of how they worked and to provide a more solid basis for dating than we have had.
The nave was shifted to the south of the space between the towers to widen the span, and therefore the existing towers sit on earlier foundations as art of a narrower church; transepts suit that altered axis, and were begun with the nave walls.
All crossing piers with the transept chapels that have the same details in the bases and imposts; the coursing of the lower part of the south wall connects, but not above and not at all in the north while the crossing capitals and those at the level of the nave gallery suggest that the church had arches springing at that level for a low-ceilinged building, and that all was raised later.
Transept gallery openings and capitals, and is the latest moment to show they intended to raise the height 25 years after laying the capitals below the gallery string; includes column-figures in the eastern crossing, and corner shafts for a rib vault over the crossing, un bonded coursing shows where work steps down into the transepts
Western and eastern towers level 1; probably, the miracle recorded in 1157 refers to this part of the work, but which part collapsed? It was a dozen years before the choir was rebuilt, and more before work resumed on the nave.
Complete the nave vauilts and build the string under the floor of the gallery with capitals to the vaults; presumably these capitals were intended to support a lower vault or cross arches, an idea that would have been abandoned when the gallery piers were designed.
Choir footings for round chapels; notice that it is being laid out before its "mentor" at St-Remi had reached the level of the gallery, which means that if St-Remi were the inspiration it was hidden under scaffolding, and thus more likely to have been transmitted by the original designer.