The fundamental principle behind toichology is observation. We can look for consistency in order to determine which portions of a building were constructed at the same time, or we can look for anomalies in order to find breaks in construction and changes in design concept. Usually, common sense will allow us to determine which portions of a building came before or after others, and this in turn allows us to develop a relative chronology. Further study of details and carving styles allows us to narrow the dating of those portions, and in the end we should be able to arrive at a convincing chronology of construction for any given building. On this page we present initial observations and speculate about the likely implications for chronology.

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Project F - North Choir Important Note The construction of the north choir and the north transept appear to be intermingled. Implications Work on the north was all undertaken together, but there are distinct differences in approach between the north choir and north transept, and yet where the two meet there is evidence of alternation in terms of which came first. As far as these observations are concerned, the two areas will be treated separately, and the discussion of their implications will help clarify the actual construction sequence.

Project F - North Choir Consistency The north choir and its chapels form a consistent whole. Implications This entire portion of the church was set out at the same time. There are no visible vertical joints around the exterior, up to the north portal.

Project F - North Choir Consistency All of the capitals in the north choir are of the same character, so much so that they may have been carved by the same carver. Implications It seems that a single conception is reflected in the north choir, and that a single crew and single carver of capitals participated. The capitals of the piers, the windows, and others in the chapels all share the same simple character.

Project F - North Choir West Pier The west pier has an 8-shafted design on the east side, and a 16-shafted design on the west side. Implications No obvious joints are apparent in this pier, the only freestanding pier shared by the north choir and north transept. The north choir piers have 8 shafts, probably reflecting a scheme for groin vaulting. The north transept piers have 16 shafts, probably anticipating a scheme for rib vaulting. The peculiar "L" shape reflects the fact that the full complement of shafts for the north transept was much wider than what was needed for the north choir and its simpler scheme. The logical conclusion is that both the north choir and north transept were being constructed at the same time, and that this particular pier reflects the schemes of both masters.

Project F - North Choir Above the Capitals The vaults of the chapels have some peculiarities that indicate some hesitation about how to vault the space. Implications It appears that the apses were intended to be round from the ground to the roof, but when they reached the level of the capitals and the string in the interior, it was decided that the window should be flat and not curved. Curved windows pose additional problems, and curved openings also create problems for the masons. A doubly curved arch is not a simple thing. Once that decision had been made, the apse became a combination of curved and straight elements, and attempts were made to sort out how to vault such an awkward shape. The solutions were not entirely satisfying.

Project F - North Choir Exterior of the Chapels The indecisiveness about how to cover the chapels is reflected on the exterior. Implications The effects of changing to flat glazing are more apparent on the exterior. It is clear in the photo that the curved design was retained up to the capitals of the windows, and then the arch above was changed to a simpler, flat design. The walls beside and above that arch are also flat. In plan, the design was now a mix of curved and straight walls, creating an interesting problem for the roofers.

Project F - North Choir Adjustment at the Portal On the exterior, the string course was raised to run above the north portal. Implications The string course that ran beneath the windows of the chapels was continued around to the west, but as the slope of the terrain rose, and the idea of installing a portal in this area became a reality, the string had to be raised to accommodate the height of the portal.

Project F - North Choir Connection to the Transept The wall has been adjusted to accommodate a window in the east wall of the north transept. Implications This adjustment demonstrates that the window was obviously there before the upper wall of the north choir was constructed. This supports the theory of a back and forth alternation of construction of the two portions of the building. Looking carefully at the joint between the two, one can see evidence that the upper portion of the choir wall was built against the transept wall and in accommodation of the window.

Project F - North Choir Portal Capitals The capitals of the north portal are more refined than those in the interior of the north choir. Implications Compared with the heavier and simpler foliage of the interior capitals, (top in photo), the capitals of the north portal are lighter and more refined. In fact, they are more like the capitals of the north transept, suggesting that the portal may have been done by the north transept crew. This is not surprising because the connection between the north choir and the north transept are an exercise in alternating construction.

Project F - North Choir Vaulting The vaults of the north choir have unusual figured bosses. Implications If our suspicions about the nave and choir are correct, and that the nave was not vaulted and the choir was planned for groin vaulting that was not yet constructed, the vaults of the north choir may be the earliest rib vaults in the building. Testing the new vaulting technology on a smaller scale may have emboldened the masons and encouraged the shift to vaulting the choir with rib vaults.