THE EARLY AND CLASSIC GOTHIC STYLE C. II5O-C. 1250

discovered symmetry as a possible
planning principle for castles — re-
discovered, because Rome had
known it. Just as theydesigned newly
founded towns (New Winchelsca,
e.g.) on the chessboard pattern,
they ventured to make of Harlech
and Beaumaris completely sym-
metrical configurations (fig, 34).
The effect, in Harlech especially,
is one of overwhelming majesty.
Far too few people know that here,
in Wales, the most consummate
masterpieces of European military
architecture are to be found. For
grandeur and daring of conception,
only the Emperor Frederick II's
slightly earlier Castel del Monte in
South Italy can be compared, again
a synthesis of Roman, Eastern and
Gothic elements.

In English religious architecture
the achievement that lends itself
most readily to a comparison with
Harlech and Beaumaris is the I3th-
i feet century chapter-house, again some-
ELEVATION OF THE NAVE OF thing specifically English, again
URY cATraDRAL, DESIGNED *. something hardly known abroad

and — owing to the British in-

feriority complex in matters of art — insufficiently appreciated over
here. Salisbury Chapter-house of about 1275 (pL xxxm) is centrally
planned, an octagon with a central pillar and spacious windows fill-
ing the walls entirely except for the arcade strip just above the stone
benches for the members of the Chapter. But while in France such
glass walls give a sensation of a rapturous union with a mysterious
world beyond ours, the proportions of the windows at Salisbury
with their generously sized tracery circles keep the interior in safe
and happy contact with the ground* A sunny breadth is achieved
which makes Amiens feel both over-pointed and over-excited.
At the same time the Early English style has just as much refine-

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33