led to the one-sided form of the transverse arches, is overcome by the application of the new principle that the forms and arrangements of the ribs shall determine those of cells. Thus an equal-sided pointed arch spans the end of the compartment, and the 
FIG. 13. ridge of the cell is made to meet its crown. Moreover, the unequal dimensions of the transverse cells, which the vault of Morienval exhibits, is largely avoided by disposing the opposite branches of each diagonal rib, so that in plan they meet at an angle, thus bringing the intersection of the diagonals in the centre of the compartment (Fig. 13). The difficulties of vaulting a structure of such plan by any of the older methods of vaulting were very considerable, and when accomplished, the result was necessarily very unsightly. For the varying dimensions of the spans to be arched over inevitably occasioned either most awkward differences of level in the springing of the arches, or else equally awkward differences in the elevations of their crowns. But by the use of the pointed arch, which readily adjusts itself to any span without a change in height, such a plan is easily vaulted, and with beautiful rather than unsightly effect.
The original arcade piers of the choir and sanctuary [1] do not exist, the piers having been reconstructed, together with the high vaults, in the thirteenth century; but the shafts which divide the aisles remain unchanged. They are monoliths of slender proportions, though heavy enough for their work, which is considerable. They taper a little and have a slight entasis—a lingering characteristic of ancient art which appears also in several other early Gothic buildings. Their capitals are considerably advanced towards
- ↑ The sanctuary is the semicircular part of the choir.
