Современная архитектура. Гусева О.Г - 20 стр.

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19
to be out of touch with smb
a consequence
disastrous
a breakdown
an estate
to be dissatisfied with smth
a rubbish
a caretaker
to obstruct
to be in arrears
a leaking roof
a pitched roof
to take account of
Canterbury
Canterbury is situated in Kent, 62 miles of London. It lies on the river Stoir. It
was a Roman-British town, named Durovernum, a rich town on the road from the
Kentish ports to London. The city, known by the Saxons as Cantwaraburh, the town
of the men of Kent, was the metropolis of Ethelbert's Kingdom.
The first basilican church was founded as a Benedictine Monastery on the site of
a Romano-British church in 597 under Ethelbert, the fourth Saxon King of Kent
whose wife Bertha was a Christian. It was burnt by waves of pagan invaders and by
fire. It was again destroyed at the time of the Conquest. Work on a new cathedral and
Benedictine Abbey was begun in 1070, completed in seven years and based on that of
the Conqueror's own abbey at Caen. It was not long before this church became too
small for the seat of the Primate* and a choir of over a hundred monks, so the
eastern limb was enlarged and remodelled between 1096 and 1115. Much was again
destroyed by fire in 1174. A Frenchman was chosen as master-mason for the
reconstruction, William of Sens, who may or may not have taken part in the building
of his native cathedral a few years earlier. The degree of French influence in the
design of the new choir is not clear. The stone was brought from Caen by sea and
river to within three miles of the cathedral. Some describe it "not quite the character
of the Cathedral at Sens", others as "made in France". The fact remains that in 1174
Willam of Sens took up the work of rebuilding and in 1178 he fell from a scaffold. Then
another William, the Englishman, carried on the work and completed it in 1184. One
sees French elements in the Canterbury design - the great projection of the
buttresses, the characteristic lancets, coupled columns, etc., there is at the same time
much that is indigenous and prophetic of the English vernacular of the next century:
employment for the first time of brown Purbeck marble for detached shafts and
stringcourses, etc. The monks had required that their choir was to be rebuilt on the
Anglo-Saxon lines, but it seems, that the work, as it stands, represents a
compromise, not uncharacteristic of English cathedral art, between the wishes of the

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