Immediately over the west entrance is a very large and pointed arched window, nearly filling the entire space between the side walls of the nave, and divided into numerous lights, by mullions and transoms.. By the intersections of the upper parts, several diamond-shaped lights are formed; and others are ornamented with cinquefoil and trefoil arches: the outer moulding rests on corbel heads. Below the window runs an embattled parapet, much dilapidated: on each side the entrance beneath, is an ornamental pointed arch; and beyond, on a line with the columns of the nave, is a half column, rising from the ground, and sustaining the mouldings of the most western of the great arches. The west end of each aisle appears to have been originally open like the porch, and has been similarly decorated with ornamental arches and clustered columns of Purbeck marble; now in a sad state of mutilation.

The columns and arches of the nave display much grandeur; though those which range from the fourth column on the north side, are singularly dissimilar to all the others. The three first columns on the north side, and the four first on the south, are uniform and clustered: each of them is composed of four circular pillars, united with four hexagonal ones. From these columns spring uniform pointed arches, having many plain round mouldings; the outermost mouldings of each arch meet together, and terminate in points. The fourth arch on the north, or rather the column that supports its eastern extremity, decidedly marks a distinct era in the time of building; the lower part of the column, from about one foot beneath where the mouldings rest, being entirely constructed with Roman tile, and of far more solidity than any column that has yet been mentioned,

Immediately above the four large arches just described, on the north side, is a range of eight elegant pointed arches, though somewhat flat, rising from clustered pillars, and each being subdivided into two lesser pointed arches, separated from each other by three small columns. In the middle of the space, above the small arches, is a circle, pierced with four fleurs des lis, the points jaward. All these arches are ornamented like the larger ones, by

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numerous

numerous plain round mouldings; and also by a sort of diamond chain, carried along the angles between the columns, continued over the extremity of the small arches, and running beneath the inner mouldings of the large arches: a line of the same kind of ornament is continued in a sort of band along the edge of the passa, which has been formed between this tier of arches and the wall. A third range of pointed arches, rising above the former, extends to the roof: all these arches have plain mouldings, springing from triple columns on each side; the space between each column is broken by two hollows reaching from the base to the bands of the capitals. The mouldings of the two most eastern arches are varied from the others, by a line of diamond chainwork, carried along the centre.

The three first arches of each tier, on the south side of the nave, are exactly similar to those on the north, above described, excepting that the spaces between the triple columns which support the upper arches are left plain; and that, under each of the double arches, is a single pillar, with a capital of foliage: the pillars that corresponded with these on the north side are destroyed. The two next of the great arches are also similar, as well as the double range of arches over them, excepting that the fleurs des lis of the spandrils are here contained in a quatrefoil; some of the uppermost pillars on this side are gone. The large column which supports the fifth great arch, is of more considerable magnitude than any yet described, and has flat sides on the north and south.

The general forms of the remaining arches and columns, on the south side, between this tier and St. Cuthbert's Screen, which crosses the nave at the tenth column, are similar to those already described; but the smaller parts are varied; and, in particular, the mouldings of the large arches, which are more numerous, and otherwise different. The outer mouldings also, though they meet as before, do not terminate in points, but in human heads: these are well sculptured in bold relief, and represent an Abbot, a King, a Queen, and a Bishop. Above them, beneath a line of roses, that runs below the band under the range of double arches, are shields of arms, probably so placed in allusion to the sculptures. That E 4

over

over the Abbot displays the Abbey arms; that over the King has the arms of Mercia; above the Queen are three lions passant; and over the Bishop, are the arms of Westminster; a cross fleury between five martlets: two other shields, with three lions passant on each, range in a similar manner, on the opposite sides of those just mentioned.

Above the large arches, runs a series of double pointed arches, beneath a larger arch, as before; yet these arches are more ornamented. The columns are clustered, as in the former instances; but the diamond chain-work at the angles is here exchanged for roses; and the capitals of the smaller columns are carved into foliage, instead of being left plain, like the others, and like the larger capitals of their own range. The heads of the double arches are also varied by the under parts being expanded into a sort of trefoil; the spandrils above them are smaller, from an extension of the mouldings; and the centre of each spandril is only pierced into a triplet of fleurs des lis, in place of a fourfold one. The outer moulding of the larger arches terminate in corbels of human and animal heads, all varying both in form and expression. The arches of the third, or upper range, are pointed, having plain mouldings, clustered pillars, and flats in front, as before; but the extreme mouldings rest on small heads, instead of being supported on the band, which in the other upper ranges crosses the middle of the flat.

Every part of the building yet described from the west end, is constructed of Tottenhoe stone; a very fine and close-grained freestone, obtained from the quarries at Tottenhoe, in Bedfordshire. The parts next to be described, with the exception of the screens, the choir, and presbytery, are of Roman tile, as every where appears, on piercing through the thick covering of plaster that has been spread over the walls; and this circumstance, combined with the historical information previously detailed, establishes the fact of all the ancient portion of the Church being exclusively of Abbot Paul's erection; for the style is so entirely similar, that it will not admit of two eras; and there is no other part in the whole fabric that can, with the least propriety, be attributed to him. Its simplicity is, indeed, remarkable, and would well accord with a prior date;

but

but to assign this in the face of all record, would be to falsify fact in the support of an hypothesis.

The fourth column on the north side from the west, marks the extremity of the Norman Church in that direction: from this to St. Cuthbert's Screen, there are five other columns, of the same massive construction and magnitude.* These support plain semicircular arches, over each of which is a short, round-headed window, now glazed with lights in the pointed form. Above each of these, and nearly reaching to the roof, has been another semi-cir cular arched window, now filled up, the apertures of which open wide into the Church, but contract gradually to the outward wall: these are all similar, except the one to the west, which has been widened, and pointed, in conformation to the improved style.

St. Cuthbert's Screen is of Tottenhoe stone, finely sculptured in the pointed order, but is not entirely uniform; the northern part extending into the aisle, and the parts being varied. The west front has seven canopied niches in the centre, terminating in pinnacles of rich workmanship: below these have been various smaller niches, in one of which has been a piscina. On each side the centre is an ornamented, pointed, arched door-way, with blank arches above, opening into the Baptistry. Beyond that, to the south, were three other canopied niches; and below these, four ornamental trefoil arches. Beyond the other door was another receptacle for holy water, in the middle of a range of seven small niches; and above them four other niches, reaching upward towards the arch. The east front is much less embellished, it having only a double range of blank pointed arches, divided by a kind of cornice, embattled. The summit of the Screen is broken by a range of trefoil ornaments, and foliage. Some of the sculptured parts are defaced and broken; and all the minute parts are obscured by whitewash.

The continuation of the nave, now called the Baptistry, from its containing the Font, comprehends the space between St. Cuthbert's

*One of these columns is called the Hollow Pillar, from the upper part containing a short circular flight of steps, which has led to a doorway that once opened upon the leads of the north aisle.

bert's Screen, and the first, or most western arch of the tower. Here are three square massive columns on each side, supporting as many arches, with a double range of semi-circular-headed recesses for windows, ranging over them as before; some of which are glazed in the pointed form, but the greater number has been filled up. The Choir comprehends all the space between the west arch of the Tower, and the Altar Screen. The Tower itself is supported on four noble semi-circular arches, springing from uncommonly massive piers. Above these arches, under the belfry floor, is a passage going round the tower, and opening in front by a treble range of double semi-circular arches, each of the latter being divided from each other by a short and thick column: several of the capitals are formed by a single Roman tile, and not any two of the columns are exactly similar. The light of the Belfry is admitted into the choir, through a circular opening in the centre of the floor, which has been surrounded by a railing, and covered by some open work above, to prevent accidents.

On passing beneath the east arch of the tower, the architecture is seen to assume a new form. On the south side are three large blank pointed arches; and on the north, two similar ones: all these seem to have been formed against the original walls, which probably terminated at no great distance from the point where Abbot Ramryge's monument on the one side, and Abbot Whethamsted's on the other, abut against the ancient columns, and beyond which no part of the Norman Church is now to be discovered; excepting in the passages which run through the walls, and in which the Roman tile may be traced farther eastward.

The monument of Ramryge fills up the lower part of a large pointed arch, which was originally open to the north aisle, and is ornamented with fluted and groined mouldings. The arch opposite to this is blank above; but the under part includes the neat monument of Abbot Whethamsted. Above the large arches, on each side, is a range of pointed arches, with trefoil heads; some of these are blank, and others open into the Triforium, which is continued through the walls of the whole Church: over these are

three