GROTESQUE WATER-SPOUTS, AND NORTHERN EXTERIOR. 41 The labels, or weatherings, over the windows, generally spring from corbel heads, of a very varied and frequently grotesque character, in which great singularity and fancy are displayed. There are also, in various parts under the upper string-course, jets, or water-spouts, wrought into projecting heads of the most hideous aspect, both human and animal; some are perfect demons. An open-worked parapet (nearly similar to that of the aisles) surmounts St. Michael's Loft, each perforation being a quatrefoil, inclosed by a circle. The choir parapets have been destroyed, and a plainly-moulded cornice finishes the whole. In the southern division of the Transept, and thence westward, to nearly the extremity of the fabric, the Norman architecture again predominates; although the circular portion of the former (see the Ground Plan) has been partly destroyed by the erection of a chapel in the pointed style. The remaining curved part includes two semicircular windows, with the billet and other ancient mouldings; and a bold cable moulding surrounds the cornice immediately below the present roof. There is a circular staircase turret, terminating octagonally, at the south-east angle of the transept; and, at the east end, (which has been strengthened by three graduated buttresses) is a large obtusely-arched window, surmounted by a gable-ended parapet: the roof, also, terminates in a much higher gable. The southern exterior of the nave preserves much of its original character, and the flat pilaster wall buttresses are still remaining; but most of the aisle windows have been altered into the pointed style. There are, also, attached to the walls, an extended series of small intersected Norman arches, supposed to have ornamented the ancient Cloisters, which are reported, and most probably with truth, to have been connected with this side of the church; although no other remains exist to verify their situation, except a Norman archway for communication, now adapted as a window. The timber roofing of the nave and its aisles, as well as of the north transept, and of the diagonal erection on the tower, (supporting the vane), is covered with stone shingles; that of the south transept, of the choir and its aisles, and of the Lady chapel, is covered with lead. It will be requisite to precede our description of the interior of this Church, by inserting the following explanatory references. G 42 SECTIONAL REFERENCES: ASPECT OF THE INTERIOR. REFERENCES TO THE LONGITUDINAL AND TRANSVERSE SECTIONS, Plate V.-A. West tower. B. Belfry. C. Entrance from the north-porch. D. Nave. E.E. Triforium. F. Transept. G. Choir screen. H. Choir and stalls. I. North choir-aisle window. J. Central crypt. K. Catacombs for the Earl of Malmesbury's family. L. Ambulatory, and north choir-aisle window. M. The Lady chapel. N. Tomb of Sir Thomas West. O. St. Michael's Loft. Plate VI.-A. Ascent to the altar, and altar-screen. B. East end of the Lady chapel. C. Western elevation of the Countess of Salisbury's chapel. D. East end of the north choir-aisle. E. Prior Draper's chapel. F. Perforated buttress of the north choir-aisle. G.G.G.G. Staircase turrets to St. Michael's Loft. H. East end of St. Michael's Loft. On entering the church from the west doorway, an excellent view is obtained of the Nave (vide Plate VII.); but the large and cumbrous organ-case, which usurps the place of the ancient jubé, or rood-loft, most lamentably interferes with the continuance of the perspective. In itself, the nave furnishes a splendid example of the later and more decorated style of Norman architecture; in which respect, there is probably no building in the kingdom that can vie with it. In some points, and particularly in the arrangement and ornaments of the triforium arches, it greatly resembles Bishop Flambard's work, of the same age, in Durham Cathedral: in others, it reminds us of the Minster at Peterborough ; -but at Christ-church, the huge massiveness of the Norman pier is finely relieved by the duplicated semi-columns which face the walls, and are carried up to the clerestory; as well as by those of inferior height, from which the mouldings spring of the great arches. The effect produced by the union of these clustered columnar forms with the lines of the new ceiling is strikingly analogous to that arising from the lightness of the pointed style. The nave is, on each side, separated from the aisles by seven noble semicircular arches, flanked by as many great piers, exclusive of the two half-piers, on the west, which are incorporated with the side walls of the tower. In their |