the east side of each has been so contrived as to throw the light in a
sloping direction into the body of the church, instead of reflecting
it directly, and to less purpose, on the opposite wall; that in the
north retains a portion of its painted glass, but the corresponding
one in the south has been blocked up.

We have already spoken of the aisles attached to the sides of the
choir, and their beautiful embellishments. Each is decorated with
three circular-headed windows, and exhibits a few traces of its
ancient altars. That towards the north contains a very curious
piscina, fixed upon a pillar, and with small holes pierced round a
raised centre, precisely resembling a modern sink. There are likewise
the remains of several pedestals, on which images may be supposed to
have once stood.

"The choir extends, according to modern arrangement, beyond the tower
into the nave itself. The tower rises very nobly upon four slender
columns, terminating in pointed arches but with Norman capitals. The
lantern is lighted by four lancet windows on each side, the two centre
ones not being open. The oaken roof is plain, and supported by very
large beam-heads. Eastward from this point, the vaultings of the roof
are square, with broad, simple groinings. Beneath, are two ranges of
windows, running quite round the chancel, and decorated with an
amazing variety of mouldings. Those below form the grand
characteristic of this venerable pile, being likewise _circular; but
so intersecting one another as to form perfect and beautiful pointed
arches_." This then is the hypothesis of Dr. Milner towards the
settlement of the controverted origin of the _pointed_ or _English_
style of architecture. It is, probably, the most reasonable of all
solutions. Sir Christopher Wren's account of a Saracenic origin was