extremity are strangely and barbarously miscellaneous. However, no
good commanding exterior view can be obtained from the place, or
confined square, opposite the towers.

But let us return to the west front; and, opening the unfastened green
baize covered door, enter softly and silently into the venerable
interior--sacred even to the feelings of Englishmen. Of this interior,
very much is changed from its original character. The side aisles
retain their flattened arched roofs and pillars; and in the nave you
observe those rounded pilasters--or altorilievo-like pillars--running
from bottom to top, which are to be seen in the Abbey of Jumieges. The
capitals of these long pillars are comparatively of modern date.

To the left on entrance, within a side chapel, is the burial place
of Matilda, the wife of the Conqueror. The tombstone attesting her
interment is undoubtedly of the time. Generally speaking, the interior
is cold, and dull of effect. The side chapels, of which not fewer than
sixteen encircle the choir, have the discordant accompaniments of
Grecian balustrades to separate them from the choir and nave.

To the right of the choir, in the sacristy, I think, is hung the huge
portrait, in oil, within a black and gilt frame, of which Ducarel has
published an engraving, on the supposition of its being the portrait
of William the Conqueror. But nothing can be more ridiculous than
such a conclusion. In the first place, the picture itself, which is
a palpable copy, can not be older than a century; and in the second
place, were it an original performance, it could not be older than the
time of Francis I. In fact, it purports to have been executed as a
faithful copy of the figure of King William, seen by the Cardinals in
1522, who were seized with a sacred frenzy to take a peep at the body