cisely as it was left by the original
builders, excepting only the insertion of a pointed window near the
central tower.

The inside is at least equally free from modern alterations or
improvements. No other change whatever is to be traced in it than such
as were required to repair the injuries done it during the religious
wars; and these were wholly confined to a portion of the roof, and of
the upper part of the wall on the south side of the nave. The groined
roof, though posterior to the original date of the building, is perhaps
of the thirteenth century. The nave itself terminates towards the east
in a semi-circular apsis, according to the custom of the times; and
there, as well as at the opposite extremity of the building, it has a
double tier of windows, and has columns more massy than those in the
body of the church. The aisles end in straight lines; but, within, a
recess is made in the thickness of the wall, for the purpose of
admitting an altar. Both the transepts are divided within the church, at
a short distance from their extremities, into two stories, by a vaulted
roof of the same height as the triforium.--M. Le Prevost, who has very
kindly communicated to me the principal part of these details, has
observed the same to be the case in some other contemporary buildings in
Normandy. On the eastern side of each transept is a small chapel,
ending, like the choir, in a semi-circular apsis, which rises no higher
than the top of the basement story. A cable moulding runs round the
walls of the whole church within.--You and I, in our own country, have
often joined in admiring the massy grandeur of Norman architecture,
exemplified in the nave of Norwich cathedral: at St. Georges I was still
more impressed by the noble effect of semi-circular arcades, seen as
they are here on a still larger scale, and in their primitive state,
uninterrupted and undebased by subsequent additions.

On closer examination, the barbarous style of the sculpture forces
itself upon the eye. Towards the western end of the building the
capitals are comparatively plain: they become more elaborate on
approaching the choir. Some of them are imitations or modifications (and
it may even be said beautiful ones) of the Grecian model; but in general
they are strangely grotesque. Many represent quadrupeds, or dragons, or
birds, and commonly with two bodies, and a single head attached to any
part rather than the neck. On others is seen "the human form di