Interior of the Nave looking west._]

In the _thirtieth plate_ is given a general view of the upper half of
the interior of the nave, shewing the western extremity, with the three
compartments nearest to it on either side; and here, as in the two
preceding plates, it is impossible not to regret the existence of the
floor, which, by dividing the church into different stories, greatly
injures the effect of the whole. Neither in this nor in any other part
of the building, are there side-chapels or aisles. The architecture of
the nave, in its general arrangement, resembles that of the transepts;
except as to the arches of the second row, which are peculiar. Upon an
attentive examination too, it will be found that, notwithstanding the
apparent uniformity, no two compartments are precisely alike, while the
capitals are infinitely varied. This playfulness of ornament is
remarkable in a building, whose architect appears, at first view, to
have contemplated only grandeur and solidity. At the farther end of the
nave, are seen the five windows of the principal front, together with a
portion of the great arch of entrance. The remaining part of this arch,
as well as of the others of the lower tier, with the pillars that
support them, are concealed by the floor. The gallery, it will be
remarked, sinks at the western end, as in the choir, and is connected
with the sides by a staircase. The roof is only of lath and plaster,
painted in imitation of masonry.

[Illustration: Plate 31. ABBEY CHURCH OF THE HOLY TRINITY AT CAEN.
_South side of the Nave, exterior._]

The _thirty-first plate_ exhibits three of the eight compartments of the
clerestory, on the south side of the nave, as seen externally. The
cloisters and conventual buildings hide the whole of the opposite side
of the church; and, perfect as is the part here represented, there is
nothing to be seen below; for a range of work-shops and of sheds has
obstructed the view of the exterior, as effectually as the floor has of
the corresponding portion within. The corbel-table, with its monsters of
all descriptions, affords a curious specimen of the sculpture of the
age. The string-course above it is rich and beautiful. The same is also
the case with the decorations of the windows, as well as of the blank
arches with which they are flanked, while the intervening flat
buttresses, edged by slender cylindrical pilasters, likewise indicate a
degree of care and of taste which is very ple