ame portion of the churches known to have
been erected at a similar period in England, the closest resemblance
will be traced between them. That of Salisbury cathedral, the most noble
instance of the kind in Britain, is later, and infinitely more richly
ornamented. But in this at Gournay, the windows are the only portion
that have altogether escaped mutilation or alteration. The side portals
were evidently, in their original state, fronted with porches, which
have now disappeared. Such has likewise been the case with the arches of
entrance; and mention has already been made of the posterior date of the
tower.

The _thirty-ninth plate_ exhibits a portion of the older part of the
interior of the church, and displays a style of architecture
considerably prior to the period assigned for its rebuilding; so that no
one can well doubt but that, as has been hinted above, though it may be
said to owe its existence to Hugh de Gournay, this assertion is to be
taken only in a qualified sense. This plate contains the last
compartment of the north side of the nave, and also admits a portion of
the transept. Flanking the nave, on either hand, is a row of seven
columns, supporting six arches. It is scarcely possible for the most
casual observer not to be struck, immediately upon entering the
building, with the extreme massiveness and solidity of the piers. They
are for the most part square, and only varied with a semi-cylindrical
shaft attached to each of the four sides. Similar piers are to be found
in many of the village churches upon the coasts of Sussex and Surrey,
the part of our island which, from its situation nearest to Normandy, is
most likely to retain genuine specimens of the earliest and purest
Norman architecture. But the most remarkable character attending the
piers at Gournay is, that the sculpture upon them, instead of being
confined as usual to the capitals of the pillars, is also continued over
the flat intermediate surface of the piers, extending to the same depth
as the capitals, as if intended, by forming a band round the whole, to
connect it more closely in a kind of architectural unity. The pattern,
however, in general varies as applied to the flat or circular sides. The
arches of the nave of the church are of a shape between what is
generally termed the semi-circular and the horse-shoe arch; their centre
being somewhat higher than the spring, but not remarkably so. The
clerestory windows above are all Norman; an