d were never afterwards succeeded by a fresh
establishment.

Respecting the various changes of the edifice, Farin contents himself
with the brief remark, "that it was repeatedly destroyed during the
wars, and rebuilt by the liberality of the Norman Dukes."[111] The
eastern part of what is now standing is evidently of Norman time; and,
architecturally considered, it is a most curious specimen, being
probably the only church in existence which terminates to the east in
three semi-circular compartments. Of these, the central division is
considerably the most lofty, as well as the most prominent; and the
arrangement of the corbel-table, which is carried equally round them
all, proves that it must always have been so. The sculpture of this
corbel-table is viewed by the Norman antiquaries with peculiar interest:
some of the heads, with widely distended jaws, beset with teeth of
enormous size, represent wolves; others, with human features and
whiskered upper lips, are supposed to be intended for the Saxon foe,
who, at the time of the Norman invasion, were induced, we are told, by
the smooth faces of their opponents, to entertain the erroneous belief,
that the approaching host was but an army of priests. Mr. Cotman, who
has observed in similar situations, in many other parts of Normandy,
faces equally shadowed with whiskers, has been led to the suspicion,
that they were intended in derision of the Saxons.

Internally, the triple circular ending of the church is no longer
observable. Both of the lateral divisions are parted off at the
extremity, and formed into distinct apartments: the southern is applied
to the purpose of a sacristy, while the northern serves merely as a
lumber-room. The nave, which is thrice the width of the chancel, and is
clearly of a date comparatively modern, is separated from the more
eastern portion of the building by a semi-circular arch. The sculpture
upon the capitals appears of Roman design: that on one of them, exhibits
a row of graceful figures in a pure classical taste, intent upon some
action, but so much mutilated, that it would be now no easy task to
conjecture the object of the artist. The aisles of the chancel are
divided from the central compartment by double arches, a larger and a
smaller being united together, all of them semi-circular, and all of the
Norman style of architecture. Attached to the eastern end of the church,
within the lumber-room just mentioned, stands a piece of Roman
sc