seem necessary to give support to the outer arch (see illustrations, pp.
44, 45).

[Illustration: THE INTERIOR FROM THE WEST]

[Illustration: BASE OF A PIER IN THE NAVE]

The arch at the east end of the triforium on the south side, which
opens out to the transept, is worthy of special notice. Under the outer
round-headed arch is a solid tympanum, beneath which are two very narrow
round-headed arches, separated by a huge cylindrical shaft which has as
its base a large plain rectangular block of stone.

The two eastern bays of the nave on both sides are peculiar. Between them
runs up a solid cylindrical pier, which has its capital at the level of
the spring of the main arches of the triforium. The arches of the main
arcade spring from corbels on the sides of these great pillars, so that it
seems as if the triforium gallery were hanging beneath the arches which
spring below the clerestory. A somewhat similar arrangement may be seen at
the cathedral church of Christ Church at Oxford; some authorities have
from this similarity asserted that the buildings must have been
contemporaneous, but this does not seem to have been the case. Mr. Prior
considers the Romsey work forty years earlier than that at Oxford, dating
it about 1120 against the Oxford work, to which he assigns the date of
about 1160. It may be noticed that the Romsey builder did not continue
this arrangement throughout the nave and choir, whereas this was done at
Oxford.

[Illustration: ARCADING IN THE TOWER ABOVE THE MAIN ARCHES]

Generally speaking, the Norman piers at Romsey are compound ones, formed
of many minor shafts. The plain cylindrical form seen at Gloucester and
Waltham is not met with at Romsey except in the pillar described above.
The Norman aisles have stone vaults, except in the three western bays,
and it is noteworthy that the arches leading into the transept are of
horseshoe type. These are very elaborately moulded, the outer sides being
ornamented with chevron decoration. The capitals in the choir aisles are
elaborately and grotesquely carved, though it is not easy to interpret the
subjects of this carving; on one capital in the north aisle is represented
a fight between two kings, stayed by two winged figures; in the south
aisle a crowned figure stands, holding a pyramid, possibly intended as a
symbol of the church, while near by a seated figure and an angel between
them hold a V-shaped scroll on which may be read the words, "Robert me
fe