pecially by the careful
plans and drawings which the latter gentleman left behind him after
fourteen years' patient study of the fabric. The south elevation
exhibits seven bays, divided and supported by flying buttresses, each
bay of the clerestory being lighted by a plain lancet window.

The flying buttresses had been removed from the old nave, with
disastrous consequences to the original roof, as already stated. They
are now replaced, and at once give strength and effect to the
elevation, besides bringing it into harmony with the architecture of
the choir, where the flying buttresses were never removed. The wall
spaces in the aisle below are occupied by five lancet windows,
matching those in the clerestory, except in the bay next the transept,
where there is a beautiful window of three lights. Before describing
it, the interesting fact may be mentioned that the window in the
westernmost bay of this aisle had been concealed and protected, while
its neighbours were destroyed, through having a small wooden house, or
shed, built up against it. The single window thus accidentally
preserved, was taken as a model for the new ones throughout the aisle
and clerestory, with the exception of the larger aisle window just
referred to. This, though also entirely rebuilt, is a modified
reproduction of that which filled the same space in the time of Edward
II--a fine example of the Decorated style. Divided by sub-arcuation
into three lights, surmounted by circles of quatrefoil tracery in the
spandrels of the arches, and supported by composite shafts, with
moulded bases and foliated capitals, this elegant window had been
allowed to drop into a ruin. Drawings of it had fortunately been taken
before it was too late, and the present work gives us the leading
features, and practically the details, of the original.

The most conspicuous object in the whole of this elevation is the
=Doorway= to the south-west, which is the principal entrance to the
Cathedral. In all probability the door was placed in this position
when the Norman nave was built by Bishop Giffard (_circa_ 1106); but
its character was altered by Peter de Rupibus, a century later, to
bring it into harmony with the rest of his Early English work, when he
remodelled the nave in that style.

The porch that we now have agrees in its main features with the
drawings taken of the earlier one before it was destroyed. A deeply
recessed and acutely pointed arch is divided into two by