f Wells for nearly seven
centuries, with its rents and breaks just as they were when the damage
was first repaired. The ingenuity, too, of these strange flying
buttresses becomes more and more evident; the "ungainly props" are
seen to be so worked into the tower they support, that they almost
seem like part of the original design of the first builders. One
discovers that it is the organ, and not the arches, that really blocks
the view, and one marvels that so huge a mass of masonry can look so
light as to present, with the great circles in the spandrels where the
arches meet, "a kind of pattern of gigantic geometrical tracery."
Indeed, I think no one who has been in Wells a week could wish to see
the inverted arches removed.

Professor Willis, who had made a most careful investigation of the
masonry, thus describes the cause and the construction of the inverted
arches (_Somerset Proceedings, 1863, i. 21_):

"It is evident that the weight of the upper storey of the tower
completed in 1321 had produced fearful settlements, the effects of
which may still be seen in the triforium arches of the nave, and
transepts next to the tower, which are dragged downwards and deformed,
partly rebuilt, filled up, and otherwise exhibiting the signs so often
seen under central towers, of a thorough repair. The great piers of
the tower are cased and connected by a stone framework, which is
placed under the north, south, and west tower-arches, but not under
the east. This framework consists of a low pointed arch, upon which
rests an inverted arch of the same form, so as to produce a figure
somewhat resembling a St. Andrew's cross, to use the happy phrase
applied by Leland to a similar contrivance introduced for a similar
reason [but at a later date] into the central tower arches of
Glastonbury." To this description there only needs to be added a
mention of the circles which occupy the spandrels, and help to prevent
the whole structure from seeming a mere inert mass of masonry. To
appreciate the work fully, it should be looked at from some spot, such
as the north-east corner of the north transept, whence the three great
pairs of arches can be seen together. The effect from here is very
fine, especially when the nave is lighted up, and strong shadows are
cast. The extreme boldness of the mouldings, the absence of shafts and
capitals and of all ornament, give them a primitive vigour, and their
great intermingling curves, which contrast so mag