mention only one point) the
excessive height of the triforium arches and the comparative low
elevation of the nave arches--so that the two arcades are almost of the
same dimensions--produce an unpleasing effect. But the work at Norwich
was earlier, perhaps by thirty years, than either of the others. It is
very difficult to obtain exact and authoritative measurements; but those
usually given supply the following comparison:--Norwich, 14 bays; length
of nave, 250 feet: Peterborough, 11 bays; length of nave, 228 feet: Ely,
12 bays; length of nave, 208 feet. From this it will be seen that before
the tower fell the naves of Ely and Peterborough were almost exactly of
the same length, while the former had two more bays than the latter.

The piers are of alternate design. In front of each an inner shaft runs
up to the roof. The string-course above the main arcade has the billet
moulding. All the attached shafts in all three stages have cushion
capitals. Under each of the large triforium arches are two smaller ones.
Though it has been said that there is no trace of any change of style
throughout the entire nave, yet it has been noticed that there is a
certain roughness about the execution of the arches towards the east
which is not seen further west. The floors of the nave and its aisles
are on one level; but till recently the floors of the aisles were a few
inches lower, and this is believed to have been the original
arrangement. The clerestory range has three arches, the central being
the highest.

[Illustration: PANELS IN THE NAVE CEILING.
_Photochrom Co. Ltd. Photo._]

The western half of the #ceiling# was painted by Mr. Styleman le Strange,
of Hunstanton Hall, in Norfolk, between 1858 and 1861. He died in 1862.
The eastern half was then undertaken by Mr. Gambler Parry, of Highnam
Court, near Gloucester; and the main design of Mr. le Strange was
carried to a most successful issue. The original idea had been that a
Jesse tree should commence at the seventh bay, and the arrangement of
the subjects towards the west was meant to lead up to this. But Mr. le
Strange himself, as the work proceeded, realised that a grander effect
would be produced by introducing larger scriptural subjects towards the
east; and Mr. Gambier Parry accordingly acted upon what was known to be
the intention of the original designer. It has been many times said that
the whole design was suggested by the painted ceiling at Hildesheim, and