Page:Archaeological Journal, Volume 9.djvu/350

 274 ox THE ARCHITECTUKE OF formed parts of one uniform design. In comparing, however, a bay of the choir aisle and one of the nave aisle, we shall find that though the proportion and general effect is unaltered, a considerable change of style had taken place in the interval between their erection. The sharp pedimental head of the buttress has been exchanged for a very long set-off, and indeed the whole air of the buttresses, when minutely examined, is very different. The size of the windows and the lines of their tracery remain as nearly the same as possible, but in the fohations we may remark the minute, yet not unimportant difference already alluded to. The mouldings too, are totally different ; the deeply moulded architrave rising with a discontinuous impost from the chamfered jamb is exchanged for a form of later and more meagre character, that variety of the ogee which Mr. Paley calls the wave-moulding ; one, I may remark, almost mono- tonously prevalent in the Decorated work in St. David's Cathedral. Similarly, within, the bold distinct jamb-shaft of the choir aisle has given way to a mere slender bowtell with a capital. In like manner the three arches which divide this aisle from the nave, though evidently adaptations to those in the choir, are of a later and inferior character. They would by themselves be called extremely fine arches, but compared with the others, they are far less pleasing both in proportion and detail. The pier is too slender, of quite another section, and with a rather awkward base ; the arch mouldings, too, are not nearly so rich, and exhibit an approach to the Perpendicular cavetto. Other differences will be found externally in the section of the strings, in the labels of the windows being terminated with heads, while in the choir aisle they are continued as a string, and in the presence of a distinct basement-moulding. The south wall of this aisle, and the arcade within, present no difficult}'-, and require little comment. The latter was cut through the Norman wall, which remains to the east and west of it. But the junction of the work of this period with the earlier portions to the east and west presents some remarkable features. At the east end we have the blank wall already spoken of, which is clearly part of the work of the choir aisle, as is proved by the string of the latter being continued along its eastern wall. In this wall we have a window and a doorway, usually considered to have been the