Guided by the ground plan of the thirteenth-century nave, showing the position of the columns of the arcade, and the outer walls generally, as revealed when the modern brickwork was removed, Sir Arthur has succeeded in giving us a practical reproduction of the original, both in character and material.[18] It will be no disparagement to his admirable work to say that it was made more easy by the labours of his predecessors, Mr. Gwilt and Mr. Dollman, and especially 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.