The number of its pillars, windows, and doorways is said to equal the hours, days, and months of the year; hence the local rhyme, attributed, on the authority of Godwin, to a certain Daniel Rogers: "As many days as in one year there be, So many windows in this church we see; As many marble pillars here appear As there are hours throughout the fleeting year; As many gates as moons one year does view-- Strange tale to tell! yet not more strange than true." Fuller, speaking of these, by a curious lapse falls into the vulgar error of believing Purbeck marble to be an artificial product melted and poured into moulds, says: "The cathedral is paramount of its kind, wherein the doors and chapels equal the months, the windows the days, the pillars and pillarets of fusile marble (an ancient art now shrewdly suspected to be lost) the hours of the year; so that all Europe affords not such an almanac of architecture. Once walking in this church (whereof then I was prebendary) I met a countryman wondering at the structure thereof. 'I once,' said he to me, 'admired that there could be a church that should have so many pillars as there be hours in the year, and now I admire more, that there should be so many hours in the year as I see pillars in this church.'" =The Nave.=--The first glimpse as we enter by the west door is undoubtedly impressive, notwithstanding the absence of colour and the lack of mystery for which the complete vista obtained at such a cruel cost by Wyatt is insufficient compensation. The whole scheme of decoration in its pristine state must have been extremely beautiful. "If you can imagine it with the walls and piers exhibiting strong contrasts of colour in the dark and polished Purbeck shafts and the lighter freestones, the arches picked out with colours, the groining elaborately decorated, and the whole lighted by brilliantly painted windows with a preponderance of dark blue and ruby, together with a flood of white light showing through the lancet of the centre, we may be allowed a doubt whether Tintern or York could have compared with it." Add to this picture the movable hangings and decorations of its many altars, and we cannot honestly attribute the coldness of the present effect to any fault in the original design. Elsewhere this austerity of monochrome is modified to a great extent by the variety (anachronisms though they be) of later architectural insertions. Salisbury, through the very purity of its design, especially suffers from its translation from chromatic harmony to monotone, for although possibly the architectural details are thereby rendered more apparent, yet the exaggeration of what is after all but the skeleton of the building, destroys the effect of the whole as its architect imagined it.