In spite of this method of securing an effect of length, the builders managed to make the most of the small height of their church. The manner in which this was done forms an interesting example of the subtle feeling of proportion which early architects possessed. The clerestory was made unusually lofty, and the comparative lowness of the triforium both adds to the soaring effect and prevents the horizontal appearance being overmastering. This is increased by the bold vaulting of the ceiling, and the way in which the lantern arches fit into the vault. But, homogeneous as the nave appears, a little examination will clearly reveal the break which marks the separation between the late twelfth-century work of Reginald de Bohun and the thirteenth-century continuation of Jocelin. The earlier work, as we have seen, consisted of the four eastern bays, which, with the present ritual choir and transepts, formed Reginald's church; and, as a matter of fact, at the fifth bay (the next bay westward of the north porch) the marks of change are so evident that all writers upon the cathedral have based their theories upon it. The earlier masonry in the spandrels on the east of this point consists of small stones indifferently set: the later masonry is made up of larger blocks more carefully laid together; in the earlier part there are small heads at the angles of the pier arches, in the later there are none, while the small heads in the angles of the earlier triforium arcade give place to larger heads in the later; the tympana, which fill the heads of the lancets in this arcade, also are mainly ornamented in the earlier part with grotesque beasts, while in the later they contain foliage, with two exceptions. Again, the medallions which decorate the spaces above the triforium are sunk in the earlier masonry, but, in the later, they are flush with the surface and not so deeply carved. Even more noticeable is the difference in the capitals, those of the western bays being lighter, freer, and more undercut, though less interesting and hardly as beautiful as those of the earlier part. With the exception of these differences, however, which are doubtless due to the freedom enjoyed by medieval workmen, the original design of the nave was faithfully adhered to, the square abaci, even, being retained, though the circular abacus had become a leading characteristic of the true Early English of Jocelin's period. Certainly it is an unusual instance of an architect deliberately setting himself to complete the works of an earlier period in faithful accordance with the original plan; and we may well be grateful to him for his modesty. [Illustration: A Capital--the Fruit-stealer's Punishment.]