From the archway the first near vision of the vast pile is unfolded, nearly the whole of the south side being visible. Immediately opposite are the two western towers, the nearer one finished in 1451 and the further rebuilt seventy years ago. The heavily buttressed nave, in the same Perpendicular style, stretches away to the transept, where the eye mounts up higher and higher until it rests on the clustered pinnacles of the _campanilis Angeli_--the Angel Tower, as Prior Molashe by some happy inspiration chose to call the imposing feature he added to his priory church. Beyond the south-west transept appears the plain Norman work of the larger and more massive transept to the east, with its beautiful staircase tower built into the inner angle, a part of Conrad's "glorious" choir. The remaining eastern parts of the Cathedral are not visible from this point, but as one walks eastwards--the other way is closed by the Archbishop's Palace--St. Anselm's Tower and Trinity Chapel with its corona, or semicircular extension, successively appear. Armed even with such brief information as that given in the preceding chapter, one gazes on these weathered cliffs of wrought stone with quickened breath, reading into the Transitional Norman work the strange story of the historic murder which brought so much wealth to this spot that the Cathedral in its present form is due to little else. To wipe out Becket's name completely Henry VIII. would have needed to demolish the whole church. [Illustration: THE DOORWAY INTO THE TRANSEPT OF MARTYRDOM FROM THE CLOISTERS. It was through this doorway that Becket was followed by his murderers on that fatal afternoon in 1170 when the winter twilight was deepening.]