Taking these works in the above order, we first have to note the mischief done by fire and storm. In 1297 the tower seems to have had a wooden spire. This was blown down in 1361; and, falling eastward, damaged the clerestory of the Norman presbytery. Both the spire and clerestory had to be rebuilt; and in rebuilding the clerestory the monks took the opportunity to remedy what was the gravest defect in all the Norman cathedrals—viz., their extreme darkness. Now, it happened that, only some ten years before, the magnificent clerestory of Gloucester presbytery had been built; and the report of the brilliant illumination and gorgeous glass of this grand work was bruited, no doubt, all over England by pilgrims returning from the shrine of the murdered Edward II. at Gloucester. Therefore, just as at Gloucester, they determined to raise the new presbytery higher than the nave—they raised it ten feet—and to make the clerestory practically a continuous sheet of glass. In one thing, fortunately, they did not copy Gloucester, as Edington did in Winchester nave—which is of the same date as the Norwich work—they did not think it necessary to discard altogether the beautiful flowing tracery of the Curvilinear period; and so here, as in many Norfolk churches, we find inserted, side by side, at the same time, Curvilinear and Perpendicular windows. Another charming feature of Curvilinear work was the ogee niche, such as those of the arcade of Ely Lady chapel. These niches, too, were utilised at Norwich cleverly and beautifully, being used instead of corbels to support the ribs of the roof. This fourteenth-century roof seems to have been one of wood. But, earlier than this, a determined attempt had been made to get rid of the darkness of the nave by inserting (1315-1360) a range of windows with flowing tracery all along the north aisle of the nave. In the Perpendicular period (1360-1485) the monks took the same course as at Ely: they raised the triforium walls, closed the external windows of the triforium, flattened the roof of the triforium, and thus managed to get in a range of tall windows, each of four lights, in the hope that the light from them might find its way into the nave across the triforium; and that the more easily as the openings of the inner arcade of the triforium were not obstructed by central shafts. The result is extraordinary, as seen from the garth. The south side of the cathedral, instead of the usual three or four stories, seems six stories high. First there are the openings of the cloister; then the upper story of the cloister; then the blind arcade of the triforium; then the Norman triforium windows; then the Perpendicular ditto; then the Norman clerestory. [Illustration: CENTRAL TOWER.]