[Illustration: NAVE.] Putting this evidence together, it is plain that we have here a Norman nave transmogrified—Norman in core, but with a Perpendicular casing. This casing, however, is not merely skin-deep, as in Gloucester choir, where the Norman work can be seen at the back of the Perpendicular screens and panelling. The casing at Winchester goes at least one stone deep into the piers. But it was not executed all in the same way. Bishop William of Wykeham’s work, in the seven western piers of the southern arcade, has the new mouldings cut in the original Norman stones. But in the rest of the piers it was found simpler and cheaper to withdraw the Norman stones one by one, and replace them with new stones with Perpendicular mouldings cut on them. The small Norman windows, of course, were destroyed altogether, and replaced by short and broad windows by Bishop Edingdon, probably about 1360, perhaps under the superintendence of William of Wykeham, who was his secretary, in the extreme west of the nave; and by taller and more graceful windows in the later work of William of Wykeham and his successors. The mouldings of all this Perpendicular work are rather large and coarse; but we must remember that the architect was restricted at first to such mouldings as could be developed out of the Norman detail, and in any case they had to be in harmony with the big and heavy Norman vaulting-shafts which were retained unaltered in the Perpendicular design. About the same time forty feet of the western bays was pulled down. Edingdon’s work in the nave may be distinguished by the broad windows, two in the north and one in the south aisle; and by the cusps in the panelling, which in Edingdon’s work are foliated, and in the later work are left plain. In the new design the internal elevation consists of two parts—a tall pier-arcade, and a clerestory with a balustrade in front of the lower part of it.