As we enter through the =North Porch=, which occupies the space between two buttresses and is adorned with statues of the Four Evangelists, we may remember that when Henry VIII. created the diocese of Bristol there had been a church and monastery of Augustine canons on this site for four hundred years. This monastery was founded in 1142 by Robert Fitzhardinge, Lord of Berkeley Castle. Of his Norman church little remains but portions of the walls in both transepts, a staircase in the north-aisle leading to the tower, and some fragments in the choir. The Norman nave was removed in 1542, because it was thought unsafe. The new nave and western towers were completed in 1888 by Mr. Street, who copied from the old, repeating the vaulting and the recesses of the eastern end. The ground plan consists of a nave with an aisle on either side; a central tower and transepts; then the choir with north and south aisles; and finally, the Lady-Chapel at the end. On the north of the north-choir-aisle is the first Lady-Chapel--built in the Early English style, and called Elder-Lady-Chapel to distinguish it from the later Lady-Chapel at the east end. At the south-east end of the south-choir-aisle we find the Berkeley Chapel; and at the end of the south transept, the Newton Chapel. Beyond it is the Chapter-House with its Vestibule, and on the south and west the remains of the Cloisters. Our best position for viewing the =Nave= is from the north or between the two big towers. It is 120 feet long, 60 feet high and 69 broad including the aisles. One peculiarity of Bristol is that the aisles are of the same height as the Nave; and another, that this Cathedral has neither clerestory, nor triforium. The windows of the Nave are very large and are strengthened by transoms. The =West Window= has for its subject the _Adoration of the Lamb_. The =Choir= consists of four bays. It is in the Decorated style and dates from 1306 to 1332. “The piers of the choir carry triple shafts which support the vaulting of the choir, and others for the aisles, which are here of the same height as the choir. Capitals of great delicacy and beauty, modelled from real foliage, serve to break the line of the mouldings and accentuate the springing of the vault. Graceful though the span of the roof is admitted to be, the lines of the arcade of the choir are finer, and the effect of the contrast of their soft mouldings carried up and around without a break is excellent. The iron screen-work that separates the choir from its aisles is uninteresting and too small in scale.”--(H. J. L. J. M.)