“In the aisles, each bay has two lancet windows, except the easternmost bay on the south side, which has only one. In the jambs are slender Purbeck shafts, twice banded. Just beneath these windows, an arcade of trefoiled arches runs along the whole length of the nave, being continued on the screen walls to the western chapels. The arches are deep, with bold mouldings, and are supported by clustered columns. There are five arches in each bay, but they are not placed in the same manner on both sides of the nave. On the south, the arches are arranged in groups of five, with blank spaces of wall between, in front of which pass the vaulting-shafts. On the north, the arcade is continuous, and is so arranged that each cluster of shafts supporting the vault passes in front of an arch. The work on the south side is more elaborate; tooth ornament is used, a string-course runs along at the height of the capitals, and foliaged bosses are found in the lower corners of the spandrels. In addition to the clustered vaulting-shafts already mentioned, there is a single vaulting-shaft in the centre of each bay, between the windows, rising from a corbel above the wall-arcade. On the north side these corbels merely have plain mouldings, but on the south side they are foliated. The arrangement of the vaulting-ribs is different in the north and south aisles; and in the latter it will be noticed that some of the bosses have figure-subjects, besides the foliage met with on the north side. The _Agnus Dei_ carved on the boss in the fourth bay from the west should be noticed. To such minor differences, continually found in the corresponding parts of a Gothic edifice, the style undoubtedly owes a peculiar charm.”--(A. F. K.) The great =West Window= was inserted, as we have seen, in Bishop Grosseteste’s time (1235-1253). Its tracery, however, dates from the end of the Fourteenth Century and is Early Perpendicular. The upper lights are filled with fragments of Fourteenth Century glass; but the glass in the lower lights is modern. The cinquefoil above, of the same date, contains modern glass also. The central figure represents Remigius, with his bishop’s staff in one hand and the church in the other. The rest of the glass in the nave is also modern. Under the last arch on the north side of the nave we come to a slab supposed to mark the original burial-place of Remigius. This slab was discovered in the cloisters and is supposed to date from the time of that worthy prelate. The neighbouring =Pulpit= is probably of the Eighteenth Century. On the other side of the nave stands the black basalt Norman =Font=, reminding us of the font in Winchester. Around the sides of the square basin a row of grotesque monsters is carved in low relief.