“And the patterns of the window tracery are wonderfully diverse. It is not, as in Lichfield nave or King’s College Chapel, where every window is like its neighbour; when you have seen one, you have seen all. Here, all down each side of the church every window differs. In dimensions, in general character, they agree; in details they differ; each window is a fresh delight; we have, what even in Gothic architecture we rarely get--diversity within simplicity.”--(F. B.) First we examine the splendid =Nave=. “The first view of the NAVE is rich and striking. Its present length is 140 feet. The view looking east is intercepted by the organ, which is placed above the screen at the entrance to the choir; but the general impression, notwithstanding a want of height, is that of great richness and beauty. The roof especially, springing from slender vaulting shafts, studded with delicately carved and varied bosses, and extending unbroken to the east end of the choir, is exceeded in grace and lightness by no other of the same date in the kingdom and by few on the Continent. The carved bosses, all of which retain traces of colour, represent foliage, animals (near the centre of the nave is a sow with a litter of pigs), grotesque figures, heraldic shields, subjects from early ‘bestiaries’ and romances, such as the centaur with a sword, and the knight riding on a lion toward the eastern end, heads of the Virgin and Saviour, the Passion and Crucifixion, and in the centre of the second bay, the murder of Becket. Grandisson wrote a life of the great Archbishop, which remains in MS., but was very popular in its day. The episcopal figure on the adjoining boss may either represent Becket or Grandisson himself. Clustered pillars of Purbeck marble (contrasting well with the lighter stone from Silverton and Bere) of which the walls and roof are constructed, separate the nave from the aisles and divide it into seven compartments or ‘bays.’