these openings are splayed outwards as well as inwards. The eastern wall of the tower can be seen from the inside of the present church, with its “long-and-short” quoining perfect to the ground, and with breaks in the masonry where the eastern annexe originally joined it. The arch which pierces it on the ground-floor—the chancel arch of the Saxon church—is very plainly treated with dressed jambs, impost-blocks, and voussoirs, but without any moulding. In the wall above is a single opening of considerable width, with rounded head, rather massive jamb-stones, and thin, flat impost-blocks. Above this comes the double opening of the belfry stage, which would have stood clear of the roof of the Saxon chancel.[37] Turning from these features of the original church walls, its western annexe, and its belfry stage, to the uppermost stage of the tower, we are met by a striking difference. We already have seen the strip-work of the lowest stage disappear. Here the “long-and-short” work is gone as well, and the quoining is of small oblong stones set on one another at right angles, so that each of the adjacent faces of the wall is in bond with every other of the quoins. The window-openings are still double, and have rounded heads, but they are taller than those below, and are divided, not by slabs of wall with baluster facings, but by slender rounded shafts set in the middle of the thickness of the wall, with heads corbelled out so as to form rude capitals, and to support through-stone impost-blocks, corresponding to those at the head of the jambs on either side. Of the absence of splay, inner or outer, to the openings we can say nothing; the double splay has occurred only in the western annexe. But the disappearance of “long-and-short” work, that most unmistakable of purely Saxon details, and the introduction of a new type of double opening, are significant of a change of style which has come over the Saxon building art since the church and tower began to rise.