In common with our early churches we have no opportunity of ascertaining the precise date of its erection on written testimony. The probable period of foundation has been stated, page 24; the renovation and subsequent addition is therefore presumptive, and our decision must be governed by analogy of style with other edifices, whose origin is authenticated. That the era of ancient buildings may be inferred from the internal evidence they themselves afford of their respective antiquity admits of little doubt; indeed, the amiable poet, Gray, who had much knowledge in antiquarian pursuits, has said that “they constantly furnish, to the well informed eye, arms, ornaments, and other indubitable marks by which their several ages may be ascertained.” There will be little difficulty in appropriating the ancient portions of this building to distinct ages, if we except the task of assigning a correct criteria to the curious mixture displayed in the columns which support the semi-circular arches of the nave, where the Norman and pointed styles are singularly blended together, the union of which will afford matter of interesting speculation to the experienced antiquary. William of Malmesbury has related an anecdote of the pious Wolstan, Bishop of Worcester (from 1062 to 1095) praying, on his way to Chester, in the _wooden church of St. Peter_, in this town, {39} and of the “citizens asking him why he preferred it to the church which they called St. Mary’s;”—a question we may reasonably conclude as shewing this was then, in their opinion, from some circumstance, a church of no little consequence. The superior taste and enlarged views of improvement manifested by the Normans in the arts, caused the restoration of many important churches in much less time than a century after they had obtained the conquest of our island. St. Mary’s, no doubt, from its antiquity, required restoration, and excited their early attention; but although destitute of positive data, as before stated, from whence to ascribe a period to its re-edification, the various improvements plainly evident in several parts of the fabric will easily be discovered by the critical eye of the architectural antiquary. It may be mentioned that three distinct styles are apparent,—the Anglo-Norman of the 12th century, in the basement of the tower, nave, transepts, and doorways; the early lancet style in the windows of the transepts and chancel; the pointed and obtuse arch of the 15th and 16th century in the side aisles, clere-story, chantry, chapels, &c. These shall be carefully examined by analysis, and the predominant features appropriated with caution to their respective periods.