But while the abbey church itself is as plain as almost any similar edifice I remember, its great extent, and the noble windows and doors, rendered it to me deeply impressive. On the other hand, the chapel is an exquisite specimen of the most elaborated ornaments of the style. All sorts of monstrosities have, at one period or another, been pressed into the service of the Gothic, such as lizards, toads, frogs, serpents, dragons, spitfires, and salamanders. There is, I believe, some typical connexion between these offensive objects and the different sins. When well carved, properly placed, and not viewed too near, their effect is far from bad. They help to give the edifice its fretted appearance, or a look resembling that of lace. Various other features, which have been taken from familiar objects, such as parts of castellated buildings, portcullises, and armorial bearings, help to make up the sum of the detail. On Henry the Seventh's chapel, toads, lizards, and the whole group of metaphorical sins are sufficiently numerous, without being offensively apparent; while miniature portcullises, escutcheons, and other ornaments, give the whole the rich and imaginative--almost fairy-like aspect,--which forms the distinctive feature of the most ornamented portions of the order. You have seen ivory work-boxes from the East, that were cut and carved in a way to render them so very complicated, delicate, and beautiful, that they please us without conveying any fixed forms to the mind. It would be no great departure from literal truth, were I to bid you fancy one of these boxes swelled to the dimensions of a church, the material changed to stone, and, after a due allowance for a difference in form, for the painted windows, and for the emblems, were I to add, that such a box would probably give you the best idea of a highly-wrought Gothic edifice, that any comparison of the sort can furnish.