We enter the church by the west door, and are at once struck by its immense length. It is the longest in England, and consists of thirteen bays. Originally the Norman style prevailed throughout the building, but in the course of ages numerous alterations have been made, and its architectural history is somewhat complicated. The five bays on the north and the three bays on the south are the work of Trumpington, who left the great piers standing, removed the Norman arches, triforium and clerestory, and began his reconstruction with all the gracefulness of the Early English style. He cased the piers with stone-work, which are octagonal and have attached shafts. The triforium has in each bay an arch enclosing two sub-arches with a quatrefoil in the head. The dog-tooth appears in the string-courses. The clerestory windows have two lights. The roof is modern. It was evidently intended to have a stone vault, but this was abandoned apparently for want of means. The work in the aisles corresponds to that in the nave as far as Trumpington's building extends. There is a remarkable juncture of this Early English work with the Norman on the north side of the nave. This Norman work is that of Paul de Caen. It is simple and plain, and not dissimilar from that at Caen, whence the abbot came. On the south side the five bays next to Trumpington's work were rebuilt by Abbots Hugh de Eversden (1308-1326) and Michael de Montmore (1335-1349), owing to the fall already alluded to. Here we see rich Decorated work, and though it differs in detail, it follows the lines of the earlier work on the west. Instead of dog-tooth, we have the ball-flower alternating with lilies. There is more sculpture, some of the heads being beautifully carved. The aisle here is similar in character to the nave. The cloister court having been on the south side of this wall, the windows here are high up. The next three bays on the south side are Norman, and also the nine eastern bays on the north side. The piers are very massive and are square-edged. The arches have three orders. The triforium arches are plain, but less lofty than those of the nave, and the clerestory arches are of the same character. We will now examine the mural paintings in the nave, which are of Norman date. Upon the west side of the six Norman piers are examples of the same subject, the Crucifixion, with St. John and the Virgin. Beginning with westernmost Norman pier we notice a representation of our Lord, and below is the Annunciation. On the south is St. Christopher, on the next pier is the same subject, and on the south the figure of St. Thomas of Canterbury. The figures of St. Syth, Edward the Confessor, Coronation of the Virgin, and the Virgin and Child also appear. The nave has been shorn of most of its monuments, but on the second pier on the north side is the monument of Sir John Mandeville, the great traveller, with this inscription:--