The nave, as well as aisles, has been vaulted in stone, as is evidenced from the vaulting shafts, and commencing springers still seen at the junction of the nave and transepts, and from the curve of the vault itself, yet traceable at the west end, but denuded of its ribs. This is a remarkable and almost singular instance of the centre aisle of a Norman building receiving a vault of stone. Both in England and on the Continent, the nave was covered simply by a flat boarded roof, to which were in a great degree owing the frequent and destructive fires of our early churches. There are six arches in the nave, but the last is of smaller dimensions than the rest. This peculiarity is not unfrequent in Norman and Gothic churches, as if the architect had not previously calculated the space to be occupied by his arcade. The effect here has been to produce a horse-shoe instead of a semicircular arch, from its being of the same height, but lesser span, than the others. This arch is very rare, even in Norman buildings. Above the pier-arches there has existed a triforium, of which the only remains are a single shaft at either end of the nave, the beginning and termination of the arcade. The Norman triforium is in England simply a row of openings or pannels in the wall, to fill up, ornamentally, what would otherwise have been a blank space. In Germany it is a real gallery, and appropriated to the young men, and called the Männer-chor. Of the vaulting of the north aisle one arch still remains, but flattened at top, and only retained in its position by the wedge-form of the stones which compose it. This will soon fall, and yet might be easily preserved. The vaulting was quadripartite—the piers, with their cushioned capitals, and transverse ribs, are yet seen. In one or two places, the vaulting from pier to pier yet remains, though the ribs which would have appeared to support it are gone. This is a proof that the ribs used in vaulting were introduced merely to satisfy the mind by _appearing_ to support the arches above, and that the eye, which had been accustomed to strong lines in every other part of the building, should not here rest in a blank surface. We now reach the intersection of the nave and transepts. Here in the strong and massive piers, we have slender circular shafts set in square recesses—a style of transition from the short and heavy Norman to the loftiness and exility of the Gothic, by which the weights above being distributed to different and independent props, an air of lightness and grace is produced without any diminution of security or strength.