struggle and apprehension: finally, his trial and condemnation. And such practical admonitions might not have been without their use. Sometimes they are refined and exalted into such an one as may be seen in the northern apse of S. Mary's, at Guildford, where heavenly and earthly judgment are portrayed. {cxxi} Victory over the devil is singularly enough symbolised in Oxford, S. Peter's, by the piers which rest on, and crush, a monster. We have before noticed that Norman architecture, true to its love of facts, delighted in the representation of instruments of martyrdom, or the deeds of faith, as the victory of S. George. The final doom was also a favourite subject; so was the descent of Christ into hell. In fact, its whole character, whether in string courses, tympana, capitals, or chancel arches, was graphicalness, and that obtained sometimes at the expense of grace, sometimes almost at that of decorum, but probably well adapted to the particular development which the minds of the people had then reached. One point we must remark, to the eternal honour of the Anglo-Norman, and indeed also of the Saxon Church, deadly as was the hatred existing between the two peoples, for at least a hundred and fifty years after the conquest, it has left no symbolical trace, either in the churches of the vanquishers, or of the vanquished. Much as the one had suffered, and much as the other despised the conquered nation, this feeling vanished in the house of God. In advancing to Early English, we still find strong traces of the historicalism of ornaments, both in some of the mouldings, as in the toothed, and in the capitals, though the latter begin now to assume a more allegorical form. Indeed, the observation seems worth making, that this style is the only one which appears to have dealt much in allegory, we mean in that sense which we have already attached to the word. That is, it employs fictitious representations to set forth real truths; as in Wells cathedral, the fall of the barren tree forms a beautiful corbel. We do, however, find some traces of this in Norman work, as the fable of the crow and the fox may occasionally be discovered in it. {cxxii} The works of the creation were often set forth, rather with reference to their beauty than from any other reasons. Such as the birds making their nests in the thick foliage, flowers, and fruit. Yet, on the whole, facts such as those which principally occupied the attention of Norman architects, began rather to find expression among the details, than to usurp any important part in church arrangement. We are in possession of too little wood work of this date--and in that many references of this kind were probably to be found--to be able to speak with so much certainty as we can in the later styles: but that this was the tendency of the progress of architecture, it requires but little knowledge to discover. Impressed, but evidently, now, not only essentially but intentionally, on every