VI. The _north aisle_ of the nave is, like the nave itself, Norman, except the two western bays, which are Abbot Morwent’s. The half piers against the wall are of the same height as those of the nave, but are divided into several members with shafts at the angles, the capitals of which are in some cases enriched. In each bay the Norman window-opening remains, with zigzag mouldings and side-shafts. All are filled with Perpendicular tracery, which is continued on the Norman wall under the windows. A Perpendicular stone bench runs below. The windows in this aisle are raised high, in order to clear the roof of the cloister outside. The vaulting is ribbed, Norman. In the Perpendicular portion of this aisle (second bay) is a very fine doorway into the west walk of the cloister--(the monks’ entrance). A crocketed canopy rises above it, with panellings on either side, in which were painted figures of the Apostles. On each side of the door are niches for figures. In the easternmost bay of this aisle is the abbot’s entrance--also Perpendicular, but not so richly decorated. In both these doorways, the half-groined recesses, so constructed as to admit of the doors opening into them, should be noticed. The Perpendicular window at the west end of this aisle has been filled (1862) with stained glass by HARDMAN; representing the story of the British King Lucius, who, according to one tradition, died and was buried at Gloucester. Under the window is a tablet for Bishop WARBURTON, (died 1779); “a prelate,” runs the inscription, “of the most sublime genius and exquisite learning.” The slab which covers his tomb is in the first bay between the nave and aisle. Two _monuments_ in this aisle should be mentioned: that in the fifth bay by FLAXMAN, for SARAH MORLEY, who died with her young child, at sea, in 1784. She rises from the sea supported by three floating angels. Above are the words, “The sea shall give up its dead.” The figures are graceful, and the whole composition striking. And that in the last bay, by the choir-screen, for THOMAS MACHEN, Alderman of Gloucester, and wife; 1614;--a very good example of the period, but by no means one to be imitated. The window above is filled with excellent stained glass by CLAYTON and BELL, in which the white and neutral tints give great effect to the brilliant colour. The subjects are the three miracles of our Lord in raising the dead:--The Ruler’s Daughter, the Widow’s Son, and Lazarus.