IV. The cathedral is entered, on the north side, through an elaborate Perpendicular _porch_, completed in 1530 by Bishop BOOTH. It is of two stages. The lower is formed by three wide, open arches, at the outer angles of which are octagonal buttress-turrets, capped by very picturesque lanterns. The parvise chamber, forming the second stage, is lighted by three large Perpendicular windows, with rich tracery. This porch projects beyond an inner and smaller one, of the Decorated period, to which the doorway opening to the church (the mouldings of which should be noticed) belongs. The doors themselves are modern, and are covered with very good iron-work, designed by Mr. Cottingham, jun., and executed by Messrs. Potter of London. The hinges alone cost £140. V. On entering the _nave_, the visitor should pass at once to the west end, where he will obtain the best general view. The great piers are Norman, and part of the original church. The triforium and clerestory and the vaulting of the roof are Wyatt’s work, (1788-1797,) as is the western wall with its doorway. The nave-aisles belong to the Decorated period. Wyatt, it must be remembered, shortened the original nave by one entire bay. The eye is at once struck by the massive grandeur of the great Norman piers and arches, and by the unusual darkness of the choir. Beyond the lofty circular arches of the central tower, and the superb [Illustration: ARCHES OF NAVE. PLATE I. ] modern screen on its eastern side, is seen the eastern wall of the choir, pierced below with a wide circular arch, receding in many orders, and above by three broad lancet lights. The lower arch is divided by a central pillar, from which spring two pointed arches, the spandrel between which is sculptured from a design of Cottingham’s. Beyond, again, is seen the east wall of the Lady-chapel, with its enriched lancets, and foliated ornaments above them. The effect of these three receding distances, with their varying light and shade, is unusually fine, and is not a little increased by the solemnity of the darkened choir. This darkness results partly from the heavy Norman architecture of the choir itself, and partly from the lofty transepts, which abut on it on either side. The nave and choir are of the same width (73-1/4 ft., including aisles; actual breadth of vaulting to nave and choir 31-1/4 ft.) and height (70 ft.)