orm. It is supposed that this was the case; and that when the
pointed arch was substituted the central compartment of the ceiling was
raised, and the two outer ones made to slope as we see it now. But if
the Norman roof was flat, its outer compartments would manifestly not be
broad enough to fill the space now occupied by the sloping sides. And
yet there is no alteration in the style of ornamentation: nor are the
diamonds, which are divided by the line where the slope joins the
horizontal portion, unduly elongated, as would seem to be necessary in
the part nearest the wall. Some change was clearly made when the
Decorated arches were built; for above the Norman cornice on which the
roof was originally laid, there is now a length of painted wood
containing coats of arms obviously of later date than the ceiling. It is
not possible to pronounce with certainty on the question. But
considering (1), that the whole ceiling was certainly raised in
consequence of the superior height of the tower arch (2), that no
difference can be detected between the centre compartments and those at
the side in the patterns, and (3), that additional height has been
secured by the Decorated boarding above mentioned, the most probable
solution seems to be that the whole is the original Norman work,
practically unaltered, and that it was never flat, but had always
sloping sides as at present. All agree that the style of the painting is
perfectly characteristic of the period. The divisions are of the lozenge
shape; in each lozenge of the central line is a figure, and in each
alternate one of the sides. The middle set has more elongated lozenges
than the others. The borders are black and white, with some coloured
lines, in odd zigzag patterns. The figures, which are mostly seated, are
very quaint and strange. Some are sacred, some grotesque. We can see
S. Peter with the keys, kings, queens, and minstrels; we find also a
head with two faces, a monkey riding backwards on a goat, a human figure
with head and hoofs of an ass, a donkey playing a harp, a winged dragon,
a dancing lion, an eagle, and other curious devices.

[Illustration: The Choir and Nave, looking West.]

=The Font= stands between the first and second piers on the north side
of the nave; the basin is of a local marble of thirteenth century date,
but the lower part is modern. For many years it was used as a flower pot
in one of the prebendal gardens, whence it was rescued by Dean Monk and