op-heaviness is increased. The central
tower has no buttresses, but the western has an octagonal buttress at
each corner, and these decrease in cross section at each of four string
courses; so that this tower seems to taper, and by contrast makes the
central tower seem to bulge out at the top more than it really does.

But Wimborne Minster does not stand alone in giving at first sight a
feeling that something is wanting to perfect beauty. In nearly every
old building which has gradually grown up, been altered and enlarged
by various generations, as need arose, each generation working in
its own style, and often with little regard to what already existed,
incongruities are sure to be discernible. But what is lost in unity
of design increases the interest in the building, historically and
architecturally regarded. And it is worthy of notice that at Wimborne,
more than at many places, the enlargers of the church have contented
themselves with adding to the building without removing the work of
their predecessors more than was absolutely necessary. A very cursory
glance at the exterior of the building as one walks round it is
sufficient to show that the church as it stands offers to the student of
architecture examples of every style that has prevailed in this country
from the twelfth century onward, and he will especially rejoice at
seeing so much fourteenth-century work. He will, as he passes along the
narrow footway beneath the east end of the choir, regret that more space
is not available here to get a good view of the most interesting Early
English window. If a small tree were felled, and the wall of a garden
or yard on the side of the footpath opposite to the church pulled down,
so as to throw open the east end of the choir, it would be a great
improvement. But this regret can be endured, as, though the window
cannot be well seen, it is there, and by changing one's position a
pretty accurate idea of its interesting features can be formed; but
far keener is the regret that any lover of antiquity must feel when
he notices, as he examines the church more closely, how busy the
nineteenth-century restorer has been, how he has raised walls, altered
the pitch of roofs, and inserted modern imitations of thirteenth and
fourteenth century work, removing features which existed at the
beginning of this century to make room for his own work; how he has
banished much of the old woodwork in the interior, altered the position
of stil