ehung in a
timber campanile in the north churchyard. Even now they cannot be
pealed.

The deplorable refacings have left few features of interest on the
outside. Were Gothic architecture still a living and not merely
imitative and academic art, one would welcome a complete renewal of
all outside work--not an imagined harking back to the work of the
fifteenth century but showing the lapse of the centuries from the
fifteenth to the twentieth as clearly as does the north porch the
change from the thirteenth to the fifteenth.

[Illustration: INTERIOR OF HOLY TRINITY, FROM THE WEST.]

CHAPTER III

THE INTERIOR

It is with a feeling of expectation followed by one of relief that we
pass within the church, for restoration has there rarely the same
excuse for its devastations as the action of wind and weather on the
exterior too generously gives it, and this church is no exception to
the general rule.

The clearing away of galleries, the provision of new seating and the
renewal of much window tracery have been the principal changes, the
greatest loss being the destruction of the Corpus Christi Chapel. The
nave is of moderate width and consists of only four bays, the eastern
arches being narrower and made to abut against the tower after the
manner of flying buttresses. The columns are clusters of four large
filleted shafts separated by small ones while the bases are high and
evidently meant to be seen above the benches. The caps are shallow and
very simple, while the shafts of each pier reappear as part of the
arch moulding.

The arcade as a whole is remarkably strong and dignified, it would
perhaps have gained by the addition of a bay in length. In the absence
of precise records it may be assigned to the second quarter of the
fourteenth century or a little later. Above the tower arch can still
be seen, beneath the painting and plaster, the marks of the older
steep roof. The nave of Stratford-on-Avon Church has points of
resemblance to this. There too we have a fourteenth-century arcade
(but much simpler) with a fifteenth-century panelled wall and
clearstory above, and the panelling comes down on to the backs of the
arches in a similar though somewhat simpler manner.

Owing to the inequality of the eastern arches there is, in the
position of the windows and roof principals a curious disregard of the
lines of the piers and the centres of arches. There are eight equal
bays in the roof and each corresponds to t