The gallery, or triforium pier, is similar in plan to that below, but the arch is divided into two widths, in the sub-order, by a central shaft bearing two smaller arches. The clerestory, in its more typical bay, is divided into three widths by small shafts, the side spaces being low arches, and the central one being considerably elevated, and containing the window.
Through this storey passes the passage in the thickness of the wall, which ought more properly to be called the triforium.
The transept elevation is divided vertically into two compartments by a large pilaster buttress, both without and within, and is externally flanked by similar buttresses. In height it is divided into three storeys, ranging with those of the interior, already described, the aisles naturally containing two of these storeys; the upper of which has small windows in the sides, and large ones in the gables. The windows are (as a rule) shafted singly, without and within, with a deep splayed jamb internally filling the interval. Those of the upper storey of transepts fronts are arranged internally to correspond with the clerestory. The gable of the south transept is enriched with intersecting arcades.
Unfortunately, the central tower, of the early period, fell shortly after its erection, rebelling, as it was thought, against the ungrateful task of overshadowing the body of the detested Rufus.
This untoward behaviour has had the effect of rendering the work imperfect; for, had the crossing remained, one could supply the choir and nave with a fair amount of certainty. As it is, we cannot make any imaginary restoration, for the whole of the centre, with the adjoining bays, has been rebuilt in a later Norman style, influenced by a morbid fear of a second catastrophe, which led to an undue bulkiness in the piers, where better foundations and harder material would have supplied sufficient security. Let us hope that no second Rufus may be buried beneath the shadow of our precious monuments of art-history! The tower, however, as rebuilt, is a noble work, though of small height. That such stumpiness of proportion was not viewed as essential to the style, we have practical proofs at St. Alban’s, Tewkesbury, and Norwich; so we may safely conclude that, like the needless bulk of the renewed piers, it was the result of the fear that their power would again refuse to canopy the red-haired king, who still lay in the midst of the church, though removed a few feet from being under the tower.
The crypt ([Fig. 257]), which gives us the form of the original sanctuary and eastern chapel, is a fine example of the Early Norman where used for simple purposes. The columns bear some resemblance to those of King Edward’s work at Westminster, though much lighter. Their proportions, however, cannot be seen, owing to their being buried deep in earth, which is, I am sorry to say, not the only barbarism for which the chapter there are responsible.
Fig. 257.—Crypt, Winchester Cathedral.
The nave, as is so well known, was converted into another style by Wykham and his predecessor, Eddington ([Fig. 258]); the last-named of whom must, I suppose, have destroyed the two western towers, if ever they had been carried up. We know them only by their foundations.