clustered.  Angular brackets, sculptured with knots, grotesque heads, and foliage, are affixed to the base of these derivative pillars.  A bold double-billeted moulding is continued below the clerestory, whose windows adapt themselves to the binary arrangement of the bays.  A taller arch is flanked by a smaller one on the right or the left side, as its situation requires.  These are supported by short massy pillars:  an embattled moulding runs round the windows.

“In the choir the arches become pointed, but with Norman mouldings:  the apsis is a re-construction.  In that portion of the choir, which seems original, there are pointed windows formed by the interlacing of circular arches:  these light the gallery.

“The effect produced by the perspective of the interior is lofty and palatial.  The ancient masonry of the exterior is worthy of notice.  The stones are all small, perhaps not exceeding nine or twelve inches:  the joints are about three-quarters of an inch.”

At the north-west angle of the nave has been built a large chapel, comparatively a modern erection; and in the centre of this lies Matilda’s gravestone.—­There is no other chapel to the nave, and, as usual, no monument in any portion of the church; but in front of the high altar is still to be seen the flat stone, placed there in 1742, in memory of the Conqueror, and bearing the epitaph—­

[Illustration:  Epitaph in memory of the Conqueror]

    QUI REXIT RIGIDOS NORMANNOS ATQUE BRITANNOS
    AVDACTER VICIT FORTITER OBTINVIT
    ET CENOMANENSES VIRTVTE COERCVIT ENSES
    IMPERIIQVE SVI LEGIBUS APPLICVIT
    REX MAGNVS PARVA JACET HIC VILLELMVS IN VRNA
    SVFFICIT HAEC MAGNO PARVA DOMVS DOMINO
    TER SEPTEM GRADIBVS SE VOLVERAT ATQUE DVOBVS
    VIRGINIS IN GREMIO PHOEBVS ET HIC OBIIT
    ANNO MLXXXVII
    REQVIESCEBAT IN SPE CORPVS BENEFICIENTISSIMI
    FVNDATORIS QVVM A CALVINIANIS ANNO MDLXII
    DISSIPATA SVNT EIVS OSSA VNVM EX EIS A VIRO NOBILI
    QVI TVM ADERAT RESERVATVM ET A POSTERIS ILLIVS
    ANNO MDCXLII RESTITVTVM IN MEDIO CHORO DEPOSITVM
    FVERAT MOLE SEPVLCHRALI DESVPER EXTRVCTA HANC
    CEREMONIARVM SOLEMNITATE MINVS ACCOMMODAM
    AMOVERVNT MONACHI ANNO MDCCXLII REGIO
    FVLTI DIPLOMATE ET OS QVOD VNVM SVPERERAT
    REPOSVERVNT IN CRYPTA PROPE ALTARE
    IN QVO IVGITER DE BENEDICTIONIBVS METET
    QVI SEMINAVIT IN BENEDICTIONIBVS
    FIAT FIAT

The poetical part of this epitaph was composed by Thomas, archbishop of York, and was engraved upon the original monument, as well as upon a plate of gilt copper, which was found within the sepulchre when it was first opened.  Many other poets, we are told by Ordericus Vitalis, exercised their talents upon the occasion; but none of their productions were deemed worthy to be inscribed upon the tomb.  The account of the opening of the vault is related by De Bourgueville, from whom it has been already copied by Ducarel; but the circumstances are so curious, that I shall offer no apology for telling a twice-told tale.  From Ordericus Vitalis also we may borrow some details respecting the funeral of the Conqueror, which, though strictly appertaining to English history, have never yet, I believe, appeared in an English dress.