DOI Page / Citation link:
https://doi.org/10.11588/diglit.6914#0225
romsey church.
193
Support the arches of the tower, we have also a further evidence of this progressive
transition, and many other parts might be adduced of similar import. At the east
end of the north aisle is an original window of three lights, formed by piercing
trough the pointed intersections of the interlaced semicircular arches, and most
Probably are of earlier date than those at St. Cross, near Winchester. The per-
fective view, Plate No. 37, shews the interior of the choir, as well as a portion
°f the ambulatory beyond it, (see k, in the Ground Plan,) which in former times
Vyas perhaps consecrated to the Virgin, to whom, and St. Elfleda, this edifice was
dedicated. The upper windows were apparently altered, as they now appear, in
Henry the Third's time. This choir is partly screened by walls erected between
*ue columns, and has Anglo-Norman door-ways opening to each aisle: at the altar
end is an ascent of six steps. The tower opens both to the body and the transept
V plain and lofty semicircular arches ; over which, on each side, are three small
double arches of a similar form, fronting a gallery of communication within the
wall, alterations made in the west end of the nave, and which have all the
aPpearance and character of Henry the Third's time, are shewn in Plate No. 38,
aild the exterior front, with the form of its ground plan, is delineated in Plate
39 ; the pointed windows in the north aisle seem to have been introduced at a
tater period.—In completing the description of this very curious Church, it will be
necessary to advert to the variety of sculptures on the capitals of the columns,
s°nie of which are historical and grotesque, and some of finely-executed foliage,
^earing great conformity to similar enrichments in Grecian sculpture. In some
ltlstances the foliage is intermingled with human heads; in others, animals are
'Produced, as lions, horses, a wolf worrying a lamb, horses in a boat, &c.; but
d^e most remarkable of all are the two historical sculptures in the north and south
^■lsles, on the capitals of the columns which terminate the present chancel, or choir,
presentations of these subjects (not particularly correct) have been given in the
°Urteenfh volume of the Archseologia, together with an attempted explanation
kQta in that, and in the fifteenth volume ;64 but neither hypothesis is intitled to an
IttlpHcit credit. These sculptures are partly in front, and partly on the return of
capitals. That in the north aisle appears to be the meeting of two kings in
^ttle( whose swords are arrested by two other figures standing behind them, at
e foment of encounter ; marks of carnage, as headless trunks, and dissevered
64 See vol. xiv. pp. 140—142 ; and vol. xv. pp. 304—309.
2 c
193
Support the arches of the tower, we have also a further evidence of this progressive
transition, and many other parts might be adduced of similar import. At the east
end of the north aisle is an original window of three lights, formed by piercing
trough the pointed intersections of the interlaced semicircular arches, and most
Probably are of earlier date than those at St. Cross, near Winchester. The per-
fective view, Plate No. 37, shews the interior of the choir, as well as a portion
°f the ambulatory beyond it, (see k, in the Ground Plan,) which in former times
Vyas perhaps consecrated to the Virgin, to whom, and St. Elfleda, this edifice was
dedicated. The upper windows were apparently altered, as they now appear, in
Henry the Third's time. This choir is partly screened by walls erected between
*ue columns, and has Anglo-Norman door-ways opening to each aisle: at the altar
end is an ascent of six steps. The tower opens both to the body and the transept
V plain and lofty semicircular arches ; over which, on each side, are three small
double arches of a similar form, fronting a gallery of communication within the
wall, alterations made in the west end of the nave, and which have all the
aPpearance and character of Henry the Third's time, are shewn in Plate No. 38,
aild the exterior front, with the form of its ground plan, is delineated in Plate
39 ; the pointed windows in the north aisle seem to have been introduced at a
tater period.—In completing the description of this very curious Church, it will be
necessary to advert to the variety of sculptures on the capitals of the columns,
s°nie of which are historical and grotesque, and some of finely-executed foliage,
^earing great conformity to similar enrichments in Grecian sculpture. In some
ltlstances the foliage is intermingled with human heads; in others, animals are
'Produced, as lions, horses, a wolf worrying a lamb, horses in a boat, &c.; but
d^e most remarkable of all are the two historical sculptures in the north and south
^■lsles, on the capitals of the columns which terminate the present chancel, or choir,
presentations of these subjects (not particularly correct) have been given in the
°Urteenfh volume of the Archseologia, together with an attempted explanation
kQta in that, and in the fifteenth volume ;64 but neither hypothesis is intitled to an
IttlpHcit credit. These sculptures are partly in front, and partly on the return of
capitals. That in the north aisle appears to be the meeting of two kings in
^ttle( whose swords are arrested by two other figures standing behind them, at
e foment of encounter ; marks of carnage, as headless trunks, and dissevered
64 See vol. xiv. pp. 140—142 ; and vol. xv. pp. 304—309.
2 c