C. Kirk in 1884. It is only 144 feet in height. As at Grantham and Ewerby the tower is engaged in the aisles; its lower stage dates from 1180. The nave has eight three-light clerestory windows, with tall pinnacles rising from the parapet. The aisles have a richly carved parapet, without pinnacles; but the beauty and extreme richness of the western ends of the aisles, where they engage with the massive tower, surmounted as they are by turrets, bellcots and pinnacles, and niches, some still containing their statues, is not surpassed in any church in England.
The doorway, which is in the west end of the north aisle, cuts into the fine window above, and opens upon the baptistery.
The nave and aisles are all very lofty; and the grand proportions of the church give one the feeling of being in a cathedral. There is an outer north aisle, now screened off by a good modern oak screen, and fitted with an organ and an altar with modem painted reredos depicting the Crucifixion. The tracery of the big window is good, but that in the north transept (there is no south transept) is one of the finest six-light windows to be seen, and is filled with first-rate modern glass by Ward and Hughes. The supporting arch at the west of the north aisle has an inverted arch, as at Wells, to support the tower. At the end of the south aisle, a tall half-arch acts as a buttress to the other side of the tower arch. The chancel was once a magnificent one, but was rebuilt and curtailed at a bad period.
The fine monuments on each side of the chancel arch—one having two alabaster recumbent figures, much blocked by the pulpit, are all of the Carre family; and a curious carved and inscribed coffin lid, showing just the face, and then, lower down, the praying hands of a man, apparently a layman, with long hair, is set up in the transept against the chancel pier. At Hartington in Derbyshire is one showing the bust and praying hands together, and then, lower down, the feet. An old iron chest is in the south aisle, and the church has a very perfect set of consecration crosses both inside and out.
The rood screen is especially fine, in fact, the finest in the country, having still its ancient canopy projecting about six feet, with very graceful carving on the heads of the panels below it. Two staircases in the chancel piers still remain, opening on to the rood loft on either side.
The west end of the church overlooks the market, where there is always a gay scene on Mondays—stalls and cheap-jacks and
