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Updated: July 11, 2025
The square back to it, and the spaces beneath the corbels, on which the Church and Synagogue figures stand, are filled with noteworthy diapers. The first is divided diagonally into sunken squares, each containing a flower; and the others have lion masks in quatrefoils, with five petalled roses in the alternate spaces. The present door dates from Cottingham's time.
In the second and third bays part of the twelfth-century top to the aisle walls remains. The roof may have had eaves originally, but now there is a parapet of about the same date as the present buttresses; and the projection of this parapet is carried upon the corbels that were carved and built in before the second fire occurred.
Chimney pieces, which in the fourteenth century were merely stone smoke shafts supported by corbels, have been replaced by handsome carved oak erections, ornamenting the hall or room from floor to ceiling, and the English livery cupboard, with its foreign contemporary the buffet, is the forerunner of the sideboard of the future.
The arch of the recess, springing from corbels of elaborately carved foliage, retains traces of colouring, and the wall within is painted with green foliated scroll-work on a dark red ground. Under the northern arch on the east side of the transept is the curious sarcophagus tomb of Bishop Lowe, who died in 1467.
The cellarer's and other storerooms were, apparently, on the west side, and there seems to have been a smaller guesten-hall to the south-east. Some corbels that helped to support the cloister roofs are still to be seen, projecting from the south wall of the church, and from Ernulf's buildings. The doorway opening from the church into the western range has been already described.
The person who shows it is an elderly man of jolly aspect and demeanor; he is enthusiastic about the edifice, and makes it the thought and object of his life; and being such a merry sort of man, always saying something mirthfully, and yet, in all his thoughts, words, and actions, having reference to this solemn cathedral, he has the effect of one of the corbels or gargoyles, those ludicrous, strange sculptures which the Gothic architects appended to their arches.
The small upper window between the columns is round instead of square, and the cornice is carried on large corbels. In front of all the openings is a balustrade.
Above is a large square framework, flanked at the sides by tall candelabrum shafts on corbels, and finished at the top by a moulding or, above the 'Bearing of the Cross, by a crested entablature, with beautifully carved frieze. Within this framework the stone is cut back with sloping sides, carved with architectural detail, arches, doors, entablatures in perspective.
The baluster of this staircase forms a spiral connecting itself by a square landing to five of the six sides of the tower, requiring at each landing transversal corbels which are decorated with arabesque carvings without and within.
Perpetually, even in the new thriving French Morocco, the outline of a ruin or the look in a pair of eyes shifts the scene, rends the thin veil of the European Illusion, and confronts one with the old grey Moslem reality. Passing under the gate of Chella, with its richly carved corbels and lofty crenellated towers, one feels one's self thus completely reabsorbed into the past.
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