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style of architecture combined with that of another, is worthy of 

 careful study. Entering through the south porch, which has the 

 character of early Norman work in pillar and tympanum, you see 

 on the left hand a roimd font with a oonically hollowed out 

 interior, which at once gives rise to a discussion whether it is early 

 or late Norman work. Transition seems to be the verdict. Round 

 its lower part is a series of interlacing round arches, succeeded by 

 bands of ornament, one of which is composed of open flowers. Just 

 under the rim is an inscription in plain letters picked out with 

 black : — " Hoc fontis sacro pereunt delicta lavacro." The letters 

 cut upon the rim are — 



LVATR " PART - IDTV . DA 



+ + CVu-E FEC. 



Passing on to the central tower you see a pointed arch with some 

 of the voussoirs ornamented with zig-zag work springing from 

 Norman piers with grotesque caps. Was this pointed arch cut out 

 of a more ancient round Norman arch 1 or is it original, marking 

 the transition from Norman to early Enghsh ? are questions at 

 once occurring. Entering the vestry another puzzle exists in a 

 slab let into the face of the waU with a cross somewhat Maltese in 

 shape, with round stem, and a hand extending over it issuing from 

 a cloud, cut in alto relievo — of what date is this, early or late 1 

 Then again leaving the Norman work and looking at the chancel 

 windows, another instance of transition meets your eye. The 

 head tracery of the east window, with its remarkably elegant 

 flowing lines, marks the Decorated period, turn your eyes to the 

 side windows, there you see a style partaking of Decorated and 

 Perpendicular ; and this mingling of boundary lines meets you at 

 every point. In the south chapel, called St. Catherine's, and now 

 the Duckworth resting place, is a very elegant and weU- 

 proportioued early English window. Passing out through one 

 Norman porch you come round to another on the north side, a 

 finer specimen than which — with its lofty triangular hood-moulding 

 enclosing a figure of the Deity in sitting posture, with right hand 

 held up in the act of blessing, its bird-beaked heads, grotesque 

 capitals, twisted columns, and other curious mouldings — 

 does not exist in any other Somersetshire village church. The 

 crown of the arch is filled up with a single stone, on which is 



