That the present fabric was erected piecemeal—the old work being taken down as the new work proceeded—is manifest from the wording of the Indulgence, from the irregularities in the setting out of the plan, and from the successive changes in the design. For instance, the buttresses on the north side are not exactly opposite to the buttresses on the south side, and neither group is actually in line with the piers; as surely would have been the case, had all the work been set out at one and the same time.

Again, the two westernmost windows of the north aisle correspond with the windows of the south aisle, in so far as their width and the outer mouldings and arches are concerned, but they differ altogether in their tracery; for the latter have only three lights, while the former and also all subsequent windows have four lights; i.e., two pairs of lights with a heavy central mullion between each pair.

Another change is noticeable in the four windows of the north aisle eastward of the last named; for while these have the same pattern of four-light tracery, the bold roll of the hood-moulding—which in the earlier windows on the south side is continued down the jambs of each window to the base-course, and in the two westernmost windows of the north aisle, down the central mullion only—is here stopped at springing level with grotesque carvings, after the manner of the later work in the interior of the church; and further, the roll on the central mullion of the earlier windows has here given place to a double chamfer; and additional members are also introduced into the section of the tracery bars. A similar treatment is carried out in the transepts. It will thus be seen, that three succeeding types of window treatment were employed.

(1) South Aisle. Three-light windows with intersecting tracery, feathered and cusped. [I am aware that these tracery heads, and especially the transoms, may be an innovation introduced when the south aisle was refaced with Donington stone in 1761]. A peculiarity in the featherings of the upper lights—which is even more pronounced in the windows of the south aisle of St. Peter's church, evidently supplied from the same yard and put in only a few years later—stamps them as local "18th century Gothic." The fact of three lights being employed, when all the rest of the tracery in the 15th century church is based upon a four-light division, leads me to think that the triple scheme probably follows the lines of the original tracery, which would be of "intersecting" type.

(2) North Aisle. Four-light windows with heavy mullions in the centre but no transoms. The tracery is a development of three-light "intersecting" tracery to suit a window of four lights in two main divisions. The arches which spring from the central mullions follow the same sweep as the enclosing arches, leaving a pointed and cusped multifoil in the centre. Vertical bars rise from the apex of each sub-arch in the side lights, and thus form an elongated cusped opening in the centre of each division.

A similar treatment is adopted for the windows in the side walls of the transepts, with the addition of a transom.

The end windows of the transepts are made up in three sections, having four similar lights in each section, the whole divided by transoms into four equal heights.

(3) Clerestory. Four-light windows set in pairs, after the manner of the north aisle, but here the "Perpendicular" character of the tracery is more pronounced, and the acutely pointed enclosing arches are almost straight-sided.

Sketch of buttresses

Again, there are three types of buttresses. Those on the south side of the aisle and the easternmost buttress on the north side are richly panelled on the face, but here again, the value of the work as an indication of date is destroyed; for the south wall was recased with Derbyshire stone in 1817.

The buttresses on the south side are wider and deeper than those on the north side, which are practically an enlarged copy of the slender buttresses on the south porch; while the buttresses to the transepts are a combination of both, being similar in section to those of the north aisle, and even more elaborately panelled than those of the south aisle; and further, all the weatherings and drips were altered in section, as the work advanced. (See sketch).

Externally and internally, a heavy horizontal moulding runs beneath the window cills all round the church, but not at the same level, nor is it of the same section throughout. Externally, the cills on the north side are higher than the cills on the south side, and there is consequently a jump of nearly 2ft. in the level of the external moulding. Nevertheless, the internal moulding is made to run level all round the body of the church. Where the difference between the external and internal level occurs, it is ingeniously screened by masonry panels, seen only from the interior in the lower panes of the windows on the north and west sides. Nowhere (except in the recent addition) does this moulding pass round the buttresses, but is "cut in" between them.

The bold roll moulding, which surrounds the windows within, is brought down as a shaft from the cill-moulding to the bench table or plinth, where it is finished with a moulded base; thus forming a series of panels beneath the windows. Exception to this rule is made only in the transepts, where the roll-moulding is stopped at cill level for the accommodation of the chantry altars which once stood against the eastern wall. No trace of sedilia, piscinas, or aumbries is left to indicate the position of the altars. A mutilated carving of a winged seraph is still in situ in the south transept. This design may have surmounted a reredos; and a fragment of sculptured alabaster of 14th century work, found face downwards beneath the chancel floor in 1845 and now built into the south wall of the morning chapel, is also believed to be a portion of a reredos.

The bench table to the aisle walls is partly paved with fragments of incised grave-covers from the floor of the 14th century church. There appears to be only one such stone on the south side, while on the north side, and especially in the eastward four bays, they are numerous. This tends to confirm the suggestion that this portion of the north wall was not rebuilt until after the western extension was completed, when the floor-stones would be removed, before the demolition of the old west front took place.

Two doorways, at the east end of the aisles, one on either side, which gave access to the turret stairs, and the doorways, leading on to the rood-loft above, are still visible although now blocked up with masonry. The north turret has been recently used as a chimney. The south turret is entered from the outside through a post-Reformation doorway, which has been cut through the masonry of the old wall. The 14th century pyramidal stone roofs have been taken off, and re-set at a higher level to suit later additions.

When the outer shell of nave and transepts was finished, the new pier-arcades would be put in hand: first the tower piers and the north arcade; then two eastern bays on the south side; when the work appears to have been arrested for a time, but perhaps only while the old work was being cleared away. Upon resumption, I think the start was made at the west end; for not only do these four arches differ from all others by having a sunk panel with trefoil head in the spandril, but a radical change was made in the contour of the moulding of the external cornice beneath the parapet; and so marked was this change, that when the point of junction was reached it was found necessary to cloak the difference in some way, and thus the pseudo-gargoyle before referred to was introduced.

It is only by bringing these details together, as it were, that a true estimation can be obtained; for although the differences are significant to the student of architecture, they are liable to be overlooked by a casual observer.

Thus the nave and transepts were brought to completion with an impressiveness which strikes the beholder. The sense of spaciousness and uniformity obtained is a tribute to the skill and devotion of the 15th century builders, in adapting all their work to the architectural idea, with which the scheme was commenced; while a richness of effect is produced by panelling the buttresses and the parapets of nave and transepts, in harmony with the south porch and the Founder's tomb. Another somewhat unusual feature, which adds to the pleasing appearance both without and within, is a number of carved bosses which enrich the apices of the arch mouldings. These originated in the porch, and were continued throughout the church; but now they are only intermittent — probably on account of the frequent "reparacions." Externally, they appear only on the side windows of the north transept; internally, in both transepts, nave, and aisles.

The chancel, built of Gedling stone, would next be taken in hand by the Prior and Convent of Lenton. If we may rely upon the rebuilt tower-piers being a faithful reproduction of the original work, it was obviously the intention to carry out the fenestration adopted in nave and transepts, in the chancel also; but the slender angle shafts on the chancel side, which should have received the hood-moulding of the first window in the chancel, are now disconnected and purposeless.

Whether the original idea was carried out and the present arrangement is the result of later alterations and reparations, or whether the work undertaken by the patrons was done in a grudging spirit and in the cheapest way, we may never be able to determine. I am inclined to think that the chancel walls were built as they now stand, with four windows on the south side, and three windows and a wide blank space on the north side. As the blank is wider than one window, it caused the spacing to be unequal and the windows not exactly opposite to each other.