but each is divided into two by a slender pillar rising from
the bench table; the arcade on the north side consists of nineteen
tabernacles separated by square pilasters of Purbeck marble; there are
five sets of three each under the windows, and the remaining four fill
up the intermediate spaces between the five groups. The canopy of each
of the fifteen tabernacles consists of a head of singular beauty,
radiated and inclined forwards, on the apex is, or was, the figure of
a saint; above these is a hood-mould crocketed, and terminating with a
finial. The other four are wider, and instead of the figure of a saint
on the apex each terminates in a group of three elaborately carved
brackets or corbels, which support two other ranges of niches in
pairs, surmounted by ornamented canopies, and between them runs a
roof-shaft, from which spring the ribs of the vaulting, which is
similar to that of the stalled Choir. The spandrils of the tabernacle
work is filled with diaper work and alto relievos which are supposed
to represent some legendary history, most probably that of the virgin.

The south side is similar to the north, except that the range of
tabernacles is broken by doorways. The west end contains eight of
these tabernacles, and at the east end a larger niche occupied the
centre with others on the sides, but these were altered at a later
period. The altar is elevated above the level of the floor, and the
niches on the side walls are raised in accordance. Large niches are
placed on the sides of all the windows, and a pierced parapet standing
on an entablature formed of a receding hollow, runs under the side
windows only.

The backs of the niches and indeed many parts of the chapel show
remains of rich colouring; the ceiling was painted a rich blue studded
with silver stars, the bosses at the intersections of the ribs
represented flowers, foliage, and grotesque masks, and some of those
along the mid-rib represented emblems of the nativity, crucifixion,
the virgin, &c.; they had been richly coloured and gilded, but, like
other parts of the building, have been defaced and injured; and every
person who sees it must feel a deep regret that so beautiful a
building should ever reach such a stage of desecration.

A few modern monumental tablets are placed on the walls, but they
diminish rather than increase the decoration: some others have been
removed to the entrance, and in 1865 the close pews were taken away
and replaced by