on
the north side, St. John on the south, holding a book. Beneath,
Virgin (crowned and holding a sceptre) and Child; on each side an
angel censing. Late twelfth or early thirteenth century.

South face. St. Christopher. Fourteenth century.

Second pier, west face. Christ on the Cross; the Virgin with
clasped hands on south side, St. John on north. Beneath, Virgin
and Child under a canopy. Early thirteenth century.

South face. Archbishop Becket. Fourteenth century.

Third pier, west face. Christ on the Cross; the Virgin on the
south side, St. John on north, resting his head on his hand.
Beneath, under a pointed arch, the Annunciation. This is in
outline only. Fourteenth century.

South face. A woman in a blue gown holding a rosary in her left
hand, possibly St. Citha (Osyth). Fourteenth century.

Fourth pier, west face. Christ on the Cross. Beneath, the
Annunciation. A rude painting of the thirteenth or fourteenth
century.

South face. A pilgrim and slight traces of another figure. The
subject is supposed to be either Edward the Confessor relieving
St. John disguised as a pilgrim, or St. John giving a ring to a
pilgrim. Fourteenth century.

Fifth pier, west face. Christ on the Cross, much draped; the
Virgin and St. John with red background. Beneath, the Coronation
of the Virgin. Fourteenth century.

South face. This was once painted, but not enough remains to allow
the subject to be made out.

Sixth pier, west face. Christ in his Glory; very slight traces
only.

[Illustration: NORTH NAVE ARCADE: WESTERN END.]

Besides these figure subjects painted on the piers, the soffits of the
arches were decorated with colour, some of which still remains.

Although in the four western bays of the main arcade the Early English
work is very plain, yet the triforium is ornate. The arcading consists
of two pointed arches in each bay, each comprising two sub-arches; the
supporting columns are slender and enriched with dog-tooth mouldings,
with which also the string-course below the triforium is decorated. The
shafts, which probably were intended to support a stone vault over the
nave, should be noticed.

This illustration also shows the character of the clerestory. The
triforium over the Norman main arcade consists of large, wide-splayed,
round-headed openings, in which the tracery and glazing introduced in
the fifteenth century, when the aisle roof was lowered in