s and vaulted roofs,
covered with dressed stone slabs. These chapels still exist, and the
wall rib of the vaulting is yet visible on the south side of the
arcade, next the south aisle; but the vault and stone roof have been
removed, and a plaster ceiling of imitation vaulting substituted.
The above contract indicates that the walls of the nave then
existed. We must, therefore, assume that the church had been rebuilt
previous to the destruction of 1385, and that the above contract was
an addition to the building connected with its restoration two years
after the fire. Although, doubtless, much injured by the
conflagration, the walls and pillars of the church seem to have
escaped total destruction. The style of the architecture would lead
to the same view; the octagonal pillars of the choir, with their
moulded caps, being most probably of the fourteenth century."[250]

The church, as restored and added to after 1387, is regarded as
consisting of a choir of four bays, with side aisles; a nave of five
bays, also with side aisles; a central crossing, north and south
transepts, and the five chapels just added south of the nave.[251] An
open porch, to the south of these chapels, was also erected along with
them, with a finely groined vault in the roof, and over it a small
chamber, lighted by a picturesque oriel window, supported on a corbel,
carved with an angel displaying the city arms.[252] The whole of the
main divisions of the structure were vaulted, and the massive octagonal
piers of the crossing were probably raised about this period.[253] The
vaulting of the crossing, with its central opening, was executed about
1400.[254] The ancient Norman porch, forming the north entrance to the
nave, was the only part of the twelfth century structure then preserved.
The restoration seems to have continued from 1385 to 1416.

Shortly after the erection of the five south chapels, another chapel,
called the Albany Aisle, was built on the north side of the nave to the
west of the old doorway. It opens from the nave with two arches, resting
on a central pillar, and the roof is covered with groined vaulting in
two bays.[255] On the pillar are sculptured the arms of the Duke of
Albany and also those of the Earl of Douglas. Their names are often
ominously found together in the history of the times, and both were
accused of the murder of the Duke of Rothesay, heir to the throne. They
were