A relic of the Norman age is preserved in the north wall, above the aumbrey, viz., a portion of a string-course with billet moulding--a further evidence of the age of this part of the church. The arches between the choir and nave aisles are worth notice as architectural curiosities. The former shows a strange angular introduction in the moulding of its southern side. The latter has an acute arch, without moulding, constructed within it, apparently to strengthen the walls. On the floor by the eastern wall lies one of those charnel house memorials, in the shape of a ghastly and desiccated human figure, of the kind not uncommon in tombs of the sixteenth century. To whose tomb this figure belonged there is no evidence to show. Against the east and west walls are piled some curious bosses from the old oak roof erected in 1469, after the stone roof had fallen down. There were originally about a hundred and fifty of these grotesque specimens of wood-carving, but there are now only about one-third of them left, including those placed in the new roof within the tower. [Illustration: _Photo._ _G.P. Heisch._ CARVED BOSSES FROM THE CEILING OF THE OLD NAVE (FIFTEENTH CENTURY).] The fine chest against the western wall was presented about the middle of the sixteenth century by Hugh Offley and Robert Harding, Aldermen and Sheriffs of London, who were related by marriage. The chest is made of oak, with various fancy woods inlaid, _e.g._, walnut, pear, cherry, box, rosewood, ash, yew, holly, and ebony, distributed over the surface so as to bring their colours into agreeable contrast in the design. This appears to represent the facade of a classical building, the panels on the front of the chest being divided by the pilasters of the architecture. The central panel contains the first owner's initials, "H.H.O." The others hold the crests and armorial bearings of the two families. [Illustration: _Photo._ _G.P. Heisch._ THE AUSTIN MONUMENT (NORTH TRANSEPT).] On the western wall of this transept there is a remarkable monument, which cannot be better described than in the words of John Strype: