Some of the nave piers still show traces of polychromatic decoration. On the north and south sides, on the easternmost pier but one, are the remains of some frescoes, as also on the middle pier of the south arcade. But Bishop Field’s white-wash of 1630, which was removed about 1830 under the careful superintendence of the Ven. Archdeacon Davies, doubtless spoilt whatever beauty these mural decorations ever had. It requires considerable discernment to distinguish very clearly what the designs are, but Freeman[11] made out that on the third southern pier (from the east) is a representation of the Blessed Virgin seated beneath a canopy. The figure is within a vesica, vested in a cope and has a nimbus; beneath which is an inscription, “Virgo Maria.” Above is our Lord and the emblems of the four Evangelists, and on the small attached shafts are figures of seven candlesticks, evidently referring to the vision of St. John.[12] On the south-east face there is a full-length crowned figure of a king in plate-armour with the basanet and camaille, holding a sword and standing under a canopy. On the left arm is the initial =H=, which--the date of the plate-armour with knee-caps and elbow-pieces corresponding--has been taken to denote Henry IV. On the two other piers are achievements of arms which Freeman[13] states to be “a banner bearing a bend, a shield party per chevron, and a casque with crest and mantlings, the crest being a head crowned.” =The Rood Screen.=--The elaborate rood-screen, which separates the nave and choir, projects into the nave nearly half a bay. A daïs[14] of three steps in height occupies the remainder of the bay. The entrance to the choir is vaulted in two bays, and there are some very unusual flying groin-ribs, which are shown in the illustration. The work is unmistakably that of Bishop Gower (1328-1347), and was perhaps the completion of the Decorated scheme which he inaugurated throughout the fabric. On the sunny south side the tomb of the Bishop gains by contrast with the heavy arch-shadow. On the north side, facing the nave is a peculiarly flat and shallow arcade in three bays, which formed a kind of reredos to the altar of the Holy Cross--the piscina being on the north. On the oblique side, facing north-west is a doorway with a semi-octagonal arch leading to the roof and organ loft. On the south side of the western bay are two tombs, and on the north one, all of which will be described with the monuments in the nave (see p. 71). The backing to the screen was, when Freeman wrote, solid, and he surmised, with some accuracy, what Sir G. G. Scott found on his restoration of the screen. In Scott’s words:[15]