All these incidents have been sufficiently explained in the chapter on the history of the building, with the exception of the seventh. The authority for this is the "Liber Eliensis." A man named Brytstan,[5] being ill, had vowed that if he were restored to health he would become a monk. Upon his taking steps to carry out this intention he was charged with seeking refuge in a monastery simply to escape the consequences of robberies of which he had been guilty in his business. After trial at Huntingdon he was condemned and put in chains in prison in London. After continuous prayers for the intercession of S. Etheldreda and S. Benedict, these two saints appeared to him, and the latter drew the links of the chain apart and set the prisoner free. The miracle came to the knowledge of Matilda, Henry I.'s queen, and investigations followed, which resulted in the release of Brytstan, and he was conducted to Ely with manifestations of joy. Some have thought that the ribands still to be bought at the stalls at the annual fair, and known as "S. Audrey's laces," are a reminiscence of this legend, and that they represent the chains from which Brytstan was delivered. But the more probable explanation is that they refer to the disease that afflicted S. Etheldreda, a swelling in the neck, which she held to be a fit punishment for the vanity of her youthful days, when she was fond of wearing necklaces and jewels. "Saint Audrey's laces" became corrupted into "Tawdry laces"; and so the adjective has been applied to all cheap and showy pieces of female ornament. Special attention may be given to some points in the sculpture of these corbels, every one of which is worthy of careful study. In (1) notice the figure of Ovin, previously named as the steward, bearing an official staff, or perhaps a sword. In (2) the surrender of royal dignity is signified by the crown placed on the altar. In (3) the leaf-bearing staff has an abundance of conventional foliage. In (5) Wilfrid bears a simple pastoral staff, and not an archbishop's cross, as in previous scenes--a point to which Dean Stubbs calls attention as indicating the historical accuracy of the designer, because in former scenes the archbishop is represented in his own diocese, while here he is a simple bishop in banishment. In (6) there is a dignified figure--probably S. Sexburga--standing behind the priest who is ministering to the dying abbess. In (7) the kneeling figure is S. Benedict handling the fetters.