Round the sides of the basin, a row of grotesque monsters, some winged, is carved in bas-relief. The font is now raised on steps. It was used by the parishioners of St. Mary Magdalene's, whose church was destroyed to make room for the minster. They were allowed to worship in the nave until the time of Bishop John de Dalderby (1300-20), when a new church was built for them. The old pavement of the nave was removed towards the end of the last century (about 1782), when many of the grave-slabs it contained were taken away.[8] It was in the nave that the gorgeous processions of olden days were formed, and the original pavement was marked with two rows of circles to indicate the different positions of the clergy. The pavement of the north aisle is considered by some to have been slightly raised; from it the populace might then have watched these processions. Of English cathedrals, Lincoln comes next to Canterbury for the richness of its stained glass, but there is little in the nave which is worthy of notice. Almost all that escaped the stray arrows and bolts from the bows of dwellers round the close appears to have been destroyed during the disastrous times of the Civil War in the seventeenth century, when the mere beauty of a work of art appears to have often served as a sufficient excuse for its destruction. In the windows of the aisles the glass is all coloured, but modern. The lower lights of the great west window are also filled with modern glass, the work of two amateurs, the Revs. Augustus and Frederick Sutton, who produced many others of the coloured glass windows in the minster; the upper lights contain fragments of glass of the same date as the tracery (latter part of the fourteenth century). The cinquefoil window above has been filled with modern glass, inserted in 1859 in honour of the founder, Remigius, who is seen in the centre, holding his church in one hand, and his bishop's staff in the other. The windows of the clerestory are plain.