The first four bays on this side are thirteenth-century work. The junction of this with the earlier Norman work is of the most curious character: the Norman pier was cut off level, a short distance below the impost, and on the top of this three courses of the Early English pier were laid. Why the Early English pier was not carried down to the ground, in a way similar to that, in which the easternmost Early English pier on the south side is carried, we cannot tell. It has been conjectured that some special sanctity attached to the statue which stood on the bracket, which may still be seen on the western face of this pier. It will be noticed how plain is the plan of the Norman piers (see illustration, p. 37). They have no capital, only a projecting course of brickwork from which the arch springs. The two easternmost piers, however, were altered at some time (see illustration, p. 39), and a rough kind of capital formed by cutting away the pier below. The Norman piers were first covered with plaster, and then painted both on their western and southern faces, and when the white-wash with which they had been covered in post-Reformation days was removed in 1862, the frescoes were discovered in a more or less perfect condition. All those on the western faces with one exception, represent the same subject, the Crucifixion, with a second subject below. No doubt against these piers altars used to stand, and these frescoes served, as we should say, as painted reredoses or altarpieces. The subjects are as follows, beginning at the west of the Norman arcade: First pier, west face. Christ on the Cross, crowned; the Virgin on the north side, St. John on the south, holding a book. Beneath, Virgin (crowned and holding a sceptre) and Child; on each side an angel censing. Late twelfth or early thirteenth century. South face. St. Christopher. Fourteenth century. Second pier, west face. Christ on the Cross; the Virgin with clasped hands on south side, St. John on north. Beneath, Virgin and Child under a canopy. Early thirteenth century. South face. Archbishop Becket. Fourteenth century. Third pier, west face. Christ on the Cross; the Virgin on the south side, St. John on north, resting his head on his hand. Beneath, under a pointed arch, the Annunciation. This is in outline only. Fourteenth century. South face. A woman in a blue gown holding a rosary in her left hand, possibly St. Citha (Osyth). Fourteenth century. Fourth pier, west face. Christ on the Cross. Beneath, the Annunciation. A rude painting of the thirteenth or fourteenth century. South face. A pilgrim and slight traces of another figure. The subject is supposed to be either Edward the Confessor relieving St. John disguised as a pilgrim, or St. John giving a ring to a pilgrim. Fourteenth century.