There is a music-gallery in the clerestory of the sixth bay on the south side; it is composed of three panels with quatrefoils containing plain shields, and is finished with an embattled cornice. Another gallery, perhaps for an organ, must have been supported by the two noticeable brackets on the spandrels of the fourth bay of the same side. One may conjecture that it was of wood, and was reached from the triforium. The brackets are carved in the shape of very large heads of a bishop and a king, both supported by smaller heads, and of an extremely benevolent expression. The hair of the king has that curious formal twist with which we are familiar on playing-cards. As some of the small heads in the chapter-house have the same style of hair, these two brackets probably belong to the end of the thirteenth century. [Illustration: A Capital--toothache.] Sir John Harrington in the _Nugae Antiquae_ (ii. 148) says of these two heads that "the old men of Wells had a tradition, that, when there should be such a king and such a bishop, then the church should be in danger of ruin." At the time of the Reformation it was noticed that the head of the king bore a certain resemblance to Henry VIII., and that the king held in his hands a child falling, who, it was said, could be none other than Edward VI. The peculiarity of the bishop's figure is that he has women and children about him. "This fruitful bishop, they affirmed, was Dr Barlow (p. 156), the first married bishop of Wells, and perhaps of England. This talk being rife in Wells in Queen Mary's time, made him rather affect Chichester at his return than Wells, where not only the things that were ruined but those that remained, served for records and remembrances of his sacrilege." The west end of the nave is covered in its lower portion by an arcade of five arches with Purbeck shafts, the middle one being wider than the rest, to contain the two smaller arches of the doorway. The three lancet windows were re-modelled in Perpendicular times by the insertion of the triple shafts, which have the casement mouldings and angular caps of the period; but the dog-tooth moulding of the arches, the medallions in the spandrels, and the little corbel heads of the Early English work remain. A Perpendicular parapet along the sill of the window marks the gallery which, pierced through the splays, carries the triforium passage round the end of the nave. A string course runs along the bottom of this gallery and forms the bases of the triple shafts; the bases are supported on corbels which die off upon the sloping wall below. This wall conceals a curious gallery, the purpose of which is not known; it is entered by steps from the triforium, and lighted by round openings which can be seen in the central quatrefoils of the west front; when these quatrefoils were filled with sculpture it would have been difficult to detect the existence of the dark gallery. [Illustration: Specimens Of Capitals.]