there are aisles rising to pier-arch level, consisting of two arches, which a triple bearing-shaft supports in the centre. A kind of gallery is formed at the terminations of the north and south transepts, over and beyond which may be seen the triforium and clerestory windows. This can best be appreciated by a reference to the illustration, Plate XV. Possibly this platform or gallery was not originally so bare as it appears at the present day, but there is no doubt that it was built in order that processions might pass round on the triforium level. It has been mentioned that when the tower was rebuilt the columns nearest it in the transepts were strengthened. They now, indeed, present a singularly massive outline to the eye, and contrast strongly even with the remaining Norman pillars in the transepts. The arches also are changed. All were once semi-circular, but the rebuilding necessitated a change of the first and second from the actual tower-pier into the stilted or "horse-shoe" form. They are doubly recessed (except those supporting the end platform, which have but one soffit), and present quite plain and unadorned square edges. [Illustration: VIEW IN NORTH TRANSEPT. _Photochrom Co. Ltd., Photo._] In each transept there is at the eastern angle a spiral staircase leading up to the roof. If we take first the #North Transept#, there will be found at the southern end, against the side wall of the choir, and between the two great tower-piers, the Chapel of the Holy Sepulchre, a small compartment which contains some interesting and still distinct mural paintings on the roof and walls, representing scenes of the Passion, etc. The most striking is a large head and bust of Christ on the easternmost division of the vaulting. One hand holds the Gospels, with the inscription _Salus Populi Ego Sum_. On the wall beneath are the Descent from the Cross and the Entombment. The Nativity and Annunciation also appear on the roof, while on the walls are the Entry into Jerusalem, the Raising of Lazarus, the Descent into Hell, and the Appearance to Mary Magdalene in the Garden. Two of the Norman piers on the eastern side of this transept have received very elaborate canopies of the Decorated period, under which it is probable that there were at one time altars. Some Early English work may be seen in the heads carved on some of the larger shafts and the caps of the subsidiary pillars, a noticeable figure being "a monk crouched in a caryatidal attitude and holding a chess-board." The modern entry to the crypts is in the south-east interior wall of this transept, the old means of entrance, through the "Holy Hole," having been blocked up. The large tomb in the north transept is that of Prebendary Iremonger. On the western wall, at the end of the transept, are very faint traces of mural paintings, representing S. Christopher carrying Christ, etc., and it is probable the transepts were once thus decorated throughout.