Only one portion of the church is decorated upon a regular system; this is the eastern part of the choir and the apse, which has part of its walls and its groining very elaborately painted, though with but little gold; the groining ribs are richly coloured, and on each side of them is a wide border, generally subdivided into regular geometrical figures, and the spaces between these borders are painted blue and powdered with gold stars. In the south aisle is an altar under a baldachin, supported at the angles by four clustered shafts knotted together in mid height--a capricious custom of which Italians seem to have been especially fond, and the only excuse for which, so far as I can see, is that it proves that all the shafts were cut out of one block, and therefore of more value than four plain detached shafts cut out of separate blocks could be. There is perhaps, also, a relief to the mind, after looking at a long series of similar shafts, to come at last upon some one or two marked by capricious singularity such as this. Be this, however, as it may, the eye certainly always feels inclined to admire them, though the reason is never quite satisfied; and perhaps some better excuse does exist for their use than I have as yet been able to discover. It is probable that these columns belonged originally to the baldachin over the high altar. The canopy which they now support is not old. The vestry on the north side of the choir is worth a visit, if only for the sake of its prettily panelled and painted ceiling. Here the panels are very small, and left in the natural colour of the pine, and the ribs are decorated with white, red, and black. There is also in this room a very good fourteenth-century marble cistern and lavatory under an arch in the wall; and lastly, in the wardrobes, among many things not worth seeing, a finely embroidered bishop’s mitre of the twelfth century, wrought in gold on linen. In front is a figure of Our Lord, at the back one of the Blessed Virgin, with emblems of two Evangelists on each, and a band below with figures of the Apostles, the stoles also being adorned with figures. The arrangement of the choir shows the common Italian plan of stalls round the apse behind the altar. They are of early Renaissance character, with some relic of Gothic feeling in the traceries of the backs and elbows. There is also a good example of a square choir lectern, with a large base to contain books, and a revolving gabled desk. Until the beginning of this century, there were only two altars in this church, one in the choir the other in the crypt. The verger told me that his father remembered the other altars being brought from a suppressed church, and erected here. The campanile is well seen from the cloister, where it composes finely with the coursed walls of the church, and the many-shafted arcades of the cloister. It is a lofty square tower of several stages, with small pinnacles, and a low circular brick spire crowning it.