[Illustration: SOUTH-EAST TRANSEPT.] The choir, as rebuilt, was even longer than Conrad’s long choir. It has an elongated aisled apse beyond, and a curious circular chapel east of that. The former goes by the name of Trinity chapel, the latter of Becket’s corona. Becket’s first mass had been said in an older Trinity chapel; his body lay from 1170 to 1220 in the crypt below it; in 1220 he was translated to a magnificent shrine in the present Trinity chapel. The corona may perhaps have been erected to cover another shrine placed here and containing a fragment of Becket’s scalp. Sens seems to have had a similar corona. The design of the choir is a close copy of the work at Sens, Noyon, Senlis, and the neighbouring cathedrals. Columns almost classical in proportion replace the heavy English cylinder. The coupled columns and Corinthianesque capitals of Sens are faithfully reproduced in the Trinity chapel. The choir, as at Sens, is arranged in coupled bays with sexpartite vaulting; while principal and intermediate piers, single and compound vaulting-shafts occur alternately in either choir. In unstable French fashion the vaulting-shaft is perched on the abacus. The abacus is square, except in the eastern part of the crypt. The capitals of the choir are foliated; the English moulded capital occurs only in the crypt. Each bay of the triforium in both cathedrals contains a couple of arches, each arch subdivided by a central shaft. Both cathedrals have round transverse arches in the vaulting of the aisles. The windows are not the tall slender lancets of England, but the broad squat lancets of France. The pointed arches of the apse of Trinity chapel on their tall stilts have a thoroughly French look. French, too, is the wish to dispense with a hood-mould round the pier-arches. And, as at Noyon, flying-buttresses emerge from the gloom of the triforium into the open air.