The elevation of this front consists of three stories: the basement screen, containing three portals; above this is the west wall of the nave; and above this again is the nave gable, in which is inserted a smaller window of the same character as the larger one. The apex of the gable has a canopied niche, within which is a much-restored effigy of St. Peter. The sloping walls built on each side, as if purposely to conceal the buttresses of the nave and its aisles, give this portion of the church an awkward perspective, and tend to diminish the apparent height of the whole façade. The screen itself was the last important addition to be made to the fabric by Bishop Brantyngham (1370-94), and it is little more than a low stone scaffolding for holding the rows of figures of saints, kings, and other distinguished persons which fill the niches. An attempt to identify these sixty-five individuals, with the aid of early drawings and still earlier documents, may be said to have established the identities of the majority of the effigies, although they have suffered so much from rough treatment, restoration, and weathering that many of the saintly emblems and regal attributes are difficult to decipher at the present time. Two of the figures, which were broken with falling, were replaced by new and very indifferent figures by Mr. E. B. Stevens. [Illustration: THE CATHEDRAL FROM THE PALACE GROUNDS] Some years ago it was found that the whole of this embattled screen was merely a stone veil erected for the purpose of protecting the original west front. One or two stones were removed, a little to the right of the north door of the west entrance, and the inner mouldings exposed. Within the thickness of the wall is a little chapel dedicated to St. Radegund, in which Bishop Grandisson prepared his tomb.