In the north aisle, in a coloured and gilt altar-tomb, lies Archbishop Chichele (died 1443), according to Shakespeare, the instigator of the war with France (see _Henry V._, Act I., Sc. I.). Here also lies Orlando Gibbons, Charles I.’s organist. Of the six splendid =windows= in the north aisle of the Choir described by the old authorities, only two remain. “They should not be overlooked by the visitor, as they are full of curious symbolism. The birth of Christ and His early life are depicted in the central panels and the types from the Old Testament with them. Observe the Magi all asleep in one bed; Shem, Ham and Japhet, dividing the earth, which one of them holds in his hands, like a gorgeously painted map; and in the sixth panel of the first window a very curious scene, in which we see depicted a bronze idol or statue, similar, no doubt, to some the artist had seen as of Roman work. Whoever he was who designed the work, he knew what was classical art. The exaggerated muscular development which came in again under Michael Angelo and his contemporaries in Italy, is seen here quite plainly.”--(W. J. L.) The same fire that destroyed the Choir also damaged the Transepts. The windows and arcades in them are more completely reconstructed than those in the side aisles. One feature here is the double range of triforia, or open galleries. The lower triforium belongs to Ernulf’s time: the windows in the upper one were his clerestory. The pilgrims were usually conducted into the =North Transept=, or =Transept of the Martyrdom= through the dark passage under the choir steps. In the west wall here, a door opened into the cloister, through which Becket passed to his tragic death. Directly opposite, on the other side of the Choir, the =Warriors’ Chapel= is situated. The apse, approached by a broad flight of steps, is entirely occupied by the =Chapel of the Holy Trinity=, which contained the =Martyr’s Shrine=. The work here shows the influence of the French. From the =Transept of the Martyrdom= the pilgrims were conducted through the North Aisle of the Choir on their way to the great Shrine; and, at the end of the aisle, close to the steps ascending to the =Retro-Choir=, we find the door of =St. Andrew’s Tower=. This is part of Lanfranc’s building and now used as a vestry; but it was once the sacristy, where the rich offerings and precious relics connected with Becket were exhibited to privileged pilgrims. The =Retro-Choir= is reached by steep flights of steps necessitated by the height of the Crypt below. Up these steps the pilgrims climbed on their knees, chanting the hymn to St. Thomas: “Tu per Thomæ sanguinem Quem pro te impendit, Fac nos Christo scandere Quo Thomas ascendit.” All this part of the Cathedral is the work of English William, which is lighter, in general character, than that of William of Sens.