The west front is said to have been the work of Abbot Ripley, who was appointed to the abbacy in 1485. It is now in an unfinished state, and it seems more than probable that there was an intention to form two western towers. The foundation of them was laid with much ceremony by Abbot Birchensaw in 1508, the Mayor being then present; but the project was abandoned, most likely for want of funds: had the original design been executed, says Winkle, it would not have been very imposing. The west entrance is a singular and beautiful composition: the door itself is a Tudor arch, enclosed within a square head; the spandrils are filled with rich and elegant foliations; the hollow moulding on the top is deep and broad, and filled with a row of angels, half-lengths; all this is recessed within another Tudor arch, under another square head, with plain spandrils of ordinary panelling. On each side of the door are four niches, with their usual accompaniments of crocketted canopies, pinnacles, and pendants; and instead of brackets, the statues formerly stood on pedestals, with good bases and capitals. Above this entrance is the great western window of the nave, deeply and richly recessed; it is of eight lights, with elaborate tracery of the kind most common in the latest age of the pointed style. The arch of the window is much depressed, and has above it a flowing crocketted canopy; the gable has no parapet, but is finished off with a simple coping; the flanking-turrets are octagonal, and have belts of panelled tracery and embattled parapets. Leaving the west front, and turning to the south, a rich and deep porch presents itself behind the Consistory Court; the porch is flanked by buttresses, which once had pinnacles. The entrance is under a Tudor arch within a square head, the spandrils richly panelled; over the square head is a broad belt of quatrefoil panelling; above that a hollow moulding, adorned with the Tudor flower; above this are two flat-headed windows of two lights each, with a deep niche between them, resting on a projecting bracket; the statue is of course gone, but the projecting and richly decorated canopy remains, on both sides of which the wall above is adorned with two rows of panelling; the open embattled parapet, which once crowned the whole, has disappeared. The south side of the nave and its aisle is plain, but not without dignity; the windows are all pointed, and of perpendicular character; those of the aisle have straight canopies, with projecting buttresses between, which still have niches, and once had both pinnacles and statues; the aisle has no parapet. The windows of the clerestory are unusually large and lofty, and their canopies are flowing in form, but perfectly plain and without finials; they have no buttresses between them, and the parapet is very shallow and quite plain.