The open triforium directly over the Lyttleton monument in this transept is an important relic of the second Saxon church, and a good instance of the slight things which sometimes turn the scales in antiquarian disputes. Professor Willis had in 1840 pronounced (as against Dr. Ingram, whose pet theory it was that the triforium was the clerestory of Ethelred's church) that the triforium must be of Norman design, because no grooves could be found for the insertion of glass in the shafts, as would be the case if it were Saxon. Mr. Harrison accordingly, in December 1891, made a close examination of the shaft and small arches in the open triforium which had struck him as of Saxon character, with the result that the grooves for glass were discovered to exist beyond a doubt, but so neatly stopped with mortar as previously to have escaped notice. They can be clearly discerned inside the arches, by anyone with good sight, from the floor of the church. The base of the shaft which carries these arches is equally decisive, for it is "pudding shaped," entirely different from the other bases, and most unmistakably Saxon: it also can be seen from the floor, but is worth an inspection from the gallery over the choir-vestry, whence there is also an impressive view of the church. With this exception, the triforia and clerestories of the transepts are similar to those of the nave, though Saxon tooling has been found on the wall, and there is a break in some of the masonry on the angle shaft near the vestry door, which possesses a Saxon base. The principal arches of the clerestories are not pointed, which proves that the transepts were rebuilt earlier than the nave. Two corbels on the east side of the transept mark the site of a musicians' gallery which once projected beyond the triforium. =St. Lucy's Chapel= in the second bay of the old south transept aisle was used as a vestry in the days when the transept was devoted to domestic purposes. It must have ruined the effect of this part of the church, and formed an extremely inconvenient vestry. Now the chapel is used, not very appropriately, as a baptistery; it contains a font, well designed and carved, which was executed in 1882. It is Norman or earlier, with the exception of the eastern wall, which was rebuilt in order to hold the present beautiful window. This window is of an uncommon type; the three lights, less than half the height of the tracery above them, commence considerably below the spring of the arch. The tracery, which reminds one of that in Dorchester Abbey, a few miles away, is flamboyant in character, suggesting the form which the decadence of Gothic architecture took in France; only in this case it is a decadence that is vigorous as well as graceful. The chapel recalls the time when King Charles held his court in Christ Church, at the time of the Civil War, many cavalier knights being buried here.