The last bay between this aisle and the south transept is closed on the north side by the chantry of Abbot SEABROKE, (died 1457,) the builder of the central tower, the south-west pier of which forms the head of his chantry. His effigy, in alabaster, was originally in a recess on the north side, but now occupies the place of the altar. Chantry and effigy have been much mutilated and shattered. In an arched recess under the opposite windows are effigies of a knight and lady, long assigned to one of the Bohun Earls of Hereford. There is every reason, however, to believe that the effigies represent members of the Brydges family, whose crest appears on the knight’s sword-belt[10]. He wears a collar of SS., and his armour cannot be earlier than the reign of Henry V. Against the wall on the north side of the entrance to the transept is a large canopied bracket for a figure. VIII. Passing into the _south transept_, we enter that portion of the Norman cathedral which was transformed and re-cased during the fourteenth century. Both transepts, the choir and its aisles, were thus treated, between the years 1329-1377. The work, according to Froucester’s Chronicle, was begun in this transept, which was re-cased by Abbot WYGEMORE[11], (1329-1337). In both transepts the original outline of the _Norman_ work is complete, both in the interior and exterior. Both transepts had eastern chapels, below and in the triforium, which extends over the choir-aisles, opening into other chapels at the east end. Instead of the lofty piers of the nave, the transepts at their eastern sides, and the choir throughout, have low, massive piers and arches below, and piers and arches of nearly equal dimensions in the triforium. In the fourteenth century the Norman walls of both transepts were covered on their three sides with an open screen-work or panelling formed by mullions and transoms, enriched with tracery and foiled headings. The forms of the triforium arches, of the clerestory, and of the arches opening into the chapels and choir-aisles, were changed from round to pointed; but within the triforium the round arches remain, and the wall on which the panelling is laid is the original Norman. The great distinction between the work here and that in the nave of Winchester, with which it may be instructively compared, is, that in the latter instance the Norman work was completely hidden, and re-cased with Perpendicular masonry: at Gloucester the later work was only laid on the Norman walls and arches. This is more evident in the choir than in the transepts.