Eighth Pier.—Fox stealing goose, peasant following with stick: Birds pruning their feathers: (Within Bubwith's chapel) Human monster with fish's tail, holding a fish: Bird holding frog in his beak, which is extremely long and delicate.
Ninth Pier.—Pedlar carrying his pack on his shoulders, a string of large beads in one hand.
Toothless monster, with hands on knees.
South side, seventh Pier.—Birds with human heads, one wearing a mitre.
Eighth Pier.—Peasant, with club, seized by a lion: Bird with curious foliated tail: (Within St. Edmund's chapel) Owl: Peasant with mallet (?).
The lofty clerestory windows are divided into two lights by Perpendicular tracery of late fourteenth or early fifteenth century date, which extends to the level of the passage, the lower part being filled with masonry. The windows were not, however, altered in shape when the tracery was inserted. In the tracery are very slight traces of the old glass.
The triforium passage is capacious enough to form a large tunnel, which gives a good effect to its lancet openings. The small iron rings, which are prominent enough to be rather tiresome to the eye, were recently inserted for the use of those engaged in cleaning the walls. Within the passage additional arches may be seen, inserted to strengthen the arcade at the commencement of the later work and in other places.
The groined ceiling has carved bosses at the intersection of its ribs. The red pattern is a restoration of the old design which was found on the removal of the whitewash, but the restorer seems to have missed the right tints.
There is a music-gallery in the clerestory of the sixth bay on the south side; it is composed of three panels with quatrefoils containing plain shields, and is finished with an embattled cornice. Another gallery, perhaps for an organ, must have been supported by the two noticeable brackets on the spandrels of the fourth bay of the same side. One may conjecture that it was of wood, and was reached from the triforium. The brackets are carved in the shape of very large heads of a bishop and a king, both supported by smaller heads, and of an extremely benevolent expression. The hair of the king has that curious formal twist with which we are familiar on playing-cards. As some of the small heads in the chapter-house have the same style of hair, these two brackets probably belong to the end of the thirteenth century.