Second Pier.—Aaron, writing his name on a scroll: Moses with the tables of stone.
Third Pier.—Woman with a bandage across her face.
Above this cap the corbel consists of a seated figure, naked, with distorted mouth and an agonised expression.
South Transept, second Pier (from the south end).— Two men are stealing grapes, one holds the basket full, the other plucks grapes, holding a knife in his other hand: The farmers in pursuit, one carries a spade and the other a pitchfork: The man with the fork, a vigorous figure, catches one thief: The man with the spade hits the other (whose face is most woe-begone) on the head (illust. p. [79]).
Third Pier.—Woman pulling thorn out of her foot: Man with one eye, finger in his mouth: Baboon head: Cobbler; this figure shows very plainly the method of shoemaking at this time; the cobbler, in his apron, sits with the shoe on one knee, his strap passes over the knee and round the other foot, his foot is turned over so as to present the side and not the sole to the strap: Woman's head with long hair.
Fourth Pier.—Head perfectly hairless: "Elias P." (the prophet) with hand on cheek as if he too has the toothache: Head in hood, with tongue on the one remaining tooth.
It may be well here to say a word about the general classification of these earlier capitals, since their date is a matter of great architectural interest. I would venture to divide them into five groups—
1. Those of the three western bays of the choir: simple carved foliage of distinctly Norman character, as in the north porch: these belong to the time of Reginald (1174-1191).