Bathona Frodsham, a daughter of the John
Hales who bought so much monastic property, and founded the Grammar
School. The tomb of his first wife, Frideswede, near which he was
buried, may be seen in the Dugdale view near the north porch.

The outer north aisle contained the Girdlers' Chapel. The arcade which
divides the aisles shows the consummation of the process which
converted columns into piers by the omission of capitals and bases and
the continuation of the mouldings from pier into arch.

The altar was below the eastern window, the piscina (restored) stands
on the south side.

The Company has been long extinct and no documents exist. We know,
however, that Haye's Chantry was founded by a Girdler in 1390, for a
Mass to be sung daily at All Saints' altar, and may therefore conclude
that it was in this chapel.

In the two western bays of the same aisle was St. Andrew's Chapel,
supported and probably founded by the Smiths' Company. The first
notice of its existence occurs in 1449, but as this part was not built
until 1500 it was perhaps originally in the adjoining aisle. The
window tracery is modern. The panelling within the internal arches and
between the windows should be noted. The floor near the wall is partly
paved with much worn ancient tiles.

Several large monuments have been brought hither from the Drapers'
Chapel. An altar tomb of black marble is to the memory of Sir Thomas
Berkeley, only son of Henry, Lord Berkeley, who died in 1611; another
of 1640, to William Stanley, Master of the Merchant Taylors' Company
of London and a benefactor of St. Bartholomew's Hospital and of his
native city, Coventry. While these are ponderous and unlovely that of
Julian Nethermyl, at the west end of the principal north aisle, is a
work of interest and much beauty. It is an altar tomb with a
sculptured panel on one end and one side, the other end and side
having been next to walls. It is of interest as an early example of
the Italian style then finding its way into England, and an example so
free from Gothic influence that there can be little doubt that a
foreign craftsman was employed upon it. On the centre of the long
panel is a mutilated crucifix, and a brief inscription with a shield
of arms beneath. On either hand kneel Julian Nethermyl and his wife,
with five sons behind him and five daughters behind her. A cherub at
each end pushes aside a curtain. The group of sons is well treated,
the variations in pose and dress