iately above
them a band of panelling running right across the exterior buttresses.
These buttresses are large, and capped with lofty spires. The niches on
them contained statues of Vavasour and Percy. Below the east window are
the remains of sculpture representing Christ and His Apostles, Edward
III. (on the north), and Archbishop Thoresby (on the south). These have
suffered much in the frosts of recent winters. The square ends of both
choir and aisles are decorated with arches with crocketed gables above
them. Those of the south aisle differ from those of the north, being
fewer in number and wider. All the niches on the east front except those
mentioned have lost their statues.

There was certainly not very much opportunity for a fine architectural
design in this east end with its great wall of glass, but, allowing for
all disadvantages, it cannot be considered successful. There is no
justification for the square ends concealing the roof. They are
misrepresentations, and they are not beautiful. The decoration, with its
monotonous rows of panelling and niches, shows the poverty of invention
often characteristic of Perpendicular architects, and is sometimes
positively ugly. The whole east front must surprise most people by its
apparent smallness. It seems merely the end of an overgrown parish
church, and not of a great cathedral, and though that apparent smallness
is partly owing to the enormous size of the windows, which prevent any
structural division of parts, it is increased by the monotony and
shallowness of the decoration. It is almost impossible, in fact, to
believe that this is the east end of the loftiest and widest choir in
England. The buildings on the south side of the choir are the vestry,
the treasury, and the record room.

#The South Transept# has a front entirely different from that of the
north, though the sides are much the same. This front has three storeys
of windows. Below, on each side of the porch, are two lancet windows.
Above these are three more lancet windows, the central one of which,
wider than the others, is divided by a mullion, probably a later
insertion. These windows alternate with blind arches. On each side of
the windows are slender shafts with capitals, and dog-tooth moulding
runs round them and round the blank arches. Above these windows is a
large rose window of "plate tracery"--tracery, that is to say, in its
earlier form, in which the openings for the glass appear to have been