Owing to the inequality of the eastern arches there is, in the position of the windows and roof principals a curious disregard of the lines of the piers and the centres of arches. There are eight equal bays in the roof and each corresponds to two two-light windows. It is interesting to compare the design of this clearstory with that of St. Michael's. It has more solidity to accord with the more vigorous arcade though the treatment of the panelling is similar. The height from the arch to the roof is much less in proportion, but the sills of the windows are kept lower and the heads are square. The form of the windows is perhaps determined in part by the desire for more space for stained glass, but it is also the logical outcome of the space afforded by the level lines of a wooden roof just as the use of the pointed window follows from the use of pointed vaulting. The treatment of the angles after the manner of the thirteenth century "shouldered" lintel in order to take off the harshness of the rectangular form and to give a better bearing for the lintels is noteworthy and should be compared with the more developed forms at St. John's Church.
Above the tower arch is a painting of the Last Judgement, discovered in 1831. It is now so much darkened that very little can be made out. The following is a description of its appearance before 1860: In the centre is the Saviour clothed in crimson and seated on a rainbow. Below are the Virgin Mary and St. John the Baptist with the twelve Apostles arranged on each hand. Two angels sound the summons to Judgement, and on the right of our Saviour, steps lead to a portico over which three angels look down on the scene and others welcome a pope who has just passed St. Peter. On the Saviour's left are doomed spirits being conveyed by devils in various ways and in ludicrous attitudes to the place of torment, represented in the usual manner by the gaping mouth of a monster, vomiting flames of fire. A large painting of a crucifix, with a priest kneeling beside it and angels flying above, was discovered at the same time on the north side of the Chancel but was too much mutilated to be thought worthy of preservation.
The =roofs= throughout are of low pitch, and almost all resemble one another in design. Those of the nave, chancel, archdeacon's chapel (on the west of the north porch) and transepts are divided by their principal timbers into large panels, which are again subdivided by mouldings upon the boarded ceiling. At all angles and intersections there are carved leaves, and stars in relief adorn each panel. All these roofs are painted in accordance, it is said, with existing indications of the original colouring. The ground is blue, the mouldings red and white, the stars and carving are gilt. The nave roof spandrels, above the tie-beams, have large painted figures of angels, supporting between them shields emblazoned with the instruments of the Passion. These are also said to be reproductions, but it appears likely that time had left much to the imagination of their restorer.