By C. E. Ponting, FSA. 25 
chancel and the one between the south chapel and aisle are of 
practically the same date, but in Chilmark stone. The detail of 
the mouldings is the same. The west arch probably spanned the 
entire width of the aisle, as on the north side (there is the same 
peculiarity of the cast side only of the outer jamb of the arch having 
wrought stonework), but the central pier of the arcade has no cap 
to stop the outer order of the arch, the moulding of which is returned 
horizontally in an unusual manner; this pier also has stops to its 
diagonal chamfered faces and a moulded base beneath which has 
been cut away later for the erection of the screens, and—later still 
—for pews. These arches imply the existence of a chapel here 
before the present building, and this is corroborated by the chantry 
dedicated in honour of the Annunciation of the Virgin having been 
founded by Sir John Bettesthorne (who died 1398) in the Chapel 
of S. Mary 
The present south chapel was no doubt built by Bettesthorne 
very little later than 1350, and it may be set down as a very early 
example of the dawn of Perpendicular feeling, which is specially 
marked in the east window tracery, where the attempt can hardly 
be considered successful. This window is a pointed one of four 
lights, and has two of the mullions carried through to the arch, the 
central one branching out to meet the sides of it in a very clumsy 
way. 
There are diagonal buttresses at the south-east and south-west 
angles, the latter showing that the chapel projected beyond the 
south aisle of the nave, against which it was built. In the middle 
of the south side is a stair-turret projecting outside as a semi-octagon, 
giving access to the roof, and eastward of this is a three-light 
pointed window, with typical “flowing” tracery, whilst westward 
of the turret is a five-light window with square head. It will thus 
be seen that there is great diversity in the design of the windows 
of this chapel, but they are all of one period and they have several 
points in common, e.g., the cusps of the tracery are all chisel-pointed ; 
the outside labels are of a pure Decorated type, and are worked out 
1 Kite’s Wilts Brasses, p. 23. 
