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In the two corners between the trefoils and the framing are circles enclosing shields, one charged with the Cross of the Order of Christ, the other with the armillary sphere. The inner side of the trefoil is cusped, crockets and finials enrich the outer moulding of the opening, while beyond the jambs are niches, now empty.
At about half its height each is divided by a transom or horizontal mullion, beneath which the lights have cusped heads. The chapel was originally vaulted, so is well buttressed, which the aisle walls are not.
It has in front four square stone piers bearing large horseshoe brick arches, and these arches are moulded and cusped exactly like those at Alvito. There are no other examples of Moorish brickwork in the town, but there is more than one marble window resembling those at Alvito in shape.
The roof being flat and paved there is no gable at the west end; there is a band of carving for cornice, then a moulding, and above it a parapet of flattened quatrefoils, in each of which is an armillary sphere, and at the top a cresting, alternately of cusped openings and crosses of the Order of Christ, most of which, however, have been broken away.
All the background is richly diapered, and above are four cusped arches, separated by angels under canopies, while above the arches to the top there rises a rich mass of tabernacle work, with the window-like spaces filled in with red or green enamel. At the top are two half-angels holding the arms of Portugal, added when the reredos was dedicated to Our Lady by Dom João.
Here there is an inscription giving the date of 1422, and the names of the Masters Mateus and Stefanus, probably the Matteo Goyković who contracted for the repair of church and campanile with the "operarius" of the church in 1421. The stage above has tall square-headed windows, with reticulated tracery in the heads of cusped circles or quatrefoils, and two lights below with central colonnette.
Grotesque; spined and tusked, spiked and antlered, wenned and breasted; as chimerically angled, cusped and cornute as though they were the superangled, supercornute gods of the cusped and angled gods of the Javanese, they strove against the sledge-headed and smiting, the multiarmed and blasting square towers.
It is a small window with a cusped head and a square label-mould above it. In the same area of walling there are shown the levels of the cut string-course that ran along under the sills of the twelfth-century aisle windows. It is the same string and at the same level as it appears upon the south-west angle of the transept and the south-west tower of the west front.
The triforium passage, hidden by the roof of the aisle, runs below the screen and the windows, and between the two. The mullions dividing the screen run straight up to the battlement. The tops of the divisions are ornamented with cusped arches of open stonework. There is a transom crossing the mullions of the screen about one-third of the way up.
The framing has regular late Gothic bases, the capitals of the shafts are quite unlike the rest, having one large curly leaf at each angle, and the moulding running up the centre between the arches which are not cusped is plaited instead of being plain.
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