As the floor was elevated all remaining old altars automatically disappeared. Choir and chapels were equipped with new altars, screens and benches in baroque style. Almost the entire church furniture was moder-nized under the management of Father Roger Nottingham (1656-1691), an Irish exile. Maecentism was the means to raise the necessary funds and the parishioners generously contributed. Nottingham did not only have altars built. He also commissioned the construction of richly decorated wall coverings, panelling, closets, parcloses and chapel screens, catalogues of fraternity, epitaphs, communion rails, a pulpit, reliquaries, statues and paintings. All altars had to be finished by the 18th of May 1673, the day on which the high altar and the side altars were to be consecrated.

The gothic pointed arch windows had been bricked up for one third. The columns, piers and clusters no longer had a visible base. A face-lift of the incoherent interior was long due and architect David 't Kindt took on this assignment. Walls were flattened, mouldings and angle capitals were chopped off without mercy and the threelight was completely bricked up. Walls, arcades, columns of the choir, nave and chapels were patched up by means of stringent plastering and sparingly decorated by mouldings, simple capitals and rococo ornaments (cartouches, leaf and floral design). The gothic tracery of the pointed arch windows in the choir and lower church was systematically replaced by a wrought iron armour.  Colourless leaded lights with a geometric pattern of plaiting were installed.