Part 3 (1/2)

[Ill.u.s.tration: The Choir.]

Between the choir bays and the apse is solid wall, rather longer than the distance between the central lines of adjoining piers. Here are two ma.s.sive half-pillars, reaching to the roof, undoubtedly meant to be crowned with a round arch like those to the transepts; and this seems to shew that the intention was to vault the apse with stone. The apse is by far the best large Norman apse remaining in this country. At Norwich, where is the only possible rival, the lower part only is semicircular and original, the whole of the upper part being of Decorated date, and pentagonal. This apse is in five divisions, separated by cl.u.s.tered shafts which rise to the roof. Originally there were three tiers of round-headed Norman windows; the nine windows in the centre were enlarged and filled with very good tracery in the Decorated period, and the lower windows also on the other two sides. When, in the Perpendicular age, the new building was added, the three lowest windows were removed altogether and the wall beneath them, leaving three open arches. The inner wall surface of the five lowest windows has been filled with elegant hanging tracery of fourteenth century date, the designs being all different. In some cases this tracery is placed just below the Norman stringcourse, but in others the stringcourse has been removed to make room for it. There was no necessity to convert the two lowest side windows into arches; and they accordingly remain there to this day; but being no longer exposed to the outer air all the gla.s.s is gone, though the notches that held it, and the strong bars that protected it, have been suffered to stay. There was never any ambulatory round the apse outside; we can still see, from the new building, portions of a stringcourse which was external, as well as other evidences that the apse was the end of the church. It is also known that there was a highway at the east end of the church, almost touching it.

In the stage corresponding to the triforium are to be seen on the walls the remains of painted coats of arms, the shape of the s.h.i.+eld suggesting that they are as early as the thirteenth century; some also have been cut in half by the later Decorated alterations.

[Ill.u.s.tration: View from the Triforium South of Choir.]

The choir roof is vaulted in wood. In the time of Dean Saunders it was repainted with gold and colours. From the character of the bosses, and the capitals where the wood is joined to the tall shafts rising from the pillars in the choir, and from the general ornamentation, it is manifest that this was constructed towards the end of the fifteenth century. It was at one time painted all over yellow and white. The carving of the different bosses is well worth attention. There has not been discovered any mark or initials that might help us to a.s.sign a positive date. We can see, among other designs, the cross keys of the patron Saint; the Saviour on the Cross accompanied by S. Mary and S. John (this is in the central line, near the tower); three lilies; three fishes with intersecting tails. The roof over the apse is flat. It has been decorated from a design by Sir G.G. Scott, with an emblematical representation of Christ as a Vine, the Disciples being half-figures in medallions among the foliage. An inscription bearing upon the subject forms the border. The general effect will be like, though not identical with, the original painting in this place. This was one of the decorations of the church that excited the fury of the soldiers and others who dismantled the minster in the civil war in the seventeenth century. ”This is the Idol they wors.h.i.+p and adore” was the cry of some of the party; upon which muskets were discharged, and the picture wholly defaced. The description of the design is given in these words:[26]

”Over this place” (that is, the altar-screen) ”in the Roof of the Church, in a large Oval yet to be seen, was the Picture of our Saviour seated on a Throne, one hand erected, and holding a Globe in the other: attended with the four Evangelists and Saints on each side, with Crowns in their hands; intended, I suppose, for a Representation of our Saviour's coming to judgment.”

[Ill.u.s.tration: North Transept and Morning Chapel.]

The flat roof of the apse being lower than the roof of the choir, the s.p.a.ce between the levels is filled with twelve painted figures.

The whole of the internal fittings of the choir (speaking now of the ritual choir) are new, and are part of the recent restoration. The new woodwork began to be placed in position in 1890. There is indeed a little old work, which was in the old choir before it was altered in the early part of this century. When removed, some of the front desks had been placed in the morning chapel, though much of the projecting tracery work was taken off. It was realised, when the existing stall-work was being designed, that these would be very suitable for use in their old position. Accordingly, all that could be so used have been placed again in the choir, with their traceried panels restored; and the new work is made of the same character. The =New Stalls= are of the finest oak, with miserere seats; the backs have rich tracery, with raised s.h.i.+elds, moulded groined ceilings, and carved bosses at the intersection of the ribs. They are surmounted by octagonal canopies, in three stages, the uppermost containing a niche for a carved figure to each stall, while other figures, of much smaller size, are to be seen below. A few have at the back the armorial bearings of the donor, or some other symbol, such as the masonic emblems in those given by the Freemasons of England. The names of the cathedral officers and others to whom the different stalls are a.s.signed, have been inscribed on the label at the head of each; the donor's name is recorded on the seats.

With the exception of the first figure, the whole of the larger figures at the top of the canopies have some special connection with the monastery or the cathedral. Beginning at the Dean's stall, and proceeding eastwards, the statues on the south side represent the following:--

Two at the summit of the Dean's stall, SS. Paul and Andrew.

1. S. Peter, the Patron Saint.

2. Saxulf (656), the first Abbot.

3. Adulf (971), Abbot, afterwards Archbishop of York.

4. Kenulf (992), Abbot, afterwards Bishop of Winchester.

5. Leofric (1057), Abbot.

6. Turold (1069), Abbot, appointed by William the Conqueror.

7. Ernulf (1107), Abbot, afterwards Bishop of Rochester.

8. Martin de Bee (1133), Abbot when the choir was dedicated.

9. Benedict (1175), Abbot. He built the greater part, if not all, of the nave.

10. Martin of Ramsey (1226), Abbot.

11. John of Calais (1249), Abbot. He built the infirmary, probably the refectory, and part of the cloisters.

12. Richard of London (1274), Abbot. He built the north-western tower.

13. Adam of Boothby (1321), Abbot.

14. William Genge (1396), first mitred Abbot.

15. Richard Ashton (1438), Abbot. He began the new building.

16. Robert Kirton (1496), Abbot. He finished the new building, and built the Deanery gateway.

17. John Towers (1638), Bishop. Previously Dean (1630).

18. Thomas White (1685), Bishop. Nonjuror.

19. William Connor Magee (1868), Bishop, afterwards Archbishop of York.

20. Simon Patrick (1679), Dean, afterwards Bishop of Chichester, and finally of Ely.

21. Augustus Page Saunders (1853), Dean.

22. John James Stewart Perowne (1878), Dean, afterwards Bishop of Worcester.

The upper figures on the north side are these:--

Two at the summit of the Vice-Dean's stall, Kings Wolfere and Ethelred.[27]

1. Peada, King of Mercia, founder of the monastery.

2. Cuthbald (675), second Abbot.

3. Edgar, King of Mercia and Wess.e.x, restorer of the monastery.

4. Ethelfleda, his queen.