takes up four bays east of the tower. The piers are alternately round and polygonal.
“This portion was the earliest part of the Cathedral, and was constructed by Abbot de Sais (1114-1125). The hatchet moulding is conspicuous. The triforium arches are double like the nave, and the clerestory has triple arches, the centre one being the highest. The apse is particularly fine. The Decorated style is evident in the windows, which were inserted in the Fourteenth Century instead of the old Norman ones, and the hanging tracery of graceful design was then added. The roof of the choir is late Fourteenth Century work except at the east end where the roof is flat. Here Cromwell’s soldiers discharged their muskets at the figure of our Lord in glory, which they deemed to be an idol. This ceiling was decorated in 1884 by Sir Gilbert Scott. The bosses of the rest of the roof are curious. Nearly all the old glass was destroyed in the Puritan desecration; the remaining fragments have been placed in the two highest east windows. The fittings of the choir are modern except an ancient lectern of Fifteenth Century date, given by Abbot Ramsay and Prior Malden, as the inscription testifies, though it is now scarcely legible. The choir-stalls are remarkably fine. The carved figures contain a history of the Cathedral written in wood.”—(P. H. D.)
Passing behind the High Altar we come to the Retro-Choir, or New Building:
“The New Building built beyond the apse is a very noble specimen of late Perpendicular work. It was begun by Abbot Richard Ashton (1438-1471) and completed by Abbot Robert Kirton (1496-1528): the works seem to have been suspended between these periods. The roof has the beautiful fan tracery, very similar on a small scale to that at King’s College Chapel at Cambridge. The building is of the width of the choir and aisles together.
“The junction of this addition with the original Norman apse is admirable, and should be specially noticed. Parts of the original external string-course of the apse can be seen. The ornamentation on the bosses of the roof and in the cavetto below the windows, and round the great arches from the choir aisles, is very varied.
“It must be sufficient here to indicate some of the designs. Most need little explanation, but a few are hard to understand. On the roof may be seen the three lions of England, a cross between four martlets, three crowns each pierced by an arrow, and another design. The smaller designs include four-leaved flowers, Tudor roses, fleur-de-lys, the portcullis, some undescribable creatures, crossed keys, crossed swords, crossed crosiers, crosses, crowns, crowns pierced with arrows, crowned female head, an eagle, the head of the Baptist in a charger, an angel, mitres, three feathers rising from a crown, St. Andrew’s cross, and perhaps others. There are also some rebuses and some lettering. On the north wall, in six several scrolls, the letters AR before a church and a bird on a tun occur more than once. This certainly refers to Abbot Robert Kirton; but what the bird means is not clear. In the moulding over the large arch to the south choir are four sets of letters. They form the last verse of the psalter. The words are contracted: they stand for Omnis spiritus laudet Dominum.”—(W. D. S.)
The relic of greatest interest in the New Building is the famous Monks’ Stone, which, according to tradition, was constructed in commemoration of the massacre of Abbot Hedda and his monks by the Danes in 870. Critics are divided in opinion. Some think it Norman, but many accept the theory that it is Saxon work. In 1887 remains were found of the original Saxon church, which was sacked by the Danes, rebuilt and visited by King Edgar and Dunstan. Traces of the fire that destroyed it were also found. The east wall stood at the piers of the present south transept.
Queen Katherine of Aragon was buried in the north-choir-aisle outside the most eastern arch (1535). This was violated by the Puritans. Dean Patrick says: “First they demolish Queen Katherine’s tomb; they break down the rails that enclosed the place and take away the black velvet pall which covered the hearse; overthrow the hearse itself, displace the gravestone that lay over her body, and have left nothing now remaining of that tomb, but only a monument of their own shame and villainy.” A few slabs were recently found beneath the floor; and a marble stone bearing coats-of-arms and inscription has lately been placed over this spot.
In the south-choir-aisle a tablet tells us that here Mary Stuart was buried in 1587, just within the choir. The body was removed to Westminster Abbey in 1612. Remains of the hearse between the pillars were seen as late as 1800. These royal arms and escutcheons were also defaced and torn by the Puritans.