The presbytery aisles are greatly admired. Here we find beautiful examples of Early English work and many splendid monuments and chantries. Beyond lies the Lady-Chapel, with the Chapel of the Guardian Angels on the north side and the Bishop de Langton’s Chantry on the south.
The Lady-Chapel (1470) was founded by Elizabeth of York, Queen of Henry VII., after the birth of her son, Arthur, as a testimony of her gratitude. The arms of Henry VII., Elizabeth and the Prince of Wales—the feathers divided by roses—are among the ornaments.
A plain slab of grey marble in front of the Lady-Chapel is supposed to mark the Tomb of Bishop de Lucy, the builder of all this part of the Cathedral. At the back of the Lady-Chapel a Reredos was placed by Dean Branston in 1876.
Ascending the steps from the transept, we reach the north aisle of the presbytery, and gain a fine view beyond this of the eastern portion of the church, with its splendid chantries and chapels.
With the exception of the extreme east end of the Lady-Chapel, it is all the work of Bishop Godfrey de Lucy (1189-1204), and consequently a very early example of Early English. The design and details are of great beauty. The three aisles or alleys (called procession paths or the via processionum) are separated from each other by three arches on each side and terminate eastward in chapels. These aisles were formed in order to facilitate the circulation of processions.
The north chapel (part of De Lucy’s work) is called that of the Guardian Angels, from the figures of angels still remaining on the vaulting; the south chapel (De Lucy’s work) was fitted up as a chantry by Bishop Langton, who died in 1500. The woodwork is rich and beautiful and the vault elaborate with carved rebuses on his name.
“The north and south walls, as far as the east walls of the two side chapels, are De Lucy’s work, and retain his rich Early English arcade. The eastern compartment on each side, as well as the east wall, have respectively a large Perpendicular window of seven lights with transom and tracery of a peculiar kind of subordination, or rather interpretation of patterns well worth a careful study. The vault is a complex and beautiful specimen of lierne-work. The capitals and bases of the vaulting-shafts are unusual and very beautiful. The carved panelling of the western half of this chapel, the seats, desk and screen of separation, are all excellent, and should be noticed. All this Perpendicular work is due to Prior Hunton (1470-1498) and his successor, Prior Silkstede (1498-1524). On the vault round the two central keys—one representing the Almighty, the other the Blessed Virgin—are the rebuses of the two priors: the letter T, the syllable Hun, the figure of a ton for Thomas Hunton; the figure 1 and the letters Por for Prior: the letter T, the syllable silk, the word sted with a horse below it, the figure 1 with letters as before, for Thomas Silkstede, prior. The walls of this chapel are covered with the remains of some very curious paintings illustrating the legendary history of the Virgin.
“These are all the work of Prior Silkstede, whose portrait, with an inscription, is still faintly visible over the piscina.”—(R. J. K.)
Between the pillars of the central aisle are the Chantries of Waynflete and Beaufort. Both were much injured by Cromwell’s troops and have been restored. The delicacy and beauty of Waynflete’s canopy should be noted. The lily, his device, constantly appears. His effigy lies here.
Beaufort appears in his Cardinal’s robes. He was half-brother to Henry IV. and was bishop, statesman, soldier and banker to the royal family. He is said to have burst into tears at the burning of Joan of Arc at Rouen and to have left the scene. However, he persecuted the Lollards. Between these two chantries lies the effigy of a Thirteenth Century Knight in chain-mail and cross-legged. It is the only ancient military figure in the cathedral. He is either Sir W. de Foix or Sir Arnold de Gavaston.