“(5) On the western range of transept piers, with which must be classed those later caps already referred to in the nave under group 2. Their date is settled by the fact that they abound in unmistakable representations of the toothache. Now Saint William Bytton died in 1274, and his tomb became immediately famous for cures of this malady. In 1286, the chapter decided to repair the old work, no doubt because the offerings at his tomb had brought money to the church.”—(P. D.)
In studying these fascinating grotesques, however, we have neglected to examine the two chantries in the nave—Bishop Bubwith’s and Dean Sugar’s. They are opposite one another and are alike in general characteristics. The screen work and cornices of Bubwith’s composed of light and elaborate tracery are very much admired. Light doorways permit entrance. The altar here was dedicated to St. Saviour. Bishop Bubwith (who built the north-west tower) died in 1424. His arms, containing holly-leaves, are beautifully carved.
Sugar’s Chantry, about sixty years later in date, is even more elaborate. Like Bubwith’s, it is hexagonal and the canopy over the altar is vaulted with delicate fan-tracery. Critics now consider it the finer of the two.
Adjoining Sugar’s Chantry the stone Pulpit, built in the reign of Henry VIII., calls for attention. In front are the arms of Bishop Knight, who built it and who is buried near it (he died in 1547). Beside it, is a brass lectern presented in 1660; upon this rests a Bible of the same date.
In the South transept, we find the Font, interesting because it is the one relic of Bishop Robert’s Norman church. It may have stood in the earlier Saxon cathedral. The cover is Jacobean.
In the south end of the south transept is the Tomb of Bishop de Marchia (died 1302). The effigy of the bishop, lying in a recess under a canopy bristling with crockets and finials and brilliant with scarlet and crimson, green and gold, is very striking. Some of the angels surrounding the figure are charming. It is interesting to compare this with the Tomb of Lady Lisle, also adorned with crockets and brightly coloured.
Perpendicular stone screens divide the transepts from their small chapels. The chapels of the south transept are St. Martin’s (now the canon’s vestry) and that of St. Calixtus, enclosed on the side of the choir-aisle by some beautiful ironwork from Beckington’s tomb. On the south side of St. Calixtus’s chapel we must pause to examine Dean Husse’s tomb, of alabaster, and noted for its carved panels even in this cathedral of splendid carvings.
St. David’s Chapel in the north transept compels us to pause again to look at the capital of the second transept pier—a handsome head with curls and a smile on his face—and a fine corbel carved into the form of a lizard eating leaves of a plant with berries. In this chapel lies an interesting effigy of Bishop Still (1543-1607) in a red robe lined with white fur. Next comes the Chapel of the Holy Cross in which is the tomb of Bishop Cornish (died 1513), thought also to have been used as the Easter Sepulchre, where the Host was laid during Holy Week.
The north transept contains a relic of the past that delights every one who happens to be there at the striking of the hour. The famous clock that once belonged to Glastonbury Abbey is still in working order. A little figure known locally as “Jack Blandiver” kicks the quarters with his heels on two little bells and at the hour four figures on horseback above the clock rush around and charge each other. The curious clock was made by Peter Lightfoot, a monk of the abbey. It was said to have been in constant use at Glastonbury for 250 years before it was removed to Wells at the Dissolution of the monasteries.
From the east aisle of the north transept a door opens to the Staircase that leads to the Chapter-House and also to the celebrated Chain-Gate, or carved bridge that connects the Vicars’ College with the Cathedral. Through this gallery the Vicars could pass from their own Close into the Cathedral. The common hall of their college (1340) opens from it.