CHAPTER III[ToC]
THE INTERIOR
The Nave was entirely rebuilt by Sir Arthur Blomfield in 1890-1897. Not the least difficult part of the architect's work was the removal of the unsatisfactory structure, of 1839-1840, without destroying the few Norman and Early English features imbedded in the plaster and brickwork, which it was desired to recover as far as possible, and preserve intact and in situ. This has to a great extent been done, thanks to the care with which the debased nave was taken to pieces, every stone that was worth preserving being carefully released from its accretions, measured, and reinstated in its proper place in the new work. Fortunately the earlier nineteenth century builders had not disturbed the bases of the old piers, but had contented themselves with building round them, and when their superstructure was cleared off, enough of the old work remained to show the position of every pier, as well as the lines of the original ground plan. In nearly every part also the old foundations were found satisfactory, though, of course, they were thoroughly tested, and renovation generally applied. The old lines have been adhered to throughout the restoration, and the new nave is a practical reproduction of its Early English predecessor in every detail, with the single exception to be afterwards noticed. This minute adherence to the original includes such intentional irregularities as the unequal distances between the piers and the varying width of the aisles, which not only differ from each other, but are not of the same width throughout in each case.
Ancaster stone has been chiefly employed, except in the roof, where the ribs of the vaulting are of Bath stone, the filling being made up of chalk and firestone.
The nave consists of seven bays on each side, divided by piers, alternately circular and octagonal, like those in the choir, with triple vaulting shafts on the north and south sides (the central shaft in each case being of Purbeck), and a single shaft on the east and west, corresponding with the interior order of the arches. The vaulting shafts are banded. The deeply moulded arches are somewhat loftier and more acutely pointed than those in the choir, placing the triforia on a slightly higher level, but the triforia of nave and choir are alike in that in both cases they consist of four arched openings in each bay. Every bay is walled off from its neighbours on either side, but has an opening at the back into a passage above the aisles, which is continuous throughout nave and choir. In the westernmost bay on either side, the triforium arcade has a wall immediately behind the shafts. In the other bays it is recessed, and open above the level of the aisle vaulting. In these respects the architect has reversed the old arrangement, as in the original nave the two westernmost bays had open triforia, the others simply containing a shallow arcading. This arrangement, taken in conjunction with traces of an incipient tower discovered within the two western bays, seems to show that these bays were intended to form a narthex, or vestibule, to the church, but it does not appear that the tower was ever erected, or that the vestibule ever went beyond the conception. The clerestory is lighted by plain lancet windows, enclosed in an elegant arcading.
Entering the church by the great doorway at the south-west, and looking towards the east, we get a fine perspective of over two hundred feet, including the nave arcading in its three stages, the groined and vaulted roof, and a good view of the choir, terminating in Bishop Fox's fine stone screen, with the three-light window above it.
Photo. G.P. Heisch.
THE CHOIR VAULT.[ToList]