THE CHOIR VAULT.[ToList]
Beautiful as the choir is, it owes much of its effect to its vaulted roof, which is a fine specimen of early Decorated work. The vaulting ribs spring from small engaged shafts, which are carried up the face of the wall from the main piers, and then radiate from very ornate capitals over the vault. A fine colour effect must have been presented by the original ceiling painted and frescoed.
The bosses are less elaborate and less varied than those in the choir at Gloucester, but are well carved, consisting for the most part of vine-leaves delicately treated. All this roof was colour-washed in 1828, when so much restoration was done in the church.
The suns[21] in the centre are supposed to have been put up by command of Edward IV. after the battle of Tewkesbury. The suns were a device which was appropriated by the Yorkists after the downfall of the Lancastrian party. Those in the tower vaulting are modern copies of these original suns. The modern painting of the vaulting is subdued in tone.
The vault of the tower is a lierne vault, and from the occurrence of the arms of Sir Guy de Brien, once quartered with those of Montacute (i.e., of his wife), the vaulting has been credited to his exertions. The Despenser fret is to be found twice.
In front of the altar-rails is the large boss from which used to hang the sanctuary lamp, the sacred flame of which was kept ever trimmed and bright, as a sign that "the house was evermore watching to God."
Altar.—The Purbeck marble altar is supposed by some to have been the altar mentioned in the Abbey Chronicles of 1239, but any Early English features have been destroyed beyond recognition. It is reputed to be the largest altar in England, but, at any rate, it may be said to be the longest. Originally set up in its present situation, it seems to have been buried in the choir by the monks, perhaps by some who were not so mercenary as the rest. Sixty-eight years afterwards it was found, and its purpose being recognised, it was set up in the middle of the choir as a Communion table. In 1730 it was transferred to the aisle, the churchwardens' accounts stating that 12s. was paid for so doing, and that 2s. 6d. was given "to the men that did it for working all night." The "large entire blue stone" was then cut into two lengthwise, and was further desecrated by being converted into seats for the north porch.[22] Earl Beauchamp, at his own expense, had the two slabs restored to their original use. Considering what the marble has gone through, its size has been well maintained. In 1607 it was 13 feet 8 inches by 3 feet 6 inches by 7 inches; and now it is 13 feet 6 inches by 3 feet 5 inches by 5 inches. It is supported by a massive framing of oak.
Photo D. Gwynne.