The chapel south of the chancel has a remarkably lofty roof, and on the south side four handsome pointed windows of Henry the Sixth’s time; each window is divided by a buttress, on which rests a crocketed pinnacle. The eastern end of this building was originally finished by a large window, but within its space two lofty round-headed lights, with singular canopies in the debased style, prevalent about the reign of Queen Elizabeth, have been inserted.
The chancel is terminated by a large window, divided by mullions into two tiers of eight lights each, the apex being ramified into inelegant tracery, introduced in repairing the damage which this window (and that alluded to in the above chapel) sustained during an extreme tempest in 1579.
THE INTERIOR
of this church is strikingly noble, and calculated to inspire the mind with awe; but although the purer light of later times has in some degree eclipsed the adventitious aid intended to be conveyed to the feelings, during the religious ceremonies of our forefathers, by the almost mysterious effect produced from intermingled arches and clustered columns, canopied niches, costly shrines, and the mellow reflection of the storied pane shedding
“The dim blaze of radiance richly clear,”
in these august edifices of former ages, they still possess a power over the imagination, and insensible must that mind be which is not susceptible of appropriate religious influences,—subdued thoughts,—and, inspiring conceptions of divine majesty, when beholding the “long drawn aisle” and “high embower’d roof,” where all forms and differences of opinion, it has been justly remarked, become “trivial for awhile, amidst the sublimity of temples so well suited to the adoration of omnipotence.”
The nave is separated from the side aisles by four semicircular arches, resting on elegant clustered columns, with capitals decorated with foliage of different devices, from the rudest to the richest design. The mouldings of these arches have bolder projections, but are less massive than those of the early Norman, and more delicately finished, and although the mouldings on the shafts are peculiar to the earliest pointed style, they happily harmonize with the circular arches.
At the eastern extremity of each side aisle, opening to the transepts, is a semi-circular arch, resting on thick round pillars, with a regular base and indented capital, ornamented with sculpture of the earliest Norman era; similar arches lead to the chantry chapels. These arches, from their general style, are evidently the oldest part of the fabric, and we may venture to ascribe them to a period not later than the Conquest. In removing the accumulations of colouring and plaister from the walls and arches of this part, in 1828, the distinguishing marks of the operative masons employed in working the stones were discovered, and still are to be seen, being the same as those now used. [44]
The choir and transepts are divided by three most beautiful pointed arches, rising from piers similar to those described in the nave.
The ceiling of the nave is of oak, the intersections of the beams being formed into panels richly decorated with ornamented quatrefoils and foliage, carved bosses, flowers, grotesque figures, &c. A beautiful cornice of vine branches, grapes interspersed with masks, are placed round the walls beneath the roof. The whole is in excellent preservation, and supposed to be one of the finest specimens of the ancient fretted ceiling in the kingdom.