The sculpture has been pronounced "remarkable, characteristic and beautiful," but that at Wells and Lincoln is earlier and perhaps better.
Above the screen is a platform on which the bishop used to stand when he blessed the people, and also the choristers and minstrels when they hailed with song the advent of distinguished persons.
The three doorways should be noticed. The central one has a moulding of carved foliage, and on the central boss of the groined roof is a representation of the Crucifixion. The south doorway has two sculptures, the appearance of an angel to Joseph in a dream, and the Adoration of the Shepherds. Between the south and central doorways is the Chantry of St. Radegunde, which we will examine on entering the Cathedral. The north porch was built by Grandisson, and is very beautiful with its triple canopy. The Puritan soldiers have mutilated the Crucifixion scene on the east wall. On the central boss is a well-carved Agnus Dei. Notice the cresting of the roof in a fleur-de-lis pattern, which somewhat relieves the long, unbroken stretch of leaden roofing.
We now enter the Cathedral. Though the nave is less lofty than many, it is most beautiful, and the richness of the architectural details abundantly atones for the lack of height, which is 70 feet. The roof springs from slender vaulting shafts and is studded with beautifully-carved bosses, representing foliage, animals, strange figures and heraldic shields. The murder of Thomas à Becket occurs in one of these bosses. Clustered pillars of Purbeck marble support the roof and separate the nave from the aisles. Notice the sculptured corbels between the arches, which are peculiar, and the exquisite carving of the leaves and figures. In the triforium on the north side is the Minstrels' Gallery, the most perfect in England, where the musicians played on high festivals, or on the occasion of some Royal visitor. The figures are represented as playing on various instruments—cittern, bagpipes, flageolet, violin, harp, trumpet, organ, guitar, some unknown wind instrument, tambour and cymbals. The heads of Edward III. and his queen, Philippa, support two niches. This gallery is a very beautiful example of mediæval art.
Instead of the usual triforium we have a blind arcade, the height of which is much less than in most cathedrals, but above this there is a very lofty clerestory. The windows of the nave are Decorated, and have a great variety of most beautiful and elaborate tracery. They are arranged in pairs, one window corresponding to its opposite. The glass of the west window, erected in 1766, is a great eyesore, and spoils the beauty of the stone tracery.
Detail of
Minstrels'
Gallery
We have abundant evidence that this noble nave was constructed almost entirely in Norman times, and subsequently transformed into the Decorated style, just as Winchester was changed from Norman to Perpendicular work. Disturbances of masonry in both north and south walls indicate the position of Norman pilasters, and outside flat buttresses of Norman type are observed which correspond to the position of these. We gather that the nave was finished in Norman times by Bishop Marshall, and that Stapledon (1308-1326) began the transformation, which was carried on and completed by Grandisson (1327-1369).
Nor must the work of our modern men be disregarded. The nave was in a very dilapidated state. The Purbeck marble columns were fallen into decay, and hideous high pews disfigured the view. Sir Gilbert Scott in recent times most judiciously restored the Cathedral, and made it again one of the finest in the land.
We will now examine the chapels and monuments in the nave. On the left of the west door is the Chapel of St. Radegunde, which contained formerly the body of Bishop Grandisson; but in the time of Queen Bess the tomb was plundered and his remains scattered no one knows whither. St. Radegunde was a Frankish princess, the wife of Chlotar, the son of King Clovis. Notice the carved figure of our Lord on the roof, His hand outstretched to bless, and the holes in the stone for suspending lamps.