A peculiar character is given to this transept by an octagonal pier, which rises in the centre, and assists in carrying the vaulting. The vaulting is quadripartite, with very good bosses of leafage. The windows are early Decorated. In the west wall of the transept are some Norman arches, which belonged to the original apse.
The transept has been restored under the direction of Mr. G. G. Scott. The tiles of the pavement are laid in panels, in which red and yellow are the prevailing colours. In one of the panels is a good modern brass for members of the Terry family.
Under the north-east window is a monument which has been assigned to Bishop Godwin, (died 1633); but which is in reality much earlier. Under the adjoining window, west, is the canopied tomb of Bishop Swinfield, (1283-1317). The episcopal effigy has long disappeared, and that which is now seen on the tomb is the effigy of some unknown lay person, dug up in the cloisters. The arched canopy has the ball-flower in its mouldings; and at the back of the recess is a much
COFFIN SLAB IN THE NORTH-EAST TRANSEPT.
Plate VII.
mutilated sculpture of the Crucifixion, surrounded by vine-leaves and tendrils. The work resembles the leafage of the Cantilupe Shrine, and is possibly by the same hand. In a recess decorated with the ball-flower under the arch opening to the vestibule of the Lady-chapel, is the effigy of an unknown lady, (fourteenth century,) dug up outside the church during the restorations. Against the walls of the transept are ranged some coffin slabs, with floriated and enriched crosses, found at different times and in various parts of the cathedral. One of these (circa 1250?) is given in Plate VII.
XVI. From the transept we pass into the ambulatory, or retro-choir, at the back of the altar. This is transitional Norman, and its two bays are divided by a pointed arch, which springs from circular shafts, at the back of the altar and at the entrance to the vestibule of the Lady-chapel. The ribs of the quadripartite vaulting are enriched with chevron and diamond mouldings of late character. The arches at the back of the choir-screen were decorated (see § X.) by Mr. Cottingham. On the base of the central shaft is an inscription recording the erection of the screen as a memorial of the late Joseph Bailey, Esq.; (see § X.)
The existing arrangement seems to indicate (although this has not been directly proved) that the Norman ground-plan, like that of Norwich, comprised an ambulatory or “procession-path,” passing round at the back of the high altar, and giving access to the central and side apses, which opened from it.