VIII. Evidences remain in the choir of earlier alterations and additions. The piers adjoining the north-east transept had been thrown greatly out of the perpendicular by the thrust of the arches. These piers have now been reconstructed with the old materials in a sound manner; and a wall pierced with quatrefoils, which had been built for their support, between the two easternmost piers on the north side, has been removed. The second pier from the organ, on the same side, also appears to have shewn signs of weakness, and has been re-cased and enlarged in Jacobean Gothic, with a curious base of masonry in the shape of a tulip.
The stone pulpit, on the north side of the choir, was removed from the west end of the nave about the middle of last century. It is late Perpendicular work, with the emblems of the Evangelists placed on truncated shafts in the panels. The sculpture at the back of the pulpit apparently represents the Heavenly Jerusalem, with the Tree of Life in the centre. The ancient stalls were partly destroyed by the Puritan soldiery, the seats alone remaining. The present canopies date from the reign of Charles II., but are of no great interest.
It is proposed to replace the present (modern) reredos by one of better design and character; and to erect a low stone screen, allowing a view into the transept beyond it, between the piers on the north side of the altar.
In December, 1861, a leaden coffin, moulded to the shape of a body, which had been enclosed in an outer coffin of wood, was discovered beneath the flooring at the east end of the choir. It no doubt contained the embalmed body of William, fourth Marquis and second Duke of Hamilton, who was mortally wounded at the battle of Worcester in 1651, and was interred here,—since his body was not allowed to be conveyed to Scotland.
IX. The monuments of especial interest in the choir, are the tomb with effigy of King John and the chantry of Prince Arthur.
The tomb of King John [Title-page] stands in the centre of the second bay from the east, immediately before the step ascending to the sanctuary. In 1797 a coffin with the remains of the King, was found below the pavement. It is expressly said that King John was buried between the shrines of SS. Oswald and Wulfstan, (see Pt. II. for short notices of both saints,) and that a prophecy of Merlin (who is constantly mentioned by the chroniclers of this period) was thereby fulfilled:—“Et inter sanctos collocabitur.” The King was buried, it must be remembered, in the Norman presbytery, the apse of which terminated nearly in a line with the third piers (counting from the east) of the existing choir. On the reconstruction of the choir and presbytery by the Early English builders, the altar was removed to nearly its present position, and the King’s coffin and tomb were also carried eastward, so as to occupy the same position with respect to the high altar and the shrines as they had done in the Norman Church. In both the Norman and the Early English presbyteries the shrines of the two saints “were deposited in front of the high altar, in the same manner as St. Dunstan and St. Elfege in the cathedral of Canterbury[76].” In either case the King might be said to have been laid “between” them. King John died at Newark, October 19, 1216, commending his body and soul to God, and to St. Wulfstan, the last great English saint who had been canonized. His body, arrayed in royal apparel, was accordingly conveyed to Worcester, where it was interred by the Bishop, Silvester of Evesham[77].
The high tomb on which the King’s effigy rests is a work of the sixteenth century, and was probably constructed when Prince Arthur’s chantry was erected[78]. “The sides of the tomb are divided into three square compartments by panelled buttresses; each compartment contains a shield, bearing the royal arms, within a quatrefoil richly cusped; the spandrels are also foliated and cusped. Though of no unusual design it has a rich effect, and the base mouldings are numerous[79].” On this tomb rests the effigy of King John, the earliest effigy of an English monarch remaining in this country. It was no doubt originally the cover of the stone coffin in which the King’s remains were discovered in 1797. The effigy was evidently sculptured soon after the interment of the King; and represents him in the regal habiliments. “First, the tunic, yellow, or of cloth of gold, reaching nearly to the ancles, with close-fitting sleeves, little of which is apparent. Over the tunic is worn the dalmatic, or outer robe, of a crimson colour, with wide sleeves, edged with a gold and jewelled border: this is girt about the waist by a girdle, and buckled in front; the pendent end of the girdle, which is jewelled, falling down to the skirt of the dalmatic. At the back is worn the mantle; but little of this is visible. On the feet are sandals, to the heels of which are affixed spurs. On the hands are gloves, jewelled at the back; the right hand has held a sceptre, the lower portion of which only is left; the left hand grasps the hilt of the sword. On the head is worn the crown; the face has both the moustache and beard, and the hair is long. On either side of the head is the figure of a bishop holding a thurible or censer, perhaps intended to represent St. Oswald and St. Wulfstan. Roger de Hoveden, in his Annals, treating of the coronation of Richard I., enumerates the regal vestments, and how worn, and his description may be applied to this effigy. In the crown, in the mitres of the bishops, and on different portions of the robes appear cavities for stones, paste, or glass, imitative of jewels. The feet of the effigy rest against a lion, in whose jaws the point of the sword is inserted[80].”
The coffin in which the King’s remains were discovered in 1797 (at the beginning of some repairs in the cathedral) was found at the bottom of the tomb, level with the pavement. It was cut out of Higley stone, and only covered with two elm boards. “Part of the royal apparel was firm in texture, but the colour was gone; part of the sword and leather sheath were lying on the left side of the body, but much mouldered; the boots on the feet were more perfect; part of one of the robes appeared to have been embroidered: the head was covered with a close-fitting scull-cap, which appeared to have been buckled under the chin. A quantity of a sort of white paste, which lay in lumps, was, I think, the salt of which Matthew Paris speaks, used for preserving the body for a time. The tomb was shortly after closed. It is hardly to be doubted that the body of the King had been arrayed in the same apparel as that exhibited on his effigy[81].”
X. Prince Arthur, the eldest son of Henry VII., born at Winchester in 1486, died at Ludlow Castle April 2, 1502, and was brought to this cathedral for interment. His chantry fills the whole bay on the south side of the altar, and is a very rich example of late and elaborate Gothic. [Plate II.] The sides are formed of open and closed panel-work, enriched with figures and heraldic devices, among which occur the rose, fetter-lock, and portcullis. The small figures, however, are rudely executed, and have been greatly injured. Within, the chantry has a flat groined roof, with curious flying supports. In the central panel are the arms of the Prince, with stags as supporters. At the west end is a small seated figure of Henry VII. The east wall is covered by a rich mass of tabernacle-work, with niches. In the central niche is a small figure of the Saviour on the Cross, with censing angels at the head. On either side are figures of saints, one of which is apparently St. George. The whole has been terribly shattered, but the details deserve attention. In the centre of the chantry is the high tomb of the Prince, with shields and armorial bearings in the side panels. There is no effigy.
XI. Passing out of the choir we ascend from the transept into the south choir-aisle by a flight of five steps, rendered necessary by the crypt below. The aisle is of the same date and character as the choir, and an Early English chapel, which, has been restored in the same manner as the choir, opens from the two westernmost bays. The view into this chapel from the south transept has already (§ VII.) been noticed. From within the chapel the fine and lofty Norman arch, receding in three orders, which opens to the