Inclosed within the screen-work of Prince Arthur’s chantry are two high tombs, with effigies, which deserve especial attention. They are both apparently of the same date, (early in the fourteenth century,) and have been assigned, the westernmost to Bishop Giffard, (died 1302,) and the eastern to Audela, wife of John de Warren. The fronts of the tombs, which are of Purbeck, have quatrefoiled compartments, in which are sculptures, now much mutilated. Bishop Giffard’s effigy “represents the chin close shaven. The mitre is ornamented with quatrefoiled and other concavities, in which stones, glass, or paste have been set, to represent jewels.” The square apparel of the amice in front of the breast, the collar, and the episcopal boots, seem also to have been set with stones. “The folds of the chasuble are well and tastefully arranged[82].”
The effigy of Audela de Warren, “which is beautifully executed, represents her in the veiled headdress, and the wimple or gorget, ... the latter perhaps a sign of widowhood, leaving but a small portion of the face visible. The veil is very tastefully disposed.... Over the gown is worn a mantle, on the left side of which is a lozenge-shaped fermail, to fasten the mantle in front, in a somewhat unusual fashion. The left arm is gone; the right arm reclines on the breast, and in the hand is held a string of prayer-beads, or, as they were anciently called, a pair of paternosters, with larger ones at intervals; an early and singular instance of their being thus represented, the beads being gracefully disposed, and not hanging down formally. The feet rest against a whelp. The admirable manner in which this effigy is treated is worthy of all praise. The mantle and gown were formerly covered with painted shields, representing the arms of Warren, Checky, argent and sable, and those of Blanchminster, Argent, fretty gules[83].” Audela was the daughter and heiress of Griffin de Blanchminster.
XIV. Immediately beyond the transept a good general view occurs of the retro-choir and Lady-chapel. The aisles extend to the end of the retro-choir, which is three bays in depth. The Lady-chapel forms an additional eastern bay. All this part of the cathedral is of the same general design as the choir; but, as a result of the lower level, the main arches are loftier than those of the choir, and a much finer effect is consequently produced. Together with the eastern transepts, this part of the church was, as has been already shewn, constructed before the western end of the choir; and besides the difference of mouldings, it is distinguished by the rich wall-arcade which runs round below the windows. Bishop Giffard (1268-1302) is said to have ornamented the columns “of the east part of the church” with brass rings, (which still remain, occupying the usual place of stone bands in Early English shafts,) but the main work was probably completed long before his accession. The brass rings occur on the intermediate piers throughout choir, presbytery, and Lady-chapel. Similar rings occur in Westminster Abbey, (in that portion of the nave which contains the choir stalls,) where they are probably of the same date as those at Worcester. Professor Willis has shewn that the shafts in this cathedral were originally fixed to the piers by iron cramps, such as may still be seen in the church at Pershore; and that the brass rings were additions for covering the joint[84].
The dog-tooth moulding does not occur in the arches of the retro-choir, and there are some slight differences between the foliage of the capitals in this part of the cathedral and of those in the choir. The restoration has included this part of the church, and the sculptures in the spandrils of the triforium (which were little more than shapeless masses of stone) have been restored by Boulton, under the direction of the architect.
The windows in the aisles are triple lancets, at the back of inner arches, supported by slender shafts of Purbeck marble. The dilapidated Perpendicular tracery with which the lights were filled has been removed, leaving the windows in their original state. Under the windows runs a wall-arcade resembling that already described in the transept, with trefoiled arches, and sculptures in the spandrils. Many of these have been restored, but all deserve careful notice. The subjects are—masses of foliage; knights fighting with monsters; mystic animals, such as the basilisk and cockatrice, and others described in early bestiaries. In the north aisle is a bishop offering a church, and in the south the Crucifixion. Nothing like a definite arrangement can be traced throughout the series. The vaulting of both aisles is quadripartite, with small bosses.
The east window of the north aisle has been filled with very good stained glass by Hardman, in memory of the late Hon. and Rev. Canon Cocks. That in the south aisle is a memorial of the Rev. Allen Wheeler, B.D.
The eastern bay, in which stood the altar of the Lady-chapel, was disfigured by a large debased window, inserted early in the present century; and was, before the restorations, in a dangerous condition. It was found necessary to rebuild the east wall entirely; and two tiers of lancet lights, five in each tier, have been inserted, in strict keeping with the architecture of all this part of the cathedral. Two lancets, one above another, are placed in the north and south walls. A very beautiful wall-arcade, of the same character as that in the aisles and transepts, but more enriched, runs round below the windows. This is entirely new, and the very good sculptures in the spandrils were executed, under direction, by Boulton of Worcester. The subjects at the east end are—Isaiah; Abraham and Isaac; the selling of Joseph; the brazen serpent; Jonah; and Jeremiah. Foliage and grotesques, copied from the older spandrils, are repeated at the sides. The eastern lancets have been filled with stained glass by Hardman, given to the cathedral by the citizens of Worcester. In the central lower light is the Crucifixion; above, the Ascension. A series of medallions, representing the principal events in the life of our Lord, fill the remaining lancets. The glass is very good, though perhaps a little thin in quality. The spandrils above the lights in both tiers have been filled with sculpture by Boulton; chiefly figures of angels.
XV. On the north side of the chapel is a small mural slab, with flowers at the sides and an urn above, for Anne, wife of Izaac Walton, who no doubt wrote the inscription, which is as follows:—“Ex terris ... M.S. Here lyeth buried so much as could die of Anne, the wife of Isaac Walton, who was a woman of remarkable prudence, and of the Primitive Piety. Her great and generall knowledge being adorned with such true humility, and blest with so much Christian meeknesse as made her worthy of a more memorable monument. She died (alas that she is dead!) the 17th of April, 1662, aged 52. Study to be like her.” The wife thus commemorated was the sister of Bishop Ken. Walton himself survived until 1683, and was interred in Winchester Cathedral.
XVI. In the arcade of the south aisle are monuments for John Banks Jenkinson, Bishop of St. David’s, who died at Malvern in 1840; and for Prebendary Davison, Fellow of Oriel, who died in 1834, the author of a well-known work on Prophecy. On the floor of this aisle is the recumbent effigy of an unknown lady, of the fourteenth century. The head is covered with a veil. “The folds of the gown are disposed with great breadth, taste, and skill.... The feet rest against a whelp or dog. This effigy is sculptured in high relief out of a slab somewhat coffin-shaped, and is one of the most beautiful mediæval monumental relics in the cathedral. It is indeed well worthy of artistic study[85].” This effigy is not in its original position. The much mutilated figure near it, also of the fourteenth century, was found recently at the foot of the steps of the south-east transept.
At the back of the choir-screen, to which place it was removed within the last century, is a high tomb with an effigy, which probably represents the last Abbot of Evesham, Philip Ballard de Hawford, who died between 1550 and 1558. The tomb is of earlier date. The Abbot, who wears the mitra preciosa, is fully vested. The pastoral staff, placed on the left side, is covered with the veil. The effigy is of alabaster.