THE CHOIR.
Bower, (died 1615,) “who had nyne sones and seaven daughters by his wife Anne Bower.” Their names are on shields above this inscription, and their figures are painted on the wall at the back. Above are the words “Vayne, Vanytie. All is but Vayne. Witnesse Soloman.” The monument is curious from the manner in which painting is used in it.
X. A heavy organ-screen, erected in 1823 by Dr. Griffith, (for whom there is a tablet on the north side,) divides the nave from the choir, and materially interferes with the utility and beauty of both.
The choir, [Plate IV.], as in most Norman churches, extends one bay west of the central tower, under which the stalls are arranged. An ascent of three steps leads to the presbytery, three bays in length; and the altar is approached by two additional steps. The unrivalled east window at once attracts attention on entering the choir; but the whole view is rendered especially interesting and peculiar by the panelling and open screen-work covering the Norman walls and arches, the form of which is preserved; by the lofty clerestory; and by the exquisite lightness and grace of the lierne roof, which extends unbroken, except by a low ribbed arch, from the west wall of the tower to the east window.
The choir, according to Froucester’s Chronicle, was cased and vaulted by Abbots Staunton, (1337-1351,) and Horton, (1351-1377). Their work must also have embraced the lower portion of the tower, (as far as the roof,) since there is no break in the vaulting, and the work is of the same character throughout. As far as the spring of the flying-arch that carries the groining, the piers of the tower are Norman; to this point the walls of the tower, choir, and presbytery were taken down. The pointed arches opening to the transepts, the slender arches that cross them, and apparently carry the groining, and rank among the most peculiar features of this cathedral, and the vaulted roof of the tower, all belong to the work of Staunton and Horton: the former of whom completed the western portion of the choir, with the vaulting; whilst the latter re-constructed the eastern end, with the high altar. The choir vaulting is one of the richest examples in England; and although its lines of ornamentation are thrown out in every direction like those of a spider’s web, “the complication is really the effect of perspective, since when reduced to drawing the lines form a simple geometrical figure[16].” The tower-vaulting is much higher than the roof of the nave, and admits of a window in the west wall of the tower, with niches carrying brackets for figures on either side. Over the arch is the inscription,—
“Hoc quod digestum specularis opusque politum
Tullii hæc ex onere Seabroke Abbate jubente;”
which can only record the building of the upper part of the tower, in the time of Abbot Seabroke; (see § III.): or possibly, only the completion of the work, after the death of Abbot Seabroke in 1457, by Robert Tully,
MISERERES IN THE CHOIR.