Chapter 3 THE INTERIOR

Norwich Cathedral is justly celebrated for the beauty of its interior. Entering from the upper close by the north aisle door, and then taking a position immediately under the great west window, facing east, there is before one the long perspective of the Norman nave, the choir and presbytery, while overhead comes the later vault, telling richly by contrast with the severe plainness of the earlier work below. The extreme length of the cathedral is about 407 feet. The nave, always long in Norman churches, is here over 200 feet from the west door to the choir screen.

Although some critics object to the position of the organ on this same screen, there can be no doubt that, not only is it a most admirable position for the instrument acoustically, but also that its presence here does not detract from the general effect of the interior. From the west end of the nave, as a dark silhouette against the eastern apsidal windows, or as an object in the middle distance, it helps the spectator to realise the length of the cathedral. A certain sense of mystery and something undiscerned adds to the charm of an interior, and the organ here helps, with the screen, to enshrine the eastern arm and most sacred portion of the building, and interrupts the vista for the sake of which disastrous sacrifices have been made in many of our cathedral churches.

The Nave consists of seven double bays; in all, fourteen compartments from the west end to the tower crossing.

It will be noticed that, in the plan (page 113), a square of the nave, occupying longitudinally the space of two bays of the aisles, is indicated by the dotted lines; also a main pier is marked as Y and a subsidiary pier as z.

The main piers, as at Y, are large rectangular masses, having on the nave side a flat buttress-like piece added, with shafts in the angles, and bearing on the face the two vaulting shafts. On the aisle side are two shafts to each transverse arch; and on the two lateral faces are triple shafts to the arcade arches, with four angle shafts at each corner of the main pier, taking the outer rings to same. The plan is the same at the triforium level. The smaller or subsidiary piers (as at X) have single vaulting shafts on the nave face, double ones to the aisle, and under the arcade arches convex faces, with four angle shafts, as in main piers. The plan of these piers determines the elevation. The nave arcade arches, ornamented with the billet, and triforium with a chevron or zig-zag, are almost equal in size, and over these lower stages comes the typical triple Norman clerestory with walk; the whole covered in by the fine lierne vault.

The vault has thirteen complete bays and two semi-bays, one at either end. The junctions between this later vault and the Norman work can be seen. The main piers had the original double shafts cut off at the level of the top of the triforium arches, the later single shaft being brought down and joined by a peculiar branch-like connection. The original shafts to the subsidiary piers, which it is probable took only a minor part in carrying the flat Norman wooden roof, were finished by a cap at the impost level of the triforium, and the later shaft was brought down and finished by the rebus of Bishop Lyhart, the constructor of the vault. This rebus should be noticed; it is a pun in stone, with its hart lying in water. It will also be noticed that the outer arches of the triforium are not concentric with the sub-arches.

The Nave, looking East.

The bases of the shafts have been Perpendicularised, probably when the vault was added, and the Norman character of the lateral shafts spoilt by scraping.

The building of the nave is usually attributed to Bishop Eborard (1121-45), but some eminent archaeologists believe that the whole cathedral, nave and all, was built by Herbert, 1091-1119, the first bishop and founder. We believe there is no documentary evidence against this theory. The Registrum Primum says: "Moreover, the same Herbert completed the church of Norwich in his own time, as I have learned from the account of old people, but have not found in writing, as far as the altar of the holy cross, which is now called the altar of S. William."

The billet enrichment on the main arches, and the chevron or zig-zag on those of the triforium, have been looked upon as indicating that this part of the building-the five western bays of nave-is later than the presbytery, the arches there lacking this ornament. But as these are quite the earliest forms of ornament used by the Norman builders, their occurrence here at Norwich cannot prove much. It is better perhaps to reserve judgment, and be content with merely stating the facts and the more generally accredited theories as to the age of the western part of the nave.

The subsidiary circular columns in the fifth bay of the nave from the west end should be noticed. A small enriched shaft in the clerestory of the north transept is here illustrated. This very beautiful style of treatment was common to the Norman builder, with the Romanesque, and the Romans before them.

The Choir Screen crosses the nave between the subsidiary piers to the sixth bay. Of the original work erected by Bishop Lyhart, 1446-72, the sub-structure of the present screen is the only portion remaining. Traces of two altars, one on either side of the doorway, can still be seen; these were originally dedicated to St. William of Norwich and St. Mary. These altars were enclosed in chapels formed by screens coming forward to the extent of half the bay, and stopped against the main nave piers on either side-the double vaulting shafts on the face of which are stopped by corbels, carved as heads, at about the height that the chapels would have reached. They were vaulted over, and above came the rood loft and organ. The rood loft was damaged by the Puritans, and probably removed after the Restoration. Dean Crofts, in 1660, set up a new organ.

In Britton's "Norwich," 1816, the upper stage of the choir screen is shown divided into square panels, occurring vertically over the lower stage; the screens to the chapels before referred to having been destroyed. In 1833 Salvin remodelled the choir, and turned his attention to the choir screen: the organ was placed in its present position, and cased with the frame of that instrument which Dean Crofts had set up in 1660; and the overhanging vault to the screen was added.

The Nave Vault (height 72 feet), which was added by Bishop Lyhart, 1446-72, took the place of the original Norman wooden roof destroyed by fire in 1463. This earlier Norman roof was most probably like that now existing at Peterborough, and was no doubt profusely decorated with colour. The vault is of Perpendicular design, and known as lierne; such vaults may be distinguished by the fact that between the main ribs, springing from the vaulting shafts, are placed cross ribs forming a pattern, as it were, and bracing the main ribs, but not in any great measure structural. This vault at Norwich may be taken as typical of the last legitimate development of the stone roof; it was the precursor of the later fan vaulting, such as we find in Henry VII.'s chapel at Westminster, where legitimate construction was replaced by ostentatious ingenuity and the accumulation of needless ornament and detail.

The carved bosses here at Norwich, occurring at the intersection of the ribs, are worth careful study. Those who care to go into the matter in the fullest detail should consult Dean Goulburn's book published in 1876, which not only gives an admirable history of the fabric and the See, but enters fully into the detail and symbolic meaning of each of the 328 bosses.

In this list, compiled from that volume, mention is made only of those bosses on the main longitudinal rib of the vault; it is hoped that this method will enable the visitor to readily enter into the meaning of any group of bosses, by providing a keynote to the whole. The subjects are taken from Bible history, and each epoch is usually grouped around some central incident figured on the main longitudinal ribs. In each bay No. 4 is the large central boss.

The Choir Screen and Organ from the Nave.

The Easternmost Bay.-No. 1.

(1.) The Creation of Light.

(2.) A Figure of the Almighty.

(3.) A White Hart.

(4.) The Temptation.

(5.) A White Swan.

(6.) The Death of Cain.

The Second Bay.-No. 2.

(1.) Cain driven out as a Fugitive.

(2.) Noah building the Ark.

(3.) Noah's Drunkenness.

(4.) The Ark on the Waters.

(5.) Meaning indefinite.

(6.) Noah planting the Vine.

The Third Bay.-No. 3.

(1.) The Building of the Tower of Babel.

(2.) The Tower of Babel shown as Feudal Fortress.

(3.) Abraham entertaining an Angel.

(4.) Abraham sacrificing Isaac.

(5.) Jacob deceiving Isaac.

(6.) Isaac blessing Esau.

The Fourth Bay.-No. 4.

(1.) Sarah at the Door of Abraham's House.

(2.) Jacob going to Padan-Aram.

(3.) Jacob wrestling with the Angel.

(4.) Jacob pilling the Green Poplar Rods.

(5.) Jacob's Ladder.

(6.) Jacob making the Covenant with Laban.

The Fifth Bay.-No. 5.

(1.) Jacob sending Joseph to his Brethren.

(2.) Joseph journeying to his Brethren.

(3.) Joseph stripped of his Coat of Many Colours.

(4.) Joseph cast into the Pit.

(5.) Joseph sold to the Ishmaelite Merchants.

(6.) Joseph set up over the Egyptians.

The Sixth Bay.-No. 6.

(1.) Joseph selling corn.

(2.) Moses in the Ark of Bulrushes.

(3.) The Angel appearing to Moses in the Burning Bush.

(4.) The Overthrow of the Egyptians in the Red Sea.

(5.) The Ark of the Covenant.

(6.) Samson rending the Lion.

The Seventh Bay.-No. 7.

(1.) Samson taking the Gates of the City of Gaza.

(2.) David smiting Goliath.

(3.) David cutting off Goliath's Head.

(4.) David crowned.

(5.) David charging Solomon.

(6.) Solomon enthroned.

The Eighth Bay.-No. 8.

(1.) Solomon enthroned.

(2.) The Annunciation.

(3.) The Presentation in the Temple.

(4.) The Nativity.

(5.) The Visitation.

(6.) Herod decreeing the Massacre of the Innocents.

The Ninth Bay.-No. 9.

(1.) The Flight into Egypt.

(2.) Christ in the midst of the Doctors.

(3.) The Marriage in Cana of Galilee.

(4.) The Baptism of Our Lord.

(5.) The Raising of Lazarus.

(6.) The Supper in Bethany.

The Tenth Bay.-No. 10.

(1.) Christ's Entry into Jerusalem.

(2.) Circular Hole for Descent of Thurible.

(3.) Our Lord sending forth the Disciples.

(4.) The Last Supper.

(5.) Disciples preparing for the Foot-washing.

(6.) Our Lord washing Peter's Feet.

The Eleventh Bay.-No. 11.

(1.) Our Lord in Gethsemane.

(2.) Christ crowned with Thorns.

(3.) Christ led to Pilate.

(4.) Christ before Pilate.

(5.) Christ Blindfolded.

(6.) Christ Betrayed.

The Twelfth Bay.-No. 12.

(1.) Christ taken to the House of the High Priest.

(2.) Christ nailed to the Cross.

(3.) The Soldiers casting Lots.

(4.) The Crucifixion.

(5.) The Entombment.

(6.) Christ in Hades.

The Thirteenth Bay.-No. 13.

(1.) Soldiers watching the Holy Sepulchre.

(2.) The Resurrection.

(3.) Three Apostles.

(4.) The Ascension.

(5.) The Virgin praying.

(6.) The Day of Pentecost.

The Fourteenth Bay.-No. 14.

(1.) A Miracle of Exorcism.

(2.) The Jaws of Hell.

(3.) The Drunkard's Doom.

(4.) The Last Judgment.

(5.) St. Peter.

(6.) The Holy Trinity.

(7.) Bishop Lyhart, the Builder of the Vault.

To all those who take an interest in early stone cutting, this vault of Norwich is a store of inexhaustible treasure; the bosses, rudely cut as they are, tell their own tales with singular truth and directness. Their sculpture may not display the anatomical knowledge of the work of the Renaissance; yet it has a distinct decorative value that has been seldom equalled in the later decadent period. The fourteen large central bosses on the main longitudinal ribs present in themselves an epitome not only of Bible history, but of the connecting incidents forming the theme of Christian teaching. In the tenth bay, on the longitudinal rib, there is, in place of a boss, a circular hole through the vault. It is supposed to have been formed to allow a thurible to be suspended therefrom into the church below. Harrod, quoting from Lambard's "Topographical Dictionary," says: "I myself, being a child, once saw in Poule's Church at London, at a feast of Whitsontide, wheare the comyng down of the Holy Gost was set forth by a white pigeon that was let to fly out of a hole that is yet to be seen in the mydst of the roof of the great ile, and by a long censer which, descending out of the same place almost to the very ground, was swinged up and down at such a length that it reached at one swepe almost to the west gate of the church, and with the other to the queer [quire] stairs of the same, breathing out over the whole church and companie a most pleasant perfume of such sweet things as burned therein."

It is probable that the hole in the nave vault at Norwich was used for a similar purpose; and its position would seem to agree with such use, situated as it is about midway between the west end and where the front of the mediaeval rood loft occurred.

The West Window, added, as we have already noted by Bishop Lyhart, to light the vault, resembles that of Westminster Hall in the lines of its tracery; the glass by Hedgeland constitutes a memorial to Bishop Stanley (d. 1849).

West Door.-The original Norman arch remains over the doorway on the inside.

The North Aisle of Nave, the Norman windows of which were entirely replaced by Decorated ones, is covered by plain quadri-partite vaults. In the triforium over, as previously noted in description of exterior, the side walls were raised, the original Norman windows blocked up and Perpendicular ones placed over, the roof being at the same time raised on the outside to the necessary height, and made of a shallower pitch; this is clearly noticeable from the triforium walks.

In the easternmost bays, two windows were raised still more to gain additional light for the choir.

In the seventh bay from the west end occurs the door once leading to the green yard.

The North Aisle of Nave, looking West.

The South Aisle of Nave corresponds with the north, and is covered with a plain quadri-partite vault, with the exception of the seventh and eighth bays from the west; these were converted by Bishop Nykke into a chapel enclosed by screens, and are marked on the plan as E.E. The Norman vaults were here removed and the late Perpendicular ones constructed in their stead; the windows appear to be of still later date, but are supposed to have been, and most probably were, inserted at this period.

Monuments in Nave.-The nave suffered severely at the hands of the Puritans, who destroyed many of the early tombs and effigies. Especially noticeable is the lack of brasses; all these have disappeared, with the exception only of one in the Jesus Chapel. Another singularity is that the burial-place of most of the bishops who are known to have been interred in the cathedral is quite uncertain. The best of them seem to have been content with a plain slab and inscribed brass; only Nykke, of infamous memory, left so gorgeous a chapel behind to perpetuate it.

Bishop Hall, in his "Hard Measure," gives a sketch of vivid historical interest of the sacrilege committed during the Puritan rebellion, and when, in 1643, the cathedral was in the possession of the fanatics. "Lord, what work was here, what clattering of glasses, what beating down of Walls, what tearing up of Monuments, what pulling down of Seates, what wresting out of Irons and Brass from the Windows and Graves. What defacing of Armes, what demolishing of curious stone work, that had not any representation in the World, but only of the cost of the Founder and skill of the Mason, what toting and piping upon the destroyed Organ pipes, and what a hideous triumph on the Market day before all the Countrey, when, in a kind of Sacrilegious and profane procession, all the Organ pipes, Vestments, both Copes and Surplices, together with the Leaden Crosse which had been newly sawne down from over the Green-Yard Pulpit, and the Service books and singing books that could be had, were carried to the fire in the publick Market place; A leud wretch walking before the Train, in his Cope trailing in the dirt, with a Service book in his hand, imitating in an impious scorne the tune, and usurping the words of the Letany; neer the Publick Crosse, all these monuments of Idolatry must be sacrificed to the fire, not without much Ostentation of a zealous joy."

Monuments in North Aisle of Nave.-In the fifth bay of the nave arcade (marked I on plan) is the altar tomb of Sir Thomas Wyndham and his four wives. This was originally in the Lady Chapel, then, for a time, the Jesus Chapel, and about 1869 moved to its present position.

Between the sixth and seventh bay is buried Dean Prideaux (d. 1724). The ninth bay of aisle is lighted by a memorial window to William Smith (d. 1849), Professor of Modern History at Cambridge. In the tenth bay (marked 2 on plan) is the altar tomb, with panelled sides, to Sir John Hobart (d. 1507), Attorney-General to Henry VII.

Monuments in South Aisle of Nave from the west.-In the sixth bay is a memorial window by Wailes to members of the Hales family. In the seventh bay (marked 3 on plan) is the tomb of Chancellor Spencer; the rents of the dean and chapter were formerly paid here. The ninth bay (marked 4 on plan) contains the altar tomb of Bishop Parkhurst (1560-74).

The East Walk of the Cloisters.

The Cloisters and destroyed monastic buildings.-The cloisters are on the south side of the cathedral, the interior garth being about 145 feet square.

The original Norman cloisters, which were probably of a wooden construction, were destroyed by the fire of 1272; and the work of building the present cloisters was commenced by Bishop Walpole (1289-99) about 1297, but they were not completely finished until 1430, in the time of Bishop Alnwyck (1426-36). They present an interesting, and, at the same time, complex study of the development of the styles during the one hundred and thirty-three years which passed during their erection; a paper by the Rev. D.J. Stewart (published in vol. 32 of the Archaeological Journal) goes minutely into their construction, and the several parts the various bishops of Norwich played in their design. Those who wish to study this part of the cathedral thoroughly cannot do better than refer to this paper.

The Cloisters from the Garth.

It will be noticed that, despite the lengthy period occupied in the construction of the cloisters, the result is in no way inharmonious; it is only in the detail, and especially the open tracery to the bays, that the difference of style is very perceptible.

Counting the angle severies as in each walk, it will be noticed that there are fourteen severies on the east side; and thirteen on the other three. Each is nearly square on plan, and vaulted over with horizontal longitudinal and transverse ribs, between which occur diagonals and tiercerons; with carved bosses at the intersections. The piers carrying the vaults consist of groups of separate cylindrical shafts of Purbeck marble.

On the three sides-east, west, and south-there are separate storeys of apartments over the vaults, which were used for various purposes by the monks.

In elevation-and of course this can best be seen from the Garth-each bay is divided by a projecting buttress with diagonal one in the angles; the arches are filled with open tracery carried by two mullions; it is this tracery which marks most clearly the various changes of style. The shape of the arch is similar throughout. This was a concession on the part of the later builders which ensured harmony in the whole; but on each side the tracery is varied. On the east side it is geometrical in character, the work being transitional between Early English and Decorated; on the south side the tracery is more flowing and has advanced to Decorated; on the west side again, we get the transitional style between Decorated and Perpendicular, with some flamboyant or flame-like detail; while on the north and latest side it is frankly Perpendicular.

The East Walk of cloisters is the earliest; access to which is gained from the south aisle of nave of cathedral, through the Prior's Door; of this fine specimen of early Decorated work we give an illustration. In the sixth bay, from, and counting the angle, may be seen the walled-up entrance to the Slype. In the seventh, eighth, and ninth bays remain the arches which once gave entrance to the chapter-house; these were walled up until about 1850.

According to the itinerary of William of Worcester, the chapter-house, which was built by Bishop Walpole (1289-99), projected eastward about 80 feet, terminating with a polygonal apse, as shown by the dotted lines to our plan.

The prolongation of this east walk southwards beyond the south walk of the cloisters, led formerly to the infirmary; of which now only remain the three piers in the lower close; the greater part having been pulled down in 1804. During some time in the eighteenth century the infirmary was used as a workhouse.

The dormitories in all monasteries were connected with one of the transepts, usually the south, so that the monks could at all hours easily gain access to the cathedral for the performance of the offices of their order; it is probable, therefore, that the rooms over this east walk of the cloisters here at Norwich may have been used as dormitories, with a staircase on the western side of the south transept leading to them. The dormitories are supposed by some antiquarians to have been placed south of the destroyed chapter-house; the door in the twelfth bay of the east wall of the cloisters (marked 5 on plan) probably giving rise to the supposition.

The sculptured vault-bosses in this walk are illustrative of incidents in Gospel story and of the legends of the four evangelists.

The South Walk, the south wall of which was also the wall of the refectory. A door (marked 6 on plan) at the western end of this walk led to the refectory. To the west were probably the kitchen and offices. The sculptured bosses of the vault over this walk are illustrations of scenes from the Book of Revelation.

The Prior's Door.

The West Walk.-In the first two bays (marked 7 on plan) are the lavatories of the monks; and in the fourth bay, a door (marked 8 on plan) that formerly led to the guest hall, pulled down by Dean Gardiner, 1573-89. The cellarer whose duty it was to look after the guests probably had apartments above.

A door in the last bay leads to the Choir School; this was formerly the Locutory, where the monks indulged in their daily gossip. The western wall is in the Early Decorated style; the body of the room dating from Norman times.

The door into the south aisle of the cathedral from this walk, known as the Monks' Door, is of an elaborate example of the Perpendicular style.

Returning along the North Walk, the latest part of the cloisters, we come again to the prior's door, by entering which the rest of the interior may be inspected.

The Ante-choir occupies one compartment of the nave, and is immediately under the organ loft. It was in mediaeval times a chapel dedicated to Our Lady of Pity. The screens between this ante-choir and the aisles on north and south, were in part formed from the Perpendicular screen which originally divided off the Jesus Chapel from the north aisle of the presbytery. Here in the ante-choir they are certainly preferable, even as "mutilated Perpendicular," to any modern substitute; though it was lamentable vandalism to remove them from their original positions, where they are shown in Britton's "History."

The Choir.-It may be as well here to give a brief sketch of the various re-modellings which have been effected in the arrangement of the choir and presbytery of the cathedral.

Britton shows, in one of his plates published in 1816, the floor of the choir continued at its level until, immediately before the altar, in the apse, it rises by five steps to the level of the sanctuary (the presbytery, after the Reformation, had been cut off from the choir by a wooden screen, in front of which stood the communion table). Across both transepts, in the beginning of the century, there stood cumbrous two-storeyed structures containing pews not unlike boxes at a theatre, as shown in a drawing here reproduced. In 1837, when Salvin re-modelled the choir, these were removed, and on the south side replaced by a stone gallery, and this again has been taken down.

In Dean Goulburn's time the floor of the presbytery was raised by two steps, which occurred one bay past the tower arch eastward.

The Choir and Presbytery.

Quite recently, there have been further alterations carried out by Dean Lefroy. The eastern arm of the building was closed for two and a half years, and during this time the whole of the whitewash, etc., covering the stonework was flaked off, with much benefit to the appearance of this part of the interior. The level of the presbytery floor has been brought forward to the tower arch, and at the same time the floors of both transepts and choir were brought to one level, and various obstructions in the way of pews and raised floors removed.

The choir was opened after this work by Archbishop Benson, 2nd May 1894.

A Stall in the Choir.

The Choir extends one bay, or the space of two compartments, into the nave, as was usual in cathedral priories, and was originally occupied during the offices of the Benedictines by the prior, sub-prior, and the sixty monks. The bishop-who was the nominal abbot-with his presbyters, occupied the presbytery.

The stalls, sixty in number, with an additional two for the prior and sub-prior, facing east, are fine specimens of fifteenth-century work, the detail varying though the main lines are preserved in each.

Each of these stalls retains the subsellium or miserere, which, hinged at the back, turns up and discloses a small ledge beneath supported by carving, which ledge is supposed to have been used by the aged monks to rest on during the first long office of the Benedictines, which lasted four hours. Did they, however, by any chance allow the seat to fall, they are said to have had to go through the whole of their prayers again as a penance. All these misereres are worth studying, especially as the white and grey paint which had disfigured them has been cleaned off since 1806.

The choir was re-arranged by Salvin in 1833, and the chancellor's stall, shown in early prints, against the north-east tower pier, was removed at this time. The presbytery was filled with stalls, which have been lately removed, and in part refixed in the nave. During the recent alterations the row of fifteenth-century stalls, each with its miserere, has been removed from its original position in front of the canopied stalls, and placed across the transepts, and their place taken by others, made up of various fragments of old seating.

Also the older bishop's throne, erected by Dean Lloyd late in the eighteenth century, "in resemblance to ancient Gothic workmanship," was removed from the south-east pier of the tower and placed in the consistory court, and its place taken (1894) by the present erection, designed by Pearson also in the style of ancient Gothic workmanship, and made by Cornish and Gaymer. The new pulpit, taking the place of that put up after the demolition of the chancellor's stall, was designed by J.D. Seddon, and executed by H. Hems of Exeter.

The Pelican Lectern, now in the choir (see illustration, p. 110), was formerly hidden away in the Jesus Chapel; it is late Decorated in character; the three small figures were added in 1845. There is enough metal in this piece of mediaeval work to make a dozen modern replicas.

The Presbytery consists of two double severies, or four compartments, terminated by a semi-circular apse of five compartments. The four compartments on either side have, in the lower stages of their design, rich four-centred arches of Perpendicular period, with niches between on the piers; the spandrels are filled in to a horizontal line, above which, at the level of the triforium floor, is an elaborate cusped cresting. The triforium is Norman, lofty in scale. Over this come four light transitional (Decorated to Perpendicular) clerestory windows, with niches canopied forward in the thickness of the wall over the clerestory path; the windows being on the outer face of wall. From the apex of the ogee arches of the niches spring the vaulting ribs of the later vault, without any intermediate shaft. The apse preserves its Norman characteristics in the lower stage as well as at the triforium level. Here the interest of the student must surely be concentrated; as this eastern arm of the cathedral is the earliest part of the building. Herbert, the founder, laid the foundation-stone at the extreme east, probably in the original Norman Lady Chapel, and built westwards, and here, in front of the high altar, was he buried.

The Choir and Presbytery in 1816.

The remains of the first bishop's throne, with the westward position, are in the central bay of the apse. Behind it, in the screen wall, can be discerned an arch which looks like a door head; if there be a vault beneath the presbytery, it is probable that this is the walled-up entrance.

On the east side of the tower over the arch can be seen the lines of the original Norman roof. The Norman clerestory was so badly damaged by part of the tower falling in 1362 that the present clerestory was built in its place by Bishop Percy (1355-69), the presbytery, at the same time being covered over with a framed timber roof. In 1463 this (together with the spire) was struck by lightning, and fell burning into the presbytery, where it burned itself away. Here and there in the aisles, and wherever the Norman stonework is visible, traces of an orange discoloration give evidence of the heat generated by the mass.

The present lierne vault was added by Bishop Goldwell (1472-99), and his rebus, a gold well, can be seen cut on the bosses at the intersections of vaulting ribs. The curious junction of the later vault with the ogee-shaped arches of the clerestory should be noticed.

While the original triforium yet remains, the character of the main arcade was altered by the insertion of the four-centred "Perpendicular" arches, the work of Bishop Goldwell, whose tomb is under one on the south side. These lower arches were filled with screens, removed in 1875.

The lower apsidal arches, in the beginning of the century, were completely filled with imitation Norman work; this has been cleared away to the original height of the screen wall, with much improvement to the general effect.

The Choir Stalls at the beginning of the Nineteenth Century.

The present altar, designed by Sir A.W. Blomfield, occupies probably the position of the original altar. The question where the high altar stood has provoked much speculation. Professor Willis placed it more to the westward, thinking that a quatrefoiled opening or hagioscope in the screen wall of the last bay on the north side of the Presbytery (marked 9 on plan) was made to afford a view of it from the aisle. Harrod points out that there is a small hole in the vault above, from which probably hung down the light of the sacrament. The position of this hole, and the fact that such a light would necessarily be placed before the altar, and not over or behind it, is evidence that the altar was about where it is now. Blomfield, again, averred that the people stood in the aisle and confessed to the priest standing in the sanctuary, the "voice coming through a hole made in the wall for that purpose," the hole being the hagioscope referred to. But, as Harrod observes, to do this the priest must have assumed a recumbent position, which is neither convenient nor usual.

The real use, no doubt, of this bay of the arcade, was for the Easter sepulchre; its usual position is on the north side of the sanctuary. It will be noticed also that in the aisle immediately behind is a raised gallery of Decorated character, access to which was gained from the sanctuary by steps on the left side of the bay of the arcade, in which occurs the hagioscope. This gallery formed the ante-chapel to the Reliquary Chapel, which projected northwards from the aisle of the cathedral; the roof line of this chapel can be seen plainly from the outside. From the reliquary chapel on Good Friday the crucifix and pyx were taken out and deposited in the Easter sepulchre below; and from the vault above, through the hole before referred to, was hung the great sepulchre light. More probably the hagioscope was intended to be used by the watcher at the sepulchre.

The Choir, looking West.

The arrangement of the presbytery, as we have already noted when referring to the plates here reproduced from Britton, has undergone many changes; in the beginning of the century the level of the floor of the choir was continued until between the third and fourth bay from the tower in the presbytery, where it rose by five steps to the level of the sanctuary floor. Harrod speaks of two steps up at the third pier past the tower, and three at the fourth or point of the junction of the apse. In Dean Goulburn's time, the sanctuary space was enlarged by being brought forward one bay. The present floor, designed by Sir A.W. Blomfield in glass mosaic and porphyry, was executed by Powell Brothers. Then also was added the somewhat elaborate communicants' rail, executed in bronze and spars. In enlarging the sanctuary, Dean Goulburn moved the three steps from the fourth pier past the tower to the third, and at the same time the two steps at the third pier were moved forward to the first past the tower. And now again, during the recent works of reparation, the presbytery floor has been brought forward at one level to the tower arch, where it descends to the level of the choir floor by five steps: screens which filled the first bays on either side were removed, and similar flights of steps now descend from the presbytery and the north and south aisles. The cumbrous stalls were also removed, and in part refixed in the nave.

The stained glass which fills the clerestory windows of the apse dates from 1846, and was made by Yarrington. The window in the triforium just above the altar contains modern stained-glass, dedicated to the memory of Canon Thurlow.

Monuments in the Presbytery.-The monument of Herbert, the first bishop of Norwich, and the founder of the cathedral, was raised in the centre of presbytery, before the high altar. It was so much injured during the time of the Rebellion that a new one was erected in 1682; this again was levelled, and a slab placed in the floor at the same place now remains.

In the second bay eastward from the tower (south side), marked 10 on plan-Bishop Goldwell's (1472-99) chantry, and the altar tomb, remarkable for the effigy in full pontificals (see illustration). Bloxam remarks that it is "the only instance of the monumental effigy of a bishop, prior to the Reformation, in which the cappa pluvialis, or processional cope, is represented as the outward vestment instead of the casula or chesible." The tomb is placed to the south of the recess; in the space east was an altar.

In the third bay eastward was Bishop Wakering's (1416-25) tomb, the only part of which now remaining is visible from the south aisle, and consists of a series of panels with plain shields and figures two by two, with the several instruments of the Passion. There were formerly steps down into the south aisle from this bay. In the same place is a monument to Bishop Overall (d. 1619).

Detail of the Presbytery Clerestory and Vaulting.

In the fourth bay (marked 11 on plan) the altar tomb of Sir William Boleyn of Blickling (d. 1505).

Of the fourth bay eastward from tower on the south side (marked 9 on plan), Sir Thomas Browne says: "On the north of the choir-the presbytery is meant-between the two arches, next to Queen Elizabeth's seat, were buried Sir Thomas Erpingham and his wives, the Lady Joan, etc., whose pictures were in the painted glass windows next to this place, with the arms of the Erpinghams. The insides of both the pillars were painted in red colours, with divers figures and inscriptions from the top almost to the bottom, which are now washed out by the late whiting of the pillars.... There was a long brass inscription about the tombstone, which was torn away in the late times, the name of Erpingham only remaining."

During the recent works, under this same spot was found a leaden coffin enclosing human bones, which were possibly the remains of Sir Thomas Erpingham.

An amusing tale is told by Harrod of Roger Bigod's burial in the cathedral. He was the founder of Thetford Priory, and died in 1107, leaving directions that his body should be buried in his own monastery. The prior of Thetford was much perplexed to hear that Bishop Herbert had taken possession of the body, and had determined that it should be interred with all the due solemnities at Norwich. Herbert was anxious to secure for his own foundation so valuable a source of income as the offerings and celebrations at the tomb of a pious man like Bigod; and no doubt the prior was not actuated alone by love for his departed abbot. The bishop won, and Roger Bigod was buried in the cathedral, possibly in the same crypt which is supposed to contain the bones of Herbert himself.

The North Transept, like the south, is without aisles or triforium, the wall space up to the clerestory level being decorated with wall arcading, varying considerably in position and detail in each compartment. The clerestory follows round from the nave, and overhead is the later lierne vault. It was, together with the eastern arm of the cathedral, closed for two and a half years, during which period the whole of the lime-white and paint encrusting the stonework was flaked off. The work, so far as we can understand, was really a restoration, inasmuch as the original stonework was restored to view. The level of the floor was made to correspond with that of the choir, and a raised wooden floor with the benches thereon removed. The transepts were built by Herbert, the first bishop and founder. Both originally had an apsidal chapel on the eastern wall, but only that on the north arm remains, and access to this now is not possible from the transept. Dedicated at one time to St. Anne, it is now used as a store-house.

The Choir Apse.

The vault was added by Bishop Nykke, and was necessitated by a fire in 1509, which consumed the wooden roofs of both transepts. During the recent works the small arcading immediately under the line of the vault was discovered walled up, the builders of the later vault in all probability having done this, as in many cases the line of the vault cuts over the arcading. This was opened up, and is distinctively interesting in helping to reconstruct the original finish to the Norman work under the roof.

The Tower and Triforium Walks, to which access is gained by a staircase in the east wall of north transept, are of much interest. In the triforium the imposition of the later work on the Norman is clearly noticeable, and the original Norman triple windows walled up with the wall shafts which once supported the semi-arches of the triforium roof. Some of the best views of the interior are to be gained from the triforium and clerestory paths.

Detail of the Clerestory, North Transept.

Interior of Tower.-A continuation of the same staircase leads to the clerestory, and from thence access is gained to the tower galleries. Above the arches of the crossing there is a vaulted passage in the thickness of the tower walls, with six arches pierced in the inner wall, so that the parts of the interior can be seen from this walk. Above occurs a smaller wall arcade, stopped before reaching the angle to admit of large circular holes being deeply recessed in the walls; and above this again another vaulted gallery, with three windows on either side, pierced through the tower. In the lower of these walks openings occur through the thickness of the walls into the presbytery, the nave, and transepts, just under the vaults, and interestingly quaint peeps can be gained through them.

The Processional Path, or aisles to the presbytery, consists of four bays to the north and south, with quadri-partite vaulting, with a similar five following round the line of the apse. A door in the north aisle leads out into the gardens of the bishop's palace, and from thence the exterior of this part of the cathedral is best seen.

Crossing the north aisle to the presbytery, at the fourth bay eastward past the tower, marked F on plan, there occurs a curious bridge chapel spanning the aisle, access thereto being gained by a newel staircase on the north side. In our notes on the Presbytery, we have referred to the uses assigned to this structure and its connection with the Easter sepulchre. It formed the ante-chapel to the reliquary chapel projecting northward from the outer wall of the cathedral; it probably was built as a bridge so that relics and symbols might be exhibited thereon to processions passing along underneath. It is decorated in character, and the vault is constructed of chalk. The chapel above is decorated with frescoes, the subjects of which are as follow:-In the western quarter of the four-part vault, The Blessed Virgin between SS. Margaret and Catherine; in the eastern, SS. Andrew, Peter, and Paul; in the northern, SS. Martin, Nicholas, Richard; in the southern, SS. Edmund, Lawrence, and a bishop; a figure of Christ occurs centrally. Copies of these frescoes have been made in facsimile, and hang in the aisle and consistory court. Passing through the small door in the north wall of the north aisle before mentioned to the outside, the lines of the reliquary chapel can be plainly seen, and also of another to the west; the position of both these chapels is shown by dotted lines on the plan.

The South Aisle of Presbytery, looking East.

A coped coffin lid of Purbeck marble, now in the aisle of presbytery, should be noticed; an inscribed brass once occupied the bevelled edge.

The Chapels.-In the Norman cathedral, grouped round the east end of the presbytery, was a trefoil of chapels; the one on the north, the Jesus Chapel, yet remains, and as well its fellow on the south. The Lady Chapel, or easternmost of the three (shown on plan by dotted lines) was succeeded by an Early English building, which, in its turn, was destroyed; the entrance arches, of beautiful proportion, alone remaining.

Norman Work in the Lantern of Tower.

The Jesus Chapel formerly belonged to the bishop. On plan its shape is that of segments of circles joined, the altar placed in the smaller part. A simple wall arcade runs round the lower half, the whole being covered by a plain quadri-partite vault. The windows are insertions of Perpendicular work, varied in character from the Norman work of the chapel itself. The mural colouring is a restoration; it may be something like the original, but the general effect is somewhat garish.

The Ante-Reliquary Bridge Chapel.

Doorway and Screen between South Transept and Aisle of Presbytery.

The altar consists of a slab of grey Barnack-stone, with Purbeck inlaid, the whole being supported on shafts.

The tomb of Sir Thomas Wyndham, now in the north of nave, at one time stood here, as also the pelican lectern now in the choir.

In Britton, the chapel is shown divided off from the aisle by a stone screen of Perpendicular character; this was removed, and used to form in part the present screens dividing the ante-choir from the aisles.

A room over the Jesus Chapel, once the plumbery, is now used as a museum.

The Entrance which led to the Lady Chapel is immediately behind the apse, and takes the form of a double arch with clustered columns to the jambs and central pier; the archivolt is deeply moulded and enriched with the typical Early English "dog-tooth" ornament. In the spandrel over the pier, and between the archivolts, is a quatrefoiled opening fitting just under the line of the semi-circular Norman vault. The arches, walled-in up to the impost level, are now filled with glass, as well as the opening. The original circular Norman Lady Chapel was destroyed in part by the fire of 1169; it was repaired by Bishop De Turbe (1146-74), but it was not until the time of Walter de Suffield (1245-57) that it was decided to pull it down and rebuild a chapel in the style of the period-viz. Early English; it was this later building that Dean Gardiner (1573-89) destroyed.

Dean Goulburn, in his work on the cathedral, points out that it was the cultus of the Blessed Virgin, which gathered strength all over Europe during the twelfth and thirteenth centuries, that led to the erection of such sumptuous chapels as this thirteenth-century Lady Chapel of Norwich must have been. When the theological reaction followed, they fell into disuse and neglect, and their final ruin followed when it was found cheaper to pull them down than keep them in repair.

The beautiful proportion of the entrance arches still remaining, the archivolt enriched with the "dog-tooth" moulding-the only example of this particular ornament at Norwich-gives one an idea of what the chapel may have been like. During the recent works of reparation in the choir, pieces of stone were found with the "dog-tooth" built inwards: evidently the stone from the pulled down chapel had been used by the masons for the repair of the fabric.

St. Luke's Chapel, on the south side of the apse corresponding with the Jesus Chapel on the north, was formerly the chapel of the prior. It is now used as the parish church of St. Mary in the Marsh. It has been much restored, and the Decorated windows shown in Britton's view of the east end of the cathedral were replaced early in the sixties, by what the restorer would no doubt have called Norman.

The coloured glass was inserted to the east window in 1868, the south window in 1870, the west window in 1881. That in the east and south is by Hardman, in the west by Clayton & Bell. The glass in the south window forms a memorial to Adam Sedgwick, Professor of Geology at Cambridge, and canon of the cathedral for many years.

The room over the St. Luke's Chapel is used as the Treasury and Muniment Room.

The Bauchon Chapel-corrupted to Beauchamp-dedicated to St. Mary-the-Less, projects to the south of the third bay of the presbytery aisle past the tower, (marked B on plan). It was founded in the fourteenth century and the vault added in the fifteenth century. Its bosses represent the Life, Death, and Assumption of the Virgin. The chapel is now used as the consistory court. The bishop's throne, erected by Dean Lloyd late in the eighteenth century in the choir, has found a resting-place here.

A chapel, founded by Bishop Wakering, and which is said to have been used as the chapter-house after the demolition of that structure, came between the Bauchon Chapel and the east wall of the south transept. Its exact position is, however, doubtful. Harrod, quoting Blomfield, speaks of another chapel that was dedicated to St. Osyth, and which was paved in 1398.

The South Transept.-The screen and doorway filling the Norman arch between the south aisle of presbytery and the south transept should be noticed; it is an interesting piece of work of late Perpendicular design. There is a tradition that the Puritans disliked especially any tracery that took the form of this piece of screen work, calling windows in which it occurred "wicked windows." The intersection of the lines of the tracery made the monogram of the Blessed Virgin; and the fanatics destroyed such work wherever noticed. The tale is interesting, though we cannot vouch for its truth.

View across the Apse from the Chapel of St. Luke.

At the time the whitewash and paint covering the south transept was cleaned off a range of small arcading was discovered immediately under the line of the vault, as in the north transept, walled-up evidently when the vault was added.

The south transept had in Norman times a circular chapel projecting eastward similar to that remaining to the north transept. This was replaced by a later sacristy during the fifteenth century, and the line of this roof can be seen from the outside.

Across the south end there was formerly a stone screen built by Bishop Lyhart (1446-72) communicating with the vestry on the east side, and on the west with the staircase to rooms above the east walk of cloisters. These rooms, as we have before noted, were in all probability the dormitories of the monks, placed that they might so conveniently gain access to the cathedral for the services.

On the top of Lyhart's screen came a clock; there are records in the sacrists' rolls of materials used in the construction of an earlier clock that was made between 1322-25-of two hundred pieces of Caen stone and ten of "Gobetz" used to make a base, and that for making thirty images to represent the days of the month, no less than 47s. 4d. was paid.

The vault was added by Bishop Nykke at the same time as that to the north transept; the carved bosses representing the early history of Christ-the Presentation, Baptism, etc. The painted glass window on the east side, the subject of which is the Ascension (after Raphael), was erected by the widow of Dean Lloyd about a century since. Speaking of its original position in the triforium of the presbytery, Britton says "it disfigures, rather than ornaments, its station"; it can safely be added that it fulfils the same purpose still.

Monuments.-Chantrey's statue of Bishop Bathhurst (d. 1837), originally in the presbytery, has been placed here in the south transept. The west wall has a memorial to the men and officers of the 9th (East Norfolk) Regiment of Foot who fell in China and Japan.

The east wall has a similar tablet to those of the same regiment who fell in Afghanistan, 1842. A monument, originally on the west wall, to Bishop Scambler (1585-95), has been removed to the south aisle of nave.

The county of Norfolk is peculiarly rich in painted screens of the fourteenth and fifteenth centuries; and it would have been strange indeed if no specimen of their work had been preserved in the cathedral. Fortunately, a superb retable in five panels, representing scenes in the Passion of our Lord was discovered by Professor Willis in 1847, and is now preserved in the aisle outside the Jesus Chapel.

This was formerly an altar-piece to the Jesus Chapel, and was preserved by the happy accident of its admirable carpentry having saved it for the purposes of a table. It appears to have been the work of an Italian artist of about 1370 A.D., and is executed in a kind of gesso work. The size is now 7 ft. 5? ins. x 2 ft. 4 ins.; but it was formerly surrounded by an ornamented frame, of which portions remain on three sides. The subjects represented are-from the left-The Scourging, Bearing the Cross, the Crucifixion, the Resurrection, and the Ascension.*

Traces of other decorative painting have also been discovered in the Sacrist's Room, St. Luke's and the Jesus Chapels, the choir aisles, and other places.

* Royal Arch. Institute: Norwich volume, p. 198.

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The Resurrection: from the Painted Retable formerly in the Jesus Chapel.

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