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