of the new vault.

Internally, also, the lower stages of the presbytery were
Perpendicularised by the addition of the four centred arches that still
remain, and in the second bay of which, eastward from the tower, on the
south side, was erected Bishop Goldwell's altar tomb.

His successor, Lane, occupied the see but a short while, 1499-1500, and
in turn was succeeded by Bishop Nykke--he is more generally called _Nix_
(snow), sarcastically, as his character appears to have been of the
blackest. During his episcopate, the cathedral was again visited by fire
in 1509. The sacristy, with all the books and ornaments, was consumed,
and the wooden roofs of both transepts totally destroyed.

Bishop Nykke constructed the stone vaulting that, covering both arms of
the church, completed the stone vaulting throughout the cathedral. His
chantry, which is on the south side of the nave, and occupies two bays
of the aisle, was arranged by him before his death, and its richness is
inversely proportionate to the degradation of his character.

The tracery in the Norman arch leading from the south aisle of the
presbytery into the transept, is of late Perpendicular style, and was
added by Robert of Calton, who was destined to be the last prior but one
of Norwich: William Castleton was the last prior and the first dean.
Bishop Nykke died in 1535-6, and was succeeded by William Rupgg or
Repes, who was the last bishop elected by the chapter of the monks of
the Benedictine monastery of Norwich. Monasticism was doomed; Wolsey had
fallen, and his property had been confiscated in 1529. The smaller
monasteries were dissolved in 1536, and in 1538 the greater shared the
same fate, among them Norwich.

Most interesting is the parallel which can be drawn between the history
of the Church and of that architecture which she especially fostered.
Gothic or Christian art was developed from the remains of a Roman
civilisation, and so long as it had the healthy organic growth which was
consequent on the evolution of a series of constructive problems fairly
faced and in turn conquered, and again, stimulated by the growth of the
Church, to which it was handmaiden, developed style after style in
regular sequence, until the builders, finding they had conquered
construction, took to imposing ornament. From that time, instead of
ornamenting construction, they constructed ornament; and as the
Reformation came to the Church in the sixteenth century so to
architec