t correspond in pitch with the vaulting in the ambulatory. The
latter springs from the original Norman capitals on the columns in the
choir (_see_ illustration, p. 52).

The moulding of these arches of the choir is exceedingly rich, and the
outer ones on the north side contain a double moulding of quatrefoil
flower ornament.

The easternmost arch is somewhat stilted; the bare wall thus left
exposed having originally been concealed by the reredos, or at any
rate decorated in some way.

In these alterations to the choir here the Norman triforium had to be
sacrificed; and those who wish to see on a larger scale what the
original triforium was like must study that at Gloucester. In fact the
two choirs alone will form the basis of much interesting study, the
Gloucester choir having been left comparatively intact below the
clerestory, and veiled over with richly wrought Perpendicular
stonework.

The windows and the roof are of about the same date, _i.e._, early
fourteenth century; the roof is anticipatively Perpendicular. A great
feature of the choir is the skilful way in which the work of different
times has been so effectively combined, and brought into a harmonious
whole.

[Illustration: _Photo A.H. Hughes._
THE CHOIR, LOOKING WEST.]

It is interesting to compare the ground-plans of Gloucester and
Tewkesbury, and to see how the two originally Norman choirs have been
treated. At Gloucester the apsidal formation has been destroyed,
traces only of it being left under the present reredos, but there the
actual removal of Norman work stopped. The Norman piers of the choir
and presbytery and the Norman triforium of the choir are all there,
though they are partly concealed by the later Perpendicular casing.
The choir at Tewkesbury has lost its distinctively Norman character,
as nearly all the original outside wall of the church to the east of
the tower was removed, but it has retained its apsidal formation.

[Illustration: _Photo. W.G. Bannister._
THE CHOIR VAULT.]

Beautiful as the choir is, it owes much of its effect to its vaulted
roof, which is a fine specimen of early Decorated work. The vaulting
ribs spring from small engaged shafts, which are carried up the face
of the wall from the main piers, and then radiate from very ornate
capitals over the vault. A fine colour effect must have been presented
by the original ceiling painted and frescoed.

The bosses are less elaborate and less varied than those