it was
repainted with gold and colours. From the character of the bosses, and
the capitals where the wood is joined to the tall shafts rising from the
pillars in the choir, and from the general ornamentation, it is manifest
that this was constructed towards the end of the fifteenth century. It
was at one time painted all over yellow and white. The carving of the
different bosses is well worth attention. There has not been discovered
any mark or initials that might help us to assign a positive date. We
can see, among other designs, the cross keys of the patron Saint; the
Saviour on the Cross accompanied by S. Mary and S. John (this is in the
central line, near the tower); three lilies; three fishes with
intersecting tails. The roof over the apse is flat. It has been
decorated from a design by Sir G.G. Scott, with an emblematical
representation of Christ as a Vine, the Disciples being half-figures in
medallions among the foliage. An inscription bearing upon the subject
forms the border. The general effect will be like, though not identical
with, the original painting in this place. This was one of the
decorations of the church that excited the fury of the soldiers and
others who dismantled the minster in the civil war in the seventeenth
century. "This is the Idol they worship and adore" was the cry of some
of the party; upon which muskets were discharged, and the picture wholly
defaced. The description of the design is given in these words:[26]
"Over this place" (that is, the altar-screen) "in the Roof of the
Church, in a large Oval yet to be seen, was the Picture of our Saviour
seated on a Throne, one hand erected, and holding a Globe in the other:
attended with the four Evangelists and Saints on each side, with Crowns
in their hands; intended, I suppose, for a Representation of our
Saviour's coming to judgment."

[Illustration: North Transept and Morning Chapel.]

The flat roof of the apse being lower than the roof of the choir, the
space between the levels is filled with twelve painted figures.

The whole of the internal fittings of the choir (speaking now of the
ritual choir) are new, and are part of the recent restoration. The new
woodwork began to be placed in position in 1890. There is indeed a
little old work, which was in the old choir before it was altered in the
early part of this century. When removed, some of the front desks had
been placed in the morning chapel, though much of the projecting tracery
work