pel in the south transept, and the
choice of position for the new one is not quite happy. The canopy is
very fine work, but the font as a whole is as much too high as the
choir screen is too low. It is also placed at far too great a height
above the surrounding floor to be comfortable for a party of sponsors,
and from its height it interferes with the beautiful vista of the nave
as viewed from the outside of the open west door on a fine day in
summer. There is no reason for placing the font in this position, and
a Baptistery could have well been made in the north-west corner of the
nave.

=The Lectern=, also a gift from Rev. C.W. Grove in memory of his wife,
was presented in 1878. Formerly it blocked up the central passage up
the nave, but was removed to counterbalance the pulpit.

=The Pulpit= was given to the church by Mrs. Glynn, of Tewkesbury, in
memory of her husband. In style it is Perpendicular. The shape is
octagonal, and it is supported by seven shafts of Purbeck marble,
springing from a base of the same, polished; the bases and capitals of
the octagonal shafts being of stone. Of the seven panels, four are of
pierced work, and three are sculptured representing our Lord blessing
little children; preaching on the Mount; giving His charge to the
Apostle Peter. Below the panels is a brattice of Purbeck marble--from
this at the angles rise octagonal columns supporting angels, which
again support a canopy of elaborate work. The pulpit rests on a base
of Purbeck marble.

The nave must have terminated in the same way as the nave at
Gloucester, viz., with an altar and with two side chapels--one in each
aisle. In the handbook to Gloucester, page 44, will be found the
illustration of the altar and chapels redrawn by Mr. Waller from the
drawing given in Browne Willis' "Survey of Gloucester Cathedral,"
published in 1727. This arrangement no doubt obtained at Tewkesbury,
which, like Gloucester, was a Benedictine foundation.

The space thus given up to the altar and chapels is indicated by the
step which comes in the nave near the second pillar, counting westward
from the western tower piers. In each of these, on the aisle side are
to be seen the ascending spiral made by the recently inserted pieces
of stone which show the exact position of the staircase that led up to
the rood-screen overhead.[10] This step no doubt marks the site of the
original western termination of the ritual choir. It seems strange
that, after unde