nsept vaulting, due to the
difference in width of the bays, has a rather curious effect. The ribs
of the vaulting, throughout the eastern arm, are painted with simple
lines of colour, with a rather pleasing effect.

[Illustration: THE CHOIR, LOOKING EAST
(FROM A PHOTOGRAPH BY MESSRS. CARL NORMAN AND CO.).]

The gallery before the single light clerestory windows gave once an
open passage all round, but it is now blocked at the end of the south
transept. In front of each window it has a triple screen of which the
general form is shown in our illustration of a window of the choir
proper and in our view of the east end. It is owing to the existence
over the transept aisles of two rooms, known as the Treasury and the
Indulgence Chamber, that no clerestory windows are to be seen there, but
only blind arcading and blank wall. In the inner, wider bays of the
transepts we notice that the usual triple screens are extended by two
additional arches of the lower height towards the centre of the church.

The clerestory gallery is, on each side of the choir proper, quite in
the thickness of the wall. The core of the latter is Norman, but its
facing, including the blind arcade at the triforium level, belongs to
the Early English period.

On either side of the presbytery the clerestory gallery springs from
wall-piers with clustered Purbeck shafts. The tracery of the windows,
thus ornamented here, is later than the windows themselves, and is an
insertion of the Decorated period. So is also that of the windows on the
east side, and at the end, of the south transept aisle. The latter is
unique in this cathedral, and we have thought it worthy of illustration.
Remains of clustered columns, to be seen in the east wall of the north
transept aisle, remind us of the numerous changes that so many parts of
the fabric have undergone.

The east end has only taken its present form since Sir G. Scott's work,
between 1870 and 1875. In 1825 Cottingham removed a huge altar screen
thence, and opened and renewed the lower range of windows, of which the
central had been quite, and the other two partly, blocked with
brickwork. He, however, still left the communion table against the wall,
and, instead of doing away with the great upper window then existing,
only repaired it. This great window, occupying the whole space from the
gallery to the vaulting, was divided into nine lights, of which the
inner seven were cut by a transom or horizontal mullion. Pho