A HISTORY OF NORFOLK 



quadripartite Norman vaulting, and on its western transverse arch, paintings 

 of this period (PI. ii.). The arrises of the vaulting, as in the twelfth century 

 work, previously described, are covered by a broad band of greenish grey, 

 much like Purbeck marble in colour, edged by a narrow red line. At the 

 point of intersection at the crown of the vault these bands are covered by a 

 circular space greyish drab in colour, equally edged with a red line. On this 

 ground is painted a seated figure, probably of our Lord, vested in blue, and a 

 branching vine in white springs from one side of the circle, and curves in a 

 graceful scroll behind the figure. Concentric with this circular space, at 

 a distance of two feet from it, is a band of dark grey between two and three 

 inches wide. The interval between this band and the circular space is filled 

 with interlacing scrolls of a pale green delicately outlined with black on a 

 ground of broken white, with flowers of an orange red on stems springing 

 from the scrolls. Outside this band were painted, on a broken white ground 

 like that of the scroll work just described, a group of three standing figures 

 in each division of the vaulting. Of these groups only that to the east is 

 fairly well preserved. The name of each figure was painted above it upon 

 the grey band mentioned, but can now be read only here and there. Still, 

 with the aid of the inscriptions and in other ways, the identity of the per- 

 sonages represented could be made out when the paintings were first exposed. 

 The late Dean Goulburn, in his description of the chapel, says : ' In the 

 southern section (of the vaulting) the central figure is that of a bishop, who 

 has St. Edmund on his right hand and St. Lawrence on his left. St. Edmund 

 is presenting a sword to the bishop, or the bishop to St. Edmund ; the 

 painting is so defaced that it is impossible to say which. In the western 

 section are represented the Blessed Virgin and the Divine Child, having 

 St. Catherine on the left hand and St. Margaret on the right. The Child 

 seems to be looking up earnestly into the Mother's face, and grasping at an 

 apple which she holds in her hand. St. Catherine carries her wheel ; 

 St. Margaret, under whose feet are seen the twining folds of the dragon, 

 holds a crosier in her left hand and a palm-branch in her right ... In 

 the northern section are three bishops (or abbots) with pastoral staves . . . 

 These bishops have all low-peaked early mitres . . . the names over their 

 heads (one all but effaced) show them to be St. Martin, St. Nicholas, and 

 St. Richard of Chichester.'^ The identifications of the figures may be 

 correct, but only those in the eastern section are sufficiently preserved to 

 enable any judgment to be formed respecting the colour and style of these 

 compositions. In the section named, St. Peter stands with St. Andrew on 

 his right and St. Paul on his left hand. He is vested in amice and albe, a 

 green dalmatic, and a pale blue chasuble, with pall, stole (?), and fanon. On 

 his head is the papal crown, which in the fourteenth century only showed 

 one circle, and in his hand he bears the keys. St. Paul, robed in green with 

 an undergarment of red, turns sideways towards St. Peter, holding out towards 

 him the sword of his martyrdom. St. Andrew habited in blue stands with 

 his cross before him. 



The ground on which all these figures are painted is a broken white, 

 sufficiently dark to allow of the nimbus of each saint showing white upon it. 

 This ground is covered with delicate branching scroll work of vine leaves in 



1 Horf. Arch. (1884), ix. 275, tt. seq. 

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