In the centre of the transept is a high tomb, of good character, from which the brasses had been removed, for SIR GRYFFYTH RYCE, (died 1523). The ancient inscription remains; and brasses by HARDMAN have taken the places of the originals.
Inclosed within the screen-work of Prince Arthur’s chantry are two high tombs, with effigies, which deserve especial attention. They are both apparently of the same date, (early in the fourteenth century,) and have been assigned, the westernmost to Bishop GIFFARD, (died 1302,) and the eastern to AUDELA, wife of JOHN DE WARREN. The fronts of the tombs, which are of Purbeck, have quatrefoiled compartments, in which are sculptures, now much mutilated. Bishop GIFFARD’S effigy “represents the chin close shaven. The mitre is ornamented with quatrefoiled and other concavities, in which stones, glass, or paste have been set, to represent jewels.” The square apparel of the amice in front of the breast, the collar, and the episcopal boots, seem also to have been set with stones. “The folds of the chasuble are well and tastefully arranged[82].”
The effigy of AUDELA DE WARREN, “which is beautifully executed, represents her in the veiled headdress, and the wimple or gorget, ... the latter perhaps a sign of widowhood, leaving but a small portion of the face visible. The veil is very tastefully disposed.... Over the gown is worn a mantle, on the left side of which is a lozenge-shaped fermail, to fasten the mantle in front, in a somewhat unusual fashion. The left arm is gone; the right arm reclines on the breast, and in the hand is held a string of prayer-beads, or, as they were anciently called, a pair of paternosters, with larger ones at intervals; an early and singular instance of their being thus represented, the beads being gracefully disposed, and not hanging down formally. The feet rest against a whelp. The admirable manner in which this effigy is treated is worthy of all praise. The mantle and gown were formerly covered with painted shields, representing the arms of Warren, Checky, argent and sable, and those of Blanchminster, Argent, fretty gules[83].” Audela was the daughter and heiress of Griffin de Blanchminster.
XIV. Immediately beyond the transept a good general view occurs of the _retro-choir_ and Lady-chapel. The aisles extend to the end of the retro-choir, which is three bays in depth. The Lady-chapel forms an additional eastern bay. All this part of the cathedral is of the same general design as the choir; but, as a result of the lower level, the main arches are loftier than those of the choir, and a much finer effect is consequently produced. Together with the eastern transepts, this part of the church was, as has been already shewn, constructed before the western end of the choir; and besides the difference of mouldings, it is distinguished by the rich wall-arcade which runs round below the windows. Bishop GIFFARD (1268-1302) is said to have ornamented the columns “of the east part of the church” with brass rings, (which still remain, occupying the usual place of stone bands in Early English shafts,) but the main work was probably completed long before his accession. The brass rings occur on the intermediate piers throughout choir, presbytery, and Lady-chapel. Similar rings occur in Westminster Abbey, (in that portion of the nave which contains the choir stalls,) where they are probably of the same date as those at Worcester. Professor Willis has shewn that the shafts in this cathedral were originally fixed to the piers by iron cramps, such as may still be seen in the church at Pershore; and that the brass rings were additions for covering the joint[84].