The choir roof is vaulted in wood.  In the time of Dean Saunders 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 was taken off.  It was realised, when the existing stall-work was being designed, that these would be very suitable for use in their old position.  Accordingly, all that could be so used have been placed again in the choir, with their traceried panels restored; and the new work is made of the same character.  The =New Stalls= are of the finest oak, with miserere seats; the backs have rich tracery, with raised shields, moulded groined ceilings, and