"In 18 magnis petris ap. Portland ad clave," (i.e. claves, " keys," or keying stones for each compartment of the vaulting, carved into bosses on the under surface), "empt. una cum 60 bas. et cap., cum carriagio per mare œ4 16s. 8d." "For the purchase of 18 great blocks of stone at Portland for the keys or bosses, together with 60 bases and capitals, including carriage by sea, œ4 16s. 8d."
"In 30 magnis clavibus talliand., œ7 10s.; pro clave, 5s." "For carving thirty great bosses at 5s. a boss, œ7 10s." On counting the great ridge bosses in the Choir, we find them to be exactly twenty-nine, and two half-bosses, or thirty in all. Ibid. "In 6 clav. in ala talliand. 21s. In 3 sars talliand. 25s. 6d. In 33 corball talliand. 11s. "For carving six bosses in the aisle œ1 1s.; for carving three springers, œ1 5s. 6d; for carving thirty-three corbells 11s." The number of bosses for the aisle should be seven, one for each bay. Perhaps the chapel bay was provided for separately (see Note 42). The thirty-three corbels must be those which we find scattered irregularly up and down the aisles. The "sars," which occurred before, in reference to the vaulting of the Lady Chapel (Note 28) probably mean here the rich corbels of the Choir vaulting-shafts: the price being so great, viz., 8s. 6d. - 3s. 6d. more than the great bosses.
36 The date of this Roll is wanting, but is probably as in the text.
"In stip. 3 vitriar. assedent. formas vitreas in alis novi operis, 13s. 4d." "Wages of six glaziers setting the glass shapes in the aisles of the new work, 13s. 4d."
"In 182 ped. vitr. empt ad duas formas summi operis; cum 53 ped. vitri ad (hernesium) of a third window-space œ14 9s. 9 1/2d., at 5 1/2d a foot."
"182 feet for two windows of the clerestory, taking the length and breadth of the same " (ut in longi-tudine et latitudine earundem), "with 112 feet for the traceries (hernesia) of the same " (i.e., fifty-six feet for the tracery of each window) œ16 1s. 9d. "For 53 feet for tracery of a third form 28s. 8d."
"In 615 ped. vitri perfecti ad duas summas formas novi operis œ16 13s. l 1/2d., 6 1/2d, per ped." "Also the wages of Master Walter Le Verrouer, and his two boys, setting same glass, two weeks, 6s."
"Ad primandas" (priming to receive the gold), " claves volturae." The expenses run on for many weeks, including those of " 1 daubeouer" (dauber) probably for laying on plain stone-coloured wash, if such it was, on the fillings in between the vaulting ribs. " In una libra et dim. rubei plumbi 9 1/2d. Pro decern libris de blank plumb, 5s. In 21 libr. ejusdem 7s. 10 1/2d. In una libra cinopol" (cinnabar vermilion) 2s. 9d., 1 una 2 3/4d. In 3 libr. de vernise (varnish) 2Id.; in 7 1/4 galonis et uno quarterio olei 11s. 3d.". Total expense for colours and oil for painting the (aisle) vaulting 29s. 7 3/4d. The prevailing colour of the bosses and ribs, as discerned on removing whitewash and dirt, is vermilion and other shades of red.
"In 8 column, marmor empt. ad capella 32s. In 4 annulis metall ad columnas 4s." Boll 1310-11. "Ad fenestras novar. capellarum." 1 pictor de-primand. claves (bosses) capellarum 3s." Boll 1310-11. "6 annul, metall. ad column. 12s."
"In crastin. Sancti Michaelis pro tribus fenestris ad capellam beati Jacobi ex precepto seneschalli 8s. 9d. In vitro empto 16s." "On the morrow of St. Michael, for three windows for the Chapel of St James, by command of the steward (1), 8s. 9d. For glass bought 16s."
Custos vifcri et stallorum. Stip. mag. Joh. de Glaston ad removend stallos per 14 Sept., 52s. 6d." " Cost of glass and stalls. Payment to Mr. John de Glaston, for 14 weeks, removing the stalls, 52s. 6d," i.e. 1s. a-piece.
45 I would refer the reader to an interesting parallel case; the attempt made, less successfully, to harmonise the chorus cantorum, and presbytery in Wells Cathedral (E. A. Feeman's Wells Cathedral, p. 111). In this case the arcades of the triforium were not on the same level in the two parts; and the result is, therefore, unsatisfactory.
46 For all the information in the text as to stalls, I am indebted to the Rev. Mackenzie Walcott's learned work, Sacred Archaeology, Art. Stalls.
47 Oliver, p. 205.
Marem. ad sedem Episcopi œ6 12s. 8 1/2d." Roll 1316-17. "Custus sedis Epi. salut Roberto de Galmeton p. factura sedis Epi. œ4 ad tascum." Then follows, with a line drawn through it, "Et Nicholas pictor pro ymaginebus 11s." "And to Nicholas, painter, for statues, 11s" And, again, "In sex, etc." There is also a charge for "Magn. claves [or is] ad cheveron Episcopi," meaning probably the oaken pins to hold the canopy together. Chevron is timber of any kind; but perhaps means here, as in heraldry, the wood forming any kind of gabled work, and so a canopy. "Clavis " may also be for rods or "shafts," from "clava," as below Note 58.
49 Walcott's Sacred Archaology, s. v. Sediliat.
"In sex ymagin, talliand p. sede Episcopi 32s." "For carving six statues for the bishop's seat, 32s."
"Pro ymagine fact, nomine Salvator 3s." "For making one statue, called the Saviour, 3a" Next follow "tabula altaris."