The western half of the #ceiling# was painted by Mr. Styleman le Strange, of Hunstanton Hall, in Norfolk, between 1858 and 1861. He died in 1862. The eastern half was then undertaken by Mr. Gambler Parry, of Highnam Court, near Gloucester; and the main design of Mr. le Strange was carried to a most successful issue. The original idea had been that a Jesse tree should commence at the seventh bay, and the arrangement of the subjects towards the west was meant to lead up to this. But Mr. le Strange himself, as the work proceeded, realised that a grander effect would be produced by introducing larger scriptural subjects towards the east; and Mr. Gambier Parry accordingly acted upon what was known to be the intention of the original designer. It has been many times said that the whole design was suggested by the painted ceiling at Hildesheim, and some words of Sir G. G. Scott have been quoted as proof of this; but Dean Goodwin says that the scheme was not taken in any way from the foreign example, and that Mr. le Strange had not seen the Hildesheim ceiling when his design was formed.[2] It is worth noting that some of the faces of the prophets are portraits; that of Isaiah, for instance, is a portrait of Dean Peacock. The general tone of the colouring is intentionally subdued, and the effect of this is said to be to increase the apparent height of the nave. The twelve subjects along the central portion of the ceiling, commencing at the west, are these: (1) The Creation, (2) The Fall, (3) The Sacrifice of Noah, (4) The Sacrifice of Isaac, (5) Jacob's Dream, (6) The Marriage of Ruth, (7) Jesse, (8) David, (9) The Annunciation, (10) The Nativity, (11) The Adoration of the Shepherds and of the Magi, (12) The Lord in Glory.[3] On the inner slope on each side of the central line for the ten western bays are figures of patriarchs and prophets, each with a scroll bearing some of his own words, all having prophetic reference to the Messiah. On the outer slope on each side are heads in circular medallions, three in each bay. "The heads forming the border represent the human ancestors of our Lord, according to the genealogy in S. Luke's Gospel; they commence at the eastern end and terminate at the western, thus linking together the Glorified Manhood, as exhibited in the last of the pictorial representations, with the Creation of Man in the first."[4] The sloping sides of the ceiling follow the course of the great beams supporting the roof. Till it was resolved to construct this ceiling the beams were exposed, and the whole was open to the leads. Canon Stewart speaks of it as a "remarkable example of a trussed rafter roof of seven cants," and says that such a roof was sometimes called a compass roof. He thinks it might have taken the place of an original roof of the thirteenth century. [Illustration: THE NORTH AISLE OF THE NAVE. _Photochrom Co. Ltd. Photo._]