The Guild Chapel
From the time of its foundation the chapel had continued to grow under the ongoing programme of re-building and extension; the evidence suggests that the chapel in its current form was constructed or converted between 1427 and 1428 with the 'new' chancel added between 1449-50. During the later part of the 15th century, possibly at the behest of Sir Hugh Clopton in his will of 1496 (Davidson, 1988 pp 3) the interior of the chapel was decorated with large wall paintings and murals depicting religious stories and events. Many if not all of these were taken from William Caxton's translation and reprinting in 1483 of Jacobus de Voragine's religious text Legenda Aurea or Golden Legend, thought to have been published in 1260 (Ryan 1993 Preface xiii).
The wall paintings covered the north, south and west walls of the nave with a large depiction of 'Doom' above the chancel arch. The north wall of the nave was devoted to a full length depiction of the Dance of Death, a popular image during this period (Davidson 1988 pp 6) with two tiers of figures being led away by depictions death.
The south wall of the nave was painted with scenes from 'The Lyfe of Adam' by William Caxton whilst the west wall included the martyrdom of Thomas Becket, St. George slaying the Dragon, an allegorical painting and The Whore of Babylon. The chancel was devoted to scenes from the Invention and Exaltation of the cross also taken form The Golden Legend.
The wall paintings whose creators remain unknown only survived for 68 years until they were defaced, whitewashed and covered from sight following the royal injunction of 1559 that called for all "superstition" and "Idolatry" be removed from places of worship (Davidson 1988, pp 10). The wall paintings were defaced and whitewashed over by John Shakespeare (father of the playwright) between 1563 and 1564 although it would seem that some paintings survived this first phase of removal; the Dance of Death was still viable in 1571 when it was mentioned by John Stow (Davidson 1988 pp 11). However at some point after this sighting the remaining wall paintings were covered from sight and not seen again until the beginning of the 19th century.
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