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THE CATHEDRALS
OF
GREAT BRITAIN

York Minster.

York Minster.


THE CATHEDRALS
OF
GREAT BRITAIN

THE CATHEDRALS
OF
THE UK

THEIR HISTORY AND ARCHITECTURE

History and Architecture

BY
P.H. DITCHFIELD, M.A., F.S.A.

BY
P.H. DITCHFIELD, M.A., F.S.A.

Fellow of the Royal Historical Society, Rector of Barkham

Fellow of the Royal Historical Society, Rector of Barkham

WITH NUMEROUS ILLUSTRATIONS
BY
HERBERT RAILTON, J.A. SYMINGTON, H.M. JAMES,
H. CRICKMORE, ETC.

WITH NUMEROUS ILLUSTRATIONS
BY
HERBERT RAILTON, J.A. SYMINGTON, H.M. JAMES,
H. CRICKMORE, ETC.

1902
London: J.M. DENT & COMPANY
Philadelphia: J.B. LIPPINCOTT COY.

1902
London: J.M. DENT & COMPANY
Philly: J.B. LIPPINCOTT COY.

All Rights Reserved

All Rights Reserved


PREFACE

In this volume I have attempted to give an architectural[v] description of all the cathedral churches of England, Wales, and Scotland, together with a brief history of each see. In order to include any adequate account of each church and bishopric in one volume of portable size, which may be of use to visitors in their travels, much compression has been necessary, but it is hoped that nothing of importance has been omitted which might be useful to those who would read aright the architectural history of our great churches. On account of their immense importance in the history of Gothic art, it has been thought well to include in this volume some account of the churches of Westminster and Beverley. At the close of each history of a cathedral will be found a record of the principal building dates and dimensions, and also a brief account of the chief places and churches of interest in the city or neighbourhood which it is advisable to visit.

In this volume, I've aimed to provide an architectural[v] description of all the cathedral churches in England, Wales, and Scotland, along with a brief history of each diocese. To fit a comprehensive account of each church and bishopric into one portable volume that can be useful for travelers, considerable condensation has been necessary, but I hope that nothing important has been left out that could help those seeking to understand the architectural history of our great churches. Given their significant role in Gothic art, I've also included information about the churches in Westminster and Beverley. At the end of each cathedral's history, you'll find a record of the main construction dates and dimensions, as well as a brief overview of the key sites and churches of interest in the city or nearby that are worth visiting.

I desire to express my grateful thanks to all who have kindly assisted in the preparation of this work, to the deans and canons-in-residence who have often guided me by their counsel during my study of their cathedrals, and also to the vergers who have readily afforded me much valuable help. More especially do I wish to thank the Deans of Lincoln, Ely, Chester and Gloucester, Canon Tristram of Durham, Bishop Anson of Lichfield, and Archdeacon Richardson of Southwell, for their courtesy and kindly interest. I have also to record my obligations to the work of many previous writers. The works of Freeman, Rickman, Britton, Willis, Winkle, and the Diocesan histories published by S.P.C.K. have been consulted, as well as the special monographs on each cathedral, which are[vi] too numerous to mention. Prior's Gothic Art has been of the greatest possible assistance, Addis's Scottish Cathedrals and Abbeys, and also the very valuable and indispensable handbooks published by the late Mr. John Murray. I have found the volumes of Bell's Cathedral Series most useful when visiting the buildings of which they treat, and Messrs. Isbister's volumes written by the deans of our cathedrals contain picturesque and attractive accounts of the historic buildings. To all these works I desire to acknowledge my great indebtedness. And lastly I have to record my grateful thanks to the artists who have enriched these pages with their charming drawings, and to Mr. Dent, the publisher of this work, for much encouragement, valuable advice, and able direction, without which this volume would have lacked whatever of merit it may possess.

I want to express my heartfelt thanks to everyone who helped in preparing this work, especially the deans and resident canons who often guided me with their advice while I studied their cathedrals, and to the vergers who provided me with invaluable assistance. I especially want to thank the Deans of Lincoln, Ely, Chester, and Gloucester, Canon Tristram of Durham, Bishop Anson of Lichfield, and Archdeacon Richardson of Southwell for their kindness and genuine interest. I also want to acknowledge the contributions of many earlier writers. The works of Freeman, Rickman, Britton, Willis, Winkle, and the Diocesan histories published by S.P.C.K. have been referenced, along with many specific monographs on each cathedral, which are[vi] too many to list. Prior's Gothic Art has been extremely helpful, as have Addis's Scottish Cathedrals and Abbeys, along with the very valuable handbooks published by the late Mr. John Murray. I found the volumes of Bell's Cathedral Series most useful during my visits to the buildings they cover, and the works by Messrs. Isbister written by the deans of our cathedrals provide vivid and engaging accounts of these historic structures. I wish to express my deep gratitude to all these sources. Finally, I want to extend my sincere thanks to the artists who have enhanced these pages with their beautiful drawings, and to Mr. Dent, the publisher of this work, for his encouragement, valuable advice, and skilled guidance, without which this volume would lack many of its merits.

P.H. Ditchfield.

P.H. Ditchfield.

Barkham Rectory,
September 8, 1902.

Barkham Rectory,
September 8, 1902.


CONTENTS

 PAGE
The Architecture of the Cathedrals of Great Britain1
St. Paul's8
Westminster35
Rochester57
Canterbury68
Winchester85
Chichester96
Salisbury108
Oxford125
Bristol138
Wells149
Bath161
Exeter164
Truro177
Gloucester178
Hereford204
Worcester216
Lichfield230
Chester248
Liverpool263
Manchester264
Carlisle272
Newcastle282
Durham283
Ripon297
York309
Beverley327
Wakefield333
Lincoln337
Southwell351
Peterborough360
Ely377
Norwich393
St. Alban's409
St. Asaph's423
Bangor426
Llandaff429
St. David's432
Glasgow439
Iona441
Brechin442
Aberdeen443
Dunblane444
Dunkeld445
St. Andrew's446
St. Giles', Edinburgh447
Kirkwall448
Glossary of Architectural Terms450

LIST OF ILLUSTRATIONS

 PAGE
York MinsterFrontispiece
St. Paul's from Cheapside11
The West Front23
The Nave from the Choir28
Woodwork, South Choir Aisle29
Johnson's Statue31
Dean's Yard, Westminster, in 173037
The North Front40
Poets' Corner43
Henry V.'s Chantry47
Interior from Chapel of St. John51
Rochester Cathedral59
Canterbury Cathedral71
Tomb of the Black Prince78
The Crypt80
Winchester Cathedral89
West Front93
Chichester Cathedral99
The Presbytery105
Salisbury Cathedral111
Strengthening Arches, East Transepts116
Oxford Cathedral129
The Interior133
Bristol Cathedral, the Central Tower143
[x]Wells Cathedral153
Entrance to Crypt159
Exeter Cathedral165
Detail of Minstrels' Gallery170
Gloucester Cathedral, The Deanery179
From S.E.183
Nave Pillars from the West187
The Choir, looking East191
The Lady Chapel195
Carrel in South Cloister199
Hereford Cathedral from the Wye207
The Cantelupe Shrine211
Worcester Cathedral from the Severn219
Lichfield Cathedral, Distant View of Exterior235
St. Oswald's Gate, Chester Cathedral249
Chester Cathedral253
The Choir257
Shrine of St. Werburgh261
Carlisle Cathedral from S.E.275
Durham Cathedral285
The Galilee Chapel290
The Bishop's Throne293
Ripon Cathedral from North299
The Great Buttresses302
The Apse303
York Cathedral—Tomb of Archbishop Walter de Grey311
Chapter House313
North Aisle of Choir317
The Ladye Chapel321
The Crypt323
[xi]Beverley Minster, the West Front328
Beverley Minster329
Percy Shrine332
Wakefield Cathedral334
Chantry Chapel on Wakefield Bridge335
Lincoln Cathedral Towers and Potter Gate338
Lincoln Cathedral and Exchequer Gate342
The Angel Choir347
Southwell Central Tower and N. Transept355
Peterborough Cathedral365
North-west Transept370
Ely Cathedral—Arm of Abbot's Chair378
West Tower from Deanery Gardens379
The Assumption of the Blessed Virgin Mary, Lady Chapel381
Ely Cathedral from South-east383
The Octagon and Lantern from North-west384
St. Catherine's Chapel386
In South Aisle of Nave looking to North Transept387
Carrel in Cloister388
Norwich Cathedral397
A Bay, North Side of Nave401
Ancient Bishop's Throne403
Bridge, North Aisle of Presbytery404
St. Alban's Cathedral411

LIST OF PLANS

 PAGE
St. Paul's Cathedral34
Westminster Abbey56
Canterbury Cathedral83
Winchester Cathedral95
Salisbury Cathedral124
Wells Cathedral163
Gloucester Cathedral203
Worcester Cathedral229
Durham Cathedral296
York Cathedral326
Lincoln Cathedral350
Peterborough Cathedral376
Ely Cathedral392
Norwich Cathedral408

Cathedrals of Great Britain

Cathedrals of the UK


THE ARCHITECTURE OF THE CATHEDRALS OF GREAT BRITAIN

We are endeavouring to follow the traces of the handiwork of the great master-builders who have filled the English Isle with so many noble shrines, to mark the growth and development of the various styles and modes of building, and to endeavour to interpret their meaning. The story of the rise and fall of English Gothic art has a fascination that is all its own; and with the intention of endeavouring to realise its high aims, its strength and beauty, and to understand its true spirit, we will start on our pilgrimage to those fanes which it has reared to the honour and glory of the Most High. And as we watch the rise and progress of English Gothic art, we shall note that it is no exotic, no alien welcomed to our shores; but a true English native art, born in the brains and faith of our English forefathers, and nourished here with a nation's whole-hearted affection. French writers on architecture are accustomed to state that our English Gothic came from France, and that each stage and change were wrought by the influence of foreign masons and were borrowed from them. There could not be a greater error. The Anglo-Norman style was developed quite as much in this country as in Normandy, which was then a province of England. We shall see that English Gothic sprang into being in the choir of Lincoln. No foreign mason taught our English masons the secret of their art. Even Westminster, most French of all our buildings, and designed by a foreigner, is, in the language of Sir Gilbert Scott, "a great French thought expressed in excellent English." And while we have a style peculiarly our own, the Perpendicular of the fifteenth century, at that period the French with[2] their Flamboyant tracery were only imitating the flowing lines of our fourteenth-century Decorated. And as we study more carefully these examples of English Gothic art, we shall admire the great unknown toilers who built so surely and so well, who put their hearts and lives, affections and religion into their work; we shall reverence the relics of their handiwork which time has spared and love them exceedingly.

We are trying to trace the work of the great master builders who have filled England with so many impressive shrines, to highlight the growth and evolution of various building styles, and to understand their meaning. The story of English Gothic art’s rise and fall is uniquely captivating; with the aim of recognizing its high aspirations, strength, and beauty, and to grasp its true spirit, we will embark on our journey to those places it has created in honor of the Most High. As we observe the rise and progress of English Gothic art, we’ll realize that it's not an outsider or an import; it's a genuinely English art form, born from the ideas and faith of our ancestors and cherished by the nation. French architectural writers often claim that English Gothic originated in France and that every stage and change was influenced by foreign masons and adapted from them. This is a significant misconception. The Anglo-Norman style developed just as much in this country as it did in Normandy, which was then part of England. We will discover that English Gothic emerged in the choir of Lincoln. No foreign mason taught our English masons the secrets of their craft. Even Westminster, our most French building, designed by a foreigner, is, in the words of Sir Gilbert Scott, "a great French thought expressed in excellent English." While we have a distinctly British style, the Perpendicular style of the fifteenth century, during that time, the French with their flamboyant tracery were merely imitating the flowing lines of our fourteenth-century Decorated style. As we study these examples of English Gothic art more closely, we will admire the great unknown workers who built so skillfully and confidently, pouring their hearts, lives, love, and spirituality into their creations; we will honor the remains of their craftsmanship that time has preserved and hold them in high regard.

For the convenience of classification, mediæval architecture has been divided into four distinct styles or periods, and we must again chronicle the oft-told story of their varied peculiarities.

For easy classification, medieval architecture has been divided into four distinct styles or periods, and we must once again recount the familiar tale of their different characteristics.

I. The Norman style commenced in the reign of Edward the Confessor, whose work at Westminster (the sub-structure of the dormitory and the lower part of the walls of the refectory with the ornamental arcade) is declared to be the earliest example of the Norman style in England. This style prevailed to the time of Henry II., when a period of transition set in, and the style began to approximate to that of the succeeding century. The main characteristics of the Norman style are—cylindrical massive piers, round-headed arches, a great variety of mouldings such as zigzag, billet, double-cone, pellet, lozenge, beak-head, etc., small and narrow windows splayed only on the inside, buttresses slightly projecting from the wall. Some of the best examples of this style are the naves of Ely, Gloucester, Durham, and much Norman work is seen at Winchester, Exeter, Canterbury, Chester, Peterborough, Norwich, Rochester, Chichester, Oxford, Worcester, Wells and Hereford.

I. The Norman style began during the reign of Edward the Confessor, whose work at Westminster (the foundation of the dormitory and the lower part of the refectory walls with the decorative arcade) is recognized as the earliest example of the Norman style in England. This style lasted until the time of Henry II., when a transition period started, and the style began to evolve toward that of the next century. The main features of the Norman style include—solid cylindrical piers, round arches, a wide variety of decorative moldings such as zigzag, billet, double-cone, pellet, lozenge, beak-head, etc., small and narrow windows that are only splayed on the inside, and buttresses that slightly project from the wall. Some of the best examples of this style are the naves of Ely, Gloucester, Durham, and much Norman work can be seen in Winchester, Exeter, Canterbury, Chester, Peterborough, Norwich, Rochester, Chichester, Oxford, Worcester, Wells, and Hereford.

II. The Early English style began with the thirteenth century, in the reign of King John, the choir of Lincoln being the earliest example. Wearied with the Romanesque uncouth details of Norman art, the English masons were feeling after and finding a more excellent way, and discovered the beauties of Gothic architecture. This style flourished until the time of Edward I.; during his reign another period of transition set in, and this style gradually developed into the Decorated.

II. The Early English style started in the thirteenth century, during King John's reign, with the choir of Lincoln being the first example. Tired of the awkward details of Romanesque Norman art, English masons sought out a better approach and discovered the beauty of Gothic architecture. This style thrived until Edward I's time; during his reign, a new period of transition began, and this style gradually evolved into the Decorated.

Its main characteristics are lighter and more elegant forms of construction and decoration, pointed arches, often shaped like a surgeon's lancet, whence they derive their name, deeply undercut mouldings, dog-tooth ornament, piers formed of columns with detached shafts united under one capital, and bound together by a band, bell-shaped capitals, stiff-leaved foliage, trefoiled arches, plate-tracery. Early English work is seen in the choir of Lincoln, Worcester, Chichester, Salis[3]bury, Exeter, Wells, Rochester, York (south transept), Southwell, Ripon, Ely, Peterborough, Durham ("nine altars"), Glasgow.

Its main features include lighter and more elegant construction and decoration, pointed arches often resembling a surgeon's lancet, which is how they got their name, deeply cut mouldings, dog-tooth patterns, piers made of columns with separate shafts joined under one capital and tied together by a band, bell-shaped capitals, stiff-leaved foliage, trefoiled arches, and plate-tracery. Early English work can be seen in the choirs of Lincoln, Worcester, Chichester, Salisbury, Exeter, Wells, Rochester, York (south transept), Southwell, Ripon, Ely, Peterborough, Durham ("nine altars"), and Glasgow.

III. The Decorated style commenced in the fourteenth century, or a few years earlier, reached its zenith before the middle of the century, and ended with the reign of the third Edward. The period of transition between this style and the last is perhaps the era of the greatest beauty of English art. The characteristics of the style are, more elaborateness of detail and ornament, much larger windows with beautiful and complex tracery, heavier buttresses, piers with closely-joined shafts, not detached as before, sculpture closely imitating natural foliage, mouldings less deeply cut, the ball-flower ornament. Decorated work is very plentiful, and may be seen in the chapter-houses of Wells, Norwich, Winchester, Canterbury, also at York, Lichfield, Exeter, Carlisle, Lincoln, Southwell, and elsewhere. A period of transition again followed during the last half of the fourteenth century, during which the style developed into the Perpendicular.

III. The Decorated style started in the fourteenth century, or a few years earlier, peaked before the middle of the century, and ended with the reign of King Edward III. The transition period between this style and the previous one is probably the time when English art was at its most beautiful. The key features of this style include more intricate details and decorations, much larger windows with beautiful and complex patterns, sturdier buttresses, columns with closely joined shafts instead of separate ones as before, sculptures that closely mimic natural leaves, shallower moldings, and the ball-flower decoration. Decorated work is very abundant and can be found in the chapter houses of Wells, Norwich, Winchester, Canterbury, as well as York, Lichfield, Exeter, Carlisle, Lincoln, Southwell, and other places. Another transition period followed during the last half of the fourteenth century, during which the style evolved into the Perpendicular.

IV. The Perpendicular style prevailed during the fifteenth century and continued until the reign of Henry VIII., when the mediæval period ceased. This style is, as we have said, peculiar to England. In Scotland, where French influence was great, there are many examples of the Flamboyant style, which prevailed in France, and was scarcely known in England. This style is characterised by more elaborate and richer work, increased use of ornament and panelled decoration, peculiar window tracery (the mullions being carried straight up through the head of the window, while smaller mullions spring from the heads of the principal lights), much larger windows, depressed arches (Tudor arch), much heavier buttresses, mouldings carried up the piers and arches without any break or capital, cavetto (a wide and rather shallow variety), ogee, bowtell mouldings, the rose ornament, Tudor flower. The extensive use of panelling is always the hall-mark of the Perpendicular period. The choir of Gloucester is the earliest known example of this style, and King's College, Cambridge, St. George's Chapel, Windsor, and Henry VII.'s Chapel at Westminster, are the most perfect specimens of Perpendicular art.

IV. The Perpendicular style was popular during the fifteenth century and continued until the reign of Henry VIII, marking the end of the medieval period. This style is unique to England. In Scotland, where French influence was strong, there are many examples of the Flamboyant style, which was prevalent in France and hardly known in England. This style is marked by more elaborate and richer details, increased use of ornamentation and panelled decor, unique window tracery (with the mullions extending straight through the top of the window, while smaller mullions rise from the tops of the main lights), much larger windows, depressed arches (the Tudor arch), significantly heavier buttresses, and mouldings ascending the piers and arches without any breaks or capitals, including cavetto (a wide and rather shallow type), ogee, and bowtell mouldings, along with rose ornaments and Tudor flowers. The extensive use of panelling is always a hallmark of the Perpendicular period. The choir of Gloucester is the earliest known example of this style, while King's College, Cambridge, St. George's Chapel in Windsor, and Henry VII's Chapel at Westminster are the most perfect examples of Perpendicular art.

Then followed the Renaissance period, when classical and Roman features were mingled with the latest English style. There was an attempt to revive the Gothic style in the time of James I., but the foreign influence was too strong, and not till the close of the eighteenth century did this revival take place. The love of Gothic[4] art had never been quite extinguished in this country, and to the English people belongs the honour of restoring to its rightful place that style which has created so many superb and magnificent buildings instinctive of the faith and reverence which first called them into being.

Then came the Renaissance period, where classical and Roman elements blended with the latest English style. There was an effort to revive the Gothic style during the reign of James I, but the foreign influence was too dominant, and it wasn't until the late eighteenth century that this revival occurred. The appreciation for Gothic art had never completely faded in this country, and the English people deserve the credit for bringing back to prominence the style that has inspired the creation of so many impressive and grand buildings that embody the faith and reverence that originally inspired them.

In our cathedrals we have endless varieties of plan, construction, style and adornment, as well as in the associations connected with their histories. They derive their name from the Latin word Cathedra (Greek, [Greek: Kathedra]), signifying a seat, a cathedral church being that particular church of the diocese where the bishop's seat or throne is placed. If this church belonged to a monastery it was served by the monks, but many of our cathedrals were in the hands of secular canons, who were not monks, and should not be confused with the "regular" clergy. Monastic churches had always a complete series of monastic buildings—the cloister-court, the centre of a monk's life, around which were grouped the chapter-house, dormitory, refectory, infirmary, hospitium or guest-hall. Churches served by secular canons sometimes have a cloister, but this was added more as an ornament, and was not a necessity. The Reformation wrought many changes in our cathedrals. Out of the spoil of the monasteries Henry VIII. undertook to endow five new sees, and thus created the sees of Oxford, Peterborough, Chester, Gloucester and Bristol. These are called the cathedrals of the New Foundation, and with these are classed the monastic cathedrals which survived the shock of the Reformation, viz.: Canterbury, Winchester, Worcester, Rochester, Norwich, Ely, Durham, Carlisle. The cathedrals of the Old Foundation which survived, with some changes in their constitution, were York, London, Salisbury, Wells, Chichester, Hereford, Exeter, Lichfield and Lincoln, and the Welsh dioceses of St. David's, Llandaff, Bangor and St. Asaph. Episcopacy was finally banished from the Church of Scotland on the advent of William III.; hence the cathedrals in the northern country are so only in name. The Episcopal Church of Scotland has, of course, cathedrals, but most of these are modern. Since the Reformation in England, and especially in modern times, many new sees have been formed; these are Manchester, Liverpool, Ripon, St. Alban's, Southwell, Truro, Wakefield and Newcastle. The plan of our cathedrals is usually cruciform, formed by a nave with aisles, north and south transepts, central tower, choir and presbytery. Sometimes the plan is that of a double cross, there being a second or eastern transept towards the eastern end of the choir.[5]

In our cathedrals, we have countless designs, constructions, styles, and decorations, along with the various associations tied to their histories. They get their name from the Latin word Cathedra (Greek, [Greek: Kathedra]), which means a seat; a cathedral church is the specific church of the diocese where the bishop's seat or throne is located. If this church was part of a monastery, it was managed by monks, but many of our cathedrals were overseen by secular canons, who were not monks and should not be confused with the "regular" clergy. Monastic churches always included a full range of monastic buildings—the cloister-court, which was the center of a monk's life, surrounded by the chapter house, dormitory, refectory, infirmary, and guest hall. Churches governed by secular canons might have a cloister, but this was usually added as an ornament and wasn’t essential. The Reformation brought many changes to our cathedrals. From the wealth of the monasteries, Henry VIII established five new sees, creating the sees of Oxford, Peterborough, Chester, Gloucester, and Bristol. These are referred to as the cathedrals of the New Foundation, along with the monastic cathedrals that withstood the upheaval of the Reformation, namely: Canterbury, Winchester, Worcester, Rochester, Norwich, Ely, Durham, and Carlisle. The cathedrals of the Old Foundation that survived, albeit with some changes in their structure, were York, London, Salisbury, Wells, Chichester, Hereford, Exeter, Lichfield, and Lincoln, as well as the Welsh dioceses of St. David's, Llandaff, Bangor, and St. Asaph. Episcopacy was ultimately eliminated from the Church of Scotland with the arrival of William III, meaning that the cathedrals in the northern part of the country are only cathedrals by name. The Episcopal Church of Scotland does have cathedrals, but most of them are modern. Since the Reformation in England, particularly in recent times, many new sees have been created, including Manchester, Liverpool, Ripon, St. Alban's, Southwell, Truro, Wakefield, and Newcastle. The layout of our cathedrals is typically cruciform, consisting of a nave with aisles, north and south transepts, a central tower, a choir, and a presbytery. Sometimes the layout resembles a double cross, featuring a second or eastern transept at the eastern end of the choir.[5]

Our inspection of the exterior begins first by trying to obtain a good general view of the building. We notice the remains of the walls and gates which guarded the close, or precincts of the cathedral. Within these walls the bishop's power was supreme. If sanctuary was claimed by a fugitive from justice, here he was safe; and the clergy and the serving-men were free from the ordinary law, and could be tried only by the ecclesiastics.

Our inspection of the exterior starts with trying to get a good overall view of the building. We see the remnants of the walls and gates that protected the area around the cathedral. Inside these walls, the bishop had total authority. If someone on the run sought refuge, they would be safe here; the clergy and staff were exempt from regular laws and could only be judged by church officials.

Then we notice the west front, usually a fine screen of stone-work, wherein are enshrined in niches weather-worn statues telling of the men of old who had done well in their days for their Church and realm.

Then we notice the west front, usually a beautiful stone facade, featuring weathered statues in niches that commemorate the great men of the past who served their Church and kingdom well in their time.

Passing to the north we see the central tower, possibly Norman as high as the roof, with a superstructure of later times. The pitch of the roof may have been altered in later times from a high pitch to a flat one, and the marks of the old roof may often be seen on the tower walls. Just below the eaves is the range of clerestory windows. Flying buttresses connecting the buttresses of the outer wall with those of the inner are frequent and produce a very graceful effect. Niches for statues are often carved upon the buttresses. Curious grotesquely-carved heads, called gargoyles, look down upon us from the gutters of the roof. The tracery of the windows is no indication of the age of the walls, as they have frequently been inserted in place of others of an older period. The porch is a large structure, and sometimes has a chamber, called a parvise, over it. The object of this chamber cannot always be determined. Sometimes it was the abode of the sacristan, and occasionally it was set apart for the use of an anchorite or recluse. The monastic buildings are usually on the south side in Benedictine monasteries, but sometimes on account of the nature of the ground they are on the north.

Passing to the north, we see the central tower, possibly Norman, reaching up to the roof, with later structural additions. The pitch of the roof may have been changed over time from steep to flat, and you can often see the marks of the old roof on the tower walls. Just below the eaves are the clerestory windows. Flying buttresses connecting the outer wall’s buttresses to those inside are common and create a very graceful effect. Niches for statues are often carved into the buttresses. Oddly-shaped, grotesque heads, known as gargoyles, gaze down at us from the roof’s gutters. The design of the windows doesn’t indicate the age of the walls, as they have often been replaced by newer ones. The porch is a large structure, and sometimes there’s a chamber above it, called a parvise. The purpose of this chamber isn’t always clear. Sometimes it was where the sacristan lived, and occasionally it was reserved for an anchorite or recluse. Monastic buildings are typically located on the south side in Benedictine monasteries, but sometimes, due to the terrain, they end up on the north side.

On entering the church we view the nave, which is usually in three storeys—the main arcade, the triforium, which opens into a gallery or passage, and the clerestory. Sometimes the choir occupies two bays of the nave, but usually begins with the screen placed on the east side of the central tower. This screen was formerly the rood-screen, and a large crucifix stood on it; but at the Reformation all roods were destroyed, and sometimes the organ stands in its place.

On entering the church, we see the nave, which typically has three levels—the main arcade, the triforium that leads to a gallery or passage, and the clerestory. Sometimes the choir takes up two sections of the nave, but it usually starts with the screen located on the east side of the central tower. This screen used to be the rood-screen, with a large crucifix on it; however, during the Reformation, all crucifixes were removed, and sometimes the organ is placed there instead.

Entering the choir we see before us the high altar with a fine reredos behind it, so called from the French L'arrière-dos, meaning "embroidered hangings." On the south of this is the piscina, con[6]sisting of a hollow basin with a stone-drain, wherein the priest cleansed the sacred vessels after using them in the Holy Eucharist. On the same side are the sedilia, or stone seats for the clergy, frequently with richly-carved canopies. Then there are the beautifully-carved stalls with fine tabernacle work, and the sub-sellæ or misereres (French, miséricorde) with their quaint carvings. It is a popular error, gravely perpetrated by some cathedral vergers and others, to suppose these misereres were a kind of ingenious trap for sleepy monks, who, when the heavy seat fell down with a loud bang, were detected in slumber and forced to do penance. They were so placed as a concession to human weakness in order that the monks or canons might lean against them during the long mediæval services, when sitting was not allowed. The eastern portion of the choir is called the presbytery.

Entering the choir, we see the high altar with an impressive reredos behind it, named after the French term L'arrière-dos, which means "embroidered hangings." To the south of this is the piscina, which consists of a hollow basin with a stone drain, where the priest cleansed the sacred vessels after using them during the Holy Eucharist. On the same side are the sedilia, or stone seats for the clergy, often featuring richly-carved canopies. Then there are the beautifully-carved stalls with intricate tabernacle work, and the sub-sellæ or misereres (French, miséricorde) with their charming carvings. It is a common misconception, seriously maintained by some cathedral vergers and others, that these misereres were a sort of clever trap for sleepy monks, who, when the heavy seat dropped down with a loud bang, would be caught napping and forced to atone. They were placed there as a concession to human frailty so that the monks or canons could lean against them during the long medieval services, when sitting was not allowed. The eastern section of the choir is called the presbytery.

We pass to the north aisle of the choir and proceed to the ambulatory, processional path, or retro-choir. Here, at the back of the altar, was the chief shrine, where the relics of some great saint were preserved under a gorgeous cover decorated with gold and silver and precious jewels, to which crowds of pilgrims flocked, and there prayed and gazed upon the wondrous shrine, and made their offerings. The steps and pavement leading to the shrine often still show by their worn condition the evidence of the tread of countless numbers of pilgrims. Near the shrine was a watching chamber, where a monk stayed to guard the shrine and its treasures.

We move to the north aisle of the choir and head toward the ambulatory, the processional path, or retro-choir. Here, at the back of the altar, was the main shrine, where the relics of a great saint were kept under a beautiful cover adorned with gold, silver, and precious jewels. Crowds of pilgrims flocked here to pray, admire the marvelous shrine, and leave their offerings. The steps and pavement leading to the shrine still show signs of wear from the countless pilgrims who have come before. Close to the shrine was a watching chamber, where a monk stayed to protect the shrine and its treasures.

Eastward of the ambulatory is usually the Lady Chapel, where the altar of the Virgin stood; and here, and in other parts of the church, are numerous chantry chapels, sometimes built on to the church, or in the church itself, containing effigies of the founders and altar tombs, where masses were said by specially-endowed chantry priests for the repose of the souls of the deceased and their families. Some effigies of knights and warriors have their legs crossed. It is another popular error to suppose that this fashion of representing the deceased had anything to do with the Crusades. Beneath some portion of the church we find a crypt with the remains of numerous altars, where masses were said for the souls of those who lie buried here.

East of the ambulatory is usually the Lady Chapel, where the altar of the Virgin is located; and here, along with other areas of the church, are many chantry chapels, sometimes added to the church or built within it, featuring effigies of the founders and altar tombs. Masses were said by privately funded chantry priests for the souls of the deceased and their families. Some effigies of knights and warriors have their legs crossed. It's also a common misconception that this way of depicting the deceased was linked to the Crusades. Below part of the church, there is a crypt containing the remains of numerous altars, where masses were said for the souls of those buried here.

A door on the south side of the church leads to the cloister court; immediately on the left as we traverse the east walk we see the slype or passage leading to the monks' cemetery. Another door from this walk leads to the chapter-house, where the monks assembled daily to arrange the affairs of the monastery, enforce its discipline,[7] assign the duties of the day and transact other business. On the same side of the cloister was the dormitory; the refectory was on the south; the uses of the buildings on the west side varied in different houses.

A door on the south side of the church leads to the cloister court. Immediately to the left as we walk along the east path, we see the slype or passage leading to the monks' cemetery. Another door from this path leads to the chapter house, where the monks gathered daily to manage the monastery's affairs, enforce its rules,[7] assign daily tasks, and handle other business. On the same side of the cloister was the dormitory; the dining hall was on the south side; the purpose of the buildings on the west side varied across different houses.

As we see our cathedrals now, the view that meets us differs much from that which would have greeted us in mediæval times. Then all was ablaze with colours. Through the beautiful ancient glass the light gleamed on tints of gorgeous hues, on rich tapestries and hangings, on walls bedight with paintings, and every monument, pier and capital were aglow with coloured decorations. We have lost much, but still much remains. At the Reformation the avaricious courtiers of Henry VIII. plundered our sacred shrines, and carried off under the plea of banishing superstition vast stores of costly plate and jewels, tapestry and hangings. In the Civil War time riotous fanatical soldiery wrought havoc everywhere, hacking beautifully-carved tombs and canopies, destroying brasses, and mutilating all that they could find. Ages of neglect have also left their marks upon our churches; and above all, the hand of the ignorant and injudicious "restorer" has fallen heavily on these legacies of Gothic art, destroying much that was of singular beauty, and replacing it by the miserable productions of early nineteenth-century fabrication.

As we look at our cathedrals today, the view that meets us is very different from what would have greeted us in medieval times. Back then, everything was vibrant with colors. Through the beautiful ancient stained glass, light shone on rich hues, stunning tapestries and hangings, walls adorned with paintings, and every monument, pier, and capital was illuminated by colorful decorations. We've lost a lot, but there's still plenty that remains. During the Reformation, the greedy courtiers of Henry VIII plundered our sacred sites, taking off vast amounts of valuable plates and jewels, tapestries, and hangings under the guise of eliminating superstition. In the Civil War, fanatical soldiers wreaked havoc everywhere, hacking at beautifully crafted tombs and canopies, destroying brasses, and mutilating everything they could find. Centuries of neglect have also left scars on our churches, and most notably, the hands of ignorant and careless "restorers" have severely impacted these treasures of Gothic art, destroying much that was uniquely beautiful and replacing it with the pathetic creations of early nineteenth-century craftsmanship.

But in spite of all the evils that have been wrought, in spite of Puritan iconoclasm and Reformation violence, in spite of natural decay, eighteenth-century lethargy, and the intemperate zeal of unwise and tasteless modern restorers, our cathedrals still preserve much of their ancient beauty and attractiveness. They are standing witnesses to the greatness of the masons and builders who fashioned and perfected our English Gothic art, "an art that was created here in this land according to our native instincts, and in accord with the sober dress of our skies and the simple pleasantness of our scenery."[1] A man cannot fail to love that English art, whether he has been born amongst it like ourselves, or has come wonderingly on its simplicity from all the grandeur over seas.

But despite all the damage that's been done, despite Puritan iconoclasm and Reformation violence, despite natural decay, eighteenth-century complacency, and the reckless enthusiasm of unwise and tasteless modern restorers, our cathedrals still retain much of their ancient beauty and charm. They stand as enduring testimony to the greatness of the masons and builders who crafted and refined our English Gothic art, "an art that was created here in this land according to our native instincts, and in line with the sober tones of our skies and the simple beauty of our scenery."[1] A person can't help but appreciate that English art, whether they were born in it like us or have discovered its simplicity after experiencing grandeur from overseas.


ST. PAUL'S CATHEDRAL

The great Cathedral of St. Paul has abundant claims to the love and veneration of every Englishman. Situated in the heart of the city of London, it has ever been associated with the religious, social and civic life of the people; and as the great national Cathedral of England all the principal events in our country's annals have been connected with St. Paul's. Without doubt it is the finest and grandest building in London, if not in the world. Comparing it with St. Peter's at Rome, we find that its dimensions are, of course, much smaller, though its grace and beauty are in no way inferior to the magnificent conception of Michael Angelo. It is the shrine of our national heroes, the chef d'œuvre of a great genius; its massive dome surmounted by a golden cross greets the traveller returning from beyond seas; its walls have echoed with the strains of high thanksgiving on the occasion of national victories and blessings, when kings and queens have come in solemn state to render thanks to Him who is the King of kings and Lord of lords. Just as Westminster was ever the church of the king and the government, so St. Paul's was the church of the citizens.

The great Cathedral of St. Paul deserves the love and respect of every English person. Located in the heart of London, it has always been linked to the religious, social, and civic life of the people; as the main national Cathedral of England, many key events in our country's history have taken place at St. Paul's. Undoubtedly, it is the finest and most impressive building in London, if not in the world. Compared to St. Peter's in Rome, its size is obviously smaller, yet its elegance and beauty are just as remarkable as Michael Angelo's grand design. It is the resting place of our national heroes, the chef d'œuvre of a brilliant mind; its massive dome, topped with a golden cross, welcomes travelers returning from overseas; its walls have resonated with hymns of gratitude during national victories and blessings, when kings and queens have come in formal ceremonies to give thanks to Him who is the King of kings and Lord of lords. Just as Westminster has always been the church of the monarchy and the government, so St. Paul's has been the church of the citizens.

The prominent place which St. Paul's takes in the national and social life of England, in the great functions of Church and State, and in promoting the religious life of the people, is worthy of its best traditions, and at no time during its long history has it taken a higher place in the affections of the nation.

The important role that St. Paul's plays in the national and social life of England, in the major events of the Church and State, and in supporting the religious life of the people, lives up to its best traditions, and at no point in its long history has it held a more cherished place in the hearts of the nation.

The Older Cathedrals of St. Paul's

The Historic Cathedrals of St. Paul's

The present Cathedral, erected by the skill and genius of Sir Christopher Wren, is the third sacred edifice built upon this site. Indeed, Camden and certain early fanciful historians tell us of a Roman temple dedicated to Diana which they assert once stood here, erected during the time of the Diocletian persecution upon the site of an early Christian church. It is, however, certain that when Sir Christopher sank his foundations for the present building, he found beneath the interred bodies of mediæval times several Saxon stone coffins,[9] and at a still lower depth Celtic and Roman remains, showing that the site had been set apart as a cemetery from very early times.

The current Cathedral, built by the talent and creativity of Sir Christopher Wren, is the third religious building on this site. In fact, Camden and some early imaginative historians mention a Roman temple dedicated to Diana that they claim used to be here, built during the Diocletian persecution on the site of an earlier Christian church. However, it's clear that when Sir Christopher dug the foundations for the current structure, he uncovered several Saxon stone coffins from medieval times, [9] and even deeper, Celtic and Roman remains, indicating that the site has been used as a cemetery since very early times.

The earliest church of which we have sure records was erected in Saxon times by good King Ethelbert of Kent in the year 610. St. Mellitus, the companion of St. Augustine, was the first English Bishop of London,[2] who came there in order to convert the East Saxons. Siebert, their king, joined with his uncle, Ethelbert, in building the Cathedral church, and the former probably founded the monastery of St. Peter called Westminster on Thorney Island, a place then "terrible from its desolate aspect—a mass of marsh and brushwood."

The earliest church that we have clear records of was built during Saxon times by the good King Ethelbert of Kent in the year 610. St. Mellitus, who was a companion of St. Augustine, became the first English Bishop of London,[2] and he came to the area to convert the East Saxons. Their king, Siebert, partnered with his uncle Ethelbert to construct the Cathedral church, and he likely founded the monastery of St. Peter, known as Westminster, on Thorney Island, a place that was then “terrible from its desolate aspect—a mass of marsh and brushwood.”

But the Londoners loved their Paganism, and took not kindly to the new faith. The men of the "emporium of many nations" clung to their worship of Wodin and Thor, and not even the wise words of Mellitus in the new Cathedral could win them. It was the original design of Pope Gregory, who sent Augustine to our shores, to make the Cathedral of London the Metropolitan Church of England—a design which Augustine could not carry out on account of the violent opposition of the Pagan-loving people. Hence Canterbury was elevated to the position of the Metropolitan Church. Thirty-eight years passed away. At length the fiery spirit of the Londoners was subdued after three great missionary efforts, and they gradually learned the story of the cross. The Cathedral was beautified by Bishop Cedd, brother of St. Cedd or Chad of Lichfield, and Sebbe, King of Essex, and was fortunate in having St. Erkenwald as the fourth Bishop of London, who wrought great wonders and attracted many converts, restoring wealth and honour to his Cathedral. To his memory a golden shrine was erected which was much frequented by pilgrims. Saxon kings gave of their wealth to the endowment of the Cathedral, and many rich lands were granted to it, as the ancient charters bear witness.

But the people of London loved their Paganism and didn’t take kindly to the new faith. The residents of the "emporium of many nations" clung to their worship of Wodin and Thor, and not even Mellitus’s wise words in the new Cathedral could convince them. Pope Gregory originally intended for Augustine, whom he sent to our shores, to make the Cathedral of London the Metropolitan Church of England—a plan Augustine couldn’t execute due to the strong opposition from the Pagan-loving populace. As a result, Canterbury was elevated to become the Metropolitan Church. Thirty-eight years went by. Finally, the fiery spirit of the Londoners was calmed after three significant missionary attempts, and they slowly began to learn the story of the cross. The Cathedral was beautified by Bishop Cedd, brother of St. Cedd or Chad of Lichfield, and Sebbe, King of Essex, and was fortunate to have St. Erkenwald as the fourth Bishop of London, who performed great wonders and attracted many converts, restoring wealth and honor to his Cathedral. In his memory, a golden shrine was erected that was frequently visited by pilgrims. Saxon kings contributed their wealth to the Cathedral's endowment, and many rich lands were granted to it, as attested by the ancient charters.

Fire has always been a great foe to St. Paul's. A very destructive conflagration raged in 961 A.D., and again in 1086 the Cathedral was wholly destroyed. We have no means of knowing what kind of architecture characterised this earliest fane, but probably it possessed round arches of stone, massive piers, and the usual characteristics of the Saxon style.

Fire has always been a major enemy to St. Paul's. A devastating fire broke out in 961 CE, and once more in 1086 the Cathedral was completely destroyed. We have no way of knowing what the architecture of this earliest church was like, but it likely featured round stone arches, sturdy columns, and the typical traits of the Saxon style.

The energy of the English people is evident to all who study our national annals. When any alarming catastrophe occurs, immediately they arise to repair the disaster. As it was in the seventeenth century when the Great Fire swept over London and laid the city low, so it was in the eleventh. The Saxon church had no sooner been reduced to a heap of ruins than the Norman builders began to rear another noble pile. Bishop Maurice was the designer of this great edifice, which existed until the time of the Great Fire, though it was greatly injured by a fire in 1136.

The energy of the English people is clear to anyone who studies our national history. Whenever a major disaster happens, they quickly step up to fix the damage. Just like in the seventeenth century when the Great Fire devastated London, the same happened in the eleventh century. The Saxon church was barely in ruins when the Norman builders started to construct another impressive structure. Bishop Maurice designed this great building, which stood until the Great Fire, although it was badly damaged by a fire in 1136.

A very noble church it must have been, with its walls ablaze with colour, richly-canopied tombs, pictures and frescoes, books, and vestments glittering with gold, silver and precious stones. It was the largest Cathedral in England.

A very impressive church it must have been, with its walls filled with vibrant colors, ornate tombs, paintings and frescoes, books, and vestments shining with gold, silver, and precious stones. It was the largest cathedral in England.

Old pictures tell us that it was cruciform, with a high tower and spire in the centre. The nave was long and noble, built in Norman style, having twelve bays. William of Malmesbury describes it as being "so stately and beautiful that it was worthily numbered amongst the most famous buildings." At the west end were two towers for bells, and sometimes used as prisons. The central tower had flying buttresses. Besides the high altar there were seventy or eighty chantries, with their own altars all ablaze with rich draperies. St. Paul's was also very rich in relics, among the number of which were two arms of St. Mellitus, a knife of our Lord, some hair of Mary Magdalene, blood of St. Paul, milk of the Virgin, the hand of St. John, the skull of Thomas à Becket, the head of King Ethelbert. But "the pride, glory and fountain of wealth" to St. Paul's was the body of St. Erkenwald, covered with a golden shrine, behind the high altar. Dean Milman states that in the year 1344 the offerings made by pilgrims alone amounted to £9000. The choir was rebuilt in 1221, and the Lady Chapel added in 1225. There was a very large east window, and a rose window over it. Buttresses crowned with pinnacles and adorned with niches supported the walls. The interior view, judging from Hollar's engraving, must have been very fine. The pillars and arches were Late Norman. The choir consisted of twelve bays and was finished about the end of the thirteenth century. We have few records to tell us about the details of the building of this old St. Paul's. In 1312 the nave was paved with marble, and two years later a spire of wood was raised to the height of 460 feet, then the highest in the world. This was damaged and ultimately destroyed by lightning.

Old pictures show that it had a cross shape, with a tall tower and spire in the center. The nave was long and impressive, built in Norman style, with twelve sections. William of Malmesbury described it as "so stately and beautiful that it deserved to be counted among the most famous buildings." At the west end, there were two towers for bells, which were sometimes used as prisons. The central tower featured flying buttresses. In addition to the high altar, there were seventy or eighty chapels, each with its own altar, all adorned with rich draperies. St. Paul's was also filled with valuable relics, including two arms of St. Mellitus, a knife of our Lord, some hair of Mary Magdalene, blood of St. Paul, milk of the Virgin, the hand of St. John, the skull of Thomas à Becket, and the head of King Ethelbert. But "the pride, glory, and fountain of wealth" for St. Paul's was the body of St. Erkenwald, enclosed in a golden shrine behind the high altar. Dean Milman noted that in 1344, offerings made by pilgrims alone totaled £9,000. The choir was rebuilt in 1221, and the Lady Chapel was added in 1225. There was a very large east window, with a rose window above it. The walls were supported by buttresses topped with pinnacles and decorated with niches. The interior, based on Hollar's engraving, must have been quite impressive. The pillars and arches were Late Norman in style. The choir, which had twelve sections, was completed around the end of the thirteenth century. We have few records detailing the construction of this old St. Paul's. In 1312, the nave was paved with marble, and two years later, a wooden spire was raised to a height of 460 feet, making it the tallest in the world at that time. This was damaged and eventually destroyed by lightning.

ST. PAUL'S FROM CHEAPSIDE

St. Paul's from Cheapside

The Precincts

The Districts

We will now examine the precincts of the Cathedral. A wall surrounded the vast space which extended from Carter Lane on the south to Creed Lane and included Paternoster Row. This wall had six gates, the site of two of which is marked by St. Paul's Alley and Paul's Chain. The Bishop's Palace occupied the north-west corner of this space, and on the north were some cloisters decorated with mural paintings representing the Dance of Death, a favourite subject of mediæval painters, of which Holbein's conceptions are best known. This cloister was on the site of Pardon Churchyard, where a chapel was founded by Gilbert à Becket, the father of St. Thomas of noted memory. The chapter-house stood on the south side of the Cathedral, and was a very beautiful structure, so beautiful that Protector Somerset coveted the materials for his palace in the Strand, and took down and removed them.

We will now look at the area around the Cathedral. A wall enclosed the large space that stretched from Carter Lane in the south to Creed Lane and included Paternoster Row. This wall had six gates, two of which are now marked by St. Paul's Alley and Paul's Chain. The Bishop's Palace was situated in the northwest corner of this area, and to the north, there were some cloisters decorated with mural paintings depicting the Dance of Death, a popular theme among medieval painters, with Holbein's versions being the most well-known. This cloister was located where Pardon Churchyard is now, where Gilbert à Becket, the father of the famous St. Thomas, founded a chapel. The chapter-house was on the south side of the Cathedral and was a stunning structure, so beautiful that Protector Somerset desired the materials for his palace in the Strand and dismantled and removed them.

At the north-east corner of the precincts stood the famous Paul's Cross, the scene of so many famous preachings and strange events, where folk-motes were held, Papal bulls promulgated, Royal proclamations made, excommunications and public penances declared, and sometimes riots and tumults excited. Paul's Cross played a very prominent part in the history of old London. Near the Pardon Churchyard once stood the Parish Church of St. Faith, called the Chapel of Jesus; but this was destroyed, and the parishioners received in lieu of it a church in the crypt of the Cathedral. Fuller, remarking on this and on the existence of the Parish Church of St. Gregory on the Thames side of the Cathedral, quaintly observed, "St. Paul's may be called the Mother Church indeed, having one babe in her body and another in her arms."

At the northeast corner of the area stood the famous Paul's Cross, the site of many notable sermons and strange happenings, where gatherings were held, Papal bulls were announced, Royal proclamations were issued, excommunications and public penances were declared, and sometimes riots and disturbances occurred. Paul's Cross played a significant role in the history of old London. Near the Pardon Churchyard once stood the Parish Church of St. Faith, also known as the Chapel of Jesus; but this was destroyed, and the parishioners were given a church in the Cathedral's crypt instead. Fuller, commenting on this and on the existence of the Parish Church of St. Gregory on the Thames side of the Cathedral, humorously noted, "St. Paul's may be called the Mother Church indeed, having one babe in her body and another in her arms."

St. Paul's was the centre of the life of London. Its great bell summoned the London citizens to their three annual folk-motes at Paul's Cross, where all the municipal business of the city was transacted, disputes settled, grievances stated and rights vindicated. Very turbulent and jealous of their liberties were these good citizens, and even the sovereign will of kings and queens must bow before the noisy clamours of the burghers of London. The bell of St. Paul's, like that of its famous brother "Roland" at Ghent, seemed endowed with a human voice when it summoned the multitudes to their meeting-place at the Cross, and declared in loud tones the will of the people.[14]

St. Paul's was the center of life in London. Its big bell called the citizens to their three annual gatherings at Paul's Cross, where all the city's business was handled, disputes were settled, complaints were voiced, and rights were defended. These citizens were very passionate and protective of their freedoms, and even the authority of kings and queens had to yield to the loud demands of the people of London. The bell of St. Paul's, much like its famous counterpart "Roland" at Ghent, seemed to have a human quality as it gathered the crowds to their meeting place at the Cross, boldly voicing the will of the people.[14]

Historical Events

Historical Events

The citizens might well love to have their church in their midst, for the ecclesiastical power was very strong, and often enabled them to defy the will of tyrannical kings or troublesome barons. In the time of the Conqueror, Bishop William of London obtained from the king a renewal of their privileges of which the monarch had deprived them. In gratitude for this benefit, the mayor, aldermen and livery companies of London used to visit the tomb of the good bishop in grand procession, in order to pray for his soul, and to commemorate his great services.

The citizens likely loved having their church nearby because the church held a lot of power, which often allowed them to stand up to oppressive kings or annoying barons. During the time of the Conqueror, Bishop William of London got the king to restore their privileges that the monarch had taken away. As a gesture of gratitude for this favor, the mayor, aldermen, and livery companies of London would visit the tomb of the good bishop in a grand procession to pray for his soul and honor his significant contributions.

In the reign of Stephen civil war raged, and the country was divided into hostile camps, one siding with the king and the other with the Empress Maud. The citizens of London were not doubtful in their opinions. They rang the great bell of St. Paul's, summoned their folk-mote, and loudly declared that it was the privilege of the citizens of their great city to elect a sovereign for England, and with one voice supported Stephen.

In King Stephen's reign, civil war broke out, and the country was split into opposing groups, one supporting the king and the other backing Empress Maud. The people of London were clear about where they stood. They rang the huge bell of St. Paul's, called a gathering of their citizens, and boldly stated that it was their right as residents of this great city to choose a ruler for England, unanimously backing Stephen.

Thomas à Becket, Archbishop of Canterbury, was a favourite of the citizens, though hated by his sovereign. Gilbert à Becket, his father, had a shop in Cheapside on the site of Mercers' Hall, whither the fair Saracen is said to have followed him from the Holy Land, where he had gone on a Crusade. He built a chapel in the churchyard of St. Paul, and his son, the famous archbishop, was well known to the citizens. Gilbert Foliot, Bishop of London, however, had taken the side of the king, Henry II., in the fatal quarrel, and aroused the anger of the prelate. A curious scene took place in consequence in old St. Paul's. A priest was celebrating mass, when a man approached, thrust a paper into his hand, and cried aloud, "Know all men that Gilbert, Bishop of London, is excommunicated by Thomas, Archbishop of Canterbury." The news spread fast among the citizens. Foliot at first attempted to defy the dread sentence; but he knew something of the nature of the citizens of London, and wisely bowed before the decree, which the people were quite willing to enforce.

Thomas à Becket, Archbishop of Canterbury, was beloved by the citizens but despised by his king. His father, Gilbert à Becket, owned a shop in Cheapside where Mercers' Hall now stands, and the fair Saracen is said to have followed him there from the Holy Land after he went on a Crusade. He built a chapel in the churchyard of St. Paul, and his son, the renowned archbishop, was well-known among the locals. However, Gilbert Foliot, the Bishop of London, had sided with King Henry II in the disastrous conflict, which angered Thomas. A strange event occurred in old St. Paul's as a priest was performing mass; a man approached, handed him a paper, and shouted, "Let everyone know that Gilbert, Bishop of London, is excommunicated by Thomas, Archbishop of Canterbury." The news spread quickly among the citizens. Foliot initially tried to defy the terrifying sentence, but he understood the resolve of the Londoners and wisely submitted to the decree that the people were more than willing to uphold.

St. Paul's was the scene of a memorable council in the reign of Richard Cœur de Lion, who was crusading in Palestine. The bishops, together with the king's brother John, met in the nave and condemned Longchamp to resign the office of justiciary, and to surrender the castles which he held in the name of the king. During this reign a factious demagogue, William Fitz-Osbert,[15] equally distinguished by the length of his beard and the vehemence of his eloquence, called the people together at Paul's Cross, and excited them to rebel against their oppressors. Bishop Hubert, however, calmed the multitude on the eve of a formidable rising. The people deserted their leader, who took refuge in St. Mary-le-Bow Church, which was set on fire, and Fitz-Osbert suffered death at the hands of the hangman. Thus from the tyranny of a Royal favourite, and from that of a mob orator, the people were saved by the influence of the Church in St. Paul's Cathedral.

St. Paul's was the site of a significant council during the reign of Richard the Lionheart, who was on a crusade in Palestine. The bishops, along with the king's brother John, gathered in the nave and demanded that Longchamp resign from his position as justiciar and give up the castles he controlled in the king's name. During this time, a rebellious demagogue named William Fitz-Osbert,[15] known for the length of his beard and passionate speeches, rallied the people at Paul's Cross, urging them to revolt against their oppressors. However, Bishop Hubert managed to calm the crowd just before a major uprising. The people abandoned their leader, who then sought refuge in St. Mary-le-Bow Church, which was set ablaze, and Fitz-Osbert met his end at the hands of the executioner. In this way, the Church at St. Paul's Cathedral protected the people from both the tyranny of a royal favorite and a mob leader.

A still greater service did St. Paul's render to England. Here was assembled a grand concourse of bishops, abbots, deans, priors and barons, to withstand the oppressive lawlessness of King John. Here Magna Charta was first devised. Here, at the instigation of Archbishop Langton, the barons and chief men swore to maintain the principles of the Charta, and to protect the liberties of Englishmen.

A great service that St. Paul's provided to England was the gathering of a large assembly of bishops, abbots, deans, priors, and barons to oppose the oppressive lawlessness of King John. This was where the Magna Carta was first created. At the urging of Archbishop Langton, the barons and leading figures pledged to uphold the principles of the Charter and protect the rights of English citizens.

St. Paul's also set itself in opposition to the authority of the Pope; and when a Papal legate sought to enthrone himself in St. Paul's, he was openly resisted by Cantelupe, Bishop of Worcester. Boniface of Savoy, "the handsome Archbishop," brought with him fashions strange enough to English folk. His armed retainers pillaged the markets, and he felled to the ground, with his own fist, the prior of St. Bartholomew, Smithfield, who presumed to oppose his visitation. He came to St. Paul's to demand first-fruits from the Bishop of London, but deemed it advisable to wear armour beneath his robes. He found the gates of the Cathedral closed against him; but he fared better than two canons of the Papal party, who were killed by the citizens a few years later when they attempted to enter St. Paul's. London was aroused by these Italian priests, and the citizens at length besieged Lambeth Palace and drove the obnoxious archbishop beyond seas.

St. Paul's also opposed the authority of the Pope, and when a Papal legate tried to take his seat at St. Paul's, Cantelupe, the Bishop of Worcester, openly resisted him. Boniface of Savoy, known as "the handsome Archbishop," brought with him some pretty strange fashions for the English. His armed followers looted the markets, and he even knocked down the prior of St. Bartholomew in Smithfield who dared to challenge his visit. He came to St. Paul's to demand the first-fruits from the Bishop of London but thought it wise to wear armor under his robes. He found the Cathedral gates closed against him, but he had better luck than two canons from the Papal party who were killed by the citizens a few years later when they tried to enter St. Paul's. London was stirred up by these Italian priests, and the citizens eventually besieged Lambeth Palace and forced the disliked archbishop to flee overseas.

Again and again the tocsin sounded, as St. Paul's bell rang clear and loud, and the citizens seized their weapons and formed their battalions beneath the shadow of the great church. Now it was to help Simon de Montfort against the king; now to seize the person of the obnoxious Queen Eleanor, who was trying to escape by water from the Tower to Windsor, and who was rescued from their hands by the Bishop of London, and found refuge in his palace. Now the favourites of Edward II. excited their rage, especially the Bishop of Exeter, the king's regent, who dared to[16] ask the Lord Mayor for the keys of the city, and paid for his temerity with his life.

Once again, the alarm rang out as St. Paul's bell chimed loudly, and the citizens grabbed their weapons and formed their groups beneath the shadow of the grand church. Sometimes it was to support Simon de Montfort against the king; other times it was to capture the disliked Queen Eleanor, who was trying to escape by boat from the Tower to Windsor. She was rescued from their grasp by the Bishop of London and found refuge in his palace. The favorites of Edward II. stirred up their anger, especially the Bishop of Exeter, the king's regent, who had the audacity to ask the Lord Mayor for the keys to the city, and paid for his boldness with his life.

An incident which shows the attachment of the people to their church and bishop occurred in the reign of the third Edward. Wycliffe was summoned by Bishop Courtenay to appear before a great council at St. Paul's. But the reformer did not come alone; to the surprise of his accusers he arrived attended by a large following of friends, among whom were John of Gaunt and Lord Percy. These powerful supporters of Wycliffe attacked the bishop with angry words.

An event that highlights the people's devotion to their church and bishop took place during the reign of King Edward III. Wycliffe was called by Bishop Courtenay to appear before a major council at St. Paul's. However, the reformer didn't show up by himself; to the shock of his accusers, he arrived with a significant group of supporters, including John of Gaunt and Lord Percy. These influential allies of Wycliffe confronted the bishop with fierce words.

News was flashed among the citizens that John of Gaunt had threatened their bishop and vowed to drag him out of the church by the hair. They gathered together in angry crowds, and would have slain the duke and sacked his palace, the Savoy, in the Strand, if the bishop had not interfered on behalf of his enemy. Wycliffe and Lollardism did not then find much favour with the people of London.

News spread among the citizens that John of Gaunt had threatened their bishop and vowed to drag him out of the church by his hair. They gathered in angry crowds and would have killed the duke and looted his palace, the Savoy, in the Strand, if the bishop hadn't intervened for his enemy. Wycliffe and Lollardism weren't very popular with the people of London at that time.

There were reformers within the Church who were quite as eager to correct abuses as those outside the fold. Among these was Bishop Braybroke of London, who lived in the time of Edward IV. He contended for the sanctity of the sacred building, inveighed against the practice of using it as an exchange, of playing at ball within the precincts or within the church, and of shooting the pigeons which then as now found sanctuary at St. Paul's.

There were reformers within the Church who were just as eager to fix issues as those outside of it. One of these was Bishop Braybroke of London, who lived during the time of Edward IV. He argued for the holiness of the church building, criticized the practice of using it as a marketplace, playing ball inside or around the church, and shooting the pigeons that, just like today, found refuge at St. Paul's.

The chronicles of the Cathedral tell the story of the troublous times of the Wars of the Roses. We see Henry IV. pretending bitter sorrow for the death of the murdered Richard, and covering with cloths of gold the body, which had been exhibited to the people in St. Paul's. We see Henry V. returning in triumph from the French wars, riding in state to the Cathedral, attended by "the mayor and brethren of the city companies, wearing red gowns with hoods of red and white, well-mounted and gorgeously horsed, with rich collars and great chains, rejoicing at his victorious returne." Then came Henry VI., attended by the bishops, the dean and canons, to make his offering at the altar. Here the false Duke of York took his oath on the Blessed Sacrament to be loyal to the king. Here the rival houses swore to lay aside their differences, and to live at peace. But a few years later saw the new king, Edward IV., at St. Paul's, attended by great Warwick, the king-maker, with his bodyguard of 800 men-at-arms. Strange[17] were the changes of fortune in those days. Soon St. Paul's saw the exhibition of the dead body of the king-maker, and not long afterwards that of the poor dethroned Henry, and Richard came in state here amid the shouts of the populace. After the defeat of the conspiracy of Lambert Simnel, Henry VII. celebrated a joyous thanksgiving in the Cathedral, and here, amid much rejoicing, the youthful marriage of Prince Arthur with Catherine of Arragon took place, when the conduits at Cheapside and on the west of the Cathedral ran with wine, and the bells rang joyfully, and all wished happiness to the Royal children whose wedded life was destined to be so brief.

The history of the Cathedral tells the story of the troubled times during the Wars of the Roses. We see Henry IV pretending to mourn deeply for the murdered Richard and covering his body, which was displayed to the people in St. Paul's, with gold cloth. We see Henry V triumphantly returning from the French wars, riding grandly to the Cathedral, accompanied by "the mayor and brethren of the city companies, dressed in red gowns with red and white hoods, well-mounted and beautifully equipped, with rich collars and large chains, celebrating his victorious return." Then came Henry VI, joined by the bishops, the dean, and the canons to make his offering at the altar. It was here that the false Duke of York took his oath on the Blessed Sacrament to be loyal to the king. Here, the rival houses vowed to set aside their differences and live in peace. But just a few years later, the new king, Edward IV, was at St. Paul's, accompanied by the great Warwick, the king-maker, with his bodyguard of 800 men-at-arms. The changes in fortune during those days were strange. Soon, St. Paul's displayed the deceased body of the king-maker, and not long after that, the poor dethroned Henry, while Richard arrived here in grandeur amidst the crowd's cheers. After the defeat of the Lambert Simnel conspiracy, Henry VII celebrated a joyful thanksgiving in the Cathedral, and here, amidst much celebration, the youthful marriage of Prince Arthur with Catherine of Aragon took place, when the fountains at Cheapside and to the west of the Cathedral flowed with wine, the bells rang joyfully, and everyone wished happiness to the Royal children whose married life was destined to be so short.

The Reformation and After

The Reformation and Beyond

At the dawn of the Reformation period we will pause in order to try and realise what kind of scenes took place daily in the great Cathedral, and what vast numbers were employed on the staff. The members of the Cathedral body in the year 1450 included the following:—The Bishop, the Dean, the four Archdeacons, the Treasurer, the Precentor, the Chancellor, thirty greater Canons, twelve lesser Canons, about fifty Chaplains or Chantry-Priests and thirty Vicars. Of inferior rank to these were the Sacrist, the three Vergers, the Succentor, the Master of the Singing School, the Master of the Grammar School, the Almoner and his four Vergers, the Servitors, the Surveyor, the twelve Scribes, the Book Transcriber, the Bookbinder, the Chamberlain, the Rent-collector, the Baker, the Brewer, the Singing-men and Choir Boys, of whom priests were made, the Bedesmen and the poor folk. In addition to these must be added the servants of all these officers—the brewer, who brewed in the year 1286, 67,814 gallons, must have employed a good many; the baker, who ovened every year 40,000 loaves, or every day a 100, large and small; the sextons, grave-diggers, gardeners, bell-ringers, makers and menders of the ecclesiastical robes, cleaners and sweepers, carpenters, masons, painters, carvers and gilders. One can very well understand that the Church of St. Paul alone found a livelihood for thousands.

At the start of the Reformation period, let’s take a moment to imagine the daily scenes at the grand Cathedral and the large number of people working there. In 1450, the Cathedral staff included: the Bishop, the Dean, four Archdeacons, the Treasurer, the Precentor, the Chancellor, thirty senior Canons, twelve junior Canons, around fifty Chaplains or Chantry Priests, and thirty Vicars. Below them were the Sacrist, three Vergers, the Succentor, the Master of the Singing School, the Master of the Grammar School, the Almoner and his four Vergers, the Servitors, the Surveyor, twelve Scribes, the Book Transcriber, the Bookbinder, the Chamberlain, the Rent-collector, the Baker, the Brewer, the Singing-men, and Choir Boys, from whom priests were chosen, along with the Bedesmen and the poor. Additionally, we should consider the servants of all these officials—the brewer who made 67,814 gallons in 1286 must have employed quite a few; the baker who produced 40,000 loaves a year, or 100 each day, both large and small; the sextons, grave-diggers, gardeners, bell-ringers, those who made and repaired the church robes, cleaners and sweepers, carpenters, masons, painters, carvers, and gilders. It’s easy to see that the Church of St. Paul alone provided a livelihood for thousands.

The inventory of church goods belonging to the Cathedral in 1245 exists, and is worth studying. It enumerates sixteen chalices, five of gold and the rest of silver-gilt. A chalice of Greek work had lost its paten, but retained its reed (calamus), a[18] relic of the time when the deacon carried the chalice to the people, and each one drank of its hallowed contents through a long narrow pipe, which was usually fastened on a pivot to the bottom of the cup of the chalice. Amongst other curiosities of the inventory are three poma, or hollow balls of silver, so contrived as to hold hot water or charcoal embers for the warming of the hands of the celebrant during mass.

The inventory of church goods belonging to the Cathedral in 1245 still exists and is worth examining. It lists sixteen chalices, five made of gold and the rest silver-gilt. A chalice made in the Greek style had lost its paten but still had its reed (calamus), a[18] reminder of the time when the deacon brought the chalice to the congregation, and each person drank from its sacred contents through a long narrow pipe that was usually attached to the bottom of the chalice. Among other interesting items in the inventory are three poma, or hollow silver balls, designed to hold hot water or charcoal embers to warm the hands of the priest during mass.

Of shrines and relics we have already spoken. There were three episcopal staves, and also a precentor staff of ivory with silver-gilt and jewelled enrichments, and a baculus stultorum for use at the profane travesty called the feast of fools. Among the mitres were two for the boy-bishop's use on St. Nicholas Day. There were thirty-seven magnificent copes, and forty-four others, and thirty-four specially fine chasubles.

Of shrines and relics we've already discussed. There were three bishops' staffs, along with a precentor's staff made of ivory, embellished with silver-gilt and jewels, and a baculus stultorum for the mockery known as the feast of fools. Among the mitres, there were two for the boy bishop to use on St. Nicholas Day. There were thirty-seven magnificent copes, forty-four additional ones, and thirty-four particularly fine chasubles.

The inventory of 1402 supplies some curious information as to the manner in which the numerous and costly vestments were arranged when not in use. In the treasury, on the west, stood a wardrobe, armariolum, in which were twenty-four perticæ, pegs, or rods, or frames, from which the copes and chasubles could be suspended, one pertica holding from three to six copes. The vestments were arranged according to colour. Three other wardrobes were also stored with goodly vestments, and there were twenty-six in daily use. The total is 179 copes, fifty-one chasubles and ninety-two tunicles, and the colours were red, purple, black, white, green, yellow, blue, red mixed with blue.

The inventory from 1402 provides some interesting details about how the many expensive garments were organized when they weren't being used. In the treasury on the west side, there was a wardrobe, armariolum, which held twenty-four perticæ, pegs or rods, that were used to hang the copes and chasubles, with each pertica capable of holding between three to six copes. The garments were sorted by color. There were also three other wardrobes filled with nice vestments, and twenty-six that were used daily. In total, there were 179 copes, fifty-one chasubles, and ninety-two tunicles, in colors including red, purple, black, white, green, yellow, blue, and a mix of red and blue.

We have remarked that St. Paul's was the centre of the social life of the people in olden days, which led to some abuses.

We’ve noted that St. Paul’s was the center of social life for people in the past, which led to some issues.

Francis Osborn says, "It was the fashion in those days, and did so continue until these, for the principal gentry, lords and courtiers, and men of all professions, to meet in St. Paul's by eleven of the clock, and walk in the middle aisle till twelve, and after dinner from three to six, during which time they discoursed of business, others of news."

Francis Osborn says, "Back then, it was common for the main gentry, lords, courtiers, and professionals to meet at St. Paul's by 11 o'clock and walk in the middle aisle until noon, and then after lunch from 3 to 6, during which time they talked about business and shared news."

Shakespeare represents Falstaff in Henry V. as having "bought Bardolph in Paul's"; and Dekker thus speaks of the desecration of the sanctuary, "At one time in one and the same rank, yea, foot by foot, elbow by elbow, shall you see walking the knight, the gull, the gallant, the upstart, the gentleman, the clown, the captain, the apple-squire, the lawyer, the usurer, the citizen, the bankrout, the scholar, the beggar, the doctor, the idiot, the ruffian, the cheat, the Puritan, the cut-throat, highman, lowman and thief; of all[19] trades and professions some; of all countries some. Thus while Devotion kneels at her prayers, doth Profanation walk under her nose in contempt of Religion."

Shakespeare shows Falstaff in Henry V. as having "bought Bardolph in Paul's"; and Dekker talks about the disrespect towards the sanctuary, "At one time in one and the same rank, yes, foot by foot, elbow by elbow, you shall see the knight, the trickster, the dandy, the upstart, the gentleman, the clown, the captain, the apple-squire, the lawyer, the usurer, the citizen, the bankrupt, the scholar, the beggar, the doctor, the fool, the thug, the scam artist, the Puritan, the cutthroat, highman, lowman, and thief; from all trades and professions some; from all countries some. So while Devotion kneels in prayer, Profanation walks right in front of her, showing contempt for Religion."

Here lawyers received their clients; here men sought service; here usurers met their victims, and the tombs and font were mightily convenient for counters for the exchanges of money and the transaction of bargains, and the rattle of gold and silver was constantly heard amidst the loud talking of the crowd.

Here, lawyers met with their clients; here, people sought services; here, moneylenders found their victims, and the tombs and font were very handy for counting money and making deals, with the sound of gold and silver always ringing out amidst the hustle and bustle of the crowd.

Gallants enter the Cathedral wearing spurs, having just left their steeds at "The Bell and Savage," and are immediately besieged by the choristers, who have the right of demanding spur-money from anyone entering the building wearing spurs.

Gallants enter the Cathedral wearing spurs, having just left their horses at "The Bell and Savage," and are immediately surrounded by the choristers, who have the right to ask for spur-money from anyone entering the building with spurs on.

Nor are the fair sex absent, and Paul's Walk was used as a convenient place for assignations. Old plays are full of references to this practice.

Nor are women absent, and Paul's Walk was a popular spot for meetings. Old plays are filled with mentions of this practice.

Later on the nave was nothing but a public thoroughfare, where men tramped carrying baskets of bread and fish, flesh and fruit, vessels of ale, sacks of coal, and even dead mules and horses and other beasts. Hucksters and pedlars sold their wares.

Later on, the nave was just a public passageway, where people walked by carrying baskets of bread and fish, meat and fruit, jugs of ale, sacks of coal, and even dead mules and horses and other animals. Street vendors and peddlers sold their goods.

Duke Humphrey's tomb was the great meeting-place of all beggars and low rascals, and they euphemistically called their gathering "a dining with Duke Humphrey."

Duke Humphrey's tomb was the main hangout for all the beggars and lowlifes, and they politely referred to their gathering as "dining with Duke Humphrey."

Much more could be written of this assembly of all sorts and conditions of men, but we have said enough to show that the Cathedral had suffered greatly from desecration and abuse. Indeed, an old writer in 1561 declared that the burning of the steeple in that year was a judgment for the scenes of profanation which were daily witnessed in old St. Paul's. He writes, "No place has been more abused than Paul's has been, nor more against the receiving of Christ's Gospel; wherefore it is more marvel that God spared it so long, rather than He overthrew it now. From the top of the spire at coronations, or at other solemn triumphs, some for vain glory used to throw themselves down by a rope, and so killed themselves vainly to please other men's eyes," and much more to the same effect.

Much more could be said about this gathering of all kinds of people, but we've mentioned enough to show that the Cathedral has suffered greatly from disrespect and mistreatment. In fact, an old writer in 1561 claimed that the burning of the steeple that year was a punishment for the acts of desecration that happened daily at old St. Paul's. He wrote, "No place has been more abused than Paul's, nor more contrary to the acceptance of Christ's Gospel; so it is more surprising that God spared it for so long instead of destroying it now. From the top of the spire at coronations, or during other grand celebrations, some people, in a quest for vain glory, would throw themselves down using a rope, and thus, they killed themselves foolishly to impress others," and he continued in a similar vein.

But the strictness of the worthy divine did not altogether cure the evils against which he railed. Eight years later the first great lottery was drawn before the west doors. There were 10,000 lots at ten shillings each, and day and night from January 11 to May 6 the drawing went on. The prizes were pieces of plate, and the profits were devoted to the repair of the havens of England.[20] So profitable was the lottery that another took place here in 1586, the prizes being some valuable armour.

But the strictness of the respected divine didn’t completely eliminate the problems he condemned. Eight years later, the first major lottery was held at the west doors. There were 10,000 tickets at ten shillings each, and the drawing continued day and night from January 11 to May 6. The prizes were silverware, and the profits were used for repairing the harbors of England.[20] The lottery was so profitable that another one was held here in 1586, offering some valuable armor as prizes.

At the dawn of the Reformation we see Henry VIII. in all the pomp and glory of mediæval pageantry riding in state to the Cathedral to be adorned with a cap of maintenance and a sword presented to him by the Pope. There was no sign yet of any breach of alliance between the Roman Pontiff and him whom he honoured with the title of "Defender of the Faith." Lollardism in spite of some burnings spread, and the western tower of the Cathedral earned the name of the Lollards' Tower, as several were imprisoned there.

At the beginning of the Reformation, we see Henry VIII in all the pomp and glory of medieval pageantry, riding in style to the Cathedral to be crowned with a cap of maintenance and presented with a sword by the Pope. There was still no indication of any rift between the Roman Pontiff and the man he called "Defender of the Faith." Despite some burnings, Lollardism was spreading, and the western tower of the Cathedral became known as the Lollards' Tower, as several people were imprisoned there.

Wolsey, the great cardinal, in the height of his prosperity often came to St. Paul's, and very gorgeous were the scenes which took place there, when thanksgiving for the peace between England, France and Spain was celebrated, when Princess Mary was betrothed to the Dauphin of France, and Charles V. proclaimed emperor. But signs of trouble were evident. Bishop Fisher thundered forth invectives against the works of Luther, which were publicly burnt in St. Paul's Churchyard. A few years later there was a burning in the Cathedral of heretical books in the presence of the cardinal, who caused some of Luther's followers to march round the blaze, throw in faggots, and thus to contemplate what a burning of heretics would be like, and be thankful that only their books and not their bodies were condemned to the flames.

Wolsey, the powerful cardinal, at the peak of his success often visited St. Paul's, where the celebrations were quite extravagant, especially when they gave thanks for the peace between England, France, and Spain, when Princess Mary was engaged to the Dauphin of France, and when Charles V. was declared emperor. However, signs of trouble were clear. Bishop Fisher loudly condemned the works of Luther, which were burned publicly in St. Paul's Churchyard. A few years later, heretical books were burned in the Cathedral in front of the cardinal, who had some of Luther's followers march around the fire, throw in logs, and observe what a burning of heretics would look like, feeling grateful that it was only their books and not their bodies that were being consumed by the flames.

During this troubled time and in Mary's reign, St. Paul's was often used as a place of trial for heretics, but Paul's Cross was a fruitful breeding place for the principles of the Reformation. Here Latimer, Ridley, Coverdale, Lever, and a host of others used to inveigh against the errors of Rome and deny the authority of the Pope. Here they exhibited the Boxley Rood, with all the tricks whereby it was made to open its eyes and lips, and seem to speak. The crowd looked on, and roared with laughter, seized the miraculous Rood, and broke it in pieces. And then a strange thing happened in the Cathedral. One night all the images, crucifixes and emblems of Popery were pulled down. Terrible havoc was wrought, chalices and chasubles, altars and rich hangings, books and costly vestments, were all seized and sold, and helped to increase that vast heap of spoil which the greedy ministers of Edward VI. gathered from the wasting of the Church's goods. Tombs were pulled down, chantries and chapels devastated, cloisters and chapter-houses removed bodily to Somerset House by Protector Somerset for the[21] building of his new palace, and all was wreckage, spoliation and robbery.

During this difficult time and under Mary's rule, St. Paul's was frequently used as a trial site for heretics, but Paul's Cross became a hotbed for the ideas of the Reformation. Here, Latimer, Ridley, Coverdale, Lever, and many others criticized the errors of Rome and rejected the Pope's authority. They showcased the Boxley Rood, revealing all the tricks that made it appear to open its eyes and lips and talk. The crowd watched, bursting with laughter, seized the miraculous Rood, and shattered it into pieces. Then something strange happened in the Cathedral. One night, all the images, crucifixes, and symbols of Catholicism were torn down. There was great destruction; chalices and chasubles, altars and rich hangings, books and valuable vestments were all taken and sold, contributing to the massive pile of loot that the greedy ministers of Edward VI. collected from the Church's losses. Tombs were toppled, chapels and chantries were devastated, cloisters and chapter houses were completely removed to Somerset House by Protector Somerset for the[21] construction of his new palace, and everything was a mess of wreckage, plunder, and theft.

Then came the fitful restoration of the "old religion," and many riots ensued, many ears were nailed to the pillory nigh Paul's Cross; many Protestants condemned in the Cathedral to the fires at Smithfield, and many horrors enacted which Englishmen like not to remember.

Then came the uneven revival of the "old religion," and many riots broke out, many ears were nailed to the pillory near Paul's Cross; many Protestants were condemned in the Cathedral to the fires at Smithfield, and many horrors occurred that Englishmen prefer not to remember.

With the coming of Elizabeth more peaceful times ensued, but the Cathedral was in a sorry condition. Desecration reigned within. Then in 1561 the spire caught fire, blazed and fell, destroying parts of the roof. The clergy and citizens soon set to work to repair the damage, but the glory of "old St. Paul's" had departed, and its ruinous condition was the distress of rulers and the despair of the citizens and clergy.

With Elizabeth's arrival, more peaceful times began, but the Cathedral was in poor shape. It was in a state of desecration. Then in 1561, the spire caught fire, blazed, and collapsed, destroying parts of the roof. The clergy and citizens quickly got to work repairing the damage, but the glory of "old St. Paul's" was gone, and its ruined state was a source of distress for rulers and despair for the citizens and clergy.

Elizabeth often visited the Cathedral, and troubled Dean Nowell by her plainly-spoken criticisms. Felton was hung at the bishop's gates for nailing a Papal bull to the palace doors, which declared the queen to be a heretic and released her subjects from their allegiance. This attempt of the Pope to dethrone the Virgin Queen was not very successful. Some other conspirators suffered for their crimes in the following reign in the precincts, four of the gunpowder conspirators being hung, drawn and quartered before the west doors. Here also Garnet, the Jesuit, shared a like fate.

Elizabeth frequently visited the Cathedral and often troubled Dean Nowell with her straightforward criticism. Felton was hanged at the bishop's gates for nailing a Papal bull to the palace doors, which labeled the queen a heretic and freed her subjects from their loyalty. This attempt by the Pope to dethrone the Virgin Queen didn't go very well. Some other conspirators faced consequences for their actions in the next reign in the precincts, with four of the gunpowder conspirators being hanged, drawn, and quartered before the west doors. Here, Garnet, the Jesuit, met a similar fate.

King James attempted to restore the Cathedral, but his efforts came to nothing. Charles I. did something, and from the designs of Inigo Jones built a portico at the west end, and made some other improvements, but the troubles of the Civil War intervened, and the money which had been collected by Archbishop Laud and the generosity of the citizens of London was seized by the Parliament and converted to other and baser uses.

King James tried to restore the Cathedral, but his efforts didn’t lead to anything. Charles I. made some contributions, and based on the designs of Inigo Jones, built a portico at the west end and made some other improvements. However, the disruptions of the Civil War got in the way, and the money collected by Archbishop Laud along with donations from the citizens of London was taken by Parliament and used for other, less noble purposes.

The Civil Wars

The Civil Wars

Desolation reigned supreme in the once glorious church when Puritan rage had vented itself on its once hallowed shrines and sacred things. Cromwell's troopers "did after their kind." Whatever beautiful relics of ancient worship reforming zeal had left were doomed to speedy destruction. In the western portico built in the last reign shops were set up for sempstresses and hucksters; Dr. Burgess, a Puritan divine, thundered forth in his conventicle set up[22] in the east of the building; and the rest of the Cathedral was turned into a cavalry barracks.

Desolation filled the once glorious church after Puritan anger was unleashed on its once holy shrines and sacred items. Cromwell's soldiers "acted according to their nature." Any beautiful relics of ancient worship that reforming zeal had left were destined for quick destruction. In the western portico built in the last reign, shops were established for seamstresses and vendors; Dr. Burgess, a Puritan preacher, preached loudly in his gathering set up[22] in the east of the building; and the rest of the Cathedral was turned into a cavalry barracks.

The conduct of the rough soldiers created great scandal. They played games, brawled and drank in the church, prevented people from going through the nave, and caused such grievous complaints, that an order was passed forbidding them to play at ninepins from six o'clock in the morning to nine in the evening.

The behavior of the unruly soldiers caused a huge scandal. They played games, fought, and drank in the church, blocked people from moving through the nave, and generated so many complaints that a rule was enforced stopping them from playing ninepins from six in the morning to nine at night.

The Mercurius Eleneticus of 1648 waxes scornful over the misdeeds of these rough riders, and scoffs sarcastically: "The saints in Paul's were last week teaching their horses to ride up the great steps that lead to the Quire, where (as they derided) they might perhaps learn to chant an anthem; but one of them fell and broke his leg, and the neck of his rider, which hath spoilt his chanting, for he was buried on Saturday night last, a just judgment of God on such a profane and sacrilegious wretch."

The Mercurius Eleneticus of 1648 contemptuously criticizes the wrongdoings of these unruly riders and mocks them: "The saints at Paul's were teaching their horses to ride up the grand steps leading to the Quire, where (as they ridiculed) they might learn to sing an anthem; but one of them fell and broke his leg, and the neck of his rider, which ruined his singing, as he was buried last Saturday night—a fitting judgment from God on such a disrespectful and sacrilegious person."

The famous Cross in the churchyard, which according to Dugdale, "had been for many ages the most noted and solemn place in this nation for the greatest divines and greatest scholars to preach at, was, with the rest of the crosses about London and Westminster, by further order of the Parliament, pulled down to the ground."

The well-known Cross in the churchyard, which Dugdale stated, "had been for many ages the most recognized and serious place in this nation for the greatest theologians and scholars to preach," was, along with the other crosses around London and Westminster, taken down by further order of Parliament.

After the Great Fire

After the Big Fire

With the restoration of the monarchy came the restoration of the Cathedral. Dr. Wren, the great architect, was consulted, plans were discussed, Wren prepared himself for the great work, and all was in readiness, when the Great Fire broke out, and completed the ruin which had already begun. It, however, paved the way for the erection of the grand church which will ever be associated with the genius of its great architect.

With the restoration of the monarchy came the restoration of the Cathedral. Dr. Wren, the famous architect, was consulted, plans were discussed, Wren got ready for the major project, and everything was set, when the Great Fire broke out, adding to the destruction that had already started. However, it cleared the way for the construction of the magnificent church that will always be linked to the brilliance of its great architect.

Both the diarists, Pepys and Evelyn, speak of the melancholy spectacle of the great ruin. Pepys laments over the "miserable sight of Paul's church, with all the roof falling, and the body of the nave fallen into St. Faith."

Both diarists, Pepys and Evelyn, talk about the sad sight of the great ruin. Pepys mourns the "miserable sight of St. Paul's Church, with the roof collapsing, and the main part of the nave fallen into St. Faith."

And Dryden sings:—

And Dryden sings:—

"The bold flames pressed in and saw from a distance" The terrible beauty of the holy choir: But since it was tarnished by civil war "It seemed right to Heaven for it to be purified by fire."

THE WEST FRONT

THE WEST FRONT

Evelyn, in his diary, describes his visit to the church before the fire with Dr. Wren, the bishop, dean and several expert workmen.[25] "We went about to survey the general decay of that ancient and venerable church, and to set down in writing the particulars of what was fit to be done. Finding the main building to recede outwards, it was the opinion of Mr. Chickley and Mr. Prat that it had been so built ab origine for an effect in perspective, in regard of the height; but I was, with Dr. Wren, quite of another judgment, and so we entered it: we plumbed the uprights in several places. When we came to the steeple, it was deliberated whether it were not well enough to repair it only on its old foundation, with reservation to the four pillars; ... we persisted that it required a new foundation not only in regard of the necessity, but that the shape of what stood was very mean, and we had a mind to build it with a noble cupola, a form of church-building not as yet known in England, but of wonderful grace...."

Evelyn, in his diary, describes his visit to the church before the fire with Dr. Wren, the bishop, the dean, and several skilled workers.[25] "We went around to check the overall deterioration of that old and respected church and to note down what needed to be done. Seeing that the main structure was leaning outwards, Mr. Chickley and Mr. Prat believed it was designed that way from the start for a perspective effect, considering its height; however, I, along with Dr. Wren, had a different opinion, so we entered the building. We checked the verticals in several spots. When we reached the steeple, we discussed whether it would be sufficient to repair it just on its old foundation while preserving the four pillars; ... we maintained that it needed a new foundation not only because it was necessary, but also because the current shape was quite unattractive, and we wanted to build it with a grand dome, a style of church architecture not yet seen in England, but incredibly elegant...."

Then came the Great Fire, so graphically described by Evelyn. He writes: "The stones of Paul's flew like granados, the melting lead running down the streets in a stream, and the very pavements glowing with fiery redness, so as no horse or man was able to tread on them, and the demolition had stopped all the passages, so that no help could be applied."

Then came the Great Fire, vividly described by Evelyn. He writes: "The stones of St. Paul's flew like grenades, the melting lead running down the streets in a stream, and the very sidewalks glowing with fiery redness, making it impossible for any horse or person to walk on them, and the destruction had blocked all the passages, so no help could be reached."

This Great Fire roused again the energy and indomitable spirit of Englishmen. They beheld without alarm the ashes of their houses, and the destruction of their great city. They felt that the eyes of Europe were upon them. A new city was to be built worthy of their nation, worthy of the great centre of the commerce of the world. But to restore St. Paul's was a stupendous work. Some were for rebuilding on the old walls. Pepys describes the ruins: "I stopped at St. Paul's, and then did go into St. Faith's Chapel, and also into the body of the west part of the church; and do see a hideous sight of the walls of the church ready to fall, that I was in fear as long as I was in it; and here I saw the great vaults underneath the body of the church." And again: "Up betimes, and walked to the Temple, and stopped, viewing the Exchange, and Paul's, and St. Faith's, where strange how the very sight of the stones falling from the top of the steeple do make me sea-sick."

This Great Fire reignited the energy and unstoppable spirit of the English people. They faced the ashes of their homes and the devastation of their grand city without fear. They knew that all of Europe was watching them. A new city was to be built that would reflect their nation’s worth, worthy of the central hub of global commerce. However, restoring St. Paul's was a monumental task. Some wanted to rebuild on the existing foundations. Pepys describes the ruins: "I stopped at St. Paul's, then went into St. Faith's Chapel, and also into the main area of the west part of the church; and saw a horrifying sight of the church walls ready to collapse, which made me feel afraid as long as I was there; and here I saw the great vaults underneath the main part of the church." And again: "Up early, I walked to the Temple and stopped to look at the Exchange, and Paul's, and St. Faith's, where it was strange how just seeing the stones fall from the top of the steeple made me feel seasick."

They began to repair the west end for service against the advice of Wren, and Dean Sancroft was obliged to confess to the architect,—

They started fixing up the west end for use despite Wren's advice, and Dean Sancroft had to admit to the architect,—

"What you whispered in my ear at your last coming here is[26] come to pass. Our work at the west end of St. Paul's is fallen about our ears."

"What you whispered in my ear during your last visit has[26]come true. Our work at the west end of St. Paul's has collapsed around us."

At last the order was given to take down the walls, clear the ground, and proceed according to the plans of Wren. He was thwarted and distressed by the interference of many. His original design was to build it in the form of a Greek cross, but to this the clergy objected, and a Latin cross was decided upon.

At last, the order was given to tear down the walls, clear the land, and move forward with Wren's plans. He was frustrated and upset by the interference of many people. His initial design was to build it in the shape of a Greek cross, but the clergy objected, and they decided on a Latin cross instead.

In 1674 the workmen began to clear away the old ruins, no light task, but in the end it was accomplished, the first stone of the new Cathedral being laid on June 21, 1675. In October 1694 the choir was finished, and on December 2, 1697, Divine service was performed for the first time in the new edifice. It was a special thanksgiving for the Peace of Ryswick, a peace which settled our Dutch William more securely on the throne of England. His Majesty wished to attend the service, but it was feared that amongst the vast crowds there might be too many Jacobites, and he was persuaded to remain at his palace. Bishop Compton preached a great sermon on the occasion from the text, "I was glad when they said unto me, we will go into the House of the Lord."

In 1674, the workers started clearing away the old ruins, which was no easy task, but eventually, they succeeded, and the first stone of the new Cathedral was laid on June 21, 1675. The choir was completed in October 1694, and on December 2, 1697, the first Divine service was held in the new building. It was a special celebration to give thanks for the Peace of Ryswick, which helped secure our Dutch William on the throne of England. The King wanted to attend the service, but there were concerns that the large crowds might include too many Jacobites, so he was advised to stay at his palace. Bishop Compton delivered a powerful sermon on the occasion using the text, "I was glad when they said unto me, we will go into the House of the Lord."

Thirteen years elapsed before the highest stone of the lantern on the cupola was laid by Wren's son, and the magnificent building was completed by the skill, genius and determination of one man, whose memory deserves to be ever honoured by all Englishmen.

Thirteen years passed before Wren's son placed the highest stone of the lantern on the cupola, and the magnificent building was finished through the skill, genius, and determination of one man, whose memory should always be honored by all English people.

The men of his own day did not treat him worthily. During the building of the Cathedral he was beset by all the annoyances jealousy and spite could suggest, and at the end of his long and useful career, by the intrigues of certain German adventurers, he was deprived of his post of Surveyor-General after the death of Queen Anne. He retired to the country, and spent the few remaining years of his life in peaceful seclusion, occasionally giving himself the treat of a journey to London, in order that he might feast his eyes on that great and beautiful church which his skill had raised.

The men of his time didn't treat him well. While building the Cathedral, he faced all the annoyances that jealousy and spite could throw at him, and at the end of his long and productive career, due to the schemes of certain German opportunists, he lost his position as Surveyor-General after Queen Anne passed away. He moved to the countryside and spent his remaining years in quiet solitude, occasionally treating himself to a trip to London so he could see that magnificent church that his talent had created.

His was the first grave sunk in the Cathedral, and it bears the well-known inscription, than which none could be more fitting:—

His was the first grave dug in the Cathedral, and it has the famous inscription, which couldn’t be more appropriate:—

LECTOR, SI MONUMENTUM REQUIRIS CIRCUMSPICE.

Reader, if you seek his monument, look around.

The Existing Cathedral—Exterior

The Current Cathedral—Exterior

The new St. Paul's is without doubt the grandest building in London. Perhaps the finest view is obtained from the approach by[27] Ludgate Hill, and the grandeur of its majestic dome is most impressive. The style is English Renaissance. We will begin our survey with the West Front, which was erected last, and therefore bears the stamp of Wren's matured genius. There are two storeys. In the lower there is a row of Corinthian columns arranged in pairs, and in the second storey a similar series. On the triangular pediment above is a carving of the Conversion of St. Paul, while a statue of the saint crowns the apex, the other statues representing SS. Peter and James and the four Evangelists. Two towers stand, one on each side of the front, and complete a superb effect. These contain a grand peal of twelve bells, one of which, called Great Paul, fashioned twenty years ago, is one of the largest in the world. Rich marbles, brought from Italy and Greece, adorn the pavement.

The new St. Paul's is undoubtedly the most impressive building in London. The best view is probably from the approach via[27] Ludgate Hill, where its magnificent dome is particularly striking. It showcases the English Renaissance style. We'll start our tour with the West Front, which was built last and reflects Wren's perfected genius. There are two levels. The lower level features a row of Corinthian columns arranged in pairs, and the second level has a similar arrangement. Above it, on the triangular pediment, is a carving of the Conversion of St. Paul, while a statue of the saint sits at the top, alongside other statues representing Saints Peter and James and the four Evangelists. There are two towers, one on each side of the front, adding to the stunning overall appearance. These towers house a magnificent set of twelve bells, including one known as Great Paul, which was made twenty years ago and is among the largest in the world. The floors are decorated with rich marbles brought from Italy and Greece.

Proceeding to the north side we note the two-storied construction, the graceful Corinthian pilasters,[3] arranged in pairs, with round-headed windows between them; the entablature; and then, in the second storey, another row of beautiful pilasters of the Composite order. Between these are niches where one would have expected windows; but this storey is simply a screen to hide the flying buttresses supporting the clerestory, as Wren thought them a disfigurement. The walls are finished with a cornice, which Wren was compelled by hostile critics to add, much against his own judgment. There are some excellently-carved festoons of foliage and birds and cherubs, which are well worthy of close observation. The North and South Fronts have Corinthian pillars, which support a semi-circular entablature. Figures of the Apostles adorn the triangular-shaped head and balustrade. The Royal arms appear on the north side, and a Phœnix is the suitable ornament on the south, signifying the resurrection of the building from its ashes.

Heading to the north side, we see the two-story building, featuring elegant Corinthian pilasters,[3] arranged in pairs with round-headed windows in between; the entablature; and then, on the second floor, another row of beautiful Composite-style pilasters. Instead of windows, there are niches that were meant to hold them, but this floor acts merely as a screen to conceal the flying buttresses supporting the clerestory, which Wren considered an eyesore. The walls are topped with a cornice, added reluctantly by Wren after facing criticism. There are some beautifully carved festoons of leaves, birds, and cherubs that deserve a closer look. The North and South Fronts feature Corinthian pillars supporting a semi-circular entablature. Figures of the Apostles decorate the triangular head and balustrade. The Royal arms are displayed on the north side, and a Phoenix is the fitting ornament on the south, symbolizing the building's revival from its ashes.

The south side is almost exactly similar to the north. The east end has an apse.

The south side is almost identical to the north side. The east end has an apse.

The magnificent Dome is composed of an outward and inward shell, and between these there rises a cone-shaped structure which supports the lantern, crowned with its golden ball and cross. The arrangement of this is most complex, and is a witness to the marvellous skill of the architect. Above the row of Composite columns is a gallery, which affords a good view to those who are anxious to climb. Above the actual dome is the Golden Gallery, and then the lantern, roofed with a dome bearing the ball and[28] cross. The whole height is 365 feet.

The impressive Dome consists of an outer and inner shell, with a cone-shaped structure rising between them that supports the lantern, topped with a golden ball and cross. The design is quite intricate and showcases the amazing skill of the architect. Above the row of Composite columns is a gallery, providing a great view for those willing to climb. Above the dome itself is the Golden Gallery, followed by the lantern, which is covered by a dome that has the ball and[28] cross on top. The total height is 365 feet.

Interior of the Building

Building Interior

The view on entering the Cathedral at the west is most impressive. The magnitude of the design, the sense of strength and stability, as well as the beauty of the majestic proportions, are very striking. Over the doors we see carvings of St. Paul at Berea. A gallery is over the central doorway, and here is a good modern window.

The view when you enter the Cathedral from the west is really impressive. The scale of the design, the feeling of strength and stability, along with the beauty of its grand proportions, are all striking. Above the doors, we see carvings of St. Paul at Berea. There’s a gallery above the central doorway, and it features a nice modern window.

The Nave from the Choir

The Nave from the Choir

The nave has a large western bay with chapels, three other bays, and a large space beneath the west wall of the dome. It has three storeys, the lofty arches, a storey which in a Gothic church would be termed the triforium, and a clerestory. Grand Corinthian pilasters are attached to the massive piers, with wonderfully-wrought capitals, which support the entablature. The arches spring from smaller pilasters joined to the larger ones. Great arches springing from the triforium piers span the nave, and between these arches are dome-shaped roofs. High up there are festoons of carving. The aisles have three large windows, and Composite pilasters adorn the walls and support the vault. The north chapel at the west end is the Morning Chapel, and is adorned with mosaics and modern glass, in memory of Dean Mansell (1871). The south chapel is called the Consistory, and once held Wellington's monu[29]ment, to which the marble sculptures refer. Here is an unusual Font of Carrara marble.

The nave features a large western bay with chapels, three additional bays, and a spacious area beneath the west wall of the dome. It includes three stories: the tall arches, a story that would be called a triforium in a Gothic church, and a clerestory. Grand Corinthian pilasters are connected to the sturdy piers, with beautifully crafted capitals that support the entablature. The arches rise from smaller pilasters linked to the larger ones. Huge arches stretching from the triforium piers span the nave, and between these arches are dome-shaped roofs. High above, there are decorative carved festoons. The aisles have three large windows, and Composite pilasters enhance the walls and support the vault. The north chapel at the west end is the Morning Chapel, decorated with mosaics and modern glass, in memory of Dean Mansell (1871). The south chapel is known as the Consistory and once housed Wellington's monument, which is referenced by the marble sculptures. Here, there is an unusual Font made of Carrara marble.

The Dome is supported by immense and massive masonry. Above the arches a cornice runs round, supporting the Whispering Gallery. Then the dome begins to curve inward. Above is a row of windows, set in groups of three, separated by niches recently filled with statues of the Fathers, and then the dome is completed and painted by Sir James Thornhill with scenes from the life of St. Paul. These are too faint and too far distant to be easily observed. The painter nearly lost his life through stepping backward in order to see the effect of his brush, and nearly fell from the scaffold. His companion just saved his life by flinging a brush at the painting, and Thornhill rushed forward to rescue his work, and thus his life was saved.

The Dome is held up by huge, solid masonry. Above the arches, there's a cornice that goes all the way around, supporting the Whispering Gallery. Then, the dome starts to curve inward. Above that is a row of windows arranged in groups of three, separated by niches that have recently been filled with statues of the Fathers, and then the dome is finished and painted by Sir James Thornhill with scenes from the life of St. Paul. These scenes are too faint and too far away to see clearly. The painter nearly lost his life when he stepped back to check the effect of his brush and almost fell from the scaffold. His companion saved him just in time by throwing a brush at the painting, causing Thornhill to rush forward to protect his work, and in doing so, his life was saved.

The Pulpit is made of rich marble, and the lectern was made in 1720. The modern mosaics are of unique interest, and add much to the beauty of the Cathedral. To Sir William Richmond the credit of this work is mainly due, and for some of earlier portions to Mr. G.F. Watts, R.A.

The Pulpit is made of beautiful marble, and the lectern was created in 1720. The modern mosaics are particularly interesting and greatly enhance the beauty of the Cathedral. Sir William Richmond is mainly responsible for this work, while Mr. G.F. Watts, R.A., is credited with some of the earlier parts.

Woodwork South Choir Aisle

Woodwork South Choir Area

The Transepts have good windows, representing (north) the twelve founders of English Christianity, and south, the first twelve Christian Saxon kings, and also a window in memory of the recovery from illness of His Majesty Edward VII. when Prince of Wales.

The Transepts have great windows, showing (north) the twelve founders of English Christianity, and south, the first twelve Christian Saxon kings, along with a window in memory of His Majesty Edward VII's recovery from illness when he was Prince of Wales.

The Choir has some wonderfully-carved stalls by the famous Grinling Gibbons, and these bear the names of the prebendaries attached to the Cathedral, with the parts of the Psalter which each one had to say each day, an arrangement similar to that at Lincoln.

The Choir features some beautifully carved stalls by the renowned Grinling Gibbons, and these display the names of the prebendaries connected to the Cathedral, along with the sections of the Psalter each was required to recite daily, arranged similarly to the setup at Lincoln.

The Reredos is a noble example of modern work, and is worthy of close examination. Behind it is the Jesus Chapel, containing a monument of Canon Liddon. The mosaic decorations of the choir are the work of Sir William Richmond, and are worthy of the highest praise.[30]

The Reredos is a great example of modern craftsmanship and deserves a closer look. Behind it is the Jesus Chapel, which houses a monument to Canon Liddon. The mosaic decorations in the choir are created by Sir William Richmond and deserve the highest accolades.[30]

Monuments

Monuments

One feature of St. Paul's especially endears it to us, and that is that there lie all that is mortal of many of our national heroes. Westminster is richer in its many monuments of great poets and writers; but the makers of the Empire and most of our distinguished painters are entombed in the "citizens' church." We can only point out the tombs of the most illustrious.

One thing about St. Paul's that really makes it special for us is that it holds the remains of many of our national heroes. Westminster has more monuments dedicated to great poets and writers, but the builders of the Empire and many of our renowned painters are buried in the "citizens' church." We can only highlight the tombs of the most notable figures.

  • Nave (North Aisle)—
  • Wellington (d. 1852), the hero of Waterloo.
  • Gordon (d. 1890), slain at Khartoum.
  • Stewart, General (d. 1880), who tried to rescue Gordon.
  • Melbourne, Viscount (1848), Queen Victoria's first Prime Minister.
  • North Transept
  • Sir Joshua Reynolds (1792), by Flaxman.
  • Rodney, Admiral (1790), the hero of Martinique.
  • Picton (1815), slain at Waterloo.
  • Napier, General (1860), author of Peninsular War.
  • Ponsonby, General (1815), killed at Waterloo.
  • Hallam, the historian (1859).
  • Johnson, Samuel (1784).
  • South Transept
  • Nelson, Admiral.
  • Sir John Moore (1806), killed at Corunna.
  • Turner, Joseph, R.A. (1851), painter.
  • Collingwood, Admiral (1810), Colleague of Nelson.
  • Howe, Admiral (1799), Colleague of Nelson.
  • Howard, John (1790), the prison reformer, the first monument erected.
  • Lawrence, General (1857), killed in Indian Mutiny.
  • Cornwallis, General (1805), fought in American War and in India.
  • South Choir Aisle
  • Dean Milman (1868).
  • Bloomfield, Bishop (1856).
  • Jackson, Bishop (1885).
  • Heber, Bishop (1826), of Calcutta.
  • Liddon, Canon (1890).

Johnson's Statue in St. Paul's Cathedral

Johnson's Statue in St. Paul's Cathedral

The Crypt contains the Parish Church of St. Faith, Wellington's[33] funeral car fashioned from captured cannon, and his tomb, Nelson's tomb (the coffin is made from the wood of one of his ships—the tomb is sixteenth-century work and was made for Cardinal Wolsey), the grave of Wren with its famous inscription, and many illustrious painters sleep in the Painters' Corner, amongst whom our modern artists Leighton and Millais rest with Reynolds, Lawrence, Landseer and Turner.

The Crypt houses the Parish Church of St. Faith, Wellington's[33] funeral car made from captured cannons, and his tomb, Nelson's tomb (the coffin is crafted from the wood of one of his ships—the tomb is a sixteenth-century creation originally made for Cardinal Wolsey), Wren's grave with its famous inscription, and many notable painters are buried in the Painters' Corner, including our contemporary artists Leighton and Millais alongside Reynolds, Lawrence, Landseer, and Turner.

Dimensions

Dimensions

Total length460 ft.
Length of nave200 ft.
Width of nave100 ft.
Height of nave89 ft.
Length of choir160 ft.
Height of cross on dome363 ft.
Height of west towers222 ft.
Area59,700 sq. ft.

Style—English Renaissance.

Style—English Renaissance.

Building Dates

Construction Dates

Begun June 21, 1675.
Cathedral finished 1710.

Begun June 21, 1675.
Cathedral completed 1710.

PLAN OF ST. PAUL'S CATHEDRAL

PLAN OF ST. PAUL'S CATHEDRAL


WESTMINSTER ABBEY

The famous Abbey Church of Westminster, though not a cathedral, must be included in our chronicle of the chief ecclesiastical buildings in this country. It is the coronation church of the sovereigns of England, the final resting-place of many, the national tomb-house of our heroes and great men, as well as a triumph of Gothic architecture of singular beauty and attractiveness. For one brief space at the time of the Reformation there was a Bishop of Westminster, but the see did not long continue, and it is for other reasons that Westminster must find a place in this volume. In early Saxon times a chapel dedicated to St. Peter was built by Siebert in the seventh century on an island rising from the marshy ground bordering the Thames. It was called Thorney, and the eastern portion of the water in St. James's Park is a part of the arm of the Thames which encircled the sanctuary of the monks and the palace of the Anglo-Saxon kings. Here was established by Dunstan a colony of Benedictine monks. In the charters of Edgar (951) the original boundary of Westminster is clearly defined, though this charter is esteemed doubtful by Kemble, and the importance of Westminster gradually increased. Edward the Confessor took a particular interest in the place, and began his building of the Abbey in 1050. On Childermas Day (the Feast of the Holy Innocents) 1065 the choir was finished and consecrated, and on "Twelfth Mass Eve" the king died and was buried here. The Bayeux tapestry depicts the scene of this Royal funeral, and gives a representation of the church. The earlier church still remained as the nave of the new choir. A few fragments of Edward's work remain beneath the pavement of the present choir. The work progressed while William Rufus was building his Royal palace, and at the time of his death the transepts and first bay of the nave were completed, the first conspicuous example of a great Benedictine church in England. Henry I. and Matilda were crowned here with much pomp, and all the monarchs since the time of the Conqueror. Early in the days of Henry III. a new lady chapel was built, and this inspired the artistic soul of[36] the young king, who determined to build an abbey worthy of the honour of God in the best and newest style of architecture. He was a Frenchman in feeling, and had passed many days at the Court of St. Louis. So his new monastic church must be fashioned in the French style; his monks must speak French, and he chose a French model for his architecture, for the plan of his church with its French chevet, and for the radiating chapels of the choir. But in spite of this French design our Westminster remains "a great French thought expressed in excellent English"; it is like "one of Chaucer's lays, a sweetly English poem inspired by a French romance," and is the most finished product of the Early English of the first half of the thirteenth century. Its French peculiarities may be seen in the narrowness and height of the bays of the choir, its plan with regard to the radiating chapels, and in the tracery of the windows. The work began in 1245 with the east end, and all the building as far as the fourth bay of the nave was finished in 1269. The noble re-founder was buried in his glorious minster. Edward I. brought here the coronation stone of the Scottish kings, and had it placed in the new throne which he fashioned to enclose it. In the fourteenth century much building was done to perfect the monastery. In the time of Richard II. the reconstruction of the old nave was in progress, and Henry V. took much interest in it. His father died in the Jerusalem Chamber. The building of the nave continued, and the well-known Whittington, "thrice Lord Mayor of London," in 1413 helped forward the work by liberal contributions. The Tudor badges in the vaulting of the last bays show the later character of that portion of the building. Henry VII. built the beautiful and famous chapel at the east end in place of the Lady Chapel built in 1220, which is such a perfect example of the best Perpendicular work. It was finished about 1520.

The famous Abbey Church of Westminster, while not technically a cathedral, should definitely be mentioned in our account of the main religious buildings in this country. It serves as the coronation church for England's monarchs, the final resting place for many, and the national tomb for our heroes and notable figures, as well as being an impressive example of Gothic architecture that is uniquely beautiful and appealing. For a brief period during the Reformation, there was a Bishop of Westminster, but that position didn't last long, and Westminster is included in this discussion for other reasons. In early Saxon times, a chapel dedicated to St. Peter was constructed by Siebert in the seventh century on an island rising from the marshy land next to the Thames. It was called Thorney, and the eastern part of the water in St. James's Park is a remnant of the Thames that encircled the sanctuary of the monks and the palace of the Anglo-Saxon kings. Dunstan established a community of Benedictine monks here. In the charters of Edgar (951), the original boundaries of Westminster are clearly outlined, although this charter is considered questionable by Kemble, and the significance of Westminster gradually grew. Edward the Confessor took a personal interest in the area and started building the Abbey in 1050. On Childermas Day (the Feast of the Holy Innocents) in 1065, the choir was completed and consecrated, and on "Twelfth Mass Eve," the king died and was buried here. The Bayeux tapestry depicts this royal funeral scene and shows the church. The earlier church stayed as the nave of the new choir. A few pieces of Edward's work remain under the floor of the current choir. The construction continued while William Rufus was building his royal palace, and by the time of his death, the transepts and the first bay of the nave were finished, marking the first significant example of a large Benedictine church in England. Henry I and Matilda were crowned here with great ceremony, along with all monarchs since the time of the Conqueror. Early in Henry III's reign, a new lady chapel was built, sparking the artistic ambitions of the young king, who aimed to create an abbey worthy of God in the most stylish architecture of the time. He was inclined towards French ideals and had spent much time at the Court of St. Louis. Thus, his new monastic church was designed in the French style; his monks were to speak French, and he selected a French model for his architecture, including the church's plan with its French chevet and the radiating chapels of the choir. Yet, despite this French influence, our Westminster remains "a great French thought expressed in excellent English"; it is akin to "one of Chaucer's lays, a sweetly English poem inspired by a French romance," and stands as the most polished product of Early English architecture from the first half of the thirteenth century. Its French characteristics are evident in the narrowness and height of the choir bays, the layout concerning the radiating chapels, and the window tracery. Construction began in 1245 with the east end, and the building was carried out as far as the fourth bay of the nave, completing in 1269. The noble re-founder was buried in his magnificent abbey. Edward I brought the Stone of Scone, the coronation stone of Scottish kings, here and placed it in the new throne he created for it. In the fourteenth century, significant building took place to enhance the monastery. During the reign of Richard II, the rebuilding of the old nave was underway, and Henry V was very invested in the project. His father passed away in the Jerusalem Chamber. The nave's construction continued, and the well-known Whittington, "thrice Lord Mayor of London," contributed generously to the work in 1413. The Tudor badges in the vaulting of the last bays indicate the later style of that section of the building. Henry VII constructed the beautiful and renowned chapel at the east end to replace the Lady Chapel built in 1220, which serves as an exceptional example of the finest Perpendicular architecture. This chapel was completed around 1520.

DEAN'S YARD, WESTMINSTER, IN 1730

Dean's Yard, Westminster, 1730

At the dissolution of monasteries Westminster shared the fates of the rest, and the last abbot, Benson, became the first dean, and for a brief space there was a bishop. Protector Somerset turned his greedy eyes upon the noble minster, and was with difficulty induced to refrain from plundering it overmuch. Indeed, he had thoughts of pulling it down, but was propitiated by bribes of some manors and many loads of Caen stone for the building of his new palace, Somerset House. The services were of course changed, and many goodly treasures sold; during the brief reign of Mary the Roman Catholic ritual was restored, and the Confessor's shrine re-erected; but Elizabeth turned out Abbot Ferkenham, and constituted[39] Westminster a collegiate church with a dean and twelve prebendaries. The remains of poor Mary Queen of Scots were brought here by James I. and laid side by side with Queen Elizabeth. Here in the gatehouse Sir Walter Raleigh was imprisoned. Soon the tumults of the Civil War arose, but Westminster happily escaped the fury of the Puritans. The noted Westminster Assembly was called together in Henry VII.'s Chapel in 1643, for the purpose of "settling the government and liturgy of the Church of England and clearing of the doctrine from false aspersions and interpretations." This Assembly took upon itself to denounce the Book of Common Prayer and to substitute the Directory for Public Worship. Many restorations of the fabric have taken place since the Restoration of the monarchy. Sir Christopher Wren was a wonderful architect, but he was scarcely the man to tamper with an ancient and beautiful Gothic building. He set to work to rebuild the western towers, which were finished after his death in 1739. New stone-work has been erected in place of the old in most of the exterior of the Abbey, and Sir Gilbert Scott and Mr. Pearson were responsible for the restoration of the north front of the north transept. The complete story of the Abbey of Westminster would tell of all the pageants and coronation festivals which have taken place therein, to which another has just been added when King Edward VII. and his queen were crowned; it would tell of the last solemn rites of monarchs and great men, poets, sages and generals who sleep within the hallowed precincts. But the story must be left to others, and we will now examine the details of this ancient pile which is so closely connected with all the chief events in English history.

At the dissolution of monasteries, Westminster faced a similar fate to the others, and the last abbot, Benson, became the first dean. For a short time, there was even a bishop. Protector Somerset set his greedy sights on the grand cathedral, and it took quite a bit of effort to keep him from raiding it too much. In fact, he considered tearing it down, but he was persuaded with gifts of some manors and plenty of Caen stone to build his new palace, Somerset House. The services were naturally changed, and many valuable treasures were sold. During Mary’s brief reign, the Roman Catholic rituals were restored, and the shrine of the Confessor was rebuilt. However, Elizabeth removed Abbot Ferkenham and turned Westminster into a collegiate church with a dean and twelve prebendaries. The remains of poor Mary Queen of Scots were brought here by James I and laid to rest next to Queen Elizabeth. Sir Walter Raleigh was imprisoned in the gatehouse. Soon, the tumult of the Civil War began, but thankfully Westminster avoided the destruction that the Puritans brought. The well-known Westminster Assembly gathered in Henry VII.'s Chapel in 1643 to "settle the government and liturgy of the Church of England and clarify the doctrine from false accusations and interpretations." This Assembly took it upon themselves to denounce the Book of Common Prayer and replace it with the Directory for Public Worship. Since the Restoration of the monarchy, many restorations have occurred. Sir Christopher Wren was an amazing architect, but he wasn’t exactly suited to alter an ancient and beautiful Gothic building. He started rebuilding the western towers, which were completed after his death in 1739. Much of the exterior of the Abbey has been refaced with new stonework, and Sir Gilbert Scott and Mr. Pearson were in charge of restoring the north front of the north transept. The complete history of Westminster Abbey would recount all the ceremonies and coronation festivals held within its walls, with another recently added when King Edward VII and his queen were crowned. It would also recount the last rites of monarchs and great figures—poets, thinkers, and generals—who rest within its sacred grounds. But that story is for others to tell, and now we will take a closer look at the details of this ancient structure, which is so closely linked to the key events in English history.

The Exterior

The Outside

The West Front is flanked by two towers 225 feet high, built by Wren, and finished by his pupil, Hawksmoor, about 1740. In the centre of the front is the great Perpendicular window, beneath which is a row of niches. The entrance porch has a groined roof. The nave is remarkable for its length and height. On the north side we notice that there is a wealth of buttresses. Strong buttresses support the aisle walls, and from these flying buttresses stretch across to the walls built on the central arcade. The four eastern buttresses comprise the part of the church finished by[40] Henry III.; the rest of the nave, with the exception of Wren's towers, was built during the last half of the fourteenth century and the beginning of the fifteenth. The figures in the niches are modern.

The West Front is lined with two towers that stand 225 feet tall, constructed by Wren and completed by his student, Hawksmoor, around 1740. In the center of the front is the large Perpendicular window, beneath which is a row of niches. The entrance porch features a groined roof. The nave is notable for its length and height. On the north side, we see an abundance of buttresses. Strong buttresses support the aisle walls, and from these flying buttresses extend across to the walls built on the central arcade. The four eastern buttresses are part of the section of the church completed by[40] Henry III.; the rest of the nave, except for Wren's towers, was built during the latter half of the fourteenth century and the early fifteenth. The figures in the niches are modern.

THE NORTH FRONT

THE NORTH FRONT

The North Front is new, designed by Sir G. Scott and Mr. Pearson. It is very elaborate work, and much of it is beautiful, but it does not seem to harmonise with the rest of the building. There is a large rose window; on each side tall buttresses crowned with turrets and covered with niches. There is an arcade of open work below, and then some deeply-recessed Early English windows, and below three doorways under one string-course, the centre one[41] having a high gable. This door is divided by a pier having a finely-carved figure of the Virgin and Child. The tympanum is divided into three panels. In the highest is Our Lord in glory surrounded by angels, and below Him are the Twelve Apostles, while in the lowest tier are figures representing Art, History, Philosophy, War, Legislation and Science, with the builders of the Abbey, Edward the Confessor, Henry III. and Richard II. The niches are filled with figures of persons in some way connected with the Abbey. The Choir is in the form of an apse, with radiating chapels, planned on the model of the French chevet, according to the taste of Henry III., which he had cultivated during his sojourn in France. The Lady Chapel at the east end, commonly called Henry VII.'s Chapel, is one of the noblest examples of the best Perpendicular work in the kingdom, and ranks with St. George's Chapel, Windsor, and King's College, Cambridge. The monastic buildings are on the south side of the Abbey, and will be approached from the interior.

The North Front is new, designed by Sir G. Scott and Mr. Pearson. It features intricate details, with much of it being beautiful, but it doesn't really blend with the rest of the building. There’s a large rose window, and on each side, there are tall buttresses topped with turrets and filled with niches. Below, there's an arcade of open work, followed by some deeply-recessed Early English windows, and beneath them, three doorways aligned under a single string-course, with the center one[41] boasting a high gable. This door is separated by a pier that has a beautifully carved figure of the Virgin and Child. The tympanum is divided into three panels. In the highest panel is Our Lord in glory surrounded by angels, below Him are the Twelve Apostles, and in the lowest tier, there are figures representing Art, History, Philosophy, War, Legislation, and Science, along with the builders of the Abbey: Edward the Confessor, Henry III, and Richard II. The niches are filled with figures of individuals associated with the Abbey. The Choir is designed in the shape of an apse, with radiating chapels, modeled after the French chevet, following the taste of Henry III, which he developed during his time in France. The Lady Chapel at the east end, often referred to as Henry VII's Chapel, is one of the greatest examples of the best Perpendicular architecture in the country and is on par with St. George's Chapel, Windsor, and King's College, Cambridge. The monastic buildings are located on the south side of the Abbey and will be accessed from the interior.

The Interior

The Interior

The view of the interior is very impressive. Standing at the west end of the nave we cannot fail to admire the magnificent beauty of this noble shrine. This Nave of twelve bays, with its clustered columns, its beautiful triforium, and its lofty and firmly-proportioned roof, soaring to the height of 101 feet, is very striking. A close inspection will show the difference between the piers of the portion finished by Henry III. and the newer work of the fourteenth century. The tracery of the triforium openings is very fine. The Choir-Screen, which crosses the nave at the eighth pier, is modern, and also the pulpit. The west window is Perpendicular, and has some Georgian glass containing figures of the Patriarchs. Much architectural beauty has been sacrificed for the sake of ponderous monuments, but many of these have much interest, and for many visitors will prove the most attractive features of the Abbey. A list of the most important monuments will be found at the close of our account of the Abbey.

The view of the interior is truly impressive. Standing at the west end of the nave, we can't help but admire the stunning beauty of this grand shrine. This Nave has twelve bays, with its clustered columns, beautiful triforium, and high, well-proportioned roof that reaches 101 feet tall—it’s very striking. A closer look reveals the difference between the piers finished by Henry III and the newer work from the fourteenth century. The tracery of the triforium openings is exquisite. The Choir-Screen, which crosses the nave at the eighth pier, is modern, as is the pulpit. The west window is Perpendicular and features some Georgian glass depicting figures of the Patriarchs. A lot of architectural beauty has been sacrificed for heavy monuments, but many of these are quite interesting, and for many visitors, they will be the most appealing aspects of the Abbey. A list of the most important monuments will be found at the end of our account of the Abbey.

The north-west tower contains the monuments of distinguished members of the Whig party, and has in the window some ancient glass. The south-west tower was formerly the Baptistery. The architecture of the aisles has suffered much from the erection of stupendous monuments. The gallery at the west of the south aisle[42] was erected at the same time as Henry VII.'s Chapel by Abbot Islip, and is known as the Abbot's Pew. The door at the east end is Late Early English. The South Transept is known as the Poets' Corner, on account of the memorials of the votaries of the muses which stand here. The architecture is of very beautiful design in the style of Early English, when it was merging into Early Decorated. In the south wall is the entrance to the Chapel of St. Faith, the door of which was once covered with the skins of Danes. Two tiers of trefoiled arches are above this, and higher still the triforium, the spandrels of the arches being enriched with sculpture. There is no west aisle. Chaucer's tomb will attract most visitors. In the chapel are some ancient paintings of the Crucifixion, St. Faith, and a kneeling monk.

The northwest tower holds the memorials of notable members of the Whig party and features some old glass in the window. The southwest tower was previously the Baptistery. The structure of the aisles has been significantly impacted by the construction of massive monuments. The gallery at the west end of the south aisle[42] was built at the same time as Henry VII.'s Chapel by Abbot Islip and is referred to as the Abbot's Pew. The door at the east end is in the Late Early English style. The South Transept is called Poets' Corner because of the memorials dedicated to literary figures that are located here. The architecture is beautifully designed in the Early English style as it transitions into Early Decorated. In the south wall, you can find the entrance to the Chapel of St. Faith, which used to have a door covered with the skins of Danes. Above this are two tiers of trefoiled arches, with the triforium even higher up, and the spandrels of the arches are adorned with sculpture. There is no west aisle. Most visitors will be drawn to Chaucer's tomb. Inside the chapel are some ancient paintings depicting the Crucifixion, St. Faith, and a kneeling monk.

The Choir, which has been the scene of so many solemn and memorable services, has no ancient woodwork. The stalls were erected about the middle of the last century. The altar and reredos are modern. There are some large figures, and a mosaic of the Last Supper. Here the coronations of our monarchs take place. The pavement is interesting, as it was brought from Rome by Abbot Ware in 1268, and beneath it he rests with other abbots of Westminster. The sedilia are thirteenth-century work, and were decorated with paintings. The figures of King Siebert, the first founder, and of Henry III., the munificent re-founder, remain. Above the base of the tomb of Anne of Cleves, one of Henry VIII.'s many wives, is a remarkable painting of Richard II., and behind it some ancient tapestry. A record of the interesting tombs here will be found later. Edward the Confessor's Chapel is a mausoleum of Royal personages, wherein our monarchs have been laid to rest, a portion of the building which always possesses a solemn and pathetic interest. Here is the shrine of the "miracle worker," the pious but weak last Saxon king, St. Edward. It was fashioned in 1269 by order of Henry III., the artificer being one Peter, a Roman citizen. The style of the oldest part, the base of the shrine, is of a Byzantine character. The upper part was probably made by Abbot Feckenham in Mary's reign, in imitation of that which was destroyed in Reformation times. It is difficult to imagine what must have been the splendour of this wondrous shrine when it was adorned with gold and gems, ere the greedy commissioners of Henry VIII. despoiled it of its treasures. Henry III., Eleanor of Castile, in whose honour her loving husband, Edward I., raised the Eleanor crosses wherever her body rested[45] on its last journey to the Abbey, Edward I., and other monarchs rest here. Henry V.'s Chantry is a splendid piece of ornate Perpendicular work, with elaborate sculptured figures representing St. George, St. Denys, and the story of the hero's life, his fights, his coronation, his court. The effigy has been much mutilated. Above the tomb is the monarch's achievement, his shield, saddle and helmet, which were borne in his funeral procession. The coronation chairs have especial interest at this time, especially the famous throne of Edward I., which has under the seat the coronation stone of Scone, brought by him from Scotland. Legends tell us that this stone was the veritable stone used by Jacob as a pillow when he dreamt that wondrous dream at Bethel. There is also the throne of William and Mary, and Edward III.'s sword and shield.

The Choir, which has hosted so many solemn and memorable ceremonies, has no old woodwork. The stalls were built around the middle of the last century. The altar and reredos are modern. There are some large figures and a mosaic of the Last Supper. This is where the coronations of our monarchs take place. The pavement is interesting, as it was brought from Rome by Abbot Ware in 1268, and underneath it, he rests with other abbots of Westminster. The sedilia are from the thirteenth century and were decorated with paintings. The figures of King Siebert, the first founder, and Henry III., the generous re-founder, remain. Above the base of the tomb of Anne of Cleves, one of Henry VIII's many wives, is a remarkable painting of Richard II., with some ancient tapestry behind it. A record of the interesting tombs here will be found later. Edward the Confessor's Chapel is a mausoleum of royal figures, where our monarchs have been laid to rest, and this part of the building always holds a solemn and emotional significance. Here is the shrine of the "miracle worker," the pious but weak last Saxon king, St. Edward. It was crafted in 1269 by order of Henry III., with the artisan being a Roman citizen named Peter. The style of the oldest part, the base of the shrine, has a Byzantine character. The upper part was likely made by Abbot Feckenham during Mary’s reign, imitating what was destroyed during the Reformation. It’s hard to imagine how glorious this marvelous shrine must have been when adorned with gold and gems before the greedy commissioners of Henry VIII. stripped it of its treasures. Henry III., Eleanor of Castile, for whom her loving husband, Edward I., erected the Eleanor crosses wherever her body rested[45] on its final journey to the Abbey, Edward I., and other monarchs rest here. Henry V.'s Chantry is an impressive example of ornate Perpendicular architecture, featuring elaborate sculpted figures representing St. George, St. Denys, and scenes from the hero's life, including his battles, coronation, and court. The effigy has been significantly damaged. Above the tomb is the monarch's achievement, his shield, saddle, and helmet, which were carried in his funeral procession. The coronation chairs are of particular interest right now, especially the famous throne of Edward I., which holds the coronation stone of Scone beneath the seat, brought by him from Scotland. Legends say this stone was the actual stone used by Jacob as a pillow during his famous dream at Bethel. There’s also the throne of William and Mary, along with Edward III.’s sword and shield.

Poets' Corner Westminster Abbey

Poets' Corner Westminster Abbey

In the South Ambulatory are three chapels, dedicated to SS. Benedict, Edmund and Nicholas, all of which have interesting monuments which will be noticed later. We now enter Henry VII.'s Chapel, the most perfect example of the Perpendicular style at its best in the country. At the entrance are beautiful bronze doors covered with designs symbolical of the titles of the Royal founder. It is impossible to describe in words the richness and beauty of the interior of this noble chapel. Washington Irving wrote: "The very walls are wrought into universal ornament, encrusted with tracery and scooped into niches, crowded with statues of saints and martyrs. Stone seems, by the cunning labour of the chisel, to have been robbed of its weight and density, suspended aloft as if by magic, and the fretted roof achieved with the wonderful minuteness and airy security of a cobweb." The vault is very beautiful with fan-tracery. The banners of the Knights of the Order of the Bath hang over their stalls. The misereres are wonderfully carved, and are worthy of close examination. The black marble tomb of the founder is considered to be the best example of the Renaissance style in England. It was fashioned by Torregiano. Very numerous monuments are found here, which will be described later. The tombs of Mary Queen of Scots and of Queen Elizabeth have especial interest. Oliver Cromwell's body once lay in the most eastern chapel, but the Royalists at the Restoration wrought vengeance on his corpse, and on that of other regicides, and did not suffer them to remain in these hallowed precincts.

In the South Ambulatory, there are three chapels dedicated to Saints Benedict, Edmund, and Nicholas, each featuring interesting monuments that will be discussed later. Now we enter Henry VII.'s Chapel, the finest example of the Perpendicular style at its best in the country. At the entrance are beautiful bronze doors decorated with designs symbolizing the titles of the Royal founder. It’s impossible to capture in words the richness and beauty of the interior of this grand chapel. Washington Irving wrote: "The very walls are adorned with elaborate decorations, encrusted with tracery and carved into niches, filled with statues of saints and martyrs. Stone seems, through the skillful work of the chisel, to have lost its weight and density, suspended in the air as if by magic, and the intricate roof is crafted with the delicate precision and lightness of a cobweb." The vault is stunning with fan-tracery. The banners of the Knights of the Order of the Bath hang over their stalls. The misereres are beautifully carved and deserve careful examination. The black marble tomb of the founder is regarded as the best example of the Renaissance style in England, crafted by Torregiano. There are numerous monuments here that will be described later. The tombs of Mary Queen of Scots and Queen Elizabeth are of particular interest. Oliver Cromwell's body once lay in the easternmost chapel, but the Royalists during the Restoration sought revenge on his remains, along with those of other regicides, and did not allow them to rest in these sacred grounds.

Returning we traverse the North Ambulatory, from which open the Chapels of SS. Paul, John Baptist, Erasmus and Abbot Islip.[46] St. Erasmus was a Bishop of Campania, martyred in the time of the Diocletian persecution. His chapel has a fine, Late Decorated doorway. Abbot Islip died in 1532, and had previously adorned this chapel for his tomb, of which only the base remains. A curious eye will discern his rebus. In the upper chapel are preserved some remarkable wax effigies of deceased monarchs and others, which were used in ancient times in funeral processions. Charles II., Elizabeth, William and Mary, Anne, Duchess of Richmond, General Monk, and a few others have survived the wreck of time.

Returning, we walk through the North Ambulatory, where we find the Chapels of Saints Paul, John the Baptist, Erasmus, and Abbot Islip.[46] St. Erasmus was a Bishop of Campania who was martyred during the Diocletian persecution. His chapel features a beautiful, Late Decorated doorway. Abbot Islip died in 1532 and had previously decorated this chapel for his tomb, of which only the base remains. A curious observer will notice his rebus. In the upper chapel, some remarkable wax figures of deceased monarchs and others are preserved, which were used in ancient funeral processions. Charles II, Elizabeth, William and Mary, Anne, Duchess of Richmond, General Monk, and a few others have survived the passage of time.

The North Transept resembles the south and is remarkable for its noble architecture. It is part of Henry III.'s construction. The carving is rich and beautiful, especially the famous sculptures of the censing angels, which are best seen from the triforium. On the east are the three Chapels of SS. John the Evangelist, Michael and Andrew, which are now filled with monuments.

The North Transept looks similar to the south and is notable for its impressive architecture. It is part of the construction by Henry III. The carving is intricate and stunning, especially the well-known sculptures of the censing angels, which are best viewed from the triforium. To the east, there are the three Chapels of SS. John the Evangelist, Michael, and Andrew, which are now filled with monuments.

We will now visit the monastic buildings, which may be entered from the south aisle of the nave. The east walk of the cloisters was finished in 1345, and the south and west walks a few years later under the rule of Abbot Litlington. The north walk is a century earlier. From the east walk we enter the Chapter-House. The doorway is remarkably fine, with its sculptured figures in the mouldings. This is one of the finest and largest chapter-houses in England, and was built by Henry III. in 1250. Its plan is octagonal. There is a central, slender, clustered shaft from which the vaulting springs. This vault is a restoration. The windows have beautiful tracery, and are filled with modern glass. The old paintings representing the Second Advent are very interesting. This room has been devoted to many uses. Here the House of Lords used to meet, and here the Records were once kept. The Chapel of the Pyx, a fine Early Norman structure, where "the trial of the Pyx" took place, is not open to the public. Above this and the vestibule was the dormitory, now the library and schoolroom of the famous Westminster School founded by Henry VIII. The cloisters have many monuments. On the south-east lies the little cloister formerly the infirmary, approached by a passage from the east cloister. The refectory was on the south side of the cloister-court, and on the west was the abbot's house, now the Deanery. Permission should be obtained to see the famous Jerusalem Chamber, probably so called from the tapestry which once hung here. Here Henry IV. died, which fact Shakespeare mentions in his play, Henry IV., and many other historical scenes have these walls witnessed.

We will now explore the monastic buildings, which can be accessed from the south aisle of the nave. The east walk of the cloisters was completed in 1345, and the south and west walks followed a few years later under Abbot Litlington. The north walk dates back a century earlier. From the east walk, we enter the Chapter-House. The doorway is impressively detailed, featuring sculpted figures in the moldings. This is one of the largest and finest chapter-houses in England, built by Henry III in 1250, and it has an octagonal design. There is a central, slender, clustered shaft from which the vaulting rises. This vault is a restoration. The windows showcase beautiful tracery and are filled with modern glass. The old paintings depicting the Second Advent are quite fascinating. This room has been used for many purposes. The House of Lords used to convene here, and it was once where the Records were kept. The Chapel of the Pyx, a notable Early Norman structure where "the trial of the Pyx" occurred, is not open to the public. Above this area and the vestibule was the dormitory, which is now the library and schoolroom of the renowned Westminster School, founded by Henry VIII. The cloisters contain numerous monuments. To the south-east lies the small cloister that was formerly the infirmary, accessible by a passage from the east cloister. The refectory was located on the south side of the cloister court, and the abbot's house, now the Deanery, was on the west. You should obtain permission to view the famous Jerusalem Chamber, likely named after the tapestry that once adorned it. This is where Henry IV died, a fact mentioned by Shakespeare in his play, Henry IV., and many other significant historical events have taken place within these walls.

HENRY V.'S CHANTRY

HENRY V'S CHAPEL

Kings Buried in Westminster Abbey

Kings Laid to Rest in Westminster Abbey

Siebert, King of the East Saxons.Edward V.
Edward the Confessor.Henry VII.
Henry III.Edward VI.
Edward I.James I.
Edward III.Charles II.
Richard II.William III.
Henry V.George II.

List of Monuments

Monument List

St. Edward's Chapel, or the Chapel of the Kings

St. Edward's Chapel, or the Chapel of the Kings

Edward the Confessor.Edward I.
Henry III.Eleanor of Castile.
Henry V.Queen Philippa.
Edward III.Richard II. and Queen.
Queen Editha and Queen Matilda (good Queen Maud) are buried here.

Henry VII.'s Chapel

Henry VII's Chapel

Mary Queen of Scots.Henry VII. and his Queen.
Queens Elizabeth and Mary.James I. No monument.

In the "Stuart Vault" are buried—

In the "Stuart Vault" are buried—

Elizabeth, Queen of Bohemia, and Prince Rupert.

Elizabeth, the Queen of Bohemia, and Prince Rupert.

Lady Arabella Stuart, Anne Hyde, and several Royal children.

Lady Arabella Stuart, Anne Hyde, and a number of royal children.

In the "Royal Vault" are buried—

In the "Royal Vault" are buried—

Charles II.Queen Anne.
Queen Mary II.Prince George of Denmark.
William III. 

Under the Nave of the Chapel are buried—

Under the Nave of the Chapel are buried—

George II. and Caroline of Anspach.

George II. and Caroline of Anspach.

Edward VI. The old altar by Torregiano under which he was laid has been of late years restored.

Edward VI. The old altar by Torregiano where he was laid has been recently restored.

In "Oliver's Vault" were originally buried—

In "Oliver's Vault," they were originally buried—

Cromwell, and other leaders of the Commonwealth; the only body that has remained undisturbed is that of the Protector's daughter, Elizabeth Claypole.

Cromwell and other leaders of the Commonwealth; the only group that has stayed untouched is that of the Protector's daughter, Elizabeth Claypole.

A small sarcophagus contains the bones supposed to be those of Edward V. and the Duke of York.

A small sarcophagus holds the bones believed to belong to Edward V and the Duke of York.

In this Chapel are also buried—[50]

In this chapel, there are also buried—[50]

Addison, to whom a statue was raised in 1809 in the Poets' Corner.

Addison, for whom a statue was erected in 1809 in the Poets' Corner.

George Villiers, Duke of Buckingham, an immense tomb.

George Villiers, Duke of Buckingham, a massive tomb.

Nave and Choir

Nave and Choir

  • Charles James Fox.
  • Henry Fox, Lord Holland.
  • Major-General Charles George Gordon, bronze bust.
  • William Pitt.
  • William Wordsworth, seated statue. }
  • John Keble, bust. }
  • Frederick D. Maurice, bust. I'm sorry, but it seems there was no text provided for me to modernize. Please provide a short phrase so I can assist you.Baptistery.
  • Charles Kingsley, bust. }
  • Matthew Arnold, bust. }
  • Dr. T. Arnold, bust. }
  • William Congreve.
  • Major John André.
  • Charles Robert Darwin, medallion portrait.
  • (Sir John Herschell, buried next to Darwin).
  • Ben Jonson (buried here—monument in Poets' Corner).
  • Sir Charles Lyell, bust.
  • Sir Isaac Newton.

Buried here are—

Buried here are—

  • David Livingstone, }
  • Robert Stephenson, }without monument.
  • Dean Trench, The text you provided is empty. Please provide a short phrase for modernization.
  • Sir George Gilbert Scott, Understood. Please provide the text you would like me to modernize.
  • Lord Lawrence, bust.
  • Sir James Outram (a bas-relief of Relief of Lucknow).
  • Colin Campbell, Lord Clyde.
  • Dr. Isaac Watts.
  • John and Charles Wesley (buried elsewhere).
  • Admiral Sir Cloudesley Shovel.
  • Sir Godfrey Kneller, the only painter commemorated in the Abbey.
  • William Wilberforce, seated figure.
  • Henry Purcell, tablet.
  • (Sir William Sterndale Bennett buried here.)

INTERIOR FROM CHAPEL OF ST. JOHN

INTERIOR FROM CHAPEL OF ST. JOHN

North Transept

North Transept

William Pitt, Earl of Chatham.
Viscount Palmerston, statue.
Sir Robert Peel, statue.
Lord Beaconsfield, statue.
Gladstone (no monument yet erected).
Warren Hastings (buried elsewhere).
Richard Cobden, bust (buried elsewhere).

William Pitt, Earl of Chatham.
Viscount Palmerston, statue.
Sir Robert Peel, statue.
Lord Beaconsfield, statue.
Gladstone (no monument has been built yet).
Warren Hastings (buried in a different location).
Richard Cobden, bust (buried in a different location).

Poets' Corner

Poet's Corner

John Dryden, bust.
H. Wadsworth Longfellow, bust.
Abraham Cowley.
Geoffrey Chaucer.
Lord Tennyson, bust.
Robert Browning (no monument).
Michael Drayton.
Ben Jonson, monument bears same inscription as stone above grave.
Edmund Spenser.
Samuel Butler (buried elsewhere).
John Milton.
Thomas Gray (buried elsewhere).
Matthew Prior.
Thomas Campbell.
Robert Southey (buried elsewhere), bust.
S. Taylor Coleridge (buried elsewhere), bust.
William Shakespeare.
Robert Burns (buried elsewhere), bust.
James Thomson (buried elsewhere).
John Gay (buried?).
Oliver Goldsmith, medallion (buried elsewhere).
Sir W. Scott, replica of bust at Abbotsford.
John Ruskin, medallion.
George Frederick Handel, statue.
Jenny Lind Goldschmidt, portrait head.
W. Makepeace Thackeray (buried elsewhere), bust.
Joseph Addison (buried in Henry VII.'s Chapel).
Lord Macaulay, bust.
William Camden.
David Garrick, full-length figure.
[54]

John Dryden, bust.
H. Wadsworth Longfellow, bust.
Abraham Cowley.
Geoffrey Chaucer.
Lord Tennyson, bust.
Robert Browning (no monument).
Michael Drayton.
Ben Jonson, monument bears the same inscription as the stone above the grave.
Edmund Spenser.
Samuel Butler (buried elsewhere).
John Milton.
Thomas Gray (buried elsewhere).
Matthew Prior.
Thomas Campbell.
Robert Southey (buried elsewhere), bust.
S. Taylor Coleridge (buried elsewhere), bust.
William Shakespeare.
Robert Burns (buried elsewhere), bust.
James Thomson (buried elsewhere).
John Gay (buried?).
Oliver Goldsmith, medallion (buried elsewhere).
Sir W. Scott, replica of bust at Abbotsford.
John Ruskin, medallion.
George Frederick Handel, statue.
Jenny Lind Goldschmidt, portrait head.
W. Makepeace Thackeray (buried elsewhere), bust.
Joseph Addison (buried in Henry VII.'s Chapel).
Lord Macaulay, bust.
William Camden.
David Garrick, full-length figure.
[54]

Among those buried here without monuments are—

Among those buried here without tombstones are—

Sir John and Francis Beaumont.
Sir John Denham.
Dr. Samuel Johnson (monument at St. Paul's).
Richard Brinsley Sheridan.
Charles Dickens.
Sir William Davenant.
Richard Hakluyt.
Thomas Parr.
Queen Anne, Richard III.'s wife, is believed to be lying here.

Sir John and Francis Beaumont.
Sir John Denham.
Dr. Samuel Johnson (monument at St. Paul's).
Richard Brinsley Sheridan.
Charles Dickens.
Sir William Davenant.
Richard Hakluyt.
Thomas Parr.
Queen Anne, wife of Richard III, is thought to be buried here.

Monuments to Dr. Busby and Dr. Robert South.

Monuments to Dr. Busby and Dr. Robert South.

Portion of tomb of Anne of Cleves.

Portion of the tomb of Anne of Cleves.

Within the rails of the Choir are three old tombs—

Within the rails of the Choir are three ancient tombs—

Aveline, Countess of Lancaster, married to Henry III.'s son, Edmund Crouchback.
Aymer de Valence, Earl of Pembroke, cousin to Edward I., employed as general in wars in Scotland.
Edmund Crouchback, Earl of Lancaster.

Aveline, Countess of Lancaster, married to Henry III's son, Edmund Crouchback.
Aymer de Valence, Earl of Pembroke, cousin to Edward I, served as a general in the wars in Scotland.
Edmund Crouchback, Earl of Lancaster.

South Ambulatory

South Ambulatory

Supposed tomb of King Siebert.

Alleged tomb of King Siebert.

Chapel of St. Edmund

St. Edmund's Chapel

William de Valence, Earl of Pembroke (father of above), half-brother to Henry III. This is the only existing example in England of an effigy in Limoges enamel work.
Lord Lytton, black marble slab.

William de Valence, Earl of Pembroke (father of the above), half-brother to Henry III. This is the only surviving example in England of an effigy made with Limoges enamel work.
Lord Lytton, black marble slab.

North Ambulatory

North Walkway

General James Wolfe.

General James Wolfe.

Chapel of St. Paul

St. Paul’s Chapel

James Watt, statue.

James Watt statue.

Islip Chapel

Islip Chapel

Remains of Islip's tomb form a table by the window.

Remains of Islip's tomb create a table by the window.

St. John's Chapel

St. John's Chapel

Sir John Franklin.

Sir John Franklin.

St. Andrew's Chapel[55]

St. Andrew's Chapel[55]

Sir Humphrey Davy (buried elsewhere), tablet.
Mrs. Siddons, statue.
John Kemble, statue.

Sir Humphrey Davy (buried elsewhere), plaque.
Mrs. Siddons, statue.
John Kemble, statue.

Among those who are buried in the Cloisters are—

Among those who are buried in the Cloisters are—

Thomas Betterton, actor.
Mrs. Bracegirdle, actress.
Aphra Behu.
Samuel Foote.

Thomas Betterton, actor.
Mrs. Bracegirdle, actress.
Aphra Behn.
Samuel Foote.

A tablet in the Cloisters has been put up in memory of seven of the Queen's Westminster Volunteers killed in South Africa, 1900.

A tablet in the Cloisters has been installed in memory of seven of the Queen's Westminster Volunteers who lost their lives in South Africa, 1900.

Monument to Dean Stanley (Henry VII.'s Chapel).

Monument to Dean Stanley (Henry VII's Chapel).

Archbishop Tait, bust (Poets' Corner).

Archbishop Tait, statue (Poets' Corner).

Window commemorative of—

Memorial window of—

George Herbert.
William Cowper.

George Herbert.
William Cowper.

Dimensions

Dimensions

Length of nave166 ft.
Breadth of nave38 ft.
Breadth of nave and aisles71 ft.
Height of nave and choir101 ft.
Length of choir155 ft.
Breadth of choir38 ft.
Length of whole church511 ft.
Height of central tower151 ft.
Height of west towers225 ft.
Area46,000 sq. ft.

Principal Building Dates

Main Building Dates

  • 1050-1100—Fragments beneath pavement of choir, Chapel of the Pyx.
  • 1245-1269—Choir and four eastern bays of nave, transepts, chapter-house, and north and part of east walk of cloister.
  • 1330-1350—Cloisters, south and west walks.
  • 1350-1512—West parts of nave, Henry VII.'s Chapel,abbot's pew, Henry V.'s Chantry, Jerusalem Chamber.
  • 1739-1741—West front.
  • Modern—North front of north transept.

PLAN OF WESTMINSTER ABBEY

Westminster Abbey Plan


ROCHESTER CATHEDRAL

The city of Rochester has a distinguished past. It lies on the great high road to London, the Old Watling Street. Hence, all the great and Royal visitors passed through Rochester, and few events of historical importance which occurred in the Kentish corner of England were unconnected with this city. It was a Roman station. The Saxons called it Hvof-Cæstre. Ethelbert founded the Cathedral here in 604, and this first raised it to importance. Athelstan established a mint here, and at the beginning of the tenth century it was one of the principal ports of the kingdom. This was the cause of its undoing, as the Danes found it a convenient landing-place, and pillaged and ravaged the city. A Norman castle was built by Bishop Gundulf, of whom we shall hear more later. This fortress, of which there are extensive remains, has been frequently besieged. It was granted by the Conqueror to Odo, Bishop of Bayeaux, who was faithless to William and was besieged in this castle. Again, King John and Simon de Montfort, and Wat Tyler, all tried the strength of this mighty fortress. Many scenes of mediæval pageantry took place here. In the time of Henry III. a grand tournament was held here, and gay was the city with the presence of contending knights and squires and all the pomp of ancient chivalry. It were vain to name all the Royal visitors who have sojourned here. Here at the Restoration came the "Merry Monarch," and here, when the fortunes of the Stuarts were very low, came James II. in his secret flight, and embarked from Rochester on his fatal journey to France. The story of the city is full of interest; but its Cathedral was the primary cause of its greatness, and thither we must wend our way, and try to read its history.

The city of Rochester has a rich history. It’s located on the main route to London, the Old Watling Street. Because of this, many important royal visitors passed through Rochester, and almost every significant historical event that took place in this part of Kent was linked to the city. It started as a Roman station. The Saxons referred to it as Hvof-Cæstre. Ethelbert established the Cathedral here in 604, which was the first step in raising its significance. Athelstan set up a mint here, and by the early tenth century, it had become one of the main ports in the kingdom. This led to its downfall, as the Danes found it an easy spot to land and plundered the city. A Norman castle was constructed by Bishop Gundulf, who we’ll learn more about later. This fortress, of which substantial remains still exist, has been besieged multiple times. It was granted by the Conqueror to Odo, Bishop of Bayeux, who betrayed William and was besieged in this castle. Additionally, King John, Simon de Montfort, and Wat Tyler all tested the defenses of this stronghold. Many medieval celebrations were held here. During Henry III's reign, a grand tournament took place, and the city buzzed with knights, squires, and all the splendor of chivalry. It would be pointless to list all the royal visitors who stayed here. At the Restoration, the “Merry Monarch” visited, and during the low tides of Stuart fortunes, James II secretly fled from here before embarking on his ill-fated journey to France. The story of the city is captivating, but its Cathedral is what primarily contributed to its greatness, so we must head there and explore its history.

The see was founded by Ethelbert at the instigation of Augustine in 604, Justus, one of the followers of the Apostle of the English, being its first bishop. He was the builder of the earliest church, some foundations of which have been recently discovered. Here the great missionary of the north, Paulinus, came, the Apostle of the North of England, having been driven[58] away from Northumbria, and was bishop here till 644, when Ithamar succeeded, the first native bishop of the English Church. The church was dedicated to St. Andrew. Danish invasions caused much destruction. Siward, formerly Abbot of Abingdon, was the last Saxon prelate who preserved his see when the Conqueror came. But the chroniclers tell of the miserable condition of the church, "wretched and empty, destitute of all things within and without." In 1076 came Gundulf of Bec to preside over the fortunes of the harassed see, and he wrought vast changes. He introduced Benedictine monks, who replaced the secular canons, rebuilt the Cathedral, and, not content with that, erected a castle here, and built parts of Dover Castle and the Tower of London. Soon after his death Ernulf, whose work at Canterbury we shall see, became bishop here, and carried on his great building operations, erecting the dormitory, chapter-house and refectory.

The see was established by Ethelbert at Augustine's urging in 604, with Justus, one of the followers of the Apostle of the English, becoming its first bishop. He built the earliest church, some of whose foundations have been recently found. Here, the great missionary Paulinus, the Apostle of the North of England, arrived after being driven away from Northumbria, and he served as bishop until 644, when Ithamar, the first native bishop of the English Church, took over. The church was dedicated to St. Andrew. Danish invasions caused considerable destruction. Siward, who was previously the Abbot of Abingdon, was the last Saxon bishop to retain his see when the Conqueror arrived. However, chroniclers describe the church as "wretched and empty, destitute of all things within and without." In 1076, Gundulf of Bec came to oversee the troubled see, and he made significant changes. He introduced Benedictine monks to replace the secular canons, rebuilt the Cathedral, and not satisfied with that, constructed a castle here and contributed to parts of Dover Castle and the Tower of London. Shortly after his death, Ernulf, whose efforts at Canterbury we will see, became bishop here and continued his extensive construction projects, building the dormitory, chapter house, and refectory.

In 1130, in a grand assembly of bishops, nobles, and in the presence of the king, Henry I., the Cathedral was consecrated.

In 1130, at a grand gathering of bishops, nobles, and in front of King Henry I, the Cathedral was consecrated.

As with many other cathedrals, fire wrought havoc in the sacred fane, especially in 1138 and 1177. The later Norman builders added much to the perfection of the church, carving the capitals of piers of the nave, recasing them, and building the west front, which Gundulf does not seem to have accomplished. After the fires the building was renewed, especially in the monks' quarters, which had suffered much. Another great misfortune was the plundering and devastation of the church by King John after his capture of the castle; but happily an event occurred which helped to fill the treasury of the monks, and enabled them to adorn their minster. One William of Perth, a baker by trade, who was of a pious mind, undertook a pilgrimage to the Holy Land, but was killed by robbers near Chatham, and buried here. Miracles were said to have been wrought at his tomb; the fame thereof spread; and crowds of pilgrims began to frequent St. William's shrine, and bring costly offerings. William de Hoo was sacrist and prior at the beginning of the thirteenth century, a most active builder, who rebuilt the choir and aisles, using much of the old Norman work. This choir was used for the first time in 1227. Another great builder was Richard de Eastgate, sacrist, who constructed a new west transept, and began the construction of the central tower. His work was continued, and before the century was completed there was a new south transept, and the piers finished for bearing the tower.

Like many other cathedrals, fire caused significant destruction in this sacred place, particularly in 1138 and 1177. The later Norman builders enhanced the church’s design by carving the capitals of the piers in the nave, renovating them, and constructing the west front, which Gundulf doesn’t seem to have completed. After the fires, the building was restored, especially the monks' quarters, which had been heavily damaged. Another major disaster was when King John plundered and devastated the church after capturing the castle; however, a fortunate event occurred that helped replenish the monks' treasury, allowing them to beautify their cathedral. A man named William of Perth, a devout baker, set out on a pilgrimage to the Holy Land but was killed by robbers near Chatham and buried here. Miracles were reportedly performed at his tomb, and word spread, attracting crowds of pilgrims to St. William's shrine, who brought valuable offerings. William de Hoo served as sacrist and prior in the early thirteenth century, and he was a highly active builder who reconstructed the choir and aisles, incorporating much of the old Norman work. This choir was used for the first time in 1227. Another prominent builder was Richard de Eastgate, the sacrist, who built a new west transept and began the construction of the central tower. His work continued, and by the end of the century, a new south transept was completed, along with the piers needed to support the tower.

Rochester Cathedral

Rochester Cathedral

Bishop Glanville (1185-1214) was much hated by the monks, and continuous disputing arose. "He came from Northumbria,"[61] says a monk, "and is a proof of the saying that out of the north proceedeth all evil."

Bishop Glanville (1185-1214) was greatly disliked by the monks, and ongoing arguments broke out. "He came from Northumbria,"[61] says a monk, "and is proof of the saying that all evil comes from the north."

In 1264 Simon de Montfort and the barons besieged Rochester, and on Good Friday "the satellites of the devil entered the Church of St. Andrew with their drawn swords, and, striking fear and horror into its children and those also who had taken refuge in it, crucified them together with the Lord, Who suffereth in His elect. Moreover, they plundered the gold and silver and precious things. Some of the monks they imprisoned all the night, and armed men on their horses rode about the altars, and dragged thence with impious hands certain persons who had fled to them. The holy places—the chapels, cloisters, chapter-house, infirmary—were made stalls for their horses, and filled with filth and uncleanness."

In 1264, Simon de Montfort and the barons surrounded Rochester, and on Good Friday, "the devil's followers entered the Church of St. Andrew with their swords drawn, instilling fear and horror in the congregation and those who had sought refuge there, crucifying them alongside the Lord, who suffers for His chosen. Additionally, they stole gold, silver, and valuable items. Some of the monks they held captive all night, and armed men on horseback rode around the altars, dragging out individuals who had fled to them with reckless hands. The holy places—the chapels, cloisters, chapter house, and infirmary—were turned into stalls for their horses and filled with filth and dirt."

Walter de Merton was bishop here in 1274-1278. He was the noble founder of Merton College, Oxford, and from his rules which he framed for his institution it is evident that he liked not monks. At one time it seems to have been the intention of the builders to pull down the nave and rebuild it in Gothic style, but in the fourteenth century the monks seem to have given up the idea, and joined the new work with the Norman.

Walter de Merton was bishop here from 1274 to 1278. He was the distinguished founder of Merton College, Oxford, and from the rules he created for his institution, it’s clear that he wasn’t fond of monks. At one point, it seems the builders planned to tear down the nave and reconstruct it in Gothic style, but by the fourteenth century, the monks appear to have abandoned that idea and instead combined the new work with the Norman style.

The affairs of the monastery did not always go very smoothly. We have noticed some disputes between the bishop and the monks, and in the fourteenth century there were endless quarrels between the monks and the citizens. The latter had the altar of St. Nicholas in the body of the nave near the screen for their use. Their access to it the monks tried to control, and scenes of violence resulted. So the monks encircled the precincts with a wall, and enclosed the choir with strong gates and screens, and subsequently built a church for the parishioners.

The monastery didn't always run smoothly. We noticed some conflicts between the bishop and the monks, and in the 14th century, there were constant arguments between the monks and the townspeople. The townspeople had access to the altar of St. Nicholas in the main part of the church near the screen. The monks tried to control this access, leading to violent confrontations. To address this, the monks built a wall around the grounds, put up strong gates and screens around the choir, and eventually constructed a church for the local residents.

Bishop Haymo de Hythe (1319-1352) contributed large sums to the restoration of his Cathedral. He built the central tower and raised a campanile, in which he placed four bells, named Dunstan, Paulinus, Ithamar and Lanfranc. He also built the door leading to the chapter-house. Several alterations were made in Perpendicular times, new windows inserted, and the Lady Chapel built in the unusual position on south of the nave, and the fabric of the Cathedral finished. At the dissolution of monasteries the monks were turned adrift, and the New Foundation called into being, consisting of a dean, prebendaries, minor canons, choristers, together with a grammar school.[62]

Bishop Haymo de Hythe (1319-1352) donated significant funds to restore his Cathedral. He constructed the central tower and added a bell tower, which housed four bells named Dunstan, Paulinus, Ithamar, and Lanfranc. He also built the door leading to the chapter house. During the Perpendicular period, several changes were made, including the addition of new windows and the construction of the Lady Chapel, which was uniquely positioned to the south of the nave, completing the fabric of the Cathedral. When the monasteries were dissolved, the monks were displaced, and the New Foundation was established, consisting of a dean, prebendaries, minor canons, choristers, along with a grammar school.[62]

At the Civil War the Cathedral fared better than many. The soldiers changed the position of the altar and broke the rails, and profaned the church by using it as a stable and a tippling place, while saw-pits were made here, and carpenters plied their trade.

At the Civil War, the Cathedral did better than many. The soldiers moved the altar, damaged the rails, and disrespected the church by using it as a stable and a drinking spot, while saw-pits were set up here and carpenters worked on their trade.

At the Restoration all churchmen set about repairing their cathedrals, and the citizens of Rochester lagged not behind. Much money was spent on the fabric, and many repairs effected. In the eighteenth century Sloane was the architect who rebuilt the steeple. Very extensive alterations were made at the beginning of the nineteenth century, under the direction of Cottingham, which were drastic, and Sir G. Scott and Mr. Pearson have both been at work on the Cathedral, whose restorations we will examine when we inspect the Cathedral. The Bishopric of Rochester since the Reformation has been occupied by several remarkable men. Bishop Fisher, a learned, brave and saintly man, was doomed to death on the scaffold by Henry VIII. (1535), and Barlow, Buckeridge, Warner and Atterbury were all men who achieved fame in their times.

At the Restoration, all church leaders started to fix up their cathedrals, and the people of Rochester were no different. A lot of money was spent on the buildings, and many repairs were made. In the eighteenth century, Sloane was the architect who rebuilt the steeple. Significant changes happened at the beginning of the nineteenth century under Cottingham's guidance, which were quite drastic, and both Sir G. Scott and Mr. Pearson have worked on the Cathedral, whose restorations we will look at when we visit the Cathedral. Since the Reformation, the Bishopric of Rochester has been held by several notable figures. Bishop Fisher, a learned, brave, and saintly man, was executed by Henry VIII in 1535, and Barlow, Buckeridge, Warner, and Atterbury were all men who gained fame in their time.

The Exterior

The Outside

The best view can be obtained from the castle. The West Front is a fine example of Norman work, with the exception of the large Perpendicular window, and the modern imitation of Norman work. It is a mistake for architects to destroy the accretions of centuries, and to substitute a reproduction of what they imagine to have been the original design. Mr. Pearson had the audacity to take down the fifteenth-century north turret, and to erect a bran-new Norman turret in its place. The front, as we see it, consists of a centre flanked by turrets, and two wings, which form the ends of the aisles. First we notice the beautiful west door, which is one of the finest Norman doorways in the kingdom. It has five orders, and is of elaborate design and profusely adorned with mouldings, the capitals being richly carved. On the fourth shaft on each side are two curious figures, supposed to represent Henry I. and his queen. In the tympanum is the Saviour, with angels and the evangelistic emblems, and below small mutilated figures of the Apostles. The old doors were said to have been covered with the skins of Danes, but these have disappeared, and the new ones have no trace of the epidermis of our destructive visitors. The great west window was inserted about 1470. Rows of Norman arcading adorn the front. Two modern statues of Bishops Gundulf and[63] John have been placed in the niches on each side of the doorway. The turrets are octagonal, that on the west being modern, and built by Mr. Pearson on the model of that on the south, in place of a Perpendicular one erected at the same time as the window. The north tower has been quite recently erected in imitation of the ancient design, and the south tower raised to its original height.

The best view can be found from the castle. The West Front is a great example of Norman architecture, except for the large Perpendicular window and the modern imitation of Norman style. It's a mistake for architects to erase the layers built up over centuries and replace them with what they think the original design looked like. Mr. Pearson had the nerve to take down the fifteenth-century north turret and build a brand-new Norman turret in its place. The front, as we see it, features a center flanked by turrets and two wings that create the ends of the aisles. First, we notice the stunning west door, which is one of the finest Norman doorways in the country. It has five orders and is intricately designed, decorated with plenty of mouldings, and the capitals are beautifully carved. On the fourth shaft on each side, there are two interesting figures, thought to represent Henry I and his queen. In the tympanum is the Saviour, along with angels and the symbols of the four evangelists, and below them are small damaged figures of the Apostles. The old doors were said to have been covered with the skins of Danes, but those have vanished, and the new ones show no sign of our destructive visitors' epidermis. The great west window was installed around 1470. Rows of Norman arcading decorate the front. Two modern statues of Bishops Gundulf and [63] John have been placed in the niches on either side of the doorway. The turrets are octagonal, with the one on the west being modern and built by Mr. Pearson based on the design of the one to the south, replacing a Perpendicular one that was put up at the same time as the window. The north tower has been recently constructed to mimic the ancient design, and the south tower has been raised to its original height.

The Nave is for the most part Norman. The clerestory is Perpendicular, also the windows in the north aisle. The North Transept is Early English, but has been re-roofed at a much higher pitch by Sir G. Scott, who added the pinnacles and circular windows. On the east of this is Gundulf's Tower, built by the founder of the Norman church and probably intended for purposes of defence, and as a treasury. It seems that the only entrance to it was from the top, a bridge connecting it with a staircase in the neighbouring transept. It was afterwards used as a belfry. The north side of the choir shows its Early English character, and the presence of the dog-tooth ornament bespeaks its style. There is, however, much modern work. The high gables that call loudly for corresponding roofs were built by Scott, and perhaps some generous visitor will be willing to grant their silent appeal. The south side of the presbytery adjoins the chapter-house and library, built in the eighteenth century in place of the noble Norman chapter-house, the ruins of which still remain. The monastic buildings stood in an unusual position on the south side of the choir, and were mainly constructed by Ernulf. Gundulf's cloisters were on the south of the nave in the usual place for a Benedictine abbey, but these have entirely disappeared. In the ruins of Ernulf's monastic buildings there is much fine Norman work, zigzag and billet mouldings, his favourite diaper which is found at Canterbury, and a curious carving of the sacrifice of Isaac. Parts of the wall of the dormitory and the refectory, with a lavatory, remain. The south side of the choir and the choir transept were much restored by Cottingham in 1825. A fine Decorated window has been inserted in the south wall of the choir transept aisle. The South Transept is Late Early English work. On its west side is the Lady Chapel, erected in the Perpendicular style about 1500.

The Nave is mostly Norman. The clerestory is Perpendicular, as are the windows in the north aisle. The North Transept is Early English but has been re-roofed at a much steeper angle by Sir G. Scott, who added the pinnacles and circular windows. To the east of this is Gundulf's Tower, built by the founder of the Norman church, likely intended for defense and as a treasury. It seems the only entrance was from the top, connected by a bridge to a staircase in the adjacent transept. It was later used as a belfry. The north side of the choir reflects its Early English style, and the presence of the dog-tooth ornament indicates its design. However, there is a lot of modern work. The high gables that prominently call for matching roofs were created by Scott, and maybe a generous visitor will respond to their silent plea. The south side of the presbytery borders the chapter house and library, built in the eighteenth century to replace the impressive Norman chapter house, the ruins of which still exist. The monastic buildings were unusually located on the south side of the choir and were primarily built by Ernulf. Gundulf's cloisters were situated south of the nave, the typical location for a Benedictine abbey, but these have completely vanished. The remains of Ernulf's monastic structures feature a lot of fine Norman work, including zigzag and billet moldings, his signature diaper found at Canterbury, and an intriguing carving of the sacrifice of Isaac. Parts of the dormitory and refectory walls, along with a lavatory, still stand. The south side of the choir and the choir transept were significantly restored by Cottingham in 1825. A beautiful Decorated window has been added to the south wall of the choir transept aisle. The South Transept is Late Early English work. On its west side is the Lady Chapel, built in the Perpendicular style around 1500.

The lower part of the central tower, which is hardly worthy of the Cathedral, was built by Bishop Haymo de Hythe (1319-1352); all above the roof was erected by Cottingham in the restoration of 1825.[64]

The bottom part of the central tower, which doesn't really do justice to the Cathedral, was constructed by Bishop Haymo de Hythe (1319-1352); everything above the roof was built by Cottingham during the restoration in 1825.[64]

The remains of the old wall which surrounded the precincts are still in existence. The Prior's Gate was built about the middle of the fourteenth century; and the other remaining gates are College Gate, and the Deanery Gate, both of which belong to the time of Edward IV.

The remains of the old wall that surrounded the area still exist. The Prior's Gate was built around the middle of the 14th century, and the other surviving gates are College Gate and the Deanery Gate, both dating back to the time of Edward IV.

The Interior

The Interior

We enter the Nave by the beautiful west doorway and are at once impressed by the fine Norman character of the building. Much of it is the work of Gundulf, the first Norman bishop, the companion of Lanfranc, who fashioned his rising church after the model of Canterbury, and has thus left us a copy of the appearance of that church ere it was refashioned by later builders. The two eastern bays are Early Decorated. The clerestory is Perpendicular work, and the flat timber roof was erected at the same time. The later Norman builders, Bishops Ernulf and John (1115-1137), greatly improved the appearance of Gundulf's nave. They finished the west end, recased the piers, and carved the zigzag mouldings and the capitals, and seem to have added a new triforium or enriched the old arcade with diaper work. There is no triforium gallery, as it opens both into the aisles as well as into the nave. The fine interior of the west doorway will be noticed, and also another Norman doorway in the south-west corner. The windows in the north aisle are Perpendicular. The font is modern, and also the pulpit, stalls and lectern. On the south of the south aisle is the Late Perpendicular Chapel of St. Mary, usually called the Lady Chapel. It was restored in 1852. Here the consistory court used to meet. It is now used as a chapel for the grammar school. The South Transept is of later date than the corresponding north transept; its style is Late Early English, when the style was merging into Early Decorated. The architect was Richard de Waldene, sacrist. Above in the south wall there are five single-light windows, and below three double windows, and the extensive use of Purbeck marble in the shafts will be noticed. Banded shafts of marble cluster around the great tower-piers. Cottingham erected the present ceiling in 1840. It will be noticed that the Purbeck marble shafts on the two western tower-piers stop some distance from the ground, and a block of intrusive masonry obtrudes itself on the west of the northern one. Various conjectures have been made concerning the object of this. Possibly it formed part of a stone rood loft, or served as a buttress to the arch. The North Transept is Early English, the[65] work of Richard de Eastgate, sacrist. The dog-tooth ornament is seen in the clerestory. The carved corbels, representing monastic heads, are finely executed. In the recess on the east side there is a piscina which marks the site of an altar.

We enter the Nave through the beautiful west doorway and are immediately struck by the impressive Norman style of the building. Much of it was designed by Gundulf, the first Norman bishop and a companion of Lanfranc, who modeled his rising church after Canterbury, giving us a glimpse of what that church looked like before later renovations. The two eastern bays are Early Decorated. The clerestory is Perpendicular, and the flat timber roof was built at the same time. Later Norman builders, Bishops Ernulf and John (1115-1137), greatly enhanced the look of Gundulf's nave. They completed the west end, recased the piers, carved the zigzag moldings and capitals, and seem to have either added a new triforium or decorated the old arcade with diaper work. There is no triforium gallery since it opens into both the aisles and the nave. The beautiful interior of the west doorway will catch your eye, as will another Norman doorway in the southwest corner. The windows in the north aisle are Perpendicular. The font, pulpit, stalls, and lectern are modern. On the south side of the south aisle is the Late Perpendicular Chapel of St. Mary, commonly called the Lady Chapel. It was restored in 1852 and used to be where the consistory court met. It now serves as a chapel for the grammar school. The South Transept is newer than the north transept; its style is Late Early English, marking the transition into Early Decorated. The architect was Richard de Waldene, the sacrist. Above in the south wall, there are five single-light windows, and below, three double windows. You'll notice the extensive use of Purbeck marble in the shafts. Banded marble shafts surround the great tower-piers. Cottingham built the current ceiling in 1840. It's noticeable that the Purbeck marble shafts on the two western tower-piers don't reach the ground and that a block of intrusive masonry protrudes from the west side of the northern one. Various theories have been proposed about this. It may have been part of a stone rood loft or functioned as a buttress for the arch. The North Transept is Early English, the[65] work of Richard de Eastgate, the sacrist. The dog-tooth ornament is visible in the clerestory. The carved corbels representing monastic heads are beautifully crafted. In the recess on the east side, there is a piscina marking the location of an altar.

The Monuments in the nave and transepts are not important. That of Richard Watts in the south transept is worthy of notice. He entertained Queen Elizabeth at his house called Satis,[4] and erected a hostel for six poor travellers, "not being rogues or proctors," which in later times has been immortalised by Charles Dickens, as a tablet sets forth. Near it is the monument of Sir Richard Head, who sheltered the fugitive monarch James II. when he fled from his kingdom. The glass is all modern.

The Monuments in the nave and transepts aren’t that significant. However, the one for Richard Watts in the south transept is worth mentioning. He hosted Queen Elizabeth at his home called Satis,[4] and built a hostel for six poor travelers, "not being rogues or proctors," which was later made famous by Charles Dickens, as a plaque indicates. Next to it is the monument of Sir Richard Head, who provided refuge to the fleeing monarch James II. The glass is all modern.

The Choir Screen has been restored in memory of Dean Scott, who, with Dean Liddell of Christ Church, Oxford, compiled the well-known Greek Lexicon. The doorway is ancient Decorated work; the figures are (beginning on the north side) St. Andrew, Ethelbert, St. Justus, St. Paulinus, Gundulf, William de Hoo, Walter de Merton, Bishop Fisher, all of whom were connected with the See of Rochester. As at Canterbury, we ascend several steps to gain the choir, rendered necessary by the height of the crypt below. All the work before us in the choir is Early English, but fashioned on the old Norman walls. It was finished sufficiently for use in 1227, in the year of the accession of Henry de Sandford to the bishopric, and is the work of William de Hoo. The choir aisles are separated from the choir by stone walls. Shafts of Purbeck marble support the vault. Some of the brackets of Early English foliage which support the shafts are beautifully carved. Some of the windows in the presbytery and south choir transept are later insertions, and are Decorated. Sir G. Scott wrought drastic changes here, and substituted two tiers of lancets instead of a large east window, brought the altar away from the extreme east end and designed a new reredos. He made new stalls, using much of the old woodwork. Some fine old fourteenth-century painting he discovered behind the old stalls, which he carefully reproduced, and designed a new throne, pulpit and reredos. Amidst so much that is new and beautiful in its way, it is pleasant to discover some ancient work. The sedilia are Perpendicular, and an Early English piscina and aumbry are observable behind the altar. There is a curious and interesting mural painting on the north wall representing the[66] Wheel of Fortune, which is probably a thirteenth-century production.

The Choir Screen has been restored in memory of Dean Scott, who, along with Dean Liddell of Christ Church, Oxford, compiled the famous Greek Lexicon. The doorway features ancient Decorated work; the figures include (starting on the north side) St. Andrew, Ethelbert, St. Justus, St. Paulinus, Gundulf, William de Hoo, Walter de Merton, and Bishop Fisher, all of whom were associated with the See of Rochester. Like at Canterbury, we go up several steps to enter the choir, which is necessary due to the height of the crypt below. All the work visible in the choir is Early English but built on the old Norman walls. It was completed in 1227, the year Henry de Sandford became bishop, and is the work of William de Hoo. The choir aisles are separated from the choir by stone walls. Shafts of Purbeck marble support the vault. Some of the brackets with Early English foliage that support the shafts are beautifully carved. Some windows in the presbytery and the south choir transept are later additions and are Decorated. Sir G. Scott made significant changes here, replacing a large east window with two tiers of lancets, moving the altar away from the far east end, and designing a new reredos. He created new stalls, using much of the existing woodwork. He discovered some fine old fourteenth-century paintings hidden behind the old stalls, which he carefully reproduced, and designed a new throne, pulpit, and reredos. Among all the new and lovely elements, it's nice to find some ancient work. The sedilia are Perpendicular, and you can see an Early English piscina and aumbry behind the altar. There's a curious and interesting mural painting on the north wall depicting the Wheel of Fortune, which is likely from the thirteenth century.

The North Choir Transept (Early English) contains the tomb of St. William, to whom we have already referred, and whose shrine brought much gain to the treasury. The tomb is of Purbeck marble, with a floriated cross. A flat stone marked with six crosses in the centre of the transept is said to be the site of the shrine. The steps leading to this transept from the north choir aisle are much worn by the feet of pilgrims. Here is also the tomb of Walter de Merton (1274-1277) of Early Decorated design, the founder of Merton College, Oxford. The slab is modern; an alabaster effigy made in 1598 now is placed in the adjoining recess. Here is also the tomb of Bishop Lowe (1467). In the aisle (St. John Baptist's Chapel), are tombs of Bishop Warner (1666), the founder of the college for widows at Bromley, who occupied the see during the Commonwealth period; of Bishop John de Sheppey (1360), the sculpture of which is worthy of the highest praise. It was long hidden away in the wall, and remained so for centuries, until the restorations of 1825 brought it to light.[5] Here also is a very ancient statue said to be the figure of Gundulf. In the chancel or sacrarium are the tombs of Bishop Gilbert de Glanville (1214), a shrine-shaped monument with medallions containing mitred heads; Bishop Lawrence de St. Martin (1274), of Early Decorated design; at extreme east, Sir W. Arundel (1400) and his lady; and on the south side the supposed coffin of Bishop Gundulf; Bishop Inglethorp (1291), a thirteenth-century coffin, and another in the south choir transept (name unknown). The glass in this part of the church is all modern.

The North Choir Transept (Early English) holds the tomb of St. William, whom we’ve already mentioned, and whose shrine contributed significantly to the treasury. The tomb is made of Purbeck marble and features a floriated cross. A flat stone marked with six crosses at the center of the transept is said to be the site of the shrine. The steps leading from the north choir aisle to this transept are well-worn from the feet of pilgrims. Also found here is the tomb of Walter de Merton (1274-1277), designed in the Early Decorated style, who founded Merton College, Oxford. The slab is modern; an alabaster effigy made in 1598 now occupies the adjoining recess. You can also find the tomb of Bishop Lowe (1467). In the aisle (St. John Baptist's Chapel), there are tombs of Bishop Warner (1666), who founded the college for widows at Bromley and served during the Commonwealth period; Bishop John de Sheppey (1360), noted for its exceptional sculpture. It was hidden in the wall for centuries until the restorations in 1825 revealed it.[5] There is also a very ancient statue believed to represent Gundulf. In the chancel or sacrarium, you’ll find the tombs of Bishop Gilbert de Glanville (1214), featuring a shrine-shaped monument with medallions of mitred heads; Bishop Lawrence de St. Martin (1274), designed in the Early Decorated style; at the far east, Sir W. Arundel (1400) and his lady; and on the south side, the supposed coffin of Bishop Gundulf; Bishop Inglethorp (1291), which is a thirteenth-century coffin, and another in the south choir transept (name unknown). The glass in this section of the church is all modern.

The doorway into the Chapter-House is one of the great glories of the Cathedral. It is Late Decorated work, and was probably erected during the episcopate of Haymo de Hythe (1319-1352). Cottingham restored it in 1830, and made the left-hand figure into a grave and reverend bishop holding a model of a cathedral and a crozier. It is probably correct that in a more recent restoration the figure should have been made into that of a female. It is meant to signify the Christian Church, just as the right-hand figure represents the Jewish Church, blindfolded, and leaning on a broken reed and holding a reversed table of the Law. The two seated figures on the right and left sides represent the four doctors—SS. Jerome, Augustine,[67] Ambrose and Gregory, while above appear angels who have rescued a pure soul from purgatorial fires. The crocketed ogee arch and the diaper work above are worthy of attention; the door is modern.

The doorway into the Chapter-House is one of the Cathedral's greatest treasures. It is Late Decorated work, likely built during the time of Haymo de Hythe (1319-1352). Cottingham restored it in 1830, transforming the left-hand figure into a serious and dignified bishop holding a model of a cathedral and a crozier. It's likely that in a more recent restoration, the figure should have been represented as a female. This figure symbolizes the Christian Church, while the right-hand figure represents the Jewish Church, blindfolded, leaning on a broken reed and holding a reversed table of the Law. The two seated figures on the right and left represent the four doctors—SS. Jerome, Augustine,[67] Ambrose, and Gregory, while above them are angels who have saved a pure soul from purgatorial flames. The crocketed ogee arch and the decorative work above are notable; the door is modern.

The Chapter-House and Library occupy a room which is a modern addition. The library has some treasures, amongst which may be mentioned Textus Roffensis, a collection of records, gifts and privileges of the Cathedral, compiled under the direction of Bishop Ernulf (1115-1124). It has passed through many perils, having been stolen, restored, borrowed, lost in the Thames, recovered, and we trust its dangers are now over.

The Chapter-House and Library are located in a room that is a modern addition. The library features some treasures, including the Textus Roffensis, a collection of records, gifts, and privileges of the Cathedral, compiled under Bishop Ernulf's direction (1115-1124). It has gone through many challenges, having been stolen, restored, borrowed, lost in the Thames, and recovered, and we hope its troubles are now behind it.

Custumale Roffense, another valuable MS. of the thirteenth century, a great collection of Bibles, including Coverdale's, Cranmer's or the Great Bible, and the Bishops' Bible. Above the choir transepts are two chambers called the Treasury, where the church plate is kept, and the Indulgence Chamber.

Custumale Roffense, another important manuscript from the thirteenth century, is a large collection of Bibles, including Coverdale's, Cranmer's or the Great Bible, and the Bishops' Bible. Above the choir transepts, there are two rooms called the Treasury, where the church's valuables are stored, and the Indulgence Chamber.

Following the course of the pilgrims, we proceed down the flight of steps to the south choir aisle, or Chapel of St. Edmund. There is the mutilated tomb of Bishop John de Bradfield (1278-1283). Following the second flight of steps we come to the Crypt, which extends under the whole choir and is one of the most perfect in the kingdom. The western part is Early Norman, and has massive piers and cushion capitals. The rest is Early English. The altars in the crypt were numerous, and traces of them remain, as shown by the piscinas. The crypt was extensively decorated with mural paintings, and some traces of them may still be seen.

Following the path of the pilgrims, we make our way down the set of steps to the south choir aisle, or Chapel of St. Edmund. There lies the damaged tomb of Bishop John de Bradfield (1278-1283). After the second set of steps, we arrive at the Crypt, which stretches beneath the entire choir and is one of the finest in the country. The western section is Early Norman, featuring large piers and cushion capitals. The rest is Early English. There were many altars in the crypt, and remains of them can still be seen, as shown by the piscinas. The crypt was richly adorned with mural paintings, and some remnants of them may still be visible.

Dimensions

Size

Total length, 306 ft.; length of nave, 126 ft.; width of nave, 65 ft.; length of choir, 147 ft.; length of west transept, 120 ft.; length of east transept, 88 ft.; height of tower, 156 ft.; height of vault, 55 ft.; area, 23,300 sq. ft.

Total length, 306 ft.; length of nave, 126 ft.; width of nave, 65 ft.; length of choir, 147 ft.; length of west transept, 120 ft.; length of east transept, 88 ft.; height of tower, 156 ft.; height of vault, 55 ft.; area, 23,300 sq. ft.

Description of Architecture

Architecture Overview

Norman—Most of the nave and part of crypt and old chapter house.
Early English—The choir and transepts.
Decorated—Chapter door and some windows at east end.
Perpendicular—Clerestory of the nave, west window, Lady Chapel.
Modern—Tower, chapter-house and library, roof of west transept and north-west tower.

Norman—Most of the main area and part of the crypt and old chapter house.
Early English—The choir and transepts.
Decorated—Chapter door and some windows at the east end.
Perpendicular—Clerestory of the main area, west window, Lady Chapel.
Modern—Tower, chapter house and library, roof of the west transept and north-west tower.


CANTERBURY CATHEDRAL

In the minds of readers of English history Canterbury must always rank first amongst our cathedrals on account of the wealth of historical associations connected with it. The story of Canterbury is the story of England, and every record of our annals abounds with allusions to it, or to the distinguished prelates connected with it. It is the metropolitan church of the southern province, and is regarded with veneration as the Mother Church not only of England, but of all the churches in America and the colonies of the British Empire.

In the minds of readers of English history, Canterbury will always be at the top of our cathedrals because of its rich historical connections. The story of Canterbury reflects the story of England, and every historical record has references to it or to the notable leaders associated with it. It serves as the main church of the southern region and is respected as the Mother Church not only of England but also of all churches in America and the British Empire's colonies.

There was probably a Roman or Romano-British church here; when Augustine converted King Ethelbert to Christianity the monarch gave him his palace together with an old church which stood near it. This was on part of the site of the present Cathedral. We need not record again the tangled story of the conversion of the English, or the names of all the successors of Augustine. The first seven were buried in the Monastery of St. Augustine, now St. Augustine's College, Archbishop Cuthbert (d. 758) being the first to be interred in his own Cathedral. Archbishop Odo (942-959) known as "the Severe" on account of his endeavour to restore discipline among the clergy, although born a heathen Dane, was a zealous prelate, and set himself to restore the ruinous condition of his Cathedral. For three years the work of building progressed. The eleventh century brought the Danish ravages, and with fire and sword the Pagan hosts attacked Canterbury and murdered the archbishop, Alphege. His successor, Living or Leofing, was held captive by the Danes for some time, but sought safety beyond seas, and lived to crown Canute. The Cathedral was restored by the next prelate, Egelnorth, but a fire destroyed it in 1067, and it was not till Norman times that a complete restoration was attempted. Lanfranc, the first Norman archbishop, finding the church utterly dilapidated, destroyed the old fabric and built a noble minster. We have a description of the old Saxon church in the writings of Eadmer, a monk of Canterbury: "At the east end of the church stood the high altar, which enclosed[69] the body of St. Winifred. This was of rough stone cemented together. A little before that was an altar where Mass was said daily; in which altar St. Alphege enclosed the head of St. Swithun, and many other relics which he brought with him from Winchester. Descending hence by several steps was the crypt. At the foot of these steps was a descent into a vault which went under the east part of the church; and at the east end of it was an altar, wherein was enclosed the head of St. Fursius. From hence by a winding passage, at the west end, was the tomb of St. Dunstan, separated from it by a wall. His body was buried deep in the ground before those stairs, and over him was a tomb erected in the form of a lofty pyramid. The hall or body of the church was separated from the choir. About the middle of the hall were two towers jutting out beyond the walls—that on the south had an altar dedicated to St. Gregory; and from this tower was a passage, the principal porch of the church, anciently called Stuthdore, a large and capacious portico. The tower on the north side was erected to the honour of St. Martin, having a passage to it from the cloisters. The end of the church was adorned with the oratory of the Blessed Virgin. In the eastern part of it was an altar, consecrated to her, which enclosed the head of a saint."

There was likely a Roman or Romano-British church here; when Augustine converted King Ethelbert to Christianity, the king gave him his palace along with an old church nearby. This was on part of the site of the current Cathedral. We won't rehash the complicated story of the conversion of the English or list all the successors of Augustine. The first seven were buried in the Monastery of St. Augustine, now St. Augustine's College, with Archbishop Cuthbert (d. 758) being the first to be buried in his own Cathedral. Archbishop Odo (942-959), known as "the Severe" for his efforts to restore discipline among the clergy, was a devoted prelate, even though he was born a pagan Dane, and he worked to rebuild his Cathedral. The construction went on for three years. The eleventh century brought Danish invasions, and the pagan forces attacked Canterbury with fire and sword, murdering Archbishop Alphege. His successor, Living or Leofing, was captured by the Danes for some time but eventually sought safety overseas and lived to crown Canute. The Cathedral was rebuilt by the next archbishop, Egelnorth, but a fire destroyed it in 1067, and it wasn’t until Norman times that a full restoration was attempted. Lanfranc, the first Norman archbishop, found the church in total disrepair, demolished the old structure, and built an impressive minster. We have a description of the old Saxon church from Eadmer, a monk of Canterbury: "At the east end of the church stood the high altar, which held the body of St. Winifred. This was made of rough stone cemented together. Just before that was an altar where Mass was said daily; at this altar, St. Alphege enclosed the head of St. Swithun and many other relics he brought from Winchester. Descending several steps from here led to the crypt. At the bottom of these steps was an entrance into a vault that went under the east part of the church; at the east end of it was an altar, which contained the head of St. Fursius. From there, a winding passage led to the west end where the tomb of St. Dunstan was, separated by a wall. His body was buried deep in the ground in front of those stairs, and above him was a tomb shaped like a tall pyramid. The main area of the church was separated from the choir. About the middle of the hall were two towers that jutted out beyond the walls—one on the south had an altar dedicated to St. Gregory; from this tower was a passage, the main porch of the church, once known as Stuthdore, a large and spacious portico. The tower on the north side was built in honor of St. Martin, with a passage leading to it from the cloisters. The end of the church featured the oratory of the Blessed Virgin. In the eastern part of it was an altar consecrated to her, which held the head of a saint."

Lanfranc also built the monastic buildings. The saintly Archbishop Anselm, who succeeded Lanfranc, took down the east end and rebuilt it with great magnificence. His chief architect was Ernulf, the prior, afterwards Bishop of Rochester. Prior Conrad succeeded, who finished the choir, which was hereafter known as "the glorious choir of Conrad." Gervase, a monk of Canterbury, describes this church, which had a central tower, a nave supported on each side by eight pillars, two western towers with gilt pinnacles, a rood-screen, surmounted by a great cross with figures of SS. Mary and John. He concludes that the dedication of this church was "the most famous that had ever been heard of on the earth since that of the Temple of Solomon."

Lanfranc also constructed the monastic buildings. The holy Archbishop Anselm, who followed Lanfranc, removed the east end and rebuilt it with great splendor. His main architect was Ernulf, the prior, who later became Bishop of Rochester. Prior Conrad succeeded him and completed the choir, which became known as "the glorious choir of Conrad." Gervase, a monk from Canterbury, describes this church, which featured a central tower, a nave supported on each side by eight pillars, two western towers topped with gilded pinnacles, a rood-screen, and a large cross with figures of Saints Mary and John above it. He concludes that the dedication of this church was "the most famous that had ever been heard of on the earth since that of the Temple of Solomon."

This church was the scene of the murder of Thomas à Becket, which convulsed the land, and here Henry II. did penance before the tomb of the archbishop slain at his instigation. In 1174 a fierce conflagration raged and destroyed the beautiful choir, and at the sight of the ruins, Gervase tells us, the people were mad with grief, and beat the walls and tore their hair, blaspheming the Lord and His saints. The task of rebuilding was at once commenced, and William of Sens was appointed architect. He laboured for[70] four years, and then falling from a scaffold was so much injured that he was obliged to return to France. An English William then took over the superintendence of the work. It is not stated that he was a pupil of William of Sens, or was in any way influenced by French models. In 1184 the choir was finished, and soon new cloisters were added. In 1304 the choir was beautified and a new pulpit erected by Prior d'Estria, who added the great bell called Thomas. In 1376 Archbishop Sudbury took down the western transepts and the nave, and began the rebuilding of the former in the Perpendicular style, the work being continued by Prior Chillenden during the rule of Archbishop Courtenay, the oppressor of Lollardism. The cloisters and chapter-house were finished at this time. Archbishop Arundel (1396-1414), who was addicted to burning heretics, also added greatly to the beauty of the church, and his successor, Chichele, spent vast sums on the church, founded a library, and began the spire on the west tower. In 1449 Prior Goldstone built the beautiful chapel of the Virgin called the Dean's Chapel, and another prior of the same name in 1495 began the great central tower, or Angel Steeple, when Archbishop Morton ruled, whose rebus is inscribed upon it. The same prior also built the Christ Church Gate in 1517. The troublous times of the Reformation followed, and we find Cranmer occupying the archiepiscopal throne, who was ultimately doomed to the stake at Oxford. Fanatical reformers wrought terrible havoc in the Cathedral. The magnificent shrine of Becket, to which millions had flocked to pay their devotions, was entirely destroyed, and numerous other costly shrines shared its fate. Archbishop Laud attempted to restore the beauty of the sanctuary, and erected a fine altar with reredos; but soon the pikes of the Puritans and their wild savagery reduced the interior of the Cathedral to a ruinous desolation. The usual scenes of mad iconoclasm were enacted, windows broken, altars thrown down, lead stripped off the roof, brasses and effigies defaced and broken. A creature nicknamed "Blue Dick" was the wild leader of this savage crew of spoliators, who left little but the bare walls and a mass of broken fragments strewing the pavement.

This church was the site of the murder of Thomas à Becket, which shook the nation, and it was here that Henry II did penance before the tomb of the archbishop killed because of him. In 1174, a fierce fire raged and destroyed the beautiful choir, and at the sight of the ruins, Gervase tells us, the people were mad with grief, beating the walls and tearing their hair, cursing the Lord and His saints. The rebuilding began immediately, with William of Sens appointed as the architect. He worked for[70] four years, and then fell from a scaffold and was injured so severely that he had to return to France. An English William then took over the supervision of the work. There's no indication that he was a student of William of Sens or influenced by French designs. In 1184, the choir was completed, and soon new cloisters were added. In 1304, the choir was beautified, and a new pulpit was built by Prior d'Estria, who also added the large bell known as Thomas. In 1376, Archbishop Sudbury demolished the western transepts and the nave, and began rebuilding the former in the Perpendicular style, with work continued by Prior Chillenden during Archbishop Courtenay's rule, the oppressor of Lollardism. The cloisters and chapter house were finished at this time. Archbishop Arundel (1396-1414), who had a penchant for burning heretics, also greatly enhanced the beauty of the church, and his successor, Chichele, spent large sums on the church, founded a library, and started the spire on the west tower. In 1449, Prior Goldstone built the lovely chapel of the Virgin called the Dean's Chapel, and another prior of the same name in 1495 began the great central tower, or Angel Steeple, during Archbishop Morton's rule, whose emblem is inscribed on it. That same prior also built the Christ Church Gate in 1517. The turbulent times of the Reformation followed, and we find Cranmer occupying the archbishop's throne, who ultimately met his end at the stake in Oxford. Fanatical reformers caused terrible destruction in the Cathedral. The magnificent shrine of Becket, which millions had come to pay their respects to, was completely destroyed, and many other costly shrines suffered the same fate. Archbishop Laud tried to restore the beauty of the sanctuary and built a fine altar with a reredos; but soon the pikes of the Puritans and their wild savagery left the interior of the Cathedral in ruins. The typical scenes of reckless iconoclasm played out, with broken windows, thrown-down altars, lead stripped off the roof, and brasses and effigies defaced and broken. A figure nicknamed "Blue Dick" was the wild leader of this savage group of plunderers, who left little but bare walls and a mass of broken fragments littering the floor.

Canterbury Cathedral

Canterbury Cathedral

Since then numerous alterations and restorations have taken place. At the Restoration of the monarchy Bishop Juxon of London, who attended Charles I. on the scaffold at Whitehall, was made Archbishop of Canterbury, and he and Archbishop Sheldon, his successor, did much to restore the fabric and remove the traces of Puritan fanaticism. Archbishop Tenison (1694-1716) removed[73] the old stalls and substituted pews. He covered Prior d'Estria's screen with wainscotting, and erected a fine throne with carving by Grinling Gibbons. Queen Mary also added to the beauty of the Cathedral by sundry costly gifts. In 1834 a new north-west tower was built. In 1872 a fire broke out in the roof, but happily no very extensive damage was done, and five years later Sir G. Scott began his restorations, which have removed some of the faults committed in the early eighteenth-century alterations.

Since then, there have been many changes and restorations. When the monarchy was restored, Bishop Juxon of London, who was with Charles I at the scaffold at Whitehall, became Archbishop of Canterbury. He and his successor, Archbishop Sheldon, did a lot to restore the structure and erase the remnants of Puritan extremism. Archbishop Tenison (1694-1716) replaced the old stalls with pews. He covered Prior d'Estria's screen with paneling and built a beautifully carved throne by Grinling Gibbons. Queen Mary also enhanced the Cathedral’s beauty with various expensive gifts. In 1834, a new north-west tower was constructed. A fire broke out in the roof in 1872, but fortunately, it didn't cause significant damage, and five years later, Sir G. Scott started his restorations, which corrected some of the mistakes made during the early eighteenth-century renovations.

The Exterior

The Outside

The best views are obtained from the mound in the Dane John (or Donjon—probably a fortified earthwork of Norman times) approached by St. George's Terrace, adjoining the Cattle Market, from the green or outer court of the monastery, and from the village of Harbledown. The West Front is flanked by two towers. That on the north was built in 1840, as the former one, called the Arundel, was in a dangerous condition; that on the south, called the Dunstan, was finished by Prior Goldstone (1449-1468), and is in the Perpendicular style, with characteristic panelling. A large window is in the centre of the front, and two smaller windows for the aisles, and above, in the gable, another window with elaborate tracery. The South Porch was built by Prior Chillenden about 1400. Erasmus tells us that he saw figures of Becket's murderers here, but these have disappeared. The niches have been filled with modern figures. Proceeding along the south side of the church, we notice the Perpendicular style of the nave and aisles, the work of Prior Chillenden, which replaced the old Norman nave. There is a close resemblance between this and Winchester, which was being constructed at the same time. All that remains here of Lanfranc's nave is the lowest base of the aisle walls. The south-west transept is of the same date as the nave and has a large window on the south front with three tiers of panels over it, and an elaborate turret at the south-west corner. The south-east transept is Late Norman, the work of William of Sens and William the Englishman. Here we have Norman round-headed windows with arcades, also a circular window, and on the west a Norman turret capped with a short spire. Proceeding eastwards we see Anselm's Tower, and on the extreme east the corona, the work of English William. On the west Henry IV.'s Chantry, St. Andrew's Chapel, corre[74]sponding to that of St. Anselm, the treasury, and the range of monastic buildings, consisting of library, chapter-house and cloisters, which we will examine later. A wall surrounded the precincts, the principal gate being that called Christ Church Gate, erected by Goldstone in Perpendicular style in 1517.

The best views can be enjoyed from the mound in Dane John (or Donjon—likely an ancient fortification from Norman times), accessed via St. George's Terrace, next to the Cattle Market, from the green or outer courtyard of the monastery, and from the village of Harbledown. The West Front is flanked by two towers. The northern tower was built in 1840 because the previous one, known as the Arundel, was in a dangerous state; the southern tower, called the Dunstan, was completed by Prior Goldstone (1449-1468) and features the Perpendicular style with typical paneling. A large window is situated in the center of the front, with two smaller windows for the aisles, and above them, another window with intricate tracery in the gable. The South Porch was constructed by Prior Chillenden around 1400. Erasmus noted that he saw figures of Becket's murderers here, but those have now vanished. The niches have been filled with modern figures. As we move along the south side of the church, we observe the Perpendicular style of the nave and aisles, the work of Prior Chillenden, which replaced the old Norman nave. There is a strong resemblance between this and Winchester, which was being built at the same time. The only remnants of Lanfranc's nave here are the lowest bases of the aisle walls. The south-west transept dates from the same period as the nave and features a large window on the south front with three tiers of panels above it, along with a decorative turret at the south-west corner. The south-east transept is Late Norman, done by William of Sens and William the Englishman. Here, we find Norman round-headed windows with arcades, a circular window, and a Norman turret topped with a short spire on the west side. Heading eastward, we come to Anselm's Tower, and at the far east, the corona, created by English William. To the west is Henry IV's Chantry, St. Andrew's Chapel, which corresponds to that of St. Anselm, along with the treasury and the range of monastic buildings, including the library, chapter house, and cloisters, which we will look at later. A wall surrounded the precincts, with the main gate being the Christ Church Gate, built by Goldstone in the Perpendicular style in 1517.

The Interior

The Interior

We enter the Nave by the south porch. Lanfranc's nave was entirely removed in 1380 on account of its ruinous state, and the present nave erected by Prior Chillenden, who was employed and supported by Archbishops Sudbury, Courtenay and Arundel. As we have said, it resembled Winchester, built at the same time, but it is lighter in character, as here the piers were built anew, and not cased with Perpendicular work as at Winchester. The height of the floor of the choir necessitated a lofty flight of steps leading to it from the nave; and this is a peculiar feature of this Cathedral and of much beauty. The nave is very lofty, being 80 feet high. The great west window contains the fragments of old glass which have been brought together here. The rest of the stained glass is modern and hideous. In the north aisle are monuments of Adrian Saravia, the friend of Hooker (1612), Orlando Gibbons, organist to Charles I., Sir John Boys (1614), founder of a hospital, Archbishop Sumner (1862), who crowned Queen Victoria, and memorials of military men who died for their country. In the south aisle are monuments of Dr. Broughton, Bishop of Sydney, and Dean Lyall (1858).

We enter the Nave through the south porch. Lanfranc's nave was completely taken down in 1380 because it was in a state of disrepair, and the current nave was built by Prior Chillenden, who was supported by Archbishops Sudbury, Courtenay, and Arundel. As mentioned, it resembles Winchester, built around the same time, but it has a lighter feel since the piers were constructed anew instead of being covered with Perpendicular work like at Winchester. The height of the choir floor required a tall set of steps leading up to it from the nave, which is a unique and beautiful feature of this Cathedral. The nave is very tall, reaching 80 feet high. The great west window has pieces of old glass that have been assembled here. The rest of the stained glass is modern and unattractive. In the north aisle are memorials for Adrian Saravia, a friend of Hooker (1612), Orlando Gibbons, the organist for Charles I., Sir John Boys (1614), the founder of a hospital, Archbishop Sumner (1862), who crowned Queen Victoria, and tributes to military personnel who died for their country. In the south aisle are memorials for Dr. Broughton, Bishop of Sydney, and Dean Lyall (1858).

The central tower is supported by original Norman piers, cased with Perpendicular work at the time when the nave was built. The vault and all the upper part of the tower above the roof were erected by Prior Goldstone (1495-1517), and also the arches, which act as buttresses and bear the Prior's rebus, three golden bars. The screen is fifteenth-century work and is remarkable for its beauty; formerly the figures of our Lord and the Twelve Apostles occupied the upper niches, but these fell victims to Puritan iconoclasm. The devastators spared, however, the figures of the kings in the lower tier.

The central tower is supported by original Norman columns, covered with Perpendicular style from when the nave was constructed. The vault and the entire upper part of the tower above the roof were built by Prior Goldstone (1495-1517), along with the arches that function as buttresses and feature the Prior's rebus of three golden bars. The screen is a fifteenth-century piece and is noted for its beauty; originally, the figures of our Lord and the Twelve Apostles filled the upper niches, but those were destroyed during the Puritan iconoclasm. However, the figures of the kings in the lower tier were spared by the vandals.

The North-West Transept, or Chapel of the Martyrdom of Becket, claims our close attention, as the event which occurred here filled Christendom with amaze.

The North-West Transept, or Chapel of the Martyrdom of Becket, demands our close attention, as the event that took place here shocked the entire Christian world.

The martyrdom of Thomas à Becket took place on Tuesday,[75] 29th December 1170. Early in the morning the four barons had an interview with him, pretending to come on a peaceful visit with messages from the king. They were shown into the room in the palace where the archbishop usually remained. Some high words passed between them and they departed; in the evening they entered the Cathedral, armed. While the archbishop was ascending the steps, Sir Reginald Fitzurse entered the door of the church, clad in complete armour, and, waving his sword, cried, "Come hither, servants of the king!" The other conspirators, Sir Hugh Morvill, Sir William Tracey and Sir Richard le Breton, immediately followed him, armed to the teeth, and brandishing their swords. It was already twilight, which within the walls of the dimly-lighted church had deepened into the blackest obscurity. Becket's attendants entreated him to fly to the winding staircase which led to the roof of the building, or to seek refuge in the vaults underground. He rejected both of these expedients and still stood to meet his assailants. "Where is the traitor?" cried a voice. There was no answer. "Where is the archbishop?" "Here I am," replied Becket; "but here is no traitor. What do ye in the House of God in warlike equipment?" One of the knights seized him by the sleeve; he pulled back his arm violently. They then advised him to go with them, as though they repented of the evil design. They called upon him to absolve the bishops. He refused; and Fitzurse, drawing his sword, struck at his head. The blow was intercepted by the arm of one of the monks who stepped forward to protect him, but in vain. A second blow descended, and while the blood was streaming from his face some one of his assailants whispered to him to fly and save himself. Becket paid no heed to the speaker, but clasped his hands and bowed his head, commending his soul to God and the saints. The conspirators now fell upon him with their swords and quickly despatched him. One of them is said to have kicked the prostrate body, saying, "So perishes a traitor." The deed thus accomplished, the conspirators passed out of the town without hindrance, but no sooner had they done so than the news spread throughout the city and the inhabitants, in the utmost excitement and indignation, assembled in crowds in the streets and ran towards the Cathedral. Seeing the body of their archbishop stretched before the altar, men and women began to weep, and while some kissed his hands and feet others dipped linen in the blood with which the pavement was covered. It was declared by the people that Becket was a martyr,[76] and although a Royal edict was published forbidding anyone to express such an opinion, the popular feeling still manifested itself. Some soldiers attempted to seize the corpse, but the monks, who had received an intimation of the design, buried it hastily in the crypt of the Cathedral.

The martyrdom of Thomas à Becket happened on Tuesday,[75] December 29, 1170. Early in the morning, the four barons met with him, pretending to pay a peaceful visit with messages from the king. They were brought into the room in the palace where the archbishop typically stayed. Some harsh words were exchanged, and they left. Later that evening, they entered the Cathedral armed. As the archbishop was climbing the steps, Sir Reginald Fitzurse burst through the church door, fully armored, and shouted, "Come here, servants of the king!" The other conspirators, Sir Hugh Morvill, Sir William Tracey, and Sir Richard le Breton, quickly followed him, all heavily armed and swinging their swords. It was already twilight, and inside the dimly lit church, the darkness had deepened. Becket's attendants urged him to escape to the winding staircase leading to the roof or to seek safety in the underground vaults. He denied both proposals and stood ready to confront his attackers. "Where is the traitor?" a voice shouted. There was no reply. "Where is the archbishop?" "Here I am," Becket answered; "but there is no traitor here. What are you doing in the House of God, dressed for battle?" One of the knights grabbed him by the sleeve, but he forcefully pulled his arm away. They then suggested he go with them, as if they regretted their evil plan. They demanded he absolve the bishops. He refused, and Fitzurse drew his sword and aimed at his head. The blow was blocked by a monk who stepped forward to protect him, but it was in vain. A second blow landed, and as blood streamed down Becket's face, one of his attackers whispered for him to flee and save himself. Becket ignored the voice, clasped his hands, and bowed his head, committing his soul to God and the saints. The conspirators then attacked him with their swords and quickly killed him. One of them reportedly kicked his lifeless body, declaring, "So perishes a traitor." Once the deed was done, the conspirators left the town without resistance, but as soon as they were gone, news spread throughout the city, and the people, filled with anger and shock, gathered in crowds on the streets and rushed to the Cathedral. Seeing their archbishop's body lying before the altar, men and women began to weep, while some kissed his hands and feet, and others soaked cloths in the blood that covered the pavement. The people declared Becket a martyr,[76] and although a Royal edict was issued prohibiting anyone from expressing that belief, the public sentiment continued to show. Some soldiers tried to seize the body, but the monks, who had been warned of the plan, quickly buried it in the Cathedral crypt.

Since that eventful scene the transept has been rebuilt. The stones around us, except it be the pavement, did not witness that bloody deed. When the nave was rebuilt by Chillenden this part of the church was much transformed. Portions of the old Norman walls built by Lanfranc remain, but the main character of the building is Perpendicular. The door is the same by which the murderers entered, part of the wall, and probably the pavement, wherein is a small square piece which marks the actual spot where Becket fell. The great window was given by Edward IV., and has figures of his queen, his daughters, and the two princes who were murdered in the Tower. The west window is modern, and represents scenes from the life of Becket. There are monuments here of Archbishop Peckham (1292), the oldest in the Cathedral, and Archbishop Warham (1532), who crowned Henry VIII., and was the opponent of Wolsey and the friend of Erasmus. A door at the east end of this transept leads to the Dean's Chapel, formerly the Lady Chapel, built by Goldstone in Perpendicular style. The monuments here are to Dean Fotherby, Dr. Bargrave, Dean Boys with his books, and Dean Turner, a favourite of Charles I.

Since that significant event, the transept has been rebuilt. The stones around us, except for the pavement, did not witness that bloody act. When Chillenden rebuilt the nave, this part of the church was greatly altered. Some sections of the old Norman walls built by Lanfranc still stand, but the main style of the building is Perpendicular. The door is the same one through which the murderers entered, a part of the wall, and likely the pavement, which has a small square piece marking the exact spot where Becket fell. The large window was given by Edward IV and features figures of his queen, his daughters, and the two princes who were murdered in the Tower. The west window is modern and depicts scenes from Becket's life. There are monuments here for Archbishop Peckham (1292), the oldest in the Cathedral, and Archbishop Warham (1532), who crowned Henry VIII and was a rival of Wolsey and a friend of Erasmus. A door at the east end of this transept leads to the Dean's Chapel, formerly the Lady Chapel, built by Goldstone in Perpendicular style. The monuments here commemorate Dean Fotherby, Dr. Bargrave, Dean Boys with his books, and Dean Turner, a favorite of Charles I.

The daily crowd of pilgrims who visited the scene of the martyrdom in mediæval times used to pass on to the shrine of St. Thomas by the north choir aisle, on their way to his shrine, and we will follow in their steps. In this aisle we see much of the original Norman work of Archbishop Anselm's choir, erected under the supervision of Prior Ernulf. William of Sens added many architectural details and made some alterations, but he seems to have intended to preserve the special features of the earlier work. The roof was, however, raised, and the clerestory of Ernulf's building converted into the triforium windows of William of Sens. The latter brought with him the use of the chisel, the former carving his ruder ornamentation by means of an axe. William also introduced the pointed arch. Here is the monument of Archbishop Tait. Three "squints" will be observed in the west wall. Two apsidal chapels are at the east end, dedicated to SS. Stephen and Martin. In the aisle there is some ancient glass of thirteenth-century work, which is of extreme beauty, also an old desk with ancient[77] Bible. An ancient mural painting should be noticed, representing the conversion of St. Hubert. Next we visit the Chapel of St. Andrew, now the vestry, which has some traces of colour decoration. It was built by Prior Ernulf, and was formerly the sacristy, where relics of Becket were preserved in a chest, together with a quantity of vestments. Beyond this, to the north, was the treasury, which was well protected by a massive door. The treasures of costly plate and jewels at Canterbury were of enormous value. In the aisle on the south side there is the splendid tomb of Archbishop Chichele (1443), whom Shakespeare represents in Henry V. as instigating the war with France, and who was the founder of All Souls', Oxford. Also there are monuments of Archbishop Howley (1848) and Archbishop Bourchier (1486).

The daily stream of pilgrims visiting the site of the martyrdom in medieval times would make their way to the shrine of St. Thomas by the north choir aisle, and we’ll follow in their footsteps. In this aisle, we can see much of the original Norman work of Archbishop Anselm's choir, built under the watch of Prior Ernulf. William of Sens added many architectural details and made some changes, but he seemed to aim at keeping the unique features of the earlier work. However, the roof was raised, and the clerestory of Ernulf's structure was turned into the triforium windows designed by William of Sens. He also brought the use of the chisel, while Ernulf had carved his rougher decorations with an axe. William introduced the pointed arch. Here lies the monument of Archbishop Tait. You will notice three "squints" in the west wall. Two apsidal chapels at the east end are dedicated to SS. Stephen and Martin. In the aisle, there's beautiful ancient glass from the thirteenth century, along with an old desk containing an ancient Bible. Don't miss the ancient mural painting depicting the conversion of St. Hubert. Next, we visit the Chapel of St. Andrew, now serving as the vestry, which has some remnants of colorful decoration. It was built by Prior Ernulf and used to be the sacristy, where Becket's relics were stored in a chest along with various vestments. Beyond this to the north was the treasury, which was securely protected by a heavy door. The treasures of precious plate and jewels in Canterbury were of immense value. In the aisle on the south side is the magnificent tomb of Archbishop Chichele (1443), who Shakespeare portrays in Henry V. as pushing for war with France, and who founded All Souls' College in Oxford. Additionally, there are monuments for Archbishop Howley (1848) and Archbishop Bourchier (1486).

Up lofty steps, climbed by pilgrims on their knees, we ascend to the Retro-Choir, the work of William the Englishman, the successor of William of Sens. Holy Trinity Chapel occupies the centre, where stood the wondrous shrine of Becket. Architecturally it is interesting as showing the triumph of English achievement over the foreign influence, and the gradual development of the English Gothic style; and historically it is fascinating as being the goal of pilgrims from all quarters of the land. The famous shrine has entirely disappeared, owing to the cupidity of Henry VIII. and his commissioners. Some idea of what it was like is given by a representation of it in one of the windows of the chapel. There was a stone base with marble arches, and above the shrine covered with a wooden canopy, "which at a given signal was drawn up, and the shrine then appeared, blazing with gold and damasked with gold wire, and embossed with innumerable pearls and jewels and rings, cramped together on this gold ground." One great diamond or carbuncle was as large as a hen's egg, called the Regale of France, and presented by Louis VII. All the monarchs and nobles in mediæval times came here to worship, and crowds flocked from all quarters "the holy blissful martyr for to seek"; the pavement is worn by their knees; cripples begged to rub their limbs against the pillars of the holy shrine, and perchance were healed—faith plays a wondrous part in many a cure—and Chaucer sings of the tales and doings of the not always very austere Canterbury pilgrims. The windows of this chapel contain some of the best thirteenth-century glass in existence. They record miracles wrought by Becket. Above the shrine is a gilded crescent, concerning which many theories have been suggested, none wholly satisfactory.[78]

Up the high steps, climbed by pilgrims on their knees, we make our way to the Retro-Choir, the creation of William the Englishman, who succeeded William of Sens. Holy Trinity Chapel sits in the center, where the amazing shrine of Becket once stood. Architecturally, it is significant for showcasing the triumph of English achievements over foreign influences and the gradual development of English Gothic style; historically, it is intriguing as it was the destination for pilgrims from all over the country. The famous shrine has completely vanished, due to the greed of Henry VIII and his commissioners. Some idea of its appearance is given by a representation of it in one of the chapel’s windows. There was a stone base with marble arches, and above the shrine was a wooden canopy, "which at a given signal was drawn up, and the shrine then appeared, shining with gold and decorated with gold wire, and set with countless pearls and jewels and rings, crowded together on this gold surface." One large diamond or carbuncle was as big as a hen's egg and was called the Regale of France, presented by Louis VII. All the kings and nobles in medieval times came here to worship, and crowds arrived from all directions "the holy blissful martyr for to seek"; the pavement is worn by their knees; disabled people begged to rub their limbs against the pillars of the holy shrine, and perhaps were healed—faith plays a mysterious role in many cures—and Chaucer tells of the tales and actions of the not always very serious Canterbury pilgrims. The windows of this chapel contain some of the best thirteenth-century glass still in existence. They depict miracles performed by Becket. Above the shrine is a gilded crescent, about which many theories have been proposed, none completely satisfying.[78]

Tomb of the Black Prince

Tomb of the Black Prince

In this chapel is the monument of Edward, the Black Prince (1376), who fought at Creçy and Poictiers, one of the bravest of our national heroes. The effigy is of brass and was once gilded, and represents the prince in full armour. The head rests on a casque, and the features of the Plantagenets are distinctly traceable. Above the tomb is a canopy, having on it a representation of the Trinity, and above that are the remains of dress and armour actually worn by the prince—his helmet, a shield, a velvet surcoat, gauntlets, and the scabbard of the sword. On the tomb is an inscription in Norman French which, translated, tells: "Here lies the most noble Prince Edward, eldest son of the most noble King Edward III., Prince of Aquitaine and Wales, Duke of Cornwall and Earl of Chester, who died on Trinity Sunday, the 8th of June 1376. To the soul of whom God grant mercy.—Amen." Then follow some verses written by the prince, which begin:—

In this chapel is the monument of Edward, the Black Prince (1376), who fought at Crécy and Poitiers, and is regarded as one of our bravest national heroes. The statue is made of brass and was once gilded, depicting the prince in full armor. His head rests on a helmet, and you can clearly see the features of the Plantagenets. Above the tomb is a canopy featuring a representation of the Trinity, and above that are the actual remnants of the prince's dress and armor—his helmet, a shield, a velvet surcoat, gauntlets, and the sword's scabbard. On the tomb is an inscription in Norman French which, when translated, reads: "Here lies the most noble Prince Edward, eldest son of the most noble King Edward III., Prince of Aquitaine and Wales, Duke of Cornwall and Earl of Chester, who died on Trinity Sunday, the 8th of June 1376. May God grant mercy to his soul.—Amen." Then there are some verses written by the prince, which begin:—

"You who pass by with your mouth closed where this body rests," I will tell you what I mean, just as I say.

and proceed to contrast the riches and glory of this present life with the mouldering and decay of death. Below are seen shields of arms which bear those of France and England, and the ostrich or Prince of Wales's feathers, with the motto Houmont Ich diene. Both Welsh and German origin is claimed for the motto. Dean Stanley preferred the latter, and stated that Houmont meant high-spirited, while the latter words signify I serve.[79]

and go on to compare the wealth and glory of this life with the corruption and decay of death. Below, you can see the coats of arms that feature those of France and England, along with the ostrich feathers of the Prince of Wales, bearing the motto Houmont Ich diene. The motto is claimed to have both Welsh and German origins. Dean Stanley favored the German claim, explaining that Houmont means high-spirited, while the other words mean I serve.[79]

Another interesting tomb is that of Henry IV. (1413), and his second wife, Joan of Navarre (1437). The tomb was opened in 1832, and the body of the dead king discovered in wonderful preservation. He founded the chantry near his tomb. Some vestments taken from a tomb are preserved in this chapel. Other memorials are those of Dean Wotton, by Bernini; Cardinal Coligny, whose brother fell in the massacre of St. Bartholomew, and who was poisoned by his servant; Archbishop Courtenay, the oppressor of the Lollards, who is represented in archiepiscopal robes, with his mitre and crosier.

Another interesting tomb is that of Henry IV (1413) and his second wife, Joan of Navarre (1437). The tomb was opened in 1832, and the body of the late king was found in amazing condition. He established the chantry near his tomb. Some vestments taken from a tomb are kept in this chapel. Other memorials include those of Dean Wotton, by Bernini; Cardinal Coligny, whose brother was killed in the St. Bartholomew’s Day Massacre and who was poisoned by his servant; and Archbishop Courtenay, the oppressor of the Lollards, who is depicted in archiepiscopal robes, with his mitre and crosier.

The Corona at the extreme east end is a beautiful piece of work, accomplished by English William. It is in the form of a circular apse, and has a triforium and clerestory. For some obscure reason it has been popularly called "Becket's crown," possibly from the presence here of some relic of the martyr. Here were the shrines of Archbishop Odo and St. Wilfrid of York, and here is the tomb of Cardinal Pole, archbishop in the time of Mary, a plain brick monument, plastered over with the inscription: "The body of Cardinal Pole."

The Corona at the far east end is a stunning piece, created by English William. It has a circular apse, along with a triforium and clerestory. For some unknown reason, it’s commonly referred to as "Becket's crown," possibly due to the presence of a relic of the martyr here. The shrines of Archbishop Odo and St. Wilfrid of York were located here, and the tomb of Cardinal Pole, who was archbishop during Mary’s reign, stands here as a simple brick monument covered with the inscription: "The body of Cardinal Pole."

Turning to the South Choir aisle, which resembles the north, we see the Chapel of St. Anselm, formerly that of SS. Peter and Paul. It resembles that of St. Andrew, and was built by Ernulf, and probably restored after the great fire. Behind the altar was buried the great Anselm, one of the most saintly and renowned prelates who ever occupied the see of Augustine. The south window is Decorated, inserted by Prior d'Estria in 1336. There is a monument here of Archbishop Simon de Mepham (1333), whom we shall hear of again at Exeter, when his visitation was resisted by the arrogant Bishop Grandisson; and also of Archbishop Bradwardine (1349). Above this chapel is the Watching Chamber, where a monk was stationed to guard the shrines. Proceeding along the aisle on the right are monuments of Archbishop Sudbury (1381), beheaded in the Wat Tyler rebellion; Archbishop Stratford (1348) and Archbishop Kemp (1454).

Turning to the South Choir aisle, which looks similar to the north, we see the Chapel of St. Anselm, formerly known as that of SS. Peter and Paul. It is similar to the one dedicated to St. Andrew and was built by Ernulf, likely restored after the great fire. Behind the altar lies the great Anselm, one of the most saintly and renowned bishops who ever held the see of Augustine. The south window is Decorated, added by Prior d'Estria in 1336. There is a monument here for Archbishop Simon de Mepham (1333), who we will hear about again in Exeter, where his visitation faced resistance from the arrogant Bishop Grandisson; and also for Archbishop Bradwardine (1349). Above this chapel is the Watching Chamber, where a monk was assigned to guard the shrines. Continuing along the aisle on the right are monuments for Archbishop Sudbury (1381), who was beheaded during the Wat Tyler rebellion; Archbishop Stratford (1348); and Archbishop Kemp (1454).

The South-East Transept is similar to the northern one. The walls are the work of Ernulf. It is to William of Sens, however, that we have to attribute the architectural details. There are apsidal chapels dedicated to SS. John and Gregory, the remains of Archbishop Winchelsey's tomb (1313); and the "patriarchal chair," erroneously called "St. Augustine's." In the aisle on the left are two tombs said to be those of Archbishop Hubert Walter,[80] who accompanied Richard I. on a Crusade, and Archbishop Reynolds (1327), the friend of Edward II.

The South-East Transept is similar to the one on the north side. The walls were built by Ernulf, but we owe the architectural details to William of Sens. There are apsidal chapels dedicated to Saints John and Gregory, the remains of Archbishop Winchelsey's tomb (1313), and the "patriarchal chair," mistakenly called "St. Augustine's." In the aisle on the left, there are two tombs believed to belong to Archbishop Hubert Walter,[80] who went on a Crusade with Richard I, and Archbishop Reynolds (1327), a friend of Edward II.

The South-West Transept was rebuilt at the same time as the nave by Chillenden. On the east of this is the Warrior Chapel, dedicated to St. Michael. Its style is Perpendicular, circa 1370, and was probably erected by Chillenden. Here is the monument of Stephen Langton (1228), who wrested from King John the Magna Charta. The position is curious, only the head of the tomb appearing through the wall. Other monuments are those of John Beaufort, Earl of Somerset, half brother of Henry IV. (1409), and Thomas of Clarence, second son of the same king, killed in battle in 1421, erected by the widow of both; Lady Thornhurst (1609) and Sir Thomas, Sir John Rooke, one of the heroes of the capture of Gibraltar, and some military trophies and memorials.

The South-West Transept was rebuilt at the same time as the nave by Chillenden. To the east of this is the Warrior Chapel, dedicated to St. Michael. Its style is Perpendicular, circa 1370, and it was probably built by Chillenden. Here lies the monument of Stephen Langton (1228), who forced King John to sign the Magna Carta. The position is unusual, with only the head of the tomb visible through the wall. Other monuments include those of John Beaufort, Earl of Somerset, half-brother of Henry IV. (1409), and Thomas of Clarence, the second son of the same king, who was killed in battle in 1421; both were erected by their widow, Lady Thornhurst (1609), along with Sir Thomas, Sir John Rooke, one of the heroes of the capture of Gibraltar, and several military trophies and memorials.

The Crypt.

The Crypt.

The Crypt is one of the finest in England, built before 1085. There is here some very fine Norman work, the western portion was constructed mainly by Ernulf, though there is some of the work of Lanfranc also here. The carving was executed after the stones were set in their places, and we can see that some of the carving was left unfinished, the designs having been roughly traced out. The portion of the crypt east of the Trinity Chapel is the work of English William (1178-1184). The Chapel of Our Lady Undercroft is enclosed by some Late Perpendicular open stone-work, and was very magnificent. Only privileged pilgrims[81] were allowed to see the wealth of precious stones and costly ornaments with which this wondrous shrine was adorned. In the crypt is the monument of Lady Mohun of Dunstar (1395), the chantry founded by the Black Prince, St. John's Chapel, the tomb of Isabel, Countess of Athole (1229). Here Becket's body was hastily buried by the monks after his murder; it remained here for fifty years, and was resorted to by the crowds of pilgrims, and here Henry II. endured his penance, receiving five strokes of a rod from each bishop and abbot present, and three from each of the eighty monks, and remaining all the night fasting, resting against one of the pillars. Queen Elizabeth gave the Flemish refugees the use of the crypt both as a place of worship and as a home for their industry. Here they plied their busy looms, and in their moments of leisure wrote inscriptions on the walls. The descendants of these settlers still live in Canterbury, and use part of the crypt as their chapel.

The Crypt is one of the best in England, built before 1085. It features some impressive Norman work; the western section was mainly created by Ernulf, although some of it was also done by Lanfranc. The carving was done after the stones were put in place, and it's clear that some of the carvings were left unfinished, with designs roughly outlined. The part of the crypt east of the Trinity Chapel was built by English William (1178-1184). The Chapel of Our Lady Undercroft is surrounded by beautiful Late Perpendicular open stonework and was quite magnificent. Only special pilgrims[81] were allowed to see the collection of precious stones and expensive decorations that adorned this incredible shrine. Inside the crypt is the monument of Lady Mohun of Dunstar (1395), the chantry established by the Black Prince, St. John's Chapel, and the tomb of Isabel, Countess of Athole (1229). Becket's body was quickly buried here by the monks after his murder; it stayed here for fifty years and attracted crowds of pilgrims. Here, Henry II. did his penance, receiving five strokes of a rod from each bishop and abbot present, and three from each of the eighty monks, while fasting all night, leaning against one of the pillars. Queen Elizabeth allowed the Flemish refugees to use the crypt both as a place of worship and as a workspace. They operated their busy looms there and, during their free time, wrote inscriptions on the walls. The descendants of these settlers still live in Canterbury and use part of the crypt as their chapel.

The Monastic Buildings

The Monastic Buildings

Canterbury was a Benedictine monastery. We enter the Cloisters from the north transept, which are mainly Perpendicular in style, though occupying the site of the old Norman buildings, and containing remains of earlier work. Chillenden, the builder of the nave, is responsible for all the Perpendicular work. The Chapter-House was rebuilt on Norman lines late in the thirteenth century, and re-ceiled and re-windowed in the fourteenth by Chillenden. The ceiling is composed of panels of Irish oak. Unfortunately a severe restoration in 1897 has somewhat vulgarised its former beautiful features. At the east end there is the beautiful priors' sedilia, with glass mosaics on the spandrels of the throne. After the Reformation the chapter-house was used for preachings, and acquired the name of the sermon-house. On the north of the garth was the refectory, the entrance to which may be seen, and also the remains of the monks' lavatory.

Canterbury was a Benedictine monastery. We enter the Cloisters from the north transept, which are primarily in the Perpendicular style, although they sit on the site of the old Norman buildings and include remnants of earlier work. Chillenden, who built the nave, is responsible for all the Perpendicular work. The Chapter-House was rebuilt in the Norman style in the late thirteenth century and was re-ceilinged and re-windowed in the fourteenth century by Chillenden. The ceiling is made of panels of Irish oak. Unfortunately, a major restoration in 1897 has somewhat ruined its previously beautiful features. At the east end, there's the stunning priors' sedilia, with glass mosaics on the spandrels of the throne. After the Reformation, the chapter house was used for preaching and got the name sermon-house. To the north of the garth was the refectory, where the entrance can still be seen, along with the remains of the monks' lavatory.

Passing along we see the Priors', now known as the Green Court, a large open space surrounded with the remains of the domestic buildings of the monastery. The Deanery, previously part of the priors' lodgings, is on the east, and the south was also occupied by the dormitory and refectory, with kitchens. On the west is the Porter's Gate, a Norman structure, with curious ornamentation. The very interesting late Norman Staircase leading to the hall of the[82] Grammar School should be examined. Returning, we traverse the passage north of the chapter-house, and come to the Lavatory Tower—erroneously called the baptistry—of Late Norman construction, built by Prior Wibert for supplying the various buildings with water, and adjoining this is the Library, which possesses a fine collection of books. A very interesting MS. is the charter of Eadred (949 A.D.), written by Dunstan; there is an ancient portrait of Queen Edgiva (late fourteenth century). The remains of the infirmary and the garden of the monastery may also be seen; and an arched doorway in Palace Street is all that remains of the once famous Archbishop's Palace, which was inhabited by so many distinguished prelates, and the scene of so many events in English history. It was destroyed during the Commonwealth period.

Passing through, we see the Priors', now called the Green Court, a large open area surrounded by the remnants of the monastery's domestic buildings. The Deanery, which used to be part of the priors' lodgings, is on the east, and the south was also home to the dormitory and dining hall, along with kitchens. To the west is the Porter's Gate, a Norman structure with interesting decorations. The late Norman Staircase leading to the hall of the[82] Grammar School is worth a look. Heading back, we traverse the passage north of the chapter house and arrive at the Lavatory Tower—incorrectly referred to as the baptistry—of Late Norman design, built by Prior Wibert to supply water to the various buildings. Next to this is the Library, which has a great collection of books. One particularly fascinating manuscript is the charter of Eadred (949 CE), written by Dunstan; there is also an old portrait of Queen Edgiva from the late fourteenth century. The remains of the infirmary and the monastery garden can also be seen, and an arched doorway on Palace Street is all that’s left of the once-renowned Archbishop's Palace, which housed many distinguished prelates and was the site of numerous events in English history. It was destroyed during the Commonwealth period.

Dimensions

Measurements

Total length522 ft. (inside, 514 ft.)
Length of nave178 ft.
Width of nave71 ft.
Length of choir180 ft.
Height of nave80 ft.
Height of central tower235 ft.
Height of west tower130 ft.

Principal Building Dates

Key Building Dates

  • Nave (1378-1411), Prior Chillenden.
  • Choir (1174-1184), William of Sens and English William.
  • Choir-screen (1304-1305), Prior d'Estria.
  • Towers of St. Andrew and Anselm, Prior Ernulf.
  • Retro-choir and corona (1178-1184), English William.
  • Crypt, west part (1070-1109), Lanfranc and Ernulf.
  • Crypt, east part (1178-1184), English William.
  • Central tower (1495), Prior Goldstone.

PLAN OF CANTERBURY CATHEDRAL

Cairo Cathedral Layout

Other Churches and Objects of Interest[84]

Other Churches and Points of Interest[84]

St. Martin's Church, traditionally said to be the oldest church in the kingdom, is certainly of great antiquity. A large number of Roman bricks are built up in the walls. It contains a stone coffin, in which it is said that Queen Bertha lies, the wife of King Ethelbert, converted by Augustine, but this is improbable. The font is Saxon, and it is, according to tradition, which is not very reliable, the font in which Ethelbert was baptised.

St. Martin's Church, often regarded as the oldest church in the kingdom, is definitely very ancient. Numerous Roman bricks are used in the construction of the walls. Inside, there’s a stone coffin that is said to hold the remains of Queen Bertha, the wife of King Ethelbert, who was converted by Augustine, although this seems unlikely. The font is Saxon, and according to tradition, which isn’t very trustworthy, it is the same font where Ethelbert was baptized.

St. Augustine's College for Missionaries was formerly the Monastery of St. Augustine. The earliest house was dedicated to SS. Peter and Paul, said to have been founded by Augustine. Dunstan enlarged it, and added the founder's name to the dedication. It became very rich and important. The buildings were destroyed by the Danes, but they arose again in greater glory, and at the dissolution of monasteries the house became a Royal palace. The buildings are well worthy of a visit.

St. Augustine's College for Missionaries used to be the Monastery of St. Augustine. The original house was dedicated to Saints Peter and Paul, believed to have been founded by Augustine. Dunstan expanded it and included the founder's name in the dedication. It grew very wealthy and significant. The buildings were destroyed by the Danes, but they were rebuilt even more gloriously, and during the dissolution of the monasteries, the house became a royal palace. The buildings are definitely worth a visit.

St. Dunstan's Church.
The West Gate, built by Archbishop Sudbury, temp. Richard II.
Holy Cross Church.
St. Peter's Church.
St. Thomas's Hospital for Entertainment of Pilgrims.

St. Dunstan's Church.
The West Gate, built by Archbishop Sudbury, during Richard II's reign.
Holy Cross Church.
St. Peter's Church.
St. Thomas's Hospital for Hosting Pilgrims.

The remains of the old Chequers Inn at the south-west corner of Mercery Lane, can be traced, and a portion of it is incorporated in the house known as Grafton House. There are some fine old houses in this street, anciently called La Merceri, each stone projecting outwards, so as almost to meet at the top, typical of an old English city street.

The remains of the old Chequers Inn at the southwest corner of Mercery Lane can still be seen, and part of it is included in the building known as Grafton House. There are some beautiful old houses in this street, formerly called La Merceri, with each stone jutting outwards to nearly meet at the top, typical of an old English city street.


WINCHESTER CATHEDRAL

The city of Winchester, the ancient capital of England, the Caer Gwent of the Britons, the Venta Belgarum of the Romans, the Royal city of Alfred the Great and of William the Conqueror, was a place of vast importance in the annals of England. Under Cnut it was the capital of a kingdom stretching across the seas to Scandinavia, and under the Normans a large part of France was in subjection to it. Here kings were born and Royal weddings celebrated with great pomp in its grand Cathedral. If Royal patronage could have preserved the glories of ancient Winchester, it would have remained the capital of England; but London was the centre of the commercial activity of the country, and in the end Winchester was forced to yield supremacy to its more powerful rival.

The city of Winchester, the old capital of England, the Caer Gwent of the Britons, the Venta Belgarum of the Romans, and the Royal city of Alfred the Great and William the Conqueror, was a place of great significance in England's history. Under Cnut, it served as the capital of a kingdom that reached across the seas to Scandinavia, and under the Normans, a large part of France was under its control. Kings were born here, and Royal weddings were celebrated with great ceremony in its magnificent Cathedral. If Royal support could have maintained the splendor of ancient Winchester, it would have stayed the capital of England; however, London became the center of the country’s commercial activity, and ultimately Winchester had to surrender its supremacy to its more powerful rival.

Its ecclesiastical history is no less important. A British church here is said to have been destroyed during the Diocletian persecution (A.D. 266) and restored subsequently and dedicated to St. Amphibalus, the martyr. Heathendom returned with the Saxons, until they were converted by St. Berinus, and by the baptism of King Kynegils the triumph of Christianity was assured. He built a new Cathedral, which was again rebuilt by Bishop Ethelbold (980) and consecrated by Dunstan, and this church remained until the Norman builders came with the Conqueror, and began, under his kinsman, Walkelin, to erect that stately fane which we are now about to visit.

Its church history is equally significant. It’s said that a British church here was destroyed during the Diocletian persecution (A.D. 266) and later rebuilt and dedicated to St. Amphibalus, the martyr. Paganism returned with the Saxons until they were converted by St. Berinus, and with King Kynegils' baptism, the triumph of Christianity was ensured. He built a new Cathedral, which was later rebuilt by Bishop Ethelbold in 980 and consecrated by Dunstan. This church remained until the Norman builders arrived with the Conqueror and started, under his kinsman Walkelin, to construct the impressive building we are about to visit.

Winchester is unlike Salisbury, which was, for the most part, completed in one period of architecture; the former was the work of several builders at different eras. A large part of the Early Norman Cathedral remains; the crypt and transepts and the core of the walls being all Norman work. The eastern aisles and chapels are the work of Bishop de Lucy (1189-1204), built in the Early English style, during the troubled reigns of Richard I. and John; the noble nave was begun by Bishop Edingdon in 1345, and not finished until the time of Waynflete, in 1496, while the dawn of the Reformation saw the building of the side aisles of the presbytery and the east part of the Lady Chapel. The celebrated William of Wykeham, Bishop of Winchester, Chancellor of[86] Edward III., the founder of the Colleges of Winchester and New (Oxford), was the chief architect of the nave.

Winchester is different from Salisbury, which was mostly built in one architectural style; the former was constructed by several builders across different periods. A significant portion of the Early Norman Cathedral still exists, with the crypt, transepts, and the core of the walls all being Norman work. The eastern aisles and chapels were done by Bishop de Lucy (1189-1204), built in the Early English style, during the turbulent reigns of Richard I and John. The impressive nave was started by Bishop Edingdon in 1345 and wasn’t completed until the time of Waynflete in 1496, while the beginning of the Reformation saw the construction of the side aisles of the presbytery and the eastern part of the Lady Chapel. The renowned William of Wykeham, Bishop of Winchester and Chancellor of Edward III, who founded the Colleges of Winchester and New (Oxford), was the main architect of the nave.

We approach the Cathedral by an avenue of stately elms, and reach the west door. The best exterior view is obtained from the north side of the close. The tower is low massive Norman work, built in the time of the first Henry, the first tower having fallen, as some said, because William Rufus, the bad king, was buried beneath it. The west front has been recently restored. It is evidently Perpendicular work, and was probably constructed by Bishop Edingdon.

We walk up the avenue lined with impressive elm trees and arrive at the west door. The best view of the exterior is from the north side of the close. The tower is a solid, low Norman structure, built during the reign of the first Henry. The original tower had collapsed, as some claimed, because William Rufus, the bad king, was buried under it. The west front has recently been restored. It’s clearly a Perpendicular style, likely built by Bishop Edingdon.

On entering we are struck by the grandeur and impressiveness of this noble nave: Winchester is the largest Cathedral in England. The whole church is 556 feet in length, and nearly 400 feet of magnificent stone-vault is visible from the west doorway. This nave presents some architectural problems. The style is evidently Perpendicular work of the fourteenth and fifteenth centuries, but the builders of that period transformed much of the original Norman work, which still remains in the piers and walls, into that of the later style. They did not rebuild, but transformed, adding new mouldings, casing, and concealing, though not obliterating, the ancient Norman features. We can trace the work of the successive builders. Bishop Edingdon entirely rebuilt the west front and extreme west portion. Examine the two west windows of the north aisle, and compare them with the third, the work of William of Wykeham, and notice their heavy and less graceful appearance. Wykeham was responsible for the complete transformation of the nave, but lived only long enough to complete the south side. Notice the thickness of the piers. This was caused by casing the Norman piers with Perpendicular stone-work, and the balcony above the arches was necessitated by the work of reconstruction. Wykeham's successor, Cardinal Beaufort (uncle of Henry V., the "rich Cardinal," as men called him, one of Joan of Arc's judges, but withal not so base a man as Shakespeare depicts), continued, and Bishop Waynflete, the founder of Magdalen College, Oxford, completed that magnificent structure which we now see. On each side of the west door are bronze statues of Charles I. and James I. by Le Sueur.

On entering, we’re immediately impressed by the grandeur of this magnificent nave: Winchester is the largest cathedral in England. The entire church is 556 feet long, and nearly 400 feet of stunning stone vaulting is visible from the west doorway. This nave poses some architectural challenges. The style is clearly Perpendicular from the fourteenth and fifteenth centuries, but the builders of that time transformed much of the original Norman work, which still exists in the piers and walls, to fit the later style. They didn’t rebuild, but rather modified, adding new moldings and casing, while concealing (but not erasing) the ancient Norman features. We can trace the efforts of the successive builders. Bishop Edingdon completely rebuilt the west front and the far western section. Look at the two west windows in the north aisle and compare them with the third, crafted by William of Wykeham, and notice how heavy and less elegant they seem. Wykeham was responsible for the full transformation of the nave, but he lived only long enough to finish the south side. Take note of the thickness of the piers. This was due to encasing the Norman piers with Perpendicular stonework, and the balcony above the arches was necessary for the reconstruction. Wykeham's successor, Cardinal Beaufort (the uncle of Henry V., known as the "rich Cardinal," one of Joan of Arc’s judges, though he was not as dishonorable as Shakespeare portrayed him), continued the work, and Bishop Waynflete, the founder of Magdalen College, Oxford, completed the magnificent structure we see today. On either side of the west door are bronze statues of Charles I and James I by Le Sueur.

On the bosses of the roof we see some armorial bearings; the lily (the arms of Magdalen College) is the device of Waynflete, and the arms of Wykeham, Beaufort, John of Gaunt and Richard II. (white hart chained) are there represented.

On the roof bosses, we see some coats of arms; the lily (the emblem of Magdalen College) represents Waynflete, and the coats of arms of Wykeham, Beaufort, John of Gaunt, and Richard II (white hart chained) are also displayed.

The Minstrels' Gallery or tribune, erected by Edingdon, is at[87] the west end of the north aisle, and the oldest piece of iron grill-work in England of very good design is seen in a neighbouring door. The font is Norman work, the sculptures representing scenes from the life of St. Nicholas of Myra, together with doves and the salamander. The chantry chapels on the south side of the nave are extremely interesting: (1) Bishop Edingdon's Chantry (1345-1366), (2) William of Wykeham's Chantry, which is very beautifully designed. We see the effigy of the distinguished prelate with two angels holding the pillow under his head, and three monks at his feet praying for his soul. Some modern statues have been added at the east end and an ingenious chronogram. In the south aisle there are two monuments by Flaxman (Henrietta North and Dr. Warton), and one to the once famous Bishop Hoadley, the founder of the Bangorian controversy, which shows the Magna Charta by the side of the Bible and the cap of liberty contending with the pastoral staff. Some heroes of the Crimean War are also commemorated. There are memorials of Mrs. Montagu, the founder of the "Blue Stockings," and of Jane Austen.

The Minstrels' Gallery or tribune, built by Edingdon, is at[87] the west end of the north aisle, and nearby you can find England's oldest and beautifully designed piece of iron grill-work in a door. The font is from the Norman period, featuring sculptures that depict scenes from the life of St. Nicholas of Myra, along with doves and a salamander. The chantry chapels on the south side of the nave are particularly interesting: (1) Bishop Edingdon's Chantry (1345-1366) and (2) William of Wykeham's Chantry, which has a stunning design. You can see the effigy of the notable prelate, with two angels supporting the pillow under his head and three monks at his feet praying for his soul. Some modern statues have been added at the east end, along with a clever chronogram. In the south aisle, there are two monuments by Flaxman (Henrietta North and Dr. Warton), and one commemorating the once-famous Bishop Hoadley, the founder of the Bangorian controversy, featuring the Magna Carta next to the Bible, with the cap of liberty in conflict with the pastoral staff. Some heroes of the Crimean War are also honored. There are memorials for Mrs. Montagu, the founder of the "Blue Stockings," and for Jane Austen.

The pulpit is Jacobean, and was brought here from New College, Oxford. The screen separating the nave from the choir is modern. The bronze figures of James I. and Charles I. formed part of an older screen erected by Inigo Jones. Cromwell's soldiers wrought havoc here as in many other churches and cathedrals. They broke the windows and woodwork, desecrated shrines, and paid much attention to this statue of their king.

The pulpit is from the Jacobean era and was brought here from New College, Oxford. The screen that divides the nave from the choir is modern. The bronze figures of James I and Charles I were part of an older screen created by Inigo Jones. Cromwell's soldiers caused destruction here just like in many other churches and cathedrals. They smashed the windows and woodwork, desecrated shrines, and focused heavily on this statue of their king.

On entering the choir we find ourselves immediately beneath the tower, which, as we have observed, is Late Norman work, and notice the immense piers which support it. The former tower having fallen, the builders were determined not to have a similar misfortune, and therefore built these piers abnormally strong and massive. The ceiling was erected in the time of Charles I. (1634), and bears medallions of that ill-fated monarch and his queen. Beyond the tower we see the piers and arches and clerestory of the presbytery, which belong to the Late Decorated period. The noble reredos belongs to the fifteenth century, and has been recently restored, the vacant niches being again filled with statuary. In the centre is the figure of our Lord upon the Cross, with the Virgin and St. John. On each side of the altar are SS. Hedda and Ethelwolf, and in the spandrels of the two doorways some ancient sculptures of the life of the Virgin. Above are figures of SS. Swithun and Berinus, and above the doors SS. Benedict and Giles, and SS. Stephen and Lawrence. In the highest row are SS. Peter and Paul and the[88] four Latin doctors. There are numerous smaller statues of kings and prelates. The whole appearance of the screen is very magnificent.

Upon entering the choir, we find ourselves directly beneath the tower, which, as we've noted, is a Late Norman structure. We can’t help but notice the massive piers that support it. After the previous tower collapsed, the builders were determined to prevent a similar disaster, so they constructed these piers to be exceptionally strong and sturdy. The ceiling was built during the time of Charles I in 1634 and features medallions of that ill-fated king and his queen. Beyond the tower, we see the piers, arches, and clerestory of the presbytery, which belong to the Late Decorated period. The impressive reredos is from the fifteenth century and has recently been restored, with the previously empty niches now filled with sculptures. In the center stands the figure of our Lord on the Cross, accompanied by the Virgin and St. John. On either side of the altar are Saints Hedda and Ethelwolf, and in the spandrels of the two doorways are some ancient sculptures depicting the life of the Virgin. Above, there are figures of Saints Swithun and Berinus, and above the doors are Saints Benedict and Giles, along with Saints Stephen and Lawrence. In the highest row are Saints Peter and Paul and the four Latin doctors. There are many smaller statues of kings and bishops. The overall appearance of the screen is truly magnificent.

The woodwork of the stalls is the most perfect in the kingdom, and was constructed in the closing years of the thirteenth century. The carved foliage is remarkable for its grace and elegance. Notice the carved heads and the monkeys and other animals playing amidst the branches. The Misereres are interesting, and are earlier than the canopies. The pulpit was presented by one "Thomas Silkstede, prior," whose name it bears.

The woodwork of the stalls is the finest in the kingdom and was built in the late thirteenth century. The carved foliage is striking for its beauty and style. Look at the carved faces and the monkeys and other animals playing among the branches. The Misereres are noteworthy and were made before the canopies. The pulpit was given by someone named "Thomas Silkstede, prior," which is why his name is on it.

In the centre of the presbytery we see the supposed tomb of William Rufus, who was accidentally killed by an arrow when hunting in the New Forest. His ashes, however, do not rest beneath this stone, but are preserved in the chests above the screen, together with the bones of Canute and some Saxon prelates. Cromwell's soldiers rifled the tomb and found therein a chalice, which sacred vessel was usually placed in the coffins of bishops and therefore could not have belonged to the grave of the red-haired monarch. Bishop Fox (1500-1520) did much for this part of the Cathedral. He placed the glass in the east window, which has been much modified. Glass painting at this period had attained its highest perfection as an art, and in its original condition this window must have been unrivalled. The stone screens on each side of the presbytery were also erected by Fox, and six mortuary chests containing the bones of Saxon kings and bishops are placed upon them. Amongst the bones of other illustrious men are deposited in a mingled state the mortal remains of Kynegils, Ethelwolf, the father of Alfred the Great, Egbert, Canute, and many others. The soldiers of Cromwell played havoc with these bones of kings, and scattered them about the Cathedral, hence it is impossible to be certain that these chests actually contain the mortal remains of those whose names they bear. The vault of the presbytery is wooden, and the bosses are interesting.

In the center of the presbytery, we see what is believed to be the tomb of William Rufus, who was accidentally killed by an arrow while hunting in the New Forest. However, his ashes don’t rest beneath this stone; they’re kept in the chests above the screen, along with the bones of Canute and some Saxon bishops. Cromwell's soldiers raided the tomb and found a chalice, which was typically placed in the coffins of bishops and therefore couldn't have belonged to the grave of the red-haired king. Bishop Fox (1500-1520) did a lot for this part of the Cathedral. He installed the glass in the east window, which has been significantly altered. Glass painting had reached its peak as an art form during this time, and in its original state, this window must have been unmatched. The stone screens on either side of the presbytery were also built by Fox, and six mortuary chests containing the bones of Saxon kings and bishops are placed upon them. Among the remains of other notable individuals are the mortal remains of Kynegils, Ethelwolf, the father of Alfred the Great, Egbert, Canute, and many others. Cromwell's soldiers wreaked havoc with these kings' bones and scattered them throughout the Cathedral, so it’s impossible to be sure that these chests actually hold the remains of those whose names they carry. The vault of the presbytery is wooden, and the decorative bosses are noteworthy.

Behind the reredos is the feretory or place for the shrines of patron saints, with a stone platform at its east end on which formerly stood the shrines of St. Swithun[6] and St. Berinus.

Behind the altar is the feretory, or area for the shrines of patron saints, featuring a stone platform at its east end where the shrines of St. Swithun[6] and St. Berinus used to stand.

WINCHESTER CATHEDRAL

Winchester Cathedral

Pilgrims used to pass in procession before these shrines along the[91] stone passage. A collection of fragments of carved work is shown here.

Pilgrims used to walk in procession past these shrines along the[91] stone pathway. A selection of carved fragments is displayed here.

We now visit the north transept and find ourselves in the earliest portion of the Cathedral, built by Bishop Walkelin in the old Norman style. The windows were inserted in the Decorated period, and the ceiling belongs to the last century. The transepts have aisles on the east and west sides and also at each end, over which is a gallery. This is not common in England. At St. Alban's there is a similar arrangement, and in several Normandy churches. The Norman work of the transepts is of two periods. The earlier part by Walkelin (1070-1098) is distinguished by the smaller piers and plain groined vaulting; the later (1107) by the ribbed vaulting and larger piers. When we visit Ely Cathedral we shall notice the similarity of design, the transepts of that building having been erected by Simeon, Walkelin's brother. Under the organ-loft is the Chapel of the Holy Sepulchre. Notice the curious mural paintings representing the Passion of our Lord which date from the thirteenth century, and the Decorated canopies built against the Norman piers.

We now head to the north transept and find ourselves in the earliest part of the Cathedral, built by Bishop Walkelin in the old Norman style. The windows were added during the Decorated period, and the ceiling is from the last century. The transepts have aisles on the east and west sides, as well as at each end, above which is a gallery. This isn’t common in England. There’s a similar setup at St. Alban’s and in several churches in Normandy. The Norman work in the transepts is from two different periods. The earlier section by Walkelin (1070-1098) is marked by smaller piers and plain groined vaulting; the later portion (1107) features ribbed vaulting and larger piers. When we visit Ely Cathedral, we’ll notice the similar design, as the transepts there were built by Simeon, Walkelin's brother. Under the organ loft is the Chapel of the Holy Sepulchre. Check out the interesting mural paintings depicting the Passion of our Lord that date back to the thirteenth century, along with the Decorated canopies built against the Norman piers.

We now enter the north aisle of the presbytery and proceed to the extreme eastern portion of the Cathedral. Here seven chantries and chapels are seen which record the memory of illustrious prelates. "How much power and ambition under half-a-dozen stones! I own I grow to look on tombs as lasting mansions, instead of observing them for curious pieces of architecture," wrote Walpole. Almost all the east end was built by Bishop Godfrey de Lucy (1189-1204) at the beginning of the Early English period and is of exquisite design. The north chapel is called that of the Guardian Angels, and is so named from figures of angels in the vaulting. There is a bronze figure of the Earl of Portland here, the treasurer of Charles I. Notice the figure holding a heart. It represents Bishop Ethelmar, half-brother of Henry III., who died in Paris but directed that his heart should be conveyed to this Cathedral.

We now enter the north aisle of the presbytery and make our way to the far eastern area of the Cathedral. Here, we see seven chantries and chapels that honor the memory of notable bishops. "How much power and ambition under half a dozen stones! I find myself considering tombs as lasting homes, rather than just curious pieces of architecture," wrote Walpole. Almost the entire east end was built by Bishop Godfrey de Lucy (1189-1204) at the start of the Early English period and features exquisite design. The north chapel is called the Guardian Angels, named for the angel figures in the vaulting. There is a bronze figure of the Earl of Portland here, who was the treasurer for Charles I. Look for the figure holding a heart; it represents Bishop Ethelmar, the half-brother of Henry III, who died in Paris but requested that his heart be brought to this Cathedral.

The Lady Chapel has work of divers periods—north and south walls Early English (De Lucy), east wall and window with small eastern parts of north and south walls Perpendicular (Prior Hunton, 1470-1498, and Prior Silkstede, 1498-1524). The rebuses of these two priors on the vault are curious: T. Hun and a ton (Thomas Hunton), and 1 and Por for Prior; T. Silk and a horse[92] (Thomas Silkstede). Mural paintings by the latter prior representing the legends of the Virgin adorn the walls. The panelling is the work of Bishop Fox.

The Lady Chapel features work from various periods—the north and south walls are Early English (De Lucy), while the east wall and window, along with the small eastern parts of the north and south walls, are Perpendicular (Prior Hunton, 1470-1498, and Prior Silkstede, 1498-1524). The symbols of these two priors on the vault are interesting: T. Hun and a ton (Thomas Hunton), and 1 and Por for Prior; T. Silk and a horse[92] (Thomas Silkstede). Mural paintings by the latter prior illustrating the legends of the Virgin decorate the walls. The paneling is the work of Bishop Fox.

The south chapel (Early English) is the Chantry of Bishop Langton, who died of the plague in 1500, just before he was translated to the Archbishopric of Canterbury. The woodwork of the stalls is very beautiful. The pikes of Cromwell's soldiers wrought havoc here, and we notice that just above the height they could reach with their weapons the woodwork is uninjured. Mediæval artists were fond of puns and rebuses, and here we have Langton's name represented by a long (or musical) note with a ton, and a vine and ton for Winton or Winchester. Winton is also represented by a dragon coming from a ton, referring to Solomon's warning against the wine that is red which biteth like a serpent, etc. An object of much interest is preserved here—Queen Mary's chair upon which she sat when she was married to Philip of Spain in the Lady Chapel. On that occasion there was much feasting and rejoicing in Winchester, though the nation liked not the Spanish marriage, and much ill came to England through that ill-starred connection. De Lucy's tomb in the centre of the retro-choir looks upon the noble work which he built for his beloved Cathedral. On the north of the central aisle is the Chantry of Waynflete, the founder of Magdalen College, Oxford; on the south that of Cardinal Beaufort. Both were much injured by the soldiers. Between these is the effigy of a knight in armour, Sir A. de Gavaston, the father of the favourite of Edward II.

The south chapel (Early English) is the Chantry of Bishop Langton, who died of the plague in 1500, just before he was appointed Archbishop of Canterbury. The woodwork of the stalls is quite beautiful. The pikes of Cromwell's soldiers caused a lot of damage here, and we can see that just above the reach of their weapons, the woodwork remains intact. Medieval artists loved puns and rebuses, and here, Langton's name is depicted by a long (or musical) note with a ton, along with a vine and ton for Winton or Winchester. Winton is also shown by a dragon coming from a ton, referencing Solomon's warning about the red wine that bites like a serpent, etc. One particularly interesting object preserved here is Queen Mary's chair, where she sat when she married Philip of Spain in the Lady Chapel. There was much feasting and celebration in Winchester for that occasion, although the country was not fond of the Spanish marriage, and a lot of trouble came to England because of that ill-fated connection. De Lucy's tomb in the center of the retro-choir overlooks the splendid work he built for his beloved Cathedral. To the north of the central aisle is the Chantry of Waynflete, the founder of Magdalen College, Oxford; to the south is that of Cardinal Beaufort. Both were severely damaged by the soldiers. In between them is the effigy of a knight in armor, Sir A. de Gavaston, the father of Edward II's favorite.

Notice the wall at the back of the feretory, with its beautiful tabernacle work of Decorated period, under which images once stood. The names of the worthies appear below. "The Holy Hole" formerly led to the crypt but has now been closed. On the north side of this wall is Bishop Gardiner's Chantry, who was the leader of the Roman Catholic party at the Reformation and was styled the "Hammer of Heretics." He took a leading part in the Marian persecutions. On the south side is the Chantry of Bishop Fox (1500-1528), the founder of Corpus Christi College, Oxford, who bore the pelican as a device.

Notice the wall at the back of the feretory, featuring its beautiful tabernacle work from the Decorated period, where images once stood. The names of notable figures are displayed below. "The Holy Hole" used to lead to the crypt but has now been closed off. On the north side of this wall is Bishop Gardiner's Chantry, who was the leader of the Roman Catholic faction during the Reformation and was known as the "Hammer of Heretics." He played a major role in the Marian persecutions. On the south side is the Chantry of Bishop Fox (1500-1528), the founder of Corpus Christi College, Oxford, who used a pelican as his symbol.

The south wall of the south aisle of the presbytery is Late Perpendicular work. Another instance of heart burial is recorded on the wall opposite, that of Bishop Nicholas of Ely (1280), and an inscription tells of the burial of Richard, son of William the Conqueror, who was killed while hunting in the New Forest.[93]

The south wall of the south aisle of the presbytery is Late Perpendicular style. Another case of heart burial is noted on the opposite wall, that of Bishop Nicholas of Ely (1280), and there’s an inscription mentioning the burial of Richard, son of William the Conqueror, who was killed while hunting in the New Forest.[93]

We now enter the south transept, the architectural features of which are similar to those of the north transept. Silkstede's Chantry should be visited. This worthy prior loved a rebus, and here carved a skein of silk to represent his name, also the letters thoMAs appear on the screen, the MA being formed differently from the rest to represent his patroness, Mary the Virgin. Isaac Walton's tomb is here, the author of the Angler. There are some good mural paintings. The monument of Bishop Wilberforce forms a conspicuous object in the transept. Adjoining Silkstede's Chapel is the Venerable Chapel, with a fine screen. On the west side are the chapter-room and the old treasury. Passing through the chamber on the south we enter the slype.

We now enter the south transept, which has similar architectural features to the north transept. You shouldn't miss Silkstede's Chantry. This notable prior loved a rebus, and here he carved a skein of silk to represent his name. Additionally, the letters Thomas appear on the screen, with the "MA" formed differently from the rest to symbolize his patroness, Mary the Virgin. Isaac Walton's tomb is also here, as he was the author of the Angler. There are some impressive mural paintings. The monument of Bishop Wilberforce stands out prominently in the transept. Next to Silkstede's Chapel is the Venerable Chapel, which features a beautiful screen. On the west side, you'll find the chapter-room and the old treasury. By passing through the chamber on the south, we enter the slype.

The Cathedral
West Front.

The Cathedral
West Entrance.

The library has some treasures, notably a Vulgate of the twelfth century and some valuable MSS. The crypt is entirely Norman work, except the east part, which is Early English. The cloisters and old chapter-house were destroyed in 1563. The Deanery was formerly the home of the prior; its entrance belongs to the time of[94] Henry III., and the hall within the house to the fifteenth century. Over the dean's stables is a long room which was probably the guest-house for pilgrims; rude carvings can be seen on the beams of the roof probably made by the pilgrims.

The library has some treasures, especially a 12th-century Vulgate and several valuable manuscripts. The crypt is entirely Norman, except for the eastern part, which is Early English. The cloisters and old chapter house were destroyed in 1563. The Deanery used to be the prior's home; its entrance dates back to the time of [94] Henry III, and the hall inside the house is from the 15th century. Above the dean's stables, there's a long room that was probably the guesthouse for pilgrims; you can see rough carvings on the beams of the roof that were likely made by the pilgrims.

Dimensions

Dimensions

Total length, 556 ft.; length of nave, 262 ft.; width of nave and aisles, 88 ft.; height of vault, 78 ft.; area, 53,480 sq. ft.

Total length, 556 ft.; length of nave, 262 ft.; width of nave and aisles, 88 ft.; height of vault, 78 ft.; area, 53,480 sq. ft.

Principal Building Dates

Key Building Dates

1079-1093—Transepts, crypt and cores of piers and wall; 1120—central tower rebuilt; 1202—retro-choir and eastern chapels; 1320—presbytery rebuilt; 1360—west front and two bays of nave; 1394-1486—nave reconstructed; 1487—east end of Lady Chapel; 1520—alterations in presbytery by Bishop Fox.

1079-1093—Transepts, crypt, and the cores of piers and walls; 1120—central tower rebuilt; 1202—retro-choir and eastern chapels; 1320—presbytery rebuilt; 1360—west front and two bays of the nave; 1394-1486—nave reconstructed; 1487—east end of the Lady Chapel; 1520—alterations in the presbytery by Bishop Fox.

Other objects of interest in Winchester—

Other cool stuff in Winchester—

The School, founded by William of Wykeham; the Hospital of St. Cross, founded by Henry de Blois in 1136; Hyde Abbey, the resting-place of the body of Alfred the Great; the County Hall, with the so-called Round Table of King Arthur; Wolvesey Castle, the ancient episcopal palace.

The School, established by William of Wykeham; the Hospital of St. Cross, created by Henry de Blois in 1136; Hyde Abbey, the burial site of Alfred the Great; the County Hall, which features the famous Round Table of King Arthur; Wolvesey Castle, the historic episcopal residence.

PLAN OF WINCHESTER CATHEDRAL

Winchester Cathedral Map


CHICHESTER CATHEDRAL

Chichester, like most of our cathedral cities, has a long history dating back to the time of the Romans. The Roman town stood on the line of the road now known as Stane Street, and seems to have been a populous place where trade was carried on, and not merely a military station. A marble slab discovered in 1713 (preserved at Goodwood) bears an inscription which tells us much of the Roman city and runs as follows: Neptuni et Minervæ templum pro salute domus divinæ ex auctoritate Tih. Claud. Cogidubni r. leg. aug. in Brit. collegium fabror. et qui in eo a sacris sunt d. s. d. donante aream Pudente Pudentini fil. Much has been made of this inscription, that there was a temple here dedicated to Neptune and Minerva, that there was a large body of craftsmen who built this temple, and that Chichester was the seat of King Cogidubnus mentioned by Tacitus as possessing independent authority in Britain.

CChichester, like many of our cathedral cities, has a long history that goes back to Roman times. The Roman town was located along what is now Stane Street and appears to have been a bustling area where trade happened, not just a military outpost. A marble slab found in 1713 (now kept at Goodwood) has an inscription that provides valuable information about the Roman city and reads as follows: Neptuni et Minervæ templum pro salute domus divinæ ex auctoritate Tih. Claud. Cogidubni r. leg. aug. in Brit. collegium fabror. et qui in eo a sacris sunt d. s. d. donante aream Pudente Pudentini fil. This inscription has led to much speculation that there was a temple here dedicated to Neptune and Minerva, that a significant number of craftsmen built this temple, and that Chichester was under the rule of King Cogidubnus, who Tacitus noted as having independent authority in Britain.

When the Pagan Saxons under Ælla came they destroyed the place. "Ælle and Cissa," says the chronicle, "beset Anderida[7] and slew all that were therein, nor was there afterwards one Briton left," and overran the coast, establishing the kingdom of the South Saxons, or Sussex. Then Cissa, having captured the old Roman city, made it the capital of his kingdom, calling the place Cissan-caestre, or the fortress of Cissa, now corrupted to Chichester. This was at the close of the fifth century. Shut in by the great forest of Anderida, these South Saxons retained their Paganism long after the advent of Augustine and the conversion of other parts of the country. St. Wilfrid was shipwrecked on their coast, but they fiercely attacked the crew of the vessel, which escaped with difficulty from the perilous coast owing to the prayers of the saint. Thirty years later he returned and converted them to Christianity. A famine raged owing to long draught. He taught them to fish in the sea, and so won their confidence, and on the day when their chiefs came to be baptised rain fell and the famine ceased. The Island of Selsey or Seal's Island was given to the saint, where he founded a monastery and became the [97]first bishop of the South Saxons. Until the conquest Selsey remained the seat of the bishopric. The last Saxon prelate, Ethelric, though he was a learned, and moreover a very aged man, received harsh treatment from William I. He was deprived of his bishopric and imprisoned. Then came Stigand, who moved the bishop's throne to Chichester, and made the minster Church of St. Peter's Monastery his Cathedral. The waves of the sea now roll over the site of the Early Saxon church. Ralph de Luffa, the third Norman prelate (1091-1123), began the building of the present Cathedral. Fire played havoc with the newly-erected church in 1114, four years after its completion, but Ralph again set to work to restore it. It was consecrated in 1148, twenty-five years after his death. He was a noble bishop, and accomplished much for his diocese and for the Church of England in the time of the tyranny of Norman kings. Fire again raged in 1186, which prepared the way for the alterations and improvements of the transitional builders who were developing the beauties of English Gothic. Bishop Seffrid, the second who bore that name, was the director of the work, which shows the purist style of the twelfth century. The triforium, the upper storey of the western towers (the present north-west tower is a modern imitation of the south-west tower) and the lower storey of the central tower are mainly his work. This bishop had the doubtful honour of crowning King John. Bishop Neville (1224-1244) designed and began to build the spire, and the Lady Chapel was partly constructed by Bishop Gilbert de St. Leofard (1288-1304). John de Langton, bishop (1305-1336), who was a skilful architect, finished the retro-choir and the south wing of the transept. By this time the Cathedral had assumed much of its present form. The apsidal chapels in the choir had been made to assume the more English form of square-ended buildings. The thirteenth-century bishops who accomplished all this excellent work were remarkable men. Bishop Simon Fitz Robert (1204-1207) obtained many benefactions for his see, and grants of stone from the Isle of Purbeck for the beautifying of his church. Richard Poore, the noble builder of Salisbury, was here for two years, and Bishop Neville worked hard during his episcopacy for his church, and built a palace for his see in London which stood on the site of Lincoln's Inn. St. Richard de Wych was an excellent bishop (1245-1253), who reformed his diocese with some severity, and ordered his flock to contribute liberally to the building fund of his Cathedral. "St. Richard's Pence" afterwards became a fruitful source of income. Bishop[98] Gilbert de St. Leofard followed in his steps, and, as we have said, built the main parts of the Lady Chapel, which is of Decorated style. The work of the fourteenth century was rather that of adornment than of construction. We find Bishop Langton (1305-1337), the suppressor of the Templars, inserting a beautiful window in the south transept, and building the chapter-house. A little later a noble reredos was erected behind the altar, the choir stalls added, and some changes made in the window tracery. The founder of Merton College Library, William Read, was bishop here in 1369-1385. Lollardism was rampant in the diocese, and Bishop Robert Rede (1397-1415) took strong steps to uproot the obnoxious teaching. The beginning of the fifteenth century saw arising the detached bell tower, called Raymond's Tower, the only existing detached belfry in the kingdom. Some of the Bishops of Chichester at this time fared ill. Bishop Moleyns (1446-1450), who helped Henry VI. to marry Margaret of Anjou, was murdered by some sailors at Portsmouth, and his successor, Peacocke (1450-1459), was tried on account of his supposed heretical opinions and deprived. Bishop Storey (1478-1503) was the builder of the famous Market Cross and the Grammar School. Bishop Sherbourne (1508-1536) who favoured not the "new Religion," employed the Bernardi, an Italian family who had previously settled in Flanders, to decorate his church, and we shall see some of their work in the Cathedral. Then came the trouble of the Reformation period, when altars were destroyed, shrines pillaged of their gold and ornaments, and the whole church ransacked of its treasures. Further spoliation and destruction were wrought by the Parliamentary soldiers under Waller, who "plundered the Cathedral, seized upon the vestments and ornaments of the church, together with the consecrated plate serving for the altar; they left not so much as a cushion for the pulpit, nor a chalice for the Blessed Sacraments; the common soldiers broke down the organs, and dashing the pipes with their poleaxes, scoffingly said, 'Hark, how the organs go!' ... On the Tuesday following, after the sermon, possessed and transported by a Bacchanalian fury, they ran up and down the church with their swords drawn, defacing the monuments of the dead, hacking and hewing the seats and stalls, and scraping the painted walls. Sir William Waller and the rest of the commanders standing by as spectators and approvers of their barbarous impieties." Bishop King was prelate at this time; his palace and goods were destroyed, and he was treated with cruel indignity. In the seventeenth-century the north-west tower fell, and the central tower was so insecure that the upper part of the spire was removed and rebuilt[101] by Wren. Since then several attempts at reparation have been made. At length in 1860 a terrible disaster befell, and the central tower and spire collapsed. It was rebuilt by Sir G. Scott with much care, and may be said to be an exact copy of the old, and in addition to other improvements the north-west tower has been rebuilt.

When the Pagan Saxons led by Ælla arrived, they destroyed the area. "Ælle and Cissa," the chronicle states, "attacked Anderida[7] and killed everyone there, leaving not a single Briton behind," and they swept across the coast, establishing the kingdom of the South Saxons, or Sussex. Cissa captured the old Roman city and made it the capital of his kingdom, naming it Cissan-caestre, or the fortress of Cissa, which is now known as Chichester. This happened toward the end of the fifth century. Surrounded by the vast forest of Anderida, these South Saxons maintained their Pagan beliefs long after Augustine’s arrival and the conversion of other areas. St. Wilfrid was shipwrecked on their shore, but they violently attacked the crew, who narrowly escaped due to the saint’s prayers. Thirty years later, he returned and converted them to Christianity. A famine raged due to a prolonged drought. He taught them how to fish in the sea, earning their trust, and when their leaders came to be baptized, it rained, and the famine ended. The Island of Selsey or Seal's Island was given to the saint, where he established a monastery and became the [97]first bishop of the South Saxons. Until the conquest, Selsey was the seat of the bishopric. The last Saxon bishop, Ethelric, though learned and very old, was treated harshly by William I. He was stripped of his bishopric and imprisoned. Then came Stigand, who moved the bishop's throne to Chichester and made the minster Church of St. Peter's Monastery his Cathedral. The sea now washes over the site of the Early Saxon church. Ralph de Luffa, the third Norman bishop (1091-1123), began constructing the current Cathedral. Fire devastated the newly built church in 1114, just four years after it was completed, but Ralph worked to restore it. It was consecrated in 1148, twenty-five years after his death. He was a noble bishop and achieved a lot for his diocese and the Church of England during the oppressive rule of the Norman kings. Another fire broke out in 1186, paving the way for alterations and improvements by the transitional builders who enhanced the beauty of English Gothic architecture. Bishop Seffrid, the second to carry that name, oversaw the work, which exemplifies the pure style of the twelfth century. The triforium, the upper level of the western towers (the current north-west tower is a modern copy of the south-west tower), and the lower level of the central tower are mainly his contributions. This bishop had the mixed honor of crowning King John. Bishop Neville (1224-1244) designed and started building the spire, while Bishop Gilbert de St. Leofard (1288-1304) partially constructed the Lady Chapel. Bishop John de Langton (1305-1336), a skilled architect, completed the retro-choir and the south wing of the transept. By this time, the Cathedral had taken on much of its current shape. The apsidal chapels in the choir were redesigned to a more English style of square-ended buildings. The thirteenth-century bishops who completed this impressive work were notable figures. Bishop Simon Fitz Robert (1204-1207) secured many donations for his see and grants of stone from the Isle of Purbeck for beautifying his church. Richard Poore, the admirable builder of Salisbury, was here for two years, and Bishop Neville tirelessly worked for his church, building a palace for his see in London on the site of Lincoln's Inn. St. Richard de Wych was an excellent bishop (1245-1253) who reformed his diocese sternly and ordered his followers to contribute generously to the building fund of his Cathedral. "St. Richard's Pence" later became a significant source of income. Bishop [98]Gilbert de St. Leofard followed his example and, as mentioned, built the main parts of the Lady Chapel, which is in the Decorated style. The work of the fourteenth century focused more on adornment than construction. We see Bishop Langton (1305-1337), the suppressor of the Templars, adding a beautiful window in the south transept and constructing the chapter-house. Soon after, a fine reredos was erected behind the altar, choir stalls were added, and some adjustments made to the window tracery. William Read, founder of Merton College Library, served as bishop here from 1369-1385. Lollardism was rampant in the diocese, and Bishop Robert Rede (1397-1415) took strong measures to eliminate the unwanted teachings. At the start of the fifteenth century, they constructed the separate bell tower, known as Raymond's Tower, the only existing detached belfry in the kingdom. Some of the Bishops of Chichester fared poorly during this time. Bishop Moleyns (1446-1450), who helped Henry VI marry Margaret of Anjou, was murdered by sailors in Portsmouth, and his successor, Peacocke (1450-1459), was tried for supposed heretical opinions and deposed. Bishop Storey (1478-1503) was responsible for the construction of the famous Market Cross and Grammar School. Bishop Sherbourne (1508-1536), who opposed the "new Religion," hired the Bernardi, an Italian family that had previously settled in Flanders, to decorate his church, and we can see some of their work in the Cathedral. Then came the turmoil of the Reformation period, when altars were destroyed, shrines robbed of their gold and ornaments, and the church itself was stripped of its treasures. Further plunder and destruction occurred under the Parliamentary soldiers led by Waller, who "looted the Cathedral, seized the vestments and ornaments of the church, along with the consecrated plate used for the altar; they left no cushion for the pulpit, nor chalice for the Blessed Sacraments; the common soldiers smashed the organs, and knocking the pipes with their poleaxes, mockingly said, 'Hark, how the organs go!' ... On the Tuesday after the sermon, fueled by a drunken frenzy, they ran through the church with swords drawn, defacing monuments, hacking at the seats and stalls, and scraping the painted walls. Sir William Waller and the rest of the commanders were mere bystanders and supporters of their barbarous actions." Bishop King was the prelate during this time; his palace and possessions were destroyed, and he was treated with extreme disrespect. In the seventeenth century, the north-west tower collapsed, and the central tower became so unstable that the upper part of the spire was taken down and rebuilt [101]by Wren. Since then, there have been several attempts to make repairs. Finally, in 1860, a terrible disaster struck, and the central tower and spire collapsed. It was rebuilt by Sir G. Scott with great care and can be considered an exact replica of the old structure, along with other improvements including the reconstruction of the north-west tower.

Chichester

Chichester

The Exterior

The Outside

The best views may be obtained from the city wall to the north, also from West Street and East Street, and a fine distant prospect is observed from the Goodwood Downs. We will begin our inspection as usual with the West Front, which consists of a gable with windows and porch, flanked by two towers. The upper part of the north-west tower is a recent construction, made in imitation of the south-west tower, and built on the ruins of the former tower. The south tower is of Norman workmanship, the upper part being Early English, and also the plain and heavy buttresses at the south-west corner. The basement and next storey are part of the original work of Bishop Ralph, and the rest of Bishop Seffrid II. The west porch is plain and deep, with double buttresses at the corners. The doorway consists of a wide arch, under which are two smaller ones divided by a single clustered column. These have been restored in imitation of the ancient design. The interior of the porch is very beautiful Early English work, the arcading of quatrefoils being very effective. The monuments have evidently been placed there in later times. Above the porch are three Early English windows, and above these a large modern window, and in the gable are two small Early English windows. The cross above is modern.

The best views can be seen from the city wall to the north, as well as from West Street and East Street, and a nice distant view is found from the Goodwood Downs. We'll start our tour as usual with the West Front, which features a gable with windows and a porch, flanked by two towers. The upper part of the north-west tower is a recent addition, designed to look like the south-west tower, and built on the ruins of the original tower. The south tower showcases Norman craftsmanship, with its upper portion being Early English, along with the plain, heavy buttresses at the south-west corner. The basement and the next floor are part of the original work by Bishop Ralph, while the rest was done by Bishop Seffrid II. The west porch is simple and deep, with double buttresses at the corners. The doorway has a wide arch, with two smaller arches beneath it, divided by a single clustered column. These have been restored to mimic the ancient design. The interior of the porch features beautiful Early English work, with the arcading of quatrefoils being quite striking. The monuments are clearly from later periods. Above the porch are three Early English windows, and above these is a large modern window, while the gable has two small Early English windows. The cross above is modern.

The Bell Tower, the only instance in England of a detached belfry, though not unusual abroad, is a massive and plain building, 120 feet high. The upper storey is octagonal and low, and resembles the great west tower of Ely, but is much inferior. Both these towers were built about the same time, at the beginning of the fifteenth century, and are in the Perpendicular style. The north side of the nave exhibits in the clerestory the round-headed windows of the original Norman church. The parapet is fourteenth-century work. Flying buttresses connect the clerestory with the outer wall. The windows of the chapels are Early Decorated, and were erected during the reign of Edward III. One of them is modern. The North[102] Porch is Early English work, and the dog-tooth ornament is observable in the arches. It has a parvise. The North Transept on the west side has some of the original Norman wall and Norman windows, and on the north end there are thirteenth-century buttresses with octagonal turrets, a large window and a rose window over it. On the east side there are some Early English windows. Proceeding eastward we pass the Chapels of St. Edmund and St. John Baptist, of Early English design, with some Perpendicular windows, the same style prevailing in the presbytery. Flying buttresses support the main walls. The old Norman church ended in an apse, and traces of the curve can still be observed, and other remains of twelfth-century work can be seen. Two of the windows are Perpendicular in style, but have been much restored. The low Lady Chapel projects at the east end. Two western bays are twelfth-century work, the two eastern bays being added by Bishop Gilbert de St. Leofard at the end of the thirteenth century, and are Late Decorated. Much restoration has been found necessary here. Early English work prevails in the chapel on the south side. The south wall of the choir aisle has several points of interest and several styles of architecture are shown here. A consecration cross can be seen in one of the bays. The south transept is very similar to the north, and on the west of it is the sacristy. Norman walls are on the north and east, and Early English on south and west. On the south side of the Cathedral are the Cloisters, which are curiously shaped. The Paradise is not square, the east walk being longer than the west. These cloisters are fifteenth-century work, having Perpendicular windows and flat roof. The south side of the nave is interesting, and resembles somewhat the north side. The arches of the windows in the aisles are Early Decorated, the tracery is modern. In the fourteenth century the buttresses were strengthened and enlarged, the parapet added. The Norman wall and windows remain in the clerestory, though later tracery has been inserted in two of these. The south porch leading to the west cloister has been much restored. The doorway in the south-west tower is Norman, and is adorned with chevron moulding, and beautifully designed. The window over it is also of the same date.

The Bell Tower, the only standalone belfry in England, though more common elsewhere, is a large and simple building standing 120 feet tall. The upper level is low and octagonal, resembling the grand west tower of Ely, but it’s much less impressive. Both towers were constructed around the early fifteenth century and are in the Perpendicular style. The north side of the nave features the rounded windows of the original Norman church in the clerestory. The parapet dates back to the fourteenth century. Flying buttresses connect the clerestory to the outer wall. The chapel windows are Early Decorated and were built during Edward III's reign. One of them is modern. The North[102] Porch showcases Early English architecture, with dog-tooth patterns noticeable in the arches. It includes a parvise. The North Transept on the west side has sections of the original Norman wall and windows, and at the north end, there are thirteenth-century buttresses with octagonal turrets, a large window, and a rose window above it. The east side features some Early English windows. Continuing east, we encounter the Chapels of St. Edmund and St. John Baptist, designed in Early English style, with some Perpendicular windows, consistent with the style in the presbytery. Flying buttresses support the main walls. The old Norman church ended in an apse, and traces of the curve are still visible, along with other remains from the twelfth century. Two of the windows are in the Perpendicular style but have undergone significant restoration. The low Lady Chapel extends out at the east end. The two western bays are from the twelfth century, while Bishop Gilbert de St. Leofard added the two eastern bays at the end of the thirteenth century, which are Late Decorated. Much restoration has been necessary here. Early English design prevails in the chapel on the south side. The south wall of the choir aisle contains several points of interest and showcases various architectural styles. A consecration cross can be found in one of the bays. The south transept closely resembles the north one, with the sacristy located to the west. The walls are Norman on the north and east, and Early English on the south and west. On the south side of the Cathedral are the Cloisters, which have a unique shape. The Paradise is not square; the east walk is longer than the west. These cloisters are from the fifteenth century, featuring Perpendicular windows and a flat roof. The south side of the nave is intriguing and somewhat mirrors the north side. The arches of the aisle windows are Early Decorated, but the tracery is modern. In the fourteenth century, the buttresses were reinforced and expanded, with a parapet added. The Norman wall and windows remain in the clerestory, although later tracery has been integrated into two of them. The south porch leading to the west cloister has undergone extensive restoration. The doorway in the southwestern tower is Norman, adorned with chevron molding and beautifully designed. The window above it is also from the same period.

The Interior

The Interior

The interior is more imposing than the exterior. The best view is perhaps obtained from north-east corner of the nave. The[103] width of the nave is the first peculiarity which we notice. It has double aisles on each side of the nave, a peculiarity shared only with Manchester, and some parish churches, such as Abingdon, Taunton and Coventry. There are some grand effects of light and shade, and the nave is well proportioned, and has a quiet dignity which is all its own. There are eight circular arches, supported by seven flat piers, isolated and flanked by half columns of cylindrical character with plain capitals and cable moulding. Purbeck marble is extensively used in the string-courses and capitals of the vaulting shafts. The triforium preserves its Norman character. Here are the Norman circular arches, containing two smaller arches resting on single shafts. The surface of the stone in the head is hatched as at Rochester. There is a striking analogy between Chichester and Peterborough, both in the nave and choir. Both were destroyed by fire, and both rebuilt about the same time. The main arcade and triforium are the work of Bishop Ralph de Luffa (1091-1124).

The inside is more impressive than the outside. The best view might be from the northeast corner of the nave. The[103] width of the nave is the first thing we notice. It has double aisles on each side of the nave, a feature shared only with Manchester and some parish churches like Abingdon, Taunton, and Coventry. There are some great effects of light and shadow, and the nave is well-proportioned, exuding a quiet dignity all its own. There are eight circular arches supported by seven flat piers, which are isolated and flanked by half columns that are cylindrical in shape, with plain capitals and cable molding. Purbeck marble is used extensively in the string courses and capitals of the vaulting shafts. The triforium maintains its Norman character, featuring Norman circular arches that contain two smaller arches resting on single shafts. The surface of the stone in the arch head is hatched, similar to that at Rochester. There’s a notable similarity between Chichester and Peterborough, both in the nave and choir. Both were destroyed by fire and rebuilt around the same time. The main arcade and triforium were constructed by Bishop Ralph de Luffa (1091-1124).

Bishop Seffrid II. (1180-1204) rebuilt the clerestory, and made it loftier than the triforium. The style is Early English. It will be noticed that the middle arch of the windows is round and higher than the side arches, which are pointed. The windows are separated by small shafts of Petworth marble, and the capitals are carved with leaves of palm trees. The Cathedral is dedicated to the Holy Trinity, and the builders seem to have wished to express symbolically the threefold nature of the Deity by the triplicity of the work. Triple clustered shafts appear everywhere. The vaulting is of stone, and is a little later than Seffrid's work. Alarmed by the fires, the architect determined to build a stone and chalk roof instead of wood. In the sixteenth century this vaulting was painted in gaudy colours by Bishop Sherbourne.

Bishop Seffrid II (1180-1204) rebuilt the clerestory, making it taller than the triforium. The style is Early English. You'll notice that the middle arch of the windows is round and higher than the side arches, which are pointed. The windows are separated by small columns made from Petworth marble, and the capitals are carved with palm tree leaves. The Cathedral is dedicated to the Holy Trinity, and the builders seemed to want to symbolically represent the threefold nature of the Deity through the triplicity of the design. Triple clustered columns are everywhere. The vaulting is made of stone and was completed a little later than Seffrid's work. Concerned about fires, the architect decided to use a stone and chalk roof instead of wood. In the sixteenth century, this vaulting was painted in bright colors by Bishop Sherbourne.

Two storeys of the south-west tower are original Norman work, with rude cushion capitals, and formed part of the first church finished by Bishop Ralph. This is used as a baptistry, and has a modern font, an imitation of that at Shoreham.

Two stories of the south-west tower are original Norman work, with rough cushion capitals, and were part of the first church completed by Bishop Ralph. This area is used as a baptistry and features a modern font that resembles the one at Shoreham.

In the South Aisle are the Chapels of St. George and St. Clement. The latter has been restored in memory of the last good bishop, Durnford. The figures placed in the old wall arcade are SS. Anselm, Clement and Alphege. The old piscina and aumbrey remain, as also in the other chapel. The chapels were added in the second half of the thirteenth century. The North Aisle resembles the south. Here were the Chapels of St. Anne, St.[104] Theobald or the Four Virgins, and SS. Thomas and Edmund. The screen, pulpit and lectern are all modern, and also the glass. The monuments here are:—in the south aisle, Bishop Durnford (1895), and Captain Cromwell (Flaxman); and in the north aisle, Poet Collins, Richard Fitz-Alan, Earl of Arundel and his wife [the earl was a supporter of the Duke of Gloucester, uncle of Richard II., and was beheaded in 1397], an unknown lady, supposed to be Countess of Arundel (1270). This tomb is of Decorated design, and is beautifully executed.

In the South Aisle, you'll find the Chapels of St. George and St. Clement. The latter has been renovated in memory of the last good bishop, Durnford. The figures in the old wall arcade represent SS. Anselm, Clement, and Alphege. The original piscina and aumbrey are still there, just like in the other chapel. These chapels were added in the second half of the thirteenth century. The North Aisle is similar to the south. It used to have the Chapels of St. Anne, St. Theobald or the Four Virgins, and SS. Thomas and Edmund. The screen, pulpit, and lectern are all modern, as is the glass. The monuments here include: in the south aisle, Bishop Durnford (1895) and Captain Cromwell (Flaxman); and in the north aisle, Poet Collins, Richard Fitz-Alan, Earl of Arundel and his wife [the earl supported the Duke of Gloucester, Richard II.'s uncle, and was beheaded in 1397], an unknown lady, believed to be the Countess of Arundel (1270). This tomb features a Decorated design and is beautifully crafted.

The
Presbytery.

The
Church governing body.

The North Transept was once the Parish Church of St. Peter the Great. The main walls are part of Bishop Ralph's Norman church, and there are Norman windows on the west and arches of the same style on the east. These open into the old Chapel of St. John Baptist and St. Edmund, which has now been converted into the Library. The north and east walls are Early English, the vaulting is very beautiful, the ribs being ornamented with zigzag. The library has some early MSS., but is not particularly rich in its treasures. Entering the north choir aisle we see the monuments of Bishop Storey (1503), the builder of the Market Cross; Bishop King (1670), who suffered much from the Parliamentary soldiers; Carleton (1685); Grove (1691); Otter (1840), and an early slab of thirteenth century representing a heart burial. Formerly an inscription could be deciphered which told in Norman French: "Here lies the heart of Maud." At the end of this aisle is the Chapel of St. Katherine. This eastern end of the aisle is all Early English work. Here are preserved the paintings of the Bishops of Chichester and Kings of England made by Bernardi, which were much injured by the soldiers and restored by an indifferent artist. The Retro-Choir is early thirteenth century, and has a fine vault which in style resembles that of some French churches. The piers are curious, and the shafts are further detached from the main piers than in any other known example. The capitals are most beautifully carved. The triforium is ornamented with rich tracery and carving and clustered shafts of Purbeck. It somewhat resembles Ely, the work of Bishop Hotham in 1235. The clerestory is later. Here stood the magnificent shrine of St. Richard, the glory of Chichester, and the resort of pilgrims. This St. Richard de la Wyche, who was the friend of Becket, died in 1245. He was remarkable for his zeal and charity. On his death his body was found wrapped in a shirt of horse hair and bound with rings of iron. Miracles being reported to have taken place at his tomb, he was canonised.[105] The Lady Chapel in Norman times extended two bays eastward, and was extended by two bays by Bishop Gilbert de St. Leofard at the end of the thirteenth century (1288-1305). It was formerly used as the library, and Willis speaks of it as "having nothing to recommend it except a good collection of books." The east window has five lights, and all the windows have been restored. The vaulting is good and the fittings are modern. In the vault is a beautifully-painted design by Bernardi (1519). The South Choir Aisle resembles the north. The Chapel of St. Mary Magdalene is at the east end, which has been restored. St. Richard's head was preserved here as a precious relic. Some modern paintings here represent scenes from the life of St. Richard and our Lord. Passing by the door into the cloisters we see on the north the tombs of Dean Hook (1875), and Bishop Daye (1552); and on the south, Bishop Sherbourne (1536). Here are two carved panels of very early character, which legendary lore tells were brought from Selsey when the bishop's stool was transferred to Chichester. It is quite possible that they are Saxon, and the style of art has a Byzantine appearance. The subjects are the Raising of Lazarus and Our Lord at Bethany with Mary and Martha. A door on the left leads to the vicar's vestry, and then we come to the South Transept, which resembles the north. The walls on both west and east are Norman. On the south is a very beautiful window inserted by Bishop Langton (1305-1337), one of the finest Early[106] Decorated windows in England. The glass is modern and hideous. The paintings here on the back of the choir stalls are interesting. They are the work of Theodore Bernardi, an Italian artist, who settled in Flanders and afterwards came to England, and with his son lived at Chichester. Bishop Sherbourne employed him to decorate his Cathedral. The paintings here represent the foundation of the see at Selsey by Caedwalla, and the foundation of four prebends by the bishop and Henry VIII. The soldiers much injured the paintings, which were restored by Bishop Mawson, who employed an inferior artist and thus destroyed much of their merit. The saintly Bishop Richard has a monument here. On the east is the Chapel of St. Pantaleon, a Nicomedian martyr, which retains its piscina. It is now used as the canons' vestry. On the west is the entrance to the Sacristy, a large room, now used as a music room, with a vaulted ceiling. Above this is the old consistory court where heretics were tried. Lollards were often examined and condemned here, and behind the seats there is a sliding door leading to what is commonly known as the Lollards' prison. It was probably either a treasury or evidence chamber. Langton's tomb, the builder of the beautiful window, is below that fine structure. He died in 1336.

The North Transept was once the Parish Church of St. Peter the Great. The main walls are part of Bishop Ralph's Norman church, and there are Norman windows on the west and arches of the same style on the east. These lead into the old Chapel of St. John the Baptist and St. Edmund, which has been turned into the Library. The north and east walls are Early English, the vaulting is very beautiful, with the ribs decorated in a zigzag pattern. The library has some early manuscripts but isn't particularly rich in treasures. As we enter the north choir aisle, we see the monuments of Bishop Storey (1503), the builder of the Market Cross; Bishop King (1670), who suffered greatly at the hands of the Parliamentary soldiers; Carleton (1685); Grove (1691); Otter (1840); and an early thirteenth-century slab representing a heart burial. Once, an inscription could be read that said in Norman French: "Here lies the heart of Maud." At the end of this aisle is the Chapel of St. Katherine. This eastern end of the aisle is all Early English work. Here are preserved the paintings of the Bishops of Chichester and Kings of England made by Bernardi, which were heavily damaged by soldiers and restored by a not-so-great artist. The Retro-Choir dates from the early thirteenth century, featuring a stunning vault that resembles some French churches. The piers are unique, and the shafts are set further apart from the main piers than in any other known example. The capitals are exquisitely carved. The triforium is adorned with rich tracery and carving as well as clustered shafts of Purbeck stone. It somewhat resembles Ely, the work of Bishop Hotham in 1235. The clerestory is later. Here stood the magnificent shrine of St. Richard, the pride of Chichester and a destination for pilgrims. This St. Richard de la Wyche, who was a friend of Becket, died in 1245. He was notable for his zeal and charity. Upon his death, his body was found wrapped in a horsehair shirt and bound with iron rings. Miracles were reported at his tomb, leading to his canonization.[105] The Lady Chapel in Norman times extended two bays eastward and was expanded by two bays by Bishop Gilbert de St. Leofard at the end of the thirteenth century (1288-1305). It was once used as a library, and Willis described it as "having nothing to recommend it except a good collection of books." The east window has five lights, and all the windows have been restored. The vaulting is good, and the fittings are modern. In the vault is a beautifully-painted design by Bernardi (1519). The South Choir Aisle is similar to the north. At the east end is the restored Chapel of St. Mary Magdalene, where St. Richard's head was kept as a precious relic. Some modern paintings here depict scenes from the lives of St. Richard and Jesus. As we pass by the door into the cloisters, we see on the north the tombs of Dean Hook (1875) and Bishop Daye (1552); and on the south, Bishop Sherbourne (1536). Here are two carved panels of very early character, which legend claims were brought from Selsey when the bishop's seat was moved to Chichester. They could possibly be Saxon, and the style has a Byzantine appearance. The subjects are the Raising of Lazarus and Our Lord at Bethany with Mary and Martha. A door on the left leads to the vicar's vestry, and then we move on to the South Transept, which resembles the north. The walls on the west and east are Norman. On the south, there's a beautiful window added by Bishop Langton (1305-1337), one of the finest examples of Early Decorated windows in England. The glass is modern and unattractive. The paintings on the backs of the choir stalls here are interesting. They were done by Theodore Bernardi, an Italian artist who settled in Flanders and later moved to England, living in Chichester with his son. Bishop Sherbourne hired him to decorate his Cathedral. The paintings depict the founding of the see at Selsey by Caedwalla and the establishment of four prebends by the bishop and Henry VIII. The paintings suffered significant damage from soldiers and were restored by Bishop Mawson, who employed a less skilled artist, resulting in much of their original quality being lost. The saintly Bishop Richard has a monument here. The east side features the Chapel of St. Pantaleon, a Nicomedian martyr, which still has its piscina. It is now used as the canons' vestry. On the west is the entrance to the Sacristy, a large room currently used as a music room, with a vaulted ceiling. Above this is the old consistory court where heretics were tried. Lollards were often examined and condemned here, and behind the seats, there is a sliding door that leads to what is commonly known as the Lollards' prison. It was likely used as either a treasury or evidence chamber. Langton's tomb, the builder of the lovely window, is situated beneath that fine structure. He died in 1336.

The Choir is long and narrow and has been much restored. The design is Early English, though much of the old Norman piers was retained. The carving in the triforium is very beautiful. The screen is modern. The stalls were erected in Bishop Sherbourne's time, and are of carved oak and inferior to many. The dean's and precentor's stalls are new. The old throne was much defaced by the soldiers under Waller. A new one was given by Bishop Mawson (1740-1754) and this has given place to a modern one. The reredos and altar are modern.

The Choir is long and narrow and has been extensively restored. The design is Early English, although a lot of the original Norman piers were kept. The carving in the triforium is very beautiful. The screen is modern. The stalls were built during Bishop Sherbourne's time, made of carved oak and not as impressive as many others. The dean's and precentor's stalls are new. The old throne was heavily damaged by soldiers under Waller. A new one was provided by Bishop Mawson (1740-1754), which has since been replaced by a modern one. The reredos and altar are also modern.

Dimensions

Dimensions

Total length393 ft.
Length of nave155 ft.
Width of nave90 ft.
Height of nave61 ft.
Length of choir115 ft.
Length of transept131 ft.
Height of spire277 ft.
Area28,000 sq. ft.

Building Dates[107]

Building Dates

  • Norman (Twelfth Century)—South-west tower and part of west front, piers of nave and triforium, part of transepts, parts of walls of choir aisles and piers of choir, and parts of Lady Chapel. The upper part of south-west tower late twelfth century.
  • Early English (Thirteenth Century)—Remodelling of the nave and choir, chapels, porches, and Lady Chapel begun.
  • Decorated (Fourteenth Century)—Retro-choir and south window in south transept. Lady Chapel finished.
  • Perpendicular (Fifteenth Century)—Bell tower, choir walls, paintings, cloisters.
  • Modern—Tower and spire and north-west tower.

SALISBURY CATHEDRAL

Salisbury is one of the finest examples of Early English architecture in England. It was built for the most part in one style and at one period, and therefore does not present to us that varied conglomeration of the art of different ages which we see in most of our ecclesiastical edifices. The story of its building is full of interest, and we must look for the original home of the Salisbury diocese on the wind-swept fortified heights of Old Sarum, where Bishop Herman fixed his episcopal seat in Early Norman times. The early history of the sees of Southern England is somewhat complicated. When the Story of the Cross was first proclaimed here, and the savage Saxons became Christianised, the whole of Wessex and Sussex were comprised in the see of Dorchester, a small village in Oxfordshire. This huge bishopric was then divided into the two sees of Winchester and Sherborne. Then Selsey (afterwards Chichester) was taken out of Winchester, which diocese was again divided, and Ramsbury formed. Out of the diocese of Sherborne, Wells and Crediton were constituted, and then Bishop Herman in 1058 united the sees of Ramsbury and Sherborne, and formed the diocese of Salisbury, fixing his seat at Old Sarum, the Saxon town of Searobyrig. On this hill fortress seven prelates ruled, amongst whom were the saintly Osmund (1078-1099), who completed the first Cathedral, of which no stone remains, and compiled the famous "Use of Sarum," the model of all service-books in the South of England; Bishop Roger (1102-1107), a most powerful prelate and castle-builder; Jocelyn de Bohun (1142-1184), the opponent of Becket; Hubert Walter (1188-1193), a crusading bishop, the companion of Richard Cœur de Lion; Herbert le Poer or Poore (1194-1216), and then his brother or kinsman, Richard Poore (1217-1228), the founder of the present Cathedral. Various reasons are assigned for the transference of the see. Old Sarum lacked water. It was a lofty, barren height, swept by every wind of heaven, and "when the wind did blow they could not hear the priest say Mass." But the real reason was the quarrel between the clergy and the soldiers[109] who guarded the castle of the king. On one occasion, when during Rogationtide the ecclesiastics went in solemn procession to the Church of St. Martin, on their return they found the gates closed against them, and had to remain without shelter during a long winter's night. Similar insults frequently being offered them, the bishop and his clergy determined to seek a new home. Whither should they go? Legends tell us of the arrow shot at random from the heights of Old Sarum, of the bishop's mysterious dream, wherein the Virgin appeared and told him to seek for the spot Mœrfield, of his talking with the Abbess of Wilton, and her reply that he had plenty of land of his own without seeking to spoil her. At any rate the bishop gave the land for his new Cathedral out of his own domain, and he began to build the stately edifice which we now see. The first stones were laid on the feast of St. Vitalis, April 28, 1220; one Elias of Dereham was the master-mason, and the work progressed rapidly until Bishop Poore was translated to Durham in 1228. There his "Chapel of the Nine Altars" attests to the love of building which he acquired at Salisbury, and the similarity of the styles of architecture. His successors continued to build with much zeal, and in the time of Bishop Giles de Bridport (1257-1262) the church was consecrated by Archbishop Boniface, of Savoy, in the presence of Henry III. and his court. The church was now complete. Only forty-six years were spent in its building—a marvellous achievement. The monastic buildings were begun by Bishop Walter Delawyle (1262-1270). As yet the tower was not so high as it is now, and there was no spire; but the fourteenth century had scarcely begun before the two upper storeys were added, and the lofty spire, which forms such a glorious crown of this beautiful structure. It was the work of the mason, Richard of Farleigh, who was at the same time engaged on work at Bath and Reading. In the time of Bishop Wyvil (1329-1375) Edward III. granted permission to fortify the close, and to use the stones from the Cathedral of Old Sarum for this purpose. Hence in the walls which surround the close we see Norman carvings which once adorned the ancient edifice. Of this Bishop Fuller says that "it is hard to say whether he was more dunce than dwarf, more unlearned or unhandsome, insomuch that Walsingham tells us that had the Pope ever seen him (as he no doubt felt him in his large fees) he would never have conferred the place upon him." His curious brass tells of his recovering for his see the Castle of Sherborne and[110] the Chase of Bere, of which the bishopric had been wrongfully despoiled. Prominent among its bishops was Robert Hallam (1408-1417), who was present at the Council of Constance, which saw the burning of Huss and Jerome of Prague, and strove hard to avert their fate. Bishop Ayscough (1438-1450) was murdered by the rebel followers of Jack Cade at Edingdon. Bishop Beauchamp (1450-1481) built the great hall of the palace, and his chantry (destroyed by Wyatt). Here one of the unhappy Woodvilles, brother of Edward IV.'s queen, was bishop (1482-1485), and he had the unhappiness of seeing his brother-in-law, the Duke of Buckingham, beheaded at Salisbury, just before the battle of Bosworth (cf. Shakespeare's Richard III.). Cardinal Campeggio was bishop just before the Reformation, and after Wolsey's disgrace was deprived of his see. There are no records to show what damage was done during that stormy period, but probably the niches of the west front were deprived of many of their images at this time, the windows broken, and the treasury shorn of its plate and relics. One of the best of the Salisbury bishops was Jewel, the author of the Apology of the Church of England (1560-1571), who built the library over the cloisters. During the Civil War Ludlow's soldiers were quartered here, and garrisoned the belfry, but they seem to have behaved with extraordinary mildness. The Cathedral had powerful protectors, and when some of Waller's men carried off some church goods, the Parliament ordered that these should be restored. Bishop Seth Ward (1667-1688), one of the founders of the Royal Society, did much to repair his Cathedral, and restored the palace, which was ruinous, having been bought by one Van Ling from the Parliament, and partly converted into cottages. Unhappily the arch-destroyer, Wyatt, was turned loose on the building at the end of the eighteenth century, who wrought vast and irreparable destruction, which it is pitiable to see. Since his day there have been many efforts to obliterate his work; vast sums have been spent, and the Cathedral restored to much of its ancient glory and beauty.

SSalisbury is one of the best examples of Early English architecture in England. It was mostly built in a single style during one period, so it doesn’t show that mixed array of art from different times that we see in many of our church buildings. The story of its construction is quite fascinating, and we must trace the origins of the Salisbury diocese back to the windy, fortified heights of Old Sarum, where Bishop Herman established his episcopal seat in Early Norman times. The early history of the sees in Southern England is a bit complicated. When the Story of the Cross was first preached here and the fierce Saxons were converted to Christianity, all of Wessex and Sussex were included in the see of Dorchester, a small village in Oxfordshire. This large bishopric was then split into the two sees of Winchester and Sherborne. Later, Selsey (which became Chichester) was carved out of Winchester, which was then further divided to form Ramsbury. From the diocese of Sherborne, Wells and Crediton were created, and in 1058, Bishop Herman united the sees of Ramsbury and Sherborne to create the diocese of Salisbury, establishing his seat at Old Sarum, the Saxon town of Searobyrig. On this hill fortress, seven bishops ruled, including the saintly Osmund (1078-1099), who completed the first Cathedral, for which no stones remain, and compiled the famous "Use of Sarum," the model for all service books in Southern England; Bishop Roger (1102-1107), a powerful prelate and builder of castles; Jocelyn de Bohun (1142-1184), who opposed Becket; Hubert Walter (1188-1193), a crusading bishop and companion of Richard Cœur de Lion; Herbert le Poer or Poore (1194-1216), and then his brother or relative, Richard Poore (1217-1228), the founder of the current Cathedral. Various reasons have been given for moving the see. Old Sarum lacked water. It was a high, barren area, buffeted by every wind, and "when the wind did blow, they could not hear the priest say Mass." But the real reason was the conflict between the clergy and the soldiers who guarded the king’s castle. Once, during Rogationtide, when the clergy went in solemn procession to the Church of St. Martin, they found the gates closed against them upon their return and had to spend a long winter's night outside without shelter. Enduring such insults repeatedly, the bishop and his clergy decided to find a new home. Where should they go? Legends speak of an arrow shot randomly from Old Sarum, of a mysterious dream the bishop had in which the Virgin instructed him to search for the place called Mœrfield, and of his conversation with the Abbess of Wilton, who told him he already had enough land without trying to claim hers. Regardless, the bishop donated land from his own estate for his new Cathedral and began to construct the impressive building we see today. The first stones were laid on the feast of St. Vitalis, April 28, 1220; a master-mason named Elias of Dereham oversaw the work, which progressed quickly until Bishop Poore was promoted to Durham in 1228. There, his "Chapel of the Nine Altars" stands as a testament to his passion for building developed at Salisbury, and the similarity in architectural styles. His successors continued building enthusiastically, and during Bishop Giles de Bridport's time (1257-1262), the church was consecrated by Archbishop Boniface of Savoy in the presence of Henry III and his court. The church was now finished. It took only forty-six years to build—a remarkable achievement. The monastic buildings were initiated by Bishop Walter Delawyle (1262-1270). At that time, the tower was shorter than it is now and there was no spire; but by the early fourteenth century, the two upper stories were added along with the tall spire that beautifully crowns this structure. This work was done by the mason Richard of Farleigh, who was simultaneously working in Bath and Reading. During Bishop Wyvil's tenure (1329-1375), Edward III allowed the close to be fortified and permitted the use of stones from the Cathedral of Old Sarum for this purpose. As a result, in the walls surrounding the close, we can see Norman carvings that once adorned the ancient building. Of Bishop Fuller, it’s said, "it’s hard to determine if he was more of a dunce or a dwarf, more unlearned or unhandsome, so much so that Walsingham states that if the Pope had ever seen him (as he surely felt him through his hefty fees), he would never have given him the position." His unusual brass commemorates his recovery of the Castle of Sherborne and the Chase of Bere for his see, from which the bishopric had been wrongly stripped. Among its bishops, Robert Hallam (1408-1417) attended the Council of Constance, where Huss and Jerome of Prague were burned, and he fought hard to prevent their execution. Bishop Ayscough (1438-1450) was killed by the rebel followers of Jack Cade at Edingdon. Bishop Beauchamp (1450-1481) built the great hall of the palace and his chantry (destroyed by Wyatt). One of the unfortunate Woodvilles, brother of Edward IV's queen, was bishop from 1482 to 1485, and he had the misfortune of witnessing the beheading of his brother-in-law, the Duke of Buckingham, at Salisbury just before the Battle of Bosworth (cf. Shakespeare's Richard III.). Cardinal Campeggio was the bishop just before the Reformation, and after Wolsey's disgrace, he was removed from his see. There are no records of what damage occurred during that turbulent time, but likely many of the statues were removed from the niches of the west front, the windows were broken, and the treasury lost much of its plate and relics. One of the most notable bishops of Salisbury was Jewel, who wrote the Apology of the Church of England (1560-1571), and built the library over the cloisters. During the Civil War, Ludlow's troops were stationed here and occupied the belfry, but they appeared to act with remarkable restraint. The Cathedral had strong defenders, and when some of Waller's men took church goods, Parliament ordered their return. Bishop Seth Ward (1667-1688), a founder of the Royal Society, did a lot to repair the Cathedral and restored the palace, which had fallen into disrepair after being purchased by one Van Ling from Parliament and partially turned into cottages. Unfortunately, the great destroyer Wyatt was unleashed on the building at the end of the eighteenth century, causing extensive and irreversible damage, which is painful to witness. Since then, there have been many efforts to undo his work; vast amounts of money have been spent, and the Cathedral has been restored to much of its former glory and beauty.

The Exterior

The Outside

Salisbury Cathedral

Salisbury Cathedral

As we enter the Cathedral precincts we are at once struck with the wondrous beauty and charm of this peaceful close, which surrounds, with its circling green sward, the magnificent Gothic pile. All writers have vied with each other in singing the praises of this grand achievement of Gothic art, and nowhere can we gain[113] a better view of the grand proportions of this church, with its noble spire, than from the south-east or north-east corner of the close. Around us are the venerable walls of the fortifications, erected in the time of Edward III., who granted a license for this purpose, and gave leave to the bishop to pull down the walls of Old Sarum, in order to provide the stone. Embedded in the wall we find some stones with Norman carving, which bespeak their former location in the Norman buildings on the old stronghold of Sarum. The grand Spire is the highest in England (400 feet). The tower on which it stands is Early English as far as the first storey; the two higher storeys were added in the early part of the fourteenth century, and are Early Decorated. The whole structure is magnificent. On each side there is an arcade, richly canopied, and having double windows. At each angle there is a turret, with a small crocketed spire, and from a mass of richly-decorated pinnacles the great spire rises. In the capstone still remains a small leaden box containing a fragment of decayed silk or fine linen, doubtless a relic of the Virgin. The spire has sometimes caused anxiety, and has been strengthened by metal bands, but the Early English sub-structure has sustained with wonderful constancy the weight of the two higher storeys and the spire which the somewhat venturesome builders of the time of Edward III. forced them to bear.

As we enter the Cathedral grounds, we're immediately captivated by the stunning beauty and charm of this serene space, surrounded by its lush green lawn, which encompasses the magnificent Gothic structure. All writers have competed to express their admiration for this remarkable example of Gothic art, and there's nowhere else we can get a better view of the church's grand proportions, with its impressive spire, than from the southeast or northeast corners of the grounds. Surrounding us are the ancient walls of the fortifications built during the time of Edward III, who authorized this project and allowed the bishop to tear down the walls of Old Sarum to provide the stone. Embedded in the wall, we see some stones with Norman carvings, indicating their previous place in the Norman structures of the old stronghold of Sarum. The grand Spire is the tallest in England (400 feet). The tower it stands on is Early English up to the first floor; the two upper floors were added in the early fourteenth century and are Early Decorated. The entire structure is magnificent. On each side, there's an arcade, richly canopied and featuring double windows. At each corner, there's a turret topped with a small crocketed spire, and from a cluster of beautifully decorated pinnacles, the great spire rises. In the capstone, a small lead box still holds a fragment of decayed silk or fine linen, likely a relic of the Virgin. The spire has sometimes caused concern and has been reinforced with metal bands, but the Early English substructure has remarkably held up under the weight of the two upper stories and the spire, which the somewhat daring builders of Edward III’s time compelled it to support.

The West Front it is the fashion to abuse. It has been censured for its "parcellings" and "raggedness." Professor Freeman denies the honesty of such fronts, because they extend beyond the walls of the aisles and nave, and are what the professors of "true principles" call "shams." Such criticisms fail to recognise the real object of such screens, which was to set forth a chronicle in stone of the history of the church, and people the niches with figures of the great men and benefactors, the saints and heroes, whose memories are here enshrined. It is no "sham," and we must try to imagine it as it really was, not shorn of half its beauties, bereft of its images, or supplied with the works of modern art which do not always harmonise with their surroundings. Inferior it may be to the fronts of Wells or Lincoln, but it still possesses many merits, and is certainly impressive. It was the last completed portion of the Cathedral, as in the mouldings we see the ball-flower which is the sign-manual of the Decorated period. There is a central portion with a gable and buttresses, and a compartment on each side flanked by small towers with small spires. There are five storeys.[114] In the lowest there is a triple porch, deeply recessed with canopies. The west window is large, and is a triplet divided by slender clustered shafts. There are about 100 niches which have been filled with some of the best examples of modern art by Mr. Redfern. Above all we see our Lord in glory, to whom all the others are offering their praise.

The West Front often gets criticized. It's been labeled as "patchy" and "messy." Professor Freeman argues against the integrity of such fronts since they extend beyond the walls of the aisles and nave, and what some experts call "true principles" refer to them as "fakes." These critiques overlook the true purpose of these screens, which was to create a stone record of the church's history and to fill the niches with figures of great men and benefactors, saints, and heroes, whose legacies are honored here. It's not a "fake," and we should try to envision it as it once was, complete with all its beauty, not stripped of its images or replaced with modern works of art that often clash with their surroundings. While it may not be as impressive as the fronts at Wells or Lincoln, it still has many qualities and is certainly striking. It was the last part of the Cathedral to be finished, evident in the moldings featuring the ball-flower, the hallmark of the Decorated period. There’s a central section with a gable and buttresses, and a compartment on each side flanked by small towers topped with small spires. There are five levels.[114] The lowest level has a triple porch that is deeply recessed with canopies. The west window is large and consists of three segments divided by slender clustered shafts. There are about 100 niches filled with some of the best examples of modern art created by Mr. Redfern. Above all, we see our Lord in glory, to whom everyone else is offering their praise.

Mr. Armfield in his Legend of Christian Art gives us the following detailed account of the various figures in the west front and the meaning of their several emblems:—

Mr. Armfield in his Legend of Christian Art provides us with the following detailed description of the different figures on the west front and the significance of their various symbols:—

The Tier of Angels.—The celestial hierarchy have been divided into three classes, each class containing three grades. The first class consists of Seraphim, Cherubim and Thrones; the second of Dominions, Powers and Authorities; the third of Principalities, Archangels and Angels, Angels being thus the lowest order of celestial creation.

The Tier of Angels.—The heavenly hierarchy is divided into three classes, with each class having three levels. The first class includes Seraphim, Cherubim, and Thrones; the second includes Dominions, Powers, and Authorities; the third includes Principalities, Archangels, and Angels, with Angels being the lowest order of heavenly beings.

The Tier of Old Testament Worthies.—David, with the harp; Moses, carrying the Tables of the Law; Abraham, with the knife in his hand; Noah, with the ark in his left hand; Samuel; Solomon, with the sceptre in his right hand and the Church in his left hand.

The Tier of Old Testament Worthies.—David, playing the harp; Moses, holding the Tablets of the Law; Abraham, with the knife in his hand; Noah, with the ark in his left hand; Samuel; Solomon, with the scepter in his right hand and the Church in his left hand.

The Tier of Apostles.—St. Jude, with the halberd; St. Simon Zelotes, with the saw; St. Andrew, with the cross; St. Thomas, with the builder's square; St. Peter, with the keys in his right hand; St. Paul, with the sword in his right hand; St. Luke and St. John. The figures of St. Peter and St. Paul are restorations of ancient figures which had been mutilated. St. James the Less, with the fuller's club; St. James the Greater, with the pilgrim's staff; St. Bartholomew, with the knife; St. Matthias, with the lance.

The Tier of Apostles.—St. Jude, holding the halberd; St. Simon Zelotes, holding the saw; St. Andrew, with the cross; St. Thomas, with the builder's square; St. Peter, holding the keys in his right hand; St. Paul, wielding the sword in his right hand; St. Luke and St. John. The figures of St. Peter and St. Paul are restorations of ancient figures that had been damaged. St. James the Less, with the fuller's club; St. James the Greater, with the pilgrim's staff; St. Bartholomew, holding the knife; St. Matthias, with the lance.

The Tier of the Doctors, Virgins and Martyrs.—St. Ambrose, Bishop of Milan; St. Jerome, in a Cardinal's hat; St. Gregory the Great, with the tiara of the Papacy; St. Augustine, Bishop of Hippo, in Africa; St. Augustine, of Canterbury; St. Mary the Virgin, St. Barbara, St. Catherine, St. Roch, St. Nicholas, St. George, the patron Saint of England; St. Christopher, St. Sebastian, St. Cosmo, St. Damian, St. Margaret, St. Ursula, St. John the Baptist; St. Stephen, the proto-martyr; and the four virgins—St. Lucy, St. Agatha, St. Agnes and St. Cecilia.

The Tier of the Doctors, Virgins and Martyrs.—St. Ambrose, Bishop of Milan; St. Jerome, wearing a Cardinal's hat; St. Gregory the Great, with the Papal tiara; St. Augustine, Bishop of Hippo in Africa; St. Augustine of Canterbury; St. Mary the Virgin; St. Barbara; St. Catherine; St. Roch; St. Nicholas; St. George, the patron Saint of England; St. Christopher; St. Sebastian; St. Cosmo; St. Damian; St. Margaret; St. Ursula; St. John the Baptist; St. Stephen, the proto-martyr; and the four virgins—St. Lucy, St. Agatha, St. Agnes, and St. Cecilia.

The Tier of Worthies distinctively belonging to the English Church.—Bishop Giles de Bridport, bishop of the diocese at the time of the consecration of the Cathedral; Bishop Richard Poore,[115] founder of the present Cathedral; King Henry III., the monarch who granted the Charter for the building of the Cathedral; Bishop Odo; Bishop Osmund, who built the first Cathedral of Sarum; Bishop Brithwold; St. Alban, holding sword and cross; St. Alphege, Archbishop of Canterbury; St. Edmund, king and martyr; St. Thomas of Canterbury. A mutilated figure on the west side of north turret is probably that of St. Berinus. We notice several consecration crosses on the walls of the church.

The Tier of Worthies unique to the English Church.—Bishop Giles de Bridport, the bishop of the diocese when the Cathedral was consecrated; Bishop Richard Poore,[115] the founder of the current Cathedral; King Henry III., the king who approved the Charter for the construction of the Cathedral; Bishop Odo; Bishop Osmund, who built the first Cathedral of Sarum; Bishop Brithwold; St. Alban, depicted with a sword and cross; St. Alphege, Archbishop of Canterbury; St. Edmund, king and martyr; St. Thomas of Canterbury. A damaged figure on the west side of the north turret is likely that of St. Berinus. We can see several consecration crosses on the walls of the church.

The North Porch is large and massive, and has a parvise in the upper storey. On the inside there is a double arcade with foliated arches, and the pinnacles on each side of the gable are very fine. The Nave presents a perfect example of Early English workmanship. Notice the regularity of the masonry, which is one of its great peculiarities. The stones run in even bands throughout. The aisle windows have two lights; the clerestory has triple lancets, and each pair is flanked by flying buttresses. The fronts of the transepts are graced by beautifully-designed windows and are divided into four storeys. The porch on the north side was removed by Wyatt. The east front of the choir is a fine arrangement of lancets. There is great similarity between the north and south sides of the Cathedral. On the north side of the Lady Chapel formerly stood the Hungerford Chapel, ruthlessly destroyed by Wyatt; the Beauchamp Chapel on the south side shared the same fate. Bishop Beauchamp erected the flying buttresses on the south of the choir in 1450. The gates of the close are:—High Street Gate, built at the same time as the walls; St. Anne's Gate, and Harnham Gate, of which little remains. On the south of the nave is the cloister-court, which we will visit after seeing the interior. Salisbury possessed at one time a separate belfry at the north-west corner of the close. It was entirely destroyed and removed by Wyatt. The Palace is on the south-east. It was commenced by Poore. The hall was built by Bishop Beauchamp in the fifteenth century.

The North Porch is large and impressive, featuring a parvise in the upper level. Inside, there’s a double arcade with decorative arches, and the pinnacles on either side of the gable are quite striking. The Nave showcases a perfect example of Early English craftsmanship. Notice the uniformity of the masonry, which is one of its notable characteristics. The stones are arranged in even bands throughout. The aisle windows contain two lights; the clerestory features triple lancets, with each pair flanked by flying buttresses. The fronts of the transepts are adorned with beautifully designed windows and are divided into four levels. The north-side porch was removed by Wyatt. The east front of the choir has a lovely arrangement of lancets. The north and south sides of the Cathedral are very similar. On the north side of the Lady Chapel used to stand the Hungerford Chapel, which was destroyed by Wyatt; the Beauchamp Chapel on the south side faced the same fate. Bishop Beauchamp added the flying buttresses on the south side of the choir in 1450. The gates to the close are: High Street Gate, built simultaneously with the walls; St. Anne's Gate; and Harnham Gate, of which little remains. To the south of the nave is the cloister courtyard, which we will visit after exploring the interior. Salisbury once had a separate belfry at the north-west corner of the close, but it was completely destroyed and taken down by Wyatt. The Palace is located in the southeast. It was started by Poore, and the hall was constructed by Bishop Beauchamp in the fifteenth century.

The Interior

The Interior

Entering the building by the west door we obtain a grand view of the interior. The beautiful clustered columns of the fine arches, wrought of Purbeck marble, the fine triforium and clerestory, the distant view of the choir, all combine to make a very impressive scene. The oft-quoted lines tell us that[116]

Entering the building through the west door gives us a stunning view of the interior. The gorgeous clustered columns of the elegant arches, made of Purbeck marble, the lovely triforium and clerestory, along with the distant view of the choir, all come together to create a very striking scene. The frequently cited lines tell us that[116]

"There are as many days in a year, There are so many windows in this church that we notice; As many marble columns appear here Just like there are hours in the passing year; As many gates as there are moons in a year. It's a strange story to tell, but it's no stranger than the truth.

Strengthening Arches.
East Transepts.

Strengthening Arches.
East Transepts.

The uniformity of the architecture in the first beauty of Gothic conception, the long rows of sepulchral monuments of warriors and bishops, and the noble proportions of the building, add greatly to the charm of this building; and yet it lacks much of the beauty which once shone here. Little of its stained glass, which once shed wondrous light on all we see, has been saved from the wreck caused by Reformation zeal and the wanton destruction of Wyatt. The triforium with its flat-pointed arches, sub-divided into four smaller ones, ornamented with trefoils and quatrefoils, alternating with cinquefoils and octofoils, greatly resembles that at Westminster. The clerestory windows are triple lancets. The vaulting is plain, the arches rising from clustered shafts with foliated capitals, and resting on corbel-heads. The west wall has a triple-lancet window, and beneath this is an arcade of four arches, each of which contains two sub-arches. In the west window has been collected fragments of old glass saved from the wreck. It is possible to discover the figure of our Lord in Majesty, the Virgin,[117] Zacharias in the Temple, the Adoration of the Magi. There is some Flemish glass also here. The glass in the west windows of the aisles is ancient (1240-1270), and we see here the arms of Bishop Jewell (1562) and John Aprice (1558). The aisles have double-lancet windows. There is a curious stone bench on each side of the nave, upon which the piers stand. This was so placed in order to distribute the great weight of the building resting on these piers, as the foundations were not laid upon any very firm ground, the nature of the soil being formerly marshy, and the situation liable to floods. This ingenious plan has evidently had the desired effect, as the building has stood for nigh 700 years. The nave contains a fine series of monuments which were arranged here by Wyatt in a barbarous fashion. This vandal was guilty of every enormity. Not only did he remove the monuments from their original positions, but he seems to have mixed up the effigies and put them on tombs to which they did not belong. Beginning at west end of south side, leaving the figure of Hibernia, which graces Lord Wyndham's monument (1745), we see the monuments of the following:—

The consistency of the architecture in the initial beauty of Gothic design, the long rows of burial monuments for warriors and bishops, and the impressive proportions of the structure, all contribute significantly to the charm of this building; however, it lacks a lot of the beauty that once filled this space. Very little of its stained glass, which used to cast a wonderful light on everything around, has survived the destruction caused by the zeal of the Reformation and the careless demolition by Wyatt. The triforium, featuring its flat-pointed arches broken into four smaller ones, decorated with trefoils and quatrefoils, alternating with cinquefoils and octofoils, closely resembles that at Westminster. The clerestory windows are triple lancets. The vaulting is simple, with arches rising from clustered shafts topped with leafy capitals, resting on corbel heads. The west wall features a triple-lancet window, and below it is an arcade of four arches, each containing two sub-arches. The west window holds fragments of old glass that were saved from the destruction. You can make out the figure of our Lord in Majesty, the Virgin, Zacharias in the Temple, and the Adoration of the Magi. There are also some Flemish glass pieces present. The glass in the west windows of the aisles is ancient (1240-1270), and you can see the coats of arms of Bishop Jewell (1562) and John Aprice (1558). The aisles have double-lancet windows. There’s a curious stone bench on each side of the nave, supporting the piers. This was positioned to help distribute the great weight of the building resting on these piers, as the foundations were not laid on very solid ground, the soil previously being marshy and the area prone to flooding. This clever design has clearly worked well, as the building has stood for nearly 700 years. The nave contains a fine series of monuments that were arranged here by Wyatt in a barbaric way. This vandal committed every kind of atrocity. Not only did he remove the monuments from their original locations, but he also mixed up the effigies and placed them on tombs that didn’t belong to them. Starting at the west end of the south side and leaving the figure of Hibernia, which decorates Lord Wyndham's monument (1745), we see the monuments of the following:—

1. Bishop Herman (1078), which was brought from Old Sarum.

1. Bishop Herman (1078), taken from Old Sarum.

2. Bishop Jocelyn (1184), which was brought from Old Sarum (the head is later than the rest).

2. Bishop Jocelyn (1184), taken from Old Sarum (the head is newer than the rest).

3. Bishop Roger (1139), which was brought from Old Sarum. (There is some uncertainty about the identity of these.)

3. Bishop Roger (1139), taken from Old Sarum. (There’s some uncertainty about who these are.)

4. Incised slab to an unknown personage.

4. Carved slab for an unknown person.

5. Bishop Beauchamp (1481), whose chantry was destroyed by Wyatt.

5. Bishop Beauchamp (1481), whose memorial chapel was destroyed by Wyatt.

6. Robert, Lord Hungerford (1459), whose chantry was destroyed by Wyatt. Notice the plate armour and collar of saints, also sword and dagger.

6. Robert, Lord Hungerford (1459), whose memorial chapel was destroyed by Wyatt. Note the plate armor and collar of saints, along with the sword and dagger.

7. Lord Stourton, hung in the market-place in 1556 for the murder of the Hartgills, accomplished in a brutal fashion. He was hung, as a concession to his noble birth, with a silken cord. The "wells" on each side allude to the six heads of the Stour river, which rise near the Stourton mansion.

7. Lord Stourton was hanged in the market square in 1556 for the brutal murder of the Hartgills. Out of respect for his noble status, he was hanged with a silk rope. The "wells" on each side refer to the six heads of the Stour River, which rise near the Stourton estate.

8. Bishop de la Wyle (1271), mutilated. The base is made up of fragments of much later date.

8. Bishop de la Wyle (1271), damaged. The base consists of pieces from much later periods.

9. William Longespée, first Earl of Salisbury of that name, son of Henry II. by Fair Rosamond (1226). Notice[118] the chain-armour and surcoat, shield with arms of Anjou, and the decoration of the tomb—silver diaper work. He fought in the Crusades and in France, and was present at the signing of Magna Charta.

9. William Longespée, the first Earl of Salisbury with that name, son of Henry II. and Fair Rosamond (1226). Notice[118] the chainmail and surcoat, shield with the arms of Anjou, and the decoration of the tomb—silver diaper work. He fought in the Crusades and in France, and was present at the signing of the Magna Carta.

Crossing to the north side we see the monuments of—

Crossing to the north side, we see the monuments of—

10. Sir John Cheyney (1509), standard-bearer of Henry of Richmond at battle of Bosworth, unhorsed by Richard III.

10. Sir John Cheyney (1509), the flag bearer for Henry of Richmond at the Battle of Bosworth, was knocked off his horse by Richard III.

11.} Walter, Lord Hungerford, and his wife.
12.}

11. Walter, Lord Hungerford, and his wife.
12.}

13. Sir John de Montacute (1389), fought at Creçy and in Scotland under Richard II. Notice armour, especially gauntlets.

13. Sir John de Montacute (1389), fought at Crecy and in Scotland under Richard II. Pay attention to the armor, especially the gauntlets.

14. Chancellor Geoffrey.

14. Chancellor Geoffrey.

15. Person unknown.

15. Unknown person.

16. Longespée, Earl of Salisbury (1250), son of the above-mentioned earl, a Crusader killed by the Saracens. The fact that this is a cross-legged effigy does not prove that all cross-legged effigies represent Crusaders.

16. Longespée, Earl of Salisbury (1250), son of the previously mentioned earl, was a Crusader who was killed by the Saracens. Just because there’s a cross-legged effigy doesn’t mean all such effigies represent Crusaders.

17. "Boy Bishop," the great attraction of the ordinary visitor and tourist. The ceremony of the boy bishop is well known. One of the choir boys was elected on St. Nicholas Day, and presided until Innocents' Day, and a special service and procession took place during his rule. The old idea was that this boy died during his brief episcopacy, and was thus honoured with an effigy. It is now generally believed that such small figures represent heart burials. In bygone times the body was usually buried at the place where the person died, and not infrequently the heart was conveyed to the special church associated with the family or life of the deceased. The library, however, contains the order of service of boy bishop, and the ceremony lingered on until the time of Elizabeth.

17. "Boy Bishop," a big attraction for regular visitors and tourists. The boy bishop ceremony is quite well-known. One of the choir boys was chosen on St. Nicholas Day and served until Innocents' Day, during which a special service and procession happened under his leadership. The old belief was that this boy died during his brief time as bishop and was honored with an effigy. Nowadays, it's commonly believed that these small figures represent heart burials. In earlier times, the body was usually buried where the person died, and often the heart was taken to the church connected to the family or life of the deceased. However, the library has the order of service for the boy bishop, and the ceremony continued until the time of Elizabeth.

18. Person unknown.

18. Unknown person.

Near the entrance is a monument to Dr. Turburville, an oculist of Salisbury (1696).

Near the entrance is a monument to Dr. Turburville, an eye doctor from Salisbury (1696).

The North Transept is entered by a Perpendicular arch, by Bishop Beauchamp (1450-1481). It was designed to support the tower. The style of this transept resembles that of the nave.[119] The two-light windows, which take the place of the triforium on the north side, and the beautiful clerestory windows, with their slender pilasters, should be noticed. There is an eastern aisle, divided into chapels, which Wyatt robbed of their screens. The monuments here are:—Brass to John Britton, the eminent antiquary; James Harris, author of Hermes, by Bacon; Earl of Malmesbury, by Chantrey; W.B. Earle, by Flaxman; Bishop John Blythe (?) (1499); Sir R. Hoare, the Wilts historian, by Lucas; Richard Jefferies, the charming modern writer on country life; Walter and William Long, by Flaxman; Bishop Woodville (1484).

The North Transept is accessed through a Perpendicular arch, created by Bishop Beauchamp (1450-1481). It was designed to support the tower. The style of this transept is similar to that of the nave.[119] The two-light windows, which replace the triforium on the north side, and the beautiful clerestory windows with their slender pilasters are noteworthy. There is an eastern aisle divided into chapels, which Wyatt stripped of their screens. The memorials here include:—a brass for John Britton, the well-known antiquarian; James Harris, the author of Hermes, by Bacon; the Earl of Malmesbury, by Chantrey; W.B. Earle, by Flaxman; Bishop John Blythe (?) (1499); Sir R. Hoare, the historian of Wilts, by Lucas; Richard Jefferies, the delightful modern writer on country life; Walter and William Long, by Flaxman; and Bishop Woodville (1484).

The South Transept resembles the north. Here are monuments of:—Bishop Mitford (1407), a fine tomb of white marble; Bishop Fisher (1825); Edward Poore (1780).

The South Transept looks like the north. It features monuments of:—Bishop Mitford (1407), a beautiful tomb made of white marble; Bishop Fisher (1825); Edward Poore (1780).

The Choir-Screen is good modern work, and replaced a patchwork structure of Wyatt's handiwork, made up of spoil taken from his destroyed chantries. The organ is modern.

The Choir-Screen is a well-done modern piece that replaced a haphazard structure created by Wyatt, made from leftover materials from his demolished chapels. The organ is contemporary.

The Choir and Presbytery differ in no way from the architecture of the nave. The east end is beautifully designed. At the base of the reredos are three arches, and above five arches, with cinquefoil headings, and above these a triplet window. The roof is painted with an interesting series of designs, which are modern reproductions of thirteenth-century work. First there are series of Old Testament saints, the Forerunner of our Lord being ranked with the prophets. Then come the Apostles, with the figures of our Lord and the Evangelists; and further east are representations of the months, which are curious and interesting. January is represented by a man warming his hands; February, a man drinking wine; March, digging; April, sowing; May, hawking; June, flowers; July, reaping; August, threshing; September, gathering fruit; October, brewing; November, timber-felling; December, killing a pig.

The Choir and Presbytery are exactly like the architecture of the nave. The east end is beautifully crafted. At the bottom of the reredos are three arches, and above them, there are five arches with cinquefoil tops, and above those, a triplet window. The roof is adorned with a fascinating series of designs, which are modern reproductions of thirteenth-century artwork. First, there are depictions of Old Testament saints, with the Forerunner of our Lord among the prophets. Next are the Apostles, alongside figures of our Lord and the Evangelists; further east are illustrations of the months, which are both curious and intriguing. January shows a man warming his hands; February features a man drinking wine; March depicts digging; April shows sowing; May is represented by hawking; June displays flowers; July shows reaping; August features threshing; September depicts gathering fruit; October shows brewing; November illustrates timber-felling; and December portrays the killing of a pig.

The Choir Stalls are a patchwork composition. There is some old Perpendicular work; some of the work is by Wren. Happily Wyatt's productions have been removed. The reredos is modern, is a very elaborate piece of work. All the other fittings of the choir are new. In the choir are the chantries of Bishop Audley (1524), a fine piece of Late Perpendicular work, which has a fan-vault and some traces of colour, and of Walter, Lord Hungerford (1429), removed here from the nave, and made into a family pew by Lord Radnor. The iron-work is good, and such chapels[120] are rare, the Chantry of Edward IV. at Windsor being the finest of its kind.

The Choir Stalls are a mix of different styles. There's some old Perpendicular work and some by Wren. Thankfully, Wyatt's work has been taken out. The reredos is modern and quite elaborate. All the other fittings in the choir are new. In the choir, you'll find the chantries of Bishop Audley (1524), a great example of Late Perpendicular work, featuring a fan-vault and some traces of color, and of Walter, Lord Hungerford (1429), which was moved here from the nave and converted into a family pew by Lord Radnor. The ironwork is good, and such chapels[120] are rare, with the Chantry of Edward IV. at Windsor being the best of its kind.

In the North Choir Aisle and Transept there are two monuments of the memento mori type, the large tomb of a thirteenth-century bishop, either Bingham or Scammel, Bishop Wyvill (1375), Gheast (1576), and Jewell (1571), and the curious brass of Bishop Wyvill, who recovered for the see Sherborne Castle and the Bere Chase, seized by Stephen, and granted by Edward III. to the Earl of Salisbury. To decide the right the wager of battle was resorted to, and both bishop and earl chose a champion. The king, however, caused the matter to be settled amicably. The bishop is here shown in his castle, praying for his champion, and below are the hares and rabbits representing the chase. In this north-east transept is a fine Early Perpendicular lavatory, which is evidently not in its original position, part of an Early English screen, removed by Wyatt, and a curious aumbrey. In the aisle toward the east we see an effigy, said to be that of Bishop Poore, the founder of the Cathedral, and at the east end is the monument of Sir Thomas Gorges and his lady, who was a maid of honour to Queen Elizabeth. It is a cumbrous piece of work.

In the North Choir Aisle and Transept, there are two monuments of the memento mori type, the large tomb of a thirteenth-century bishop, either Bingham or Scammel, Bishop Wyvill (1375), Gheast (1576), and Jewell (1571), along with the interesting brass of Bishop Wyvill, who reclaimed Sherborne Castle and the Bere Chase, which had been taken by Stephen and granted by Edward III to the Earl of Salisbury. To determine the right, they resorted to a wager of battle, and both the bishop and the earl chose champions. However, the king arranged for an amicable settlement. The bishop is depicted here in his castle, praying for his champion, and below are the hares and rabbits representing the chase. In this northeast transept, there is a beautiful Early Perpendicular lavatory that is clearly not in its original position, part of an Early English screen removed by Wyatt, along with an interesting aumbrey. In the aisle towards the east, we see an effigy said to be of Bishop Poore, the founder of the Cathedral, and at the east end is the monument of Sir Thomas Gorges and his lady, who was a maid of honour to Queen Elizabeth. It is a cumbersome piece of work.

The Retro-Choir or processional path has beautiful clustered shafts and fine vault, and forms a graceful entrance to the Lady Chapel, a most perfect piece of Early English building, and the oldest part of the church. At the east end is a triple lancet, with another lancet on each side, filled with modern glass. There is a new altar here, and modern colouring adorns the walls and ceiling. The canopies of the niches under the windows on the north and south were brought here from the Beauchamp Chapel destroyed by Wyatt. Here in former days stood the shrine of St. Osmund, the second Norman bishop, the saintly man to whom the diocese and the English Church owe much. His tomb remains here, but his shrine was plundered and destroyed at the Reformation. At the east end of the south choir aisle is the stately tomb of the unhappy Earl of Hertford (1621), who married Catherine, the sister of Lady Jane Grey, and thus incurred Queen Elizabeth's resentment, and was imprisoned. The poor lady, when released from the Tower, was separated from her husband, and died of grief. He survived her sixty years. Near here are the modern tombs of Bishops Moberly and Hamilton, and the Perpendicular tomb of William Wilton, Chancellor of Sarum (1506-1523). The old sacristy, now the vestry, is on the south of this transept; above[121] this is the muniment room, the ancient treasury. In the transept is the remarkable monument of Bishop Giles de Bridport (1262), under whose rule the church was finished. It is the most interesting tomb in the church. The carvings in the spandrels record the chief events in the bishop's life—his birth, confirmation, education, and possibly his first preferment, his homage, a procession (probably referring to the dedication of this church), his death, and the presentation of his soul for judgment. Here are monuments also of Canon Bowles (1850); Bishop Burgess (1837); Bishop Seth Ward (1689), Hooker, the famous divine; Young, the father of the poet; Isaak Walton, the son of the angler; Bishop Davenant (1641); Mrs. Wordsworth, the wife of the bishop; and a brass to Canon Liddon's memory. Further on are the monuments of Bishop Salcot (1557), and Sir Richard Mompesson and his wife (1627). Notice the inverted strengthening arches in both choir transepts.

The Retro-Choir or processional path features beautiful clustered columns and a fine vault, creating an elegant entrance to the Lady Chapel, which is a perfect example of Early English architecture and the oldest part of the church. At the east end, there's a triple lancet window, flanked by another lancet on each side, filled with modern glass. A new altar is located here, and the walls and ceiling are decorated with modern colors. The canopies of the niches under the windows to the north and south were brought here from the Beauchamp Chapel, which was destroyed by Wyatt. Once, this was the location of the shrine of St. Osmund, the second Norman bishop, a saintly figure who contributed greatly to the diocese and the English Church. His tomb remains, but his shrine was looted and destroyed during the Reformation. At the east end of the south choir aisle stands the impressive tomb of the unfortunate Earl of Hertford (1621), who married Catherine, the sister of Lady Jane Grey, which led to Queen Elizabeth's anger and his imprisonment. The poor lady, after being released from the Tower, was separated from her husband and died of grief. He lived for sixty more years after her. Nearby are the modern tombs of Bishops Moberly and Hamilton, along with the Perpendicular tomb of William Wilton, Chancellor of Sarum (1506-1523). The old sacristy, now the vestry, is located on the south side of this transept; above it is the muniment room, the ancient treasury. In the transept, you can find the notable monument of Bishop Giles de Bridport (1262), under whose leadership the church was completed. It's the most fascinating tomb in the church. The carvings in the spandrels depict significant events in the bishop's life—his birth, confirmation, education, possibly his first appointment, his homage, a procession (likely referring to the dedication of this church), his death, and the presentation of his soul for judgment. There are also monuments for Canon Bowles (1850); Bishop Burgess (1837); Bishop Seth Ward (1689), Hooker, the renowned divine; Young, the father of the poet; Isaac Walton, the son of the angler; Bishop Davenant (1641); Mrs. Wordsworth, the bishop's wife; and a plaque in memory of Canon Liddon. Further along, you’ll see the monuments of Bishop Salcot (1557), and Sir Richard Mompesson and his wife (1627). Take note of the inverted strengthening arches in both choir transepts.

Passing through the south transept we enter the Cloisters, which are considered to be "among the finest in England," and without doubt they can lay claim to be a great and beautiful architectural triumph. They are a little later than the Cathedral, having been begun directly after its completion, and finished during the rule of Bishop Wyvill, about 1340. The windows are finely constructed, and consist of double-arched openings, each arch having two sub-arches, while in the head is a large six-foiled opening. On the wall side is a blind arcade of graceful arches. An unfortunate restoration in 1854 did not improve the appearance of the cloisters. On the north side, between the cloister and the church, is the plumbery. The monuments here do not possess much interest. The Library, over part of the east walk, was built by Bishop Jewell, and contains about 5000 volumes, and a valuable collection of MSS. One of the most interesting is a Gallican version of the Psalter (969 A.D.), Geoffrey of Monmouth's Chronicles (twelfth century), a copy of Magna Charter (now in muniment room), and many others of much value and importance. The Chapter-House was built early in the reign of Edward I. It is a noble octagonal building, and can scarcely be surpassed by any other. The roof is modern. There is a central pillar, from which the vaulting springs. On each side there is a large window, resembling in tracery those in the cloisters. Below the windows is an arcade, and beneath this a stone bench, and at the east end a raised seat for the bishop and his officials. There is a remarkable series of sculptures above the[122] arcade, which are extremely interesting and merit close study. The following are the subjects represented:—

Passing through the south transept, we enter the Cloisters, which are regarded as "among the finest in England," and undoubtedly can claim to be an impressive and stunning architectural achievement. They were started right after the Cathedral was completed and finished during Bishop Wyvill's time, around 1340. The windows are beautifully designed, featuring double-arched openings, with each arch having two sub-arches, and a large six-foiled opening at the top. Along the wall side, there's a blind arcade of elegant arches. An unfortunate restoration in 1854 didn't enhance the cloisters' appearance. On the north side, between the cloister and the church, is the plumbery. The monuments here aren’t particularly interesting. The Library, located above part of the east walk, was built by Bishop Jewell and holds about 5,000 volumes, alongside a valuable collection of manuscripts. Among the most notable items is a Gallican version of the Psalter (969 AD), Geoffrey of Monmouth's Chronicles (twelfth century), a copy of the Magna Carta (now in the muniment room), and many others of significant value and importance. The Chapter-House was constructed early in Edward I's reign. It's an impressive octagonal building that is hard to surpass. The roof is modern. There’s a central pillar from which the vaulting extends. Each side features a large window with tracery similar to that of the cloisters. Below the windows is an arcade, and beneath that is a stone bench, with a raised seat for the bishop and his officials at the east end. There’s an intriguing series of sculptures above the[122] arcade, which are extremely interesting and deserve careful examination. The following are the subjects depicted:—

West Bay33.The Angel touching Jacob's Thigh.
1.Description of Chaos.34.Meeting of Jacob and Esau.
2.Creation of the Firmament.
Southeast Bay
Northwest Bay
35.Joseph's Dream.
3.Creation of the Earth.36.Joseph relating his Dream.
4.Creation of the Sun and Moon.37.Joseph being placed in a Well.
5.Creation of the Birds and Fishes.38.Joseph sold into Egypt.
6.Creation of Adam and Eve.39.Joseph's Coat brought to Jacob.
7.The Sabbath.40.Joseph brought to Potiphar.
8.The Institution of Marriage.41.Joseph tempted by Potiphar's Wife.
9.The Temptation.42.Joseph accused before Potiphar.
10.The Hiding in the Garden.
North BaySouth Bay
11.The Expulsion.43.Joseph placed in Prison.
12.Adam tilling the Ground.44.The fate of Pharaoh's Baker and
13.Cain and Abel's Offering.Butler.
14.Murder of Abel.45.Pharaoh's Dream.
15.God sentencing Cain.46.Pharaoh's Perplexity.
16.God commanding Noah to build47.Joseph taken from Prison, and
the Ark.interpreting the Dream.
17.The Ark.48.Joseph ruling in Egypt.
18.Noah's Vineyard.49.The Brethren journeying into
Egypt.
North East Bay50.The Cup placed in Benjamin's
Sack.
19.The Drunkenness of Noah.
20.Building of the Tower of Babel.
21.The Angels appearing to Abraham.Southwest Bay
22.Abraham entertaining Angels.
23.Destruction of Sodom and51.The Discovery of the Cup.
Gomorrah.52.The Brethren pleading before Joseph.
24.The Escape of Lot.53.Jacob and Family journeying to
25.Abraham and Isaac journeying toEgypt.
the Mount.54.The Brethren pleading before
26.The Sacrifice of Isaac.Joseph after the Death of Jacob.
East Bay Area55.Joseph assuring his Brethren of
his Protection.
27.Isaac blessing Jacob.56.Moses in the Presence of God.
28.Blessing of Esau.57.The Passage of the Red Sea.
29.Rebecca sending Jacob to58.Destruction of the Egyptians.
Padanaram.
30.Meeting of Jacob and Rachel.
31.Rachel introducing Jacob to Laban.West Bay
32.Jacob wrestling with the Angel,59.Moses striking the Rock.
and Jacob's Dream.60.The Declaring of the Law.

In the vestibule the doorway is remarkable for its great beauty.[123] In the voussoirs of the arch is another series of sculptures representing moralities, the triumph of virtue over vice. We see Concordia trampling on Discordia, Temperantia pouring liquor down the throat of Drunkenness, Bravery trampling on Cowardice, Faith on Infidelity, Virtue covering Vice with a cloak, while Vice embraces her knee with one hand and stabs her with the other. Truth pulls out the tongue of Falsehood, Modesty scourges Lust, and Charity pours coin into the throat of Avarice. These sculptures are of the very highest class of art, and are among the most interesting remains of Early Gothic carving in the world. All the glass in the chapter-house is modern, and also the tiling. A fine old specimen of fourteenth-century furniture is seen in the ancient table preserved here.

In the entrance, the doorway stands out for its stunning beauty.[123] In the arches is a series of sculptures illustrating moral themes, showing the victory of virtue over vice. We see Concordia stepping on Discordia, Temperantia forcing liquor down the throat of Drunkenness, Bravery stomping on Cowardice, Faith overcoming Infidelity, and Virtue covering Vice with a cloak, while Vice holds onto her knee with one hand and stabs her with the other. Truth pulls out the tongue of Falsehood, Modesty punishes Lust, and Charity tosses coins into the mouth of Avarice. These sculptures are among the highest examples of art and represent some of the most fascinating remnants of Early Gothic carving in the world. All the glass in the chapter house is modern, as is the tiling. A beautiful piece of fourteenth-century furniture can be seen in the ancient table preserved here.

Dimensions

Sizes

Total length473 ft.
Length of nave229 ft.
Width82 ft.
Height84 ft.
Height of spire404 ft.

Principal Building Dates

Main Building Dates

  • Early English (1220-1260)—The main buildings of the church were completed at this time.
  • 1262-1270)—Monastic buildings.
  • Decorated (1330-1350)—Two upper storeys of tower and spire.
  • Perpendicular (1460)—Arches supporting tower in north and south transepts. Flying buttresses on south side of choir.

Other buildings of interest in Salisbury—

Other buildings of interest in Salisbury—

The Guild Hall.
Market Cross, called the Poultry.
Churches of St. Martin, St. Edmund, St. Thomas à Becket.

The Guild Hall.
Market Cross, known as the Poultry.
Churches of St. Martin, St. Edmund, St. Thomas à Becket.

In the neighbourhood are—

In the neighborhood are—

Old Sarum.
Stonehenge.

Old Sarum.
Stonehenge.

PLAN OF SALISBURY CATHEDRAL

Salisbury Cathedral Plan


OXFORD CATHEDRAL

Oxford is so full of varied interest that we must leave our readers to gain knowledge of its history from other sources, and confine ourselves to its Cathedral records. This see was one of those founded by Henry VIII. out of the proceeds of his spoliation of the monasteries. The Cathedral was originally the Church of the Priory of St. Frideswide. This lady was the daughter of Didan, the chief man of the town. At an early age she took the veil, and her father built for her a convent; but Algar, King of Mercia, wished to marry her, and swore that he would carry her off. She fled for refuge, and on her return to Oxford was gallantly defended by the men of her city against Algar, who was struck blind. She was buried in her convent, and many miracles were wrought at her shrine. Such was the beginning of what ultimately became the Cathedral of Oxford. Terrible was the scene which took place in this little church. The Danes were in Oxford. There was peace between the Saxon king, Ethelred, and their foes; but on St. Brice's Day, 1002, the folk of Wessex were excited to slaughter the Danes, who fled for sanctuary to the little church. The Saxons respected no more the sacredness of the building than the laws of hospitality, and set fire to the place and massacred the helpless Danes. The remains of this Early Saxon church are said to have been discovered, which we shall examine later.[8]

OOxford has so much diverse history that we'll let our readers learn about it from other sources and focus on the records of its Cathedral. This diocese was one of those established by Henry VIII from the profits of his dismantling of the monasteries. The Cathedral was originally the Church of the Priory of St. Frideswide. She was the daughter of Didan, the leading figure of the town. At a young age, she became a nun, and her father built her a convent; however, Algar, King of Mercia, wanted to marry her and vowed to abduct her. She sought refuge, and upon her return to Oxford, the men of the city bravely defended her against Algar, who was struck blind. She was buried in her convent, and many miracles occurred at her shrine. This was the start of what eventually became the Cathedral of Oxford. A horrific event unfolded in this small church. The Danes were in Oxford. There was a truce between the Saxon king, Ethelred, and their enemies; but on St. Brice's Day, 1002, the people of Wessex were stirred to attack the Danes, who fled to the little church for safety. The Saxons no longer respected the sanctity of the building or the laws of hospitality, setting fire to it and slaughtering the defenseless Danes. The remains of this Early Saxon church are said to have been found, which we will look into later.[8]

Ethelred, repenting of his crime, determined to rebuild the church, which he accomplished, and recent authorities assure us that the present church is in plan and main substance the Saxon church of Ethelred, erected in 1004, and not the later Norman church about which the older writers tell us. He seems to have established a community of secular canons. The work was interrupted by the later Danish invasions, and perhaps never finished. At any rate it was ruinous in the time of the Early Normans kings.

Ethelred, feeling guilty about his crime, decided to rebuild the church, which he did, and recent experts confirm that the current church has the same layout and key structure as the Saxon church built by Ethelred in 1004, rather than the later Norman church that older writers mention. He appears to have created a community of secular canons. The construction was halted by the later Danish invasions and may have never been completed. At the very least, it was in ruins during the time of the early Norman kings.

In 1111 A.D., it was granted by either Roger, Bishop of Salisbury, or by Henry I., to Prior Guimond and his fellow canons. This prior began to restore the ruined church and monastery, but his successor, Robert de Cricklade (1141-1180), did most of the work, and restored the nave, choir, central tower and transepts. All the later Norman work is due to him. In 1180, in the presence of Henry II., his nobles and a goodly company of bishops, the relics of St. Frideswide were translated to a place of honour in the restored building on the north side of the choir, to which there was great resort of pilgrims on account of the miraculous healings which took place there. Fire played havoc with the city of Oxford in 1190, but the church escaped without much injury. The monastic buildings suffered, and the traces of fire can still be seen on the old Norman doorway in the cloisters. In the thirteenth century the Lady Chapel was built adjoining the north side of the choir, some of the old walls being used, the spire raised above the tower, the chapter-house and part of the Latin Chapel added, which was completed in the fourteenth century. A few Decorated details were added at this period, and windows in this style inserted. The fifteenth century witnessed sundry alterations in the cloisters, the building of St. Frideswide's latest shrine, the insertion of some Perpendicular windows, and the erection of the fine vaulting of the choir.

In 1111 A.D., either Roger, Bishop of Salisbury, or Henry I., granted it to Prior Guimond and his fellow canons. This prior started to restore the ruined church and monastery, but his successor, Robert de Cricklade (1141-1180), did most of the work, restoring the nave, choir, central tower, and transepts. All the later Norman work is credited to him. In 1180, in front of Henry II., his nobles, and a good number of bishops, the relics of St. Frideswide were moved to a place of honor in the restored building on the north side of the choir, which attracted many pilgrims because of the miraculous healings that occurred there. A fire caused major damage to the city of Oxford in 1190, but the church came through largely unscathed. The monastic buildings were damaged, and signs of the fire can still be seen on the old Norman doorway in the cloisters. In the thirteenth century, the Lady Chapel was built next to the north side of the choir, using some of the old walls, the spire was raised above the tower, and the chapter house along with part of the Latin Chapel were added, which was completed in the fourteenth century. A few Decorated details were added during this period, along with windows in that style. The fifteenth century saw various changes in the cloisters, the construction of St. Frideswide's latest shrine, the addition of some Perpendicular windows, and the impressive vaulting of the choir was erected.

Then a mighty change dawned on the old monastery. Cardinal Wolsey obtained a bull from Pope Clement VII. for its suppression and determined to convert it into a college, which was designed to be the largest in Oxford. He played sad havoc with the fabric of the church. A great part of the nave he destroyed altogether in order to make room for his great "Tom Quad," so named after the famous bell which still rings each night at five minutes past nine, and is the signal for the closing of the gates of all Oxford colleges. Part of the old cloisters disappeared also. Wolsey contemplated the building of another church for his college, and indeed began its construction; but his fall in 1529 put an end to the carrying out of his great conception, and the college fell into the hands of King Henry VIII. Here the monarch established one of his newly-formed sees (the bishop's seat was first fixed at Oseney Abbey, just outside Oxford), and with characteristic parsimony applied the revenues of the college to the support of the see. The dean of the Cathedral is still the head of the college, and the canons are university professors. As was usual at[127] this time, the Cathedral was shorn of all its costly ornaments, vestments, plate and other treasures, but the fabric remained intact.

Then a major change came to the old monastery. Cardinal Wolsey got a bull from Pope Clement VII to shut it down and decided to turn it into a college, aimed to be the largest in Oxford. He caused significant damage to the church's structure. He completely demolished a large part of the nave to make space for his grand "Tom Quad," named after the famous bell that still rings every night at five minutes past nine, signaling the closing of all Oxford college gates. Part of the old cloisters was also lost. Wolsey planned to build another church for his college and even started construction, but his downfall in 1529 ended his ambitious project, and the college came under King Henry VIII's control. The king established one of his newly-created sees here (the bishop's seat was first set at Oseney Abbey, just outside Oxford), and, true to form, he used the college's funds to support the see. The dean of the Cathedral is still the head of the college, and the canons are university professors. As was common at[127] this time, the Cathedral lost all its expensive decorations, vestments, plates, and other treasures, but the building itself remained intact.

Dean Brian Duppa in 1630 wrought much evil in the way of restoring his Cathedral, destroying the old glass and woodwork, tearing up the brasses, and "improving" the windows by cutting away the old tracery. He was rewarded for his zeal by being made Bishop of Salisbury. His loyalty to the fallen fortunes of his sovereign, Charles I., somewhat atones for his wanton destruction of much that was beautiful in Christ Church Cathedral. In the Civil War, Oxford was the great centre of the Royalists. Here King Charles held his court. Students flocked to his standard, and the Cathedral was the scene of several thanksgiving services on the occasion of victories. Cromwell's soldiers at length captured Oxford, and did some damage in the Cathedral, breaking much of the glass. Bishop Fell (1676-1686) was a munificent benefactor of the college. His father when dean had built the fine staircase to the hall with its fan-tracery vault, and commenced the buildings on north and west of the quadrangle. This Bishop Fell finished the buildings of the college together with the west belfry, designed by Sir C. Wren, but he does not appear to have done much for the Cathedral. Neglect and the hard hand of time wrought much mischief, and it seems to have been in a deplorable state when the restorations of the last half of the nineteenth century were inaugurated. To rescue it from its wretched condition Dean Liddell, whose name is familiar to every student of Greek, set himself with much energy, and the work was entrusted to Sir G. Scott. His restoration was carried out with much wisdom and careful regard for antiquity. The author of Alice in Wonderland, a fellow of the college, published a satirical pamphlet on The Three T's, the tunnel, the tower (the third we forget), and compared the new entrance with a railway tunnel, representing a railway train emerging from the portal, and scoffing at the new tower, which arose above the grand staircase to the hall. But it is easy to criticise, and Sir G. Scott's work at Oxford compares favourably with most restorations, and for this posterity will thank him.

Dean Brian Duppa in 1630 caused a lot of damage while trying to restore his Cathedral, destroying the old glass and woodwork, ripping up the brasses, and "improving" the windows by removing the old tracery. As a reward for his enthusiasm, he was made Bishop of Salisbury. His loyalty to the fallen fortunes of his king, Charles I, somewhat makes up for the reckless destruction of much that was beautiful in Christ Church Cathedral. During the Civil War, Oxford was a major center for the Royalists. Here, King Charles held his court. Students flocked to his side, and the Cathedral hosted several thanksgiving services to celebrate victories. Eventually, Cromwell's soldiers captured Oxford and caused some damage in the Cathedral, breaking much of the glass. Bishop Fell (1676-1686) was a generous benefactor of the college. His father, when dean, built the impressive staircase to the hall with its fan-tracery vault and started the buildings on the north and west sides of the quadrangle. This Bishop Fell completed the college buildings along with the west belfry, designed by Sir C. Wren, but he doesn't seem to have done much for the Cathedral. Neglect and the harsh passage of time caused a lot of damage, and it appears to have been in a terrible state when the restorations of the last half of the nineteenth century began. To rescue it from its miserable condition, Dean Liddell, whose name is known to every student of Greek, took on the task with great energy, and the work was assigned to Sir G. Scott. His restoration was carried out with great wisdom and careful respect for history. The author of Alice in Wonderland, a fellow of the college, published a satirical pamphlet about The Three T's: the tunnel, the tower (the third we've forgotten), comparing the new entrance to a railway tunnel, depicting a train emerging from the portal, and mocking the new tower that rose above the grand staircase to the hall. But it's easy to criticize, and Sir G. Scott's work at Oxford holds up well against most restorations, and for that, future generations will be grateful to him.

The Exterior

The Outside

Oxford Cathedral is so hidden away behind the obtrusive walls of Wolsey's college that it is difficult to obtain any good exterior views. The best is that seen from the garden of one of the canons,[128] to enter which permission may be obtained. The view from the cloister is also satisfactory. The principal entrance is from "Tom Quad" by the "tunnel," as Lewis Carroll termed the passage or porch situated a little to the north of the entrance to the hall. As we have said, the west front and the greater part of the nave were destroyed by Wolsey when he erected the college buildings. He also destroyed the west walk of the cloister, which we enter by a passage leading from the entrance to the hall. The cloisters are Perpendicular work of the latter part of the fifteenth century. The north walk was at one time converted into a muniment room, but has recently been restored to its original form, and has a modern imitation of the old vaulting. The old refectory stood on the south side, but has been converted into college rooms. Its large Perpendicular windows still remain looking on to the cloister. The entrance to the chapter-house is in the east walk, and a fine Norman doorway it is. It belongs to the later Norman period. It has four orders, richly ornamented with zigzag. A round-headed window is on each side of the door. The chapter-house is one of the best examples of the Early English style in the kingdom, and may be compared with those of Lincoln, Salisbury and Chester. The east end is very fine, and consists of an arcade of five arches which are double. Slender clustered shafts with capitals adorned with foliage support the inner arches. The three central arches are pierced for windows. Similar arcades are at the east end of north and south sides. The sculpture in this chamber is extremely fine. Grotesque corbels, carved capitals and the bosses in the vault, are all beautiful and interesting. One of the bosses represents the Virgin giving an apple to the infant Christ. There is also some old glass and interesting mural paintings. Diocesan meetings are held in this delightful room. The foundation stone of Wolsey's college at Ipswich is preserved here. In the room on the south are some fine paintings, an Elizabethan table and an old chest. Another door in this cloister leads to the old slype, a passage to the monastic burial-ground. On the left is St. Lucy's Chapel, mainly of Norman construction, the east window being much later. It is of Decorated character, and the tracery is flamboyant and of very beautiful design. The south choir aisle adjoins, and is part of the original church. The windows are modern imitations of Norman work. The windows in the clerestory of the choir are Perpendicular. The east end is modern, having been reconstructed by Scott. On the north side of the Cathedral, viewed from the canon's garden, we see the north transept with its large Perpendicular window, erected[131] at the beginning of the sixteenth century, flanked by two turrets crowned with pinnacles; the Latin Chapel of beautiful Decorated design, erected in the fourteenth century, and the Lady Chapel, the east wall of which is part of the old Saxon church, and Mr. Park Harrison has discovered the remains of three Saxon apses which are perhaps the remains of the earliest Saxon church, the Church of St. Frideswide, built by Didan early in the eighth century.[9] A Decorated window has been inserted here. We must now notice the Tower and Spire, a beautiful feature of the Cathedral. The lower storey is Late Norman, similar to the style of the nave; the belfry and the spire are Early English. This spire ranks with that of Barnock, Northants, and New Romsey, Surrey, as being one of the earliest in the kingdom. It was restored by Scott. The pinnacles at the angles of the tower are modern but accurate copies of the ancient ones. The spire is octagonal, and is what is termed a broach spire, i.e., it rises from the exterior of the tower walls and not from the interior of a parapet as in the later spires.

Oxford Cathedral is tucked away behind the imposing walls of Wolsey's college, making it hard to get any good views from the outside. The best view comes from the garden of one of the canons, which you can enter with permission. The view from the cloister is also nice. You enter from "Tom Quad" through the "tunnel," as Lewis Carroll called the passage or porch located slightly north of the entrance to the hall. As mentioned, the west front and most of the nave were destroyed by Wolsey when he built the college buildings. He also took down the west walk of the cloister, which we enter through a passage from the hall entrance. The cloisters are from the Perpendicular style of the late fifteenth century. The north walk was once used as a storage room, but it has recently been restored to its original structure, complete with a modern imitation of the old vaulting. The old refectory was located on the south side, but it's now been turned into college rooms. Its large Perpendicular windows still look out onto the cloister. The entrance to the chapter-house is on the east walk, and it features a stunning Norman doorway from the later Norman period. It has four richly decorated orders with zigzag patterns. On each side of the door, there's a round-headed window. The chapter-house is one of the finest examples of Early English style in the country and can be compared with those in Lincoln, Salisbury, and Chester. The east end is impressive, featuring an arcade of five double arches. Slender clustered columns with capitals adorned with foliage support the inner arches. The three central arches have been pierced to accommodate windows. Similar arcades can be found on the east ends of the north and south sides. The sculpture in this room is exceptionally beautiful. The corbels, carved capitals, and the bosses in the vault are all stunning and interesting. One of the bosses depicts the Virgin giving an apple to the infant Christ. There are also some old stained glass pieces and notable mural paintings. Diocesan meetings take place in this lovely room. Here, the foundation stone of Wolsey's college in Ipswich is preserved. In the room on the south side, there are some beautiful paintings, an Elizabethan table, and an old chest. Another door in this cloister leads to the old slype, a passageway to the monastic burial ground. To the left is St. Lucy's Chapel, primarily built in the Norman style, although the east window is of a later design. It is in the Decorated style, with striking flamboyant tracery. The south choir aisle is adjacent and is part of the original church. The windows are modern imitations of the Norman style, while the clerestory windows of the choir are Perpendicular. The east end is modern, having been reconstructed by Scott. On the north side of the Cathedral, as seen from the canon's garden, we see the north transept with its large Perpendicular window built at the beginning of the sixteenth century, flanked by two turrets topped with pinnacles; the Latin Chapel, which features an exquisite Decorated design from the fourteenth century; and the Lady Chapel, where the east wall is part of the old Saxon church. Mr. Park Harrison has uncovered the remnants of three Saxon apses, possibly from the earliest Saxon church, the Church of St. Frideswide, built by Didan in the early eighth century. A Decorated window has been added here. We should also mention the Tower and Spire, a beautiful feature of the Cathedral. The lower section is Late Norman, similar to the style of the nave; the belfry and the spire are Early English. This spire is among the earliest in the country and is comparable to those at Barnock, Northants, and New Romsey, Surrey. It was restored by Scott. The pinnacles at the corners of the tower are modern but accurately replicate the original designs. The spire is octagonal and is known as a broach spire, meaning it rises from the exterior of the tower walls rather than from an interior parapet like later spires.

Oxford Cathedral

Oxford Cathedral

The Interior

The Interior

Entering by the new porch from the quadrangle and passing under the organ-screen we see a Cathedral, small, indeed, but possessing features of peculiar interest. In its main plan it is possibly the church of Ethelred begun in 1004, but finished in Late Norman times when Robert de Cricklade or Canutus was prior (1141-1180).[10] The piers of the Nave are alternatively circular and octagonal. There is a very unusual triforium. Arches spring from the capitals of the piers, and in the tympana are set the triforium arcade. From half capitals set against the piers spring another series of arches at a lower level than the others we have mentioned, and above the curve of these is the triforium arcade. Very few examples of this curious construction are found in this country. The carving of the capitals is graceful, and though it differs somewhat from the stiff-leaved foliage of Early English style, it somewhat resembles that character. The clerestory belongs to the period of transition between Norman and Early English. The central arch of the triple windows is pointed, and the others, which[132] are blocked up, round. The corbels and shafts which support the roof are Norman, but the brackets are Perpendicular, erected by Wolsey, who intended to build a stone vault. The present fine timber roof belongs to his time, or a little later. The stalls and seats are modern. The screen is Jacobean, above which is the organ, a fine instrument enclosed in a Jacobean case. The pulpit belongs to the same period and is very interesting, especially its grotesque carving. The central tower has fine and lofty arches, and its appearance has been improved by the removal of the ceiling which formerly existed here. A curious subterranean chamber was discovered here in 1856. It contained two aumbries, and was evidently intended for the keeping of some treasure, possibly of the monastery, or of the university. It is known that the university chest during the thirteenth century was deposited in a secret place within the Church of St. Frideswide, and this, doubtless, was the spot. The Choir is of the same character as the nave. The piers are more massive, and the style of the carving of the capitals differs. We are told that we have distinct evidence here that this is part of Ethelred's church, that the sculpture is Saxon, copied from Saxon MSS., that it has been worn by weather which could only have been done during the ruinous condition of the church prior to its Late Norman restoration. Possibly this may be true, and the carving is certainly peculiar, but at present we cannot quite agree to accept this view. The triforium is Late Norman, and the roof is a fine example of fan-tracery begun in the fifteenth century. Wolsey changed the appearance of the clerestory, and introduced Perpendicular details.

Entering through the new porch from the courtyard and passing under the organ screen, we see a Cathedral that, while small, has features of unique interest. Its main structure possibly dates back to the church of Ethelred, started in 1004 but completed in Late Norman times when Robert de Cricklade or Canutus was prior (1141-1180).[10] The piers of the Nave alternate between circular and octagonal. There's a very unusual triforium. Arches extend from the capitals of the piers, with the triforium arcade set in the tympana. Another series of arches springs from half capitals against the piers, lower than the others we've mentioned, and above the curve of these is the triforium arcade. Very few examples of this curious design exist in this country. The carving on the capitals is elegant; while it varies somewhat from the stiff-leaved foliage typical of Early English style, it bears some resemblance to that style. The clerestory belongs to the transitional period between Norman and Early English. The central arch of the triple windows is pointed, while the others, which are blocked up, are round. The corbels and shafts supporting the roof are Norman, but the brackets are Perpendicular, added by Wolsey, who intended to build a stone vault. The current impressive timber roof is from his time or shortly afterward. The stalls and seats are modern. The screen is Jacobean, above which sits the organ, a fine instrument enclosed in a Jacobean case. The pulpit is from the same period and is particularly interesting, especially for its grotesque carving. The central tower features fine and lofty arches, and its appearance has been enhanced by removing the ceiling that was previously there. A curious underground chamber was discovered here in 1856. It contained two aumbries and was evidently meant for storing some treasure, possibly from the monastery or the university. It's known that during the thirteenth century, the university chest was kept in a secret location within the Church of St. Frideswide, and this was likely the spot. The Choir shares a similar character to the nave. The piers are more substantial, and the style of the capital carvings varies. We're told that there's clear evidence here linking this to Ethelred's church, that the sculpture is Saxon and copied from Saxon manuscripts, and that it has weathered conditions that could only have occurred during the church's dilapidated state prior to its Late Norman restoration. While this may be true, and the carving is certainly distinctive, we cannot fully accept this viewpoint at present. The triforium is Late Norman, and the roof is a fine example of fan-tracery that began in the fifteenth century. Wolsey altered the appearance of the clerestory and introduced Perpendicular details.

Oxford Cathedral
(Herbert Railton)

Oxford Cathedral (Herbert Railton)

The East End is modern, and is a fine conception of Sir G. Scott based upon early models. The Reredos is a fine modern work, and the altar, lectern and throne are also new. Turning to the north we enter the North Choir Aisle, where we stand upon debatable ground. Perhaps we are in the Early Saxon church built for St. Frideswide, or the later Saxon church of Ethelred. Authorities differ, and it is impossible to decide. At any rate, there in the east wall are the remains of the three Saxon arches which lead to the apses discovered on the outside. And here, too, is the noted Shrine of St. Frideswide, of which Mr. Ruskin said that every stone was worth its weight in silver, if not in gold. It has been gradually collected from odd corners of the precincts, as the shrine was destroyed by Henry VIII. The carved foliage is very beautiful, [135] and when this base of the shrine was complete and crowned with the jewelled cover, beneath which reposed the relics of the saints, it must have been very imposing. There is a curious story in connection with these relics. When the tomb was destroyed these were carefully preserved in secret by "the faithful," and in the meantime the body of the wife of Peter Martyr, a Protestant professor, was laid near the saint's shrine. As this poor lady was an ex-nun, in the time of Mary and Cardinal Pole her body was cast out into a cesspool, and the relics of the saint restored to their place of honour. In Elizabeth's time the saint's bones were again removed. The queen ordered the decent re-burial of the remains of Peter Martyr's wife, and while this was being done the sacred box containing the relics was produced, and "the married nun and the virgin saint were buried together, and the dust of the two still remains under the pavement beneath our feet inextricably blended."[11] The exact spot is conjecturable, but a brass has been placed where the mingled remains are supposed to lie.

The East End is contemporary and a great design by Sir G. Scott based on earlier models. The Reredos is a beautiful modern piece, and the altar, lectern, and throne are also new. As we turn to the north, we enter the North Choir Aisle, where we're standing on uncertain ground. We might be in the Early Saxon church built for St. Frideswide, or the later Saxon church of Ethelred. Experts disagree, and it’s impossible to determine for sure. Regardless, there in the east wall are the remnants of the three Saxon arches that lead to the apses found on the outside. Here, too, is the famous Shrine of St. Frideswide, which Mr. Ruskin remarked was worth its weight in silver, if not in gold. It has been gradually gathered from various places in the area since the shrine was destroyed by Henry VIII. The carved foliage is stunning, [135] and when the base of the shrine was finished and topped with the jeweled covering, beneath which rested the relics of the saints, it must have been quite a sight. There’s an interesting story related to these relics. After the tomb was destroyed, they were carefully hidden by “the faithful,” and during that time, the body of Peter Martyr’s wife, a Protestant professor, was placed near the saint’s shrine. Since this unfortunate woman was an ex-nun, during the reign of Mary and Cardinal Pole, her body was thrown into a cesspool, and the saint's relics were restored to their honored place. In Elizabeth’s reign, the saint's bones were removed again. The queen ordered the respectful reburial of Peter Martyr’s wife’s remains, and while this was happening, the sacred box containing the relics was brought out, and “the married nun and the virgin saint were buried together, and the dust of the two still remains under the pavement beneath our feet, inextricably blended.”[11] The exact location is uncertain, but a brass has been placed where the mingled remains are thought to lie.

The Lady Chapel is on the west of the choir aisle, and is of Early English construction. It was added about 1250, when the present piers and vault were built. The east wall, as we have said, is manifestly earlier, and is part of one of the earlier Saxon churches. The east window is restored Decorated. The west arch is round-headed, and shows that this part of the chapel was the east aisle of the north transept. There are extensive remains of colouring. Here is the remarkable "Watching Chamber," supposed by some to be a later shrine of St. Frideswide, and by Professor Willis and others to be the chamber where watch was kept for guarding the gold and jewels which adorned the actual shrine. It has three stages, and is very beautiful Perpendicular work. In this chapel there are some interesting monuments—Sir George Nowers (1425) (with good example of armour); Prior Guymond (?) (1149), or Prior Alexander de Sutton (1316), with Decorated canopy and effigy; Lady Montacute (1353), the supposed founder of the Latin Chapel; Robert Burton, author of Anatomy of Melancholy (1639). Some "Morris" windows have been inserted here designed by Burne-Jones, very beautiful in themselves, but perhaps scarcely in keeping with their surroundings. The St. Cecilia window is extremely fine. The Latin Chapel is mainly Decorated work of the time of Edward III., the western parts being earlier. The vault has some richly-foliated bosses, on which appear the water[136]lily and the roses, and heads surmounted with crown and mitre. The east window has strange Venetian tracery, but some excellent modern glass designed by Burne-Jones and representing incidents in the life of St. Frideswide. The other windows have some fine old fourteenth-century glass; the north-east window is modern. The woodwork is very fine; it is later than the chapel, and was not designed for it. The cardinal's hat, supported by angels on one of the carved poppy-heads, shows that this was prepared for Wolsey's choir. Some of the work is much older. In this chapel the writer used to listen to the lectures of the divinity professor, and was often distracted from the discourse by the architectural beauties around him. Beautiful vistas may be obtained here of "long-drawn aisles and fretted vault," and he became very conversant with the history of St. Frideswide as depicted in the fine east window.

The Lady Chapel is located on the west side of the choir aisle and features Early English architecture. It was added around 1250, when the current piers and vault were constructed. As mentioned earlier, the east wall is clearly older and belongs to one of the earlier Saxon churches. The east window has been restored in the Decorated style. The west arch is rounded, indicating that this section of the chapel was once the east aisle of the north transept. There are extensive remnants of coloring. Here, you’ll find the notable "Watching Chamber," believed by some to be a later shrine of St. Frideswide, and by Professor Willis and others to be the chamber where they kept watch over the gold and jewels that adorned the actual shrine. It has three levels and is beautifully designed in Perpendicular style. This chapel also features some intriguing monuments—Sir George Nowers (1425) with a good example of armor; Prior Guymond (?) (1149) or Prior Alexander de Sutton (1316), with a Decorated canopy and effigy; Lady Montacute (1353), who is thought to have founded the Latin Chapel; and Robert Burton, author of Anatomy of Melancholy (1639). Some "Morris" windows designed by Burne-Jones have been added here, which are stunning on their own but may not really fit with the overall aesthetic. The St. Cecilia window is exceptionally fine. The Latin Chapel mainly consists of Decorated work from the time of Edward III, though the western sections are older. The vault features richly-foliated bosses adorned with water lilies and roses, as well as heads wearing crowns and mitres. The east window showcases unusual Venetian tracery, along with some excellent modern glass designed by Burne-Jones that depicts scenes from the life of St. Frideswide. The other windows contain fine old fourteenth-century glass, while the north-east window is modern. The woodwork is impressive; it came later than the chapel and wasn’t specifically designed for it. The cardinal's hat, supported by angels on one of the carved poppy-heads, indicates that it was prepared for Wolsey's choir. Some of the work is much older. In this chapel, the writer would listen to lectures from the divinity professor, often getting distracted by the architectural beauty surrounding him. Beautiful views can be enjoyed here of “long-drawn aisles and fretted vault,” and he became quite familiar with the history of St. Frideswide as illustrated in the stunning east window.

The North Transept is similar to the nave in style. The north window is a modern restoration, and the glass is not very pleasing modern work. Here is the Perpendicular tomb of a monk, Zouch (1503), and some good brasses in the aisle. The north aisle has Norman vaulting. The windows are restored Perpendicular, and the glass is modern. The window at the west end of the aisle was refashioned by Dean Brian Duppa in his usual barbarous manner, but it has some good Flemish glass by Van Ling representing Jonah and the Gourd, with Nineveh in the background.

The North Transept has a similar style to the nave. The north window is a recent restoration, and the glass isn't very impressive modern work. In this area, there’s the Perpendicular tomb of a monk named Zouch (1503), along with some nice brasses in the aisle. The north aisle features Norman vaulting. The windows have been restored in the Perpendicular style, and the glass is modern. The window at the west end of the aisle was redone by Dean Brian Duppa in his typical rough style, but it includes some good Flemish glass by Van Ling showing Jonah and the Gourd, with Nineveh in the background.

Crossing to the south side of the church we pass several monuments in the vestibule at the west end and reach the South Aisle, which is later in style than the north. At the west end is a Burne-Jones window, representing "Faith, Hope and Charity." The south transept preserves its Late Norman character, but has been shorn of its length. On the east side is the Chapel of St. Lucy. At the back of the wall on the south is the slype, and above this the vestry. One of the windows here is said to be Saxon. St. Lucy's Chapel is Norman, and is now used as a baptistry. The east window has flamboyant tracery and some fine old glass. Several monuments of distinguished Cavaliers who died for the Royal cause in the Civil War are in this part of the church. The South Choir Aisle resembles that on the north. The south windows are in the Norman style, but are modern imitations. The glass of the east window was designed by Burne-Jones and portrays St. Catherine. It was erected in memory of a daughter of Dean Liddell. The monument of Prince Leopold, brother of the king, formerly a student of Christ Church, has a pathetic interest, and the[137] tomb of Bishop King, Oxford's first bishop (1557), is a fine piece of Perpendicular work. The window to his memory is on the south and shows a representation of the Abbey of Oseney, where his episcopal throne was first established, before it migrated to the Church of St. Frideswide.

Crossing to the south side of the church, we pass several monuments in the vestibule at the west end and reach the South Aisle, which has a later style than the north. At the west end is a Burne-Jones window depicting "Faith, Hope and Charity." The south transept maintains its Late Norman character but has lost some of its length. On the east side is the Chapel of St. Lucy. At the back of the wall on the south is the slype, and above this is the vestry. One of the windows here is said to be Saxon. St. Lucy's Chapel is Norman and is now used as a baptistry. The east window features flamboyant tracery and some beautiful old glass. Several monuments of distinguished Cavaliers who died for the Royal cause during the Civil War can be found in this part of the church. The South Choir Aisle resembles the one on the north. The south windows are in the Norman style but are modern imitations. The glass in the east window was designed by Burne-Jones and depicts St. Catherine. It was erected in memory of a daughter of Dean Liddell. The monument of Prince Leopold, the king's brother and a former student of Christ Church, has a poignant interest, and the[137] tomb of Bishop King, Oxford's first bishop (1557), is a fine example of Perpendicular work. The window in his memory is on the south and features a representation of the Abbey of Oseney, where his episcopal throne was initially established before it moved to the Church of St. Frideswide.

Dimensions

Dimensions

Extreme length175 ft.
Length from screen to reredos132 ft.
Extreme breadth108 ft.
Height of spire144 ft.

Dates of Building

Building Dates

  • Saxon—East wall of Lady Chapel and north choir aisle, and
  • possibly window in south transept
  • Norman—Nave, choir, transept, aisles, door of chapter-house
  • St. Lucy's Chapel.
  • Early English—Lady Chapel.
  • Decorated—Latin Chapel and several windows.
  • Perpendicular—Cloisters, windows and vault of choir.

BRISTOL CATHEDRAL

Bristol, the great western port of England, has a history which tells of the ancient glories of English seamanship. From this port sailed the first Englishman who landed in America, Sebastian Cabot, who was born in Bristol, and was the first to discover that which is now known as the United States. A Bristol chronicle states, "this year 1497, on St. John the Baptist's day, the land of America was found by the merchants of Bristowe, in a ship of Bristol, called The Matthew, the which said ship departed from the port of Bristowe the 2nd of May, and came home again 6th August following." It was a Bristol ship which brought home the real Robinson Crusoe (Juan Fernandez) from his island home. Very famous were the great merchants of Bristol, such as William Cannynge, who founded the noble Church of St. Mary Redcliffe, whom his king, Henry VI., delighted to honour, and styled "his beloved and honourable merchant." Vast was his fleet—his shipping, amounting to 2470 tons, was seized by the victorious Yorkist monarch—and vast were his commercial enterprises, whereby he made Bristol a large and flourishing port.

BBristol, the major western port of England, has a history that showcases the ancient achievements of English seamanship. From this port set sail the first Englishman to land in America, Sebastian Cabot, who was born in Bristol and was the first to discover what is now known as the United States. A Bristol chronicle notes, "this year 1497, on St. John the Baptist's day, the land of America was found by the merchants of Bristowe, in a ship of Bristol, called The Matthew, which departed from the port of Bristowe on May 2nd and returned on August 6th." It was a Bristol ship that brought the real Robinson Crusoe (Juan Fernandez) back from his island home. The great merchants of Bristol were quite famous, such as William Cannynge, who established the prestigious Church of St. Mary Redcliffe, and whom his king, Henry VI, took great pleasure in honoring, referring to him as "his beloved and honorable merchant." His fleet was vast—his shipping totaled 2470 tons and was seized by the victorious Yorkist monarch—and his commercial ventures made Bristol a major and thriving port.

But we must go back to earlier days. In Saxon times the port was famous, or infamous, for its slave-dealing, which the coming of the Conqueror scarcely suppressed. Here Harold's three sons made a vain attempt to rescue the kingdom from his iron grasp. A famous Norman castle destroyed in the Civil War was built here, where Stephen was kept a prisoner. Pleasanter visits were frequently paid by other monarchs. The city was besieged and taken by Henry Bolingbroke, and Shakespeare in Richard II. tells of the beheading of four supporters of the luckless king in the city market-place. Here, too, five martyrs were burnt, and in the first year of Elizabeth's reign a mass of roods and images shared the same fate. The imposition of the ship-money tax was so distasteful that the Royal cause was not very popular at Bristol. The citizens opened their gates to the troopers of Cromwell, who held it from 1642 to the following year. Prince Rupert stormed the place, and held it till it was wrested from him in 1645. The[139] "Bloody Assize" of Judge Jefferies left its mark on this western port; six prisoners were executed, and hundreds sent across the sea to serve in the plantations. The darkest spot in the history of Bristol is the story of the Reform riots of 1831, sometimes called "the Bristol Revolution," when the dregs of the population pillaged and plundered, burnt the bishop's palace, and were guilty of much vandalism. Of the old churches we shall write subsequently. The old quaint houses are very attractive, especially the old Norman hall and Tudor windows of the house of Edward Colston, one of Bristol's merchant princes, Cannynge's house, with its fine Perpendicular roof, and the old Hospital of St. Peter.

But we need to go back to earlier times. In Saxon days, the port was well-known, or notorious, for its slave trade, which the arrival of the Conqueror barely curbed. This is where Harold's three sons made a futile attempt to free the kingdom from his tight grip. A famous Norman castle, which was destroyed during the Civil War, was built here, where Stephen was imprisoned. Other monarchs often made more pleasant visits. The city was besieged and captured by Henry Bolingbroke, and Shakespeare in Richard II. recounts how four supporters of the unfortunate king were beheaded in the city market square. Additionally, five martyrs were burned here, and in the first year of Elizabeth's reign, a quantity of religious items and images met the same fate. The unpopular ship-money tax made the royal cause lose favor in Bristol. The citizens opened their gates to Cromwell's soldiers, who held the city from 1642 until the following year. Prince Rupert stormed the place and held it until it was taken from him in 1645. The[139] "Bloody Assize" of Judge Jefferies left a mark on this western port; six prisoners were executed, and hundreds were sent across the sea to work on plantations. The darkest chapter in Bristol's history is the story of the Reform riots of 1831, sometimes referred to as "the Bristol Revolution," when the lower classes looted, burned the bishop's palace, and committed various acts of vandalism. We will write about the old churches later. The charming old houses are very appealing, especially the historic Norman hall and Tudor windows of Edward Colston's house, one of Bristol's wealthy merchants, Cannynge's house with its beautiful Perpendicular roof, and the old Hospital of St. Peter.

The History of the See

The History of the Diocese

Bristol was one of the sees founded by Henry VIII. in 1542, after the destruction of the monasteries. There is, however, in the British Museum, a MS. copy of a Papal Bull of 1551, for the refounding of the see, directed by Pope Paul IV. to Cardinal Pole. In 1836 the Sees of Bristol and Gloucester were united, and remained so until 1897, when they were again separated.

Bristol was one of the dioceses established by Henry VIII in 1542, following the dissolution of the monasteries. However, there is a manuscript copy of a Papal Bull from 1551 in the British Museum, issued by Pope Paul IV for the reestablishment of the see, addressed to Cardinal Pole. In 1836, the dioceses of Bristol and Gloucester were merged and stayed that way until 1897, when they were separated again.

The church has a history long before it became a Cathedral. It was the church of the monastery of Augustinian canons, founded in 1142 by Robert Fitzhardinge, afterwards Lord of Berkeley, on the site of Augustine's oak (so tradition says), where Augustine met the British bishops in conference and offended them by his haughty demeanour. The consecration of probably the chancel took place six years later. In 1155 Fitzhardinge received from the king the forfeited estates of Roger de Berkeley, and was thus enabled to extend his building operations, which were continued until the time of his death in 1170. The church consisted of a nave with north and south aisles, a central tower with north and south transepts, a presbytery with north and south aisles, and a processional path. The choir had a square ending, and consisted of three bays, the altar being at the east of the second bay, the last bay forming a via processionum. The chapter-house and vestibule are also Norman. The Early English builders erected the Elder Lady Chapel, Bristol Cathedral being rich in Lady Chapels, and possessing two. Abbot John (1196-1215) or his successor, David, was doubtless the builder. Later Early English work is evident in portions of the north and south transepts and in the Berkeley Chapel, but much of the work of this period has been[140] destroyed. Serious complaints were made at this time concerning the conduct of the monks, and sundry visitations were made and orders issued for the reform of the monastery. During the Early Decorated period the roof and east window of the Elder Lady Chapel were added, and a little later (1306-1332) Abbot Knowle reconstructed the choir and choir aisles. With his work came the beginning of Perpendicular aspiration, and it is an earnest of the course of the later English Gothic which first manifested itself in the choir of Gloucester. Bristol nearly had the lucrative honour of receiving the body of the murdered King Edward II., slain at Berkeley Castle. But for fear of offending his patrons Abbot Knowle declined to have the burial here; hence the corpse was taken to Gloucester, where it caused a great concourse of pilgrims, and brought many offerings. Knowle's successor, Abbot Snow (1332-1341), was made a mitred abbot, and had a seat in Parliament. He continued the work of his predecessor, erected a chantry, and built the Newton Chapel. Soon after his death terrible misfortunes happened to the city and monastery. The Black Death invaded the land, and so great were its ravages that in Bristol the living were hardly able to bury the dead, and few monks survived the awful malady. The effects were disastrous. For over a hundred years no building was attempted, and the monastery was in a deplorable condition. In the time of Abbot Newbury (1428-1473) the great tower was begun, and finished by his successor, Hunt (1473-1481), who re-roofed the church. Abbot Newland (1481-1515) rebuilt the upper part of the abbey gateway in Perpendicular style, and began to rebuild the ruinous nave. As the power of the town increased the citizens often had disputes with the monks over rights of fairs and markets and other matters, and the burghers of Bristol were not more submissive than those of other places. Hence the usual quarrels arose and disturbed the peace of the city. Some of the succeeding abbots wrought some minor improvements, but in 1543 a most drastic remedy was applied to the ruinous nave. It was entirely pulled down, and not rebuilt until recent times. The monastery was dissolved like other similar institutions, and Paul Bush became the first bishop of the new see founded by Henry VIII. For a brief space during Mary's reign the old worship was restored, and Her Majesty and Philip bestowed costly gifts of copes and altar frontals and vestments. But in Elizabeth's reign all "relics of Popery" were ordered to be destroyed, such as the rood-lofts, tabernacles for images, and[141] scripture texts and the table of the commandments to be painted in large characters on the wall. Beyond purloining the lead from the roof neither the besiegers nor the besieged did much damage to the church during the Civil War.

The church has a history that goes back long before it became a Cathedral. It was originally the church of the Augustinian canons' monastery, which was founded in 1142 by Robert Fitzhardinge, later Lord of Berkeley, on the site of Augustine's oak (as tradition claims), where Augustine met with the British bishops and upset them with his arrogant attitude. The consecration of what was likely the chancel happened six years later. In 1155, Fitzhardinge received from the king the confiscated lands of Roger de Berkeley, allowing him to expand his construction efforts, which continued until his death in 1170. The church featured a nave with north and south aisles, a central tower flanked by north and south transepts, a presbytery with its own north and south aisles, and a processional path. The choir was square at the end, consisting of three bays, with the altar located at the east of the second bay, the last bay serving as a via processionum. The chapter house and vestibule are also of Norman design. The Early English builders added the Elder Lady Chapel, which makes Bristol Cathedral notable for having two Lady Chapels. Abbot John (1196-1215) or his successor, David, was likely the builder. Later Early English work is seen in parts of the north and south transepts and in the Berkeley Chapel, but a lot of work from this period has been[140] lost. There were serious complaints at this time about the behavior of the monks, leading to several visitations and orders for the monastery's reform. During the Early Decorated period, the roof and east window of the Elder Lady Chapel were added, and a little later (1306-1332) Abbot Knowle reconstructed the choir and choir aisles. With his work came the start of Perpendicular style, marking the beginning of what later developed into English Gothic as seen in the choir of Gloucester. Bristol almost had the honor of receiving the body of the murdered King Edward II, killed at Berkeley Castle. However, to avoid upsetting his patrons, Abbot Knowle declined to have the burial here, so the body was taken to Gloucester, attracting many pilgrims and offerings. Knowle's successor, Abbot Snow (1332-1341), was elevated to a mitred abbot, gaining a seat in Parliament. He continued his predecessor's work, built a chantry, and constructed the Newton Chapel. Soon after his death, the city and monastery faced terrible misfortunes—the Black Death hit, and the devastation was so severe that in Bristol, the living struggled to bury the dead, with few monks surviving the deadly illness. The aftermath was disastrous. For over a century, no construction efforts were made, and the monastery fell into a sad state. During Abbot Newbury's time (1428-1473), the great tower was started and completed by his successor, Hunt (1473-1481), who re-roofed the church. Abbot Newland (1481-1515) rebuilt the upper part of the abbey gateway in Perpendicular style and began to reconstruct the dilapidated nave. As the town's power grew, the citizens often clashed with the monks over rights related to fairs, markets, and other matters, with Bristol's citizens being no more compliant than those in other towns. Thus, the usual conflicts arose, disturbing the city's peace. Some of the following abbots made minor improvements, but in 1543, a drastic solution was implemented for the crumbling nave: it was entirely demolished and not rebuilt until recently. The monastery was dissolved like other similar institutions, and Paul Bush became the first bishop of the new see established by Henry VIII. For a short time during Mary's reign, the old worship was restored, and she and Philip gifted expensive copes, altar frontals, and vestments. But during Elizabeth's reign, all "relics of Popery" were ordered to be destroyed, including rood-lofts, image tabernacles, and[141] scripture texts, with the Ten Commandments required to be painted in large letters on the wall. During the Civil War, neither the attackers nor the defenders caused much damage to the church beyond stealing the lead from the roof.

On the site of the destroyed nave some houses were erected, but after the great riots these were taken down. The building seems to have been kept in fairly good order. Edward Colston, the benefactor of Bristol, repaired the pavement. Sundry restorations were taken in hand during the last century, and finally in 1865 it was decided to undertake the stupendous task of rebuilding the nave. The work was begun in 1868 and finished in 1888. Since then the Elder Lady Chapel and the tower have been restored, and the church is now complete. It contains much of unusual value and interest, and the completion of the nave is a triumph of nineteenth-century achievement.

On the site of the destroyed nave, some houses were built, but after the major riots, these were taken down. The building seems to have been maintained in pretty good shape. Edward Colston, the benefactor of Bristol, repaired the pavement. Various restorations were carried out during the last century, and finally in 1865, it was decided to take on the massive task of rebuilding the nave. The work started in 1868 and was finished in 1888. Since then, the Elder Lady Chapel and the tower have been restored, and the church is now complete. It contains a lot of unusual value and interest, and the completion of the nave is a significant achievement of the nineteenth century.

The Exterior

The Outside

As we have said, the whole nave is new work, and therefore need not be examined very closely. The West Front is flanked by two towers, which bear the honoured names of Bishop Butler and Edward Colston. The style is an imitation of fourteenth-century work. There is a crocketed gable above the door, a rose window of good design, and some delicately-carved work surmounted by a cross. The face of the towers has three storeys; on the first a large window; on the second some lancets; and above two windows with louvres, the heads of which have crockets and finials. There are pinnacles at the four corners.

As we've mentioned, the entire nave is newly built, so it doesn't require close inspection. The West Front is flanked by two towers named after Bishop Butler and Edward Colston. The style mimics that of the fourteenth century. There’s a gabled roof with decorative features above the door, a well-designed rose window, and some finely carved details topped with a cross. The towers have three levels; the first features a large window, the second has several lancet windows, and above are two louvered windows, each adorned with decorative crochets and finials. There are pinnacles at all four corners.

On the South Side we see the remains of the monastic buildings. The north and east walks of the cloisters alone remain, except a few traces of the western walk, and the north is a restoration. We will visit the east walk from the Cathedral. Passing round to the North Side we notice the North Porch built in 1873. We have often noticed the figures of the four great doctors of the church—SS. Gregory, Ambrose, Jerome and Augustine. They appear in the sculptures of many of our cathedrals. A great storm of indignation arose at Bristol when it was proposed to place these figures here, and the four Evangelists were substituted. We can pass over the modern work, which is not wholly satisfactory, and notice the interesting character of the eastern portion. The north transept has some remains of Norman work in the north wall. The north window is modern in memory of Colston, and replaces[142] an Early English window. The building adjoining is the Elder Lady Chapel, which is Early English work of the early thirteenth century. The east window is Decorated and is rather earlier than the choir built by Abbot Knowle (1306-1332). The battlemented parapet is, of course, a later addition. The buttresses of the chapel are Decorated, and there are curious little flying buttresses connecting the two pinnacles. The Lady Chapel at the east end of the Cathedral is of the same date as the choir, and has a large, noble and graceful window. Passing round to the south we see the outside of the Berkeley Chapel, of Decorated design, and adjoining it the sacristy and external walls of the Newton Chapel, chapter-house and modern vestry. Here, too, is the old churchyard. The Central Tower is Perpendicular and was constructed by Abbot Newland (1481-1515) or his successor, Abbot Elliot (1515-1526).

On the South Side, we can see the remains of the monastic buildings. Only the north and east walks of the cloisters are left, with just a few remnants of the western walk, and the north has been restored. We'll visit the east walk from the Cathedral. As we move around to the North Side, we notice the North Porch built in 1873. We've often seen the figures of the four great doctors of the church—SS. Gregory, Ambrose, Jerome, and Augustine. They appear in the sculptures of many of our cathedrals. A huge uproar broke out in Bristol when it was suggested to place these figures here, and the four Evangelists were used instead. We can overlook the modern work, which isn’t entirely satisfying, and focus on the interesting features of the eastern part. The north transept has some remnants of Norman work in the north wall. The north window is modern, dedicated to Colston, and replaces[142] an Early English window. The adjoining structure is the Elder Lady Chapel, an Early English work from the early thirteenth century. The east window is Decorated and predates the choir built by Abbot Knowle (1306-1332). The battlemented parapet is, of course, a later addition. The chapel’s buttresses are Decorated, and there are interesting little flying buttresses linking the two pinnacles. The Lady Chapel at the east end of the Cathedral dates from the same time as the choir and features a large, noble, and graceful window. Moving around to the south, we see the outside of the Berkeley Chapel, designed in the Decorated style, next to the sacristy and the external walls of the Newton Chapel, chapter-house, and modern vestry. Here, there's also the old churchyard. The Central Tower is Perpendicular and was built by Abbot Newland (1481-1515) or his successor, Abbot Elliot (1515-1526).

The Interior

The Interior

Retracing our steps, we enter the Cathedral by the north porch and view the new Nave from the west end. The slender piers and fine vaulting are striking, and the work is in many ways very beautiful. The surface of the walls in the aisles is broken by canopied recesses for tombs, one only being occupied by a marble figure of Dean Elliot. The baptistry is in the south-west or Colston Tower, and is decorated in memory of Bishop Monk. Already there are many memorial windows of good modern glass.

Retracing our steps, we enter the Cathedral through the north porch and take in the new Nave from the west end. The slender columns and elegant vaulting are impressive, and the craftsmanship is beautiful in many aspects. The walls in the aisles have canopied recesses for tombs, with only one currently occupied by a marble figure of Dean Elliot. The baptistry is located in the south-west, or Colston Tower, and is adorned in memory of Bishop Monk. There are already many memorial windows featuring beautiful modern glass.

The North Transept has some original Norman work in the core of the buttresses and in the wall below the north window. Some alterations were made during the Decorated period, probably by Abbot Snow (1332-1341), and the arch leading to north choir aisle is Perpendicular work constructed by Abbot Newland (1481-1515), called "the good abbot." Either he or his successor, Elliot, constructed the groined roof, which has on the bosses sculptured representations of the instruments of the Passion. The north window is modern, in memory of Colston. The well-known writer, "Hugh Conway" (F. Fargus), has a memorial here, and also Jane Porter of literary fame, Sterne's "Maria" (Mrs. Draper), and the parents of Macready, the actor.

The North Transept features some original Norman work in the core of the buttresses and in the wall below the north window. Some changes were made during the Decorated period, likely by Abbot Snow (1332-1341), and the arch leading to the north choir aisle is Perpendicular work built by Abbot Newland (1481-1515), known as "the good abbot." Either he or his successor, Elliot, created the groined roof, which has sculpted representations of the instruments of the Passion on the bosses. The north window is modern, dedicated to Colston. The well-known writer, "Hugh Conway" (F. Fargus), has a memorial here, along with Jane Porter of literary fame, Sterne's "Maria" (Mrs. Draper), and the parents of Macready, the actor.

The South Transept has much Norman work in the lower part of the walls. Part was rebuilt in Early English times. Abbot Snow (1332-1341) continued the work and constructed the arch leading to the south choir aisle. The vault is Perpendicular work by Abbot Elliot (1515-1526).

The South Transept features a lot of Norman architecture in the lower sections of the walls. Some of it was rebuilt during the Early English period. Abbot Snow (1332-1341) continued the work and built the arch that leads to the south choir aisle. The vault is Perpendicular style created by Abbot Elliot (1515-1526).

Bristol
The Central Tower from S E

Bristol
The Central Tower from the Southeast

On the south is a staircase now leading[145] to the consistory court, but which formerly echoed with the tread of the monks as they came here to their midnight services from the dormitory. In this transept there are monuments to Lady Hesketh (1807), the friend of Cowper; William Phillips, the sub-sacrist or verger who prevented the rioters from profaning the Cathedral in 1831; Chantrey's monument of Mrs. Crawford; and most famous of all, Bishop Butler (1752), one of the most honoured of English divines, the author of The Analogy of Religion. The inscription was written by Southey.

On the south side, there’s a staircase that now leads[145] to the consistory court, but it used to echo with the footsteps of monks coming here for their midnight services from the dormitory. In this transept, you’ll find monuments to Lady Hesketh (1807), who was a friend of Cowper; William Phillips, the sub-sacrist or verger who stopped rioters from desecrating the Cathedral in 1831; Chantrey's monument of Mrs. Crawford; and most famously, Bishop Butler (1752), one of the most respected English divines and the author of The Analogy of Religion. The inscription was written by Southey.

It is deplorable that a beautiful stone screen of Tudor architecture, which separated the choir from the transept, was ruthlessly destroyed in 1860, and another one erected. This also has been removed, and the view of the east end, with its Decorated piers and arches and the rich glass of the windows, is extremely fine. All the work before us was constructed by Abbot Knowle (1306-1332) and is Decorated. The Norman choir had two bays with a third for a processional path. Knowle added two bays to the choir and built the Lady Chapel. The clustered piers have triple shafts which support the vaulting. The capitals on these shafts have very graceful foliage. The piers have no capitals, but the mouldings run round the arches continuously, as is not unusual in Decorated work. The vaulting is what is known as lierne. Iron screen work divides the aisles from the choir. The reredos is modern, erected in 1899, and has some fine carving. The Stalls were originally Decorated, but "restoration" has destroyed much, and little of the old work remains. There are some curious Misereres: a fox preaching to geese, a tilting with brooms between a man and a woman, one mounted on a pig, the other on a turkey-cock, the story of Reynard the Fox. The pavement is new, and not altogether successful. The organ is a noble instrument placed on the west side, and has been often reconstructed. The Throne is modern and has some fine carving. Passing into the north aisle we notice the peculiar vaulting. It will be seen that the roof of the choir and aisles is the same height, and in order to support the weight of the choir-vault transoms are thrown across the aisles supported on arches, and above a vaulting shaft springs from the centre of the transom. This ingenious plan produces the same effect as a flying buttress and is most ingeniously arranged. The windows have beautiful Decorated tracery and the ball-flower is extensively used in the string-course beneath them. The east[146] window has seventeenth-century glass, said to have been given by Nell Gwynne, more probably by Dean Glemham (1661-1667). It treats of the Resurrection, with Jonah and Abraham's sacrifice as types of the same, the Ascension with Elijah as a type. There are monuments here of Robert Codrington (1618); Harriet Middleton (1826); Paul Bush (1558), the first bishop; Robert Southey, the poet; Bishop Westfield (1644); Bishop Howell (1649); and Mary Mason, wife of the poet, with some touching lines (1767).

It’s unfortunate that a stunning stone screen in Tudor style, which separated the choir from the transept, was destroyed without care in 1860, and another one was put up in its place. This new screen has also been taken down, and the view of the east end, with its beautifully decorated piers and arches and the vibrant stained glass windows, is truly impressive. All the work you see was built by Abbot Knowle (1306-1332) and is in the Decorated style. The Norman choir originally had two bays and a third for a processional path. Knowle added two more bays to the choir and built the Lady Chapel. The clustered piers have triple shafts that support the vaulted ceiling. The capitals on these shafts feature elegant foliage. The piers themselves don’t have capitals, but the moldings run continuously around the arches, which is typical in Decorated work. The vaulting is known as lierne. An iron screen separates the aisles from the choir. The reredos, modern and erected in 1899, features some impressive carving. The Stalls were initially Decorated, but restoration has ruined much of the original work, leaving little behind. There are some interesting Misereres: a fox preaching to geese, a tilt with brooms between a man and a woman, one riding a pig and the other on a turkey-cock, which tells the story of Reynard the Fox. The pavement is new and not entirely successful. The organ is a magnificent instrument located on the west side and has undergone several reconstructions. The Throne is modern and features some fine carving. As we move into the north aisle, we notice the unique vaulting. The roof of the choir and the aisles is the same height, and to support the weight of the choir-vault, transoms are placed across the aisles, supported by arches, with a vaulting shaft rising from the center of the transom. This clever design creates the same effect as a flying buttress and is arranged quite ingeniously. The windows boast beautiful Decorated tracery, and the ball-flower is extensively used in the string-course below them. The east[146] window features seventeenth-century glass, said to have been donated by Nell Gwynne, although it’s more likely from Dean Glemham (1661-1667). It depicts the Resurrection, with Jonah and Abraham's sacrifice as representations, and the Ascension with Elijah as a type. There are monuments here for Robert Codrington (1618), Harriet Middleton (1826), Paul Bush (1558), the first bishop; Robert Southey, the poet; Bishop Westfield (1644); Bishop Howell (1649); and Mary Mason, the poet's wife, with some touching lines (1767).

Between the aisle and the Elder Lady Chapel are the effigies of Maurice, Lord Berkeley (1368), and his wife, Elizabeth. There is a tablet to the memory of Robert Fitzhardinge, the founder of the Cathedral and also of the house of Berkeley. Some Norman corbels will be noticed in the door leading to a staircase in the third bay.

Between the aisle and the Elder Lady Chapel are the statues of Maurice, Lord Berkeley (1368), and his wife, Elizabeth. There's a plaque in memory of Robert Fitzhardinge, the founder of the Cathedral and also of the house of Berkeley. Some Norman corbels can be seen in the door leading to a staircase in the third bay.

The Elder Lady Chapel is Early English and therefore earlier than the choir, and was probably built by Abbot John (1196-1215); it is therefore, as the architectural details testify, very early work. The east window is Decorated. There are some curious grotesques in the spandrels of the arcade—a hunter-goat blowing a horn and carrying a hare on his back, a ram and an ape playing musical instruments, St. Michael with the dragon, and a fox carrying off a goose. The foliage is what is known as stiff leaved, and opposed to the more natural foliage of the Decorated period. The roof is Early Decorated. The eastern Lady Chapel, formerly the chancel of the choir, was built by Abbot Knowle and is Decorated like the rest of the eastern part of the Cathedral. It has a magnificent east window with beautiful tracery. This is a Jesse window, showing the descent of our Lord from Jesse, the father of David, and the glass is in the upper parts of the same date as the stone-work. Above we see the arms of many distinguished families—the Berkeleys, Mowbrays, Beauchamps and others. The glass in the other windows is also of the same period and is of much interest. The parapet under the windows is modern. The reredos is ancient, of the same date as the chapel, and designed by Knowle, but it has been much altered in Perpendicular times. The Sedilia have been much restored. A characteristic feature of this Cathedral is the star-shaped recesses designed by Knowle, which are very beautiful. In one of these is Abbot Newbury's tomb with ball-flower ornament; in another Abbot Hunt (1473). Here, too, is Abbot Newland's tomb, and a modern brass to the memory of Bishop Butler, and at the back of the reredos a brass to Bishop Ellicott.[147]

The Elder Lady Chapel is in the Early English style, making it older than the choir, and it was likely constructed by Abbot John (1196-1215); the architectural details confirm that it is very early work. The east window is in the Decorated style. There are some interesting grotesques in the spandrels of the arcade—a hunter-goat playing a horn while carrying a hare on his back, a ram and an ape playing musical instruments, St. Michael battling the dragon, and a fox stealing a goose. The foliage is what’s known as stiff-leaved, contrasting with the more natural foliage from the Decorated period. The roof is Early Decorated. The eastern Lady Chapel, which was once the chancel of the choir, was built by Abbot Knowle and is Decorated like the rest of the eastern part of the Cathedral. It features a magnificent east window with beautiful tracery. This is a Jesse window, depicting the lineage of our Lord from Jesse, the father of David, and the glass in the upper sections is from the same period as the stonework. Above it, we see the coats of arms of many notable families—the Berkeleys, Mowbrays, Beauchamps, and others. The glass in the other windows is also from the same time and is quite interesting. The parapet under the windows is modern. The reredos is ancient, dating back to the time of the chapel, and was designed by Knowle, though it has been significantly altered in the Perpendicular style. The Sedilia has undergone extensive restoration. A distinctive feature of this Cathedral is the star-shaped recesses designed by Knowle, which are very beautiful. In one of these is Abbot Newbury's tomb adorned with ball-flower ornament; in another lies Abbot Hunt (1473). Here, too, is Abbot Newland's tomb, along with a modern brass in memory of Bishop Butler, and at the back of the reredos, a brass commemorating Bishop Ellicott.[147]

The South Choir Aisle resembles the north. It has a very similar east window, and the same curious vaulting. Two very interesting chapels adjoin this aisle. The Berkeley Chapel is entered by a richly-ornamented doorway which leads into the old sacristy, with its chests for relics and plate, and a hearth for baking sacramental bread. Abbot Knowle was a student of nature and loved to reproduce in stone the fruits and flowers which he saw growing around him. In the ornaments of the doorway we see the ammonite and medlar. The chapel had two altars, as we see the remains of two piscinæ, beneath the two east windows, separated by a screen. There is an altar tomb of Thomas, Lord Berkeley (1321). The lower part of the tomb is Early English. The other chapel is the Newton Chapel, which is Late Decorated and almost Perpendicular in some of its details. The ball-flower has ceased to be used as an ornament. There are many memorials of the Newton family here, and one to Bishop Gray (1834). Returning to the south choir aisle we notice another of the curious recesses adorned with oak leaves, acorns and mistletoe. There are some more Berkeley tombs which furnish interesting studies of the armour of the period.

The South Choir Aisle looks a lot like the north one. It features a very similar east window and the same unique vaulting. Two fascinating chapels are next to this aisle. The Berkeley Chapel has a beautifully decorated doorway that leads into the old sacristy, filled with chests for relics and silverware, plus a hearth for baking sacramental bread. Abbot Knowle was a nature enthusiast and loved to recreate in stone the fruits and flowers he saw growing nearby. In the decorations of the doorway, we can spot the ammonite and medlar. The chapel had two altars, as evident from the remains of two piscine beneath the two east windows, divided by a screen. There’s an altar tomb of Thomas, Lord Berkeley (1321). The lower section of the tomb is Early English. The other chapel is the Newton Chapel, which showcases Late Decorated style with some almost Perpendicular details. The ball-flower is no longer used as decoration. There are numerous memorials of the Newton family here, and one dedicated to Bishop Gray (1834). Back in the south choir aisle, we can observe another of the interesting recesses embellished with oak leaves, acorns, and mistletoe. There are additional Berkeley tombs that provide intriguing insights into the armor of the time.

We now enter the Cloisters. As we have said, only the north and east walks remain; the north is entirely new, and the east has been much restored. The vestibule and chapter-house are, however, part of the original Norman building, and the work is of Transitional character. It is oblong in shape. The east wall is modern and has three windows. The north and south walls have beautiful arcades, and above lattice work and zigzag mouldings. The west wall has three rows of arcading. Twelve stone coffins were found here and a curious piece of ancient sculpture representing our Lord wounding the head of Satan and rescuing a child by means of the Cross. Adjoining the chapter-house was the dormitory. The refectory was on the south side of the cloister garth. It still exists after many transformations and is the house of the master of the Cathedral School.

We now enter the Cloisters. As mentioned, only the north and east walks are left; the north is completely new, and the east has been largely restored. However, the vestibule and chapter-house are part of the original Norman structure, and the work features a Transitional style. It has an oblong shape. The east wall is modern and has three windows. The north and south walls boast beautiful arcades, with lattice work and zigzag moldings above. The west wall displays three rows of arcading. Twelve stone coffins were discovered here, along with an intriguing piece of ancient sculpture depicting our Lord striking the head of Satan and saving a child with the Cross. Next to the chapter-house was the dormitory. The refectory was located on the south side of the cloister garth. It still exists after many changes and is now the residence of the master of the Cathedral School.

The Great Gateway should be visited. The lower part is of Norman character, and was part of the founder's work; the upper is Perpendicular and was the work of Abbot Elliot. He probably renewed the rich Norman ornamentation, so much so that in the opinion of Mr. Godwin, the great authority on Bristol architecture, "the so-called Norman gateway of College Green is no Norman gateway, but a Perpendicular restoration of the old work."[148]

The Great Gateway is worth checking out. The lower section has a Norman style and was created by the founder; the upper part is Perpendicular and was designed by Abbot Elliot. He likely updated the intricate Norman detailing to the extent that, according to Mr. Godwin, a leading expert on Bristol architecture, "the so-called Norman gateway of College Green is not a Norman gateway at all, but a Perpendicular restoration of the original structure."[148]

Another gateway, which formerly led to the palace destroyed in 1831, exists, which is part of the original Norman work of the Cathedral. At the south-west corner of the cloister is an Early English doorway, which formerly led to the refectory. It is a sad pity that so much of the old monastery has been destroyed.

Another gateway, which used to lead to the palace that was destroyed in 1831, still exists and is part of the original Norman work of the Cathedral. At the southwest corner of the cloister is an Early English doorway that used to lead to the refectory. It's really unfortunate that so much of the old monastery has been lost.

Dimensions

Measurements

Total length300 ft.
Length of nave125 ft.
Width of nave69 ft.
Height52 ft.
Area22,500 sq. ft.

Principal Building Dates

Main Building Dates

  • Norman (1142-1170)—Part of transepts, chapter-house, lower part of gateway.
  • Early English (1196-1215)—Elder Lady Chapel, parts of transepts and Berkeley Chapel.
  • Decorated (1306-1332)—Choir, Lady Chapel and stalls. (1332-1341)—Newton Chapel.
  • Perpendicular (1428-1481)—Great Tower, upper part of gateway, roof.
  • Modern—The nave.

The city has a large number of interesting churches. The noble Church of St. Mary, Redcliffe, one of the finest in England, chiefly fourteenth century; All Hallows' (Norman and Perpendicular); Temple Church (Decorated and Perpendicular); St. Philip's, St. Stephen's, St. John's, are the most important.

The city has many fascinating churches. The impressive Church of St. Mary, Redcliffe, one of the best in England, mainly from the fourteenth century; All Hallows' (Norman and Perpendicular); Temple Church (Decorated and Perpendicular); St. Philip's, St. Stephen's, and St. John's are the most significant.


WELLS CATHEDRAL

The beautiful city of Wells entirely owes its origin to the noble church and palace built here in early times, around which the houses and population grew. It is one of the most picturesque in England, situated in the most delightful country, and possessing the most perfect ecclesiastical buildings which can be conceived. History tells us that Ina in 704 built a church here, near a spring dedicated to St. Andrew and known as "The Wells," and Edward the Elder, son of Alfred the Great, formed a bishopric for Somerset and set the bishop's throne here. Three Abbots of Glastonbury became Bishops of Wells, which was richly endowed. The first Norman prelate was Giso, who built some dwellings for the secular canons which were destroyed by his successor, John de Villula, a native of Tours, who erected a palace in their stead. Moreover, he moved the seat of the see to Bath, where he had formerly practised medicine, and Wells was allowed to become ruinous. Bath minster we shall visit presently. There was much ancient rivalry between the two places and sore disputings, which were only partially settled by the conjoining of the title "Bath and Wells." Bishop Robert (1135-1166) had pity on the ruinous state of Wells and rebuilt the church. This took place while Stephen and Matilda were fighting for the crown, and Bishop Robert scorned not to take up arms on behalf of Stephen, and was moreover imprisoned by the adherents of his rival. Almost all of Robert's work has disappeared in subsequent alterations. Jocelyn de Wells (1206-1239) has for many years had the credit of building the main part of this beautiful House of God. It is hard to have one's beliefs and early traditions upset, but modern authorities with much reason tell us that we are wrong, and that another Jocelyn—one Reginald Fitz-Jocelyn (1171-1191)—was the main builder of Wells. Old documents recently discovered decide the question, and moreover the style of the architecture is certainly earlier than the fully-developed Early English of Jocelyn de Wells. The latter, and also Bishop Savaricus (1192-1205) carried out the work, but the whole design and a considerable part of the building are due to Bishop[150] Reginald. Savarac or Savaricus was concerned with the release of Richard I. from his prison in Germany, and was one of the hostages for the payment of his ransom. He styled himself Bishop of Bath and Glastonbury, and when the monks objected he stormed the abbey and beat and imprisoned them. Jocelyn de Wells found his church unfinished and dilapidated. His was a grand era for church-building; moreover, he was a friend of Hugh of Lincoln and Bishop Poore of Salisbury, both consummate architects. So he set to work to finish and repair Reginald's rising church, completed the nave and added that wonderful west front which is one of the glories of this Cathedral. Bishop Burnell (1275-1292) erected in later Early English style the crypt of the chapter-house, which was itself partly built some time late in the Decorated period, probably by Bishop William de la March, a favourite of Edward I., who is said to have advised the plundering of the monasteries. During the episcopate of Drokensford (1309-1329) the central tower was raised, the choir was begun and the Lady Chapel and chapter-house finished. Dean Godelee at this time was a great builder and seems to have devised these additions. Bishop Ralph of Shrewsbury (1329-1363) continued to perfect the Cathedral, enlarging the presbytery and building the fine east end. He did much work outside his church, founding the college, restoring his palaces and fortifying his palace at Wells. The upper part of the Harewell Tower was built by the bishop of that name (1366-1386). This is the south-west tower. The north-west tower was built later still by Bishop Bubwith (1407-1424). This prelate built the east walk of the cloister, the west and south walks being finished by Bishop Beckington (1443-1464) in the Perpendicular style. Wells was then in its full glory. The church, the out-buildings, the episcopal palace, the deanery all combined to form a wonderful architectural triumph, a group of buildings which represented the best achievement of English Gothic art. It was shorn of some of its glory at the Reformation. The church was plundered of the treasures which the piety of many generations had heaped together; the beautiful Lady Chapel in the cloisters was pulled down, and the infamous Duke of Somerset robbed it of its wealth and meditated further sacrilege.

The beautiful city of Wells owes its existence entirely to the noble church and palace built here in early times, around which the houses and population developed. It is one of the most picturesque cities in England, located in a delightful countryside and featuring stunning ecclesiastical buildings. History tells us that Ina built a church here in 704, near a spring dedicated to St. Andrew, which was known as "The Wells." Edward the Elder, son of Alfred the Great, established a bishopric for Somerset and set the bishop’s throne here. Three Abbots of Glastonbury became Bishops of Wells, and the city was richly endowed. The first Norman bishop was Giso, who constructed dwellings for the secular canons, which were later destroyed by his successor, John de Villula, a native of Tours, who built a palace in their place. Additionally, he moved the bishopric to Bath, where he had previously practiced medicine, and Wells fell into ruin. We will visit Bath minster shortly. There was considerable ancient rivalry between the two locations, resulting in many disputes that were only somewhat resolved by combining the title to "Bath and Wells." Bishop Robert (1135-1166) felt sorry for the dilapidated condition of Wells and rebuilt the church. This occurred during the conflict between Stephen and Matilda for the crown, and Bishop Robert did not hesitate to take up arms for Stephen, even being imprisoned by Matilda's supporters. Almost all of Robert's work has vanished due to later modifications. Jocelyn de Wells (1206-1239) has long been credited with building the main part of this beautiful House of God. It's difficult to have one's beliefs and traditional views challenged, but modern experts reasonably assert that we are mistaken and that another Jocelyn—Reginald Fitz-Jocelyn (1171-1191)—was the true main builder of Wells. Recently discovered old documents settle this debate, and the architectural style certainly predates the fully-developed Early English style of Jocelyn de Wells. The latter, along with Bishop Savaricus (1192-1205), completed the work, but the overall design and a significant portion of the building are attributed to Bishop Reginald. Savaricus was involved in securing the release of Richard I from captivity in Germany and was one of the hostages for his ransom. He referred to himself as the Bishop of Bath and Glastonbury, and when the monks protested, he stormed the abbey, beating and imprisoning them. Jocelyn de Wells found his church unfinished and in disrepair. His was a remarkable time for church-building; additionally, he was friends with Hugh of Lincoln and Bishop Poore of Salisbury, both skilled architects. So he set about finishing and restoring Reginald’s church, completing the nave and adding the magnificent west front that stands as one of the Cathedral’s glories. Bishop Burnell (1275-1292) constructed the chapter-house crypt in the later Early English style, which itself was partly built during the Decorated period, likely by Bishop William de la March, a favorite of Edward I, who is thought to have suggested the looting of the monasteries. During Bishop Drokensford’s reign (1309-1329), the central tower was raised, the choir was started, and both the Lady Chapel and chapter-house were completed. Dean Godelee was a prominent builder at this time and appears to have designed these additions. Bishop Ralph of Shrewsbury (1329-1363) continued to enhance the Cathedral by enlarging the presbytery and constructing the fine east end. He also accomplished much outside of his church, founding the college, restoring his palaces, and fortifying his palace in Wells. The upper portion of the Harewell Tower was built by the bishop of that name (1366-1386). This is the south-west tower. The north-west tower was built later by Bishop Bubwith (1407-1424). This prelate constructed the east walk of the cloister, while the west and south walks were completed by Bishop Beckington (1443-1464) in the Perpendicular style. By then, Wells was at the height of its splendor. The church, out-buildings, episcopal palace, and deanery all combined to form an architectural masterpiece, a collection of structures representing the pinnacle of English Gothic art. Its glory diminished during the Reformation, as the church was stripped of treasures accumulated by the piety of generations; the beautiful Lady Chapel in the cloisters was demolished, and the notorious Duke of Somerset plundered its wealth and contemplated further sacrilege.

Amongst these despoilers and desecrators of churches there was a mighty hunger for lead ("I would that they had found it scalding," exclaims an old chaplain of Wells). Once the richest of sees, it would probably have been suppressed altogether, but for[151] the advent of Queen Mary to the throne, who appointed Bishop Bourn and restored the palace. In the Civil War it escaped. Some damage was done, the palace was despoiled, and at the Restoration much repair was found needful. Monmouth's rebellion wrought havoc here. The rebels came here in no amiable temper, defaced the statues on the west front, and did much wanton mischief, and would have caroused about the altar had not Lord Grey stood before it with his sword drawn and thus preserved it from the insults of ruffians. Then came the evils of "restoration." A terrible renewing was begun in 1848, when the old stalls were destroyed and much damage done. Better things were accomplished in 1868, save that the grandeur of the west front was belittled by a pipy restoration, when Irish limestone with its harsh hue was used to embellish it. In the palace, too, modern ideas have effaced much of the refinement of its thirteenth-century beauty.

Among these plunderers and desecrators of churches, there was a strong desire for lead ("I wish they had found it boiling hot," laments an old chaplain of Wells). Once the wealthiest of sees, it might have been completely shut down if not for [151] Queen Mary's accession to the throne, who appointed Bishop Bourn and restored the palace. It survived the Civil War, although some damage occurred; the palace was looted, and during the Restoration, a lot of repairs were needed. Monmouth's rebellion caused significant destruction here. The rebels arrived in a hostile mood, vandalized the statues on the west front, and caused a lot of unnecessary damage, and would have partied around the altar if Lord Grey hadn't stood in front of it with his sword drawn, protecting it from the attacks of the ruffians. Then came the troubles of "restoration." A terrible renovation began in 1848, when the old stalls were destroyed and much damage was inflicted. Better work was done in 1868, although the grandeur of the west front was diminished by a poorly executed restoration, using harsh-looking Irish limestone to adorn it. In the palace, modern ideas have also erased much of the elegance of its thirteenth-century beauty.

The Exterior

The Outside

Fergusson declares that though Wells is one of the smallest it is perhaps, taken altogether, the most beautiful of English cathedrals. Some of the distant prospects are perhaps the best. There is a fine view from the Shepton-Mallett Road. We enter the precincts by Browne's Gate at the end of Sadler Street, and see before us the magnificent West Front, a masterpiece of art superior to any in this country or abroad. It is 150 feet in width and 70 feet high. Six deep buttresses project from its face. There are six tiers of sculpture. The doors are small. Not for the living throng, but to the dead was this front dedicated who lie in the cemetery at its feet.[12] Here is the history of God's Church on earth expressing its faith and pointing to the hope of the Resurrection. Its style is Early English and is intermediate between the west front of Lincoln and Salisbury. The upper part of the towers is Perpendicular, that on the north being finished by Bishop Bubwith (1407-1424), that on the south by Harewell (1366-1386). In the lowest tier the sculptures have nearly all gone. In the second are angels in small quatrefoils. In the third subjects from the Old and New Testaments. In the fourth and fifth there are 120 statues of kings and bishops and heroes of English history from Egbert to Henry II. The sixth is called the Resurrection tier. And above are the angels and Apostles, and finally the Lord in glory. It is difficult to identify the statues with any feeling of certainty, though[152] many lists have been published which may, or may not, be correct. There can be no doubt about the excellence of the sculpture, and all authorities unite in praising them as being the perfection of design and execution. Flaxman said of them that in them there is a beautiful simplicity, an irresistible sentiment, and sometimes a grace excelling more modern productions.

Fergusson states that although Wells is one of the smallest, it might actually be the most beautiful of English cathedrals overall. Some of the distant views are likely the best. There's a great view from the Shepton-Mallett Road. We enter the grounds through Browne's Gate at the end of Sadler Street and see the stunning West Front before us, a work of art that surpasses anything else in this country or abroad. It measures 150 feet wide and 70 feet tall. Six deep buttresses jut out from its face. There are six tiers of sculptures. The doors are small, meant not for the living crowd, but dedicated to the dead who rest in the cemetery at its feet.[12] Here is the history of God’s Church on earth reflecting its faith and pointing towards the hope of the Resurrection. Its style is Early English, somewhere between the west front of Lincoln and Salisbury. The upper sections of the towers are Perpendicular, with the north tower completed by Bishop Bubwith (1407-1424) and the south by Harewell (1366-1386). In the lowest tier, most of the sculptures have worn away. The second features angels in small quatrefoils. The third displays subjects from the Old and New Testaments. The fourth and fifth tiers showcase 120 statues of kings, bishops, and heroes of English history from Egbert to Henry II. The sixth is known as the Resurrection tier. Above are the angels and Apostles, culminating with the Lord in glory. It’s hard to identify the statues with any certainty, although[152] many lists exist that may or may not be accurate. There’s no doubt about the quality of the sculpture, and all experts agree in praising them as the epitome of design and execution. Flaxman remarked that they exhibit a beautiful simplicity, an irresistible sentiment, and sometimes a grace that surpasses more modern works.

The North Porch is earlier than the west front and possesses transitional features. The zigzag ornament is used, and shows that Norman traditions have not yet passed away; though Early English foliage appears on the weather moulding. On the capitals on the east side are representations of the martyrdom of St. Edmund, who shared the fate of St. Sebastian and was afterwards beheaded. Mystic animals appear in the panels on either side of the arch—one is a cockatrice. Above, three lancets light the parvise.

The North Porch is older than the west front and has transitional features. The zigzag decoration is present, indicating that Norman traditions are still alive; although Early English foliage can be seen on the weather molding. On the capitals on the east side, there are depictions of the martyrdom of St. Edmund, who suffered the same fate as St. Sebastian and was later beheaded. Mythical animals are featured in the panels on either side of the arch—one of them is a cockatrice. Above, three lancet windows light up the parvise.

The Central Tower is 182 feet high, and is Early English as far as the height of the roof. In the Decorated period the upper part was added, which caused much disaster, as the foundations were unable to bear the additional weight. Very skilful treatment was required, as we shall see when we enter the church.

The Central Tower is 182 feet tall, and its roof is in the Early English style. During the Decorated period, the upper section was added, which led to significant problems since the foundations couldn't support the extra weight. A lot of expertise was needed, as we’ll see when we go inside the church.

The Nave is Early English, but Perpendicular tracery has been inserted in the windows, and the walls of both the aisles and clerestory have been crowned with a parapet of Decorated work. The North Transept is rather earlier than the nave, and retains much of the Transitional character. It has two aisles, and is not so richly ornamented as the nave. The windows are pointed and have Perpendicular tracery. Passing on we come to the Chain Gate, a very beautiful structure erected by Bishop Beckington (1443-1465) in Perpendicular style. Figures of St. Andrew and other saints appear in the niches. The gallery over the Chain Gate connects the Cathedral with the Vicar's College. After passing under the gate we see the beautiful Chapter-House, which is octagonal, we are surprised to find the chapter-house in this position and far removed from the cloisters, but this is accounted for by the fact that secular canons served this Cathedral, and not monks; hence the cloisters were an ornamental appendant rather than the centre of the monastic life. The chapter-house was finished in 1319 in Decorated style under the guidance of Dean John de Godilee, who employed one William Joy as the master-mason. There are some curious gargoyles here. The Choir and Lady Chapel form a beautiful composition. The western portion of the choir was until recently attributed to Jocelyn.

The Nave is Early English, but Perpendicular tracery has been added to the windows, and both the aisles and clerestory walls are topped with a parapet of Decorated work. The North Transept is slightly older than the nave and retains much of its Transitional character. It has two aisles and isn’t as richly decorated as the nave. The windows are pointed and feature Perpendicular tracery. Moving on, we reach the Chain Gate, a very beautiful structure built by Bishop Beckington (1443-1465) in the Perpendicular style. Statues of St. Andrew and other saints are found in the niches. The gallery above the Chain Gate connects the Cathedral with the Vicar's College. After passing under the gate, we see the stunning Chapter-House, which is octagonal. It’s surprising to find the chapter-house here, so far from the cloisters, but this is because secular canons served this Cathedral instead of monks; thus, the cloisters were more of an ornamental addition rather than the center of monastic life. The chapter-house was completed in 1319 in the Decorated style under Dean John de Godilee, who hired one William Joy as the master-mason. There are some interesting gargoyles here. The Choir and Lady Chapel create a beautiful composition. The western part of the choir was until recently attributed to Jocelyn.

Wells Cathedral

Wells Cathedral

It is now generally believed to have been the work of Bishop Reginald,[155] Jocelyn's predecessor. The eastern portion is the work of Bishop Ralph (1329-1363), the Lady Chapel was finished in 1326. All this is therefore Decorated, and windows of the same style have been inserted in the earlier western portion. There were two Lady Chapels adjoining the cloisters, but these were ruthlessly destroyed by Bishop Barlow in 1552. The Cloister does not possess the usual features of a monastic church. It is unusually large, and there are only three walks, the north being absent. The wall of the east walk is Early English, built by Jocelyn, but the rest was rebuilt by Bishop Bubwith; the west and south walks by Bishop Beckington and finished soon after his death. The style is Perpendicular. The grotesque bosses are interesting. An Early English doorway leads to the palace. Over the west walk is the singing-school, and over the east the library. Beckington's rebus (a beacon and a tun) occurs in the bosses. The garth is known as "Palm Churchyard" from the yew tree in the centre. Branches of yews were carried in processions on Palm Sunday, and this probably accounts for the prevalence of yew trees in churchyards. The cloisters have been made the receptacle of many monuments removed from the Cathedral. The Library over the east walk, built by Bubwith, has about 3000 volumes, and contains the books belonging to Bishop Ken. An Aldine edition of Aristotle has the autograph and notes of Erasmus, and there are several important MSS., the chains which formerly attached the books to the desks, a thirteenth-century pyx-cover, and a crozier of the same period.

It is now widely believed that Bishop Reginald,[155] Jocelyn's predecessor, was behind this work. The eastern section was created by Bishop Ralph (1329-1363), and the Lady Chapel was completed in 1326. Everything is therefore in the Decorated style, and windows of the same design have been added to the earlier western part. There were two Lady Chapels next to the cloisters, but these were harshly destroyed by Bishop Barlow in 1552. The Cloister doesn't have the typical features of a monastic church. It's unusually large, and there are only three walks, with the north one missing. The wall of the east walk is in the Early English style, built by Jocelyn, while the rest was reconstructed by Bishop Bubwith; the west and south walks were finished by Bishop Beckington shortly after his death. The style is Perpendicular. The grotesque bosses are quite interesting. An Early English doorway leads to the palace. Above the west walk is the singing school, and above the east is the library. Beckington's rebus (a beacon and a tun) can be seen in the bosses. The courtyard is known as "Palm Churchyard" because of the yew tree in the center. Branches of yew trees were carried in processions on Palm Sunday, which likely explains the abundance of yew trees in churchyards. The cloisters have become a place for many monuments taken from the Cathedral. The Library above the east walk, built by Bubwith, holds about 3000 volumes and includes the books belonging to Bishop Ken. An Aldine edition of Aristotle features the autograph and notes of Erasmus, along with several important manuscripts, chains that once linked the books to the desks, a 13th-century pyx cover, and a crozier from the same period.

The Bishop's Palace, unfortunately much restored in 1846, is one of the finest examples of a thirteenth-century house existing in England. It was begun by Jocelyn. The great hall, now in ruins, built by Bishop Burnell (1275-1292) for the purpose of great entertainments, was destroyed by Barlow. The chapel is Decorated. The gatehouse, moat and fortifications were constructed by Bishop Ralph of Shrewsbury. The Deanery was built by Dean Gunthorpe in 1475, chaplain to Edward IV. On the north is the famous Vicar's Close, which has forty-two houses, constructed mainly by Bishop Beckington (1443-1464), with a common hall erected by Bishop Ralph (1340), and chapel by Bubwith, but altered a century later for the use of the Vicars-Choral. We notice the old fireplace, the pulpit from which one of the brethren read aloud during meals, and an ancient painting representing Bishop Ralph making his grant to the kneeling vicars, and some additional figures painted in the time of Elizabeth.[156]

The Bishop's Palace, unfortunately heavily restored in 1846, is one of the best examples of a thirteenth-century house still standing in England. It was started by Jocelyn. The great hall, now in ruins, was built by Bishop Burnell (1275-1292) for grand celebrations but was destroyed by Barlow. The chapel is in the Decorated style. The gatehouse, moat, and fortifications were built by Bishop Ralph of Shrewsbury. The Deanery was constructed by Dean Gunthorpe in 1475, who was a chaplain to Edward IV. To the north is the well-known Vicar's Close, which contains forty-two houses mainly built by Bishop Beckington (1443-1464), along with a common hall created by Bishop Ralph (1340) and a chapel by Bubwith, though it was modified a century later for the Vicars-Choral. We can see the old fireplace, the pulpit from which one of the brethren read aloud during meals, and an ancient painting depicting Bishop Ralph granting his permission to the kneeling vicars, along with some additional figures painted during Elizabeth's reign.[156]

The Interior

The Interior

Few will fail to be impressed by the many beauties of this glorious Nave, which we will gaze at from the west end. It is rather narrow, but the proportions are good, and the magnificent clustered columns and enriched capitals, the groups of bearing shafts, grotesque carvings, and the fine vault, all combine to form a noble structure. The curious inverted arches at the east end of the nave are remarkable. These were added early in the fourteenth century to save the collapsing central tower; and so skilfully was the work done that the object of the builders was completely accomplished. The nave has generally been assigned to Jocelyn, but architects have noticed that it is only a little removed from the Norman style, and recent investigators have shown that the greater part is the work of Bishop Reginald (1171-1191). The four eastern bays are assigned to him, and the rest to Jocelyn. A close inspection will reveal several points of difference between the earlier and later work. The heads of a king and bishop between the fourth and fifth piers (counting from the west) mark the change. The difference may be thus tabulated[13]

Few will be unimpressed by the many beauties of this glorious Nave, which we will look at from the west end. It is somewhat narrow, but the proportions are good, and the magnificent clustered columns and detailed capitals, the groups of supporting shafts, bizarre carvings, and the beautiful vault all come together to create a grand structure. The unusual inverted arches at the east end of the nave are striking. These were added early in the fourteenth century to support the collapsing central tower, and the work was done so skillfully that the builders' goal was fully achieved. The nave is generally attributed to Jocelyn, but architects have noted that it closely resembles the Norman style, and recent studies have shown that most of it was created by Bishop Reginald (1171-1191). The four eastern bays are credited to him, while the rest is assigned to Jocelyn. A detailed inspection will reveal several differences between the earlier and later work. The heads of a king and bishop between the fourth and fifth piers (counting from the west) indicate the change. The difference may be thus tabulated[13]

EastWest
Masonry in small courses of stone.The blocks are larger.
Small human heads at angles of piers.No heads.
Grotesque animals in tympana of triforium.Foliage and larger heads.
Medallions above triforium sunk in the wall.Flush with the wall.
Capitals plainer.More ornamented and richer.

The piers are octagonal with clustered shafts. The capitals are enriched with foliage. Birds, animals and monsters twine and perch among the foliage. The triforium arcade is continuous, and composed of lancet openings. The clerestory windows have Perpendicular tracery inserted by Beckington. The roof is vaulted, with bosses of foliage. The Music Gallery stands in the central bay [157]on the south side erected in Perpendicular style, and near it formerly was another gallery supported by two brackets, on which are carved the heads of a king and bishop. The curious and grotesque carvings should be carefully studied. The west end has an arcade of five arches. Above are three lancets with dog-tooth moulding and Perpendicular tracery. The glass was collected by Dean Creyghton on the Continent during his exile with Charles II., and represents the life of St. John Baptist. Its date is 1507. The other windows have the figures of King Ina and Bishop Ralph. The north and south aisles correspond with the nave in their architecture. Perpendicular tracery has been inserted in the windows. Under the north-west tower is the Chapel of the Holy Cross, now used as a vestry, and the opposite Chapel is now used by the ringers. There are two beautiful chantries in the nave—one is Bishop Bubwith's Chapel (1421), with much mutilated east end; the other is Sugar's Chantry, formerly dedicated to St. Edmund. Hugh Sugar, dean of Wells, died in 1489. The fan-tracery of the roof, the niches and the cornice of angels are worthy of notice. The Pulpit was erected by Bishop Knight (1541-1547). The lectern is by Bishop Creyghton, who erected the west window, and shared Charles II.'s exile. The Transepts are rather earlier than the nave, and are part of Reginald's work. They have aisles, and the capitals of the piers are richly sculptured. In the South Transept we see on the west Elias, a woman extracting a thorn from her foot, a man with toothache, the grape-stealers and their fate. On the east there is only foliage and no figures. The Chapel of St. Calixtus is on the east, containing the beautiful monument of Dean Husse (1305), with its finely-carved panels. The subjects are the Annunciation, God the Father, and some ecclesiastics. The other Chapel is that of St. Martin, now a vestry, and has the tomb of a Chancellor of Wells (1454). In the transept are the monuments of Lady Lisle (1464), wife of the Earl of Shrewsbury, and of Bishop William de la Marchia (1302). The Font is Norman, and probably the only remaining link with the early church built by Bishop Robert (1136-1166). The cover is Jacobean. The North Transept resembles the south. Here we see again a series of strange carvings, amongst which are Moses and Aaron, man with goose, woman with toothache. The reason why so many representations of this distressing malady occur is that the shrine of St. William Bytton (1274) was famous for its cures of persons so suffering. On the east are the Chapels of St. David, with tomb of Bishop Still (1607), and Holy Cross with tomb of[158] Bishop Kidder (1703). Another tomb is that of Bishop Cornish (1513). The famous Clock is here with its tilting knights and human-shaped striker, who perform wondrous things when the expiration of each hour summons them to action. We will not dispel the curiosity of the visitor by any description of the performance, which is popular, and should not be missed.

The piers are octagonal with clustered shafts. The capitals are decorated with foliage. Birds, animals, and monsters twist and perch among the leaves. The triforium arcade is continuous and made up of lancet openings. The clerestory windows feature Perpendicular tracery added by Beckington. The roof is vaulted, with bosses shaped like foliage. The Music Gallery is in the central bay on the south side, built in the Perpendicular style, and nearby was another gallery supported by two brackets, which are carved with the heads of a king and a bishop. The strange and grotesque carvings deserve careful examination. The west end has an arcade with five arches. Above are three lancets with dog-tooth molding and Perpendicular tracery. The stained glass was collected by Dean Creyghton on the Continent during his exile with Charles II and depicts the life of St. John the Baptist. It dates back to 1507. The other windows feature figures of King Ina and Bishop Ralph. The north and south aisles match the nave in their architecture. Perpendicular tracery has been added to the windows. Under the northwest tower is the Chapel of the Holy Cross, currently used as a vestry, and the opposite chapel is now for the bell ringers. There are two beautiful chantries in the nave—one is Bishop Bubwith's Chapel (1421), with a much-damaged east end; the other is Sugar's Chantry, formerly dedicated to St. Edmund. Hugh Sugar, the dean of Wells, died in 1489. The fan-tracery of the roof, the niches, and the cornice of angels are notable. The Pulpit was built by Bishop Knight (1541-1547). The lectern is from Bishop Creyghton, who also erected the west window and shared Charles II's exile. The Transepts are slightly older than the nave and are part of Reginald's work. They have aisles, and the capitals of the piers are richly carved. In the South Transept, we see on the west a depiction of Elias, a woman removing a thorn from her foot, a man with a toothache, and the grape-stealers and their fate. On the east, there is only foliage and no figures. The Chapel of St. Calixtus is on the east, containing the beautiful monument of Dean Husse (1305), with its finely carved panels. The subjects include the Annunciation, God the Father, and some ecclesiastics. The other Chapel is that of St. Martin, now a vestry, and holds the tomb of a Chancellor of Wells (1454). In the transept are the monuments of Lady Lisle (1464), wife of the Earl of Shrewsbury, and of Bishop William de la Marchia (1302). The Font is Norman, likely the only remaining link to the early church built by Bishop Robert (1136-1166). The cover is Jacobean. The North Transept resembles the south. Here again, we see a series of strange carvings, including Moses and Aaron, a man with a goose, and a woman with a toothache. The reason for the numerous representations of this distressing condition is that the shrine of St. William Bytton (1274) was famous for curing such ailments. On the east are the Chapels of St. David, with the tomb of Bishop Still (1607), and Holy Cross with the tomb of Bishop Kidder (1703). Another tomb is that of Bishop Cornish (1513). The famous Clock is here with its tilting knights and human-shaped striker, which perform amazing actions every hour when summoned. We won't spoil the visitor's curiosity by describing the performance, which is popular and should not be missed.

The Tower is of Early English date as far as the roofs, and has a fine fan-tracery vault. As we have said, it was raised in the Decorated period, and the superstructure caused a dangerous settlement, which was counteracted by the inverted arches, and some flying buttresses.

The Tower dates back to the Early English period when it comes to the roofs and features an impressive fan-tracery vault. As mentioned earlier, it was built during the Decorated period, and the upper structure resulted in a risky settlement, which was addressed by the inverted arches and a few flying buttresses.

The Choir-Screen is Decorated, and has not been improved by modern restorers. Above it is the organ, a modern instrument, which replaces the old organ erected by Dean Creyghton.

The Choir-Screen is decorated and hasn't been updated by modern restorers. Above it is the organ, a contemporary instrument that replaces the old organ installed by Dean Creyghton.

The Choir is very beautiful, but it is only a shadow of what it was before the evil hand of the restorer rested heavily upon it. It is terrible to contemplate the mischief which has been accomplished here in the fatal restoration of 1848. However, it would have been difficult to efface all its beauties, and some of these happily remain. The three west bays are probably Reginald's work, and were formerly attributed to Jocelyn; the rest is Decorated, and two of the west piers have been converted into this style. There is no triforium, its place being taken by rich tabernacle work. At the east end there are three graceful arches; and above these rich tabernacle work, and a large window of seven lights with Late Decorated tracery. There is a lierne vault. The vandals of the nineteenth century destroyed nearly all of the old woodwork, and substituted canopies of Doulting stone. The pulpit is modern; the throne was erected by Beckington, but has unfortunately been much restored. The Misereres have happily been saved, and are very remarkable. They are Early Decorated, and can scarcely be surpassed. Amongst the many curious subjects are a mermaid, griffin and various monsters, two goats butting, cats, peacock, cock, fox and geese, lions, rabbits, etc.

The Choir is beautiful, but it's just a shadow of what it used to be before the damaging touch of the restorer took over. It's sad to think about the destruction caused by the disastrous restoration of 1848. Still, it would have been tough to erase all its beauty, and luckily, some aspects remain. The three west bays are likely Reginald's work, once attributed to Jocelyn; the rest is in the Decorated style, with two of the west piers changed to match. There’s no triforium; instead, there's elaborate tabernacle work. At the east end, you’ll find three elegant arches topped with more tabernacle work and a large seven-light window featuring Late Decorated tracery. There’s a lierne vault. The vandals of the nineteenth century destroyed nearly all the old woodwork and replaced it with canopies made of Doulting stone. The pulpit is modern; the throne was built by Beckington but has unfortunately undergone significant restoration. The Misereres were thankfully preserved and are quite remarkable. They’re Early Decorated and are hard to beat. Among the many interesting designs are a mermaid, griffin, and various creatures, including two goats butting, cats, a peacock, a rooster, a fox, geese, lions, rabbits, and more.

Entrance to Crypt.

Entrance to Crypt.

The glass of the east window, and of those on each side of it, is fourteenth-century work (circa 1330). The east window is very fine, and is a Jesse window, showing the genealogy of our Lord from the "Stem of Jesse," with figures of kings and prophets, the Virgin, and finally the Crucifixion and the Judgment. In the north-east window is a figure of St. George. The South Choir Aisle is of the same character as the choir; the windows are Decorated. Here is[159] the famous monument of Bishop Bytton (1274), who was canonised, and whose tomb was much resorted to by pilgrims, especially by those who suffered from toothache. This is the most ancient example of an incised slab in England. Near the saint lie Bishop Beckington (1464), (who did so much for this Cathedral), and Bishop Hervey (1894). Below the effigy is a skeleton-like figure, which was intended to proclaim the moral maxim, memento mori. The iron-work should be noticed. Here also are the tombs of Bishop Harewell (1386), Bishop Hooper (1727), and Bishop Lake (1626). In the Chapel of St. John the Evangelist are buried Dean Gunthorpe (1498), the builder of the Deanery, and Dean Jenkyns (1854), who was responsible for the "restoration" of the choir. There is a fine Decorated piscina here. The Retro-Choir is very beautiful. Slender piers of Purbeck marble support the fine vault. The carving of the capitals and bosses is very excellent. All is in the Decorated style. The Lady Chapel is of the same date and style, finished in 1326. Its shape is pentagonal, and it is of rare beauty. The glass is of the same date as that of the choir, but has been restored. Angels bearing the instruments of the Passion appear in the east window, and in the tracery of the other windows are the Evangelistic emblems and heads of patriarchs and saints. At the south-east corner of the retro-choir was St. Catherine's Chapel. The glass is old and rich. There is a monument by Chantrey of John Phelips, and that of Bishop Drokensford (1329), who was bishop during the building of the Lady Chapel, and part of the choir is a graceful structure. At the opposite corner is St. Stephen's Chapel, and then we enter the north-east transept or Chapel of St. John Baptist, which[160] contains Bishop Creyghton's tomb (1672), also monuments of John de Myddleton (1337), Bishop Berkeley (1581), Dean Forrest (1446). The North Choir Aisle has the tomb of Bishop Ralph (1363), and an effigy, attributed to Bishop Giso (1088). Bishop Jocelyn caused several of these effigies to be executed, in memory of his predecessors. On the north is a door leading to a vaulted passage, which conducts us to the crypt of the chapter-house. Notice the curious carved heads in this passage. There is a curious stone lantern in the wall near the inner door. This crypt or undercroft is on the same level as the floor of the church, and was used as a treasury. It was finished about 1286, and is Late Early English. There is a massive octagonal pier in the centre, and eight other round piers, which support the vaulting. A piscina in the doorway has a curious sculptured dog gnawing a bone. Here are preserved a cope chest, some stone coffins, and other treasures. Retracing our steps to the aisle, we enter the noble Staircase leading to the chapter-house. It is Early Decorated, the door at the upper end being added in the Perpendicular period, when the Chain Gate was erected. Two Decorated windows light the staircase. The Chapter-House, octagonal in plan, is entered by a fine doorway composed of double arches. There is a curious boss here, composed of four bearded heads. There is a central pillar, with clustered shafts of Purbeck marble, from which the beautiful ribs of the vaulted roof spring. There are eight windows, the mouldings of the arches being ornamented with ball-flower, and retaining some old glass. An arcade runs round the wall under the windows, with ornamented canopies, and beneath this are the stone benches. Sculptured heads and grotesques appear in the ornamentation of the arches. This chapter-house is later than the staircase, and was probably built by Bishop William de la Marchia (1293-1302), the vault being added after his time, and finished in 1319.

The glass in the east window and those on either side is from the 14th century (around 1330). The east window is stunning and is a Jesse window, depicting the genealogy of Jesus from the "Stem of Jesse," featuring figures of kings and prophets, the Virgin Mary, and ultimately the Crucifixion and Judgment. In the north-east window, there’s a figure of St. George. The South Choir Aisle matches the choir in style; the windows are Decorated. Here is[159] the famous monument of Bishop Bytton (1274), who was canonized and whose tomb was frequently visited by pilgrims, especially those suffering from toothaches. This is the oldest example of an incised slab in England. Near the saint are the remains of Bishop Beckington (1464), who contributed greatly to this Cathedral, and Bishop Hervey (1894). Below the effigy is a skeletal figure meant to convey the moral lesson, memento mori. The ironwork is noteworthy. There are also tombs of Bishop Harewell (1386), Bishop Hooper (1727), and Bishop Lake (1626). In the Chapel of St. John the Evangelist, you'll find the graves of Dean Gunthorpe (1498), the builder of the Deanery, and Dean Jenkyns (1854), who oversaw the "restoration" of the choir. There’s a beautiful Decorated piscina here. The Retro-Choir is exquisite. Slender pillars of Purbeck marble support the lovely vault. The carving on the capitals and bosses is outstanding. Everything is in the Decorated style. The Lady Chapel is from the same period and style, completed in 1326. Its shape is pentagonal and it’s exceptionally beautiful. The glass dates to the same time as that of the choir but has been restored. Angels holding the instruments of the Passion appear in the east window, and in the tracery of the other windows are emblems of the Evangelists and heads of patriarchs and saints. In the south-east corner of the retro-choir was St. Catherine's Chapel. The glass here is old and rich. There’s a monument by Chantrey for John Phelips, and another for Bishop Drokensford (1329), who was bishop during the construction of the Lady Chapel. Some parts of the choir are gracefully structured. In the opposite corner is St. Stephen's Chapel, and then we enter the north-east transept or Chapel of St. John the Baptist, which[160] contains Bishop Creyghton’s tomb (1672), along with monuments for John de Myddleton (1337), Bishop Berkeley (1581), and Dean Forrest (1446). The North Choir Aisle holds the tomb of Bishop Ralph (1363) and an effigy attributed to Bishop Giso (1088). Bishop Jocelyn commissioned several of these effigies in memory of his predecessors. To the north, a door leads to a vaulted passage that takes us to the crypt of the chapter-house. Pay attention to the oddly carved heads in this passage. There’s a peculiar stone lantern in the wall near the inner door. This crypt or undercroft is level with the church floor and was used as a treasury. It was completed around 1286 and is Late Early English in style. A massive octagonal pier stands in the center, along with eight other round piers supporting the vaulting. A piscina in the doorway features a curious sculpture of a dog chewing a bone. Here you can find a cope chest, some stone coffins, and other treasures. Backtracking to the aisle, we enter the impressive Staircase leading to the chapter-house. It is Early Decorated, with the door at the upper end added in the Perpendicular period when the Chain Gate was built. Two Decorated windows illuminate the staircase. The Chapter-House, which is octagonal in shape, is accessed through a beautiful doorway with double arches. There’s an interesting boss here made up of four bearded heads. A central pillar, with clustered shafts of Purbeck marble, supports the lovely ribs of the vaulted ceiling. There are eight windows, with the arch moldings decorated with ball-flower and some old glass remaining. An arcade runs around the wall beneath the windows, with ornate canopies, and beneath this are stone benches. Sculptured heads and grotesques feature in the decorations of the arches. This chapter-house is later than the staircase and was likely built by Bishop William de la Marchia (1293-1302), with the vault added after his time, completed in 1319.

Dimensions

Dimensions

Total length383 ft.
Length of nave161 ft.
Breadth of nave82 ft.
Height of nave67 ft.
Length of choir103 ft.
Length of transepts135 ft.
Height of towers160 ft.
Area29,070 sq. ft.

Principal Building Dates[161]

Principal Building Dates

  • Early Norman—Font.
  • Transition (1174-1191)—Eastern bays of nave, transepts, north porch, and west bays of choir.
  • Early English (1218-1286)—West front, western part of nave, undercroft of chapter-house, palace.
  • Early Decorated—Staircase to chapter-house.
  • Decorated (1293-1363)—Chapter-house, Lady Chapel, central tower, inverted arches, east part of choir.
  • Perpendicular (1386-1400)—Western towers, gateways, Chain Gate, Deanery.

BATH ABBEY

For some time Bath was the rival of Wells, and hot and fierce was the contention between the monks of St. Peter and the canons of St. Andrew at Wells. The monastery was founded here in Saxon times by Offa in 775. In Early Norman times, John de Villula of Tours, who is said to have practised medicine at Bath, became Bishop of Wells, and, by grant from William II., removed the seat of the bishopric to Bath, and rebuilt the Abbey Church, which now became a Cathedral. But the monks liked not this arrangement. In the time of Bishop Robert (1135-1166), in order to settle their disputes, it was decided that the bishop should be styled "of Bath and Wells." But even this did not produce peace. When Jocelyn died the monks of Bath elected Roger without the consent of the canons of Wells, and both chapters nearly ruined themselves by appeals to the Pope and costly litigation. The church at Bath fell much into decay, and was entirely rebuilt by Bishop Oliver King of Wells (1495-1503). He is said to have seen a vision somewhat resembling Jacob's dream, a ladder reaching from earth to heaven, and a voice saying, "Let an Oliver stablish the Crown and a King build the church." A representation of this dream appears on the west front of Bath minster, and an inscription referring to the Parable of the Trees (Judges ix. 8):—

For a while, Bath was a competitor to Wells, and there was intense conflict between the monks of St. Peter and the canons of St. Andrew at Wells. The monastery was established here during Saxon times by Offa in 775. In the early Norman period, John de Villula of Tours, who is said to have practiced medicine at Bath, became Bishop of Wells. With a grant from William II, he moved the bishopric to Bath and rebuilt the Abbey Church, which then became a Cathedral. However, the monks were not happy with this arrangement. During Bishop Robert's tenure (1135-1166), to settle their disputes, it was decided that the bishop would be known as "of Bath and Wells." Yet, even this did not bring about peace. When Jocelyn died, the monks of Bath chose Roger without the canons of Wells' approval, and both chapters nearly destroyed themselves with appeals to the Pope and expensive lawsuits. The church at Bath fell into significant disrepair and was completely rebuilt by Bishop Oliver King of Wells (1495-1503). He reportedly had a vision reminiscent of Jacob's dream, featuring a ladder reaching from earth to heaven, with a voice saying, "Let an Oliver establish the Crown and a King build the church." A depiction of this dream can be found on the west front of Bath minster, along with an inscription referring to the Parable of the Trees (Judges ix. 8):—

"Trees are going to choose their king." He said, "Be our Olive(r) King."

The style of the church is Late Perpendicular, and was scarcely[162] completed before the monastery was seized and dissolved. It was left in a sorry condition, roofless and ruinous, until it was restored by Bishop Montague in the seventeenth century. It has been restored in modern times, and has lost that dilapidated appearance which long distinguished it. It is a small and not very interesting building, though it lacks not some striking features, and certainly contains some fine tombs and interesting memorials of the fashionable folk who flocked to Bath in the days of its splendour.

The church is built in the Late Perpendicular style and was hardly finished before the monastery was taken over and shut down. It remained in a terrible state, roofless and in ruins, until Bishop Montague restored it in the seventeenth century. It's been renovated in modern times and no longer has that rundown look it used to have. It’s a small building that isn’t particularly exciting, although it does have some notable features and definitely includes some impressive tombs and interesting memorials of the fashionable people who visited Bath during its heyday.

PLAN OF WELLS CATHEDRAL

Wells Cathedral Plan


EXETER CATHEDRAL

Exeter, the noble city of the west, which proudly bears the motto granted to it by Queen Elizabeth, Semper Fidelis—"Always Faithful," has a venerable Cathedral, which was commenced in Norman times on the site of a Saxon church, entirely removed. The principal feature of Exeter is its Decorated work. A large portion of the Cathedral was erected during that period; and as Salisbury is the most perfect example of Early English architecture, Exeter represents the most beautiful specimen of the Decorated style.

Exeter, the noble city of the west, proudly carries the motto given to it by Queen Elizabeth, Semper Fidelis—"Always Faithful." It has an impressive Cathedral that began construction in Norman times on the site of a completely dismantled Saxon church. The main attraction of Exeter is its Decorated work. A significant part of the Cathedral was built during that time; just as Salisbury is the best example of Early English architecture, Exeter stands out as the most beautiful representation of the Decorated style.

Southey's judgment on the Cathedral was that "it looked finest when you could only see half of it." Indeed, it is difficult to obtain a good view, and the north side is the only one which presents a favourable prospect. The historian of Exeter Cathedral, Mr. Hewett, wrote: "As we walk round this, we cannot but consider that the Cathedral, though far from lofty, and presenting none of the majestic features of several of its sister churches, is nevertheless a fine composition. The aisles of the choir and nave, intercepted by the stately Norman towers, further broken by the prominence of their chantries, and spanned by flying buttresses richly pinnacled; the large, pure windows, which pierce both aisles and clerestory; the roof, highly pitched, and finished with crest-tiles, form a decidedly graceful and pleasing whole." With this excellent description all visitors will agree.

Southey thought the Cathedral looked best when you could only see half of it. It's true that it's hard to get a good view, and the north side is the only one that offers a decent perspective. The historian of Exeter Cathedral, Mr. Hewett, wrote: "As we walk around this, we can't help but think that the Cathedral, although not very tall and lacking the majestic features of some of its sister churches, is still a beautiful composition. The aisles of the choir and nave, interrupted by the impressive Norman towers, further enhanced by their prominent chantries, and supported by flying buttresses that are richly topped; the large, clear windows that cut through both the aisles and clerestory; the steeply angled roof, finished with crest-tiles, create an undeniably graceful and pleasing whole." All visitors will agree with this excellent description.

Glancing back at the early history of the see, we find that Crediton was the ancient seat of the bishop, where was born in 680 St. Winfrid, called Boniface, the apostle of the Germans. There was a monastery at Exeter in the time of Athelstan, which was much plundered by the Danes. In 1050 Bishop Leofric, the favourite of Edward the Confessor, removed his episcopal seat to Exeter, and continued to hold it when William the Conqueror came. Osbern was appointed in 1072, but he contented himself with the old Saxon church, and it was not until William Warelwast (1107-1136), nephew of William the Conqueror, became bishop that the present Cathedral was begun. The Norman work was continued by Bishop Marshall (1194-1206), who is said to[167] have "finished the building according to the plot and foundation which his predecessors laid."

Looking back at the early history of the diocese, we see that Crediton was the ancient seat of the bishop, where St. Winfrid, known as Boniface, the apostle of the Germans, was born in 680. There was a monastery in Exeter during the time of Athelstan, which was heavily looted by the Danes. In 1050, Bishop Leofric, who was a favorite of Edward the Confessor, moved his episcopal seat to Exeter and kept it even when William the Conqueror arrived. Osbern was appointed in 1072, but he was content with the old Saxon church, and it wasn't until William Warelwast (1107-1136), the nephew of William the Conqueror, became bishop that construction on the current Cathedral began. The Norman work continued under Bishop Marshall (1194-1206), who is said to[167]have "finished the building according to the plans and foundations laid by his predecessors."

Exeter Cathedral

Exeter Cathedral

Exeter has suffered many sieges, and during that of Stephen, in 1136, the Cathedral was much injured by fire. The two towers at the end of the transepts are all the portions that remain of Warelwast's building, and one of these (that on the north) has been much altered, until it has assumed the features of Perpendicular style. This was done by Bishop Courtenay (1478-1487), when he transferred here a great bell from Llandaff.

Exeter has faced many sieges, and during the one led by Stephen in 1136, the Cathedral was severely damaged by fire. The two towers at the ends of the transepts are the only parts that remain of Warelwast's structure, and one of these (the one on the north) has been significantly changed, taking on the characteristics of Perpendicular style. This alteration was made by Bishop Courtenay (1478-1487) when he brought a large bell from Llandaff to this location.

In 1258 a poor man's son, one Walter Bronescombe, though not in priests' orders, was elected bishop, and set to work to rebuild his Cathedral, his labours being continued by his successor. The Lady Chapel with adjoining chapels was partly built by this bishop. His successor, Bishop Quivil, the foe of the Franciscans (1280-1291), finished it, and erected the north and south transepts. The choir, nave, porches and west front were built by Bishops Stapledon (1308-1326) and Grandisson (1327-1369). Stapledon was a great statesman, and in the troubles of the second Edward's reign took the side of the king against the queen and Mortimer, and was murdered by the citizens of London in Cheapside. Grandisson was also a mighty prelate who refused to allow the Archbishop of Canterbury to visit his Cathedral as his ecclesiastical superior. He, with a band of armed men, met the intruding archbishop at the west door and forbade him to enter, and an armed conflict was with difficulty averted. These mediæval bishops were very powerful. They usually built a strong wall with gates around the precincts of the Cathedral, and ruled their clergy, their servants and dependants quite independently of any external control. The conflicts between the clergy and the townsfolk were very numerous, and the struggle severe in nearly all our cities and monastic towns.

In 1258, a poor man's son named Walter Bronescombe, who wasn’t a priest, was elected bishop and got to work rebuilding his Cathedral, with his efforts continued by his successor. This bishop partially constructed the Lady Chapel and the adjoining chapels. His successor, Bishop Quivil, who opposed the Franciscans (1280-1291), completed it and built the north and south transepts. The choir, nave, porches, and west front were constructed by Bishops Stapledon (1308-1326) and Grandisson (1327-1369). Stapledon was a significant statesman who sided with the king against the queen and Mortimer during the troubles of King Edward II’s reign and was murdered by the citizens of London in Cheapside. Grandisson was also a powerful bishop who refused to let the Archbishop of Canterbury visit his Cathedral as his ecclesiastical superior. He confronted the intruding archbishop at the west door with a group of armed men and forbade him to enter, managing to avoid an armed conflict with difficulty. These medieval bishops wielded considerable power. They typically built a strong wall with gates around the Cathedral precincts and governed their clergy, servants, and dependents quite independently of any outside control. The conflicts between the clergy and townspeople were very frequent, and the struggles were intense in nearly all our cities and monastic towns.

When Queen Elizabeth came to the throne, "visitors" were appointed to examine churches and to remove all that savoured of "superstition." Their zeal outran their discretion, and much mischief was wrought in Exeter and elsewhere by their iconoclastic violence. Strange events took place during the Commonwealth period. The Cathedral was divided into two portions by a brick wall, and in one called "West Peter's" an independent preacher thundered forth his declamation, while in the other, "East Peter's," a Presbyterian divine conducted his form of service. Happily the[168] Restoration put an end to these curious proceedings, and the wall was taken down, and the Church of England service renewed.

When Queen Elizabeth came to the throne, "visitors" were assigned to inspect churches and remove anything that seemed "superstitious." Their enthusiasm exceeded their judgment, causing a lot of damage in Exeter and other places due to their destructive actions. Strange things happened during the Commonwealth period. The Cathedral was split into two sections by a brick wall, and in one section called "West Peter's," an independent preacher delivered passionate sermons, while in the other, "East Peter's," a Presbyterian minister led his version of the service. Fortunately, the Restoration ended these odd activities, and the wall was taken down, restoring the Church of England services.

We will now examine the west front erected at the close of the fourteenth century. The screen is very remarkable and beautiful, and has three rows of figures of saints and kings and warriors. In the first row appear angels; the second has figures of kings and knights, and the third saints, and figures of Athelstan and Edward the Confessor stand above them. Some of the ancient figures have crumbled away and been replaced by modern sculptures. Bishop Brantyngham was the builder of this screen, who lived in the time of Richard II., and the crowns and armour represented on the figures belong to that period. The figures in the lower row, beginning on the left, are:—

We will now look at the west front built at the end of the fourteenth century. The screen is quite striking and beautiful, featuring three rows of figures representing saints, kings, and warriors. The first row shows angels; the second includes kings and knights, and the third has saints, with Athelstan and Edward the Confessor depicted above them. Some of the old figures have worn away and been replaced by modern sculptures. Bishop Brantyngham was the builder of this screen, who lived during the time of Richard II., and the crowns and armor shown on the figures are from that period. The figures in the lower row, starting on the left, are:—

1.Canute.16.Robert of Normandy.
2.Edgar.17.William II.
3.Ethelred.18.A king unknown.
4.Justice, } small figures19.} Bishops.
5.Fortitude, } above north20.}
6.Discipline,} door.21.John.
7.Edward II.22.Edward I.
8.Henry III.23.Edward III., over
9.} Unknown bishops.24.The Black Prince,{ south
10.}{ door.
11.Richard I.25.Godfrey de Bouillon.
12.Henry II.26.Stephen, Count of Blois.
13.Stephen.27.Guy de Lusignan.
14.Henry I.28.Ethelwold.
15.William I.,{ a modern29.Alfred.
imitation.30.Edward the Elder.

In the upper row, beginning at the left hand, are:—

In the top row, starting from the left, are:—

1.Samuel.19.St. John.
2.Samson.20.St. James the Greater.
3.Jephtha.21.St. Thomas.
4.Gideon.{ a
5.Barak.22.St. James the Less,{ modern }
6.Deborah.{ statue.
7.Noah.23.St. Simon.
8.St. Matthew.24.St. Luke.
9.St. John.25.St. Mark.
10.St. Jude.26.St. Augustine.
11.St. Bartholomew.27.King Ethelbert.
12.St. Matthias.28.St. Berinus.
13.St. Philip.29.St. Boniface.
14.St. Andrew.30.Kynigils, Understood! Please provide the text you'd like me to modernize.
15.St. Peter.31.Cwichelm, }
16.King Richard II.32.Kenwalch, } Kings of
17.King Athelstan.33.Kentwald, } Wessex.
18.St. Paul.34.Caedwalla,}
35.Ina, }

The sculpture has been pronounced "remarkable, characteristic and beautiful," but that at Wells and Lincoln is earlier and perhaps better.

The sculpture has been described as "remarkable, characteristic, and beautiful," but the ones at Wells and Lincoln are older and possibly better.

Above the screen is a platform on which the bishop used to stand when he blessed the people, and also the choristers and minstrels when they hailed with song the advent of distinguished persons.

Above the screen is a platform where the bishop used to stand when he blessed the people, as well as the choir and musicians when they sang to celebrate the arrival of important visitors.

The three doorways should be noticed. The central one has a moulding of carved foliage, and on the central boss of the groined roof is a representation of the Crucifixion. The south doorway has two sculptures, the appearance of an angel to Joseph in a dream, and the Adoration of the Shepherds. Between the south and central doorways is the Chantry of St. Radegunde, which we will examine on entering the Cathedral. The north porch was built by Grandisson, and is very beautiful with its triple canopy. The Puritan soldiers have mutilated the Crucifixion scene on the east wall. On the central boss is a well-carved Agnus Dei. Notice the cresting of the roof in a fleur-de-lis pattern, which somewhat relieves the long, unbroken stretch of leaden roofing.

The three doorways are worth noticing. The central one has decorative carvings of leaves, and on the main boss of the vaulted ceiling is an image of the Crucifixion. The south doorway features two sculptures: one showing an angel appearing to Joseph in a dream, and the other depicting the Adoration of the Shepherds. Between the south and central doorways is the Chantry of St. Radegunde, which we will look at once we enter the Cathedral. The north porch was built by Grandisson and is quite beautiful with its triple canopy. The Puritan soldiers have damaged the Crucifixion scene on the east wall. The central boss displays a well-carved Agnus Dei. Take note of the roof's cresting in a fleur-de-lis pattern, which breaks up the long, uninterrupted stretch of lead roofing.

We now enter the Cathedral. Though the nave is less lofty than many, it is most beautiful, and the richness of the architectural details abundantly atones for the lack of height, which is 70 feet. The roof springs from slender vaulting shafts and is studded with beautifully-carved bosses, representing foliage, animals, strange figures and heraldic shields. The murder of Thomas à Becket occurs in one of these bosses. Clustered pillars of Purbeck marble support the roof and separate the nave from the aisles. Notice the sculptured corbels between the arches, which are peculiar, and the exquisite carving of the leaves and figures. In the triforium on the north side is the Minstrels' Gallery, the most perfect in England, where the musicians played on high festivals, or on the[170] occasion of some Royal visitor. The figures are represented as playing on various instruments—cittern, bagpipes, flageolet, violin, harp, trumpet, organ, guitar, some unknown wind instrument, tambour and cymbals. The heads of Edward III. and his queen, Philippa, support two niches. This gallery is a very beautiful example of mediæval art.

We now enter the Cathedral. While the nave isn't as tall as many others, it's incredibly beautiful, and the richness of the architectural details more than makes up for the height, which is 70 feet. The roof rises from slender vaulting shafts and is adorned with beautifully carved bosses, depicting foliage, animals, unusual figures, and heraldic shields. One of these bosses shows the murder of Thomas à Becket. Clustered pillars of Purbeck marble support the roof and separate the nave from the aisles. Take a look at the sculpted corbels between the arches, which are unique, and the exquisite carving of the leaves and figures. In the triforium on the north side is the Minstrels' Gallery, the finest in England, where musicians performed during grand festivals or in the[170] presence of a Royal visitor. The figures are shown playing various instruments—cittern, bagpipes, flageolet, violin, harp, trumpet, organ, guitar, an unknown wind instrument, tambour, and cymbals. The heads of Edward III and his queen, Philippa, support two niches. This gallery is a beautiful example of medieval art.

Instead of the usual triforium we have a blind arcade, the height of which is much less than in most cathedrals, but above this there is a very lofty clerestory. The windows of the nave are Decorated, and have a great variety of most beautiful and elaborate tracery. They are arranged in pairs, one window corresponding to its opposite. The glass of the west window, erected in 1766, is a great eyesore, and spoils the beauty of the stone tracery.

Instead of the typical triforium, we have a blind arcade that’s significantly lower than in most cathedrals, but above it, there’s a very tall clerestory. The windows of the nave are Decorated and feature a wide range of beautiful and intricate tracery. They are set up in pairs, with each window matching its counterpart across the way. The glass in the west window, installed in 1766, is quite an eyesore and detracts from the beauty of the stone tracery.

Detail of
Minstrels'
Gallery

Detail of
Musicians'
Gallery

We have abundant evidence that this noble nave was constructed almost entirely in Norman times, and subsequently transformed into the Decorated style, just as Winchester was changed from Norman to Perpendicular work. Disturbances of masonry in both north and south walls indicate the position of Norman pilasters, and outside flat buttresses of Norman type are observed which correspond to the position of these. We gather that the nave was finished in Norman times by Bishop Marshall, and that Stapledon (1308-1326) began the transformation, which was carried on and completed by Grandisson (1327-1369).

We have plenty of evidence that this grand nave was built almost entirely in the Norman style and later changed to the Decorated style, similar to how Winchester was altered from Norman to Perpendicular design. Disturbances in the masonry on both the north and south walls show where the Norman pilasters were located, and outside, flat buttresses of the Norman style can be seen in line with these. We understand that the nave was completed in the Norman period by Bishop Marshall, and that Stapledon (1308-1326) started the transformation, which was carried on and completed by Grandisson (1327-1369).

Nor must the work of our modern men be disregarded. The nave was in a very dilapidated state. The Purbeck marble columns were fallen into decay, and hideous high pews disfigured the view. Sir Gilbert Scott in recent times most judi[171]ciously restored the Cathedral, and made it again one of the finest in the land.

Nor should we overlook the work of our contemporary builders. The nave was in really bad shape. The Purbeck marble columns were deteriorating, and ugly high pews ruined the view. Sir Gilbert Scott wisely restored the Cathedral, making it one of the finest in the country again.

We will now examine the chapels and monuments in the nave. On the left of the west door is the Chapel of St. Radegunde, which contained formerly the body of Bishop Grandisson; but in the time of Queen Bess the tomb was plundered and his remains scattered no one knows whither. St. Radegunde was a Frankish princess, the wife of Chlotar, the son of King Clovis. Notice the carved figure of our Lord on the roof, His hand outstretched to bless, and the holes in the stone for suspending lamps.

We will now look at the chapels and monuments in the nave. To the left of the west door is the Chapel of St. Radegunde, which once held the body of Bishop Grandisson; however, during Queen Bess's reign, the tomb was broken into, and his remains were scattered, no one knows where. St. Radegunde was a Frankish princess, the wife of Chlotar, the son of King Clovis. Check out the carved figure of our Lord on the roof, His hand reaching out to bless, along with the holes in the stone for hanging lamps.

On the north side is the Chapel of St. Edmund, which is earlier than the nave itself, and was connected with it by Bishop Grandisson.

On the north side is the Chapel of St. Edmund, which predates the nave itself and was linked to it by Bishop Grandisson.

The following monuments in the nave should be examined:—

The following monuments in the main aisle should be looked at:—

North Aisle

North Aisle

Tablet memorial of Lieutenant Allen, and window to memory of one of the Earls of Devon.
Brass memorial of men of North Devon Regiment slain in Afghan war (1880-1881), with regimental flags.
Memorial of 9th Lancers who died in India.
Tablet to the musician Samuel Wesley.

Tablet memorial of Lieutenant Allen, and window in memory of one of the Earls of Devon.
Brass memorial for the men of the North Devon Regiment who were killed in the Afghan war (1880-1881), featuring regimental flags.
Memorial for the 9th Lancers who died in India.
Tablet honoring the musician Samuel Wesley.

South Side of Nave

South Nave Side

High tomb of Hugh Courtenay (d. 1377), second Earl of Devon, and of his Countess, Margaret (d. 1391), a connection of Edward I. The effigies have been much mutilated.

The grand tomb of Hugh Courtenay (d. 1377), the second Earl of Devon, and his Countess, Margaret (d. 1391), who was connected to Edward I. The effigies are significantly damaged.

Brass to memory of General Elphinstone, V.C. (d. 1890).
Brass to Hugh, second Earl of Devon.
Window to Thomas Latimer.
Window to Dean Cowie.

Brass in memory of General Elphinstone, V.C. (d. 1890).
Brass for Hugh, second Earl of Devon.
Window for Thomas Latimer.
Window for Dean Cowie.

We now pass into the north transept. The Norman towers at each end of the transepts were originally separated from the church. Bishop Quivil, however, wishing to enlarge the building, took down the massive walls which divided the interior of the towers from the body of nave, and constructed arches to sustain the sides of the tower. The original Norman walls remain, and in the north transept one Norman window and two narrow, circular-headed doorways. Quivil also erected the two galleries. On the east of[172] north transept is St. Paul's Chapel, used as a vestry for lay choral vicars; there are here some interesting old tiles with heraldic devices, and amongst them the arms of Richard, Duke of Cornwall, brother of Henry III. Near this is the Sylke Chantry, founded in 1485 by William Sylke, sub-chanter, whose skeleton effigy proclaims the message—Sum quod eris, fueram quod es, pro me, precor, ora. An interesting mural painting has been discovered representing the Resurrection.

We now enter the north transept. The Norman towers at each end of the transept were initially separate from the church. Bishop Quivil, wanting to expand the building, took down the thick walls that separated the interior of the towers from the nave and built arches to support the sides of the tower. The original Norman walls still stand, and in the north transept, there is one Norman window and two narrow, circular-headed doorways. Quivil also added the two galleries. To the east of[172] the north transept is St. Paul's Chapel, which is used as a vestry for lay choral vicars; here, you'll find some interesting old tiles with heraldic designs, including the arms of Richard, Duke of Cornwall, brother of Henry III. Close by is the Sylke Chantry, founded in 1485 by William Sylke, the sub-chanter, whose skeletal effigy bears the message—Sum quod eris, fueram quod es, pro me, precor, ora. An intriguing mural painting has been uncovered, depicting the Resurrection.

The old clock is very remarkable, which is about 700 years old. The historian of the Cathedral thus describes it:—

The old clock is quite impressive and dates back around 700 years. The Cathedral's historian describes it this way:—

"On the face or dial, which is about 7 feet in diameter, are two circles: one marked from one to thirty for the moon's age; the other figured from one to twelve twice over for the hours. In the centre is fixed a semi-globe representing the earth, round which a smaller ball, the moon, painted half white and half black, revolves monthly, and by turning on its axis shows the varying phases of the luminary which it represents. Between the two circles is a third ball, representing the sun, with a fleur-de-lis, which points to the hours as it daily revolves round the earth."

"On the face or dial, which is about 7 feet in diameter, there are two circles: one marked from one to thirty for the moon's age; the other numbered from one to twelve twice for the hours. In the center is a semi-globe representing the earth, around which a smaller ball, the moon, painted half white and half black, revolves each month. As it turns on its axis, it shows the different phases of the moon it represents. Between the two circles is a third ball representing the sun, with a fleur-de-lis, which points to the hours as it rotates around the earth each day."

The maker of the clock was a believer in the old-fashioned astronomy which recognised the earth, and not the sun, as the centre of the solar system. Below the clock is a door leading to the tower, which contains the great bell called "Peter," which is only exceeded in weight by the Great Tom of Oxford. It was brought from Llandaff by Bishop Courtenay at the end of the fifteenth century, and weighs 12,500 tons. It was cracked on 5th November 1611, "from a too violent ringing in commemoration of the Gunpowder Plot."

The creator of the clock believed in the old-school astronomy that saw the Earth, not the Sun, as the center of the solar system. Below the clock is a door that leads to the tower, which holds the massive bell known as "Peter," only heavier than the Great Tom of Oxford. Bishop Courtenay brought it from Llandaff at the end of the fifteenth century, and it weighs 12,500 tons. It cracked on November 5, 1611, "due to excessive ringing in remembrance of the Gunpowder Plot."

We now enter the south transept, which is similar to the north. The monuments here are interesting. There is the supposed tomb of Bishop John the Chaunter (1185-1191), but is of later date; a sixteenth-century monument of Leofric, the first Bishop of Exeter; a mural tablet to the memory of Sir Peter Carew, who played an important part in the rebellion of the Devon men, caused by the changes introduced into the Prayer-Book at the Reformation, when they besieged Exeter and well-nigh gained an entrance. Sir John Gilbert has a monument, a relative of Sir Walter Raleigh, one of the brave discoverers of the Elizabethan age and founders of our maritime supremacy. The colours of the Cornwall Light Infantry hang here, which were carried at Waterloo and in the Indian Mutiny.[173]

We now enter the south transept, which is similar to the north. The monuments here are interesting. There's the supposed tomb of Bishop John the Chaunter (1185-1191), but it’s from a later date; a sixteenth-century monument of Leofric, the first Bishop of Exeter; a mural tablet in memory of Sir Peter Carew, who played an important role in the rebellion of the Devon people, sparked by the changes made to the Prayer-Book during the Reformation when they besieged Exeter and nearly got inside. Sir John Gilbert, a relative of Sir Walter Raleigh, has a monument here—Raleigh being one of the bold explorers of the Elizabethan era and a founder of our maritime power. The colors of the Cornwall Light Infantry are displayed here, which were carried at Waterloo and during the Indian Mutiny.[173]

The Chantry of the Holy Ghost in the south-west corner of this transept is a Norman structure. It has a font which was first used at the baptism of Henrietta, daughter of Charles I., who was born in Exeter in 1644. The Chapel of St. John the Baptist, on the east side, is similar to that of St. Paul in the north transept. Bishop Oldham, whose chantry is in the south choir aisle, erected the screen of this chapel. Beyond the Chapel of the Holy Ghost is the chapter-house. The cloisters were destroyed by the Puritans. The chapter-house has been recently restored. Notice the Early English character of the arcade (thirteenth century) in the lower part; the upper part has Perpendicular niches. The Chapter Library has about 8000 volumes.

The Chantry of the Holy Ghost in the southwest corner of this transept is a Norman building. It features a font that was first used for the baptism of Henrietta, the daughter of Charles I., who was born in Exeter in 1644. The Chapel of St. John the Baptist, located on the east side, is similar to that of St. Paul in the north transept. Bishop Oldham, whose chantry is in the south choir aisle, built the screen for this chapel. Beyond the Chapel of the Holy Ghost is the chapter house. The cloisters were destroyed by the Puritans. The chapter house has recently been restored. Notice the Early English style of the arcade (from the thirteenth century) in the lower section; the upper part features Perpendicular niches. The Chapter Library holds about 8000 volumes.

Retracing our steps we approach the choir, entered by a door in the beautiful screen supporting the organ. This was the old rood-screen, on which formerly stood the rood or figure of our Lord on the Cross. It was erected in the fourteenth century. The rose and thistle in the carvings were inserted later, in the time of James I., to mark the Union of England and Scotland under one monarch, but these have happily been removed, and probably the worthless paintings belong to the same period. The organ was built by Loosemore in 1665 (one of the oldest in England), rebuilt in 1819, and has been so much renovated that very little of the old work remains.

Retracing our steps, we approached the choir, entering through a door in the beautiful screen that supports the organ. This was the old rood-screen, which once held the figure of our Lord on the Cross. It was built in the fourteenth century. The carvings featuring the rose and thistle were added later, during the reign of James I, to signify the Union of England and Scotland under one monarch, but thankfully, these have been removed, and the likely worthless paintings are from the same time period. The organ was made by Loosemore in 1665 (one of the oldest in England), rebuilt in 1819, and has been so extensively renovated that very little of the original work remains.

The choir is remarkably fine. The style is now Decorated. The original Norman choir extended to the third arch. Bishop Marshall completed this by adding four more bays. Then came the builders of the early fourteenth century who transformed the Norman pillars and other details, and converted the choir into Decorated work. The bishops who accomplished all this were De Bytton (1292-1306) and Walter de Stapledon (1306-1329) and Bishop Grandisson (1327-1369). The last dedicated the high altar in 1328. The bosses of the vaulted roof are worthy of especial examination, so remarkable are they for the delicacy of the carved foliage. The choir has been carefully restored in recent years, and the stalls, pulpit and reredos are modern, and were designed by Sir Gilbert Scott. Notice the interesting old misereres, which are very remarkable, and probably the oldest and most curious in England. The foliage denotes the Early English period, and they were probably designed by Bishop Bruere (1224-1244). Notice the mermaid and merman on the south side, the elephant, knight slaying a leopard, a minstrel, etc. The lofty bishop's throne was[174] erected by Stapledon, and is said to have been taken down and hidden away during the civil war period. The painted figures represent the four great building bishops—Warelwast, Quivil, Stapledon and Grandisson. The sedilia by Stapledon are very fine. Notice the carved lions' heads, and the heads of Leofric, Edward the Confessor and his wife Editha. The east window is Early Perpendicular, inserted by Bishop Brantyngham in 1390, and contains much old glass. The tombs in the choir are:—

The choir is remarkably beautiful. The style is now Decorated. The original Norman choir reached up to the third arch. Bishop Marshall finished this by adding four more bays. Then came the builders of the early fourteenth century who changed the Norman pillars and other details, turning the choir into Decorated work. The bishops responsible for this were De Bytton (1292-1306) and Walter de Stapledon (1306-1329) as well as Bishop Grandisson (1327-1369). The last one dedicated the high altar in 1328. The bosses of the vaulted roof deserve special attention, as they are notable for the delicate carved foliage. The choir has been carefully restored in recent years, with the stalls, pulpit, and reredos being modern and designed by Sir Gilbert Scott. Check out the interesting old misereres, which are very impressive and probably the oldest and most unique in England. The foliage indicates the Early English period and was likely designed by Bishop Bruere (1224-1244). Pay attention to the mermaid and merman on the south side, the elephant, a knight slaying a leopard, a minstrel, and more. The tall bishop's throne was[174] built by Stapledon and is said to have been taken down and hidden during the civil war period. The painted figures represent the four great building bishops—Warelwast, Quivil, Stapledon, and Grandisson. The sedilia by Stapledon are very fine. Note the carved lions' heads and the heads of Leofric, Edward the Confessor, and his wife Editha. The east window is Early Perpendicular, added by Bishop Brantyngham in 1390, and contains a lot of old glass. The tombs in the choir are:—

On North Side

On the North Side

Bishop Stapledon (holding a crozier and a book).
Bishop Marshall (d. 1206).
Bishop Lacey (d. 1455), to which tomb pilgrimages used to be made on account of the reported miracles wrought there.
Bishop Bradbridge (d. 1578).

Bishop Stapledon (holding a staff and a book).
Bishop Marshall (d. 1206).
Bishop Lacey (d. 1455), to which tomb pilgrimages were often made due to the alleged miracles that occurred there.
Bishop Bradbridge (d. 1578).

On South Side

On the South Side

Bishop Chichester (d. 1155).
Bishop Wolton (1594).

Bishop Chichester (d. 1155).
Bishop Wolton (1594).

Entering the north choir aisle we see the Chapel of St. Andrew, renovated by Stapledon, having an upper chamber containing the archives, the Fabric Rolls, MSS. of Roger Bacon, Leofric's book of Saxon poetry, and many other valuable treasures.

Entering the north choir aisle, we see the Chapel of St. Andrew, renovated by Stapledon. It has an upper chamber that contains the archives, the Fabric Rolls, manuscripts of Roger Bacon, Leofric's book of Saxon poetry, and many other valuable treasures.

Next in order we see the Chantry of St. George, or Speke's Chantry (Perpendicular style), containing the monument of Sir John Speke, who endowed this chantry for the good of his soul. When the Cathedral was divided into two portions in the days of the Puritans, a doorway was made through the east window as an entrance to "East Peter's." At the east end of this aisle is the Chapel of St. Mary Magdalene, erected originally by Bronescombe, transformed by Quivil, but has Perpendicular screen. The east window has good fifteenth-century glass. Notice the noble monuments of Sir Gawain Carew (1589, restored in 1857), his wife and nephew, Sir Peter Carew (see p. 172). The latter is remarkable as a very late example of cross-legged effigy. The monuments in this north choir are—a cross-legged effigy of Sir Richard de Stapledon, brother of the bishop (d. 1330). [It need not be stated that this fashion of crossing the legs has nothing to do with the Crusades]; effigy of Bishop Carey (d. 1626); a tablet to Robert[175] Hall, son of the bishop; tablet to Canon Rogers (d. 1856); an emaciated sepulchral figure; Elizabethan tomb of Anthony Harvey (1564), who gained great wealth from the dissolution of monasteries.

Next, we see the Chantry of St. George, or Speke's Chantry (Perpendicular style), which contains the monument of Sir John Speke, who established this chantry for the good of his soul. When the Cathedral was divided into two parts during the Puritan era, a doorway was created through the east window as an entrance to "East Peter's." At the east end of this aisle is the Chapel of St. Mary Magdalene, originally built by Bronescombe and modified by Quivil, but it features a Perpendicular screen. The east window has impressive fifteenth-century glass. Don't miss the grand monuments of Sir Gawain Carew (1589, restored in 1857), his wife, and his nephew, Sir Peter Carew (see p. 172). The latter is notable as a very late example of a cross-legged effigy. The monuments in this north choir include a cross-legged effigy of Sir Richard de Stapledon, brother of the bishop (d. 1330). [It's worth noting that this style of crossing the legs is not related to the Crusades]; effigy of Bishop Carey (d. 1626); a tablet dedicated to Robert Hall, son of the bishop; a tablet for Canon Rogers (d. 1856); a thin sepulchral figure; and the Elizabethan tomb of Anthony Harvey (1564), who amassed great wealth from the dissolution of monasteries.

Passing behind the high altar we come to the ambulatory, or "procession path." The style is Early Decorated. Notice the ancient Bible-boxes and the two Jacobean tablets. The windows contain good modern glass.

Passing behind the high altar, we arrive at the ambulatory, or "procession path." The style is Early Decorated. Take note of the old Bible boxes and the two Jacobean tablets. The windows feature nice modern glass.

The Lady Chapel was entirely transformed by Bishop Quivil (1280-1291) into the Decorated style. The bosses in the east bay show the Saviour's head and the emblems of the Evangelists. The reredos was erected by Grandisson, but only the central portion is ancient, the rest has been severely "restored." This chapel contains the tombs of:—

The Lady Chapel was completely changed by Bishop Quivil (1280-1291) into the Decorated style. The bosses in the east bay display the Saviour's head and the symbols of the Evangelists. The reredos was put up by Grandisson, but only the central part is original; the rest has been heavily "restored." This chapel holds the tombs of:—

1. Bishop Peter Quivil (d. 1291), a slab with the inscription—Petra tegit Petrum nihil officiat sibi tetrum.

1. Bishop Peter Quivil (d. 1291), a stone with the inscription—Petra tegit Petrum nihil officiat sibi tetrum.

2. Bishop Bartholomaus Iscanus (d. 1184), a bearded figure, of military type.

2. Bishop Bartholomaus Iscanus (d. 1184), a bearded man with a military look.

3. Bishop Simon of Apulia (d. 1223). This effigy, when compared with the last, shows the advance of art made in a century.

3. Bishop Simon of Apulia (d. 1223). This statue, in comparison to the last one, shows the artistic advancements made over the past century.

4. Bishop Bronescombe (d. 1280). The canopy is older than the monument, and is Perpendicular.

4. Bishop Bronescombe (d. 1280). The canopy is older than the monument and features the Perpendicular style.

5. Bishop Stafford (d. 1419). A fine monument, much defaced.

5. Bishop Stafford (d. 1419). A beautiful monument, though heavily damaged.

6. Sir John and Lady Doddridge. Sir John (d. 1628) was one of the judges of James I., called by Fuller the "sleepy judge, because he would sit on the bench with his eyes shut to sequester his sight from distracting objects." The dress of Lady Doddridge is remarkable.

6. Sir John and Lady Doddridge. Sir John (d. 1628) was one of the judges appointed by James I and was called the "sleepy judge" by Fuller because he would sit on the bench with his eyes closed to avoid distractions. Lady Doddridge's clothing is noteworthy.

In the south choir aisle we see first the Chapel of St. Gabriel, similar to that of St. Mary Magdalene on the north. This was built by Bishop Bronescombe, whose patron saint was St. Gabriel. The colouring of the roof has been carefully restored. Some early glass is in the windows. Then we enter Bishop Oldham's Chantry, or the Chapel of St. Saviour. This bishop died in 1519. His chantry resembles the Speke Chantry in the opposite aisle. Notice the effigy of the bishop, with the owls in the panels, referring to[176] the first syllable of his name, "old," or "owld." The bishop was a Lancashire man, and in that county old is usually pronounced owld.

In the south choir aisle, we first see the Chapel of St. Gabriel, which is similar to the one dedicated to St. Mary Magdalene on the north side. This chapel was built by Bishop Bronescombe, who had St. Gabriel as his patron saint. The colors of the roof have been carefully restored, and some early stained glass remains in the windows. Next, we enter Bishop Oldham's Chantry, also known as the Chapel of St. Saviour. This bishop passed away in 1519. His chantry is similar to the Speke Chantry in the opposite aisle. Check out the effigy of the bishop, which features owls in the panels, referencing the first syllable of his name, "old," or "owld." The bishop was from Lancashire, where the word old is typically pronounced owld.

The third chapel in the south choir aisle is that of St. James, built by Bishop Marshall, and renovated by Bishop Bronescombe in very Early Decorated style. It contains a beautiful monument, raised in the fifteenth century to the memory of Leofric, first Bishop of Exeter. There are two cross-legged effigies in this aisle, which are usually said to represent Crusaders.

The third chapel in the south choir aisle is dedicated to St. James, built by Bishop Marshall and renovated by Bishop Bronescombe in a very Early Decorated style. It features a beautiful monument created in the fifteenth century in memory of Leofric, the first Bishop of Exeter. In this aisle, there are two cross-legged effigies, which are typically said to represent Crusaders.

With this chapel our tour of the Cathedral closes. Of some of the great men who have been Bishops of Exeter we have already spoken. The names Warelwast, Marshall, Bronescombe, Quivil, Stapledon, Grandisson, have often been mentioned, and of others whose tombs still adorn their mighty resting-place. Others there are whose memory remains. Miles Coverdale, the well-known reformer; Joseph Hall, the famous theologian; John Gauden, the supposed author of the Eikon Basilike (though modern scholars have come round to the belief that the book was really written by Charles I.); the learned Seth Ward; Trelawny, one of the seven bishops committed to the Tower by James II.; Phillpots and Temple, have all added lustre to the See of Exeter.

With this chapel, our tour of the Cathedral comes to an end. We’ve already mentioned some of the great figures who have served as Bishops of Exeter. The names Warelwast, Marshall, Bronescombe, Quivil, Stapledon, and Grandisson have been frequently brought up, along with others whose tombs still decorate this impressive resting place. There are more whose memories linger here. Miles Coverdale, the well-known reformer; Joseph Hall, the famous theologian; John Gauden, who is believed to be the author of the Eikon Basilike (though modern scholars now generally accept that the book was actually written by Charles I.); the learned Seth Ward; Trelawny, one of the seven bishops imprisoned in the Tower by James II.; and Phillpots and Temple have all contributed to the prestige of the See of Exeter.


The city of Exeter is full of interest. The old Guild Hall and scanty remains of Rougemont Castle should be visited, and fifteen miles away is the noble collegiate Church of Ottery St. Mary, which well repays a minute examination. In construction it somewhat resembles the Cathedral of Exeter, and the main part of the building belongs to the fourteenth century.

The city of Exeter is quite fascinating. The old Guild Hall and the few remains of Rougemont Castle are worth a visit, and just fifteen miles away is the impressive collegiate Church of Ottery St. Mary, which is definitely worth a closer look. Its architecture is somewhat similar to the Cathedral of Exeter, and the main part of the building dates back to the fourteenth century.

Dimensions

Dimensions

Total length, 383 ft.; length of nave, 140 ft.; breadth of nave, 72 ft.; height of nave, 66 ft.; area, 29,000 sq. ft.

Total length, 383 ft.; length of nave, 140 ft.; width of nave, 72 ft.; height of nave, 66 ft.; area, 29,000 sq. ft.

Principal Building Dates

Main Building Dates

1107-1200—Part of towers in transept and core of walls of nave; 1224-1244—stalls; 1258-1291—Lady Chapel and transepts; 1308-1369—choir, nave, porches and west front; 1390-1519—east window, part of chapter-house, Oldham's Chantry, Speke's Chantry.

1107-1200—Part of the towers in the transept and the main walls of the nave; 1224-1244—stalls; 1258-1291—Lady Chapel and transepts; 1308-1369—choir, nave, porches, and west front; 1390-1519—east window, part of chapter-house, Oldham's Chantry, Speke's Chantry.


TRURO CATHEDRAL

Truro is one of the oldest towns in England. The courts of the Duchy of Cornwall are held here, and it once enjoyed the privilege of a mint. In the time of Elizabeth it had jurisdiction over the port of Falmouth. Norden, in his survey of England, in 1574, wrote of Truro:—"There is not a towne in the west part of the shire more commendable for neatness of buyldinges, nor discommendable for the pride of the people." It showed its loyalty by furnishing a large body of soldiers for the king in 1642, commanded by Sir Ralph Hopton.

Truro is one of the oldest towns in England. The courts of the Duchy of Cornwall are held here, and it once had the privilege of a mint. During Elizabeth's reign, it had control over the port of Falmouth. Norden, in his 1574 survey of England, wrote about Truro:—"There's no town in the western part of the county that's more praised for the neatness of its buildings or more criticized for the pride of its people." It demonstrated its loyalty by providing a large group of soldiers for the king in 1642, led by Sir Ralph Hopton.

In 1876 the See of Truro was formed, and a new Cathedral was built, Mr. Pearson being the architect. It is one of the most important modern ecclesiastical buildings in England, and is a fine imitation of the Early English style at its best period. The south wall of the old Church of St. Mary, which formerly stood on this site, has been incorporated in the new Cathedral. The newness of this Cathedral and the entire absence of any historical traditions and associations will perhaps hardly tempt travellers to journey so far west to see the creation of modern architects and builders. The whole plan of the Cathedral has not yet been completely carried out, and the church still lacks its towers. Whether our modern architects can build so surely and so well as our ancient monks and priors time will show; but reports speak none too well of the substantial nature of all that has been done at Truro.

In 1876, the See of Truro was established, and a new Cathedral was built, with Mr. Pearson as the architect. It's one of the most significant modern church buildings in England and is a great imitation of the Early English style at its finest. The south wall of the old Church of St. Mary, which used to be on this site, has been included in the new Cathedral. The freshness of this Cathedral and the complete lack of historical traditions and connections might not encourage travelers to venture so far west to see the work of modern architects and builders. The entire plan for the Cathedral has yet to be fully implemented, and the church is still missing its towers. Whether our modern architects can build as surely and as well as our ancient monks and priors will be seen in time; however, reports aren't very encouraging regarding the durability of what has been constructed at Truro.


GLOUCESTER CATHEDRAL

Gloucester is a very venerable city. It was a Roman station, and was known as Glevum. Remains of the old Roman wall of the city exist in various places, under the house, 36 Westgate Street, under a furniture shop (Messrs. Lea) in Northgate Street, at "Symond's Arms," in Hare Lane. Roman pavements and pottery, coins and altars have also been found, and the four straight streets crossing in the centre are the modern forms of the old Roman roads which intersected the city, forming insulæ, as the sections were called. It was an important place in Saxon times, and Bede called it one of the noblest cities in the land. The first monastery was founded by Osric in 681 for monks and nuns. Of the history of this we shall treat presently. The Danes, of course, ravaged and burnt the city. Saxon and Norman kings loved the fair city of the west. We seem to see a procession of monarchs who held their courts here—Alfred, Athelstan, Edgar, Hardicanute, Edward the Confessor, and then the stark Conqueror, who here ordered the compilation of that important survey, the Domesday Book. "In the reign of Rufus," wrote a great historian, "everything that happened at all somehow contrived to happen at Gloucester." Here Anselm was consecrated Archbishop of Canterbury. It is famous for lampreys, for which Henry I., when feasting here, acquired a liking, which unhappily proved fatal to him, as he died of a surfeit of them. Here Henry II. held a great council, and Henry III. was crowned, "who loved Gloucester better than London." The Statutes of Gloucester were passed here in an Edwardian Parliament, and the murdered king, Edward II., found here his last resting-place. Numerous Parliaments were held here, and monarchs visited the city. In the Civil War period Gloucester was held by the Parliamentarians, and subjected to a protracted siege, which was eventually raised by the advent of Earl of Essex. The city retains many of its old houses. The house of Robert Raikes, the founder of Sunday Schools, is a fine old building. The Deanery, formerly the prior's lodging, has many interesting associations. Here Henry VIII. and Anne Boleyn sojourned. The inns are famous, especially "New Inn," which was used by the pilgrims to the shrine of Edward II., and "The Old Raven."[181] Colonel Massey, the governor during the siege, sojourned at 154 Westgate Street. Before the dissolution of monasteries there were many religious houses, and the friars were numerous; there were colleges of Grey, White and Black Friars, some remains of which still exist. There are several interesting churches—St. Mary de Crypt, a cruciform building of twelfth century, with some Decorated and Perpendicular work; St. Mary de Lode, built on the site of a Roman temple, with an old chancel and tower; St. Michael, from the tower of which the curfew sounds each night; St. Nicholas, of Norman construction.

GGloucester is a very old city. It used to be a Roman station, known as Glevum. You can still see remnants of the old Roman wall at various locations, like under the house at 36 Westgate Street, beneath a furniture shop (Messrs. Lea) in Northgate Street, and at "Symond's Arms" in Hare Lane. Roman pavements, pottery, coins, and altars have also been found, and the four straight streets that cross in the center are modern versions of the old Roman roads that intersected the city, creating insulæ, as these sections were called. It was an important place during Saxon times, and Bede referred to it as one of the noblest cities in the land. The first monastery was established by Osric in 681 for monks and nuns. We’ll discuss its history shortly. The Danes, of course, raided and burned the city. Saxon and Norman kings favored the beautiful city of the west. We can almost see a procession of monarchs who held their courts here—Alfred, Athelstan, Edgar, Hardicanute, Edward the Confessor, and then the stern Conqueror, who here ordered the compilation of that significant survey, the Domesday Book. "In the reign of Rufus," wrote a renowned historian, "everything that happened at all somehow managed to happen at Gloucester." Here, Anselm was consecrated Archbishop of Canterbury. It's famous for lampreys, which Henry I., while feasting here, developed a taste for—unfortunately, it proved fatal as he died from overeating them. Here, Henry II. held a major council, and Henry III. was crowned, "who preferred Gloucester to London." The Statutes of Gloucester were enacted here during an Edwardian Parliament, and the murdered king, Edward II., found his final resting place here. Numerous Parliaments were held here, and monarchs visited the city. During the Civil War, Gloucester was held by the Parliamentarians and endured a long siege, which was eventually lifted by the arrival of the Earl of Essex. The city still has many of its old houses. The residence of Robert Raikes, the founder of Sunday Schools, is a beautiful old building. The Deanery, once the prior's lodging, has many interesting connections. Henry VIII. and Anne Boleyn stayed here. The inns are well-known, especially "New Inn," which was used by pilgrims visiting the shrine of Edward II., and "The Old Raven."[181] Colonel Massey, the governor during the siege, stayed at 154 Westgate Street. Before the dissolution of monasteries, there were many religious houses, and friars were numerous; there were colleges of Grey, White, and Black Friars, some remnants of which still exist. There are several noteworthy churches—St. Mary de Crypt, a cruciform structure from the twelfth century, featuring some Decorated and Perpendicular work; St. Mary de Lode, built on the site of a Roman temple, with an old chancel and tower; St. Michael, from the tower of which the curfew rings out each night; and St. Nicholas, built in the Norman style.

The Deanery
Herbert Railton

The Deanery Herbert Railton

History of the Cathedral

Cathedral History

Gloucester was one of the sees founded by Henry VIII.; its episcopal life, therefore, does not extend further back than 1541, when the last Abbot of Tewkesbury became the first Bishop of Gloucester. The story of the minster, however, carries us back to very early times. The first Abbey, as we have said, was founded by Osric, nephew of King Ethelred, in 689, and was designed for both monks and nuns. It was not long-lived, and in a century was deserted and fell into decay. The Mercian kingdom was much distracted, and confusion reigned until Beornwulph restored the ruined walls of St. Peter's Abbey, and introduced secular canons, who seem to have lived as they pleased, and loved not discipline. So Canute in 1022 turned them out and established Benedictine monks. These did no better. Their abbot, Eadric, was a waster of the goods of the Abbey, and the pious chronicler saw in the destruction of the monastery by fire the vengeance of God for their sins. Then Bishop Ealdred of Worcester, who brought back the Black monks of St. Benedict, began to build a new church. Then came Abbot Wulfstan from the Worcester Monastery in 1072, and Abbot Serlo, a worthy monk of Mont St. Michel, who found desolation, an almost empty monastery, a poor, mean building, and began to raise that glorious pile which we see now. It was dedicated in 1100, when there was a mighty concourse of bishops and great men. A remarkable sermon was preached here by Abbot Fulcher of Shrewsbury, prophetic of the death of the cruel king, Rufus. Abbot Serlo sent to warn him, but in vain, and soon the news of his death in the New Forest rang throughout the country.[182]

Gloucester was one of the sees established by Henry VIII.; its episcopal history, therefore, goes back only to 1541, when the last Abbot of Tewkesbury became the first Bishop of Gloucester. The history of the minster, however, dates back to very early times. The first Abbey, as mentioned, was founded by Osric, nephew of King Ethelred, in 689 and was intended for both monks and nuns. It didn’t last long, and within a century, it was abandoned and fell into ruin. The Mercian kingdom was greatly troubled, and chaos reigned until Beornwulph restored the ruined walls of St. Peter's Abbey and brought in secular canons, who seemed to live without restraint and didn’t follow the rules. So Canute, in 1022, expelled them and instituted Benedictine monks. These monks fared no better. Their abbot, Eadric, squandered the Abbey's resources, and the devout chronicler believed that the fire that destroyed the monastery was God's punishment for their wrongdoings. Then Bishop Ealdred of Worcester, who brought back the Black monks of St. Benedict, started constructing a new church. In 1072, Abbot Wulfstan arrived from the Worcester Monastery, along with Abbot Serlo, a distinguished monk from Mont St. Michel, who found the place desolate, with an almost empty monastery and a poor, shabby building, and began to raise the magnificent structure we see today. It was dedicated in 1100, during a grand gathering of bishops and notable figures. A powerful sermon was delivered here by Abbot Fulcher of Shrewsbury, foretelling the death of the cruel king, Rufus. Abbot Serlo tried to warn him, but it was in vain, and soon news of his death in the New Forest spread throughout the country.[182]

Fire frequently played havoc with the minster. In 1102 it suffered much, and again in 1122, when "in Lent-tide the town was burnt while the monks were singing their Mass, and the deacon had begun the Gospel Præteriens Jesus," and the fire came in the upper part of the steeple, and burnt all the monastery and the treasures except a few books and three Mass robes. Again in 1179 and 1190 fires raged. The Early English builders set to work to repair the damage, and the church was re-dedicated by Walter de Cantilupe, Bishop of Worcester, in 1239. The monks were now very busy building, and in 1242 they had finished the stone vaulting of the nave, which replaced the old Norman wood vault; in 1246 the south-west tower was completed, and they had begun to rear for themselves a new refectory. Yet another fire in 1300 wrought havoc in the cloisters, and deprived the monks of their dormitory. Abbot Thokey was a noble prelate who did much building, erected some of the beautiful Decorated windows in the aisles and choir triforium, and was the means of enriching his Abbey "beyond the dreams of avarice." When Edward II. lay dead, foully murdered at Berkeley Castle, unlike the time-serving Abbot of Bristol, who feared the anger of Queen Isabella and her party, he boldly demanded the body of the dead king and gave it honoured burial in his minster. Then arose that strange cult, the worship at the dead king's shrine. Thousands came from far and near, and their offerings so enriched the monastic treasury that the monks were able to adorn and beautify their church and monastery, and make it one of the glories of English architectural achievement. The fearless abbot felt himself too old to carry on the work; so he resigned in favour of his friend, Abbot Wygmore (1331-1337), who began to erect that "veil of stone" which covers the old Norman work, and is such a characteristic feature of Gloucester.

Fire often caused destruction at the minster. In 1102 it endured significant damage, and again in 1122, when "during Lent the town was burned while the monks were singing their Mass, and the deacon had begun the Gospel Præteriens Jesus," with the fire starting in the upper part of the steeple, destroying all the monastery and its treasures except for a few books and three Mass robes. More fires raged in 1179 and 1190. The Early English builders set to work to fix the damage, and the church was re-dedicated by Walter de Cantilupe, Bishop of Worcester, in 1239. The monks were very active in building, and by 1242, they had completed the stone vaulting of the nave, replacing the old Norman wood vault; in 1246, the southwest tower was finished, and they had begun constructing a new refectory. Another fire in 1300 caused destruction in the cloisters and left the monks without their dormitory. Abbot Thokey was an admirable prelate who undertook much construction, added some beautiful Decorated windows in the aisles and choir triforium, and helped enrich his Abbey "beyond the dreams of avarice." When Edward II lay dead, brutally murdered at Berkeley Castle, unlike the self-serving Abbot of Bristol, who feared the wrath of Queen Isabella and her supporters, he boldly requested the body of the dead king and gave it a respected burial in his minster. This led to the strange cult of worship at the dead king's shrine. Thousands traveled from far and wide, and their offerings so enriched the monastic treasury that the monks could adorn and beautify their church and monastery, making it one of the highlights of English architectural achievement. The fearless abbot felt too old to continue the work; so he resigned in favor of his friend, Abbot Wygmore (1331-1337), who began erecting that "veil of stone" that covers the old Norman work and is such a distinctive feature of Gloucester.

The south transept was the first recased, a noble screen erected, and the work was carried on by succeeding abbots. Abbot de Stanton (1337-1351) constructed the vaulting of the choir and the stalls on the prior's side, which Abbot Horton completed on the abbot's side, together with the altar and choir and north transept, and also began the great cloister, which Abbot Froucester finished. The west front, south porch and two western bays of the nave are Abbot Morwent's work (1420-1437). The tower was built by Abbot Seabrooke (1450-1457), and Abbots Hanley (1457-1472) and Farley (1472-1498) built the Lady Chapel.

The south transept was the first to be recased, with a grand screen built, and the work continued under the following abbots. Abbot de Stanton (1337-1351) constructed the vaulting of the choir and the stalls on the prior's side, which Abbot Horton completed on the abbot's side, along with the altar, choir, and north transept. He also started the great cloister, which Abbot Froucester finished. The west front, south porch, and two western bays of the nave were constructed by Abbot Morwent (1420-1437). The tower was built by Abbot Seabrooke (1450-1457), and Abbots Hanley (1457-1472) and Farley (1472-1498) built the Lady Chapel.

Cathedral from S E
Herbert Railton GLOUCESTER

Cathedral from S E
Herbert Railton GLOUCESTER

At length the day of dissolution came. Abbot Malvern, the last abbot, was offered the bishopric which Henry VIII. had just[185] founded; but he declined, and died of a broken heart. The continued progress of adornment was checked by the appropriation of much of the wealth of the monastery by the king, and the building began to fall into decay. It did not suffer much during the Civil War, in spite of the long siege. The Lady Chapel was mutilated and defaced, and some other damage done, but the burghers seem to have acted well, took a pride in their church, and suffered it not to be destroyed. There have since been frequent "restorations," and some damage done by destructive architects; but, on the whole, Gloucester has escaped with less scars than many of our cathedrals, and retains much of its original beauty and delicate attractiveness.

At last, the day of closure arrived. Abbot Malvern, the last abbot, was offered the bishopric that Henry VIII. had just[185] established; however, he turned it down and died of a broken heart. The ongoing efforts to enhance the place were halted when the king took a lot of the monastery's wealth, and the building started to fall into disrepair. It didn't suffer much during the Civil War, despite being under a long siege. The Lady Chapel was damaged and vandalized, along with some other harm done, but the townspeople seem to have stepped up, took pride in their church, and ensured it wasn’t destroyed. Since then, there have been frequent "restorations," and some harm caused by careless architects; however, overall, Gloucester has remained less scarred than many of our cathedrals and still showcases much of its original beauty and charm.

The Exterior

The Outside

The plan is cruciform, and consists of a nave with two aisles; north and south transepts, with apsidal chapels on the east side of each; a tower rises at the crossing. The eastern portion consists of choir with aisles, forming a processional path, with four apsidal chapels opening from them, and a Lady Chapel. With the exception of the Lady Chapel this plan is exactly the same as that of the original Norman church built by Abbot Serlo. We approach the Cathedral from the south-east and obtain a good view of its beauties across the close. The West Front, built by Abbot Morwent (1420-1437), is not very rich or striking when compared with many others. There is a large Perpendicular window, and another on each side, and a rather small doorway. The flanking buttresses are crowned with pinnacles, and a cross crowns the centre of the embattled parapet. The pierced buttresses, designed so as not to darken the west window, and the parapets of open-work below and above, are distinguishing features. The south aisle is Abbot Thokey's work, and is very beautiful with its fine Decorated work. The buttresses are very massive, and are surmounted by figures, and the windows deeply recessed.

The layout is cross-shaped and includes a main section with two side aisles; north and south transepts, each with rounded chapels on the eastern side; and a tower rises at the intersection. The eastern section features a choir with aisles, creating a pathway for processions, with four rounded chapels extending from them, along with a Lady Chapel. Aside from the Lady Chapel, this layout is identical to that of the original Norman church built by Abbot Serlo. We approach the Cathedral from the southeast and get a good view of its beauty from across the close. The West Front, constructed by Abbot Morwent (1420-1437), is not particularly ornate or striking compared to many others. It has a large Perpendicular window, along with another on each side, and a relatively small door. The side buttresses are topped with pinnacles, and a cross sits atop the center of the defended parapet. The pierced buttresses, designed to avoid blocking the west window, and the open-work parapets both above and below, are notable features. The south aisle, built by Abbot Thokey, is very beautiful with its intricate Decorated style. The buttresses are quite massive and topped with figures, and the windows are set back deeply.

The South Porch is rich Perpendicular work, built by Abbot Morwent. The figures are modern, and represent SS. Peter and Paul, and the four Evangelists, Osric and Abbot Serlo, the founders of the earlier and Norman Church—SS. Jerome, Ambrose, Augustine and Gregory—against whose figures the fanatics of Bristol manifested such unreasonable hate. There is an upper chamber or parvise. The doors are contemporary with the[186] building. The South Transept shows the remodelling of the Perpendicular period. Norman work may be seen in the arcading, the turrets, and traces of an original window; while the capping of the turrets, the windows and battlement belong to the Perpendicular style.

The South Porch features impressive Perpendicular architecture, constructed by Abbot Morwent. The figures are modern and depict Saints Peter and Paul, along with the four Evangelists, Osric and Abbot Serlo, who were the founders of the earlier Norman Church—Saints Jerome, Ambrose, Augustine, and Gregory—against whom the zealots of Bristol showed such unwarranted hostility. There is an upper chamber or parvise. The doors are from the same period as the[186] building. The South Transept showcases the renovations from the Perpendicular period. Norman design can be seen in the arcading, the turrets, and remnants of an original window, while the tops of the turrets, the windows, and the battlement are characteristic of the Perpendicular style.

Passing on to the east we notice the beautiful lofty choir. The main part of the walls are Norman, and we notice the unusual polygonal radiating chapels, which are part of the original Norman plan. The windows are Decorated and Perpendicular, inserted in Norman openings. The great east window is the largest and finest in England. The Lady Chapel was originally Early English work, built in 1225, but it was rebuilt in 1457-1499, during the rule of Abbots Hanley and Farley. It has four bays, each bay being filled with a lofty Perpendicular window. There is a passage beneath the chapel, which was necessary in order to reach the northern side. The chapel is one of the most beautiful in England. The central Tower is remarkable for its grace and grandeur. The present one is the work of Abbot Seabrooke (1450-1457), and belongs to the Perpendicular period. The bells are ancient, and happily were saved, when the monastery was dissolved, from the greedy hands of the commissioners of Henry VIII. The monastic buildings are on the north side, which we shall examine later. There is a fine view of the Cathedral from the north-west. On the north-west is the Deanery, formerly the prior's lodging, a very interesting house; and between it and the north aisle is a passage, the old Norman slype communicating between the cloisters and the close.

Passing on to the east, we notice the beautiful, high choir. Most of the walls are Norman, and we see the unusual polygonal radiating chapels that are part of the original Norman design. The windows are Decorated and Perpendicular, inserted in Norman openings. The great east window is the largest and finest in England. The Lady Chapel was originally built in 1225 in the Early English style, but it was rebuilt between 1457 and 1499 during the leadership of Abbots Hanley and Farley. It has four bays, each filled with a tall Perpendicular window. There is a passage beneath the chapel, which was necessary for accessing the northern side. The chapel is one of the most beautiful in England. The central Tower is notable for its elegance and grandeur. The current tower was built by Abbot Seabrooke (1450-1457) and is from the Perpendicular period. The bells are old and fortunately saved from the greedy hands of the commissioners of Henry VIII when the monastery was dissolved. The monastic buildings are on the north side, which we’ll look at later. There’s a great view of the Cathedral from the northwest. To the northwest is the Deanery, which used to be the prior’s lodging, an interesting old house; and between it and the north aisle is a passage, the old Norman slype that connects the cloisters and the close.

The Interior

The Interior

NAVE PILLARS FROM THE WEST

West Nave Pillars

Entering by the south porch we note its Norman character. The old Norman wooden roof has been replaced by a stone vault, and Decorated windows of the time of the second Edward have been inserted, but otherwise there has been little change. The west end, with two bays of the nave, is Abbot Morwent's work (1420-1437). He destroyed two western towers or turrets, which were built in 1222-1243 in place of two similar Norman structures. The height of the Norman piers is unusual, leaving a small space for the triforium and clerestory. The zigzag and double cable moulding appear on the main arches. Abbot Serlo was the builder of the original nave. The stone vault was erected by the monks in the thirteenth century (1242), when the clerestory was altered in the Early English style by Abbot Foliot (1228-1243). Morwent inserted[189] Perpendicular tracery in these windows. The remains of coloured decoration were discovered during the restoration. We have mentioned the numerous fires which wrought havoc here. Traces of the fire may still be seen in the reddened surface of the piers. The contrast between the Norman piers and the Perpendicular piers at the west end is noticeable, also the disappearance of the triforium in the last bay and the lierne vault. The west window contains some modern glass inserted in memory of Bishop Monk (1856). There is a curious series of grotesque heads on the arches of the nave showing the mummeries of gleemen. The story of the North Aisle is similar to that of the nave. We have the same Norman work and the Perpendicular western bays of Abbot Morwent. Perpendicular tracery fills the Norman windows which have zigzag mouldings, and the vault is Norman. The monks' entrance to the cloisters is at the west end of the north wall, and is richly ornamented in Perpendicular style. Another Perpendicular doorway, called the Abbot's Door, is at the east end of the wall. The history of the mythical King Lucius is the subject of the west window. There are memorials of Bishop Warburton (1779), the friend of Pope, a learned divine; Flaxman's monument of Sarah Morley and Thomas Machen (1614).

Entering through the south porch, we notice its Norman style. The old wooden roof has been replaced by a stone vault, and Decorated windows from the time of Edward II have been added, but otherwise, there has been little change. The west end, featuring two bays of the nave, is the work of Abbot Morwent (1420-1437). He removed two western towers or turrets built between 1222 and 1243 to replace two similar Norman structures. The height of the Norman piers is unusual, allowing only a small space for the triforium and clerestory. The main arches feature zigzag and double cable moulding. Abbot Serlo built the original nave. The stone vault was built by the monks in the thirteenth century (1242), and Abbot Foliot (1228-1243) modified the clerestory in the Early English style. Morwent added[189] Perpendicular tracery to these windows. Remnants of colored decoration were found during restoration. We've mentioned the many fires that caused destruction here. Signs of the fire can still be seen in the reddened surfaces of the piers. The difference between the Norman piers and the Perpendicular piers at the west end is noticeable, along with the absence of the triforium in the last bay and the lierne vault. The west window features some modern glass installed in memory of Bishop Monk (1856). There is an interesting series of grotesque heads on the arches of the nave depicting the antics of gleemen. The history of the North Aisle is similar to that of the nave. It includes the same Norman work and the Perpendicular western bays of Abbot Morwent. Perpendicular tracery fills the Norman windows adorned with zigzag mouldings, and the vault remains Norman. The monks' entrance to the cloisters is located at the west end of the north wall, richly decorated in Perpendicular style. Another Perpendicular doorway, known as the Abbot's Door, is at the east end of the wall. The history of the mythical King Lucius is depicted in the west window. There are memorials for Bishop Warburton (1779), a friend of Pope and an esteemed theologian, as well as Flaxman’s monument for Sarah Morley and Thomas Machen (1614).

The South Aisle retains some of its Norman style, but was remodelled by Abbot Thokey (1306-1329) in the Decorated style. The ball-flower ornament is much used on the windows. The vault is Decorated work erected by Thokey, and the windows have been more effectually transformed than in the north aisle. There are monuments to John Jones, M.P. for Gloucester at the time of the Gunpowder Plot, with his deeds and documents; Sir G.O. Paul (1820), a prison reformer; Dr. Jenner, the discoverer of vaccination. The Chantry of Abbot Seabrooke (1457), the builder of the tower, is at the east of this aisle, much mutilated. The chantry has been restored. The effigy is a good study of ecclesiastical dress of the period. Near at hand are the effigies of a knight and his lady, supposed at one time to represent one of the Bohun Earls of Hereford, but they are now declared to be members of the Brydges family, perhaps Sir John Brydges, who fought at Agincourt, more probably a descendant of his. We notice the SS. on the collar, and the study of the armour shows that at that time chain armour was being supplanted by plate armour. On north side of entrance to transept we see a canopied bracket[190] with remains of blue colouring. Entering the South Transept we see the first part of the Cathedral which was recased, and may be said with truth to be the birthplace of the Perpendicular style. This example is quite the earliest which can be traced, and was finished in 1337 when the treasury of the Abbey was being filled by the offerings of pilgrims at the shrine of Edward II. This part of the church has therefore peculiar interest. The designer was Abbot Wygmore (1329-1337). All the walls are covered with the panel work, which is the "sign-manual" of the Perpendicular style. The clustered shafts form very beautiful groups. On the south is a large Perpendicular window, and below it a passage behind an open arcade. Two doorways should be noticed, one called the Confessional, with figures on each side said to represent angels, and the other, now blocked up, with a grotesque monster over it. The angel-guarded door is sometimes called the Pilgrims' Door, by which they entered to worship at the shrine of King Edward. Another story is that penitents entered beneath the monster emblematical of sin, and returned by the other door protected by the guardianship of angels. The curious Prentice's Bracket, said to be the memorial of a master-builder and his 'prentice, was probably intended as bracket for a lamp. The roof is a lierne vault without bosses. The flying arches or buttresses which support the tower are very graceful. The effigies of Alderman Blackleech and his wife (1639) are remarkable as studies of the costume of the period. Other monuments are to the memory of Richard Pates (1588) and Canon Evan Evans (1891). The Chapel of St. Andrew is on the east side, adorned with paintings by Gambier Parry. Above this is the east window, which has some beautiful old glass contemporary with the remodelling of the building. On the north is the curious Chantry of Abbot John Browne (1510-1514), dedicated to St. John Baptist because of the similarity of the initials. The floor has some interesting tiles and the reredos has been painted.

The South Aisle still shows some of its Norman style, but was updated by Abbot Thokey (1306-1329) in the Decorated style. The ball-flower decoration is commonly found on the windows. The vault is Decorated work built by Thokey, and the windows have been more significantly changed than in the north aisle. There are monuments to John Jones, M.P. for Gloucester during the Gunpowder Plot, featuring his deeds and documents; Sir G.O. Paul (1820), a prison reformer; and Dr. Jenner, the pioneer of vaccination. The Chantry of Abbot Seabrooke (1457), who built the tower, is located at the east of this aisle and has been heavily damaged. The chantry has been restored, and the effigy offers a good depiction of the ecclesiastical dress from that period. Nearby are the effigies of a knight and his lady, once thought to represent one of the Bohun Earls of Hereford, but now believed to be members of the Brydges family, possibly Sir John Brydges, who fought at Agincourt, or more likely one of his descendants. The SS. on the collar are noticeable, and the details of the armor indicate that chain armor was being replaced by plate armor at that time. On the north side of the entrance to the transept, there is a canopied bracket[190] with remnants of blue coloring. Upon entering the South Transept, we see the first part of the Cathedral that was recased and can truly be considered the birthplace of the Perpendicular style. This is the earliest example we can trace, finished in 1337 when the Abbey's treasury was being filled by the donations of pilgrims at the shrine of Edward II. This section of the church thus holds special significance. The designer was Abbot Wygmore (1329-1337). All the walls are adorned with panel work, which is characteristic of the Perpendicular style. The clustered shafts create very beautiful formations. On the south side is a large Perpendicular window, with an open arcade passage beneath it. Two doorways are worth noting: one called the Confessional, flanked by figures thought to represent angels, and the other, now blocked, featuring a grotesque monster above it. The angel-guarded door is sometimes referred to as the Pilgrims' Door, by which they entered to worship at King Edward's shrine. Another story suggests that penitents entered through the monster door, symbolizing sin, and returned through the door protected by angels. The curious Prentice's Bracket, believed to be a tribute to a master-builder and his apprentice, was likely intended as a bracket for a lamp. The roof is a lierne vault without bosses. The flying arches or buttresses that support the tower are quite graceful. The effigies of Alderman Blackleech and his wife (1639) are notable as representations of the period's costume. Additional monuments honor Richard Pates (1588) and Canon Evan Evans (1891). The Chapel of St. Andrew is on the east side, decorated with paintings by Gambier Parry. Above this is the east window, which features beautiful old glass contemporary with the renovation of the building. On the north side is the unique Chantry of Abbot John Browne (1510-1514), dedicated to St. John Baptist due to the similarity of the initials. The floor showcases some interesting tiles, and the reredos has been painted.

THE CHOIR, LOOKING EAST

THE CHOIR FACING EAST

In the North Transept we see the further development of the Perpendicular style in the recasing by Abbot Horton (1351-1377). Here is the remarkably interesting Reliquary, of Early Decorated work, said by some to be a lavatory. The carved foliage is very beautiful and also the figures, though mutilated. A chapel is at the east side of this transept, similar to that in the south transept, dedicated to St. Paul. A door opens to the north choir aisle. At the entrance from the transept there is a curious desk which was used by a monk appointed to check the pilgrims as they went[193] to the shrine of Edward. The chapel was repaired in 1870, and the niches supplied with figures of SS. Peter, Paul and Luke. A good Perpendicular doorway is on the north side, with carved angels in the moulding. The Chapel of St. Anthony is on the south of this transept, now used as a vestry. There is a curious painting here of St. Anthony rescuing a female from the mouth of hell. The transept has a monument of John Bower (1615), which bears the words: "Vayne, Vanytie. All is Vayne. Witnesse Solomon."

In the North Transept, we see the further development of the Perpendicular style thanks to Abbot Horton (1351-1377). Notably, there is the fascinating Reliquary, which some say was a lavatory from the Early Decorated period. The carved foliage is beautiful, as are the figures, even though they are damaged. On the east side of this transept, there’s a chapel similar to the one in the south transept, dedicated to St. Paul. A door leads to the north choir aisle. At the entrance from the transept, there’s an unusual desk that was used by a monk whose job was to check the pilgrims as they made their way to the shrine of Edward. The chapel was restored in 1870, and niches were filled with figures of Saints Peter, Paul, and Luke. There’s a lovely Perpendicular doorway on the north side, featuring carved angels in the moulding. The Chapel of St. Anthony is located on the south side of this transept and is now used as a vestry. Inside, there’s an interesting painting of St. Anthony saving a woman from the mouth of hell. The transept holds a monument for John Bower (1615), which contains the words: "Vayne, Vanytie. All is Vayne. Witnesse Solomon."

The Screen supporting the organ was erected in 1823 and replaced an earlier one. The story of the screens is a long one which Mr. St. John Hope has told so well that we need not repeat it. It appears there were two screens, one called the Pulpitum and the other a stone screen supporting the rood-loft. But these have disappeared, and we have instead an early nineteenth-century structure which need not be described. The original organ was built at the time of the Restoration, and some of the pipes bear the monogram of the Merry Monarch. The Choir is remarkable for its extreme beauty. From the lofty traceried roof down to the elaborately-tiled floor the walls are covered with richly-carved panelled work, broken here and there with delicate screens of stone. Behind this veiled work of stone stand the old Norman walls and piers. This casing was done by Abbots Staunton (1337-1351) and Horton (1351-1377). The lierne vault is one of the finest in England, with its multitudinous ribs, and ranks with King's College Chapel, Cambridge, and Westminster. The vaults of the tower and choir both belong to the same period. The Stalls were erected by the builders of the choir and have fine canopies. The Misereres are curious and well carved. Some of them represent hunting scenes, St. George slaying a giant, etc. Before us is the grand East Window, the finest in Christendom. Its date is 1345-1350, and is part of Abbot Horton's work. The Coronation of the Virgin is the subject, and the figures consist of angels, apostles, saints, kings and abbots. The arms of Edward III., the Black Prince, and the lords of Berkeley, Arundel, Warwick, Talbot and others appear, who took part in the campaign against France when Creçy was fought. It is thought by some that the window is a memorial of that famous victory. The clerestory windows retain some of their old glass, which is of the same date as that of the east window, but has been restored. The Reredos is modern, de[194]signed by Sir G. Scott. The Birth, Burial and Ascension of Our Lord are represented. The floor of the presbytery is paved with some remarkable old Tiles, which record the names of some of the abbots, the arms of knights, and other interesting devices. The sedilia are adorned with modern sculptured figures, and the restoration has been accomplished with much care and taste. There are five principal historic Monuments in the choir. Near the altar is the canopied tomb of Osric, the founder of the first Abbey, said to have been erected by Abbot Parker (1515-1539). Guided by the description of the tomb told by Leland, Dean Spence opened the cenotaph and found the grey dust and bones of this ancient benefactor. Near at hand is the beautiful Tomb of King Edward II., murdered at Berkeley Castle. It was erected by Edward III. The effigy is of alabaster, and the features are thought to have been reproduced from a waxen mask taken after death. The tomb is a forest of pinnacles and rich tabernacle work. It has been much restored at various times, but the extreme beauty of the work has in no way been impaired. The white hart, chained and collared, the badge of Richard II., is painted on the pillars. The Chantry of Abbot Parker, or Malverne (1515-1539), has a much mutilated effigy of this, the last Abbot of Gloucester. Vine leaves and grapes adorn the screen, and the base has some heraldic devices and the emblems of the Passion. On the south side is a projecting bracket which Leland tells us marks the grave of Abbot Serlo, the founder of the Norman Church. The bracket is Perpendicular, the effigy Early English, both much mutilated. The figure has a model of a church in his hand, and therefore denotes that the abbot was a founder, but the Early English character of the effigy points to it representing a later abbot than Serlo, and possibly Abbot Foliot (1243).

The Screen that supports the organ was built in 1823, replacing an earlier one. The history of the screens is extensive, and Mr. St. John Hope has told it so well that we won’t go over it again. It seems there were two screens: one called the Pulpitum and another a stone screen supporting the rood-loft. But these have vanished, and what we have instead is a structure from the early nineteenth century that doesn’t need further description. The original organ was constructed during the Restoration, and some of its pipes carry the monogram of the Merry Monarch. The Choir is notable for its stunning beauty. From the high, elaborate roof down to the intricately tiled floor, the walls are covered with richly carved paneling, occasionally interrupted by delicate stone screens. Behind this decorative stonework stand the old Norman walls and piers. This casing was done by Abbots Staunton (1337-1351) and Horton (1351-1377). The lierne vault is one of the finest in England, with its many ribs, and ranks alongside King's College Chapel, Cambridge, and Westminster. The vaults of the tower and choir date from the same period. The Stalls were built by the choir’s builders and feature beautiful canopies. The Misereres are interesting and well-crafted, with some depicting hunting scenes, St. George slaying a giant, and others. Before us is the magnificent East Window, the finest in Christendom. It dates from 1345-1350 and is part of Abbot Horton’s work. The theme is the Coronation of the Virgin, featuring angels, apostles, saints, kings, and abbots. The arms of Edward III, the Black Prince, and the lords of Berkeley, Arundel, Warwick, Talbot, and others who participated in the campaign against France during the Battle of Crécy can be seen. Some believe this window is a memorial to that famous victory. The clerestory windows still have some of their original glass, which dates back to the same time as the east window but has been restored. The Reredos is modern, designed by Sir G. Scott, depicting the Birth, Burial, and Ascension of Our Lord. The presbytery floor is paved with remarkable old Tiles, which display the names of some abbots, the arms of knights, and other interesting designs. The sedilia are decorated with modern sculpted figures, and the restoration has been carried out with great care and taste. There are five main historic Monuments in the choir. Near the altar stands the canopied tomb of Osric, the founder of the first Abbey, believed to have been built by Abbot Parker (1515-1539). Following Leland's description, Dean Spence opened the cenotaph and discovered the gray dust and bones of this ancient benefactor. Nearby is the beautiful Tomb of King Edward II., murdered at Berkeley Castle. It was erected by Edward III. The effigy is made of alabaster, and it is thought that the features were based on a wax mask created after his death. The tomb features a forest of pinnacles and rich tabernacle work. It has undergone much restoration over the years, but the stunning craftsmanship remains intact. The white hart, chained and collared, the badge of Richard II, is painted on the pillars. The Chantry of Abbot Parker, or Malverne (1515-1539), has a severely damaged effigy of this last Abbot of Gloucester. Vine leaves and grapes embellish the screen, and the base features some heraldic designs and symbols of the Passion. On the south side, there’s a projecting bracket that Leland tells us marks the grave of Abbot Serlo, the founder of the Norman Church. The bracket is Perpendicular, and the effigy is Early English, both of which are heavily mutilated. The figure holds a model of a church in his hand, indicating that the abbot was a founder, but the Early English style of the effigy suggests it represents a later abbot than Serlo, possibly Abbot Foliot (1243).

The North Choir Aisle, or ambulatory, is original Norman, the windows being filled with Perpendicular tracery. At the north-east corner is Abbot Boteler's Chantry (1433-1450). The old tiles are interesting, amongst which we see some representing the arms of the Boteler or Butler family (three cups). The decoration of the chapel is all Perpendicular work, screens, windows and reredos. This last is very fine, and has some well-carved figures of the Apostles. Here is the effigy of Robert, Duke of Normandy, eldest son of William I., whose wild youth was atoned for by his prowess in the Crusades. He, however, had to endure twenty years' imprisonment, inflicted by his father. The effigy was probably made not long after his death. The chest on which it rests is fifteenth-century[197] work. The effigy was hacked to pieces by Cromwell's soldiers, but the fragments were put together by Sir Humphrey Tracy, and replaced in the Cathedral.

The North Choir Aisle, or ambulatory, is original Norman, and the windows feature Perpendicular tracery. At the northeast corner is Abbot Boteler's Chantry (1433-1450). The old tiles are interesting, including some that show the arms of the Boteler or Butler family (three cups). The chapel's decoration is all Perpendicular style, with screens, windows, and a reredos. The reredos is particularly impressive and includes some well-carved figures of the Apostles. Here lies the effigy of Robert, Duke of Normandy, the eldest son of William I, whose reckless youth was redeemed by his bravery in the Crusades. However, he had to endure twenty years of imprisonment enforced by his father. The effigy was likely created soon after his death. The chest it rests on is fifteenth-century[197] work. The effigy was cut to pieces by Cromwell's soldiers, but Sir Humphrey Tracy managed to piece it back together and placed it back in the Cathedral.

THE LADY CHAPEL

THE LADY CHAPEL

The Ante-Chapel, or vestibule, leading to the Lady Chapel, is the meeting-place of the old and new work, and is ingeniously contrived. The Norman apse is pierced by a doorway and two Perpendicular windows. It is separated from the Lady Chapel by an open-work screen, which is very beautiful, and has a fine lierne vault. This, and the Lady Chapel, are the work of Abbots Hanley and Farley, who presided over the Abbey during the last half of the fifteenth century. The Lady Chapel ranks with Ely as the largest in England, and certainly it is a triumph of Perpendicular architecture. It has lofty Perpendicular windows, which seem to produce the effect of a wall of glass with panelled tracery. The head of each panel is much ornamented, and panel work, with niches, covers the walls. The lierne vault is very fine, and the bosses carved with beautiful foliage. At one time the walls were painted, and traces of colour remain. The east window has much old glass, which is also visible in the heads of the other windows. There is a very poor modern reredos, which might be removed without much regret, as it hides a very interesting, though much mutilated, mass of rich tabernacle work. The altar rails belong to the time of Laud, who was dean here, and are said to be the first introduced into churches. Many of the original tiles remain, and bear inscriptions: Ave Maria grā plē, Dñe Jhū Miserere. There are two side chapels, with fan-tracery vaulting. In the north chapel is the monument of Bishop Goldsbrough (1604). There is an upper chapel, or oratory, and the same arrangement obtains on the south side. This chapel has a monument of Th. Fitz-williams (1579). The marks on the walls of these upper oratories show that the love of recording names by visitors in historic places is not confined to modern times, and dates as far back as the sixteenth century.

The Ante-Chapel, or entrance area, leading to the Lady Chapel, is where the old and new parts meet, and it's cleverly designed. The Norman apse features a doorway and two Perpendicular windows. It's separated from the Lady Chapel by an open-work screen, which is quite beautiful and has an impressive lierne vault. This, along with the Lady Chapel, was created by Abbots Hanley and Farley, who were in charge of the Abbey during the last half of the fifteenth century. The Lady Chapel is on par with Ely as the largest in England, and it truly showcases the brilliance of Perpendicular architecture. It boasts tall Perpendicular windows that create the illusion of a glass wall with intricate panelled tracery. The tops of each panel are richly decorated, and the walls are adorned with panel work and niches. The lierne vault is exquisite, with carefully carved foliage on the bosses. At one point, the walls were painted, and some traces of color still remain. The east window contains a lot of old glass, which can also be seen in the tops of the other windows. There’s a rather unattractive modern reredos that could be removed without much disappointment, as it conceals an intriguing, albeit damaged, collection of ornate tabernacle work. The altar rails date back to the time of Laud, who was the dean here, and are said to be the first ones introduced into churches. Many of the original tiles are still present, bearing inscriptions: Ave Maria grā plē, Dñe Jhū Miserere. There are two side chapels with fan-tracery vaulting. The north chapel contains the monument of Bishop Goldsbrough (1604). There is also an upper chapel, or oratory, and a similar setup exists on the south side. This chapel features a monument for Th. Fitz-williams (1579). The marks on the walls of these upper oratories indicate that visitors have been recording names in historic places for a long time, dating back to the sixteenth century.

Returning to the entrance, we follow the ambulatory to the south, which retains its northern features. St. Philip's Chapel is at the south-east corner, and has been restored in memory of Sir C. Codrington, Bart. (1864). There are Norman arches, and fourteenth-century tracery inserted in the windows. The spacious chests for copes are interesting records of the rich ecclesiastical vestments in use in former times.[198]

Returning to the entrance, we follow the hallway to the south, which still shows its northern characteristics. St. Philip's Chapel is located at the southeast corner and has been restored in memory of Sir C. Codrington, Bart. (1864). There are Norman arches and fourteenth-century designs in the windows. The large chests for copes are fascinating remnants of the luxurious ecclesiastical robes that were worn in the past.[198]

The Triforium is unusually fine, and now extends over the north and south choir aisles, but not over the east end. That part was removed when the choir was reconstructed, and in order to connect the severed portions of the triforium together, the Whispering Gallery was constructed. This part of the church retains its Norman features, and is full of interest. The first chapel on the south has Decorated windows, with ball-flower ornament. There is a double piscina. A very ancient painting of a Doom or Last Judgment, discovered in 1718, is a very remarkable example of early art. It was probably painted towards the end of the reign of Henry VIII. The view of the choir is very beautiful, and the way in which the later builders cased the Norman work with a veil of stone can best be observed from the triforium. The next chapel (south-east) is Norman, with later windows inserted. There are some fragments of an old choir-screen stored here.

The Triforium is quite impressive and now spans the north and south choir aisles, but not the east end. That section was taken down when the choir was rebuilt, and to link the separated parts of the triforium, the Whispering Gallery was created. This area of the church still showcases its Norman features and is very interesting. The first chapel on the south has decorated windows with ball-flower designs. There’s a double piscina. A very old painting of the Doom or Last Judgment, found in 1718, is a notable example of early art. It was likely created toward the end of Henry VIII's reign. The view of the choir is stunning, and the way the later builders covered the Norman work with a layer of stone is best seen from the triforium. The next chapel (southeast) is Norman, with later windows added in. There are some pieces of an old choir screen stored here.

The Whispering Gallery is built out at the back of the great east window, and in its construction old Norman stone-work has been re-used. It happens to possess the curious acoustic property of the famous gallery of St. Paul's, London. The next chapel is over the ante-chapel of the choir, and has a stone altar, with the usual five crosses carved on it. The north-east chapel has a Decorated window, and the north-west a double piscina of the same period.

The Whispering Gallery extends out from the back of the large east window, incorporating old Norman stonework. It has the interesting acoustic features similar to those in the famous gallery at St. Paul's in London. The next chapel is situated above the ante-chapel of the choir and has a stone altar with the typical five crosses carved into it. The northeast chapel features a Decorated window, while the northwest chapel has a double piscina dating from the same period.

We will now descend to the Crypt (entrance in south-east transept), which is very Early Norman, founded before 1085. The walls and piers are very strong and massive, the former being 10 feet thick. There is a central apse, an ambulatory, out of which radiate five chapels. The half columns in the ambulatory have been strengthened and recased in later Norman times. The chapels have little of interest except their own intrinsic architectural merits. There are some good piscinæ, and some memorial slabs.

We will now go down to the Crypt (entrance in the southeast transept), which is very Early Norman, founded before 1085. The walls and piers are very strong and massive, with the walls being 10 feet thick. There is a central apse and an ambulatory, from which five chapels extend. The half columns in the ambulatory have been reinforced and re-cased in later Norman times. The chapels have little of interest other than their own architectural merits. There are some good piscinæ and some memorial slabs.

CARREL IN SOUTH CLOISTER

Study nook in South Cloister

The Monastic Buildings are some of the finest in England, especially the cloisters, which are remarkable for their excellent preservation and for the beauty of the fan-traceried vault. It is thought that this kind of vaulting, peculiar to this country, originated here. The outer walls are Norman, and have been recased with Perpendicular panelling. This work was begun by Abbot Horton (1351-1377), and finished by his successors, Abbot Boyfield (1377-1381) and Abbot Froucester (1381-1412). The south walk possesses a very interesting feature in the Carrels or studies of the monks. The glass of the windows is modern. The passage or slype, of Norman date, at the west end, was the main entrance to the cloister from the outer court. At the north end was the[201] door to the refectory. A window has been placed there instead, but Mr. Hope points out "the iron hooks on which the doors were hung." Little of the refectory, which was on the north of the garth, remains, except the south wall, preserved by the cloister, and part of the east end. The action of the fire of 1540, which destroyed this noble hall, is observed on the walls. In the north walk are the monks' lavatories, the most perfect in England; opposite is the Manutergia, or recess for towels. This walk was reserved for novices, and Mr. Hope shows us the tables for games which they played scratched on the stone bench, the "Nine Men's Morris" and "Fox and Geese" being their favourite pastimes. The east walk gives entrance to the chapter-house. The doorway is Norman, with zigzag ornament. The chapter-house is Norman, with a Perpendicular east end. At the west end is a Norman doorway and an unglazed window (the corresponding one being covered up when the south-east staircase was added), and three Norman windows. Traces of fire may be seen here. The seats of the monks under the arcading may be traced. The vault of the Perpendicular part is finely groined, and there is a large Perpendicular window at the east end. The names of several illustrious leaders under William I. appear on the walls.

The Monastic Buildings are among the best in England, particularly the cloisters, which are notable for their excellent preservation and the beauty of the fan-traceried vault. It is believed that this type of vaulting, unique to this country, originated here. The outer walls are Norman and have been recased with Perpendicular paneling. This work started with Abbot Horton (1351-1377) and was completed by his successors, Abbot Boyfield (1377-1381) and Abbot Froucester (1381-1412). The south walk features a very interesting aspect—the Carrels or study areas of the monks. The window glass is modern. The passage or slype, dating from the Norman period, at the west end, was the main entrance to the cloister from the outer court. At the north end was the[201] door to the refectory. Instead, a window has been placed there, but Mr. Hope points out "the iron hooks on which the doors were hung." Little remains of the refectory, located on the north side of the garth, except for the south wall preserved by the cloister and part of the east end. Signs of the fire of 1540, which destroyed this grand hall, can be seen on the walls. In the north walk are the monks' lavatories, the most complete in England; opposite is the Manutergia, or recess for towels. This walk was designated for novices, and Mr. Hope shows us the game tables they scratched onto the stone bench, with "Nine Men's Morris" and "Fox and Geese" being their favorite games. The east walk leads to the chapter house. The doorway is Norman, adorned with zigzag decoration. The chapter house is Norman, with a Perpendicular east end. At the west end is a Norman doorway and an unglazed window (the corresponding one was covered when the southeast staircase was added), along with three Norman windows. Signs of fire can also be observed here. The seats for the monks beneath the arcading are still visible. The vault in the Perpendicular section is beautifully groined, and there is a large Perpendicular window at the east end. The names of several prominent leaders from the time of William I. are inscribed on the walls.

The Locutorium, or monks' parlour, lies between the chapter-house and the north transept of the church. This passage is often erroneously called the "Abbot's Cloister." Here the monks met to converse when talking was prohibited in the cloister. Above is the vestry and library. The latter is a long room, of Perpendicular character. The library at Gloucester has had many migrations and vicissitudes; the books of the old monastic library were dispersed. A new collection was begun in 1624 by Bishop Goodman. The books have been stored in the chapter-house, and elsewhere, and have now found a permanent resting-place. Its principal treasure is Abbot Froucester's Lives of the Abbots of Gloucester to 1381. This copy was lost at the beginning of the nineteenth century, and discovered again at Berlin, and restored to the library. The dormitory has been destroyed. It probably stood on the north of the chapter-house. The remains of the infirmary and little cloisters are on the north of the cloister.

The Locutorium, or monks' lounge, is located between the chapter-house and the north transept of the church. This area is often mistakenly referred to as the "Abbot's Cloister." Here, the monks gathered to chat when talking was not allowed in the cloister. Above this space is the vestry and library. The library is a long room with a Perpendicular style. The library at Gloucester has experienced many moves and changes; the books from the old monastic library were scattered. Bishop Goodman started a new collection in 1624. The books have been kept in the chapter-house and other places, and they have now found a permanent home. Its main treasure is Abbot Froucester's Lives of the Abbots of Gloucester to 1381. This copy was lost at the start of the nineteenth century, but it was found again in Berlin and returned to the library. The dormitory has been destroyed; it likely stood to the north of the chapter-house. The remnants of the infirmary and small cloisters are located to the north of the cloister.

The Cathedral close was surrounded by a wall. Some of the gateways remain. St. Mary's Gate, on the west, is a fine thirteenth-century structure; the Inner Gate, of fourteenth-century[202] work, leading to Miller's Green, the site of the old Abbey Mill and outhouses; the south, or King Edward's Gate, built by Edward I., of which only fragments remain; and the Westgate Street Gate. The Deanery, as we have said, has many interesting features, and remains of the work of eleventh, twelfth, thirteenth and fourteenth centuries. The Bishop's Palace is modern, built on the site of the abbot's house, erected in the early part of the fourteenth century. Previous to that period the abbot lived at the present Deanery.

The Cathedral close was surrounded by a wall. Some of the gateways are still there. St. Mary's Gate, on the west, is a beautiful structure from the thirteenth century; the Inner Gate, from the fourteenth century[202], leads to Miller's Green, the location of the old Abbey Mill and outbuildings; the south, or King Edward's Gate, was built by Edward I., of which only remnants remain; and the Westgate Street Gate. The Deanery, as we mentioned, has many interesting features and remains from the eleventh, twelfth, thirteenth, and fourteenth centuries. The Bishop's Palace is modern, built on the site of the abbot's house, which was constructed in the early part of the fourteenth century. Before that, the abbot lived at the current Deanery.

Dimensions

Dimensions

Nave, length174 ft.
Nave, width34 ft.
Nave, height68 ft.
Transepts, length46 ft.
Transepts, width34 ft.
Choir, length140 ft.
Choir, width33 ft.
Lady Chapel, length90 ft.
Lady Chapel, width25 ft.
Tower, height225 ft.
Total length407 ft.
Area30,600 sq. ft.

Principal Building Dates

Main Building Dates

  • Norman (1089-1100)—Piers, arches, triforium of the nave, walls and vault of north aisle and pilasters of south aisle, walls of choir and presbytery, chapels and ambulatory, north transept, west end of chapter-house and abbot's cloister.
  • Early English (1242)—Vault of nave.
  • Decorated (1307-1329)—Windows and vault of south aisle, south transept, windows of ambulatory and chapels.
  • Perpendicular (1337-1500)—Windows of nave and north aisle, casing north transept, choir and presbytery, Lady Chapel, cloisters, tower, west end, south porch, and east end of chapter-house.

PLAN OF GLOUCESTER CATHEDRAL

Gloucester Cathedral Plan


HEREFORD CATHEDRAL

The story of the See of Hereford takes us back to very early times, to the days of the British, and shows the connection and identity of the Church of England of the twentieth century with that which existed even prior to the landing of Augustine. The see was in existence in the sixth century, and was subject to the Archbishop of Caerleon. Legends tell us of Dubricius, who crowned King Arthur at Cirencester. One Bishop of Hereford represented the old British bishops at the famous conference with Augustine, when, by his want of tact and haughty demeanour, the Roman missionary alienated the native British Church. A very tragic event enhanced the glories of the see. King Offa slew Ethelbert, King of the East Angles, who was a suitor for his daughter's hand, and buried him at Hereford. On the night of the funeral, "a column of light, brighter than the sun, arose towards heaven," according to the monkish chronicler, and miracles were wrought at the tomb of the martyred monarch. This distressed Offa, who tried to expiate his crime by erecting a noble monument, founding the monastery at St. Alban's, and devoting costly gifts to the church of Hereford. One Mildred, Offa's viceroy, built "an admirable stone church," dedicated to the martyr Ethelbert. This was rebuilt by Bishop Ethelstan in 1012. Then followed sad times when the Welsh tribes invaded the land and destroyed the city and church by fire. When the Normans came Bishop de Losinga (1079-1095) began to rebuild the ruined church, and the work was continued by his successor, Raynhelm (1107-1115). During the troubles of Stephen's reign Hereford suffered much. The Cathedral was deserted and desecrated, and Bishop Robert de Bethune, a worthy prelate, was forced to seek safety in flight. Stephen entered the Castle of Hereford with great pomp, and occupied during service the episcopal chair, which still remains. On his return he cleansed and repaired the building. Then we see Gilbert Foliot, Bishop of Hereford, the stern opponent of Becket, who preached the sermon at Canterbury, when Henry II.[205] did penance for the murder of the archbishop. Bishop William de Vere (1189-1199) is said to have built much, removed the apsidal terminations at the east end, and made other alterations. His work was continued by the erection of the Early English Lady Chapel. Probably he built the Palace. Bishop Giles de Bruce (1200-1215) took part with the barons against King John, and was a very warlike prelate, who allied himself with Prince Llewellyn, and destroyed the castle of Earl Mortimer, an adherent of the king. He was driven from his see, but afterwards made peace with John, and died at Gloucester when he was returning to his see. Writers commonly assign to him the building of the tower, on the ground that his effigy has a model of the church in its hand. But this effigy was erected long after his death, and cannot be taken as any evidence of the truth of the statement. The profusion of ball-flower ornament certainly points out that the tower belongs to the fourteenth and not to the thirteenth century.

The history of the See of Hereford takes us back to ancient times, to the era of the Britons, and highlights the connection and identity of the Church of England in the twentieth century with that which existed even before Augustine arrived. The see was established in the sixth century and was under the Archbishop of Caerleon. Legends tell of Dubricius, who crowned King Arthur at Cirencester. One Bishop of Hereford represented the old British bishops at the famous conference with Augustine, where his lack of tact and arrogant demeanor caused the Roman missionary to alienate the native British Church. A tragic event added to the see's glory. King Offa killed Ethelbert, King of the East Angles, who was courting his daughter, and buried him at Hereford. On the night of the funeral, "a column of light, brighter than the sun, arose towards heaven," according to the monkish chronicler, and miracles occurred at the tomb of the martyred king. This troubled Offa, who sought to atone for his crime by building a grand monument, founding the monastery at St. Alban's, and donating valuable gifts to the church of Hereford. One Mildred, Offa's viceroy, built "an admirable stone church," dedicated to the martyr Ethelbert. This was rebuilt by Bishop Ethelstan in 1012. Then came dark times when the Welsh tribes invaded, destroying the city and church by fire. When the Normans arrived, Bishop de Losinga (1079-1095) began to reconstruct the damaged church, and his successor, Raynhelm (1107-1115), continued the work. During Stephen's troubled reign, Hereford suffered greatly. The Cathedral was abandoned and desecrated, and Bishop Robert de Bethune, a decent bishop, was forced to flee for safety. Stephen entered the Castle of Hereford with great ceremony and occupied the episcopal chair during service, which still remains. Upon his return, he cleaned and repaired the building. We then see Gilbert Foliot, Bishop of Hereford, the fierce opponent of Becket, who delivered the sermon at Canterbury when Henry II.[205] did penance for the archbishop's murder. Bishop William de Vere (1189-1199) is said to have made many improvements, removed the rounded ends at the east end, and made other changes. His work was continued with the construction of the Early English Lady Chapel. He likely built the Palace. Bishop Giles de Bruce (1200-1215) sided with the barons against King John and was quite a combative bishop, allying with Prince Llewellyn and destroying Earl Mortimer's castle, a supporter of the king. He was ousted from his see but later made peace with John and died in Gloucester while returning to his see. Writers often credit him with building the tower, arguing that his effigy holds a model of the church. However, this effigy was erected long after his death and cannot be seen as evidence supporting the claim. The abundance of ball-flower decoration clearly indicates that the tower is from the fourteenth century and not the thirteenth century.

Peter d'Acquablanca in Savoy (1240-1268) was one of the foreign favourites of Henry III., who fought in the Crusades. He was a simoniacal prelate who tried to gain the See of Bordeaux, and was much ridiculed when, after paying the money, the Archbishop of Bordeaux was found to be alive. He was expelled from England, but returned, and then went off to Ireland to collect tithes. Unfortunately King Henry visited Hereford during his absence, and found that no clergy were there, and the church in ruin and decay. He therefore wrote a strongly-worded remonstrance to the absent bishop, who returned in time to be seized by Simon de Montfort and put into prison, while his hoards of wealth were divided amongst his captors. He died soon after this. His tomb remains, but his heart is buried in Savoy, his native land. He is said to have rebuilt the north transept.

Peter d'Acquablanca in Savoy (1240-1268) was one of the foreign favorites of Henry III, who fought in the Crusades. He was a corrupt church official who tried to gain the See of Bordeaux and was mocked when, after paying the money, it turned out the Archbishop of Bordeaux was still alive. He was kicked out of England but returned, then went to Ireland to collect tithes. Unfortunately, King Henry visited Hereford while he was away and found that there were no clergy present, and the church was in ruin and decay. He wrote a strongly-worded complaint to the missing bishop, who returned just in time to be captured by Simon de Montfort and thrown in prison, while his stash of wealth was split among his captors. He died shortly after that. His tomb still exists, but his heart is buried in Savoy, his home country. He is said to have rebuilt the north transept.

Thomas de Cantilupe (1275-1282) was a noted bishop, who attained to the honour of canonisation, and was, moreover, Chancellor of England. He was by no means a meek-spirited saint, excommunicated an earl for capturing his game, and made another lord walk barefoot to the altar of the Cathedral, after chastising him for interfering with his tenants. On his death in Italy his flesh was buried at Florence, his heart at Ashridge, Bucks, and his bones at Hereford. Various miracles were said to have been wrought at his tomb. His successor Swinfield (1283-1317), built, or began, the eastern transept, the clerestory of the choir, the central tower above the roof, and probably the nave aisles. Adam[206] de Orleton (1316-1327) espoused the cause of the queen against Edward II., and involved Hereford in the troubles of that disastrous time. He is said to have instigated the murder of the king; at any rate he captured the fugitive monarch, and Hugh Despenser, the king's favourite, was brought here and hanged. He obtained from the Pope a grant of the tithes of two Berkshire parishes, Shinfield and Swallowfield, for the repair of his Cathedral. The fifteenth century saw several additions to the fabric, the cloisters in 1418-1448, the great west window by W. Lochard, the precentor, some chantry chapels which we shall notice later, and the enlargement of the north porch. At the Reformation an ardent reformer, Edward Fox, was appointed bishop, and Hereford, like other cathedrals, was despoiled of its valuables and treasures. Fox's successor, Skip, was a liturgical scholar, and helped in compiling our liturgies. Another learned prelate was Francis Godwin (1617-1633), the author of the Lives of English Bishops (de Præsulibus Anglicæ). At the Civil War period Hereford suffered the usual misfortunes. Both bishop and people espoused the cause of the king. The city was taken and retaken without much damage being done, until Lord Leven with the Scottish army besieged it in 1645, when the church suffered considerably; and when, by the treachery of the governor, Colonel Birch, the city was again taken, it was plundered and the Cathedral ransacked. Brasses were torn up, monuments defaced, old windows broken, the library pillaged, and when the dean courageously preached to the riotous soldiers on their sacrilege, they levelled their muskets at him, and were scarcely restrained from firing.

Thomas de Cantilupe (1275-1282) was a prominent bishop who achieved the honor of canonization and also served as Chancellor of England. He was by no means a mild-mannered saint; he excommunicated an earl for hunting his game and made another lord walk barefoot to the altar of the Cathedral after punishing him for meddling with his tenants. Upon his death in Italy, his flesh was buried in Florence, his heart in Ashridge, Bucks, and his bones in Hereford. Various miracles were reported to have occurred at his tomb. His successor, Swinfield (1283-1317), built or began the eastern transept, the clerestory of the choir, the central tower above the roof, and probably the nave aisles. Adam de Orleton (1316-1327) supported the queen against Edward II, dragging Hereford into the troubles of that tumultuous time. He is said to have instigated the murder of the king; in any case, he captured the fugitive monarch, and Hugh Despenser, the king's favorite, was brought here and hanged. He obtained a papal grant of the tithes from two parishes in Berkshire, Shinfield and Swallowfield, for the repair of his Cathedral. The fifteenth century saw several additions to the structure, including the cloisters from 1418-1448, the great west window by W. Lochard, the precentor, some chantry chapels which we will mention later, and the enlargement of the north porch. During the Reformation, an ardent reformer, Edward Fox, was appointed bishop, and Hereford, like other cathedrals, was stripped of its valuables and treasures. Fox's successor, Skip, was a liturgical scholar who contributed to the compilation of our liturgies. Another learned bishop was Francis Godwin (1617-1633), who wrote the Lives of English Bishops (de Præsulibus Anglicæ). During the Civil War, Hereford endured the usual hardships. Both the bishop and the people supported the king. The city was taken and retaken with minimal damage until Lord Leven and the Scottish army besieged it in 1645, causing significant suffering to the church. When the city was again captured through the betrayal of the governor, Colonel Birch, it was plundered, and the Cathedral was ransacked. Brasses were torn up, monuments were defaced, old windows were broken, the library was looted, and when the dean bravely preached to the unruly soldiers about their sacrilege, they aimed their muskets at him and barely held back from firing.

Injudicious "restorers" have worked their wicked will on the fabric; amongst these was Bishop Bisse (1713-1721) who spent much money, erected several monstrosities, which have happily been removed, and destroyed the half-ruined chapter-house in order to restore the Palace. In 1786 the western tower fell, and carried with it the west front. Then Wyatt, of evil memory, was let loose on the Cathedral. He made a new west front, shortened the nave, and took down the Norman work in triforium and clerestory, substituting his own designing. Plaster was used unsparingly. The old spire was removed, the roofs lowered, and much other vandalism perpetrated. From 1837 to 1863 continued restoration took place, and in spite of the havoc which has been wrought the church retains much of its ancient and interesting character, and is well worthy of accurate study.

Inconsiderate "restorers" have done their damage to the structure; among them was Bishop Bisse (1713-1721), who spent a lot of money, built several eyesores, which have thankfully been taken down, and destroyed the partially ruined chapter house to restore the Palace. In 1786, the western tower collapsed, taking the west front with it. Then Wyatt, infamous for his work, was allowed to get his hands on the Cathedral. He created a new west front, shortened the nave, and removed the Norman elements in the triforium and clerestory, replacing them with his own designs. Plaster was liberally used. The old spire was taken down, the roofs were lowered, and much other vandalism occurred. From 1837 to 1863, ongoing restoration took place, and despite the damage that has been done, the church still retains much of its ancient and fascinating character and is definitely deserving of careful study.

HEREFORD CATHEDRAL FROM THE WYE

Hereford Cathedral from the Wye

The Exterior[209]

The Exterior[209]

A good view is obtained from the close on the south side. On the banks of the Wye is the Palace and College of Vicars Choral; on the east was the old castle, one of the strongest on the Welsh marches. The West Front is an erection of Wyatt's, and need not be noticed. Formerly there was a great tower here, which fell in 1786 and destroyed the old west front. The Central Tower is very fine. The abundance of ball-flower ornament proclaims its Decorated style. The date is about 1300. It has two stages. The pinnacles are modern. As we have said, a wooden spire which once capped it has been removed. On the west side there is a noble Porch of Perpendicular style, built by Bishop Booth in 1530. There is a parvise in the second storey with Perpendicular windows. This porch joins on to an inner one of the Decorated period. Octagonal turrets containing staircases stand at the angles. The iron-work of the doors is excellent modern work. The walls and windows of the aisles are Late Decorated, about 1360. The clerestory is Wyatt's construction, who destroyed the original Norman work. The North Transept is worthy of attention. The buttresses are very massive. It was built about 1285 for the reception of the shrine of Bishop Cantilupe. The windows are very lofty, of three lights under triangular-headed arches. The window on the north is similar, but double. On the east side there is an aisle, with triforium windows of three lancets, and above the clerestory windows are triangular.

A great view can be enjoyed from the area on the south side. On the banks of the Wye stands the Palace and College of Vicars Choral; to the east was the old castle, one of the strongest along the Welsh borders. The West Front was constructed by Wyatt and doesn't need further mention. There used to be a large tower here, which collapsed in 1786 and destroyed the old west front. The Central Tower is impressive. The abundance of ball-flower decoration indicates its Decorated style, dating back to around 1300. It has two levels. The pinnacles are modern. As mentioned, a wooden spire that once topped it has been removed. On the west side, there is a grand Porch in the Perpendicular style, built by Bishop Booth in 1530. There’s a parvise on the second floor with Perpendicular windows. This porch connects to an inner one from the Decorated period. Octagonal turrets with staircases are located at the corners. The ironwork of the doors is excellent modern craftsmanship. The walls and windows of the aisles are Late Decorated, around 1360. The clerestory is Wyatt's design, which replaced the original Norman work. The North Transept deserves attention. The buttresses are very sturdy. It was built around 1285 to house the shrine of Bishop Cantilupe. The windows are very tall, featuring three lights under triangular-headed arches. The window on the north side is similar but has two sections. On the east side, there is an aisle with triforium windows of three lancets, and above the clerestory windows are triangular in shape.

The Lady Chapel is fine Early English work, and belongs to the first half of the thirteenth century. We notice especially the tall and graceful lancets and elegant arcades of interesting arches.

The Lady Chapel is exquisite Early English work, dating from the first half of the thirteenth century. We particularly notice the tall and graceful lancets and the elegant arcades with captivating arches.

The east end was rebuilt in 1850. On the south is the Audley Chapel. It is difficult to approach the south side, as walls and gardens prevent easy access. The Vicar's Cloister, connecting the Cathedral with the College of the Vicars Choral (incorporated in 1396), is Perpendicular work. The oak beams are finely carved. The quadrangle of the college is well worthy of notice. The Bishop's Cloister is on the south of the nave. Two walks remain, and the west walk is partially restored and contains the library. Their style is Perpendicular. The chapter-house was pulled down by Bishop Bisse; only the double doorway remains. We notice the grotesque heads over the windows, the richly-groined roof, and the Lady's Arbour, a small room in the tower at the south-east[210] angle, which may possibly have obtained its name from the Virgin, our Lady. The Chapels of SS. Katherine and Mary Magdalene, of Norman construction, formerly stood against south wall, and some remains are evident.

The east end was rebuilt in 1850. To the south is the Audley Chapel. Access to the south side is tricky, as walls and gardens block easy entry. The Vicar's Cloister, which connects the Cathedral with the College of the Vicars Choral (founded in 1396), showcases Perpendicular architecture. The oak beams are beautifully carved. The college quadrangle is definitely worth a look. The Bishop's Cloister sits to the south of the nave. Two pathways still exist, with the west walk partially restored and housing the library. Their style is Perpendicular. The chapter-house was demolished by Bishop Bisse; only the double doorway is still standing. We can see the grotesque heads above the windows, the elaborately groined roof, and the Lady's Arbour, a small room in the tower at the southeast corner, which likely got its name from the Virgin, our Lady. The Chapels of SS. Katherine and Mary Magdalene, built in the Norman style, once stood against the south wall, and some remnants can still be seen.

The Interior

The Interior

We enter the nave by the north porch, and proceeding to the west end we notice the grand Norman piers and arches. Wyatt's hand was heavily laid upon this structure, and the triforium, clerestory and vault are all his handiwork. Moreover, he took away one bay entirely. The view eastward is very impressive. The arches are adorned with the billet and other Norman mouldings, and are remarkable for their richness. The Font is curious and of Late Norman design. It has figures of the Apostles, and at the base projecting lions. The aisles are Late Decorated, except the lower part of the walls, which is original Norman. The chief monuments in the nave and aisle are, on the south:—Sir Richard Pembridge (1375), who fought at Poictiers. The effigy is a good study of the armour of the period. The right leg is a restoration. Two unknown figures of ecclesiastics. On the north—Bishop Booth (1535), the builder of the porch; a fine tomb, protected by original iron-work.

We enter the nave through the north porch, and as we make our way to the west end, we notice the impressive Norman piers and arches. Wyatt made significant changes to this structure, and the triforium, clerestory, and vault all showcase his work. In fact, he removed one entire bay. The view looking east is quite striking. The arches are decorated with billet and other Norman moldings, and they are notable for their richness. The Font is unique and of Late Norman design, featuring figures of the Apostles and projecting lions at the base. The aisles are Late Decorated, except for the lower part of the walls, which is original Norman. The main monuments in the nave and aisle include, on the south:—Sir Richard Pembridge (1375), who fought at Poitiers. The effigy provides a great example of armor from that period. The right leg has been restored. There are also two unknown figures of clergy. On the north side is Bishop Booth (1535), the builder of the porch; he has a splendid tomb protected by original ironwork.

The Screen is a magnificent work, designed by Sir G. Scott. The lectern is modern.

The Screen is an impressive piece, created by Sir G. Scott. The lectern is contemporary.

The Central Tower has passed through many vicissitudes. The original Norman piers being unable to support the heavy Early English shaft, they were cased with new stone-work, and the Norman arches were blocked up. In Dean Mereweather's time extensive restoration was found necessary. All the parts above the arches is fourteenth-century work. The vaulting has been removed, and the tower is now open to the belfry floor.

The Central Tower has gone through many changes. The original Norman supports couldn't handle the weight of the early English shaft, so they were covered with new stonework, and the Norman arches were filled in. During Dean Mereweather's time, extensive restoration was needed. Everything above the arches is from the fourteenth century. The vaulting has been taken out, and the tower is now open up to the belfry floor.

The North Transept is particularly fine and remarkable, and is Late Early English or Early Decorated (1282-1287). It was built for the shrine of Bishop Cantilupe. The arches are sharply-pointed and unusual. On the west are two windows of two narrow lights under sharply-pointed arches, the tracery of the heads being in the form of three circles enclosing trefoils. On the north is a double window of the same character. On the east is an aisle with clerestory and triforium. Dog-tooth ornament appears in the mouldings. The arches of the triforium are very beautiful, and the[211] diaper of leaf-ornament in the spandrels is effective. The windows above are octofoils.

The North Transept is particularly impressive and noteworthy, dating from the Late Early English or Early Decorated period (1282-1287). It was constructed for the shrine of Bishop Cantilupe. The arches are sharply pointed and unique. To the west, there are two windows, each with two narrow lights under sharply pointed arches, featuring tracery shaped like three circles enclosing trefoils. On the north side, there’s a double window with the same design. To the east, there's an aisle with a clerestory and triforium. Dog-tooth ornamentation is present in the moldings. The arches of the triforium are very beautiful, and the[211]leaf-patterned diaper in the spandrels is striking. The windows above are octofoils.

The Cantilupe Shrine

The Cantilupe Shrine

This aisle contains the remains of the Cantilupe shrine, which was a source of much revenue to the church, derived from the pilgrims who flocked hither. The date of the tomb is 1287, and the details are worthy of study. It is made of Purbeck marble. The lower part has fifteen figures of Knights Templar, of which order the bishop was Provincial Grand Master. The details of the armour are very exact. Curious monsters appear at the feet of the knights. The foliage is excellent Early Decorated, retaining some of Early English features. Other monuments are Bishop Westfayling (1602), John Philips, author of The Splendid Shilling (1708), Bishop Charlton (1329), Bishop Field (1639), Dean D'Acquablanca (1320), and brasses to Dean Frowcester (1529) and Richard Delamare and his wife (1435). Near at hand is the beautiful monument of Bishop D'Acquablanca (1240-1268), the finest in the Cathedral. (Concerning the unenviable repute of this bishop, see the history of the see). The tomb was originally elaborately coloured.

This aisle holds the remains of the Cantilupe shrine, which generated a lot of revenue for the church from the many pilgrims who came here. The tomb dates back to 1287, and the details are worth examining. It’s made of Purbeck marble. The lower part features fifteen figures of Knights Templar, of which the bishop was the Provincial Grand Master. The details of the armor are very precise. Strange creatures can be seen at the feet of the knights. The foliage is excellent Early Decorated, still showing some Early English features. Other monuments include Bishop Westfayling (1602), John Philips, author of The Splendid Shilling (1708), Bishop Charlton (1329), Bishop Field (1639), Dean D'Acquablanca (1320), and brasses for Dean Frowcester (1529) and Richard Delamare and his wife (1435). Nearby is the beautiful monument of Bishop D'Acquablanca (1240-1268), the finest in the Cathedral. (For more on the unfortunate reputation of this bishop, see the history of the see). The tomb was originally richly colored.

The South Transept has much Norman work. The east wall is entirely Norman, and has five ranges of arcades. Perpendicular windows have been inserted in south and west walls, and the lierne vaulting belongs to the same period. Bishop Trevenant (1389-1404) is said to have been responsible for this later work.

The South Transept features a lot of Norman architecture. The east wall is completely Norman and has five levels of arcades. Perpendicular windows have been added to the south and west walls, and the lierne vaulting is from the same period. Bishop Trevenant (1389-1404) is believed to have overseen this later work.

The monuments in this transept are:—Sir Alexander Denton and his wife (1566), an altar tomb with alabaster effigies. The latter died with her infant, who is represented as a "chrysome" child, i.e., one who dies within a month of its baptism, and wears its white baptismal robe. Bishop Trevenant, who was responsible[212] for the Perpendicular alterations, is buried here; his effigy has been much mutilated. Masons' marks are observable, and the Norman fireplace is said to be unique.

The monuments in this transept are:—Sir Alexander Denton and his wife (1566), an altar tomb featuring alabaster figures. The wife died along with her infant, who is shown as a "chrysome" child, meaning one who dies within a month of baptism, dressed in its white baptismal robe. Bishop Trevenant, who oversaw the Perpendicular changes, is buried here; his statue has been heavily damaged. You can see masons' marks, and the Norman fireplace is said to be one of a kind.

The Choir is full of interest. The main arches and triforium are Norman, the clerestory and vaulting Early English (circa 1250). The carving of the capitals exhibits foliage and grotesque heads, and the lozenge ornament appears round the arches. The headings of the pilasters between the piers are Early English. The clerestory windows consist of one lofty pointed window and a small trefoiled one on each side. The reredos was designed by Cottingham, the architect at the restoration in 1850, and represents the Passion of Christ. A curious effect is produced by the central pillar and arches in the retro-choir appearing through the arch at the east of the choir, and presenting a broad spandrel, on which are carved some modern figures of our Lord and St. Ethelbert. The stalls are good Decorated work with rich canopies and some curious misereres, with carvings representing a pair of wrestlers with ropes round their necks, an irate cook throwing a dish at a troublesome guest, etc. Some are modern. The Throne is also Decorated, and there is the remarkable old chair already mentioned, on which Stephen is said to have sat on the occasion of his visit here. The Organ has some parts of the instrument presented by Charles II. The monuments in the choir are those of—

The Choir is really interesting. The main arches and triforium are Norman, while the clerestory and vaulting are Early English (around 1250). The carvings on the capitals show foliage and grotesque heads, and there's lozenge ornamentation around the arches. The tops of the pilasters between the piers are Early English as well. The clerestory windows consist of one tall pointed window and a small trefoiled window on each side. The reredos, designed by Cottingham, the architect during the restoration in 1850, depicts the Passion of Christ. A fascinating effect is created by the central pillar and arches in the retro-choir that can be seen through the arch at the east of the choir, showcasing a broad spandrel, with carved modern figures of our Lord and St. Ethelbert. The stalls feature nice Decorated work with rich canopies and some interesting misereres, including carvings of wrestlers with ropes around their necks, an angry cook throwing a dish at a troublesome guest, and more. Some of these are modern. The Throne is also Decorated, and there’s the remarkable old chair mentioned earlier, where Stephen is said to have sat during his visit here. The Organ contains parts of the instrument gifted by Charles II. The monuments in the choir are those of—

Bishop Trilleck (1360), an excellent brass; Bishop Stanbery (1474), whose chantry we shall see in the west choir aisle; Bishop Giles de Bruce (1215), with model of church in his hand; Bishop Bennett (1617). We notice the small figure of St. Ethelbert on a bracket on east pier on south side, of fourteenth century.

Bishop Trilleck (1360), a remarkable brass; Bishop Stanbery (1474), whose chantry we’ll see in the west choir aisle; Bishop Giles de Bruce (1215), holding a model of the church; Bishop Bennett (1617). We see the small figure of St. Ethelbert on a bracket on the east pier on the south side, dating back to the fourteenth century.

In the North Choir Aisle the wall has Decorated arched recesses, which contain the effigies of Bishop Godfred de Clive (1120) (executed in Perpendicular period); Bishop Hugh de Mapenore (1219); Bishop Richard de Capella (1127). Bishop Stanbery's Chantry (1453-1474) is entered from this aisle, and is Late Perpendicular. It is very richly ornamented with tracery and panelling and shields and has a groined roof. It is a good example of the over-elaborateness of Late Perpendicular work.

In the North Choir Aisle, the wall features decorated arched recesses that hold the effigies of Bishop Godfred de Clive (1120) (made during the Perpendicular period); Bishop Hugh de Mapenore (1219); and Bishop Richard de Capella (1127). You can enter Bishop Stanbery's Chantry (1453-1474) from this aisle, which is in the Late Perpendicular style. It is richly decorated with tracery, paneling, and shields, and it has a groined roof. It serves as a great example of the overly intricate design of Late Perpendicular work.

The North-East Transept is Early Decorated, the original apsidal termination being altered in the latter part of the thirteenth century. Traces of Norman work are still evident. There is a central octagonal pier which supports the vaulting. There are monuments here of Dean Dawes (1867); Bishop Godwin? (1633)[213] (the tomb is certainly earlier and cannot be his); and the altar tomb of Bishop Swinfield (1316), though the effigy upon it is not his. The ball-flower moulding is plentifully used. Proceeding onwards we come to the Retro-Choir or ambulatory, which is Transitional Norman. The chevron and diamond moulding on the ribs of the vaulting point to its Late Norman date. There was evidently an ambulatory and Lady Chapel in Norman times, and the windows on each side of the vestibule show that formerly these walls were outside walls, and the windows were glazed. Here is a monument of Dean Beaurieu (1462), which is of some interest on account of the accurate carving of the dress, and the rebus boar and rue leaves; and there are some late brasses.

The North-East Transept is Early Decorated, with the original apsidal end modified in the later part of the thirteenth century. You can still see traces of Norman work. There's a central octagonal pier that supports the vaulting. Here are memorials for Dean Dawes (1867), Bishop Godwin? (1633)[213] (the tomb is definitely older and can't belong to him); and the altar tomb of Bishop Swinfield (1316), although the effigy on it isn't his. The ball-flower molding is used extensively. Moving on, we reach the Retro-Choir or ambulatory, which is Transitional Norman. The chevron and diamond molding on the ribs of the vaulting indicate its Late Norman date. It’s clear there was an ambulatory and Lady Chapel during Norman times, and the windows on each side of the vestibule suggest that these walls were once exterior walls, and the windows were glazed. Here, there's a monument for Dean Beaurieu (1462), notable for the detailed carving of the dress and the rebus boar and rue leaves; plus, there are some late brasses.

The Lady Chapel is remarkably fine, being very rich Early English. Its story is difficult to read, as the architect Cottingham redressed the old stone-work and made complications in 1840-1850. He rebuilt the east gable. Five narrow lancets form the east window, and above are five quatrefoil openings. The glass was erected to the memory of Dean Mereweather, to whom the Cathedral owes so much. The subject is the life of the Virgin. The aumbrey and piscina are reproductions. On the north there is an interesting but somewhat conglomerate tomb. The effigy is supposed to be Humphrey de Bohun, Earl of Hereford, in the reign of Edward III., but the canopy is Perpendicular, and the figures in the arches were discovered elsewhere and placed here, except the two mutilated central ones, our Lord and the Virgin. The others are SS. John Baptist, Cantilupe and Thomas of Canterbury. The Countess of Hereford, Johanna de Bohun (1327), lies here, a great benefactress, whose effigy and tomb are worthy of study. On the south is the Audley Chantry, erected by Bishop Audley (1492-1502), who constructed another chantry at Salisbury, whither he was translated, and where he was buried. It has two storeys, and a curious and interesting screen separates it from the Lady Chapel. There are traces of considerable colour decoration. The chapel has five sides, with two windows in the lower and five in the upper storey. The central boss of the vaulting in the upper chamber or oratory has a figure of the Virgin crowned. The window west of this chapel has some good fourteenth-century glass. Beneath the choir is the crypt, of Early English date, and is the only example of a crypt constructed later than the end of the eleventh century. It is called "Golgotha," on account of its being used as a charnel-house.[214]

The Lady Chapel is beautifully designed in rich Early English style. Its history is complex, as the architect Cottingham remodeled the old stonework between 1840 and 1850. He rebuilt the east gable. The east window features five narrow lancets, and above them are five quatrefoil openings. The glass was installed in memory of Dean Mereweather, to whom the Cathedral owes a great deal. The theme is the life of the Virgin. The aumbrey and piscina are reproductions. On the north side, there's an interesting but somewhat mixed tomb. The effigy is believed to be Humphrey de Bohun, Earl of Hereford, from the reign of Edward III, but the canopy is Perpendicular, and the figures in the arches were found elsewhere and relocated here, except for the two damaged central figures, our Lord and the Virgin. The others are St. John the Baptist, Cantilupe, and Thomas of Canterbury. The Countess of Hereford, Johanna de Bohun (1327), is buried here; she was a significant benefactress, and her effigy and tomb deserve attention. On the south side is the Audley Chantry, built by Bishop Audley (1492-1502), who also constructed another chantry at Salisbury, where he was later translated and buried. It has two stories, and a unique screen separates it from the Lady Chapel. There are signs of extensive color decoration. The chapel has five sides, with two windows on the lower level and five on the upper level. The central boss of the vaulting in the upper chamber or oratory features a crowned figure of the Virgin. The window to the west of this chapel contains some fine fourteenth-century glass. Beneath the choir is the crypt, dating from the Early English period; it is the only crypt built after the end of the eleventh century. It is called "Golgotha" because it was used as a charnel house.[214]

The South-East Transept is similar to its opposite. It has monuments of Bishop Charlton (1369); Bishop Coke (1646); Bishop Ironside, who died in London, 1701, and was buried in a city church, which was destroyed in 1863, and the body brought here. This was the bishop who, as Vice-Chancellor of Oxford, resisted the action of James II. in regard to the expulsion of the Fellows of Magdalen College.

The South-East Transept is like its counterpart. It features monuments for Bishop Charlton (1369), Bishop Coke (1646), and Bishop Ironside, who passed away in London in 1701. He was buried in a church in the city that was destroyed in 1863, and his remains were relocated here. This was the bishop who, as Vice-Chancellor of Oxford, opposed James II.'s actions regarding the expulsion of the Fellows of Magdalen College.

In the South Choir Aisle are four Perpendicular tombs under Decorated arched recesses, supposed to represent Bishop William de Vere (1199); Bishop Hugh Foliot (d. 1234); Bishop Robert de Betun (1148); and Bishop Robert de Melun (1167). There is a brass of Dean Frowsetown (1529), an effigy of Bishop Mayew (1516), who conducted Catherine of Arragon to England from Spain; and an effigy of Bishop de Losinga (1096), erected in Perpendicular period. The vestries are of Norman construction; the vaulting is the only example of Norman vaulting in the Cathedral. Here in this south choir aisle is preserved the famous Map of the World, as known in 1300. It was designed by Richard de Haldingham, Prebendary of Hereford. This was generally supposed to be the most ancient of its size in the world; but another map has been discovered at Ebstorp, near Hanover, which is larger, more highly coloured, and about the same age. The library of Corpus Christi College, Cambridge, has an earlier map of Henry of Mainz, and there is a small Psalter map in the British Museum. The world is shown to be round; at the top is Paradise, with its rivers and trees, Eve's transgression, etc. Above is the last Judgment with the Virgin interceding for mankind. Jerusalem is in the centre. Rome proclaims itself the head of the world, and Troy the most warlike city. The British Isles have much space, and most of the cathedrals are mentioned. Monstrous animals, birds and fish abound. The monkey appears to live in Norway, the scorpion on the Rhine. There is very much that is strange and curious to be seen in this wonderful map.

In the South Choir Aisle, there are four Perpendicular tombs beneath Decorated arched recesses, which are believed to represent Bishop William de Vere (1199); Bishop Hugh Foliot (d. 1234); Bishop Robert de Betun (1148); and Bishop Robert de Melun (1167). There is a brass plaque for Dean Frowsetown (1529), a statue of Bishop Mayew (1516), who brought Catherine of Aragon to England from Spain; and a statue of Bishop de Losinga (1096), created during the Perpendicular period. The vestries are built in the Norman style; the vaulting is the only example of Norman vaulting in the Cathedral. Here in the south choir aisle is the famous Map of the World, as known in 1300. It was designed by Richard de Haldingham, Prebendary of Hereford. This is generally thought to be the oldest map of its size in the world, but another map has been found at Ebstorp, near Hanover, which is larger, more colorful, and about the same age. The library of Corpus Christi College, Cambridge, has an earlier map by Henry of Mainz, and there is a small Psalter map in the British Museum. The world is depicted as round; at the top is Paradise, with its rivers and trees, Eve's transgression, etc. Above is the Last Judgment with the Virgin interceding for humanity. Jerusalem is at the center. Rome claims to be the head of the world, and Troy is shown as the most warlike city. The British Isles occupy a large area, and most of the cathedrals are mentioned. There are many strange creatures, birds, and fish depicted. The monkey seems to be living in Norway, while the scorpion is found on the Rhine. There’s a lot that is odd and fascinating to see in this remarkable map.

The Library has a splendid collection of chained books. The building is modern, having been opened in 1897, and built on the site of the old west cloister. There is an ancient copy of the Gospels at least 1000 years old, written in Anglo-Saxon characters, a beautiful twelfth-century MS., a copy of the "Hereford Use" of thirteenth century, Wycliffe's Bible (1420), "Bangor Use" (1400), with a curious charm for toothache inserted in the[215] book, Decreta Gratiani, of twelfth century. There are many Incunabula, Nicholas de Lyra's Bible and Commentary (1485), Polychronycon, by R. Higden, with additions by Caxton (1495); Caxton's Golden Legend, a very fine copy.

The Library has an amazing collection of chained books. The building is modern, having opened in 1897, and is built on the site of the old west cloister. There is an ancient copy of the Gospels that is at least 1000 years old, written in Anglo-Saxon characters, a beautiful twelfth-century manuscript, a copy of the "Hereford Use" from the thirteenth century, Wycliffe's Bible (1420), and the "Bangor Use" (1400), which has a curious charm for toothache inserted in the [215] book, Decreta Gratiani, from the twelfth century. There are many Incunabula, including Nicholas de Lyra's Bible and Commentary (1485), Polychronycon by R. Higden, with additions by Caxton (1495); and Caxton's Golden Legend, a very fine copy.

Here is an ancient Reliquary, with representation of the martyrdom of St. Thomas of Canterbury, a pre-Reformation chalice and paten, taken from the coffin of Bishop Swinfield (1316), and some episcopal rings. This collection of chained books is the finest in England.

Here is an ancient Reliquary, showing the martyrdom of St. Thomas of Canterbury, a pre-Reformation chalice and paten taken from the coffin of Bishop Swinfield (1316), and some episcopal rings. This collection of chained books is the best in England.

Dimensions

Dimensions

Total length (exterior)342 ft.
Length of nave to screen158 ft.
Breadth of nave31 ft.
Breadth of nave and aisles73 ft.
Height of nave64 ft.
Height of lantern96 ft.
Height of tower with pinnacles165 ft.
Length of choir to reredos75 ft.
Length of Lady Chapel and retro-choir93 ft.
Width of central transepts146 ft.
Width of eastern transepts110 ft.

Principal Building Dates

Main Building Dates

  • Norman (1079-1115)—Main arcade of nave, arcade and triforium of choir, font, east wall of south transept, vestry. (1189-1199)—Retro-choir.
  • Early English (1200-1250)—Lady Chapel, crypt.
  • (1282-1287)—North transept.
  • Decorated (1300-1360)—Walls and windows of aisles, choir transepts, upper part of tower, stalls and throne.
  • Perpendicular (1400-1530)—Cloisters, windows in south transept, north porch, Audley and Stanbery Chantries.
  • Modern—West front, triforium and clerestory of nave, east front, library.

WORCESTER CATHEDRAL

Worcester has many points of interest outside its Cathedral. All round the city is historic ground. It was the battlefield of Briton, Roman, Saxon, Dane and Norman. It heard the sounds of fighting in the wars of the barons and in the wars of the Roses, and in the great Civil War Worcester repeatedly suffered, and within its boundaries the great battle of Worcester was fought, the last effort of a dying cause. The half-timbered houses of the Elizabethan and early Stuart times, the interesting churches, and streets that by their names record many a curious custom and phase of old English life, all remind us of ancient times and the manners of our forefathers.

Worcester has plenty of attractions outside its Cathedral. The entire city is steeped in history. It was a battleground for the Britons, Romans, Saxons, Danes, and Normans. It witnessed the clashes in the wars of the barons and the Wars of the Roses, and during the Civil War, Worcester endured multiple hardships, including the significant battle of Worcester, which was the final desperate attempt of a fading cause. The half-timbered houses from the Elizabethan and early Stuart periods, the intriguing churches, and streets with names that reflect numerous interesting customs and aspects of old English life all remind us of ancient times and the ways of our ancestors.

We will walk round the town and note its chief points of interest. We notice the old houses in New Street, the remains of the old city wall, "the Cross," the old centre of civic life, the Guild Hall, designed by a pupil of Wren in 1721; St. Helen's Church, from the tower of which still nightly sounds the curfew. Along Sidbury the tide of battle rolled in 1651, when Charles II. was making his last gallant struggle against the army of the Protector. The old Edgar Gate is near at hand, which leads to the castle and Monastery of St. Mary.

We’ll stroll around the town and check out its main points of interest. We see the old houses on New Street, the remnants of the old city wall, “the Cross,” which was the hub of civic life, the Guild Hall, created by a student of Wren in 1721; St. Helen's Church, from the tower of which the curfew still rings every night. The tide of battle swept through Sidbury in 1651 when Charles II was making his last brave stand against the Protector's army. The old Edgar Gate is nearby, leading to the castle and the Monastery of St. Mary.

The Commandery in Sidbury was a hospital founded by St. Wulfstan, Bishop of Worcester about 1085, for a Master, Priests and Brethren under the rule of St. Augustine. The house is a wonderful example of mediæval architecture, and is kept in its ancient state by the present occupier, Mr. Littlebury, who allows it to be inspected. Here in 1300 Hugh le de Spencer held a court. The great hall is of Tudor architecture. King Charles I. stayed a night here, and the Duke of Hamilton died here, after wounds received in the fatal battle. "Fort Royal," fortified by Charles I., is seen from the garden, and cannon were placed here at the battle of Worcester; but Cromwell captured the stronghold. Charles II. withdrew with difficulty, and the house in the old Corn Market is shewn where he took refuge, and effected his escape at the back[217] door as Colonel Cobbett, his pursuer, entered at the front. Over the entrance is the inscription: "Love God. Honour the Kinge."

The Commandery in Sidbury was a hospital established by St. Wulfstan, Bishop of Worcester, around 1085, for a Master, Priests, and Brethren following the rule of St. Augustine. The building is an impressive example of medieval architecture and is maintained in its original condition by the current owner, Mr. Littlebury, who permits tours. In 1300, Hugh le de Spencer held a court here. The great hall features Tudor architecture. King Charles I stayed here overnight, and the Duke of Hamilton died here after being wounded in the decisive battle. From the garden, you can see "Fort Royal," which was fortified by Charles I., and cannons were placed here during the battle of Worcester; however, Cromwell seized the stronghold. Charles II managed to escape with great difficulty, and the building in the old Corn Market is shown as the place where he took refuge and made his getaway through the back door just as Colonel Cobbett, his pursuer, entered the front. Above the entrance, there’s an inscription: "Love God. Honour the Kinge."

History of the Cathedral

History of the Cathedral

The See of Worcester was first formed in 680, when the unwieldy Diocese of Mercia was divided, and Bosel was its first bishop. The successive Kings of Mercia poured wealth into the episcopal treasury, and endowed the see with many a rich manor. St. Dunstan was bishop here (957-961), and then came Oswald, subsequently Archbishop of York, the reformer of monasteries, who is said to have replaced the secular priests by a community of monks, and built the Church and Monastery of St. Mary on the site of the present Cathedral. This sacred fane was destroyed by the Danes, under Hardicanute, in 1041. Bishop Wulfstan, the second prelate of that name who held the see, was appointed in 1062, a holy, simple and earnest prelate, who, though a Saxon, held his see in spite of Norman opposition and prejudice. He laid the foundations of the existing Cathedral, and some of his work remains in the crypt and monastic buildings. When he saw the workmen pulling down the ruins of the old Church of St. Oswald he wept, saying, "We destroy the works of our forefathers only to get praise.... We neglect the care of souls and labour only to heap up stones." He was canonised, and many miracles were reported to have taken place at his tomb, to which there was great resort. In 1113 fire destroyed part of the Cathedral, as well as the city and castle. In the troublous times of Stephen, Florence, a monk of Worcester, tells us that when a raid was made on the city the people took their chests and sacks of goods and deposited them in the great church, while all the church goods, the curtains and palls, albs and copes were hidden away in recesses in the walls. The west bays of the nave were built about 1160. In 1175 the "new tower" fell, a misfortune common to so many cathedrals; in 1189 another great fire raged, and the troubles of John's evil reign were felt heavily here, when the city was taken by the king's forces, the church pillaged and the monks compelled to pay a heavy fine, to defray which they even melted down the shrine of the saint. Soon John was buried here, and could do no further mischief.

The See of Worcester was established in 680 when the large Diocese of Mercia was split, making Bosel its first bishop. The subsequent Kings of Mercia contributed wealth to the bishopric and granted it many valuable manors. St. Dunstan served as bishop here from 957 to 961, followed by Oswald, who later became Archbishop of York and was known for reforming monasteries. He reportedly replaced secular priests with a community of monks and built the Church and Monastery of St. Mary on the site of what is now the Cathedral. This holy place was destroyed by the Danes under Hardicanute in 1041. Bishop Wulfstan, the second bishop of that name, was appointed in 1062. He was a holy, simple, and dedicated leader who, despite being Saxon, maintained his position against Norman opposition. He started the foundations of the current Cathedral, and some of his work still exists in the crypt and monastic buildings. When he witnessed workers tearing down the ruins of the old Church of St. Oswald, he cried out, "We destroy the works of our forefathers only to get praise.... We neglect the care of souls and labor only to pile up stones." He was canonized, and many miracles were reported at his tomb, which became a popular pilgrimage site. In 1113, a fire damaged part of the Cathedral and the city along with the castle. During the turbulent times of Stephen, a monk from Worcester named Florence recounted that when raiders attacked the city, the people moved their chests and belongings into the great church while hiding church items, like curtains, vestments, and altar cloths, in wall recesses. The west bays of the nave were constructed around 1160. In 1175, the "new tower" collapsed, a fate shared by many cathedrals. Another devastating fire broke out in 1189, and the turmoil of King John's harsh reign was heavily felt here when the city was captured by the king’s forces, the church was looted, and the monks were forced to pay a hefty fine, which required them to even melt down the shrine of the saint. John was soon buried here, causing no further harm.

In 1218 the church was dedicated, when Henry III. and a goodly number of bishops and nobles were present.

In 1218, the church was dedicated, with Henry III and a good number of bishops and nobles in attendance.

In a storm is 1221 the two "lesser towers" fell. Happily the[218] offerings at the shrine of St. Wulfstan, which was soon repaired, were very numerous, and in 1224 the present choir and Lady Chapel were begun by Bishop William de Blois in the Early English style, and doubtless continued by Bishop Walter Cantilupe, uncle of the sainted Bishop of Hereford. He was a sturdy Englishman who upheld the rights of the English Church against the Pope, and was excommunicated by the Roman Pontiff. The work of rebuilding the church gradually progressed. The nave was built in the Decorated style on the north side (1317-1327), and Bishop Thomas Cobham, styled "the good clerk," made the vault of the north aisle; so Leland informs us. The south side of the nave is a little later, about 1360, when traces of Perpendicular work are evident, blended with the Decorated. In this century also was built the Guesten Hall, now, alas! destroyed, the roof of which is now seen in Holy Trinity Church.

In a storm in 1221, the two "lesser towers" fell. Thankfully, the[218] offerings at the shrine of St. Wulfstan, which was quickly repaired, were very numerous, and in 1224, the current choir and Lady Chapel were started by Bishop William de Blois in the Early English style, likely continued by Bishop Walter Cantilupe, uncle of the sainted Bishop of Hereford. He was a strong Englishman who defended the rights of the English Church against the Pope and was excommunicated by the Roman Pontiff. The rebuilding of the church gradually moved forward. The nave was constructed in the Decorated style on the north side (1317-1327), and Bishop Thomas Cobham, known as "the good clerk," created the vault of the north aisle, as Leland informs us. The south side of the nave is a bit later, around 1360, when evidence of Perpendicular work appears, blended with the Decorated style. In this century, the Guesten Hall was also built, which is now sadly destroyed; its roof can now be seen in Holy Trinity Church.

Henry de Wakefield was a vigorous builder (1376-1394). During his time the refectory and cloister, the tower, the stone vault over the choir, under the belfry, over the nave, library, treasury and dormitory, the water-gate, infirmary, the stalls in the choir, the west window and the north porch were erected.

Henry de Wakefield was an energetic builder (1376-1394). During his time, the dining hall and cloister, the tower, the stone ceiling over the choir, under the bell tower, over the main area, library, treasury, and dormitory, the water gateway, infirmary, the choir stalls, the west window, and the north entrance were constructed.

At the Reformation Worcester had a very zealous reforming bishop in the person of Hugh Latimer, who was subsequently burnt at Oxford. Under his rule the costly shrines of St. Oswald and St. Wulfstan were destroyed, and the relics buried near the high altar. During the Civil War Worcester fared badly, and terrible scenes took place in the sacred building. In 1642 Cromwell's soldiers under the Earl of Essex entered the town and did after their kind. They pulled down altars, destroyed vestments and furniture, and carried off stores of treasure concealed in the crypt and deposited there for safety. The bishop at this time, John Prideaux, was a vigorous Royalist, who excommunicated freely all who fought against the king. In return the soldiers pillaged his palace, and the poor bishop was reduced to selling his books in order to gain a livelihood. But this was not all the evil that befell the "faithful city." It was besieged four years later from March 26 to July 23, but when the Roundheads gained the day and entered the city they behaved in most becoming manner, and did less damage than the soldiers of the Royalist garrison. But even this was not all. In 1651 was fought the battle of Worcester. We can see Charles II. watching the issues of the fight from the top of the tower, and then the divers fortunes of the fight (to which allusion has already been made), the final victory of Cromwell, the[221] capture of 6000 prisoners, who were confined in this sacred building. Then followed one of the most terrible scenes in the war, when the soldiers of Cromwell were let loose on the helpless citizens, and ravaged and plundered without mercy in the streets and lanes and houses of this unhappy city.

At the Reformation, Worcester had a very passionate reforming bishop named Hugh Latimer, who was later executed by burning in Oxford. During his leadership, the expensive shrines of St. Oswald and St. Wulfstan were destroyed, and their relics were buried near the high altar. During the Civil War, Worcester suffered greatly, experiencing horrific events in the sacred building. In 1642, Cromwell's soldiers, led by the Earl of Essex, entered the town and wreaked havoc. They tore down altars, destroyed vestments and furniture, and took away hidden treasures stored in the crypt for safekeeping. The bishop at the time, John Prideaux, was a strong Royalist who excommunicated anyone who fought against the king. In retaliation, the soldiers looted his palace, forcing the bishop to sell his books to make a living. But that wasn’t the only misfortune for the "faithful city." It was besieged four years later, from March 26 to July 23. When the Roundheads eventually prevailed and entered the city, they behaved in a more proper manner and caused less damage than the Royalist soldiers. However, that was still not the end of it. In 1651, the battle of Worcester took place. We can see Charles II watching the outcome from the top of the tower, witnessing the various turns of the battle (which has been referenced earlier), the ultimate victory of Cromwell, the capture of 6000 prisoners, who were imprisoned in this sacred building. What followed was one of the most horrific scenes of the war, as Cromwell's soldiers unleashed chaos on the helpless citizens, looting and pillaging mercilessly in the streets, alleys, and homes of this unfortunate city.

WORCESTER CATHEDRAL FROM THE SEVERN

Worcester Cathedral from the Severn

At the Restoration of the Monarchy it does not seem that any extensive repairs were immediately undertaken. In the eighteenth century some unfortunate "restoration" was carried out which disfigured the building, and did not materially contribute to its strength. As most of these disfigurements have been removed, we need not record them. A great restoration was begun in 1857 by Mr. Perkins, the architect, and continued by Sir Gilbert Scott, and the church was re-opened in 1874. Opinions differ with regard to the severity of this restoration. Certainly it has destroyed all appearance of antiquity in the exterior of the choir and Lady Chapel, but Professor Willis thinks that we have now a reproduction of its original aspect, as far as that can be determined. However, the attempt to reproduce the original should not be the entire aim of restoration. We want to have the whole story of the building before us, and not its opening chapters interpreted for us, and often mangled and distorted by the modern restorer.

At the Restoration of the Monarchy, it doesn’t seem like any major repairs were done right away. In the eighteenth century, some unfortunate “restoration” took place that messed up the building and didn’t really make it stronger. Since most of these issues have been fixed, we won’t go into details about them. A significant restoration began in 1857 by architect Mr. Perkins and continued by Sir Gilbert Scott, with the church reopening in 1874. Opinions differ about how strict this restoration was. It certainly removed all signs of age from the exterior of the choir and Lady Chapel, but Professor Willis believes that we now have a reproduction of its original look, as far as we can tell. However, trying to recreate the original shouldn’t be the only goal of restoration. We want to see the whole history of the building, not just its first chapters reinterpreted for us, often mangled and distorted by modern restorers.

The Exterior

The Exterior

We approach the Cathedral from the west and obtain a good view. At the foot of the west end the river flows. The West Front need not detain us; it is plain and unpretentious. There is a large modern window in Decorated style, and above three lancets, and a cross crowns the gable. The doorway is Norman much restored, and has figures of our Lord in glory, angels and the Virgin and Holy Child. The North Porch was built by Bishop Wakefield (1375-1394), and belongs to the period when the Decorated style was merging into the Perpendicular. There is a parvise over it with Perpendicular battlements, and figures of our Lord and the twelve Apostles in niches. Above is a row of small figures. Between the porch and the west front was formerly the charnel-house, built by Bishop William de Blois in the thirteenth century and demolished in the seventeenth. The crypt still exists. The two west bays are Transition Norman. The rest is Decorated work. A small Decorated chapel, called Jesus Chapel, juts out[222] from the aisle on this side. The lower part of the walls of the north transept is Norman work, but the transept was much repaired in the fourteenth century and the windows are Perpendicular, and that in the north wall is a modern antique. Strong flying buttresses support the main walls on the east of this transept. There is a choir transept. The east end is plain. The east window is of Early English design but modern workmanship. The south side is very similar to the north, but enclosures and buildings prevent us from a close inspection. The cloisters are as usual in Benedictine monasteries on the south side, and these we shall enter from the church. The Tower dates from 1374, but the details are modern, as the tower was very much restored. It is of good proportion, has two storeys with crocketed pinnacles, a parapet adorned with lesser spires, and the whole effect is not unpleasing.

We approach the Cathedral from the west and get a good view. At the base of the west end, the river flows. The West Front doesn’t require much attention; it's simple and modest. There’s a large modern window in Decorated style, with three lancets above it, and a cross crowning the gable. The doorway is Norman and has been heavily restored, showcasing figures of our Lord in glory, angels, and the Virgin with the Holy Child. The North Porch was constructed by Bishop Wakefield (1375-1394) and reflects the period when the Decorated style was transitioning to Perpendicular. It features a parvise above it with Perpendicular battlements, and figures of our Lord and the twelve Apostles in niches. Above is a row of small figures. Between the porch and the west front used to be the charnel-house, built by Bishop William de Blois in the thirteenth century and demolished in the seventeenth. The crypt still remains. The two west bays are Transition Norman, while the rest is Decorated work. A small Decorated chapel, called Jesus Chapel, juts out from the aisle on this side. The lower part of the north transept walls is Norman work, but the transept was significantly repaired in the fourteenth century, and the windows are Perpendicular, with the one in the north wall being a modern antique. Strong flying buttresses support the main walls on the east side of this transept. There’s a choir transept. The east end is plain. The east window is of Early English design but made with modern craftsmanship. The south side is very similar to the north, but enclosures and buildings prevent us from getting a close look. The cloisters are typical for Benedictine monasteries on the south side, and we’ll enter these from the church. The Tower dates back to 1374, but the details are modern since the tower was extensively restored. It has good proportions, two storeys with crocketed pinnacles, a parapet adorned with smaller spires, and the overall effect is quite pleasing.

The Interior

The Interior

We enter by the north porch. The Nave covers the same ground as the original Norman Cathedral, and some remains of the old building are left. At the west end the door entering into the north aisle, at the north-east angle of the north aisle, and the great Norman shafts running up the centre of the second piers from the west, are pure Norman. The two Western Bays are Transition Norman, and are an interesting study. We see here almost the earliest advance of Gothic art and the earliest traces of the Early English feeling which manifested itself for the first time in its developed form in the choir of Lincoln. It will be observed that the arches are pointed, but the capitals are Late Norman. The triforium is peculiar, and has a series of pointed arches over three round-headed openings, the centre one being much higher than the rest, and the ornaments are the zigzag, lozenge and curious knots of carved leafage. The clerestory consists of groups of three windows under round arches, the tracery at the back being Perpendicular insertions. The date of this portion is about 1160. The vault was fashioned by Bishop Wakefield (1375-1394). There are seven remaining bays. Those on the south are later than those on the north, and the earlier work is the richer and more beautiful. On the north the five eastern bays and the pier arches of the other two are Decorated (1317-1327), while the rest of these two bays and all the south side are Early Perpendicular. The great west window is modern, erected in 1865 in Early Decorated style. Sculptured[223] figures of characters from the Old Testament appear in the tympana of the triforium.

We enter through the north porch. The Nave occupies the same area as the original Norman Cathedral, and some remnants of the old structure remain. At the west end, there’s a door leading into the north aisle, at the north-east corner of the north aisle, and the large Norman columns running up the center of the second piers from the west are pure Norman. The two Western Bays show a Transition Norman style and are an interesting study. Here, we see one of the earliest developments of Gothic art and the first signs of the Early English style, which first fully developed in the choir of Lincoln. You'll notice that the arches are pointed, while the capitals are Late Norman. The triforium is unique, featuring a series of pointed arches over three round-headed openings, with the center one being much taller than the others, and the decorations include zigzag patterns, diamonds, and interesting knots of carved leaves. The clerestory consists of groups of three windows under round arches, with the tracery behind being Perpendicular additions. This section dates back to around 1160. The vault was crafted by Bishop Wakefield (1375-1394). There are seven remaining bays. The ones on the south are later than those on the north, and the earlier work is richer and more beautiful. On the north side, the five eastern bays and the pier arches of the other two are Decorated (1317-1327), while the rest of these two bays and the entire south side are Early Perpendicular. The large west window is modern, built in 1865 in the Early Decorated style. Sculpted[223] figures of characters from the Old Testament appear in the tympana of the triforium.

The South Aisle has two west bays of Transition Norman work like the nave, quadripartite vaulting, Late Decorated windows, high in the wall on account of the cloister on the other side, and two doorways called the monks' and the prior's. The wall is original Norman. Here is a large modern font. The North Aisle has also the two west bays of Transition Norman. The vaulting is Decorated, the work of Bishop Cobham (1317-1321), and the rest of the aisle belongs to the same period. The Jesus Chapel opens from this aisle, separated by a modern screen in Perpendicular style. This chapel has been recently restored by the Hon. Percy Alsop, and the scheme of decoration is very elaborate and beautiful. The Pulpit is a very handsome and elaborate structure made of marble and alabaster, with some excellent carving.

The South Aisle features two west bays showcasing Transition Norman architecture similar to the nave, with quadripartite vaulting and Late Decorated windows positioned high on the wall due to the cloister on the opposite side. There are two doorways known as the monks' and the prior's. The wall is original Norman. There is a large modern font here. The North Aisle also consists of two west bays in Transition Norman style. The vaulting is Decorated, crafted by Bishop Cobham (1317-1321), and the rest of the aisle dates from the same period. The Jesus Chapel opens off this aisle, separated by a modern screen designed in Perpendicular style. This chapel has been recently restored by the Hon. Percy Alsop, and the decoration is very intricate and beautiful. The Pulpit is a stunning and detailed structure made of marble and alabaster, featuring excellent carving.

The principal monuments in the nave and aisles are:—Sir John Beauchamp (1388), much defaced, in alabaster, and his lady, whose head rests on a swan, the Beauchamp crest; Robert Wylde (1608) and his lady—the sides of the tomb are adorned with sunflowers rising from vases; Dean Eedes (1608); Bishop Thornborough (1641). In the south aisle—an ecclesiastic (late fourteenth century); Bishop Parry (1616); altar tomb unknown; Thomas Littleton, judge (1481), learned law writer; Bishop Freke (1591); Sir Henry Ellis, who fell at Waterloo; Richard Solly (1804); Bishop Gauden (1662), the supposed writer of Eikon Basilike, a work usually attributed to Charles I. In the north aisle—Earl of Strafford and soldiers of the Worcestershire regiment who fell in India; Bishop Goldsborough of Gloucester (1613); the Moore family (1613); and curious effigy of Bishop Bullingham (1576).

The main memorials in the nave and aisles include: Sir John Beauchamp (1388), heavily worn, in alabaster, alongside his lady, whose head is resting on a swan, the Beauchamp crest; Robert Wylde (1608) and his lady, with the tomb's sides decorated with sunflowers growing from vases; Dean Eedes (1608); Bishop Thornborough (1641). In the south aisle—an unknown ecclesiastic (late fourteenth century); Bishop Parry (1616); an unnamed altar tomb; Thomas Littleton, judge (1481), a renowned legal writer; Bishop Freke (1591); Sir Henry Ellis, who died at Waterloo; Richard Solly (1804); Bishop Gauden (1662), thought to be the author of Eikon Basilike, typically credited to Charles I. In the north aisle—Earl of Strafford and soldiers from the Worcestershire regiment who died in India; Bishop Goldsborough of Gloucester (1613); the Moore family (1613); and a notable effigy of Bishop Bullingham (1576).

Very little ancient glass is left; the windows of the south aisle have a few fragments, but all the rest is modern.

Very little ancient glass remains; the windows in the south aisle have a few fragments, but everything else is modern.

The North Transept is Norman as high as the clerestory and is without aisles. A Norman staircase turret is in the north-west corner. The different coloured stones used in the building is remarkable and gives a pleasing effect. Perpendicular work is evident. In the east wall is a Norman arch recently discovered. Traces of colour are evident above the arch leading to the north aisle of the choir. The north window is a modern insertion. The monuments here are Bishop Fleetwood (1683), Bishop Hough (1743), the Magdalen President who withstood James II., Bishop Stillingfleet and others.[224]

The North Transept features Norman architecture up to the clerestory and has no aisles. There's a Norman staircase turret in the northwest corner. The variety of colored stones used in the construction is striking and creates an attractive effect. You can see Perpendicular style elements. The east wall contains a recently discovered Norman arch. There are remnants of color above the arch that leads to the north aisle of the choir. The north window is a modern addition. The monuments here include Bishop Fleetwood (1683), Bishop Hough (1743), the Magdalen President who opposed James II, Bishop Stillingfleet, and others.[224]

The South Transept is somewhat similar to the north. There are some fine Norman window arches now blocked up, and a beautiful Norman arch opening to the Chapel of St. John. The builders of the fifteenth century cased the Norman walls with a screen of Perpendicular tracery somewhat similar to the work at Gloucester. The great organ is placed here. Here is a monument of Bishop Philpott (1892).

The South Transept is somewhat similar to the north. There are some impressive Norman window arches that are now blocked up, along with a beautiful Norman arch leading to the Chapel of St. John. The builders of the fifteenth century covered the Norman walls with a screen of Perpendicular tracery that resembles the work at Gloucester. The great organ is located here. There is also a monument for Bishop Philpott (1892).

We now enter the Choir and eastern portion of the Cathedral. The screen is of oak and open metal work designed by Sir Gilbert Scott. A figure of the Saviour is over the centre and a figure of the Virgin looks eastward. This part of the building is certainly the most interesting. It is of Early English design and was begun in 1224, that is four years after Salisbury, and some twenty-four years after Lincoln. Worcester was one of the earliest churches in England in which English Gothic was developed, and therefore has a peculiar interest for us. We notice that the span of the arches is wider than in the nave, and that in consequence the arches rise to a higher level. The triforium is, however, less in height than that of the nave. The piers are composed of clustered shafts of Purbeck marble, and these have curious brass rings which were placed there by Bishop Gifford. The dog-tooth ornament is much used. The whole choir was restored by Mr. Perkins and Sir G. Scott. The Stalls, which contain some finely-carved Misereres, have seen many vicissitudes. Puritan soldiers destroyed the ancient canopies. The carvings were placed on a hideous screen, at the beginning of the last century, which separated the nave from the choir. The subjects are curious—an old man stirring a pot over a fire, knights tilting, huntsmen, hawking scene, and many others. The Stone Pulpit was brought here from the nave; the upper part is Late Perpendicular. The sculpture represents Evangelistic emblems—Heavenly Jerusalem with Tree of Life, Tables of the Law, etc. The Throne is modern and is elaborately carved with figures, foliage, animals, birds and Scriptural subjects. It was presented by Bishop Philpott. The modern Reredos is of alabaster enriched with gold, mosaic, lapis-lazuli and malachite. Over the altar are statues of our Lord and the Evangelists, and there are figures of Apostles, prophets, David and Solomon and angels. The organ is divided into three separate parts connected by electricity.

We now enter the Choir and eastern part of the Cathedral. The screen is made of oak and open metal work designed by Sir Gilbert Scott. A figure of the Saviour is above the center, and a figure of the Virgin faces eastward. This section of the building is definitely the most interesting. It features Early English design and was started in 1224, which is four years after Salisbury and about twenty-four years after Lincoln. Worcester was one of the first churches in England where English Gothic was developed, making it particularly interesting to us. We notice that the span of the arches is wider than in the nave, which causes them to rise to a higher level. However, the triforium is lower than that of the nave. The piers are made up of clustered shafts of Purbeck marble, which have unique brass rings added by Bishop Gifford. The dog-tooth ornament is frequently used. The entire choir was restored by Mr. Perkins and Sir G. Scott. The Stalls, which feature some beautifully carved Misereres, have gone through many changes. Puritan soldiers destroyed the old canopies. The carvings were placed on a hideous screen at the beginning of the last century, which separated the nave from the choir. The subjects are intriguing—an old man stirring a pot over a fire, knights jousting, huntsmen, a hawking scene, and many others. The Stone Pulpit was moved here from the nave; the upper part is Late Perpendicular. The sculpture shows Evangelistic symbols—Heavenly Jerusalem with the Tree of Life, Tables of the Law, etc. The Throne is modern and features elaborate carvings of figures, foliage, animals, birds, and Scriptural themes. It was presented by Bishop Philpott. The modern Reredos is made of alabaster decorated with gold, mosaic, lapis-lazuli, and malachite. Above the altar are statues of our Lord and the Evangelists, along with figures of Apostles, prophets, David, Solomon, and angels. The organ is divided into three separate parts connected by electricity.

There are two Royal tombs; in the centre of the choir is that of King John, who died at Newark in 1216, whence his body was conveyed here for burial. The effigy is the earliest of an English[225] king in this country. The Royal garments are the tunic reaching to the ankles, and over this the dalmatic with wide sleeves and a girdle buckled in front. On the feet are sandals with spurs; on the hands are jewelled gloves, and there is part of a sceptre. The head has a crown, and the face has moustache and beard. The figures on each side are SS. Oswald and Wulstan. Recently the figure has unfortunately been covered with gilt. The tomb on which the effigy rests is sixteenth-century work. The other Royal tomb is that of Prince Arthur, eldest son of Henry VII., who died at Ludlow Castle in 1502. His death was fraught with great consequence to English history. The tomb is a very fine example of Late Perpendicular work, in which the Tudor emblems, the rose and portcullis, are evident. The exterior consists of open tracery, niches and panelled work, crowned with a battlement and pinnacles. Within there is a flat groined roof, a rich mass of tabernacle work at the east end with figures in niches, in the centre a plain altar tomb, and at the west end a small figure of the mourning father, Henry VII.

There are two royal tombs; in the center of the choir is that of King John, who died at Newark in 1216, from where his body was brought here for burial. The effigy is the earliest of an English king in this country. The royal garments include a tunic that reaches the ankles, and over this is the dalmatic with wide sleeves and a belt buckled in front. On the feet are sandals with spurs; on the hands are jeweled gloves, and there is part of a scepter. The head has a crown, and the face has a mustache and beard. The figures on each side are St. Oswald and St. Wulstan. Unfortunately, the figure has recently been covered with gold. The tomb on which the effigy rests is from the sixteenth century. The other royal tomb is that of Prince Arthur, the eldest son of Henry VII, who died at Ludlow Castle in 1502. His death was significant for English history. The tomb is a beautiful example of Late Perpendicular work, where the Tudor emblems, the rose and portcullis, are prominent. The exterior features open tracery, niches, and paneling, topped with battlements and pinnacles. Inside, there is a flat groined ceiling, a rich collection of tabernacle work at the east end with figures in niches, a plain altar tomb in the center, and a small figure of the mourning father, Henry VII, at the west end.

The South Choir Aisle is Early English similar to the choir, as is the rest of this portion of the Cathedral, and therefore this need not be again mentioned. The Chapel of St. John, restored by Earl Beauchamp, is very fine. The glass is all modern. Passing into the eastern transept we notice a piscina and aumbries and some remarkable sculptures in the spandrels of the arcade which are reproductions of ancient work. They are supposed to represent the present and future life. The subjects are: Knights fighting with lions and centaurs (the world and its temptations); St. Michael weighing souls, and the devil pulling down the scale; demons torturing souls over flames (purgatory); hell's mouth; a burial (of Adam?); expulsion from Paradise; an angel leading soul to heaven; the Resurrection; angels sounding a trumpet and bearing the Cross and Christ enthroned. Other subjects are monks building, Annunciation, Nativity, Crucifixion, etc. In this transept is the effigy of a knight in full armour of the fourteenth century of ringed mail. The shield has Harcourt arms, and below is the inscription—Ici gist sur Guilliamme de Harcourt. Guide books usually point him out as a Crusader because he has his legs crossed. As we have already stated, there is no special signification in crossed-legged effigies. There is a tomb of Sir Gryffyth Ryce (1523), "a noble knight," and his wife, daughter of Sir John St. John, and near Prince Arthur's Chantry the tomb of Bishop Gifford (1302),[226] and Maude de Clifford, wife of Earl of Salisbury, beautifully executed. It is a wonderful study of the dress of the period (1301). Here is a fine statue of Mrs. Digby by Chantrey; this lady was maid of honour to Queen Charlotte (1820).

The South Choir Aisle is Early English, similar to the choir, as is the rest of this part of the Cathedral, so there's no need to mention it again. The Chapel of St. John, restored by Earl Beauchamp, is very impressive. The glass is all modern. As we move into the eastern transept, we notice a piscina and aumbries, along with some remarkable sculptures in the spandrels of the arcade that are reproductions of ancient work. They are thought to illustrate the present and future life. The scenes include: knights battling lions and centaurs (symbolizing the world and its temptations); St. Michael weighing souls, with the devil trying to tip the scales; demons torturing souls over flames (representing purgatory); hell's mouth; a burial (of Adam?); expulsion from Paradise; an angel leading a soul to heaven; the Resurrection; angels blowing trumpets and carrying the Cross, and Christ seated on a throne. Other themes include monks building, the Annunciation, the Nativity, the Crucifixion, etc. In this transept, there's an effigy of a knight in full 14th-century armor made of chain mail. The shield shows the Harcourt arms, and below it is the inscription—Ici gist sur Guilliamme de Harcourt. Guidebooks typically identify him as a Crusader because he has his legs crossed. As mentioned earlier, there’s no special meaning behind crossed-legged effigies. There’s a tomb of Sir Gryffyth Ryce (1523), a "noble knight," and his wife, daughter of Sir John St. John, and near Prince Arthur's Chantry, the tomb of Bishop Gifford (1302),[226] and Maude de Clifford, wife of the Earl of Salisbury, beautifully crafted. It offers a wonderful look at the clothing of the period (1301). Here is a fine statue of Mrs. Digby by Chantrey; this lady was a maid of honor to Queen Charlotte (1820).

The Lady Chapel, which has two aisles, is earlier than the west end of the choir. The wall arcade is very rich and beautiful. We notice the brass rings supposed to have been placed round the columns by Bishop Gifford. The east wall is entirely new, and the tracery of the windows is a modern restoration of ancient work. There are some curious grotesque carvings. The North Choir Aisle has some beautiful capitals and bosses; a small oval window of Perpendicular date looks on to this aisle, and was formerly the window of the sacrist's chamber, through which he could watch the great shrines. There is a curious carving under one of the windows.

The Lady Chapel, which features two aisles, predates the west end of the choir. The wall arcade is very ornate and gorgeous. You can see the brass rings that were likely placed around the columns by Bishop Gifford. The east wall is completely new, and the design of the windows is a modern restoration of the original work. There are some interesting grotesque carvings. The North Choir Aisle has some beautiful capitals and bosses; a small oval window from the Perpendicular style overlooks this aisle and used to be the window of the sacrist's chamber, allowing him to observe the great shrines. There is a unique carving beneath one of the windows.

The principal Monuments in the Lady Chapel are:—

The main Monuments in the Lady Chapel are:—

A mural slab to the memory of Anne, wife of Isaac Walton, the prince of anglers, who probably wrote the inscription:

A mural slab honoring Anne, wife of Isaac Walton, the legendary angler, likely features this inscription:

"Ex-terris.—M.S. Here lyeth buried so much as could die of Anne, the wife of Isaac Walton, who was a woman of remarkable prudence, and of Primitive Piety. Her great and generale knowledge being adorned with such true humility, and blest with so much Christian meeknesse as made her worthy of a more memorable monument. She died (alas that she is dead!) the 17th of April 1662, aged 52. Study to be like her."

"Ex-terris.—M.S. Here rests all that could perish of Anne, the spouse of Isaac Walton. She was a woman of extraordinary wisdom and true faith. Her vast knowledge, paired with genuine humility and a great deal of Christian kindness, made her worthy of a more lasting tribute. She died (oh, how sad it is that she is gone!) on April 17, 1662, at the age of 52. Aspire to be like her."

Bishop John Jenkinson (1840) of St. David's.

Bishop John Jenkinson (1840) of St. David's.

Prebendary Davison (1834), who wrote his famous work on Prophecy.

Prebendary Davison (1834), who authored his renowned book on Prophecy.

An unknown lady of the fourteenth century, one of the most beautiful mediæval relics in the Cathedral.

An unknown woman from the fourteenth century, one of the most beautiful medieval artifacts in the Cathedral.

William, first Earl of Dudley (1885).

William, the first Earl of Dudley (1885).

George William, fourth Baron Lyttelton (1886).

George William, the fourth Baron Lyttelton (1886).

Bishop William de Blois (1236).

Bishop William de Blois (1236).

Bishop Walter de Cantelupe (1265).

Bishop Walter de Cantelupe (1265).

Mutilated effigy of Bishop Brian (1361) or Lynn (1373).

Mutilated statue of Bishop Brian (1361) or Lynn (1373).

Bishop Cobham (1327).

Bishop Cobham (1327).

Bishop Walter de Bransford (1349).

Bishop Walter de Bransford (1349).

An unknown lady of the thirteenth century.

An unknown woman from the thirteenth century.

An unknown knight, temp. Henry III.

An unknown knight, temp. Henry III.

Last Abbot of Evesham.

Last Abbot of Evesham.

The Crypt is a very interesting part of the Cathedral, the work of St. Wulstan, begun in 1084. We notice the fine Norman piers with cushion capitals and square abaci. It is apsidal with aisles, and is remarkable for the numerous pillars. Here in this crypt Wulstan assembled a synod in 1092, when were assembled all the wisest men from the counties of Worcester, Gloucester and Warwick. Here used to be preserved the old fourteenth-century doors of the Cathedral, which were said to be covered with human skin, which tradition says was flayed from the body of a man who stole the sanctus bell.

The Crypt is a fascinating part of the Cathedral, built by St. Wulstan, starting in 1084. You can see the beautiful Norman piers with cushion capitals and square tops. It has a rounded apse with aisles and is notable for its many pillars. In this crypt, Wulstan held a synod in 1092, where all the wisest individuals from the counties of Worcester, Gloucester, and Warwick gathered. It used to house the old fourteenth-century doors of the Cathedral, which were said to be made from human skin, allegedly taken from the body of a man who stole the sanctus bell.

The Cloisters are Perpendicular in decoration, though the outer walls are Norman. We pass through the Prior's Door, and notice how perfect the monastic arrangements remain. The vaulting is good lierne, and the bosses are beautifully carved with foliage and other devices. We see the ancient slype or arched passage of Norman character and the Chapter-House, with its beautiful central pillar and vaulted roof. It is one of the few Norman ones left, though much altered in the early fifteenth century. Its vault is Perpendicular. A Norman arcade runs round the wall, and the central pillar is Transition Norman. The windows and doorway are Perpendicular and the exterior was coated with masonry of that period. Here are preserved some fragments of ancient vestments, a paten of Bishop Blois', some good bindings and other treasures. On the south is the Refectory with Norman crypt. The room is Decorated, temp. Edward III., and is now part of the school called the King's School, founded by Henry VIII. A sculptured reredos of great beauty, with traces of coloured decoration, has recently been discovered here. In the west is an interesting lavatory and entrance to the dormitory, both Perpendicular. The dormitory has disappeared, but its foundations have been traced. We return to the Cathedral by the Monks' Door, or go by a vaulted Norman passage to the west front.

The Cloisters have a Perpendicular style in decoration, but the outer walls are Norman. We walk through the Prior's Door and notice how well-preserved the monastic arrangements are. The vaulting is good lierne, and the bosses are beautifully carved with leaves and other designs. We see the ancient slype or arched passage with Norman characteristics and the Chapter-House, featuring a stunning central pillar and a vaulted roof. It’s one of the few remaining Norman ones, although it was significantly altered in the early fifteenth century. Its vault is Perpendicular. There’s a Norman arcade around the walls, and the central pillar is Transition Norman. The windows and doorway are Perpendicular, and the exterior was finished with masonry from that period. Here, some fragments of ancient vestments, a paten belonging to Bishop Blois, some fine bindings, and other treasures are preserved. On the south side is the Refectory with a Norman crypt. The room is Decorated, temp. Edward III., and is now part of the school known as the King's School, founded by Henry VIII. A beautifully sculpted reredos, with remnants of colored decoration, has recently been found here. To the west is an interesting lavatory and entrance to the dormitory, both in the Perpendicular style. The dormitory itself has vanished, but its foundations have been located. We head back to the Cathedral through the Monks' Door or take a vaulted Norman passage to the west front.

In the north-west cloister is a stone inscribed Miserrimus, which is said to mark the grave of a non-juror, the Rev. Thomas Morris, or Maurice. Wordsworth wrote the following lines on this subject:—

In the northwest cloister, there’s a stone marked Most miserable, which is said to indicate the grave of a non-juror, the Rev. Thomas Morris, or Maurice. Wordsworth wrote these lines about it:—

"'Miserrimus!' and no name or date, Prayer, text, or symbol carved into the stone; Nothing but that word given to the unknown, That one word—to separate From everyone, and surround the fate with a cloud About the one who lies beneath. Most miserable soul!
Who picked his epitaph? Himself alone Could anyone have dared to disturb the grave, And take, among the dead, this terrible crown; Don't doubt that he noticed it for himself as well. Near these secluded steps, there is a burial site, That every foot might hit the ground harder, Walking over his filth. Stranger, move on. Gently! To save those who are sorry, Jesus bled.

Dimensions

Dimensions

Length (exterior)425 ft.
Length (interior)387 ft.
Nave, length170 ft.
Nave, height68 ft.
Nave, width78 ft.
Choir, length180 ft.
Tower, height196 ft.
Area33,200 sq. ft.

Principal Building Dates

Main Building Dates

  • Norman (1084-1160)—Crypt, chapter-house, and parts of other monastic buildings, west bays of nave with aisles, parts of north and south transepts.
  • Early English (1224)—Choir with aisles and Lady Chapel.
  • Decorated (1317-1327)—North side of nave, vault of north aisle.
  • (1360)—South side of nave.
  • (1376-1394)—Refectory, cloisters recased, tower, nave and choir vault, library, treasury, stalls and north porch.
  • Perpendicular—Windows in north transept, Prince Arthur's tomb.
  • Modern—West window in nave, north window in north transept, east window in nave, reredos, etc.

PLAN OF WORCESTER CATHEDRAL

Worcester Cathedral Plan


LICHFIELD CATHEDRAL

Lichfield has been the victim of Puritan rage and of the over-zeal of modern restorers, but in spite of this it retains much of its ancient beauty and its picturesqueness is evident to all. It is one of the smallest of our cathedrals, but when one sees the three graceful spires of Lichfield, known as the "Ladies of the Vale," the glories of its west front and the richness of the carving, one cannot but retain a warm place in one's heart for this wonderful building which has passed through such strange vicissitudes of fortune. It has been be-pinnacled by our modern Gothic confectioners, who have produced much unnatural "naturalism" in their sculpture; but if we can forget that much that we see is new, we shall perhaps form some conception of what the Cathedral was like ere innovators and destroyers laid their hands upon it.

Lichfield has suffered from Puritan anger and the excessive efforts of modern restorers, but despite this, it still holds onto a lot of its ancient beauty, and its charm is clear to everyone. It is one of the smallest of our cathedrals, but when you see the three elegant spires of Lichfield, known as the "Ladies of the Vale," the splendor of its west front, and the intricate carvings, it's hard not to feel a special affection for this remarkable building that has gone through such unusual ups and downs. It has been topped with embellishments by our modern Gothic designers, who have created a lot of unnatural "naturalism" in their sculptures; but if we can overlook that much of what we see is new, we might get a sense of what the Cathedral was like before the innovators and destroyers got involved.

The history of the Cathedral is full of interest, and carries us back to the early days of Christianity in England. The heathen King of Mercia, Penda, long withstood the teachers of the Gospel, but when his son, Peada, was about to marry the daughter of the Christian King Oswi of Northumbria, the latter made it a condition that Peada should be baptised. Forthwith four priests were introduced into Mercia, Diuma became the first bishop (656), and on the death of Bishop Jaruman, the fourth bishop, the famous St. Chad was appointed to the vacant see, who fixed his seat at Lichfield. He was a very holy and humble man, and became the patron saint of the church. Beautiful tales are told of him. Near the Church of St. Mary he built a dwelling for himself and seven brethren. He was deeply affected by the convulsions of nature, and when the wind blew strongly and the thunder rolled he would always retire into the church and pray to God to spare His people; and when a pestilence broke out and his end was near, angel voices were heard which called him to his heavenly reward. The little Church of St. Chad was near the well that bears his name. Another Saxon church was built by Bishop Hedda (691-721) near the present Cathedral, but this has passed away. The diocese was sub-divided at the close of the seventh century, and Hereford, Worcester,[231] Lincoln and Leicester were all separated from the Lichfield See. In the time of Offa, King of Mercia, Lichfield became an archbishopric, when Higbert was bishop, but this distinction did not last long. At the Conquest William made his chaplain, Peter, Bishop of Lichfield, who removed his seat to Chester. Then Coventry was made the city of the diocese by Bishop Robert de Lymesey (1087-1117). History is silent concerning the church at Lichfield, nor does it tell us with any degree of certainty who built the Norman church which certainly existed here, as its remains were discovered by Professor Willis. It had an apse, of which the foundations lie below the present choir, and also a long, square-ended chapel of twelfth century, destroyed when the Early English choir was built in the thirteenth. Professor Willis compares the building of York and Lichfield, and points out the close parallelism.

The history of the Cathedral is fascinating and takes us back to the early days of Christianity in England. The pagan King of Mercia, Penda, resisted the Gospel's messengers for a long time, but when his son, Peada, was set to marry the daughter of the Christian King Oswi of Northumbria, Oswi made it a requirement that Peada be baptized. Soon after, four priests were sent to Mercia, and Diuma became the first bishop (656). Following the death of Bishop Jaruman, the fourth bishop, the renowned St. Chad was appointed to the vacant position and established his seat in Lichfield. He was a very holy and humble man, becoming the patron saint of the church. Beautiful stories are told about him. Near St. Mary's Church, he built a home for himself and seven brothers. He was deeply moved by natural disasters, and whenever strong winds blew and thunder rolled, he would retreat to the church to pray for God's mercy on His people. When a plague broke out and his end was approaching, angelic voices were heard calling him to his heavenly reward. The small Church of St. Chad was located near the well named after him. Another Saxon church was built by Bishop Hedda (691-721) near the current Cathedral, but it has since disappeared. At the end of the seventh century, the diocese was divided, separating Hereford, Worcester,[231] Lincoln, and Leicester from the Lichfield See. During the reign of Offa, King of Mercia, Lichfield became an archbishopric with Higbert as bishop, but this distinction was short-lived. After the Conquest, William appointed his chaplain, Peter, as Bishop of Lichfield, who then moved his seat to Chester. Later, Coventry was designated the city of the diocese by Bishop Robert de Lymesey (1087-1117). History does not provide much information about the church at Lichfield, nor does it clarify who built the Norman church that undoubtedly existed here, as its remnants were uncovered by Professor Willis. It had an apse, the foundations of which lie beneath the current choir, and a long, square-ended chapel from the twelfth century that was destroyed when the Early English choir was constructed in the thirteenth century. Professor Willis compares the structures of York and Lichfield and highlights their close similarities.

Unfortunately the soldiers in the Civil War destroyed all the records; hence we have little to guide us except the history written in the stones of the Cathedral. A Norman prelate, Roger de Clinton, did much for the church, but all his work has perished. The diocese was then called that of Lichfield and Coventry. He died in one of the Crusades.

Unfortunately, the soldiers in the Civil War destroyed all the records, so we have very little to guide us except the history written in the stones of the Cathedral. A Norman bishop, Roger de Clinton, did a lot for the church, but all his contributions have been lost. The diocese was then known as Lichfield and Coventry. He died during one of the Crusades.

The Early English builders began to build a new choir about 1200 A.D., of which only the lower part of the three westernmost bays and the sacristy on the south side remain. About 1220 they began to replace the Norman transepts with Early English work, beginning with the south transept and ending with the north. The nave was constructed about the middle of this century and central tower added, and the chapter-house belongs to the same period of architectural activity. In the last quarter of the century the west front was begun. At the end of the century a notable bishop was appointed, one Walter de Langton, Keeper of the Great Seal and Treasurer of England in the reign of Edward I., who incurred the hatred of Prince Edward, afterwards Edward II., and was several times imprisoned by him. He led a very stormy life, but found time to begin the building of the beautiful Lady Chapel at Lichfield, surrounded the close with a wall and a fosse, thus making it a fortress, erected a grand shrine for the relics of St. Chad and built the Palace. This chapel was finished by Bishop Northburgh, who had fought at Bannockburn and been taken prisoner by the Scots, and at the same time the presbytery and clerestory of the choir were rebuilt in the Decorated style.

The Early English builders started constructing a new choir around 1200 CE, of which only the lower parts of the three westernmost bays and the sacristy on the south side remain. Around 1220, they began replacing the Norman transepts with Early English designs, starting with the south transept and finishing with the north. The nave was built around the middle of this century, and a central tower was added, with the chapter house also belonging to this active period of construction. In the last quarter of the century, work began on the west front. By the end of the century, a notable bishop named Walter de Langton was appointed; he was the Keeper of the Great Seal and Treasurer of England during Edward I's reign, and he faced the wrath of Prince Edward, who later became Edward II, leading to several imprisonments. He led a tumultuous life but still managed to initiate the construction of the beautiful Lady Chapel at Lichfield. He surrounded the close with a wall and a ditch, effectively making it a fortress, and he built an impressive shrine for the relics of St. Chad along with the Palace. This chapel was completed by Bishop Northburgh, who fought at Bannockburn and was taken prisoner by the Scots, and at the same time, the presbytery and clerestory of the choir were rebuilt in the Decorated style.

The church was now complete, and very perfect must it have[232] been, glorious with the best achievements of true English Gothic art when that art was at its best. Quaint Thomas Fuller describes it as "the neatest pile in England," and tells us that Bishop Heyworth "deserved not ill of his Cathedral Church of Lichfield, which was in the vertical heights thereof, being, though not augmented in the essentials, beautified in the ornamentals thereof. Indeed the west front thereof is a stately fabric, adorned with exquisite imagery, of which I suspect our age is so far from being able to imitate the workmanship, that it understandeth not the history thereof." Quoting a saying of Charles V. of Florence, "that it was fit that so fair a city should have a case and cover for it to keep it from wind and weather," he adds, "so in some sort this fabric may seem to deserve a shelter to secure it." It was also a church rich in relics and costly ornaments, and kings and nobles loved to adorn it with bounteous offerings, while the shrine of St. Chad brought many a pilgrim to fill its treasury when they paid their vows. The fifteenth century made few alterations to the fabric. Dean Heywood built a library, which has now disappeared. Some Perpendicular windows were inserted.

The church was now complete, and it must have been really impressive, showcasing the finest achievements of true English Gothic art at its peak. The quirky Thomas Fuller describes it as "the neatest building in England," and tells us that Bishop Heyworth "deserved well of his Cathedral Church of Lichfield, which, despite not being changed in essential ways, was beautified with ornamental details." Indeed, the west front is a grand structure, decorated with exquisite imagery, which I doubt our time could replicate in craftsmanship, let alone grasp its history. Quoting Charles V. of Florence, who said, "it was fitting that such a beautiful city should have a covering to protect it from wind and weather," he adds, "similarly, this building seems to deserve a shelter to keep it safe." The church was also rich in relics and valuable decorations, and kings and nobles loved to enhance it with generous gifts, while the shrine of St. Chad attracted many pilgrims who contributed to its treasury when they fulfilled their vows. The fifteenth century made few changes to the structure. Dean Heywood built a library, which has since gone missing. Some Perpendicular windows were added.

At the Reformation Henry's commissioners carried off a vast store of plate and jewels for "the king's use," and during the Civil War the Cathedral actually endured a siege, the results of which were most disastrous. We have recorded how Bishop Langton surrounded the close with fortifications. The sacred precincts were garrisoned by the Royalists, who awaited the attack of the Parliamentarians, led by Lord Brooke, a fierce fanatic, who longed to pull down all cathedrals as relics of Popery, and extirpate Episcopacy. On St. Chad's day they began the siege, and Brooke prayed in the presence of his men that "God would by some special token manifest unto them His approbation of their design." The "special token" was manifested, but not in favour of the Roundheads; on the second day of the siege a bullet fired by "Dumb Dyott," the son of Sir Richard, one of the leaders of the Royalists, struck Brooke in the eye, and caused his death. This signal act did not save the Cathedral. The spire was struck by cannon balls, and fell, and after three days the garrison made terms of surrender. Desecration and spoliation raged in the once beautiful church. Carved stalls, organ, stained glass windows—all shared the same fate. Images were torn from their niches and broken; tombs were rifled, and the ashes of holy men scattered about with barbarous indecency. Bishop Scrope's tomb yielded a[233] silver chalice and crozier of much value, and a pandemonium of ruthless rage filled the church. Prince Rupert came to Lichfield, and laid siege to the Cathedral, and after ten days turned out the Roundheads. Here the luckless King Charles came, after the disastrous fight of Naseby, and again, when the Royal cause was well-nigh lost, the Parliamentarians besieged the place, and the king's troops were forced to yield.

At the Reformation, Henry's commissioners took away a huge amount of silver and jewels for "the king's use," and during the Civil War, the Cathedral actually experienced a siege, which had devastating consequences. We noted how Bishop Langton fortified the close. The sacred area was held by the Royalists, who were waiting for an attack from the Parliamentarians, led by Lord Brooke, a zealous fanatic who wanted to demolish all cathedrals as symbols of Catholicism and eliminate Episcopacy. On St. Chad's Day, they initiated the siege, and Brooke prayed in front of his men that "God would show them His approval of their plan through some special sign." The "special sign" appeared, but not in favor of the Roundheads; on the second day of the siege, a bullet fired by "Dumb Dyott," the son of Sir Richard, one of the Royalists' leaders, hit Brooke in the eye, leading to his death. This decisive act didn't save the Cathedral. The spire was hit by cannonballs and collapsed, and after three days, the garrison surrendered. Desecration and looting wreaked havoc in the once-beautiful church. Carved stalls, the organ, stained glass windows—all suffered the same fate. Statues were pulled from their places and destroyed; tombs were plundered, and the remains of holy individuals were scattered around with brutal disrespect. Bishop Scrope's tomb yielded a[233]silver chalice and crozier worth a lot, and a chaotic fury filled the church. Prince Rupert came to Lichfield and laid siege to the Cathedral, and after ten days forced out the Roundheads. Here, the unfortunate King Charles arrived after the disastrous battle of Naseby, and again, when the Royal cause was nearly lost, the Parliamentarians surrounded the place, and the king's troops were compelled to surrender.

The Restoration of the monarchy brought about the restoration of the Cathedral, which, according to Fuller, "was now in a pitiful case, indeed almost beaten down to the ground in our civil dissensions." Bishop Hacket, a worthy and zealous man, was appointed to the see, who immediately began the stupendous work, and in eight years completed it, when the church was reconsecrated with much solemnity. King Charles II. gave "100 fair timber trees" for the restoration, and a poor statue of the monarch was placed at the west end, and the Duke of York gave the large window beneath it. Both have now been removed.

The return of the monarchy led to the revival of the Cathedral, which, according to Fuller, "was now in a pitiful state, almost brought down to the ground by our civil conflicts." Bishop Hacket, a dedicated and passionate man, was appointed to the position and immediately started the impressive restoration work, completing it in eight years. The church was reconsecrated with great ceremony. King Charles II. donated "100 good timber trees" for the restoration, and a poorly made statue of the king was placed at the west end, while the Duke of York contributed the large window beneath it. Both have since been removed.

Too soon the ruthless hand of the arch-destroyer, Wyatt, was laid on the luckless Cathedral, who wrought mischief second only to that of the Puritan fanatics. As the canons felt cold, he walled up the pier arches of the choir and closed the eastern tower arch with a glass screen, removed the altar to east end of the Lady Chapel, patched the piers with Roman cement, hacked away the old stone-work, in order to make this cement stick, and fixed up a large organ screen between the nave and the choir. Roman cement became the passion of the hour. Statues were made of it, old stone-work repaired with it; arches, mouldings, niches and pinnacles were coated with it. Happily its reign is over. Sir Gilbert Scott began his restoration in 1856. The difficulty of the work was enormous. He endeavoured to imitate the ancient sculpture and stone-work, and restore the Cathedral to the condition of its Early Gothic purity. Though some of the work has been severely criticised, we must take into consideration the difficulties caused by Wyatt and Roman cement which he had to encounter; we must remember that Gothic revival had not reached its highest development in 1856, and be thankful that so much has been spared to us of this once magnificent Cathedral.

Too soon, the ruthless hand of the arch-destroyer, Wyatt, was laid on the unfortunate Cathedral, causing damage second only to that of the Puritan fanatics. As the canons felt the chill, he bricked up the pier arches of the choir and blocked the eastern tower arch with a glass screen, moved the altar to the east end of the Lady Chapel, patched the piers with Roman cement, hacked away the old stonework to make the cement adhere, and set up a large organ screen between the nave and the choir. Roman cement was the craze of the time. Statues were made of it, old stonework was repaired with it; arches, moldings, niches, and pinnacles were covered with it. Thankfully, its reign is over. Sir Gilbert Scott began his restoration in 1856. The difficulty of the work was immense. He tried to imitate the ancient sculpture and stonework, aiming to restore the Cathedral to its Early Gothic purity. Although some of the work has faced heavy criticism, we must consider the challenges posed by Wyatt and the Roman cement that he had to deal with; we must remember that the Gothic revival had not yet reached its peak in 1856, and be grateful that so much of this once magnificent Cathedral has been preserved for us.

Exterior

Outside

When we enter the Close we notice that little is left of the fortifications that once made Lichfield into a fortress. Here and there[234] a few traces of the walls remain. Lichfield was never a monastery, so there are no cloisters. The view of the Cathedral upon entering the close is very striking and beautiful. The colour of the stone is remarkable, as it is built of red sandstone. The three spires are extremely graceful. A fine view of them is obtained from the south side across the lake. The two west spires were built by Bishop Northbury (1322-1359), and are Decorated. The upper part of the north-western one was rebuilt, and there has been some renovation of the other. The old central tower fell during the siege, and was rebuilt by Bishop Hacket at the Restoration. The style is Perpendicular, having been built in the fashion of the west tower.

When we enter the Close, we see that not much is left of the fortifications that once turned Lichfield into a fortress. Here and there[234] are a few remnants of the walls. Lichfield was never a monastery, so there are no cloisters. The view of the Cathedral upon entering the close is striking and beautiful. The color of the stone is notable, as it’s made of red sandstone. The three spires are exceptionally elegant. You can get a great view of them from the south side across the lake. The two west spires were constructed by Bishop Northbury (1322-1359) and are in the Decorated style. The upper part of the northwestern spire was rebuilt, and some renovations have been done to the other. The old central tower collapsed during the siege and was rebuilt by Bishop Hacket during the Restoration. Its style is Perpendicular, built in the same manner as the west tower.

The West Front must have been one of the most beautiful in England, and has passed through many vicissitudes. It was commenced in 1275, and completed by degrees, the work being protracted for more than a century. The ball-flower ornament in the upper stages points to the later date of the highest part. There are three principal stages. In the lowest are three doorways, the wall being covered with a rich arcade of brackets and canopies and statues. The next stage has three rows of arcading, the lowest extending completely across the front. The west window divides the two upper arcades. There are windows in the tower fronts in the third stage, and the wall is covered with rich canopied arcade. The Puritan soldiers did much injury to the statues which filled these niches. In 1820 the broken figures were restored with Roman cement in a barbarous fashion. Sir Gilbert Scott in 1877 began to reconstruct the west front, and placed new statues in the niches, and endeavoured to reproduce an exact copy of its appearance in the days of its early beauty. A study of the figures will not be without interest.

The West Front must have been one of the most beautiful in England and has gone through many changes. It started being built in 1275 and was gradually completed over more than a century. The ball-flower design in the upper sections indicates a later date for the top part. There are three main levels. The lowest one has three doorways, and the wall is decorated with a rich arcade of brackets, canopies, and statues. The next level features three rows of arcading, with the bottom row stretching all the way across the front. The west window separates the two upper arcades. There are windows in the tower fronts on the third level, and the wall is adorned with a rich canopied arcade. The Puritan soldiers caused significant damage to the statues that filled these niches. In 1820, the broken figures were restored with Roman cement in a crude manner. Sir Gilbert Scott began reconstructing the west front in 1877, adding new statues to the niches and trying to recreate its original beauty. Studying the figures will be quite interesting.

Small figures in central west doorway—on north side—genealogy of Christ according to St. Matthew from Abraham to the Virgin; on the south, according to St. Luke from Adam to Joseph. Notice fourteenth-century carving of Our Lord in Glory inside the porch.

Small figures in the central west doorway—on the north side—show the genealogy of Christ according to St. Matthew from Abraham to the Virgin; on the south, according to St. Luke from Adam to Joseph. Notice the fourteenth-century carving of Our Lord in Glory inside the porch.

Lichfield Cathedral
Herbert Railton
Distant view of exterior

Lichfield Cathedral
Herbert Railton
Far-off view of the outside

North-West Doorway

Northwest Entrance

On North

On North

1. Ethelbert, angel, with emblem of the Passion.
2. Edwin, orb.
3. Oswald, dove, with letter, and cross in his left hand.
4. Oswy, casket, with key and cross.
[237] 5. Peada, embracing a cross.
6. Wulphere, model of a Saxon church, and a shield.

1. Ethelbert, angel, with the symbol of the Passion.
2. Edwin, sphere.
3. Oswald, dove, holding a letter and a cross in his left hand.
4. Oswy, box, with a key and cross.
[237] 5. Peada, holding a cross.
6. Wulphere, model of a Saxon church, and a shield.

On South

On South

1. Bertha, cross in her hand, and her daughter kneeling at an altar.
2. Ethelburga, glass and comb.
3. Hilda, angel hovering over her, and pastoral staff in her hand.
4. Eanfled, priest with letter.
5. Ermenilda, laying down crown.
6. Werburga, pastoral staff, and crown at her feet.

1. Bertha, holding a cross in her hand, and her daughter kneeling at an altar.
2. Ethelburga, with a glass and a comb.
3. Hilda, with an angel hovering over her, and a pastoral staff in her hand.
4. Eanfled, a priest holding a letter.
5. Ermenilda, laying down her crown.
6. Werburga, with a pastoral staff, and a crown at her feet.

South-West Doorway

Southwest Doorway

The figures represent the two sources of English Christianity, the Celtic and Roman missionaries.

The figures represent the two sources of English Christianity: the Celtic and Roman missionaries.

North Side

North Side

1. St. Aidan, pastoral staff, and St. Chad as a boy in St. Aidan's School at Lindisfarne.
2. Finan, pastoral staff.
3. Diuma, pastoral staff and banner.
4. Ceollach, pastoral staff, and mitre at his feet, indicating that he resigned his bishopric.
5. Trumhere, pastoral staff.
6. Jaruman, pastoral staff, and model of a Saxon church.

1. St. Aidan, pastoral staff, and St. Chad as a kid in St. Aidan's School at Lindisfarne.
2. Finan, pastoral staff.
3. Diuma, pastoral staff and banner.
4. Ceollach, pastoral staff, and mitre at his feet, showing that he stepped down from his bishopric.
5. Trumhere, pastoral staff.
6. Jaruman, pastoral staff, and model of a Saxon church.

South Side

South Side

1. Gregory, young Saxon slaves at his feet, in the Market Place at Rome.
2. Augustine, crozier and model of Canterbury Monastery.
3. Paulinus, crozier.
4. Theodore, crozier and scroll.
5. Cuthbert, pastoral staff, and head of St. Oswald in his hand.
6. Wilfrid, pastoral staff, and treading on an idol.

1. Gregory, young Saxon slaves at his feet, in the Marketplace in Rome.
2. Augustine, crozier and model of Canterbury Monastery.
3. Paulinus, crozier.
4. Theodore, crozier and scroll.
5. Cuthbert, pastoral staff, and the head of St. Oswald in his hand.
6. Wilfrid, pastoral staff, and stepping on an idol.

Central Gable

Central Gable

1. Our Lord in Glory, in the act of benediction.
2. Moses, the two tables of stone.
3. Elijah, a book.
[238]

1. Our Lord in Glory, giving a blessing.
2. Moses, holding the two stone tablets.
3. Elijah, with a book.
[238]

4. St. Gabriel, holding a lily, the emblem of purity.
5. St. Uriel, open book.
6. St. Michael, in armour, with spear and shield.
7. St. Raphael, pilgrim's staff.

4. St. Gabriel, holding a lily, which symbolizes purity.
5. St. Uriel, with an open book.
6. St. Michael, in armor, with a spear and shield.
7. St. Raphael, with a pilgrim's staff.

Highest Stage—South Side

Top Level—South Side

8. Adam, clothed with skins, and with a lion at his feet.
9. Abel, shepherd's crook and a lamb.
10. Abraham, fire and knife.
11. Isaac.
12. Jacob.
13. Melchisedec, royal and priestly robes and censer.
14. Enoch, prophesying, with uplifted hand.
15. Methuselah, old man's staff.
16. Noah, ark and olive branch.
17. Daniel.
18. Job, staff, and prophesying the Resurrection.
19. Shem.

8. Adam, wearing animal skins, with a lion at his feet.
9. Abel, holding a shepherd's crook and a lamb.
10. Abraham, with fire and a knife.
11. Isaac.
12. Jacob.
13. Melchizedek, dressed in royal and priestly robes, holding a censer.
14. Enoch, prophesying with his hand raised.
15. Methuselah, using an old man's staff.
16. Noah, with the ark and an olive branch.
17. Daniel.
18. Job, holding a staff and prophesying about the Resurrection.
19. Shem.

Middle Stage—Upper Tier

Middle Stage—Upper Tier

20. Isaiah, a saw.
21. Hosea, skull at his feet, and scroll, "O death, I will be thy plagues."
22. Jonah, a fish at his feet, and scroll in his hand, "Salvation is of the Lord."
23. Zephaniah, holding a torch and scroll, "The great day of the Lord is near."
24. St. Michael, in armour, with spear and shield.
25. Bishop Hacket, holding the open Bible.
26. Bishop Lonsdale, model of Eton College Chapel at his feet.
27. Bishop Selwyn, his hand resting on the head of a Melanesian boy. Bishop of New Zealand, 1841 to 1867. Bishop of Lichfield, 1868 to 1878.
28. Vacant.

20. Isaiah, a saw.
21. Hosea, a skull at his feet, and a scroll, "O death, I will be your plagues."
22. Jonah, a fish at his feet, and a scroll in his hand, "Salvation is from the Lord."
23. Zephaniah, holding a torch and a scroll, "The great day of the Lord is near."
24. St. Michael, in armor, with a spear and shield.
25. Bishop Hacket, holding the open Bible.
26. Bishop Lonsdale, a model of Eton College Chapel at his feet.
27. Bishop Selwyn, his hand resting on the head of a Melanesian boy. Bishop of New Zealand, 1841 to 1867. Bishop of Lichfield, 1868 to 1878.
28. Vacant.

Middle Stage—Lower Tier

Mid Tier

29. Ezekiel, wheel, with Evangelistic emblems.
30. Joel, locust at his feet, and scroll in his hand, "Jehovah is God."
31. Micah, with foot upon an idol; and the words, "Who is God like unto Thee," in a scroll.
[239]

29. Ezekiel, wheel, with Evangelistic symbols.
30. Joel, locust at his feet, and scroll in his hand, "The Lord is God."
31. Micah, with foot on an idol; and the words, "Who is God like You," in a scroll.
[239]

32. Haggai, unfinished temple at his feet, and pointing upwards, and scroll, "Go up to the mountain."
33. St. Raphael, a pilgrim's staff, as a messenger of God.
34. Bishop Clinton, A.D. 1129, model of a Norman church.
35. Bishop Patteshull, A.D. 1240, wearing a chasuble, as shown on his effigy in the Cathedral.
36. Bishop Langton, A.D. 1296, model of the Lady Chapel at his feet.
37. Vacant.

32. Haggai, with an unfinished temple at his feet, points upwards with a scroll, "Go up to the mountain."
33. St. Raphael holds a pilgrim's staff as a messenger of God.
34. Bishop Clinton, CE 1129, is the model of a Norman church.
35. Bishop Patteshull, CE 1240, wears a chasuble, as shown on his effigy in the Cathedral.
36. Bishop Langton, CE 1296, is the model of the Lady Chapel at his feet.
37. Vacant.

Lower Stage of Kings

Lower Stage of Kings

38. St. Chad, A.D. 669, pastoral staff, first Bishop of Lichfield.
39. Peada, A.D. 665, embracing the cross.
40. Wulphere, A.D. 657, shield, and model of Peterborough Monastery.
41. Ethelred, A.D. 657, four scrolls, indicating the four sub-divisions of the great Mercian Diocese, Lichfield, Worcester, Hereford and Chester.
42. Offa, A.D. 755, archiepiscopal mitre.
43. Egbert, A.D. 827, orb and sceptre. First sole monarch of Saxon Britain.
44. Ethelwolf, A.D. 836.
45. Ethelbert, A.D. 860, crown and sword.
46. Ethelred, A.D. 866, holding a book to his breast.
47. Alfred, A.D. 871, a harp.
48. Edgar, A.D. 958, wolf's head; alluding to tribute of wolves' heads in lieu of money.
49. Canute, A.D. 1017, orb, and looking to the sea; in reference to his rebuke of his courtiers.
50. Edward the Confessor, A.D. 1042, a dove, and a ring in his left hand.
51. William the Conqueror, A.D. 1066, Doomsday Book and sword.
52. William Rufus, A.D. 1087, bow and arrow, and hunting horn; alluding to his death.
53. Henry I., A.D. 1100, holding a book.
54. Stephen, A.D. 1135, orb, dove and sword.
55. Henry II., A.D. 1154, sceptre and sword.
56. Richard I., A.D. 1189, with banneret and battle axe.
57. John, A.D. 1199, signing Magna Charta.
[240]

38. St. Chad, CE 669, pastoral staff, first Bishop of Lichfield.
39. Peada, C.E. 665, embracing the cross.
40. Wulphere, CE 657, shield, and model of Peterborough Monastery.
41. Ethelred, CE 657, four scrolls, representing the four sub-divisions of the great Mercian Diocese: Lichfield, Worcester, Hereford, and Chester.
42. Offa, AD 755, archiepiscopal mitre.
43. Egbert, CE 827, orb and scepter. First sole monarch of Saxon Britain.
44. Ethelwolf, CE 836.
45. Ethelbert, CE 860, crown and sword.
46. Ethelred, AD 866, holding a book to his chest.
47. Alfred, CE 871, with a harp.
48. Edgar, CE 958, wolf's head; referencing the tribute of wolves' heads instead of money.
49. Canute, A.D. 1017, orb, and facing the sea; regarding his rebuke of his courtiers.
50. Edward the Confessor, CE 1042, a dove, and a ring in his left hand.
51. William the Conqueror, CE 1066, Doomsday Book and sword.
52. William Rufus, CE 1087, bow and arrow, and hunting horn; referencing his death.
53. Henry I., CE 1100, holding a book.
54. Stephen, CE 1135, orb, dove, and sword.
55. Henry II., CE 1154, scepter and sword.
56. Richard I., CE 1189, with banneret and battle axe.
57. John, CE 1199, signing Magna Charta.
[240]

58. Henry III., A.D. 1216, model of Westminster Abbey.
59. Edward I., A.D. 1272, the poisoned arrow.
60. Edward II., A.D. 1307, reversed sceptre; alluding to his deposition and murder.
61. Edward III., A.D. 1327, the Garter and sceptre.
62. Richard II., A.D. 1377, orb, cross and sceptre.

58. Henry III, A.D. 1216, model of Westminster Abbey.
59. Edward I, A.D. 1272, the poisoned arrow.
60. Edward II, A.D. 1307, reversed scepter; referring to his deposition and murder.
61. Edward III, A.D. 1327, the Garter and scepter.
62. Richard II, A.D. 1377, orb, cross, and scepter.

Lowest Stage—North to South

Lowest Level—North to South

63. St. Cyprian, sword and book. Archbishop of Carthage.
64. St. Bartholomew, knife.
65. St. Simon, saw.
66. St. James the Less, club and book.
67. St. Thomas, the carpenter's square.
68. St. Philip, cross.
69. St. Andrew, a transverse cross.
70. St. John, pen and book.
71. Vacant.
72. Mary Magdalene, the alabaster box of ointment.
73. The Virgin and Child.
74. Mary, wife of Cleophas.
75. Vacant.
76. St. Peter, keys.
77. St. Paul, sword and book.
78. St. Matthew, wallet.
79. St. James the Greater, staff, book and scallop shell.
80. St. Jude, scroll.
81. St. Stephen, stones and the martyr's palm.
82. St. Clement, anchor and open book.
83. St. Werburga, pastoral staff, clasped book and crown at her feet.

63. St. Cyprian, sword and book.
64. St. Bartholomew, knife.
65. St. Simon, saw.
66. St. James the Less, club and book.
67. St. Thomas, carpenter's square.
68. St. Philip, cross.
69. St. Andrew, cross.
70. St. John, pen and book.
71. Vacant.
72. Mary Magdalene, alabaster jar of ointment.
73. The Virgin and Child.
74. Mary, wife of Cleophas.
75. Vacant.
76. St. Peter, keys.
77. St. Paul, sword and book.
78. St. Matthew, wallet.
79. St. James the Greater, staff, book, and scallop shell.
80. St. Jude, scroll.
81. St. Stephen, stones and martyr's palm.
82. St. Clement, anchor and open book.
83. St. Werburga, pastoral staff, closed book, and crown at her feet.

North-West Tower

Northwest Tower

Middle Stage—Lower Tier

Mid-Level—Lower Tier

84. Daniel, scroll and flames of fire at his feet.
85. Obadiah, hands lifted up and scroll, "The kingdom shall be the Lord's."
86. Habakkuk, writing the vision.
87. Malachi, fiery oven at his feet and scroll.
88. St. Uriel, a spear.
89. St. Luke, staff with serpent entwined. [241]

84. Daniel, with a scroll and flames at his feet.
85. Obadiah, hands raised and holding a scroll, "The kingdom will belong to the Lord."
86. Habakkuk, recording the vision.
87. Malachi, a fiery oven at his feet and a scroll.
88. St. Uriel, holding a spear.
89. St. Luke, carrying a staff with a serpent wrapped around it. [241]

90. Queen Victoria.
91. St. Mark, lion at his feet.
92. Dean Bickersteth.
93. Jeremiah, lamenting destruction of Jerusalem.
94. Amos.
95. Nahum, scroll and an Assyrian idol.
96. Zechariah, candlestick and scroll.
97. St. Gabriel, shield and sceptre.
98. Solomon, sceptre and model of the Temple.
99. St. Helena, the cross, and a model of a Basilica.
100. David, harp.
101. St. Editha, foot upon a crown.

90. Queen Victoria.
91. St. Mark, with a lion at his feet.
92. Dean Bickersteth.
93. Jeremiah, mourning the destruction of Jerusalem.
94. Amos.
95. Nahum, with a scroll and an Assyrian idol.
96. Zechariah, with a candlestick and scroll.
97. St. Gabriel, with a shield and sceptre.
98. Solomon, with a sceptre and a model of the Temple.
99. St. Helena, holding the cross and a model of a Basilica.
100. David, with a harp.
101. St. Editha, with a foot on a crown.

North-West Tower—Upper Tier

Northwest Tower—Upper Level

102. Eve, a distaff in her hand.
103. Old Figure. This and four others are the only remaining fourteenth-century figures which have survived the wear of time and the violence of the Civil War.
104. Sarah, three cakes in her hand.
105. Old Figure. Fourteenth century.
106. Rachel, crook.
107. Deborah, scroll.
108. Old Figure. Fourteenth century.
109. Hannah, with the boy Samuel at her side.
110. Samuel, anointing horn and scroll.
111. Aaron, scroll.
112. Old Figure. Fourteenth century.
113. Old Figure. Fourteenth century.

102. Eve, holding a distaff.
103. Old Figure. This and four others are the only remaining figures from the fourteenth century that have withstood the passage of time and the turmoil of the Civil War.
104. Sarah, holding three cakes.
105. Old Figure. Fourteenth century.
106. Rachel, with a crook.
107. Deborah, with a scroll.
108. Old Figure. Fourteenth century.
109. Hannah, with the boy Samuel beside her.
110. Samuel, holding anointing horn and scroll.
111. Aaron, with a scroll.
112. Old Figure. Fourteenth century.
113. Old Figure. Fourteenth century.

St. Anthony over the belfry window on south side of south-west tower.

St. Anthony above the belfry window on the south side of the southwest tower.

The west window presented by James II. when Duke of York has been removed and a Decorated window inserted.

The west window that James II had installed when he was Duke of York has been taken out and replaced with a Decorated window.

Passing round to the north side we see the interesting north doorway, which is a double one, with five orders, and of Early English style (1240 A.D.). The dog-tooth ornament is evident. Carved figures appear in the mouldings. The genealogy of our Lord, beginning with Jesse, is on the east side; on the west St. Chad and the Apostles. Kings and prophets appear on the middle moulding, and angels on the inner. These are good specimens of Early English carving, and are original, though somewhat restored.[242] A modern figure of St. Anne is in the central niche, and above a figure of our Lord. The figures of SS. James and Jude are examples of the hideous Roman cement work which once was so plentiful here.

Passing around to the north side, we see the intriguing north doorway, which is a double one with five sections and is in the Early English style (1240 CE). The dog-tooth ornament is clear. Carved figures appear in the moldings. The genealogy of our Lord, starting with Jesse, is on the east side; on the west side are St. Chad and the Apostles. Kings and prophets are shown on the middle molding, and angels on the inner one. These are great examples of Early English carving and are original, though somewhat restored.[242] A modern figure of St. Anne is in the central niche, with a figure of our Lord above it. The figures of SS. James and Jude are examples of the ugly Roman cement work that was once so common here.

Continuing our pilgrimage round the church we see the chapter-house and the Lady Chapel, which has been too much restored with new niches and statues of holy women mentioned in the Bible. The lower row (New Testament) has figures of Priscilla, Anna, Dorcas, Mary of Bethany with box of ointment, Martha with a dish and cloth, Lydia, Phebe and Elizabeth; above Esther, Ruth with corn, Naomi, Rizpah, Deborah, Miriam, Rachel and Rebecca. Passing the so-called mortuary chapels, probably vestries, we notice a noble figure of the Madonna on south side, and though the head has been defaced, and the child knocked away, it remains a beautiful study of fourteenth-century pose and drapery. On the corners of the sacristy are figures of Godefroi de Bouillon and St. Chad. The south portal has been much restored. It is similar to the north doorway, but not so rich in architectural details. On the tympanum are shields with arms of the diocese, and on the west the arms of Lady Catherine Leveson, a benefactress of the time of Bishop Hacket, and an inscription recording her munificence on the east. A row of niches is over the door, formerly filled with figures of Roman cement. Happily they have disappeared. The rose window is very fine.

Continuing our walk around the church, we see the chapter house and the Lady Chapel, which has been overly restored with new niches and statues of holy women mentioned in the Bible. The lower row (New Testament) features figures of Priscilla, Anna, Dorcas, Mary of Bethany with her box of ointment, Martha with a dish and cloth, Lydia, Phebe, and Elizabeth; above them are Esther, Ruth with corn, Naomi, Rizpah, Deborah, Miriam, Rachel, and Rebecca. As we pass the so-called mortuary chapels, likely vestries, we notice a striking figure of the Madonna on the south side. Although the head has been damaged and the child is missing, it remains a beautiful example of fourteenth-century pose and drapery. At the corners of the sacristy are figures of Godefroi de Bouillon and St. Chad. The south portal has been extensively restored. It resembles the north doorway, but lacks some of the architectural details. On the tympanum are shields with the arms of the diocese, and on the west side, the arms of Lady Catherine Leveson, a benefactor from the time of Bishop Hacket, along with an inscription noting her generosity on the east. A row of niches above the door used to hold figures made of Roman cement, but fortunately, they have disappeared. The rose window is quite stunning.

Interior

Interior

We enter the church by the west door, and are struck with the richness and beauty of the view of the nave and choir, the clustered columns with richly-carved capitals, the elaborate reredos of marble and alabaster, and the stained glass of the Lady Chapel. It will be noticed that the choir inclines considerably to the north. This difference in orientation is observable in many churches, and has been interpreted as a figurative representation of the bending of our Lord's head upon the Cross. We believe that this beautiful fancy has no authority, and most probably the inclination was accidental. No records tell us when this nave was built. It is earlier than the west front, and was begun about 1250, at the time when the Early English style was being merged in that of the Decorated. There are eight bays. The piers are octagonal, with many shafts, the capitals enriched with foliage of Early English type. The tri[243]forium has two arches in each bay, each arch has two sub-arches, with cusped heads, and a quatrefoil in the tympanum. Dog-tooth ornament is used copiously. The clerestory windows are triangular, with three circles in each, and a trefoil in each circle. Mr. Petit stated, "Nothing can exceed this nave in beauty and gracefulness." The roof was originally of stone. This the besiegers damaged, and after its restoration the stone vaulting was found too heavy for the walls and piers; hence it was removed, except the portions at the immediate east and west end. Wyatt covered the rest with plaster to imitate the original work. The roof has now been coloured, so that it is impossible to discover any difference between the stone and plaster ceiling.

We enter the church through the west door and are struck by the richness and beauty of the view of the nave and choir, the clustered columns with intricately carved capitals, the elaborate marble and alabaster reredos, and the stained glass in the Lady Chapel. It's noticeable that the choir leans significantly to the north. This shift in orientation appears in many churches and has often been interpreted as a symbolic representation of our Lord's head bending on the Cross. We believe this beautiful notion lacks solid evidence, and the lean was most likely accidental. There are no records indicating when this nave was built. It predates the west front and was started around 1250, at a time when the Early English style was transitioning into the Decorated style. There are eight bays. The piers are octagonal, featuring multiple shafts, with capitals adorned with foliage typical of the Early English style. The triforium has two arches in each bay, with each arch containing two sub-arches, which have cusped heads and a quatrefoil in the tympanum. Dog-tooth ornamentation is extensively used. The clerestory windows are triangular, with three circles in each, and a trefoil in each circle. Mr. Petit remarked, "Nothing can exceed this nave in beauty and gracefulness." The roof was originally made of stone. This was damaged by the besiegers, and after repairs, the stone vaulting was found to be too heavy for the walls and piers; thus, it was removed, except for parts at the immediate east and west ends. Wyatt covered the remaining sections with plaster to mimic the original work. The roof is now painted, making it impossible to distinguish between the stone and plaster ceiling.

The Aisles are similar in style to the nave, and are very narrow. The wall arcading is very fine Early Decorated work. The windows have three lights, with three foliated circles in their heads. In the north aisle are tablets to the memory of Gilbert Walmesley, the friend of Dr. Johnson and David Garrick; to Lady Mary Montagu, the introducer of the inoculation for small-pox; to Ann Seward, the "Swan of Lichfield" (1809), a window; brass to the memory of officers of the Staffordshire regiment, and its colours. In the South Aisle are two curious semi-effigies of ancient date—the heads and the feet are carved, the rest of the body is left a blank in the stone; a good brass of the Earl of Lichfield (d. 1854); and the monument of Dean Addison (1703), the father of a more famous son—the essayist.

The Aisles are styled similarly to the nave and are quite narrow. The wall arcading is excellent Early Decorated work. The windows feature three lights, each topped with three foliate circles. In the north aisle, there are memorial tablets for Gilbert Walmesley, a friend of Dr. Johnson and David Garrick; for Lady Mary Montagu, who introduced smallpox inoculation; for Ann Seward, known as the "Swan of Lichfield" (1809), which is represented by a window; a brass memorial for officers of the Staffordshire regiment, along with its colors. In the South Aisle, there are two intriguing semi-effigies from an ancient time—the heads and feet are carved, but the rest of the body is left blank in the stone; a good brass of the Earl of Lichfield (d. 1854); and the monument of Dean Addison (1703), the father of a more famous son—the essayist.

We now pass to the South Transept, which is earlier than the north, and was begun about 1220. The north transept and chapter-house were built twenty years later. Doubtless for the building of the transepts Henry III. in 1235 and 1238 granted licence to the dean and chapter to take stone from the Royal Forest of Hopwas, south of Lichfield.[14] Both transepts have east aisles. All is Early English work, except the windows. The large south window is Perpendicular, probably inserted by Bishop Blyth (1503-1533). The stone vault is also Perpendicular, erected in place of a wooden one, which served as a model of that at St. George's Chapel, Windsor, according to the order of Henry III. There is some Flemish glass in the south window of the aisle, similar to that in the Lady Chapel. It was brought from Herckenrode. We notice the memorial of one of Nelson's men—Admiral Sir W. Parker. The south window is fitted with good modern glass. In the North [244]Transept we see that the style has advanced since the construction of the south transept, twenty years earlier. The arcading here has trefoiled arches. The windows have Perpendicular tracery, and a large north window was inserted in Perpendicular times, but it has recently been removed and the Early English window restored. The curious monument is of Dean Heywood, representing his skeleton. The organ occupies the aisle.

We now move on to the South Transept, which was built earlier than the north and started around 1220. The north transept and chapter house were constructed twenty years later. For the building of the transepts, Henry III granted permission in 1235 and 1238 for the dean and chapter to take stone from the Royal Forest of Hopwas, south of Lichfield.[14] Both transepts have east aisles. Everything here is Early English work, except for the windows. The large south window is Perpendicular, likely added by Bishop Blyth (1503-1533). The stone vault is also Perpendicular, built to replace a wooden one, which served as a model for the one at St. George's Chapel, Windsor, as ordered by Henry III. There is some Flemish glass in the south window of the aisle, similar to that in the Lady Chapel, brought from Herckenrode. We can see the memorial for one of Nelson's men—Admiral Sir W. Parker. The south window features good modern glass. In the North [244]Transept, we notice that the style has progressed since the construction of the south transept twenty years earlier. The arcading here features trefoiled arches. The windows have Perpendicular tracery, and a large north window was added during the Perpendicular period, but it has recently been removed and the Early English window restored. The unusual monument is of Dean Heywood, showing his skeleton. The organ is located in the aisle.

Standing beneath the Tower, at the entrance of the choir, we notice the conjunction of styles—the large piers with banded shafts of the Early English of the choir blended with later work of the transept and the Early Decorated of the nave. A modern metal screen of graceful design separates the transept from the choir, and was designed by Sir G. Scott. Above are bronze angels playing instruments of music.

Standing beneath the Tower, at the entrance of the choir, we see the mix of styles—the large pillars with striped shafts from the Early English period of the choir combined with later work from the transept and the Early Decorated style of the nave. A stylish modern metal screen separates the transept from the choir, designed by Sir G. Scott. Above are bronze angels playing musical instruments.

The Choir, which succeeded the Norman apsidal choir, was begun in 1200, and the Lady Chapel about 1300, when the choir was lengthened by one bay. Then the Early English choir was removed as far as the third pier east of the tower, and the present choir built in the Decorated style; the upper part of the three western bays was also removed, and a Decorated clerestory added. Thus we have the arches and piers of the first three bays Early English, clerestory Decorated, and three other bays Decorated. Wyatt wrought havoc here, but his plans have now been altered, and the arrangements been made to conform to the original design. It will be observed that the tracery of the clerestory windows is Perpendicular, inserted at the restoration after the siege; only one original being left. There is no triforium, there being only two storeys. The spandrels have cusped circles, and in the older part niches with statues: on south, SS. Christopher, James and Philip; and on north, SS. Peter, Mary Magdelene and the Virgin. The stalls and bishop's throne are modern. The Reredos is very magnificent, designed by Sir G. Scott. The pavement contains a veritable history of the Cathedral, while the space before the altar contains Old Testament types of the sacrifice of our Lord. The canopies of the Sedilia are ancient and Late Decorated.

The Choir, which replaced the Norman apsidal choir, started in 1200, and the Lady Chapel was built around 1300, when the choir was extended by one bay. The Early English choir was then taken out up to the third pier east of the tower, and the current choir was constructed in the Decorated style; the upper parts of the three western bays were also removed, and a Decorated clerestory was added. So we have the arches and piers of the first three bays in Early English style, a Decorated clerestory, and three additional bays in Decorated style. Wyatt caused significant changes here, but his plans have been modified, and updates have been made to align with the original design. It’s noticeable that the tracery of the clerestory windows is Perpendicular, added during the restoration after the siege; only one original remains. There's no triforium, as there are just two storeys. The spandrels have cusped circles, and in the older section, there are niches with statues: on the south side, SS. Christopher, James, and Philip; and on the north, SS. Peter, Mary Magdalene, and the Virgin. The stalls and bishop's throne are modern. The Reredos is quite magnificent, designed by Sir G. Scott. The pavement tells a true history of the Cathedral, while the area in front of the altar features Old Testament symbols of the sacrifice of our Lord. The canopies of the Sedilia are ancient and Late Decorated.

The Choir Aisles resemble in style the parts of the choir to which they are adjacent. In the north there is Chantrey's monument of Bishop Ryder, and G.F. Watts's effigy of Bishop Lonsdale (d. 1867). The Lady Chapel is full of interest, and especially noticeable is the stained glass of sixteenth century, brought from the destroyed Abbey of Herckenrode, having been[245] concealed from the destructive zeal of French revolutionists. The subjects are scenes from the life of our Lord and figures of the benefactors of the Abbey, and are the work of Lambert Lombard, the first, and by far the best, of the Italianised Flemish School of the sixteenth century. The architecture of the chapel was begun by Bishop Langton (1296-1321), and finished by Northburg; the style is Decorated. It has an octagonal apse—an unique arrangement. Beneath the windows is an arcade, resting on a stone bench, and between the windows are niches, which have recently been filled with statues of excellent execution. These are:—St. Werburgh, St. Cecilia, St. Prisca, St. Faith, St. Catherine, St. Margaret, St. Lucy, St. Agnes, St. Ethelreda. The triptych which forms the reredos was carved at Ober Ammergau. The altar rails are of alabaster. Looking back we have a good view of the Cathedral, and note the considerable inclination of the choir. On the south side are the so-called mortuary chapels, which have been restored in memory of Bishop Selwyn, and contain his effigy and some mural paintings recording scenes from the adventurous life of this great missionary-bishop, who did so much to plant the Church in Melanesia. The shrine of St. Chad formerly stood in the retro-choir behind the high altar.

The Choir Aisles match the style of the adjacent choir sections. In the north, you'll find Chantrey's monument of Bishop Ryder and G.F. Watts's statue of Bishop Lonsdale (who died in 1867). The Lady Chapel is particularly interesting, especially the sixteenth-century stained glass that was brought from the destroyed Abbey of Herckenrode, having been[245]hidden from the destructive zeal of French revolutionaries. The scenes depict events from the life of Christ as well as figures of the Abbey's benefactors and are created by Lambert Lombard, the first and certainly the best, of the Italianized Flemish School of the sixteenth century. The chapel's architecture was started by Bishop Langton (1296-1321) and completed by Northburg; it features the Decorated style. It has a unique octagonal apse. Beneath the windows is an arcade on a stone bench, and between the windows are niches filled with recently added high-quality statues. These are: St. Werburgh, St. Cecilia, St. Prisca, St. Faith, St. Catherine, St. Margaret, St. Lucy, St. Agnes, and St. Ethelreda. The triptych that serves as the reredos was carved at Ober Ammergau. The altar rails are made of alabaster. Looking back, we have a clear view of the Cathedral and notice the significant tilt of the choir. On the south side are the so-called mortuary chapels, which have been restored in memory of Bishop Selwyn, containing his statue and mural paintings depicting scenes from the adventurous life of this great missionary-bishop, who played a major role in establishing the Church in Melanesia. The shrine of St. Chad used to be located in the retro-choir behind the high altar.

In the south choir aisle is the consistory court, formerly the sacristy. The walls are the oldest part of the Cathedral, being of the same date as the Early English portion of the choir. We notice the old tile and coal pavement, and the old Jacobean choir stalls. Above is the minstrels' gallery, so-called, of Perpendicular work, opening into St. Chad's Chapel, chiefly intended for the exhibition of relics to the pilgrims in the aisle below, and amongst these those of St. Chad. This chapel, formerly used as a muniment room, has been beautifully restored by Dean Luckock, and has good lancet windows, noble reredos of alabaster, old piscina and aumbrey which probably once held the skull of St. Chad. Carved figures in bosses and corbels tell the story of the saint. The old treasury has been beautifully restored, and we see the old aumbreys which once contained such a store of treasures and relics, and some of the cannon balls which wrought such havoc during the siege. There are many interesting monuments in this aisle—notably the famous "Sleeping Children," by Chantrey (1817), daughters of Prebendary Robinson; the monuments of Archdeacon Hodson and his son of "Hodson's Horse" fame, who distinguished himself so much in the Indian Mutiny; Erasmus[246] Darwin (1802), grandfather of Charles Darwin, a writer of botanical poems; Bishop Langton (1296), much mutilated; Bishop Patteshull (1241), of Purbeck marble; Sir John Stanley (1515), a curious effigy of a knight naked to the waist as if prepared for scourging. It is supposed that he was excommunicated for some offence, and was not ashamed to have his penance recorded on his tomb. Other monuments are those of Archdeacon Moon (1876); Dean Howard (1868); Bishop Hacket, the restorer of the Cathedral after the siege; one of the semi-effigies mentioned above, and at the east end is a curious fourteenth-century mural painting.

In the south choir aisle is the consistory court, which used to be the sacristy. The walls are the oldest part of the Cathedral, dating back to the Early English period of the choir. We can see the old tile and coal flooring, along with the old Jacobean choir stalls. Above is the so-called minstrels' gallery, created in the Perpendicular style, leading into St. Chad's Chapel, mainly meant for displaying relics to the pilgrims below, including those of St. Chad. This chapel, which was once a storage room for documents, has been beautifully restored by Dean Luckock and features nice lancet windows, an impressive alabaster reredos, and an old piscina and aumbry that probably once held the skull of St. Chad. Carved figures in decorative bosses and corbels depict the story of the saint. The old treasury has been beautifully restored as well, showcasing the aumbry that once held many treasures and relics, along with some cannonballs that caused such destruction during the siege. There are many interesting monuments in this aisle—notably the famous "Sleeping Children" by Chantrey (1817), the daughters of Prebendary Robinson; the monuments of Archdeacon Hodson and his son who gained fame with "Hodson's Horse" for his bravery in the Indian Mutiny; Erasmus Darwin (1802), the grandfather of Charles Darwin, known for his botanical poems; Bishop Langton (1296), heavily damaged; Bishop Patteshull (1241), made of Purbeck marble; and Sir John Stanley (1515), a unique effigy of a knight bare to the waist as if ready for scourging. It is believed he was excommunicated for some offense and was unashamed to have his penance inscribed on his tomb. Other monuments include those of Archdeacon Moon (1876); Dean Howard (1868); Bishop Hacket, who restored the Cathedral after the siege; one of the semi-effigies mentioned above; and at the east end, a fascinating mural painting from the fourteenth century.

We now visit the Chapter-House, passing through the vestibule which is of Late Early English design. We notice the beautiful arcading in the latter; on the west side there are seats where, it is said, that the feet of beggars were washed on Maundy Thursday. The dog-tooth ornament is extensively used in the arcading. The doorway to the chapter-house is very fine and is a double one with a figure of our Lord in the tympanum. Clustered shafts are at the sides with capitals carved with foliage. The chapter-house is octagonal, having the north and south sides longer than the others. The central pillar is surrounded by banded shafts with richly-carved capitals. The windows are Early English, with two lights. An arcade of forty-nine arches with rich canopies surrounds the chamber. Traces of mural painting may be seen over the door. All the ancient glass was destroyed, and modern artists are depicting in glass the history of the see. Over the chapter-house is the Library. It contains many treasures, in spite of the Puritan destruction, the most valuable being the Gospels of St. Chad (preserved in a glass case in the retro-choir), containing the Gospels of SS. Matthew and Mark and part of St. Luke. It has 700 miniatures. Other treasures are Chaucer's Canterbury Tales, which has all except that of the Ploughman's, supposed by some to be spurious; Caxton's Life of King Arthur, the MS. Household-book of Prince Henry, eldest son of James I., and many rare Bibles. The copy of South's Sermons is interesting, as it belonged to Dr. Johnson, and contains MS. notes for his Dictionary.

We now enter the Chapter-House, walking through the vestibule designed in Late Early English style. We notice the beautiful arcading here; on the west side, there are seats where, it is said, the feet of beggars were washed on Maundy Thursday. The dog-tooth ornament is widely used in the arcading. The doorway to the chapter-house is very impressive, featuring a double door with a figure of our Lord in the tympanum. Clustered shafts frame the sides, topped with capitals carved with foliage. The chapter-house is octagonal, with the north and south sides longer than the others. The central pillar is encircled by banded shafts with richly-carved capitals. The windows are from the Early English period, each with two lights. An arcade of forty-nine arches with elaborate canopies surrounds the chamber. You can see traces of mural painting above the door. All the antique glass was destroyed, and modern artists are now illustrating the history of the see in glass. Above the chapter-house is the Library. It holds many treasures, despite the Puritan destruction, the most valuable being the Gospels of St. Chad (which are preserved in a glass case in the retro-choir), containing the Gospels of SS. Matthew and Mark along with part of St. Luke. It features 700 miniatures. Other treasures include Chaucer's Canterbury Tales, which has all except the tale of the Ploughman, believed by some to be spurious; Caxton's Life of King Arthur; the manuscript Household-book of Prince Henry, the eldest son of James I; and many rare Bibles. The copy of South's Sermons is particularly interesting, as it belonged to Dr. Johnson and contains manuscript notes for his Dictionary.

Dimensions

Size

Total length371 ft.
Length of nave140 ft.
Width of the nave and its aisles67 ft.
Width of the choir and aisles66 ft.
Width of the Lady Chapel29 ft.
Length of the transepts from north to south149 ft.
Height of the vaulting57 ft.
Height of the central spire258 ft.
Height of the two western spires198 ft.
Area27,720 sq. ft.

Principal Building Dates[247]

Principal Building Dates

  • Early English (1220-1250)—Lower part of three west bays of choir and sacristy, south transept.
  • (1250-1275)—Nave and aisles, central tower, chapter-house, north and south doorways of transepts.
  • Decorated (1275-1357)—Lady Chapel, west front, and west spires.
  • Perpendicular—South window of south transept and vault, north window of west transept, some other windows, minstrels' gallery.
  • (1661-1671)—Central tower, spire rebuilt.

CHESTER CATHEDRAL

Royal Chester is one of the most ancient and interesting cities in the kingdom. It was an important Roman station. It was called the "City of Legions," and the twentieth Legion of the Roman army was stationed here, and left behind it many traces of its occupation. Saxons and Danes also held the place. The warlike daughter of Alfred the Great, and wife of Ethelred of Mercia, drove out the Danes and rebuilt the walls, but the Welsh again gained the mastery until the first Saxon Edward reconquered it, and later Edgar subdued the Britons, and in 973 was rowed in his victorious vessel on the Dee by eight British chieftains. William the Conqueror made his nephew Earl of Chester, and for years he and his successors ruled as kings in this corner of England, until Henry III. bestowed the title on his eldest son, and since that time the earldom has always been held by the king's first-born. Edward I. often came here when he was waging war against Llewellyn and the Welsh, and worshipped in the great church. Here Henry IV. brought as a captive the luckless King Richard II. and imprisoned him in the castle. Of Royal visits old Chester had abundance. The city was famous for its "miracle plays," which were performed in the streets. Frequently the dread visitor plague made its presence felt, and grass grew in the neglected streets. Tradition states that the name "God's Providence House" was given to a house in Watergate Street, because that was the only dwelling which the plague passed over. Chester played an important part in the Civil War, and bravely resisted a siege and frequently repelled formidable attacks, and the inhabitants were reduced to great straits and much ruin wrought. The walls of the city are quite complete, and on one of the towers called the Phœnix is the inscription: "King Charles stood on this tower September 24th" (27th it should be) "1645, and saw his army defeated at Rowton Moor."

Rroyal Chester is one of the oldest and most fascinating cities in the kingdom. It was an important Roman outpost. Known as the "City of Legions," it was home to the twentieth Legion of the Roman army, which left many traces of its presence. The Saxons and Danes also occupied the area. The fierce daughter of Alfred the Great, who was married to Ethelred of Mercia, expelled the Danes and rebuilt the walls, but the Welsh regained control until the first Saxon Edward took it back, and later Edgar subdued the Britons. In 973, Edgar was rowed in his victorious ship on the Dee by eight British chieftains. William the Conqueror appointed his nephew as Earl of Chester, and for many years, he and his successors ruled as kings in this part of England, until Henry III gave the title to his eldest son, and since then, the earldom has always been held by the king's firstborn. Edward I frequently visited while waging war against Llewellyn and the Welsh, often worshipping in the grand church. It was here that Henry IV brought the unfortunate King Richard II as a captive and imprisoned him in the castle. Chester saw many royal visits. The city was well-known for its "miracle plays," performed in the streets. Often, the fearsome plague made its presence known, causing grass to grow in the abandoned streets. Tradition says that a house on Watergate Street was named "God's Providence House" because it was the only one that the plague spared. Chester played a significant role in the Civil War, bravely withstanding a siege and frequently fending off heavy attacks, though its inhabitants faced great hardship and devastation. The city’s walls are largely intact, and on one of the towers known as the Phœnix, there’s an inscription: "King Charles stood on this tower September 24th" (it should be the 27th) "1645, and saw his army defeated at Rowton Moor."

Chester retains many of its historical associations, its extensive Roman remains, its walls and ancient houses, its wonderful Rows, "like which there is nothing else in the world," the quaint street[249] names, the interesting churches, all contribute to make Chester one of the most delightful cities in England. Although the great church is ancient, the present see is not. Chester was one of the dioceses founded by Henry VIII. in return for some of the great stores of treasure which he and his courtiers filched from the church. It appears, however, that just after the Norman Conquest there were Bishops of Chester. In 1075 the Bishop of Lichfield removed the seat of the bishopric to Chester, and the Church of St. John the Baptist was his Cathedral. Then Coventry became the centre of the diocese, but the title of Bishop of Chester was frequently used, but fell into disuse in later time, until Henry VIII. constituted the new see.

Chester keeps many of its historical connections, including its extensive Roman ruins, its walls and ancient homes, its amazing Rows, "like which there is nothing else in the world," the charming street names, and the fascinating churches, all of which contribute to making Chester one of the most delightful cities in England. While the great church is old, the current see is not. Chester was one of the dioceses established by Henry VIII in exchange for some of the vast treasures he and his courtiers took from the church. However, it seems that just after the Norman Conquest, there were Bishops of Chester. In 1075, the Bishop of Lichfield moved the bishopric to Chester, and the Church of St. John the Baptist became his Cathedral. Later, Coventry became the center of the diocese, but the title of Bishop of Chester was often used, though it faded from common use until Henry VIII created the new see.

ST. OSWALD'S GATE

St. Oswald's Gate

The church has, however, a very interesting history. Possibly there may have been a Christian church here in Roman times. An old chronicler tells us of an early church dedicated to SS. Peter and Paul, and that in the time of the Saxons it was re-dedicated to St. Werburgh and St. Oswald. St. Oswald we have met before at Durham and elsewhere. St. Werburgh was the daughter of Walphur, King of Mercia, A.D. 660, who, perceiving that his daughter was much disposed to a religious life, caused her to take the veil. Her aunt, St. Ethelreda of Ely, was her spiritual mother, and when St. Werburgh died her body was conveyed to Chester, where a monastic house was built, dedicated to her. The early history of this house[250] is somewhat uncertain. Ormerod, the historian of Chester, states that it continued a nunnery until the time of the Norman Conquest, when secular canons were installed in their stead, but this change took place in the time of King Athelstan (925). Leofric, the husband of Lady Godiva, is also recorded as a great benefactor of the church and monastery. When Hugh Lupus, the nephew of the Conqueror, became Earl of Chester, in the time of William Rufus he founded a new monastery of Benedictine monks, and endowed it with rich possessions. He introduced the famous Anselm, Abbot of Bec, afterwards Archbishop of Canterbury, who made his chaplain, Richard, the first abbot. The Norman church was begun in his time, and some of the features of the Norman Abbey of Bec were introduced at Chester, especially the stone roof of the apse in the south-east of the Cathedral. Some fragments of this church remain in spite of the changes which time has wrought, notably the small arches in the east wall of north transept, and an arch in the canons' vestry, the north wall of the nave, the doorway between the east cloister and the nave, the lower part of the north-west tower and the crypt. Fire played havoc here as elsewhere, and we find Abbot Geoffrey lamenting over the intolerable ruin of his church. This was at the close of the twelfth century, and some reparation was affected, while, during the time of his successor, Hugh Grylle, prosperity dawned upon the Abbey, and the number of monks was soon after increased. Increased wealth tempted the rapacious, and the abbey had to withstand a siege. A noted abbot was Simon de Albo Monasterio, or Whitchurch, who did much for his monastery. He rebuilt the Lady Chapel, enlarged the chapter-house, and began the present choir. The refectory, with its beautiful pulpit, must have been constructed about this time, the close of the thirteenth century, when the king, Edward I., gave grants of venison from his forests for the support of the monks, "who were engaged on the work of building the church." No records tell of any work being done by succeeding abbots until the time of Simon Ripley (1472-1493); but where records are silent the stone-work tells us that in the fourteenth century some beautiful work was accomplished, notably the shrine of St. Werburgh, the sedilia and choir stalls. Simon Ripley was an energetic abbot, and rebuilt the nave, tower and south transept. This south transept was claimed as the Parish Church of the parishioners of St. Oswald, and there were much disputings, but the people had their way, and retained their rights until 1881.[251] We also find that the usual quarrels took place between the monks and citizens about the rights to hold fairs and markets. Abbot Birkenshawe continued Ripley's work, and completed the west front and part of the west tower. An unfortunate alteration was made at this time. The vault of the cloisters was raised, tradition says, by Cardinal Wolsey, and mars the beauty of the earlier work. Then came the dissolution of monasteries, and the Abbey of St. Werburgh shared the fate of the rest. The See of Chester was created in 1541, the last abbot becoming the first dean, and John Byrde the first bishop. Most of the lands and wealth of the church were seized by the king and his courtiers. But, shorn of its wealth, the Cathedral itself was at this time one of the most beautiful in England. Dire troubles were, however, in store. The waves of the Civil War beat fiercely on Royal Chester; and when, after the protracted siege, the victorious Puritan soldiers entered the city, they defaced the Cathedral choir, injured the organ, and demolished the font, broke all the painted windows, and used the church as a stable. Randle Holme, the historian of Chester, utters a sad lament over the condition of the city which he loved so well, and compares it with Jerusalem, "the beloved citie of God, with not a stone left upon another." Since then the story of the Cathedral has been one of continual reparation and restoration. The exterior of the choir was recased by Bishop Stratford (1689-1707). Bishop Law, in 1818, effected some considerable repairs, and other efforts were made, until at length Sir G. Scott was engaged in 1868, when Dean Howson ruled, and a very "thorough" restoration was made. A modern authority on Gothic architecture states that Sir G. Scott's was "a rebuilding of every external feature of this Cathedral in the style of his own Victorian Gothic." Perhaps this criticism is a little too severe. It must be remembered that the stone of Chester Cathedral was very soft and perishable, that the state of the fabric was so bad that it was almost dangerous, and that the difficulties of the architect were great. However, in spite of what has been done, there is still much to admire, and we will proceed to examine the details of this ancient church.

The church has a very interesting history. There may have been a Christian church here during Roman times. An ancient chronicler mentions an early church dedicated to Saints Peter and Paul, and during the Saxon era, it was rededicated to St. Werburgh and St. Oswald. St. Oswald has been mentioned before in Durham and other places. St. Werburgh was the daughter of Walphur, King of Mercia, around A.D. 660, who, seeing that his daughter was inclined toward a religious life, ensured she became a nun. Her aunt, St. Ethelreda of Ely, was her spiritual guide, and after St. Werburgh's death, her body was taken to Chester, where a monastery was built in her honor. The early history of this house[250] is somewhat uncertain. Ormerod, the historian of Chester, claims it remained a nunnery until the Norman Conquest, when secular canons replaced the nuns, but this change occurred during King Athelstan's reign (925). Leofric, the husband of Lady Godiva, is noted as a significant benefactor of the church and monastery. When Hugh Lupus, the Conqueror's nephew, became Earl of Chester during William Rufus's time, he founded a new monastery of Benedictine monks and endowed it with substantial assets. He brought in the famous Anselm, Abbot of Bec, who later became Archbishop of Canterbury, and appointed his chaplain Richard as the first abbot. The Norman church was started during this time, and some features from the Norman Abbey of Bec were incorporated at Chester, particularly the stone roof of the apse in the southeast of the Cathedral. Despite the changes time has brought, some remnants of this church remain, notably the small arches in the east wall of the north transept, an arch in the canons' vestry, the north wall of the nave, the doorway between the east cloister and the nave, the lower part of the northwest tower, and the crypt. Fire caused significant damage here, just as it did elsewhere, and we find Abbot Geoffrey lamenting the severe destruction of his church. This was at the end of the twelfth century, and some repairs were made, while during the tenure of his successor, Hugh Grylle, the Abbey experienced a period of prosperity, leading to an increase in the number of monks. Increased wealth attracted those with bad intentions, and the abbey faced a siege. A well-known abbot was Simon de Albo Monasterio, or Whitchurch, who did much for his monastery. He rebuilt the Lady Chapel, enlarged the chapter house, and began the current choir. The refectory, with its beautiful pulpit, was likely constructed around this time, at the end of the thirteenth century, when King Edward I provided grants of venison from his forests to support the monks engaged in building the church. Records do not indicate any work done by subsequent abbots until Simon Ripley (1472-1493); however, the stonework suggests that beautiful work was carried out in the fourteenth century, particularly the shrine of St. Werburgh, the sedilia, and the choir stalls. Simon Ripley was an active abbot who rebuilt the nave, tower, and south transept. This south transept was claimed as the Parish Church by St. Oswald's parishioners, leading to many disputes, but the people ultimately retained their rights until 1881.[251] Usual quarrels occurred between the monks and citizens over the rights to hold fairs and markets. Abbot Birkenshawe continued Ripley's work and completed the west front and part of the west tower. An unfortunate alteration happened during this time. The vault of the cloisters was raised, as tradition states, by Cardinal Wolsey, which diminished the beauty of the earlier work. Then came the dissolution of the monasteries, and the Abbey of St. Werburgh faced the same fate as others. The See of Chester was established in 1541, with the last abbot becoming the first dean, and John Byrde the first bishop. Most of the church's lands and wealth were seized by the king and his courtiers. However, even stripped of its wealth, the Cathedral itself was one of the most beautiful in England at that time. Dire troubles, however, were ahead. The Civil War's waves hit Royal Chester fiercely; when, after a prolonged siege, victorious Puritan soldiers entered the city, they vandalized the Cathedral choir, damaged the organ, destroyed the font, shattered all the painted windows, and used the church as a stable. Randle Holme, Chester’s historian, expressed deep sorrow over the condition of the city he loved, comparing it to Jerusalem, “the beloved city of God, with not a stone left upon another.” Since then, the Cathedral's story has been one of continuous repair and restoration. Bishop Stratford (1689-1707) recased the exterior of the choir. Bishop Law made significant repairs in 1818, and other efforts followed until Sir G. Scott was commissioned in 1868 during Dean Howson's administration, leading to a major restoration. A modern authority on Gothic architecture claims that Sir G. Scott's work involved “a rebuilding of every external feature of this Cathedral in his own Victorian Gothic style.” Perhaps this critique is a bit harsh. It should be noted that the stone of Chester Cathedral was very soft and perishable, that the state of the structure was so poor it was nearly dangerous, and that the architect faced many challenges. Yet, despite all the work done, there is still much to admire, and we will now proceed to examine the details of this ancient church.

The Exterior

The Outside

To examine the exterior we must avoid the narrow streets in its vicinity, and ascend the old walls of the city, from which we can obtain an excellent view. Starting at the east gate, we get a good[252] view of the south-east of the Cathedral, including the tower, the east side of the south transept, choir and Lady Chapel. We notice the colour of the stone—red sandstone. The plan of the church is cruciform. The Tower is Perpendicular in style, and was probably built by Abbot Ripley. Two windows of Perpendicular character look out from each side. It has been much restored, and was only just saved from destruction by this process. Sir G. Scott devised the turrets and pinnacles out of his inner consciousness, and also the parapet; but the effect, though differing, doubtless, from the original design, is not unpleasing. The Lady Chapel is a simple and beautiful construction of Early English design. On the south side there are three triple lancets under a pointed arch, separated by buttresses crowned with pinnacles, and a parapet above. The south aisle of the choir is Early Decorated, and there is a modern apsidal termination, with a curious steep roof, almost resembling the spire of a church, which Sir G. Scott constructed, and for which he found justification in the remains of the earlier roof. This example is unique in England, but not unusual in France. The south transept is unusually large, which is accounted for by its being the Church of St. Oswald. There are some curious modern sculptures in a corbel here, representing modern statesmen, and the features of Mr. Gladstone and Lord Beaconsfield are not difficult to discover. Passing along the wall of the city, at the east of Abbey Street we see the north-east view. Near at hand, on the right, is the refectory, and on the left the chapter-house, which is Early English. The north transept is Norman work. The north choir aisle, which extends along the side of the Lady Chapel, is, in its eastern part, Perpendicular; further west it is Early Decorated, while by the canons' vestry we see unmistakable Norman work. In this wall much of the old stone remains, as it has not suffered so much from the weather as on the south side. We see the long expanse of the nave roof, and then pass along Abbey Street, and have a fine view of this north side. Then houses interfere with the prospect. Then we see the old Abbey gateway, a fourteenth-century structure, and the new buildings of the King's School, which occupies the site of the old Palace, and soon stand opposite the West Front, which lacks the grandeur of this feature of many cathedrals. It has a large Perpendicular window of good design and rich tracery; beneath it is a Tudor doorway, and canopied niches, and on the south the base of a tower which was never completed. Passing along we have a grand view of the south side.

To look at the exterior, we should steer clear of the narrow streets nearby and climb the old city walls, which give us a great view. Starting at the east gate, we can see the southeast side of the Cathedral, including the tower, the eastern part of the south transept, choir, and Lady Chapel. We can appreciate the color of the stone—red sandstone. The church has a cruciform layout. The Tower is in the Perpendicular style and was likely built by Abbot Ripley. There are two windows in the Perpendicular style on each side. It has undergone significant restoration and was nearly lost to destruction because of this process. Sir G. Scott designed the turrets and pinnacles from his own imagination, along with the parapet; although the result may differ from the original design, it still looks good. The Lady Chapel is a simple yet beautiful structure in Early English style. On the south side, there are three sets of three lancet windows under a pointed arch, separated by buttresses topped with pinnacles, and a parapet above. The south aisle of the choir is in the Early Decorated style, and features a modern apsidal end with a notably steep roof that almost looks like a church spire, designed by Sir G. Scott, who found inspiration in remnants of the earlier roof. This type of design is unique in England but commonly found in France. The south transept is unusually large due to it being the Church of St. Oswald. There are some interesting modern sculptures in a corbel here that depict modern politicians, with the features of Mr. Gladstone and Lord Beaconsfield being easily recognizable. Walking along the city wall to the east of Abbey Street, we catch a northeast view. Close by, on the right, is the refectory, and on the left is the Early English chapter-house. The north transept features Norman work. The north choir aisle, which runs alongside the Lady Chapel, is Perpendicular in its eastern section; further west, it transitions to Early Decorated, and by the canons' vestry, we see unmistakable Norman architecture. Much of the old stone on this wall remains intact, as it hasn’t been as weathered as the south side. We can see the long stretch of the nave roof, and then we walk along Abbey Street for a great view of the north side. Then buildings obstruct our view. Next, we spot the old Abbey gateway, a fourteenth-century structure, and the new buildings of the King's School, which sit on the former site of the old Palace. Soon, we find ourselves facing the West Front, which doesn't possess the grandeur of many cathedral facades. It features a large Perpendicular window with nice design and intricate tracery beneath it, along with a Tudor doorway, canopied niches, and to the south, the base of a tower that was never completed. As we continue, we are treated to an impressive view of the south side.

Chester Cathedral

Chester Cathedral

There is a porch, with a parvise over it, of Late Perpendicular design, with Tudor doorway, and battlements and pinnacles. The vault is modern; the windows of the aisle are Decorated, and those of the clerestory Perpendicular. This concludes our survey of the exterior, and we now enter the Cathedral and examine the principal features of the interior.

There’s a porch with a small entrance above it, designed in the Late Perpendicular style, featuring a Tudor doorway along with battlements and spires. The vault is modern; the aisle windows are in the Decorated style, while the clerestory windows are Perpendicular. This wraps up our look at the exterior, and now we'll go inside the Cathedral to check out the main features of the interior.

The Interior

The Interior

Entering by the south porch or the west door, we examine first the Nave, which is small and not very striking in appearance. There are six bays, but the southern arcade is much earlier than the north. The piers consist of groups of attached shafts, with capitals of foliage. The southern arcade is Decorated, while the northern is later. The initials S.R. appear on the capital of the first northern pier. These letters stand for Simon Ripley, abbot (1485-1492). He probably built the upper part of the northern arcade, but the lower part is earlier. The clerestory was finished by Abbot Birkenshawe. The last bay eastward is more ornamented than the rest, and has cusped windows in the clerestory and tracery in the triforium opening. This is earlier, and is perhaps more ornate, because the choir included this bay. The roof is modern, and has a good specimen of fan-tracery vault. Some of the bosses are noticeable, and record the benefactors—the Prince of Wales, Duke of Westminster, and others.

Entering through the south porch or the west door, we first look at the Nave, which is small and not particularly impressive. There are six bays, but the southern arcade is much older than the northern one. The piers are made up of groups of attached shafts, with capitals decorated with foliage. The southern arcade is from the Decorated period, while the northern one is later. The initials S.R. are visible on the capital of the first northern pier. These letters represent Simon Ripley, the abbot from 1485 to 1492. He likely constructed the upper part of the northern arcade, but the lower part is older. The clerestory was completed by Abbot Birkenshawe. The last bay to the east is more decorated than the others and features cusped windows in the clerestory and tracery in the triforium opening. This section is older and perhaps more elaborate because the choir included this bay. The roof is modern, showcasing an impressive fan-tracery vault. Some of the bosses are noteworthy and commemorate the benefactors—the Prince of Wales, the Duke of Westminster, and others.

Under the south tower is the Consistory Court, which is separated from the nave by some curious Jacobean stone-work, and contains some good woodwork of the same period. The south aisle has Decorated windows; the north aisle contains some interesting remains of the old Norman church. The north wall is entirely Norman. A Norman doorway leads to the cloisters at the east end, and at the west there are some remains of the Norman tower built by the nephew of the Conqueror. This is now the baptistry, which has a curious font, presented by Earl Egerton in 1885. The dean states that "it came from a ruined church in the Romagna, but it is not known whence it was brought to Venice. It is of a rectangular form, of white marble; and in all probability it was originally a village well-head in early Roman times, and afterwards taken by the Christians and carved with symbols for a font. The work is of the Ravenna type, of the sixth or seventh century." Near here is hung an ancient piece of tapestry, which has been in[256] the Cathedral since 1668. The subject is Raphael's cartoon of Elymas the Sorcerer. The vault of this aisle is modern. The old wall is covered with rich mosaics, representing Abraham, Sarah, Moses, David, Elijah, and other Old Testament characters.

Under the south tower is the Consistory Court, which is separated from the nave by some interesting Jacobean stonework and features some nice woodwork from the same era. The south aisle has Decorated windows, while the north aisle holds some intriguing remnants of the old Norman church. The north wall is entirely Norman. A Norman doorway leads to the cloisters at the east end, and at the west, there are some remnants of the Norman tower built by the Conqueror's nephew. This section is now the baptistry, featuring a unique font that was presented by Earl Egerton in 1885. The dean mentions that "it came from a ruined church in the Romagna, but it is unclear where it was brought to Venice from. It is rectangular, made of white marble, and it was likely originally a village wellhead in early Roman times before being taken by Christians and carved with symbols for use as a font. The craftsmanship is in the Ravenna style, dating back to the sixth or seventh century." Nearby is an ancient piece of tapestry that has been in the Cathedral since 1668. The subject is Raphael's cartoon of Elymas the Sorcerer. The vault of this aisle is modern. The old wall is adorned with rich mosaics depicting Abraham, Sarah, Moses, David, Elijah, and other Old Testament figures.

The North Transept is small, and is of the same size as the original church, there being no room for expansion on this side because of the monastic buildings. The lower walls are original Norman, the upper Late Norman. A Norman arch, now blocked up, leads to the canons' vestry on the east. The arches of the triforium are very early, and are rude and massive. On the west there are three Norman windows blocked up. Perpendicular tracery has been inserted in some of the windows. That of the north window is modern. The roof is Perpendicular, and on one of the bosses are the arms of Cardinal Wolsey. A conspicuous monument here is that of Bishop Pearson (1686), the author of the famous work on the Creed. The initiation of the erection of this magnificent memorial of one of the greatest of English divines was due to an American bishop, Dr. Whittingham of Maryland. The organ-loft is very rich, and the instrument itself is a very noble one, and replete with every modern contrivance. Crossing to the South Transept, which until 1881 was the Parish Church of St. Oswald, we notice its great size when compared with that on the north. It was undergoing restoration when we last visited the Cathedral. It has Decorated windows, and Perpendicular in the west aisle. The monuments in the naves and transepts do not possess many features of interest, and may be passed over.

The North Transept is small and matches the original church in size, with no space for expansion on this side due to the monastic buildings. The lower walls are original Norman, while the upper parts are Late Norman. A Norman arch, now bricked up, leads to the canons' vestry on the east. The triforium arches are very early, being rough and massive. On the west side, there are three Norman windows that have been blocked. Some windows have been fitted with Perpendicular tracery, while the north window is modern. The roof is Perpendicular, and one of the bosses features the arms of Cardinal Wolsey. A notable monument here is that of Bishop Pearson (1686), the author of the well-known work on the Creed. The initiative to create this magnificent memorial for one of the greatest English divines came from an American bishop, Dr. Whittingham of Maryland. The organ loft is quite elaborate, and the instrument itself is impressive and equipped with all the latest technology. Crossing to the South Transept, which served as the Parish Church of St. Oswald until 1881, we notice its larger size compared to the north. It was under restoration during our last visit to the Cathedral. It features Decorated windows, with Perpendicular designs in the west aisle. The monuments in the naves and transepts are not particularly noteworthy and can be overlooked.

THE CHOIR

THE CHOIR

We now enter the Choir, and can admire the modern screen, designed by Sir G. Scott, and beautifully executed. The choir is remarkable for the great beauty of the woodwork which it contains, as well as for its architectural merits. The style is that of the transition between the Early English and Decorated. The north side differs from the south, especially in regard to the mouldings. The north side is earlier than the south, the building having been commenced at the east end of that side. The mouldings on the north are bold rounds, while those on the south are shallow and small hollows. The triforium has a series of elaborately-carved cusped arches, and the clerestory windows are light and graceful, with geometrical tracery. The vault is modern, constructed of good English oak. At the east there are figures of the sixteen prophets, and at the west are angels playing musical instruments. There are some curious grotesque corbels, from which the vaulting shafts spring. The carving of the Choir Stalls is equal, if not[259] superior, to anything in England. These are fourteenth-century work, and rival the noble stalls of Amiens. They have been restored with much accuracy and taste. The carving of the dean's stall should be noticed, as it represents the Jesse tree, surmounted by the Coronation of the Virgin. That representing Jacob's dream is modern. The Misereres are extremely interesting and curious, and full of religious instruction, though often conveyed in the way of sarcastic reproof. There are forty-eight, of which three are modern. Some of the most curious are: a pelican feeding her young; St. Werburgh and the stolen goose; a wife beating her husband; the strategy of the fox; stag hunt; Richard I. pulling out the heart of a lion; a fox in the garb of a monk presenting a gift to a nun; various wild men; wrestlers; unicorn resting its head on a virgin's knee, and numerous grotesques. The Throne is a handsome modern work, and also the Pulpit, presented by the Freemasons of Cheshire, who restored also the ancient sedilia, which, tradition states, came from the old Church of St. John without the city walls. The altar is made of wood grown in Palestine. The oak of Bashan, olive wood from the Mount of Olives, and the cedar of Lebanon, are all used, and the carvings represent palm, vine, wheat, olive, thorn, bulrush, hyssop, myrrh and flax, all of which are included in the flora of Palestine. The reredos is a mosaic of the Last Supper. The magnificent candelabra of Italian cinque cento work are the gift of the late Duke of Westminster. Over the altar is an arch, through which the window of the Early English Lady Chapel can be seen, and above is a window with Decorated tracery.

We now enter the Choir and can admire the modern screen, designed by Sir G. Scott, which is beautifully made. The choir is notable for the stunning woodwork it features, as well as for its architectural significance. The style reflects the transition between Early English and Decorated. The north side differs from the south, especially concerning the mouldings. The north side is older than the south, as construction began at the east end of that side. The mouldings on the north are bold and rounded, while those on the south are shallow and small hollows. The triforium has a series of elaborately carved cusped arches, and the clerestory windows are light and graceful, with geometric patterns. The vault is modern, made of good English oak. At the east, there are figures of the sixteen prophets, and at the west, angels playing musical instruments. There are some interesting grotesque corbels from which the vaulting shafts spring. The carving of the Choir Stalls is equal, if not superior, to anything in England. These are fourteenth-century works that rival the beautiful stalls of Amiens. They have been carefully and tastefully restored. The carving of the dean's stall is notable because it represents the Jesse tree, topped by the Coronation of the Virgin. The one depicting Jacob's dream is modern. The Misereres are incredibly interesting and unique, filled with religious messages, though often presented with a sarcastic twist. There are forty-eight in total, of which three are modern. Some of the most interesting include: a pelican feeding her young; St. Werburgh and the stolen goose; a wife beating her husband; the cunning of the fox; a stag hunt; Richard I pulling out the heart of a lion; a fox dressed as a monk presenting a gift to a nun; various wild men; wrestlers; a unicorn resting its head on a virgin's knee, and many grotesques. The Throne is a beautiful modern creation, as is the Pulpit, presented by the Freemasons of Cheshire, who also restored the ancient sedilia, which tradition says came from the old Church of St. John outside the city walls. The altar is made of wood sourced from Palestine. It features oak from Bashan, olive wood from the Mount of Olives, and cedar from Lebanon, with carvings representing palm, vine, wheat, olive, thorn, bulrush, hyssop, myrrh, and flax, all of which are found in the flora of Palestine. The reredos is a mosaic of the Last Supper. The magnificent candelabra of Italian cinque cento design are a gift from the late Duke of Westminster. Above the altar is an arch through which the window of the Early English Lady Chapel can be seen, and above that, a window with Decorated tracery.

The North Aisle of the choir is interesting. Traces of Norman work are seen in the base of a massive round pillar at the west entrance, in the inverted capital of a Norman pier, with an Early Decorated pier constructed on it, and the Norman apse is marked on the pavement by a line of dark marble. The canons' vestry is architecturally a very important building, as it contains work of the eleventh, twelfth, thirteenth and fourteenth centuries. The arch in east wall of the transept is Early Norman; the Norman apsidal termination can be traced. It was rebuilt in the Early English period, and made to terminate in a square form, and the doorway from the north aisle is fourteenth-century work. There is an old chest or reliquary here with very good iron-work and lock of the thirteenth century. Re-entering the aisle we can trace the abandonment of[260] the apse and the extension eastward in the Early English period, as shown in the character of the vaulting and in the piscina, which belongs to this period. In Perpendicular times a further extension took place, in order to gain an entrance to the Lady Chapel. The gates of both aisles are old Spanish work of 1558, presented by the late Duke of Westminster.

The North Aisle of the choir is fascinating. You can see signs of Norman work in the thick round pillar at the west entrance, in the upside-down capital of a Norman pier that has an Early Decorated pier built on it, and the Norman apse is outlined on the floor by a line of dark marble. The canons' vestry is an architecturally significant building, containing work from the eleventh to the fourteenth centuries. The arch in the east wall of the transept is Early Norman, and you can trace the Norman apsidal end. It was rebuilt during the Early English period and changed to end in a square shape, while the doorway from the north aisle is from the fourteenth century. There’s an old chest or reliquary here featuring excellent ironwork and a lock from the thirteenth century. When we go back into the aisle, we can see the abandonment of the apse and the eastward extension from the Early English period, as indicated by the style of the vaulting and the piscina, which belongs to this period. During the Perpendicular period, there was another extension made to provide an entrance to the Lady Chapel. The gates of both aisles are old Spanish work from 1558, donated by the late Duke of Westminster.

The South Aisle has passed through somewhat similar vicissitudes, but "restoration" has removed some of their traces, and it is now terminated by the apse, the erection of which we recorded when examining the exterior, and which is conjectured to be an exact reproduction of the appearance of this end of the Cathedral in the time of Edward I. The apse has been fitted up as a memorial to Thomas Brassey, the great contractor.

The South Aisle has gone through some similar changes, but "restoration" has erased some of the evidence of this, and it now ends with the apse, which we noted when looking at the outside. It's believed to be an exact replica of what this part of the Cathedral looked like during the time of Edward I. The apse has been set up as a memorial for Thomas Brassey, the famous contractor.

The Lady Chapel is of Early English design, and was built about 1266, previous to the present choir. Many alterations were made subsequently, including the removal of the ancient steep and lofty roof and the substitution of a flat roof, and the insertion of Perpendicular windows. Most of these additions have been removed and the Early English character restored. The east window of five lights was designed by Scott, and the original form of the roof has been restored. The vault, which is original Early English, has a boss representing the murder of Thomas à Becket. The mosaics were designed by Sir A. Blomfield. Here the consistory court was held at the time of the Reformation, and George Marsh, the Chester martyr, was condemned to be burnt.

The Lady Chapel is designed in the Early English style and was built around 1266, before the current choir. Many changes were made later, including taking down the old steep and high roof and replacing it with a flat roof, as well as adding Perpendicular windows. Most of these additions have been removed, and the Early English style has been restored. The east window with five lights was designed by Scott, and the original roof shape has been restored. The vault, which is original Early English, features a boss that depicts the murder of Thomas à Becket. The mosaics were designed by Sir A. Blomfield. This is where the consistory court was held during the Reformation, and George Marsh, the martyr from Chester, was condemned to be burned.

The Monuments in the choir and Lady Chapel are to the memory of Dean Howson, Bishop Graham (1865), Dean Arderne, an altar tomb to an unknown person, and the famous shrine of St. Werburgh, of fourteenth-century work, which is of exquisite design and construction. It was richly ornamented by figures. There was a great resort of pilgrims to this shrine in mediæval times. The pavement of the choir is worthy of attention. It is modern; around the lectern are the heads of the twelve Apostles, and of the four doctors of the Church—SS. Ambrose, Augustine, Athanasius and Chrysostom. On the east end are representations of the Passover, and some fragments of tesselated pavement are inserted here which came from the Temple at Jerusalem. The stained glass is all modern. The Cathedral has a rare treasure of the seventeenth century, a carved narwhal tusk, beautifully carved by a Flemish artist. It is thus described by the dean: "The leading subject is the Incarnation of our Lord Jesus Christ, passing[261] on to the exaltation of the Cross.... A Jesse tree occupies about 3 feet, and above is seated the Blessed Virgin with the Holy Child. Higher up is the Cross with the figure of our Saviour, whose countenance is full of compassion.... St. Michael thrusting down Lucifer with a cross; the figures of SS. Peter and Paul and the four Evangelists; St. Anthony of Padua and another monk holding up a cross, and figures of angels, each holding in uplifted hands a cross."

The Monuments in the choir and Lady Chapel honor the memories of Dean Howson, Bishop Graham (1865), Dean Arderne, an altar tomb for an unknown person, and the famous shrine of St. Werburgh, which dates back to the fourteenth century and features exquisite design and craftsmanship. It was richly decorated with figures. In medieval times, this shrine attracted many pilgrims. The choir pavement is worth noting. It’s modern; around the lectern are the heads of the twelve Apostles and the four Doctors of the Church—SS. Ambrose, Augustine, Athanasius, and Chrysostom. At the east end are depictions of the Passover, and some fragments of tessellated pavement from the Temple in Jerusalem are embedded here. The stained glass is all modern. The Cathedral houses a rare treasure from the seventeenth century, a beautifully carved narwhal tusk by a Flemish artist. The dean describes it this way: "The main theme is the Incarnation of our Lord Jesus Christ, leading to the exaltation of the Cross.... A Jesse tree takes up about 3 feet, with the Blessed Virgin and the Holy Child seated above it. Higher up, there’s the Cross with the figure of our Savior, whose face radiates compassion.... St. Michael driving down Lucifer with a cross; the figures of SS. Peter and Paul and the four Evangelists; St. Anthony of Padua and another monk holding up a cross, and angels, each raising a cross in their hands."

SHRINE OF ST. WERBURGH

Shrine of St. Werburgh

We will now proceed to the Monastic Buildings, which are of great importance. They are situated on the north side of the Cathedral, and are approached through a Norman doorway in the north aisle. Turning to the left we see some good Norman arcading. The tombstones of some of the earlier abbots are seen here. The south walk is entirely new, having been restored by Scott. The west walk adjoins a fine Early Norman chamber, probably the great cellar of the abbot's house. The cloisters are Perpendicular work. In the south and west walks there is a double arcade on the cloister-garth side, which contained the Carrels or enclosed studies of wainscot, where the monks read or wrote, and on the opposite side are recesses which are not tombs, but Armaria or cupboards, where their books and materials for illuminations were stored. In the Perpendicular period the roof of the cloisters was raised, which was not an advantage, as it caused the aisle windows and those of the refectory to be partly blocked up, and the vaulting cuts into the earlier work. The Lavatorium is near the entrance to[262] the Refectory, an Early English building with Perpendicular windows. It is a noble structure, shorn of some of its length, and now used as a music room. The stone pulpit is remarkably fine, of Early English design, which rivals the famous pulpit of Beaulieu Abbey. In the east walk we see the doorway leading to the Vestibule of the chapter-house. It consists of a cusped arch, and three small windows are above it; on the centre one the dog-tooth ornament is used. Both the vestibule and the chapter-house are fine examples of Early English. In the former light, graceful piers support the vaulting without capitals, the mouldings being continued along the piers and vaulting in a very beautiful manner. The Chapter-House is a noble chamber. Its shape is oblong, and it was built about 1240. There is a fine east window of five lights; and windows of three lights are on the north and south sides, and have detached shafts. The glass is modern, and represents the chief persons associated with the history of the Cathedral. Here is stored the library, which is not rich in treasures of bibliography. There is a fair collection of the Fathers and liturgical works, a book which belonged to Bishop Pearson and Higden's Polyolbion.

We will now move on to the Monastic Buildings, which are very important. They are located on the north side of the Cathedral and accessed through a Norman doorway in the north aisle. Turning left, we can see some impressive Norman arcading. The tombstones of some of the earlier abbots are present here. The south walk is completely new, having been restored by Scott. The west walk connects to a fine Early Norman chamber, likely the main cellar of the abbot's house. The cloisters are built in the Perpendicular style. In the south and west walks, there is a double arcade on the cloister-garth side, which contained the Carrels or enclosed study spaces made of wood, where the monks read or wrote. On the opposite side, there are recesses that are not tombs but Armaria or cupboards, where they stored their books and materials for illuminations. During the Perpendicular period, the roof of the cloisters was raised, which turned out to be a disadvantage because it caused the aisle windows and those in the refectory to be partially blocked, and the vaulting interferes with the earlier work. The Lavatorium is near the entrance to the Refectory, an Early English building with Perpendicular windows. It is a grand structure, reduced in length, and now serves as a music room. The stone pulpit is particularly impressive, featuring Early English design that rivals the famous pulpit at Beaulieu Abbey. In the east walk, we see the doorway leading to the Vestibule of the chapter-house. It has a cusped arch, with three small windows above it; the central one features dog-tooth ornamentation. Both the vestibule and the chapter-house are excellent examples of Early English architecture. In the vestibule, light, elegant piers support the vaulting without capitals, and the moldings continue along the piers and vaulting in a very beautiful way. The Chapter-House is an impressive room. Its shape is oblong and it was built around 1240. There is a stunning east window with five lights, and there are windows with three lights on the north and south sides that have detached shafts. The glass is modern and depicts the key figures associated with the history of the Cathedral. This space houses the library, which isn't particularly rich in bibliographic treasures, but there is a decent collection of works by the Church Fathers and liturgical texts, including a book that belonged to Bishop Pearson and Higden's Polyolbion.

Dimensions

Dimensions

Length, 355 ft.; length of nave, 145 ft.; width of nave, 75 ft.; height, 78 ft.; height of tower, 127 ft.

Length: 355 ft.; length of the nave: 145 ft.; width of the nave: 75 ft.; height: 78 ft.; height of the tower: 127 ft.

Principal Building Dates

Main Building Dates

Norman (1093-1140)—north wall of north aisle and doorways, part of north-west tower, north transept, part of canons' vestry, cellar in monastic buildings; Early English (1266-1300)—Lady Chapel, choir, part of north choir aisle, chapter-house, refectory; Decorated (1300-1400)—Abbey Gate, south and lower part of north nave, windows of south aisle, part of south transept; Perpendicular (1472-1500)—tower, upper part of north of nave, east of north choir aisle, west front, south porch, part of south transept and some windows; Choir recased (1689-1707).

Norman (1093-1140)—north wall of the north aisle and doorways, part of the northwest tower, north transept, part of the canons' vestry, cellar in monastic buildings; Early English (1266-1300)—Lady Chapel, choir, part of the north choir aisle, chapter house, refectory; Decorated (1300-1400)—Abbey Gate, south and lower part of the north nave, windows of the south aisle, part of the south transept; Perpendicular (1472-1500)—tower, upper part of the north nave, east of the north choir aisle, west front, south porch, part of the south transept, and some windows; Choir recased (1689-1707).


St. John's Church is well worthy of a visit. It has an important history, and was once the Cathedral of the first Norman bishop. It is mainly of Norman construction. The massive piers are very early (1067-1105), the triforium and clerestory are Transitional. A good history of the church has been written by the Rev. Cooper Scott.

St. John's Church is definitely worth a visit. It has a significant history and was once the Cathedral of the first Norman bishop. The building is primarily of Norman design. The large pillars date back to the early period (1067-1105), while the triforium and clerestory are from the Transitional style. Rev. Cooper Scott has written a great history of the church.


LIVERPOOL CATHEDRAL

Liverpool is a very modern see, the bishopric having been formed in 1880. It has at length been possible to take steps to found a Cathedral, and many architectural problems have to be solved by the citizens with regard to the site and the style of the new church. We trust that these will be solved satisfactorily, and that the Cathedral of Liverpool will be made worthy of the city. If wealth can accomplish this great achievement, there should be no difficulty in this place. The Church of St. Peter is at present used as the Cathedral, but it has no feature of either architectural or historical interest.

LLiverpool is a very modern city, as the bishopric was established in 1880. Finally, steps have been taken to build a Cathedral, and the citizens face many architectural challenges regarding the location and design of the new church. We hope these will be resolved successfully, and that the Cathedral of Liverpool will be worthy of the city. If financial resources can achieve this significant goal, there should be no issue here. The Church of St. Peter is currently serving as the Cathedral, but it lacks any notable architectural or historical features.


MANCHESTER CATHEDRAL

Other objects of interest rather than those of history or architecture usually attract the stranger to Manchester. The great centre of modern industry, the city that brings the sea to its walls, that finds employment for tens of thousands, where the pulse of life beats fast—that is the Manchester we all know. But there is another Manchester of quiet and sedate ways, which is not devoid of history, which we will endeavour to read amidst the din and turmoil of this hive of industry. It is difficult to imagine that the parish "was originally a wild, unfrequented tract of woodland, inhabited merely by the boar, the bull, and the wolf, and traversed only by the hunters of the neighbouring country." Under Agricola, Manchester became a Roman station. Camden tells of Roman inscriptions, and many other Roman remains have been found. Edwin of Northumbria came here, and Paulinus brought Christianity and thousands were baptised by him. Two Saxon churches were built, St. Michael's and St. Mary's. Ina and his queen, Ethelburga, sojourned here. The Danes ravaged it, and Edward the Elder re-edified the town in 924. We find that Canute came here, and the historian of the town derives Knot, or Knut, Mill from his name. The Conqueror gave the manor to Roger de Poictiers, but it appears to have been regranted to the Greslie family. It is unnecessary to follow the history of the manor and barony. In 1235 Manchester is said to have had a Deanery, and Peter de Greleigh (Greslie) held the Rectory in 1261. Hugh de Manchester, a favourite of Edward I., went on an embassage to Philip of France to recover certain lands for his king. Other distinguished rectors were William de Marchia (1284), afterwards Bishop of Bath and Wells, and William de Langton, afterwards Bishop of Lichfield, the builder of the beautiful Lady Chapel of that Cathedral; Otto de Grandisson, Geoffrey de Stoke, afterwards Dean of St. Paul's, London. In 1373 Thomas de la Warre was presented to the living, and he obtained Royal licence in 1422 to found a collegiate church,[265] consisting of one warden, eight fellows, four clerks and six choristers. The parishioners cheerfully agreed to build the new church. John Huntingdon, the first warden, built the choir, and several leading families, the Radcliffes, Stanleys, Traffords, Byrons and Strangeways erected chantries. The college was founded at the same time as the residence of the warden and fellows. The right of sanctuary was granted to the collegiate church, the sanctuary men bearing a cross on their hand. The college has a chequered career. In the reign of Edward VI. it was dissolved and its possessions seized. Under Mary it was re-established, together with the chantries in the church. In the time of Elizabeth the college had prolonged disputes with the town, the clergy were beaten by the populace, and one of them stabbed, and the plate and ornaments stolen. In 1578 the charter was renewed. A famous warden was Dr. Dee, who is well known as a dealer in magical arts, and his successor, Murray, was not a very learned divine; when preaching before James I. from the text, "I am not ashamed of the Gospel of Christ," the monarch said the Gospel of Christ might well be ashamed of him. In 1617 a gallery was erected in the church, which was much dilapidated and the income impoverished. In the time of the Civil War, Richard Heyrick was warden and sided with the Parliament, the Independents setting up a meeting-house at the college. Manchester underwent a siege during the war, and in 1649 the chapter-house and chest were broken into by soldiers and the deeds carried off to London, where it is thought that they perished in the great fire. The college was dissolved. Heyrick was a veritable "Vicar of Bray," and embraced all the opinions in turn of all the parties in that troublous period. The collegiate buildings were in much decay during the Commonwealth period, when Humphrey Chetham, one of the worthiest of benefactors, conceived the idea of converting them into a school and library, and left a large sum of money for this purpose. Chetham's Hospital is quite the most interesting building in the city, which has retained few of its ancient edifices. Lancashire folk were very faithful to the House of Stuart, and in both the rebellions of 1715 and 1745 Manchester took part. The young Pretender was proclaimed here King James III., and the "Manchester Regiment" was formed to fight in the prince's cause, and subsequently many lost their heads, some being stuck upon the Exchange. The Diocese of Manchester was formed in 1847, and has only had[266] three bishops—James Prince Lee, Fraser, and the present Bishop Moorhouse, formerly Bishop of Melbourne.

Other objects of interest beyond just history or architecture typically catch the attention of visitors to Manchester. The vibrant hub of modern industry, the city that connects to the sea, providing jobs for tens of thousands, where life moves at a fast pace—that's the Manchester we all recognize. However, there's another side to Manchester that is calm and more reserved, one that isn't without its history, which we will try to uncover amidst the noise and chaos of this industrious city. It’s hard to picture that the area "was once a wild, unvisited stretch of woods, inhabited only by wild boars, bulls, and wolves, and crossed only by hunters from nearby territories." Under Agricola, Manchester became a Roman outpost. Camden mentions Roman inscriptions, and many other Roman artifacts have been discovered. Edwin of Northumbria visited here, and Paulinus brought Christianity, baptizing thousands. Two Saxon churches were established, St. Michael's and St. Mary's. Ina and his queen, Ethelburga, stayed here. The Danes invaded, and Edward the Elder rebuilt the town in 924. We learn that Canute was here, and the town historian traces the name Knot, or Knut, Mill back to him. The Conqueror granted the manor to Roger de Poictiers, but it seems to have been given back to the Greslie family. There's no need to delve deeply into the history of the manor and barony. By 1235, Manchester reportedly had a Deanery, and Peter de Greleigh (Greslie) held the Rectory in 1261. Hugh de Manchester, a favorite of Edward I, went on a mission to Philip of France to reclaim certain lands for his king. Other notable rectors included William de Marchia (1284), who later became Bishop of Bath and Wells, and William de Langton, who became Bishop of Lichfield and built the lovely Lady Chapel of that Cathedral; also Otto de Grandisson, and Geoffrey de Stoke, who later served as Dean of St. Paul's in London. In 1373, Thomas de la Warre was appointed to the position, and in 1422 he received royal permission to establish a collegiate church,[265] which would include one warden, eight fellows, four clerks, and six choristers. The parishioners willingly agreed to build the new church. John Huntingdon, the first warden, constructed the choir, while several prominent families—the Radcliffes, Stanleys, Traffords, Byrons, and Strangeways—established chantries. The college was founded alongside a residence for the warden and fellows. The right of sanctuary was granted to the collegiate church, with those seeking sanctuary marked by a cross on their hands. The college experienced a tumultuous journey. During the reign of Edward VI, it was dissolved and its assets seized. Under Mary, it was revived along with the chantries in the church. During Elizabeth's reign, the college had ongoing disputes with the town; the clergy were assaulted by the public, and one was stabbed while their valuables were stolen. In 1578, the charter was renewed. A notable warden was Dr. Dee, famed for his interest in magical arts, while his successor, Murray, wasn't regarded as a learned preacher; when he preached before James I with the text, "I am not ashamed of the Gospel of Christ," the king remarked that the Gospel of Christ might well be ashamed of him. In 1617, a gallery was built in the church, which had fallen into disrepair and faced financial difficulties. During the Civil War, Richard Heyrick was warden and aligned with Parliament, while Independents set up a meeting house at the college. Manchester was under siege during the conflict, and in 1649, soldiers broke into the chapter house and stole the deeds, which are believed to have been lost in the Great Fire of London. The college was dissolved. Heyrick was akin to a "Vicar of Bray," frequently adjusting his beliefs to match various parties during those tumultuous times. The collegiate buildings fell into severe disrepair during the Commonwealth, when Humphrey Chetham, a noble benefactor, envisioned turning them into a school and library, leaving a significant amount of money for that purpose. Chetham's Hospital is the most captivating building in the city, which has retained few of its ancient structures. The people of Lancashire remained loyal to the House of Stuart, participating in both the 1715 and 1745 rebellions. The young Pretender was declared King James III here, and the "Manchester Regiment" was formed to support his cause, resulting in many executions, with some heads displayed on the Exchange. The Diocese of Manchester was established in 1847 and has only had[266] three bishops—James Prince Lee, Fraser, and the current Bishop Moorhouse, who previously served as Bishop of Melbourne.

The Exterior

The Outside

Manchester smoke soon causes stone-work to assume a venerable appearance, and although much of the Cathedral is new, its first appearance is one of an ancient edifice. Manchester is a modern see, founded in 1847, but its church, as we have seen, dates back to a very respectable antiquity and has many features of special interest. It stands out well amidst the surrounding mass of modern buildings, of shops and railway stations, and seems to raise the thoughts of all who behold its beauties above the buying and selling in this busy mart of human enterprise.

Manchester's smoke quickly makes its stonework look old, and even though much of the Cathedral is new, it initially appears as an ancient structure. Manchester is a modern diocese, established in 1847, but its church, as we have noted, goes back to quite an impressive age and has many particularly interesting features. It stands out nicely among the surrounding modern buildings, shops, and train stations, and it seems to lift the thoughts of everyone who sees its beauty above the hustle and bustle of this busy center of commerce.

The present generation of merchants of Manchester and the Cathedral authorities have done much for their Cathedral, and striven to make it worthy of its name and position as the Mother Church of the diocese, and all the resources of modern art have been lavished on the building. We shall see this better in the interior. The exterior also shows that very much has been done in building and decoration. There is first the new West Porch, which has just been finished with a statue of Queen Victoria in the niche over the doorway. Just as the burghers of the Middle Ages loved to enrich their churches with the triumphs of architectural art, so do the modern merchants of Manchester strive to adorn their Cathedral with elaborate handiwork. This new piece of work is richly carved. The style follows that of the Cathedral and is mainly Perpendicular. There is rich panel work, an open-work battlemented parapet, and a richly-crocketed pinnacle crowns a turret on the south side. The door itself is a very handsome piece of work. On each side of the main porch there are rooms. The Tower stands at the west end above the porch. There is a good west window in the lowest stage with an ogee label richly crocketed. Above is the clock. In former days this clock was not noted for keeping correct time. An old gentleman was observed each morning setting his watch by it. "Excuse me," said a bystander, "that clock is five minutes late." "Sir," he replied, "I have set my watch by that clock for forty years, and right or wrong, I shall go by it for the rest of my life." At each corner of the tower there are three pinnacles. The windows of the church, we observe, as we pass to the south, are all Perpen[267]dicular, but there is a pleasing variety in the tracery. The South Porch has a parvise, and was built by Mr. James Jardine, a distinguished citizen of Manchester, in 1891. On this side there are several chapels—the Brown Chapel, St. George's, St. Nicholas or Trafford Chapel, Jesus Chapel, the chapter-house with its pyramidal roof, the Fraser Chapel, a new building erected in memory of Bishop Fraser. The battlemented parapet on this side of the church is modern. On the east side is a tiny Lady Chapel with a Decorated east window, which has been reproduced from the earlier design. Proceeding onwards we notice the Ely Chapel, the Derby or John the Baptist's Chapel, the St. James's Chapel, and that dedicated to the Holy Trinity. The North Porch is similar in character to that on the south, and was erected in memory of James Craven in 1888.

The current merchants of Manchester and the Cathedral authorities have done a lot for their Cathedral and worked hard to make it deserving of its title as the Mother Church of the diocese. They have invested all the resources of modern art into the building. We'll see this better inside. The exterior also reflects significant efforts in construction and decoration. There's the new West Porch, which has just been completed, featuring a statue of Queen Victoria in the niche above the doorway. Just as the merchants of the Middle Ages cherished enriching their churches with architectural wonders, so do today's merchants of Manchester aim to beautify their Cathedral with intricate craftsmanship. This new work is beautifully carved, following the Cathedral's style, predominantly Perpendicular. There are detailed panel work, an open-work battlemented parapet, and a richly-crocketed pinnacle that tops a turret on the south side. The door itself is an impressive piece. There are rooms on each side of the main porch. The Tower rises at the west end above the porch, featuring a good west window in the lowest section with an ogee label that’s richly crocketed. Above that is the clock, which in the past wasn't exactly known for keeping accurate time. An elderly gentleman was seen each morning setting his watch by it. "Excuse me," said a bystander, "that clock is five minutes slow." "Sir," he replied, "I've set my watch by that clock for forty years, and right or wrong, I will rely on it for the rest of my life." There are three pinnacles at each corner of the tower. As we move to the south, we notice that the church windows are all Perpendicular, but there's a nice variety in the tracery. The South Porch includes a parvise and was built by Mr. James Jardine, a prominent citizen of Manchester, in 1891. On this side, several chapels can be found—the Brown Chapel, St. George's, St. Nicholas or Trafford Chapel, Jesus Chapel, the chapter-house with its pyramidal roof, and the Fraser Chapel, a new building erected in memory of Bishop Fraser. The battlemented parapet on this side of the church is modern. On the east side, there’s a small Lady Chapel with a Decorated east window, which has been recreated from the earlier design. Moving along, we also see the Ely Chapel, the Derby or John the Baptist’s Chapel, St. James's Chapel, and the one dedicated to the Holy Trinity. The North Porch is similar in style to the one on the south and was built in memory of James Craven in 1888.

The Interior

The Interior

The interior of the Cathedral is full of interest. We enter by the south porch, and we are at once struck by the extraordinary width of the church. On each side of the nave there are two aisles. The outer aisles both on the north and south sides were formerly separated from the rest of the church by screens, and were occupied by chapels or chantries. By a somewhat drastic restoration at the beginning of the nineteenth century these screens were removed, and the outer aisles thrown open. This procedure rendered the church more useful for congregational purposes, though we may regret the disappearance of the historic chapels, a few piscinæ being the only remains. We will commence our pilgrimage at the west end, and from this point view the length of the church, which is shrouded in "a divine religious light," perhaps a little too dim. Most of the windows are filled with modern glass which is generally of beautiful design; but modern glass lacks that transparency which ancient glass has. The sunlight streams through the old glass, and it is quite possible, as at Fairford, to read the smallest print; while modern glass effectually shuts out the light, and at the best too much sunlight is not usually observable in this region of smoky chimneys and polluted atmosphere. The piers of the nave are modern imitations of the original Perpendicular ones, and are lofty and graceful. There is no triforium, and the clerestory is somewhat contracted. The windows have five lights of Perpendicular tracery, and most of them are filled with modern glass. The roof is ancient, but has been[268] much restored. In the distance we see the handsome choir-screen with the organ over it. The spandrels of the chancel arch are richly carved with shields in quatrefoils, and above is the Tudor rose. Shields adorn the spandrels of the main arches. Above us is the ceiling of the tower, which is a good example of fan-tracery. The modern baptistry is on our right. Passing the south porch, erected in memory of Mr. James Jardine, we see the extreme south aisle, formerly consisting of chantries separated from the rest of the church by screens. In a recess east of the porch was the Brown Chapel, and north of this St. George's Chantry (to which saint, together with St. Mary and St. Denis, the church was formerly dedicated) founded by W. Galley in 1508. At the dissolution of the collegiate institution John Barlow and Edward Smyth, priests of this chantry, received pensions of £6 and £4, 12s. 6d. respectively. Then comes the Trafford or St. Nicholas Chantry, the priest of which received a pension of £5. The Traffords of Trafford are an ancient Lancastrian family who have held the manor, near Manchester, since the Conquest, and the name of Edmund Trafford appears upon the list of parishioners given in the licence to erect the collegiate church. A piscina shows the position of the altar of this chantry. Next follows the Jesus Chapel which has a fine sixteenth-century screen. It was founded by Richard Bexwick in 1506, being granted to him "to enjoy its privileges by James Stanley, warden, and the fellows." His daughter Isabel gave it to Francis Pendleton and Cicely his wife, daughter of Isabel. In 1652 it was in a ruinous condition. It is now used as the library and vestry. From this chapel another chapel founded by Ralph Hulme in 1507 opened, but it has been destroyed. One of this family of Hulme founded in 1691 the Hulmeian scholarships at Oxford. Next we see the entrance to the chapter-house built by James Stanley (1485-1509), which is good Perpendicular work. Under the arch, which has panelled work in the soffit, there are two doors having four-centred arches, and above panelling. The Fraser Chapel, erected in memory of Bishop Fraser of Manchester (1870-1885), "a man of singular gifts both of nature and the spirit," who won all hearts and whose memory will ever be venerated in the Manchester Diocese, stands on the south at the extreme east end of this aisle. It contains an admirable effigy of the bishop, who was buried in the little Parish Church of Ufton Nervet, Berks, where he passed the early years of his clerical life, and for which he had tender memories. This was a college living to which he was presented[269] by Oriel College. Turning to the north we enter the retro-choir and the Lady Chapel, originally founded by George West, youngest brother of Lord Delaware, who was warden of the college in 1518-1535. The last historian of the Cathedral, Mr. Perkins, considers that West reconstructed a more ancient building, and that the style of the windows inserted in the eighteenth century in imitation of earlier ones point to an earlier date than 1518. This chapel was once known as the Byron Chapel, and then the Chetham Chapel, as it contains several memorials of that family. There is a modern statue of Humphrey Chetham, the founder of Chetham's Hospital (which we shall presently visit), who was born in 1580, and by trade "acquired opulence, while his strict integrity, his piety, his works of charity and benevolence secured him the respect and esteem of those around him."[15] He founded the school, and clothed, fed and instructed twenty-two boys, and, though never married, thus became a father of the fatherless and destitute. At the base of his statue is seated a figure of one of these youths. Near this statue is the tomb of Hugh Birley, a member of a distinguished Manchester family and a representative of the city in Parliament. An ancient organ, more than two centuries old, also is in this aisle. On the north is the St. John the Baptist or Derby Chapel, formerly called the Stanley Chapel, separated by an old screen from the aisle. The Stanleys belong to the same family as the Earls of Derby. The office of warden was held by two members of the Stanley family, both having the Christian name of James. The second James Stanley became Bishop of Ely, and by virtue of his will (he died 1515) this chapel and the Ely Chapel were built. His tomb remains, of grey marble, with a small brass figure of the bishop in his robes, with the inscription:—"Off yur charite pray for the soul of James Stanley, sutyme Bushype of Ely and Warden of this College of Manchestir, which decessed out of this transitore world the xxxi. daye of March, the yer of our Lord MCCCCC. and XV., on whos soul and all Christian souls Jhesu have mercy."

The interior of the Cathedral is really interesting. We enter through the south porch and are immediately impressed by the church's incredible width. There are two aisles on each side of the nave. The outer aisles on both the north and south sides used to be separated from the rest of the church by screens and were used for chapels or chantries. In a significant restoration at the start of the nineteenth century, these screens were taken down, and the outer aisles were opened up. This made the church more functional for gatherings, although we might miss the historic chapels, with only a few piscinæ left as reminders. We'll start our tour at the west end and, from here, look down the length of the church, which is bathed in "a divine religious light," though perhaps it's a bit too dim. Most of the windows contain modern glass, which generally has beautiful designs, but modern glass doesn’t have the same transparency as the old glass. Sunlight streams through the old glass, making it possible, as at Fairford, to read the smallest print; while modern glass effectively blocks the light, and there isn’t usually a lot of sunlight in this area filled with smoky chimneys and polluted air. The piers of the nave are modern replicas of the original Perpendicular ones and are tall and elegant. There’s no triforium, and the clerestory is somewhat narrow. The windows have five lights of Perpendicular tracery, and most of them are filled with modern glass. The roof is old but has been greatly restored. In the distance, we see the beautiful choir screen with the organ above it. The spandrels of the chancel arch are richly carved with shields in quatrefoils, and above is the Tudor rose. Shields decorate the spandrels of the main arches. Above us is the ceiling of the tower, which is a good example of fan-tracery. The modern baptistry is on our right. Passing the south porch, built in memory of Mr. James Jardine, we see the extreme south aisle, which used to be made up of chantries separated from the rest of the church by screens. In a recess east of the porch was the Brown Chapel, and north of this was St. George's Chantry (to which saint, along with St. Mary and St. Denis, the church was formerly dedicated) founded by W. Galley in 1508. When the collegiate institution was dissolved, John Barlow and Edward Smyth, the priests of this chantry, received pensions of £6 and £4, 12s. 6d. respectively. Next is the Trafford or St. Nicholas Chantry, where the priest received a pension of £5. The Traffords of Trafford are an ancient family from Lancashire who have held the manor near Manchester since the Conquest, and the name of Edmund Trafford appears on the list of parishioners given in the license to build the collegiate church. A piscina marks the spot where the altar of this chantry was located. Next is the Jesus Chapel, which features a fine sixteenth-century screen. It was founded by Richard Bexwick in 1506, who was granted permission to enjoy its privileges by James Stanley, the warden, and the fellows. His daughter Isabel gave it to Francis Pendleton and his wife Cicely, who was Isabel’s daughter. By 1652, it was in a state of ruin. It is now used as the library and vestry. From this chapel, another chapel founded by Ralph Hulme in 1507 opened, but it has been destroyed. One member of the Hulme family founded the Hulmeian scholarships at Oxford in 1691. Next, we see the entrance to the chapter-house built by James Stanley (1485-1509), which is a fine example of Perpendicular architecture. Under the arch, which has paneling inside, there are two doors with four-centered arches, and above them is more paneling. The Fraser Chapel, built to honor Bishop Fraser of Manchester (1870-1885), "a man of singular gifts both of nature and the spirit," who won everyone’s hearts and whose memory will always be honored in the Manchester Diocese, is located on the south at the far eastern end of this aisle. It contains a remarkable effigy of the bishop, who was buried in the small Parish Church of Ufton Nervet, Berks, where he spent the early years of his clerical life and for which he held fond memories. This was a college living to which he was presented by Oriel College. Turning to the north, we enter the retro-choir and the Lady Chapel, originally founded by George West, the youngest brother of Lord Delaware, who was warden of the college from 1518 to 1535. The last historian of the Cathedral, Mr. Perkins, believes that West reconstructed an older building, and that the style of the windows added in the eighteenth century, which imitate earlier ones, indicates an earlier date than 1518. This chapel was once known as the Byron Chapel and later as the Chetham Chapel, as it contains several memorials of that family. There’s a modern statue of Humphrey Chetham, the founder of Chetham's Hospital (which we will visit shortly), who was born in 1580, and through his trade "acquired opulence, while his strict integrity, his piety, his works of charity and benevolence secured him the respect and esteem of those around him." He established the school and provided for, clothed, fed, and educated twenty-two boys, and although he never married, he became a father to the fatherless and the destitute. At the base of his statue is a figure of one of these boys. Near this statue is the tomb of Hugh Birley, a member of a prominent Manchester family and a representative of the city in Parliament. There is also an ancient organ, over two centuries old, in this aisle. On the north side is the St. John the Baptist or Derby Chapel, formerly known as the Stanley Chapel, separated from the aisle by an old screen. The Stanleys belong to the same family as the Earls of Derby. The office of warden was held by two members of the Stanley family, both named James. The second James Stanley became Bishop of Ely, and by his will (he died in 1515), this chapel and the Ely Chapel were built. His tomb remains, made of grey marble, with a small brass figure of the bishop in his robes, bearing the inscription:—"Off yur charite pray for the soul of James Stanley, sutyme Bushype of Ely and Warden of this College of Manchestir, which decessed out of this transitore world the xxxi. daye of March, the yer of our Lord MCCCCC. and XV., on whos soul and all Christian souls Jhesu have mercy."

Westward of this Derby Chapel stands the Ducie Chapel, dedicated to St. James, founded in 1507, and next comes the Radcliffe Chantry, dedicated to the Holy Trinity, founded by W. Radcliffe in 1498. The Radcliffes of Radcliffe, near Manchester, were an ancient race, and the ballad of "Fair Ellen," the daughter of one member of this family, who was slain by a cruel stepmother and her body cooked in a pie, is a gruesome legend of old Lancashire.

West of Derby Chapel is Ducie Chapel, dedicated to St. James, which was founded in 1507. Next is Radcliffe Chantry, dedicated to the Holy Trinity, founded by W. Radcliffe in 1498. The Radcliffes from Radcliffe, near Manchester, were an old family, and the ballad of "Fair Ellen," the daughter of one member of this family who was killed by a cruel stepmother and whose body was cooked in a pie, is a gruesome legend from old Lancashire.

The east end of the nave is used for services, and there is a fine modern pulpit. Manchester Cathedral possesses some very fine carved woodwork, of which the ancient rood-screen is a good example. The organ is placed above it. On entering the Choir we notice the magnificently-carved stalls with rich tabernacle work, and quaint misereres. This is the work of James Stanley (1485-1509) afterwards Bishop of Ely, assisted by a Manchester merchant named Beck. The bishop's throne is modern, and also the reredos. The three Patron Saints-SS. Mary, George and Denys—appear in the niches. In accounting for this triple dedication Randle Holme states that to St. Mary was the earlier church dedicated, and that Thomas Delaware, "being partly a Frenchman, and partly an Englishman," selected St. Dionysee, ye Patron Saint of France, and St. George, the Patron Saint of England, as patrons of his new Cathedral. This does not seem probable, and it is more likely that the claim of Henry V. to the crown of France at the time of the founding of the college suggested the additional dedication.

The east end of the nave is used for services, and there is a beautiful modern pulpit. Manchester Cathedral has some outstanding carved woodwork, with the ancient rood-screen being a great example. The organ is placed above it. Upon entering the Choir, we notice the magnificently carved stalls featuring rich tabernacle work and unique misereres. This work was created by James Stanley (1485-1509), who later became Bishop of Ely, along with a Manchester merchant named Beck. The bishop's throne is modern, as is the reredos. The three Patron Saints—SS. Mary, George, and Denys—appear in the niches. Randle Holme explains that the earlier church was dedicated to St. Mary, while Thomas Delaware, "being partly a Frenchman and partly an Englishman," chose St. Dionysee, the Patron Saint of France, and St. George, the Patron Saint of England, as patrons of his new Cathedral. This explanation seems unlikely; it's more plausible that Henry V's claim to the crown of France at the time of the college's founding influenced the additional dedication.

The windows have all modern glass. Formerly there was some curious ancient glass; in the east window of the south aisle, Michael and his angels fighting with the dragon; in the east window of the north aisle, SS. Augustine and Ambrose chanting the Te Deum Laudamus; in the clerestory were pictures of the Virgin; and then there were some curious representations of the Trinity. These have all disappeared. Of the modern ones, the most interesting, perhaps, is the Gordon window in the north aisle.

The windows all have modern glass now. There used to be some interesting old glass; in the east window of the south aisle, Michael and his angels battling the dragon; in the east window of the north aisle, SS. Augustine and Ambrose singing the Te Deum Laudamus; in the clerestory, there were images of the Virgin; and there were also some unique depictions of the Trinity. All of that has vanished. Among the modern ones, the most intriguing might be the Gordon window in the north aisle.

John Huntingdon, the builder of the present choir (1422-1459), lies buried in it, and formerly his tomb was inscribed with the words: Domine, dilexi decorem domus tuæ, and there was a brass with this inscription: Hic jacet Johan Huntingdon Bacc in Decr. Prim. Magister sive custos istius collegii qui de novo construxit istam cancellam, qui obiit ix. mo die xi. bris MCCCCLVIII., cujus animæ proprietur Deus. We could not discover this brass, but on each side of the Lady Chapel entrance is the rebus of the founder, on one side a man hunting, on the other a tun, which "hieroglyphical quiddity" makes Hunting-ton.

John Huntingdon, the builder of the current choir (1422-1459), is buried here, and his tomb used to be marked with the words: Domine, dilexi decorem domus tuæ. There was also a brass plaque with this inscription: Hic jacet Johan Huntingdon Bacc in Decr. Prim. Magister sive custos istius collegii qui de novo construxit istam cancellam, qui obiit ix. mo die xi. bris MCCCCLVIII., cujus animæ proprietur Deus. We couldn't find this brass, but on each side of the entrance to the Lady Chapel is the rebus of the founder: on one side, a man hunting, and on the other, a tun, which "hieroglyphical quiddity" symbolizes Hunting-ton.


Crossing the street to the north is a profoundly interesting building, known as the Chetham Library and Hospital, of which Manchester may be justly proud. Its chequered history has already been partially told, and carries us back to the days when the college of warden and fellows, chaplain and choir-boys,[271] lived here. Now, as we have seen, it is the school, with a noble library attached, founded by that worthy merchant, Humphrey Chetham. As a baron's hall, an ecclesiastical establishment, and a remarkable school, the building presents many features of unique interest, and the grand library is worthy of minute inspection.

Crossing the street to the north is a really interesting building, known as the Chetham Library and Hospital, which Manchester can be proud of. Its complex history has been partially shared, taking us back to the days when a college of warden and fellows, along with the chaplain and choir boys,[271] lived here. Now, as we've seen, it serves as a school, with a great library that was founded by the esteemed merchant, Humphrey Chetham. As a baron's hall, a religious institution, and an outstanding school, the building has many unique features, and the impressive library deserves a close look.

Dimensions

Dimensions

Length of nave and choir172 ft.
Width of nave and aisles114 ft.
Length of choir and Lady Chapel88 ft.
Height of roof50 ft.
Height of tower140 ft.
Area18,000 sq. ft.

Principal Building Dates

Main Building Dates

  • (1422-1458)—Choir.
  • (1465-1509)—Nave rebuilt, stalls and canopies, chapter-house, chantries of St. George, St. Nicholas, Jesus, Ducie and Radcliffe.
  • (1518-1535)—Lady Chapel, Ely Chapel.
  • Modern—Baptistry, north and south and west porches, Fraser Chapel, throne, reredos and glass.

CARLISLE CATHEDRAL

This northern city has had a noted history. It was a town of considerable importance under the Romans, and on their departure was captured by the furious Picts. It has been a city of sieges. Egfrid of Northumbria rebuilt it in the seventh century, and granted it to St. Cuthbert, but the Danes sacked and plundered it. William Rufus again rebuilt and fortified it, but David, King of Scotland, captured the place, and died within its walls in 1153. Two more sieges it again endured, and was at length taken in 1217. Here came Edward I. frequently on his marches to conquer the Scots, and held Parliaments here, and near here he died. A goodly company of nobles hastened here to do homage to his son. After the disaster of Bannockburn Robert Bruce besieged Carlisle, and had his quarters in the Cathedral, which is outside the city walls, but he failed to gain the city. The Bishops of Carlisle were sometimes warlike men, and took the field against the dread invaders from the north. The old castle has seen much of fighting, and it had a notable prisoner in the person of ill-fated Mary Queen of Scots. A long siege, lasting eight months, took place in the Civil War time, and in that time terrible damage was done to the Cathedral, as we shall see. Again, in the rebellion of 1745, "Bonnie Prince Charlie" captured the place, and there was a great flourish of trumpets, or rather bagpipes, until the king's forces came and put an end to the poor campaign. The Cathedral was again used as military quarters, and the prisons of the castle tell the sad story of the fate of the rebels.

This northern city has a significant history. It was an important town under the Romans, and after they left, it was taken by the furious Picts. This city has seen many sieges. Egfrid of Northumbria rebuilt it in the seventh century and gifted it to St. Cuthbert, but the Danes plundered it. William Rufus rebuilt and fortified it again, but David, King of Scotland, captured it and died within its walls in 1153. It experienced two more sieges and was finally taken in 1217. Edward I often passed through here on his campaigns to conquer the Scots and held Parliaments here; he died nearby. A group of nobles quickly gathered to pay their respects to his son. After the defeat at Bannockburn, Robert Bruce laid siege to Carlisle and stayed in the Cathedral, which is outside the city walls, but he couldn't capture the city. The Bishops of Carlisle were sometimes militant and took to the field against the fearsome invaders from the north. The old castle has witnessed a lot of fighting and famously held the ill-fated Mary Queen of Scots as a prisoner. An eight-month siege occurred during the Civil War, causing severe damage to the Cathedral, as we will discuss. Again, in the rebellion of 1745, "Bonnie Prince Charlie" took the city, leading to much celebration, or rather, the sound of bagpipes, until the king's forces arrived to quash the ill-fated campaign. The Cathedral was once more used as military quarters, and the castle's prisons tell the tragic tales of the rebels' fates.

The ecclesiastical history of Carlisle reflects its civil history. As we have said, St. Cuthbert of Lindisfarne and his successors ruled over this city and district for many years. When William II. restored the city and raised the castle, one Walter, a noble and wealthy priest, who was left as governor by the king, set to work to build a church and priory. But death stayed his hand, and Henry I. completed the task, and established here a monastery of Augustinian canons in 1121. In 1133, on the advice of Thurstan, Archbishop of York, he established a see here, and Udelulf became the first bishop. The Cathedral, begun by Walter and[273] finished by Henry I., was of the usual Norman character. Its plan was cruciform, and it had a nave with aisles, transepts with a low tower at the crossing. The architect was Hugh, Bishop (1218-1223), formerly Abbot of Beaulieu, Hants, who brought with him to Carlisle the traditions of a splendid style of architecture. In the early part of the thirteenth century the Norman choir was taken down, and rebuilt in the Early English style. Two fires did much damage, especially the one that raged in 1292. The work of rebuilding was at once commenced, and a more imposing plan was projected, but a long time elapsed before it was completely carried out. At length, about the middle of the fourteenth century, the choir was completed in the Decorated style, a new triforium, clerestory roof and east end being erected. The Late Decorated east window, which was finished at this time, is one of the most beautiful in the world. Fire again injured the Cathedral in 1392, especially the north transept, which was restored by Bishop Strickland (1400-1419), who also rebuilt the tower above the roof, and crowned it with a wooden spire. The monastery was dissolved at the Reformation, and a Cathedral establishment formed, consisting of a dean and canons. In Mary's reign Owen Oglethorpe was made bishop, who, "being a good-natured man and pliable," according to Fuller, crowned Queen Elizabeth, "which the rest of his order refused to do." He was, however, deprived on account of "certain principles of stubbornness instilled into him." The Civil War did terrible damage to the Cathedral. During the siege Puritan soldiers were quartered in the sacred building, "who did after their kind," and, moreover, after the capture of the city, in order to repair the fortifications, they pulled down a great portion of the nave, and used the stones for that purpose. In the rising of 1745 Charles Edward, the Pretender, as we have said, occupied Carlisle, and installed in the Cathedral, as bishop of the see, a Romanist named James Cappoch. When the Duke of Cumberland arrived and recaptured the city, Cappoch allowed himself to be taken prisoner, and was hanged. The church was again used as a barracks, and many of the poor Jacobite prisoners were confined here.

The church history of Carlisle mirrors its civic history. As we mentioned, St. Cuthbert of Lindisfarne and his successors governed this city and area for many years. When William II restored the city and built the castle, a noble and wealthy priest named Walter, who had been appointed governor by the king, started constructing a church and priory. However, he died before completing it, and Henry I finished the project, establishing a monastery of Augustinian canons in 1121. In 1133, following the advice of Thurstan, Archbishop of York, he set up a bishopric here, with Udelulf as the first bishop. The Cathedral, begun by Walter and finished by Henry I, had the typical Norman design. It featured a cruciform layout, with a nave flanked by aisles, transepts, and a low tower at the crossing. The architect was Hugh, Bishop (1218-1223), formerly Abbot of Beaulieu in Hants, who brought refined architectural traditions to Carlisle. In the early thirteenth century, the Norman choir was demolished and rebuilt in the Early English style. Two fires caused significant damage, particularly the one in 1292. Rebuilding began immediately, with plans for a more impressive design, but it took a long time to finalize. By the mid-fourteenth century, the choir was completed in the Decorated style, including a new triforium, clerestory roof, and east end. The Late Decorated east window, finished at that time, is regarded as one of the most beautiful in the world. The Cathedral was injured by fire again in 1392, notably the north transept, which Bishop Strickland (1400-1419) restored. He also rebuilt the tower above the roof and topped it with a wooden spire. The monastery was dissolved during the Reformation, replaced by a Cathedral establishment with a dean and canons. During Mary's reign, Owen Oglethorpe was appointed bishop, who, "being a good-natured man and pliable," according to Fuller, crowned Queen Elizabeth, which the rest of his order refused to do. However, he was later deprived for "certain principles of stubbornness instilled into him." The Civil War caused severe damage to the Cathedral. During the siege, Puritan soldiers were stationed in the sacred building, "who did after their kind," and after capturing the city, they dismantled a large part of the nave to use the stones for repairing the fortifications. In the 1745 uprising, Charles Edward, the Pretender, occupied Carlisle and appointed a Roman Catholic named James Cappoch as bishop of the see in the Cathedral. When the Duke of Cumberland reclaimed the city, Cappoch was captured and hanged. The church was once again used as a barracks, and many poor Jacobite prisoners were confined there.

Since then there have been sundry restorations, some very deplorable, one about the middle of the eighteenth century, which were happily effaced, as far as possible, by the work of the middle of the nineteenth. But the hand of the restorers has fallen rather heavily upon the beautiful work of the choir, and destroyed much of its[274] delicate beauty. The architects of 1850 had not yet learned to respect the antiquity of the buildings which fell into their hands to restore, and Carlisle and many other churches have suffered much from their drastic treatment.

Since then, there have been various restorations, some quite unfortunate, especially one around the middle of the eighteenth century, which was fortunately mostly erased by the efforts of the mid-nineteenth century. However, the restorers’ actions heavily impacted the beautiful work of the choir, destroying much of its[274] delicate beauty. The architects of 1850 had not yet learned to respect the history of the buildings they were tasked with restoring, and Carlisle, along with many other churches, has suffered greatly from their harsh methods.

The Exterior

The Exterior

A good view is obtained from the castle. The usual approach is from the east end, whence we observed the grand east window with its beautiful Late Decorated tracery. It is flanked by buttresses, with niches and crocketed pinnacles. In the niches are statues of SS. Peter, Paul, James and John. A floriated cross crowns the gable, and on each side are four similar crosses. In the gable is a triangular window, having three trefoils, and below is a niche with figure of the Virgin. The Central Tower, built by Bishop Strickland (1400-1419) on the old Norman piers, is too small for the huge choir, and lacks dignity. Formerly it was crowned with a wooden spire, but this has been removed. There is a turret set at the north-east angle, and in the north side is a niche with the figure of an angel. The lower part of the Choir is Early English, with the exception of a Perpendicular window at the west, and a Decorated one in the east bay. The Clerestory is Late Decorated, and the windows have flowing tracery. The ball-flower ornament is extensively used in the cornice. The sculpture at Carlisle is worthy of notice. Carved heads and curious gargoyles abound. The North Transept is nearly all modern. It was rebuilt by Strickland in the fifteenth century, and again rebuilt when the church was restored. There is, however, an Early English window in the west wall. On the east side there was formerly a chapel, which has not survived the repeated alterations. The greater part of the Nave was taken down by Cromwell's soldiers. What is left is of unmistakable Norman character. There is some modern imitation work, and late architectural detail. Most of the windows are modern, and also the doorway. The west end is the result of modern restoration. The south side is similar to the north. The South Transept preserves the old Norman walls. On the south is a modern doorway with a window over it. On the east is St. Catherine's Chapel, a Late Early English or Early Decorated building. The south side of the choir is similar to the north, and presents Early English details of construction. The monastic buildings once stood on the south side of the church, but they have been pulled down with the exception of the fratry and gatehouse,[277] the stone being used for repairing the fortifications of the city by Puritan soldiery. The refectory, or fratry, was rebuilt in the fifteenth century, and is now used as a chapter-house. There is a fine reader's pulpit here. The gateway was erected by Prior Slee in 1527. The Deanery is a fine old house, and was formerly the prior's lodging. It was rebuilt in 1507.

A great view can be enjoyed from the castle. The typical approach comes from the east end, where we saw the impressive east window featuring beautiful Late Decorated tracery. It's flanked by buttresses with niches and intricately designed pinnacles. The niches hold statues of Saints Peter, Paul, James, and John. A decorated cross crowns the gable, with four similar crosses on each side. There’s a triangular window in the gable with three trefoils, along with a niche that has a figure of the Virgin. The Central Tower, built by Bishop Strickland (1400-1419) on the old Norman piers, is too small for the large choir and lacks a sense of grandeur. It used to be topped with a wooden spire, but that has been taken down. A turret sits at the north-east angle, and on the north side, there's a niche containing an angel figure. The lower part of the Choir is Early English, except for a Perpendicular window on the west and a Decorated one in the eastern bay. The Clerestory displays Late Decorated architecture, and the windows feature flowing tracery. The cornice uses the ball-flower ornament extensively. The sculpture work in Carlisle is worthy of note, with many carved heads and interesting gargoyles. The North Transept is mostly modern. It was rebuilt by Strickland in the fifteenth century and then renovated again during the church's restoration. However, there is an Early English window in the west wall. On the east side, there was once a chapel that hasn’t survived the various changes. Much of the Nave was destroyed by Cromwell's soldiers, and what remains clearly reflects Norman architecture. There’s some modern imitation work and late architectural details. Most of the windows and the doorway are modern. The west end comes from modern restoration. The south side mirrors the north. The South Transept retains the old Norman walls. There's a modern doorway with a window above it on the south side. To the east is St. Catherine's Chapel, a Late Early English or Early Decorated structure. The south side of the choir is similar to the north, featuring Early English construction details. The monastic buildings once stood on the south side of the church, but most have been demolished, except for the fratry and gatehouse,[277] with the stone being repurposed for repairs to the city's fortifications by Puritan soldiers. The refectory, or fratry, was rebuilt in the fifteenth century and is now used as a chapter house. There’s a fine reader's pulpit here. The gateway was built by Prior Slee in 1527. The Deanery is a beautiful old house that used to be the prior's residence, and it was rebuilt in 1507.

Carlisle from S E

Carlisle from S E

The Interior

The Interior

The Nave was formerly used as the Parish Church of St. Mary, and was filled with high pews and galleries. These have all been cleared away, and it is possible to admire the plain and massive Norman building, which now, alas! consists of only two bays, the rest having been destroyed in the Civil War period. Before that act of vandalism there were eight bays. The work before us, for the most part, belongs to the earliest church, begun by Walter, finished by Henry I. about 1130. Formerly a low ceiling shut out the triforium and clerestory from our view, but this, too, has happily been removed. The piers are low (14 feet high, 17 feet in girth), the arches being semi-circular, some of the capitals having evidently been carved later with some Early English foliage. The triforium consists of plain, open, round-headed arches, and is a little later than the main arcade. The clerestory has in each bay three arches, resting on shafts with carved capitals. The west end is modern. The tattered colours of the Cumberland Regiment tell of the Indian Mutiny, and there is a window in the south aisle to the memory of the men who died in that melancholy time. Sir Walter Scott was married in this nave, when it was a church, in 1797, to Miss Margaret Charlotte Carpenter. The font is modern and also the organ.

The Nave used to serve as the Parish Church of St. Mary and was filled with high pews and galleries. All of these have been removed, allowing us to appreciate the simple and sturdy Norman building, which now, sadly, consists of only two bays, as the rest was destroyed during the Civil War. Before that destruction, there were eight bays. Most of the structure before us belongs to the original church, started by Walter and completed by Henry I around 1130. A low ceiling used to block our view of the triforium and clerestory, but fortunately, that has also been taken down. The piers are low (14 feet high, 17 feet around) with semi-circular arches, and some of the capitals appear to have been carved later with Early English foliage. The triforium features simple, open, round-headed arches and is slightly newer than the main arcade. The clerestory has three arches in each bay, resting on shafts with carved capitals. The west end is modern. The tattered colors of the Cumberland Regiment commemorate the Indian Mutiny, and there’s a window in the south aisle dedicated to the men who lost their lives during that somber period. Sir Walter Scott married Miss Margaret Charlotte Carpenter in this nave when it was still a church in 1797. The font and the organ are modern.

The North Transept was rebuilt by Bishop Strickland in the fifteenth century, and its north end was again rebuilt in modern times. Here a large modern window of Decorated design has been erected in memory of five children of Archbishop Tait, who died here of scarlet fever when Dr. Tait was dean. In the west wall is an Early English window, which is a good example of plate-tracery. The arch of the choir aisle is Decorated; the roof is modern. Crossing over to the south transept we notice the piers which support the Tower. These are Norman, and have[278] additional columns erected by Bishop Strickland when he rebuilt the tower. The latter have foliated capitals, and are in the Perpendicular style. On the capitals of the eastern arch are the badges of the Percy family—the crescent and fetterlock. The most famous scion of this house—Hotspur—was governor of Carlisle. On the western side are the rose and escallop shell, badges of the Dacres and Nevilles.

The North Transept was rebuilt by Bishop Strickland in the fifteenth century, and its north end was renovated in modern times. Here, a large contemporary window with a Decorated design has been installed in memory of five children of Archbishop Tait, who died of scarlet fever when Dr. Tait was dean. In the west wall is an Early English window, which is a great example of plate-tracery. The arch of the choir aisle is Decorated; the roof is modern. Moving over to the south transept, we notice the piers that support the Tower. These are Norman and have[278] additional columns put up by Bishop Strickland when he rebuilt the tower. These have foliated capitals and are in the Perpendicular style. On the capitals of the eastern arch are the badges of the Percy family—the crescent and fetterlock. The most famous member of this family—Hotspur—was governor of Carlisle. On the western side are the rose and escallop shell, badges of the Dacres and Nevilles.

The South Transept is both narrow and shallow, being only one bay in length. The east side is Norman work; there is an arch with zigzag ornament and cushion capitals, opening into the choir aisle. A second Norman arch opens to St. Catherine's Chapel. The window and door on the south are both modern, and have much elaborate decoration, which is scarcely in keeping with the Norman work surrounding it. The triforium and clerestory resemble those of the nave. St. Catherine's Chapel stands on the site of a Norman chapel, and is in the Early Decorated style or Late Early English. It was founded by John de Capella, a wealthy citizen, and is now used as a vestry. The screen is Late Decorated, and is of great beauty. The doorway between the aisle and chapel formerly led to a well, now closed. "A similar well exists in the north transept, but has been long covered. Besides supplying water for the use of the church, such wells may have been of special service in border churches, which, like this of Carlisle, served as places of refuge for the inhabitants in cases of sudden alarm or foray" (Murray's Handbooks). The following monuments are in the transepts:—

The South Transept is narrow and shallow, only one bay long. The east side features Norman architecture, with an arch that has zigzag patterns and cushion capitals, leading into the choir aisle. A second Norman arch opens to St. Catherine's Chapel. Both the window and door on the south are modern and have a lot of intricate decoration that doesn't really match the surrounding Norman design. The triforium and clerestory are similar to those in the nave. St. Catherine's Chapel is built on the site of a Norman chapel and shows Early Decorated style or Late Early English style. It was founded by John de Capella, a wealthy citizen, and is now used as a vestry. The screen is Late Decorated and very beautiful. The doorway between the aisle and chapel used to lead to a well, which is now closed. "A similar well exists in the north transept, but has been long covered. Besides supplying water for the church, such wells may have been particularly useful in border churches, like this one in Carlisle, which served as refuges for locals during sudden attacks or raids" (Murray's Handbooks). The following monuments are in the transepts:—

Robert Anderson, "the Cumberland Bard" (1833); Bishop Fleming (1747): Prior Senhouse (temp. Henry VII.); and there is a curious Runic inscription, written in Norse, which, being translated, is: "Tolfihn wrote these runes on this stone."

Robert Anderson, "the Cumberland Bard" (1833); Bishop Fleming (1747); Prior Senhouse (temp. Henry VII.); and there is an interesting Runic inscription, written in Norse, which translates to: "Tolfihn wrote these runes on this stone."

We now enter the Choir by the door in organ-screen. This is one of the finest in England—spacious, lofty, well-proportioned and rich in all its details. The arches of the main arcade are Early English, as the mouldings and dog-tooth ornament testify. These remained after the fire of 1292, and were retained. The piers are Early Decorated, and were evidently built to support the arches after the fire. The capitals were carved later in the Late Decorated period, when the upper parts of the choir, triforium, clerestory, roof and east end were rebuilt. The builders were probably Bishops Welton and Appleby (1353-1395). When the choir was rebuilt in Early English times, the architect determined to enlarge it, and[279] as the monastic buildings on the south prevented any expansion in that direction, the south piers of the choir retained their old position, while the north were moved further northward, and a new north aisle added. Thus the choir and the tower and nave are not quite symmetrical, and there is a blank wall at the north-west end of the choir which is thus accounted for. The details of the architecture of the choir merit close attention, especially the sculpture. Small figures of men, animals and monsters are mingled with the foliage. There are some admirable representations of the seasons, beginning with the second capital on the south, counting from the east end. There is a very fine timber roof, constructed about the middle of the fourteenth century. The scheme of colour decoration is, unfortunately, not original. The East Window is one of the finest Decorated windows in the kingdom. The stone-work is new, but it is believed to be an exact reproduction of the original. It has nine lights. The glass of the upper portion is ancient, dating from the reign of Richard II. It represents the Resurrection, Final Judgment and the New Jerusalem. Hell is depicted with the usual mediæval realism. Below is modern glass, representing scenes from the life of our Lord. The Stalls are Late Perpendicular, erected by Bishop Strickland, and are excellently carved. The tabernacle work is generally attributed to Prior Haithwaite (circa 1433). There are some quaint and curious misereres, the carvings representing grotesque monsters, such as dragons and griffins, fables such as the Fox and the Goose, and a great variety of subjects. A Renaissance screen, erected by Salkeld, the last prior, divides the west bay of the presbytery from the north choir aisle. The altar, throne, lectern and pulpit are modern. There is a fine brass to the memory of Bishop Bell (1495) on the floor of the choir.

We now enter the Choir by the door in the organ screen. This is one of the finest in England—spacious, tall, well-proportioned, and rich in all its details. The arches of the main arcade are Early English, as shown by the moldings and dog-tooth ornamentation. These survived the fire of 1292 and were preserved. The piers are Early Decorated and were clearly built to support the arches after the fire. The capitals were carved later in the Late Decorated period when the upper parts of the choir, triforium, clerestory, roof, and east end were rebuilt. The builders were likely Bishops Welton and Appleby (1353-1395). When the choir was rebuilt during the Early English period, the architect chose to enlarge it, and[279] since the monastic buildings on the south blocked any expansion in that direction, the south piers of the choir stayed in their original position while the north piers were moved further north, and a new north aisle was added. This means the choir, tower, and nave aren't perfectly symmetrical, resulting in a blank wall at the north-west end of the choir. The architectural details of the choir deserve close attention, especially the sculpture. Small figures of men, animals, and monsters are mixed in with the foliage. There are some wonderful depictions of the seasons, starting with the second capital on the south, counting from the east end. The timber roof is very impressive, built around the middle of the fourteenth century. Unfortunately, the color decoration scheme is not original. The East Window is one of the finest Decorated windows in the country. The stonework is new, but it's believed to be an exact replica of the original. It has nine lights, and the glass in the upper section is old, dating back to the reign of Richard II. It depicts the Resurrection, Final Judgment, and the New Jerusalem. Hell is illustrated with typical medieval realism. Below is modern glass representing scenes from the life of Christ. The Stalls are Late Perpendicular, built by Bishop Strickland, and they are beautifully carved. The tabernacle work is generally credited to Prior Haithwaite (circa 1433). There are some interesting and quirky misereres, with carvings showing grotesque monsters like dragons and griffins, fables like the Fox and the Goose, and a wide variety of subjects. A Renaissance screen built by Salkeld, the last prior, separates the west bay of the presbytery from the north choir aisle. The altar, throne, lectern, and pulpit are modern. There is a striking brass memorial for Bishop Bell (1495) on the choir floor.

Passing to the North Choir Aisle we notice the Early English character of the arcade and windows. The latter have two lights, and have deep mouldings and dog-tooth ornament. The wall arcade is particularly graceful. The last bay eastward was built when the east window was erected, and is Late Decorated, and in the last bay west-ward there is a Perpendicular window. The vault was constructed after the fire of 1292. The two sepulchral recesses in the north wall are remarkable. They are of Early English character, and have a chevron moulding which is said to be unique. It is conjectured that the effigy in one of these recesses is that of Silvester of Everdon (1254), and that the other was[280] intended for Bishop Hugh of Beaulieu, who died in Burgundy. In another bay is an aumbrey wherein treasures of plate and other valuables were stored. There is a late brass to the memory of Bishop Robinson (1416), formerly Provost of Queen's College, Oxford. Archdeacon Paley (1791), the learned divine whose Evidences of Christianity is still a divinity text-book at Cambridge, lies buried here. The curious paintings on the back of the stalls, of late fifteenth-century execution, always interest visitors to the Cathedral. They illustrate the lives of St. Anthony and St. Cuthbert, with descriptive verses under each scene, and there is a set of figures of the Apostles with the words of the Apostles' creed traditionally assigned to each. The Retro-Choir is very narrow and is of the same date as the window. Bishop Law's monument is here (1787), carved by T. Banks, R.A. The South Choir Aisle resembles that on the north. The two western windows are later than the Early English ones in the opposite aisle. There are monuments here of Bishop Waldegrave (1869), Bishop Barrow (1429) (or Welton, 1362), Bishop Goodwin (1891), Dean Close (1882).

Passing to the North Choir Aisle, we notice the Early English style of the arcade and windows. The windows have two lights, deep moldings, and dog-tooth decoration. The wall arcade is especially elegant. The last bay to the east was built when the east window was added, and it features Late Decorated style, while the last bay to the west has a Perpendicular window. The vault was completed after the fire of 1292. The two burial recesses in the north wall are noteworthy. They exhibit Early English design, with a chevron molding that is said to be unique. It's believed that the effigy in one of these recesses is Silvester of Everdon (1254), and the other was intended for Bishop Hugh of Beaulieu, who died in Burgundy. In another bay is an aumbry where treasures and other valuables were kept. There is a late brass memorial for Bishop Robinson (1416), who was once the Provost of Queen's College, Oxford. Archdeacon Paley (1791), the learned theologian whose Evidences of Christianity is still a divinity textbook at Cambridge, is buried here. The intriguing paintings on the back of the stalls, dating from the late fifteenth century, always catch the attention of visitors to the Cathedral. They depict the lives of St. Anthony and St. Cuthbert, accompanied by descriptive verses under each scene, along with figures of the Apostles featuring the words of the Apostles' creed traditionally attributed to each. The Retro-Choir is quite narrow and dates from the same period as the window. Bishop Law's monument is here (1787), carved by T. Banks, R.A. The South Choir Aisle resembles the one on the north side. The two western windows are newer than the Early English ones on the opposite aisle. There are monuments here for Bishop Waldegrave (1869), Bishop Barrow (1429) (or Welton, 1362), Bishop Goodwin (1891), and Dean Close (1882).

The screen here is like that opposite by Prior Gondibour, who did so much to decorate his Cathedral, and to whom the paintings are assigned. The back of the stalls on this side has a representation of scenes from the life of St. Augustine, or, as curious descriptive verses call him, the "gret doctor Austyne."

The screen here is similar to the one across from it by Prior Gondibour, who contributed a lot to decorating his Cathedral, and to whom the paintings are attributed. The back of the stalls on this side features depictions of scenes from the life of St. Augustine, or, as one interesting descriptive verse refers to him, the "great doctor Augustine."

Dimensions

Dimensions

Length of nave39 ft.
Breadth of nave60 ft.
Height of nave65 ft.
Length of choir134 ft.
Breadth of choir72 ft.
Height of choir72 ft.
Height of tower112 ft.
Area15,270 sq. ft.

Principal Building Dates

Main Building Dates

  • Norman (1092-1130)—South transept, piers of central tower, part of nave.
  • [281] Early English (1219-1260)—Walls and windows of choir aisles, part of main arcade of choir, St. Catherine's Chapel.
  • Early Decorated (1292)—Part of main arcade of choir.
  • Late Decorated (1353-1395)—Upper part of choir, east end and roof.
  • Perpendicular (1400-1419)—Upper part of tower.

NEWCASTLE CATHEDRAL

The See of Newcastle was created in 1882, as the result of the spiritual expansion of the Church of England which caused the formation of so many new sees. In the days when England and Scotland were separate kingdoms, and when wars between the two countries were not infrequent, Newcastle occupied a position of great strategic importance. Here was a strong castle—the "new castle"—founded by Henry II. on the site of an older structure built in 1080 by the son of the Conqueror. It was the mightiest castle in the north of England, and its keep is one of the finest specimens of Norman military architecture remaining in the country. In this fortress Baliol was brought to do homage for the crown of Scotland to Edward I. The keep is still standing, and also the chapel, a fine specimen of Late Norman architecture. Many Roman remains have been found here.

The See of Newcastle was established in 1882 as a result of the Church of England's spiritual expansion, leading to the creation of many new sees. Back when England and Scotland were separate kingdoms and conflicts between them were common, Newcastle held significant strategic importance. It was home to a strong castle—the "new castle"—built by Henry II on the site of an older one erected in 1080 by the son of the Conqueror. It was the most powerful castle in the north of England, and its keep is one of the best examples of Norman military architecture still standing in the country. This fortress was where Baliol came to pledge allegiance for the crown of Scotland to Edward I. The keep remains intact, as does the chapel, which is a great example of Late Norman architecture. Many Roman artifacts have also been discovered here.

The Cathedral was formerly the old Parish Church of St. Nicholas. The style is principally Late Decorated. An older church was burned down in 1216. It consists of nave, aisles, chancel and transept. The total length is 245 feet, and the width 128 feet. The transept is Perpendicular in style, and so is the fine tower with spire built in 1474, which is the principal feature of the church. Frequent restorations have taken place and a very extensive renovation was effected in 1876 at a cost of £30,000. Admiral Collingwood, the comrade of Nelson, is buried here.

The Cathedral used to be the old Parish Church of St. Nicholas. The architectural style is mainly Late Decorated. An earlier church was destroyed by fire in 1216. It includes a nave, aisles, chancel, and transept. The total length is 245 feet, and the width is 128 feet. The transept is in the Perpendicular style, as is the impressive tower with a spire built in 1474, which is the church's main feature. There have been numerous restorations, with a significant renovation completed in 1876 at a cost of £30,000. Admiral Collingwood, a companion of Nelson, is buried here.

The Norman Church of St. Andrew and the Church of St. John of the fourteenth century, with an ancient font, are the principal old churches in the town, and also the chapel of 1491 attached to Trinity House. The old Saxon churches of Jarrow and Monk Wearmouth are in the neighbourhood.

The Norman Church of St. Andrew and the Church of St. John from the fourteenth century, featuring an ancient font, are the main historic churches in the town, along with the chapel from 1491 that’s connected to Trinity House. The old Saxon churches of Jarrow and Monk Wearmouth are nearby.


DURHAM CATHEDRAL

Durham Cathedral is one of the grandest buildings in the world. Standing upon the summit of a lofty hill, which rises abruptly from the River Wear, its position is one of surpassing beauty, and the dignity of the building, its massive walls and towers, and the interesting associations which cluster round the venerable pile, make it one of the most superb edifices in this or any other country.

Ddurham Cathedral is one of the most impressive buildings in the world. Perched on top of a steep hill that rises sharply from the River Wear, its location is breathtaking. The dignity of the structure, with its massive walls and towers, along with the intriguing history surrounding this ancient site, make it one of the finest landmarks in this country or anywhere else.

The story of Durham carries us back to the very early days of Christianity. In spite of the efforts of Paulinus the Saxons of Northumbria were still heathen until Oswald became king in 634, who was converted to Christianity by the monks of Iona, where a monastery had been founded by Columba, an Irish saint. Desiring to benefit his people, Oswald sent to Iona, and under St. Aidan a colony of monks was founded at Lindisfarne, or Holy Island. St. Cuthbert, the Patron Saint of Durham, succeeded, who died in 687. After the lapse of nearly two centuries the coast was harassed by the attacks of the Danes, and the monks fled from Lindisfarne, bearing with them their most precious relics and with these the body of St. Cuthbert. They wandered far and wide with their holy burden; a hundred years elapsed; generations of monks passed away; but the bones of the saint knew no rest. For a long time they tarried at Chester-le-Street, which became the seat of the Northumbrian bishopric; but still the savage Northmen threatened them with danger, and at last in 995 the wearied monks found a shelter on the lofty and impregnable rock where the Cathedral now stands, the abiding resting-place of St. Cuthbert's bones. On the outside of the church there is the figure of the Dun Cow, which is associated with their wanderings. It was revealed to one of the monks that Dunholme was to be their final home; but not knowing where this place was, they were in much distress. However, they heard a woman inquiring about her lost cow, to whom her companion replied that it was at Dunholme. "That was a happy and heavenly sound to the distressed monks," says the chronicler, "and thereupon with great joy they arrived with the saint's body at Dun[284]holme in the year 997." Here they raised a church of boughs to cover their precious treasure and then a stone building, and then Bishop Aldwin "raised no small building of stone-work for his Cathedral church, when all the people between the Coquet and Tees three years were at work, and were paid for their pains with treasure in heaven, than which there was never a dearer or cheaper way to build churches." Around this holy house the city began to grow, which owes its importance and very existence to the monastery.

The story of Durham takes us back to the very early days of Christianity. Despite Paulinus's efforts, the Saxons in Northumbria remained pagan until Oswald became king in 634. He was converted to Christianity by the monks of Iona, where Columba, an Irish saint, had established a monastery. Wanting to help his people, Oswald reached out to Iona, and under St. Aidan, a group of monks was founded at Lindisfarne, or Holy Island. St. Cuthbert, the Patron Saint of Durham, followed and died in 687. Nearly two centuries later, the coast faced attacks from the Danes, forcing the monks to flee from Lindisfarne, taking their most treasured relics, including the body of St. Cuthbert. They traveled far and wide with their holy burden; a hundred years passed; generations of monks came and went; but the saint's bones found no peace. For a long time, they stayed at Chester-le-Street, which became the center of the Northumbrian bishopric; however, the vicious Northmen still posed threats. Finally, in 995, the exhausted monks found refuge on the high and secure rock where the Cathedral now stands, the lasting resting place of St. Cuthbert's bones. On the outside of the church, there is a figure of the Dun Cow, linked to their journey. One of the monks was told that Dunholme would be their final home; not knowing where that was, they felt distressed. But they overheard a woman asking about her lost cow, and her companion said it was at Dunholme. "That was a happy and heavenly sound to the troubled monks," the chronicler writes, "and with great joy, they brought the saint's body to Dunholme in 997." Here, they built a church of branches to safeguard their precious treasure and later a stone structure. Bishop Aldwin "constructed a significant stone church for his Cathedral, with all the people between the Coquet and Tees working for three years, and their effort was rewarded with treasures in heaven, which is certainly the best way to build churches." Around this holy site, the city began to grow, which owes its significance and very existence to the monastery.

Troublous times followed the advent of the Conqueror. Exasperated by the tyranny of the favourites of Walcher, the first Norman prelate, the people set fire to the church and slew the bishop. Then followed William de St. Carileph, who founded the present church. He expelled the secular clergy, and introduced the Benedictine rule. For the part he took in the rebellion against William Rufus he was exiled for three years, and lived in Normandy. Animated by the sight of the beautiful churches which there abounded he resolved to erect a more glorious edifice on the rugged hill of Durham, and on his return commenced the work. The foundation stone was laid in 1093. He began to build the east end of the choir, and continued the walls as far as the first arch of the nave. After his death in 1096, the prior and convent continued the building until the advent of Bishop Flambard (1099-1128), who carried on the work and nearly finished the nave, aisles, western towers and doorway. The chapter-house was erected by the next bishop, Galfrid Rufus (1133-1140). Bishop Hugh Pudsey (1153-1195) built the Galilee Chapel. In 1229 Bishop Poore, the builder of Salisbury, was translated to Durham; he discovered the unsafe condition of the eastern apsidal walls of his church, and determined to erect the beautiful Chapel of the Nine Altars, which is such a charming specimen of Early English architecture. He did not live to carry out his design, which was continued after his death under the rule of Prior Melsanby. The priors of Durham rivalled the bishops in their zeal for perfecting their noble Cathedral. Prior Darlington erected a belfry, and Prior Fossor part of the monastic buildings and the west windows of the nave in 1342. Bishop Skirlaw (1388-1405) was the chief builder of the present cloisters. In 1429 the tower was struck by lightning, and was rebuilt under the direction of Prior Bell.

Troublesome times followed the arrival of the Conqueror. Frustrated by the oppression of Walcher’s favorites, the first Norman bishop, the people set the church on fire and killed the bishop. Then came William de St. Carileph, who established the current church. He ousted the secular clergy and introduced the Benedictine rule. For his involvement in the rebellion against William Rufus, he was exiled for three years and lived in Normandy. Inspired by the beautiful churches there, he decided to build a more impressive structure on the rugged hill of Durham, and upon his return, he started the work. The foundation stone was laid in 1093. He began constructing the east end of the choir and continued the walls up to the first arch of the nave. After his death in 1096, the prior and convent carried on the construction until Bishop Flambard (1099-1128) took over, nearly finishing the nave, aisles, western towers, and doorway. The chapter-house was built by the next bishop, Galfrid Rufus (1133-1140). Bishop Hugh Pudsey (1153-1195) constructed the Galilee Chapel. In 1229, Bishop Poore, the builder of Salisbury, was appointed to Durham; he discovered that the eastern apsidal walls of his church were unsafe and decided to create the beautiful Chapel of the Nine Altars, which is a lovely example of Early English architecture. He didn’t live to see his plan completed, which was carried on after his death under Prior Melsanby. The priors of Durham matched the bishops in their commitment to enhancing their magnificent Cathedral. Prior Darlington built a belfry, and Prior Fossor worked on part of the monastic buildings and the west windows of the nave in 1342. Bishop Skirlaw (1388-1405) was the main builder of the current cloisters. In 1429, the tower was struck by lightning and was rebuilt under Prior Bell's direction.

Durham Cathedral

Durham Cathedral

The church was now complete, but like most of our cathedrals it has suffered from the evils of "restoration," and Wyatt, the destructive architect of the eighteenth century, was allowed to do[287] much damage. We shall notice his handiwork as we examine the details of the building. There seem to have been great disputes between the bishop and the monks, and the peace of this solemn sanctuary was often disturbed by angry quarrels and open violence. Sometimes the Scots made incursions, and on one occasion William Cumin seized the castle and committed great ravages. In the time of Bishop Hatfield was fought the great battle of Neville's Cross, when, by the aid of St. Cuthbert and his banner, the English won the day, and a hymn of thanksgiving is still sung every year on the top of the tower. The choir used to sing on all the four sides, but on one occasion a choir-boy fell, and ever since they only chant the hymn from three sides.

The church was now finished, but like most of our cathedrals, it has suffered from the issues of "restoration," and Wyatt, the destructive architect of the eighteenth century, was allowed to inflict[287] significant damage. We'll notice his work as we look at the building's details. There seemed to have been major disagreements between the bishop and the monks, and the peace of this solemn sanctuary was often disrupted by heated arguments and open violence. Sometimes the Scots launched raids, and on one occasion, William Cumin took the castle and caused great destruction. During Bishop Hatfield's time, the significant battle of Neville's Cross was fought, when, with the help of St. Cuthbert and his banner, the English emerged victorious, and a hymn of thanks is still sung every year at the top of the tower. The choir used to sing from all four sides, but one time a choir boy fell, and since then they only chant the hymn from three sides.

The Bishops of Durham were great men, holding the rank of temporal princes or Counts Palatine. Their courts were independent of the king, and they could coin money and live as they listed. Moreover, many of them were mighty warriors. Bishop Anthony Bek took part in the Scottish wars, and had a vast army of knights and men-at-arms. It was not until the year 1836 that the dignity of Count Palatine was removed from the holders of the Durham See. Cardinal Wolsey was bishop here for six years, but never set foot in his diocese. The monastery was suppressed by Henry VIII., and a dean and chapter appointed. Many learned and good men have held the See of Durham, and the names of the last two bishops—Lightfoot and Westcott—will always be held in esteem.

The Bishops of Durham were influential figures, ranking as temporal princes or Counts Palatine. Their courts operated independently of the king, allowing them to mint their own currency and live as they pleased. Additionally, many of them were formidable warriors. Bishop Anthony Bek participated in the Scottish wars and commanded a large army of knights and soldiers. It wasn't until 1836 that the title of Count Palatine was taken away from the Bishops of Durham. Cardinal Wolsey served as bishop here for six years but never visited his diocese. The monastery was dissolved by Henry VIII, and a dean and chapter were appointed. Numerous knowledgeable and virtuous individuals have held the See of Durham, and the last two bishops—Lightfoot and Westcott—will always be respected.

The Exterior

The Outside

As we approach the church from the Palace Green we notice the grand Norman building, which is much the same as when Bishop Carileph left it. At the east end there is the Early English Nine Altar Chapel, at the west the Galilee; the upper portions of the towers, the north porch and a few windows are the only additions, and the whole appearance of the church is at once bold, stern and commanding.

As we approach the church from the Palace Green, we see the impressive Norman building, which looks nearly the same as it did when Bishop Carileph left it. At the east end, there’s the Early English Nine Altar Chapel, and at the west, the Galilee; the upper parts of the towers, the north entrance, and a few windows are the only additions. Overall, the church has a bold, stern, and commanding presence.

The Central Tower, the work of Prior Bell, was built in 1471. The Bell Ringer's Gallery divides it into two portions, with two windows in each, the lower ones being glazed and the upper louvred. The panelled work, the ogee-shaped labels and the surmounting parapet proclaim their Perpendicular style.

The Central Tower, made by Prior Bell, was completed in 1471. The Bell Ringer's Gallery splits it into two sections, each with two windows; the lower ones are glazed and the upper ones are louvred. The paneling, the ogee-shaped labels, and the top parapet showcase their Perpendicular style.

Two Octagonal Towers of Norman character rise at the[288] north corners of the north transept. The Western Towers are Norman as far as the level of the nave roof, the upper portion being added in the thirteenth century, and the pinnacles and parapets at the end of the eighteenth. We have already alluded to the construction of the east end, which replaced the apsidal termination of the original building. The famous rose window is in the gable of the east end, and beneath are nine lofty lancet windows. Notice the sculpture of the Dun Cow in the north angle of the Nine Altars, placed there in 1775.

Two Octagonal Towers with a Norman style stand at the[288] north corners of the north transept. The Western Towers are Norman up to the level of the nave roof, while the upper part was added in the thirteenth century, and the pinnacles and parapets were added at the end of the eighteenth century. We've already mentioned the construction of the east end, which replaced the original apse. The famous rose window is in the gable of the east end, and below it are nine tall lancet windows. Take note of the sculpture of the Dun Cow in the north corner of the Nine Altars, placed there in 1775.

The Porch was built by Wyatt, and we can endorse the decision of Canon Greenwell, Durham's great historian, that "in its present condition it is a most unworthy and discreditable portal for so magnificent a temple as that into which it ushers the worshipper." The woodwork is ancient, and here we see the famous sanctuary knocker, which criminals used when they wished to gain an entrance and secure the rights of sanctuary from mob violence or secular law. Two porters were employed in watching for fugitives, and directly the refugee knocked he was admitted, clad in a black cloth gown, with a yellow cross on his left shoulder, conducted to a chamber near the south door of the Galilee Chapel, and given shelter for thirty-seven days.

The Porch was built by Wyatt, and we can agree with Canon Greenwell, Durham's renowned historian, that "in its current state, it is an unworthy and discreditable entrance for such a magnificent temple that welcomes the worshipper." The woodwork is old, and here we can see the famous sanctuary knocker, which criminals used when they wanted to enter and claim the rights of sanctuary from mob violence or secular law. Two porters were stationed to look out for fugitives, and as soon as the refugee knocked, he was let in, wearing a black cloth gown with a yellow cross on his left shoulder, taken to a room near the south door of the Galilee Chapel, and given shelter for thirty-seven days.

At the west end there is the Galilee Chapel, of Late Norman work, which covers the west door, over the main entrance. This door, walled up by Cardinal Langley in the fifteenth century, and re-opened in 1845, was made by Flambard (1099-1128). It has thirteen detached cartouches, each having an animal or flower within it, and is adorned with chevron ornament. The window was inserted by Prior Fossor (1342-1374), and contained coloured glass, represented "the Stem of Jesse," which was destroyed at the Reformation. In 1867 Dean Waddington restored the glass, reproducing the old design. The arch-destroyer, Wyatt, actually proposed to remove the Galilee Chapel, and make a carriage drive to the west door; but happily his nefarious design was frustrated.

At the west end is the Galilee Chapel, built in the Late Norman style, which covers the west door at the main entrance. This door, which was bricked up by Cardinal Langley in the fifteenth century and reopened in 1845, was constructed by Flambard (1099-1128). It features thirteen separate cartouches, each depicting an animal or flower, and is decorated with chevron patterns. The window was added by Prior Fossor (1342-1374) and originally held colored glass depicting "the Stem of Jesse," which was destroyed during the Reformation. In 1867, Dean Waddington restored the glass, recreating the original design. The arch-destroyer, Wyatt, actually suggested removing the Galilee Chapel to create a carriage drive to the west door; fortunately, his wicked plan was thwarted.

There are two south doorways; the one opposite the north door, known as the Monks' Door, was erected by Bishop Pudsey, and has fine carvings of floral and other designs upon the arches and columns. The mouldings and sculptures are most profuse, the zigzag and double chevron and diaper being extensively employed. The leaf pattern is observed on the arch, and the iron-work of the door is a fine specimen of Norman workmanship. The other[289] doorway, known as the Prior's Door, is of the same date, but the carving is much decayed.

There are two south doorways; the one across from the north door, called the Monks' Door, was built by Bishop Pudsey and features beautiful carvings of floral and other designs on the arches and columns. The moldings and sculptures are very elaborate, with zigzag and double chevron patterns used extensively. The leaf pattern can be seen on the arch, and the ironwork of the door is an excellent example of Norman craftsmanship. The other[289] doorway, known as the Prior's Door, is from the same period, but the carving is significantly worn down.

We will now examine the Cloisters, enclosed on the north by the walls of the Cathedral, on the south by the refectory, on the east by the chapter-house, deanery and south transept, and on the west by the dormitory, now, together with the refectory, used as the library, and beneath it the so-called crypt, which was the common hall of the monks. The present buildings were erected by Bishop Skirlaw in the early years of the fifteenth century, the refectory being restored at the Restoration. A stone laver or conduit stood in the centre of the cloister erected in 1432, the basin only remaining.

We will now look at the Cloisters, which are bounded on the north by the walls of the Cathedral, on the south by the refectory, on the east by the chapter-house, deanery, and south transept, and on the west by the dormitory, which, along with the refectory, now serves as the library, and beneath it is the so-called crypt, which was the monks' common hall. The current buildings were constructed by Bishop Skirlaw in the early 1400s, with the refectory being restored during the Restoration. A stone basin or water channel was placed in the center of the cloister in 1432, with only the basin remaining today.

The Chapter-House was a victim to Wyatt's misdoings, and the greater part was pulled down by him. It has, however, been recently restored in memory of Bishop Lightfoot, and is a noble chamber, having an apsidal termination at the east end, an arcade of interlacing arches running round the wall, and round-headed windows.

The Chapter-House suffered because of Wyatt's actions, and he destroyed most of it. However, it has been recently restored in honor of Bishop Lightfoot, and now it’s an impressive room with a rounded end at the east side, a series of interlocking arches around the walls, and rounded windows.

The library and museum contains many objects of great interest, including a number of Roman altars and tablets, Saxon crosses and carved stones, remarkable for their beautiful scroll-work. There is the famous Ruthwell cross, memorial crosses of the four last Saxon bishops, Hadrian stone from the Roman wall, the monastic dining-table, a remarkable treasure-chest, with five different locks and keys, and—most interesting of all—the remains of St. Cuthbert's coffin, his robes, and other relics taken from his tomb. Amongst these we notice his stole and maniple and pectoral cross. In another case we see three rings of the first Norman bishops, and the crozier of Bishop Flambard. Durham has many interesting MSS., amongst others the Book of the Landisfarne Gospels, brought away by the monks when they fled from Holy Island, which fell into the waves and still retains the stains of sea water; a MS. of the seventh century, which once belonged to the Venerable Bede, and the Bede Roll (1456 and 1468), containing a list of all the religious houses in England and abroad which were asked for prayers for the souls of Priors Ebchester and Burnaby. The roof is remarkably fine.

The library and museum have many fascinating objects, including several Roman altars and tablets, Saxon crosses, and carved stones known for their beautiful scrollwork. There’s the famous Ruthwell cross, memorial crosses of the last four Saxon bishops, the Hadrian stone from the Roman wall, a monastic dining table, a remarkable treasure chest with five different locks and keys, and—most interesting of all—the remains of St. Cuthbert's coffin, his robes, and other relics from his tomb. Among these, we see his stole, maniple, and pectoral cross. In another display case, we find three rings from the first Norman bishops and the crozier of Bishop Flambard. Durham has many interesting manuscripts, including the Book of the Lindisfarne Gospels, taken by the monks when they escaped from Holy Island, which submerged and still shows stains from seawater; a seventh-century manuscript that once belonged to the Venerable Bede; and the Bede Roll (1456 and 1468), which lists all the religious houses in England and abroad that were asked to pray for the souls of Priors Ebchester and Burnaby. The roof is exceptionally fine.

The Interior

The Interior

As we stand at the west door we get a magnificent view of this noble edifice, with its grand Norman cylindrical pillars, 23 feet in circumference, some adorned with zigzag furrows, others lozenge-shaped, with narrow ribs, or spiral, and arches round and carved, with rolls and chevron moulding. The capitals are[290] cushioned, and cut octagonally. Above is the triforium, composed of large arches, enclosing two smaller ones, with cushioned capitals; and higher still the clerestory, composed of single round-headed windows, surmounted by the vaulting ribs, adorned with chevrons. This nave and aisles were built by Bishop Flambard (1099-1128). The roof of stone vaulting was finished in 1133, and Durham is said to be the only Cathedral in England which retains the original stone Norman vaulting over the nave.

As we stand at the west door, we get a stunning view of this impressive building, with its grand Norman cylindrical pillars, 23 feet in circumference. Some are decorated with zigzag patterns, others are lozenge-shaped, featuring narrow ribs or spirals, and the arches are round and carved, adorned with rolls and chevron molding. The capitals are[290] cushioned and cut in an octagonal shape. Above is the triforium, made up of large arches that enclose two smaller ones, all with cushioned capitals; and even higher is the clerestory, featuring single round-headed windows topped by the vaulting ribs, decorated with chevrons. This nave and its aisles were constructed by Bishop Flambard (1099-1128). The stone vaulting roof was completed in 1133, and Durham is said to be the only cathedral in England that still has the original stone Norman vaulting over the nave.

The Galilee Chapel

The Galilee Chapel

The Sanctuary Chamber, wherein the hunted fugitives from justice found a shelter, formerly stood near the south door of the Galilee Chapel, but all traces have been removed. The font is modern, the subjects carved on it representing scenes from the life of St. Cuthbert. The canopy was erected by Bishop Cosin in 1663.

The Sanctuary Chamber, where hunted fugitives from justice found shelter, used to be near the south door of the Galilee Chapel, but all traces have been removed. The font is modern, with the designs carved on it showing scenes from the life of St. Cuthbert. The canopy was put up by Bishop Cosin in 1663.

The internal north doorway should be examined, especially the beautiful foliage-work. In the lozenges and mouldings there are some strange creatures represented—a centaur shooting with bow and arrow, a boy being whipped, a man riding a lion, and other curious subjects.

The internal north doorway should be looked at, especially the beautiful leaf designs. In the diamond shapes and moldings, there are some unusual figures depicted—a centaur shooting a bow and arrow, a boy being punished, a man riding a lion, and other interesting subjects.

Before proceeding eastward we will see the Galilee Chapel, which was the Lady Chapel, a beautiful specimen of Late Norman work, erected by Bishop Pudsey in 1175. Lady chapels usually stand at the east end, but no women were allowed to enter churches dedicated to St. Cuthbert, who has been accused of misogyny. We[291] notice in the nave a boundary stone, beyond which no female foot might go in the direction of the high altar. We mark a change in the style of architecture from that used in the nave. The arches and columns are lighter, with graceful capitals, on which the volute appears. The style is approaching that of the graceful period of Early English. Cardinal Langley (1406-1437) made extensive alterations in this chapel, heightening the walls, erecting a new roof, inserting Perpendicular windows, closing the west door of the church, and making two other entrances. All visitors will approach with reverence and interest the tomb of the Venerable Bede, the great Anglo-Saxon scholar, and the father of English history. His bones were once covered with a splendid shrine, which the iniquitous commissioners of Henry VIII. destroyed. Now a plain marble slab, with the inscription:

Before heading east, let's check out the Galilee Chapel, which used to be the Lady Chapel. It's a stunning example of Late Norman architecture, built by Bishop Pudsey in 1175. Lady chapels typically sit at the east end, but women weren't allowed to enter churches dedicated to St. Cuthbert, who was often accused of misogyny. We[291] can see a boundary stone in the nave that marked the spot beyond which no woman was permitted to go towards the high altar. There's a noticeable shift in architectural style from the nave to this chapel. The arches and columns are lighter, featuring elegant capitals with volutes. The design is starting to resemble the more graceful Early English style. Cardinal Langley (1406-1437) made extensive changes to this chapel, raising the walls, adding a new roof, installing Perpendicular windows, closing the west doorway of the church, and creating two new entrances. Every visitor approaches the tomb of the Venerable Bede, the esteemed Anglo-Saxon scholar and the father of English history, with respect and curiosity. His remains were once housed under a magnificent shrine, which the unscrupulous commissioners of Henry VIII destroyed. Now, it is marked by a simple marble slab with the inscription:

"Here are the bones of the Venerable Bede in the grave,"

alone marks the grave of this illustrious man. The altar of the Virgin stood in the great western doorway, which was then walled up, of which the stone slab carved with the five crosses, the aumbrey and some colouring alone remain. The builder of this chapel, Cardinal Langley, lies buried here, and his monument remains. Some much-damaged mural paintings mark the site of the Altar of Our Lady of Pity. The paintings are supposed to represent St. Oswald and St. Cuthbert. There is some uncertainty about the origin of the name "Galilee." Most probably it arose from the custom of the monks to go in procession at certain times around the church, and to halt at certain stations in memory of our Lord's appearance after His Resurrection. His last appearance was on a mountain in Galilee; it is therefore not improbable that the place where the procession made its final halt should receive that name. Here in ancient times the consistory court held its sittings, and here the commissioners of Henry VIII. met and destroyed, or appropriated, the rich store of treasures, the vestments, plate and ornaments which had been given to the Cathedral by countless generations of pious benefactors. Again entering the nave in the south aisle, we see the Neville monuments, which have been much mutilated by the Scottish prisoners, or during the Reformation period. Between the fifth and sixth pillars is an altar tomb to the memory of Lord John Neville and his wife Matilda (1386), daughter of Hotspur. The matrix of the brass of Bishop Robert Neville (1438-1457) is in front of this. In the next bay is the[292] altar tomb of Lord Ralph Neville and his wife, Lady Alice (1374), who founded the Neville Chapel. Holes in the pillar show where the iron grating stood which divided the chapel from the rest of the church, and in this enclosure there was "an altar with a fair alabaster table above it, where Mass was daily celebrated." Traces of the colouring which once adorned this beautiful chapel can still be seen.

alone marks the grave of this distinguished man. The altar of the Virgin was located in the large western doorway, which is now walled up, with only the stone slab carved with five crosses, the aumbrey, and some coloring remaining. The builder of this chapel, Cardinal Langley, is buried here, and his monument still stands. Some severely damaged mural paintings indicate the site of the Altar of Our Lady of Pity. These paintings are believed to depict St. Oswald and St. Cuthbert. There is some uncertainty about the origin of the name "Galilee." Most likely, it came from the custom of the monks to process around the church at certain times and stop at specific stations to commemorate our Lord’s appearances after His Resurrection. His final appearance was on a mountain in Galilee; thus, it’s reasonable that the place where the procession stopped last would be named accordingly. Here, in ancient times, the consistory court held its sessions, and it was here that Henry VIII's commissioners gathered to destroy or appropriate the rich collection of treasures, the vestments, plates, and ornaments given to the Cathedral by countless generations of devoted benefactors. Returning to the nave in the south aisle, we see the Neville monuments, which have been significantly damaged by Scottish prisoners or during the Reformation. Between the fifth and sixth pillars is an altar tomb in memory of Lord John Neville and his wife Matilda (1386), who was Hotspur’s daughter. The brass matrix of Bishop Robert Neville (1438-1457) is in front of this. In the next bay is the[292] altar tomb of Lord Ralph Neville and his wife, Lady Alice (1374), who established the Neville Chapel. Holes in the pillar indicate where the iron grating was that separated the chapel from the rest of the church, and in this enclosure, there was "an altar with a beautiful alabaster table above it, where Mass was celebrated daily." Traces of the coloring that once decorated this beautiful chapel can still be seen.

Leaving the nave, we enter the Transepts, which were part of Carileph's work. The large window in the north transept was inserted by Prior Fossor (1341-1374), and is in the Decorated style. Prior Castell in 1512 restored the window, and filled it with coloured glass representing the four doctors—SS. Augustine, Ambrose, Gregory and Jerome. Hence it is known as the Window of the Four Doctors. In the south transept is the large Perpendicular Te Deum window, erected about 1450. Some of the glass is ancient, but the greater part was inserted in 1869 in memory of Archdeacon Thorp. Altars stood formerly in the aisles at the north and south extremities of the transepts. Traces of colour may still be seen, and the remains of some brackets which contained sculptured figures. Chantrey's fine monument of Bishop Barrington (1791-1826) stands in the south transept.

Leaving the nave, we enter the Transepts, which were part of Carileph's work. The large window in the north transept was added by Prior Fossor (1341-1374) and is in the Decorated style. Prior Castell restored the window in 1512 and filled it with colored glass representing the four doctors—Saints Augustine, Ambrose, Gregory, and Jerome. Therefore, it is known as the Window of the Four Doctors. In the south transept is the large Perpendicular Te Deum window, which was installed around 1450. Some of the glass is ancient, but most of it was added in 1869 in memory of Archdeacon Thorp. Altars used to be located in the aisles at the north and south ends of the transepts. Traces of color can still be seen, along with remnants of some brackets that held sculpted figures. Chantrey's beautiful monument of Bishop Barrington (1791-1826) is located in the south transept.

The whole of the lantern Tower is of the Perpendicular style, and was probably built by Prior Bell (1464-1478). A gallery surrounds the lower stage, supported by grotesque heads. The Tudor flower ornament may be observed on the string-course over the panelling. The screen is modern, and was designed by Sir Gilbert Scott. Passing into the choir, the earliest part of the building, we see the Norman work of Carileph blended with the later Early English style. As we have already noticed, the east end of the Norman church terminated with apses. These were subsequently removed. The whole choir comprehends four pillars on each side, two of them clustered and two round, the latter of which are cut in a spiral form. The roof was new vaulted by Prior Horton, who succeeded in 1289, the ribs of the vaulting being decorated with the dog-tooth mouldings. The work around the altar is all Early English. Clustered pillars divide the nine altars from the choir, decorated with foliage.

The entire lantern Tower is designed in the Perpendicular style, likely constructed by Prior Bell (1464-1478). A gallery encircles the lower level, supported by grotesque heads. You can see the Tudor flower ornament on the string-course above the paneling. The screen is modern and was designed by Sir Gilbert Scott. Moving into the choir, the oldest part of the building, we see the Norman work of Carileph mixed with the later Early English style. As we've mentioned, the east end of the Norman church originally ended with apses, which have since been removed. The entire choir consists of four pillars on each side: two clustered and two round, with the latter featuring a spiral cut. The roof was newly vaulted by Prior Horton, who took over in 1289, with the ribs of the vaulting adorned with dog-tooth moldings. The work around the altar is all Early English. Clustered pillars separate the nine altars from the choir, decorated with foliage.

In the year 1650 a large number of Scottish prisoners were confined in the Cathedral, who did much damage to the internal fittings. In order to gain fresh air, or for love of mischief, they broke most of the windows, and the holes in the floor in the south transept show where they made their fires for cooking their meals.[293] Another mark of their presence was the destruction of the woodwork of the choir, which they doubtless used for firewood. At the Restoration Bishop Cosin erected the present stalls. The misereres are worthy of remark—lions, mermaids, monsters, apes, peacocks and dolphins being the most striking subjects. The modern lectern and pulpit are both very beautiful, the former being designed after the ancient lectern described in the Rites of Durham.

In 1650, a large group of Scottish prisoners was held in the Cathedral, causing significant damage to the interior. To get some fresh air, or perhaps just for trouble, they broke most of the windows, and the holes in the floor of the south transept indicate where they built fires to cook their meals.[293] Another sign of their presence was the destruction of the choir's woodwork, which they likely used for firewood. When the monarchy was restored, Bishop Cosin installed the current stalls. The misereres are notable—featuring striking depictions of lions, mermaids, monsters, apes, peacocks, and dolphins. The modern lectern and pulpit are both quite beautiful, with the former designed based on the ancient lectern described in the Rites of Durham.

The altar-screen is very graceful and beautiful, and was originally erected by Lord Neville of Raby in 1380, and much restored in 1876. It was originally painted, and the 107 niches were filled with images. The matrix of an immense brass to the memory of Bishop Beaumont (1318-1333) is seen near the altar steps. It must have been one of the largest brasses in England, and resembles the immense one at Lynn, Norfolk. The choir is paved with mosaics similar to those of the Confessor's Chapel at Westminster.

The altar screen is very elegant and beautiful, originally built by Lord Neville of Raby in 1380 and significantly restored in 1876. It was originally painted, and the 107 niches were filled with statues. You can see the matrix of a large brass memorial for Bishop Beaumont (1318-1333) near the altar steps. It must have been one of the largest brasses in England and looks similar to the huge one at Lynn, Norfolk. The choir is paved with mosaics that are like those in the Confessor's Chapel at Westminster.

The Bishop's Throne

The Bishop's Chair

The magnificent tomb of Bishop Hatfield (d. 1381) is on the south side of the choir. He is habited in his episcopal dress. The outer garment is the chasuble, and beneath it the linen alb or surplice. His hands are covered with episcopal gloves, embroidered on the[294] back; on his left arm is the maniple. The tomb was originally gilded and coloured. Above is the throne erected by him, the highest in England. The monument of Bishop Lightfoot stands opposite.

The impressive tomb of Bishop Hatfield (d. 1381) is located on the south side of the choir. He is dressed in his episcopal attire. The outer garment is the chasuble, and beneath it is the linen alb or surplice. His hands are adorned with episcopal gloves, embroidered on the[294] back; on his left arm is the maniple. The tomb was originally gilded and painted. Above it is the throne he established, the tallest in England. The monument of Bishop Lightfoot is situated opposite.

The North and South Aisles of the Choir are similar in their architectural features to the choir itself, showing the blending of the stately Norman with the graceful Early English work. The monks used frequently to resort to the north aisle, where was a porch having an altar, with a rood and pictures of St. Mary and St. John, where they sang Mass daily. Certain holes in the stone mark the place of the porch, sometimes called the anchorage. Bishop Skirlaw's tomb stood between the third and fourth piers, before the old altar of St. Blaze. His monument has disappeared, but the stone bench remains, erected by him for his almsmen to sit upon. In the South Aisle the doorway of the great vestry remains, though the building was destroyed in 1802. The grave cover of the Prior of Lytham, a cell belonging to Durham, is preserved here. Here also stood the famous Black Rood of Scotland, captured from King David Bruce of Scotland at Neville's Cross (1346).

The North and South Aisles of the Choir have architectural features similar to the choir itself, showcasing a mix of the impressive Norman style and the elegant Early English design. The monks often went to the north aisle, which had a porch with an altar, a crucifix, and images of St. Mary and St. John, where they held Mass every day. Certain holes in the stone indicate where the porch, sometimes referred to as the anchorage, used to be. Bishop Skirlaw's tomb was located between the third and fourth piers, in front of the old altar of St. Blaze. While his monument is gone, the stone bench he had built for his almsmen to sit on still exists. In the South Aisle, the entrance to the large vestry remains, even though the building was destroyed in 1802. The grave cover of the Prior of Lytham, a cell associated with Durham, is preserved here. This is also where the famous Black Rood of Scotland stood, which was captured from King David Bruce of Scotland at Neville's Cross in 1346.

And now we will enter the Chapel of the Nine Altars, at the extreme east of the building. It was commenced in 1242, and the architect was Richard de Farnham, probably a relation of Nicholas de Farnham, then bishop. Prior Melsanby (1233-1244) presided over the erection of the building, and the name of the master-mason is preserved on an inscription: Thomas Moises. We notice the nine-lancet windows (under each of which stood an altar separated from its neighbour by screens and partitions of wainscot); the large rose window, "restored" by Wyatt; the beautiful arcade, with its trefoiled arches and deeply-cut mouldings, raised on slender shafts of marble, and surmounted by capitals. The altars were dedicated (beginning on the south side) to St. Andrew and St. Mary Magdalene; St. John the Baptist and St. Margaret; St. Thomas à Becket and St. Catherine; St. Oswald and St. Lawrence; St. Cuthbert and St. Bede; St. Martin and St. Edmund; St. Peter and St. Paul; St. Aidan and St. Helen; St. Michael, the Archangel.

And now we will enter the Chapel of the Nine Altars, at the far east of the building. It started being built in 1242, and the architect was Richard de Farnham, likely a relative of Nicholas de Farnham, who was the bishop at that time. Prior Melsanby (1233-1244) oversaw the construction of the building, and the name of the master mason is noted on an inscription: Thomas Moises. We can see the nine lancet windows (under each of which stood an altar separated from its neighbor by screens and partitions of wood); the large rose window, "restored" by Wyatt; the beautiful arcade, featuring trefoiled arches and intricately carved moldings, raised on slender marble shafts, and topped with capitals. The altars were dedicated (starting on the south side) to St. Andrew and St. Mary Magdalene; St. John the Baptist and St. Margaret; St. Thomas à Becket and St. Catherine; St. Oswald and St. Lawrence; St. Cuthbert and St. Bede; St. Martin and St. Edmund; St. Peter and St. Paul; St. Aidan and St. Helen; St. Michael, the Archangel.

Forty years were consumed in building this chapel, and the style developed as the work progressed. The north end was finished last, as we see from the noble double-traceried window, one of the finest in existence. The south windows are Perpendicular. Among the monuments are those of Bishop Bury, tutor of Edward III. (1345), and Bishop Bek (1310), and Bishop Van Mildert (1836), the last of the prince bishops.[295]

Forty years went into building this chapel, and the style evolved as the work continued. The north end was completed last, highlighted by the impressive double-traceried window, which is one of the best in existence. The south windows are Perpendicular. Among the monuments are those of Bishop Bury, tutor of Edward III. (1345), Bishop Bek (1310), and Bishop Van Mildert (1836), the last of the prince bishops.[295]

Behind the high altar is all that remains of the famous shrine of St. Cuthbert, once the glory of Durham, where countless pilgrims came to pay their devotions and offerings, and seek the protection of the saint. The cavities in the floor are said to have been worn by their feet. The grave of the saint was opened in 1827, and the vestments and other relics taken from it are kept in the library, and have already been described.

Behind the high altar is all that remains of the famous shrine of St. Cuthbert, once the pride of Durham, where countless pilgrims came to offer their prayers and offerings, and seek the saint's protection. The indentations in the floor are said to have been made by their feet. The saint's grave was opened in 1827, and the garments and other relics taken from it are stored in the library and have already been described.

On the south of the church is the College, containing the Deanery and prebendal houses. The gate is an interesting structure, built by Prior Castell in 1515.

On the south side of the church is the College, which includes the Deanery and prebendal houses. The gate is an interesting structure, built by Prior Castell in 1515.

The Castle

The Castle

William the Conqueror in 1072, when Walcher was bishop, on his return from Scotland, ordered the castle to be built, which was continued by Carileph and Flambard. Bishop Pudsey erected a new wall and a hall which bears his name, and Bishop Bek built the hall on the west of the courtyard. Bishop Hatfield rebuilt the keep. Tunstall's Gallery (1530-1558) connects the great hall and clock tower, and his chapel is remarkable for its beautifully-carved stalls. At the Restoration the castle was in a ruinous condition. It had been sold to the Lord Mayor of London. The Scots had plundered it; and Bishop Cosin set to work to rebuild and repair the home of his predecessors. In 1840 the keep was rebuilt, and the castle is now the seat of the University of Durham.

William the Conqueror, during Walcher's time as bishop in 1072, ordered the construction of the castle on his way back from Scotland. Carileph and Flambard continued the work. Bishop Pudsey built a new wall and a hall that carries his name, while Bishop Bek constructed the hall on the west side of the courtyard. Bishop Hatfield rebuilt the keep. Tunstall's Gallery (1530-1558) connects the great hall and clock tower, and his chapel is notable for its beautifully carved stalls. By the time of the Restoration, the castle was in ruins. It had been sold to the Lord Mayor of London, and the Scots had plundered it. Bishop Cosin took on the task of rebuilding and repairing the home of his predecessors. In 1840, the keep was rebuilt, and the castle now serves as the seat of the University of Durham.

The most interesting Churches in the city are St. Mary le Bow (rebuilt 1685); St. Mary the Less (Norman, but much "restored"); St. Oswald (1190, with many subsequent rebuildings); St. Margaret (1154); St. Giles (1112).

The most interesting Churches in the city are St. Mary le Bow (rebuilt in 1685); St. Mary the Less (Norman, but heavily "restored"); St. Oswald (1190, with many later rebuildings); St. Margaret (1154); St. Giles (1112).

About four miles from Durham are the beautiful ruins of Finchale Priory, which was commenced in 1240 and finished about a century later. The Priory was suppressed at the Reformation.

About four miles from Durham are the beautiful ruins of Finchale Priory, which started construction in 1240 and was completed about a century later. The Priory was closed down during the Reformation.

Dimensions of the Cathedral

Cathedral Dimensions

Total length, 470 ft.; length of nave, 201 ft.; width of nave with aisles, 60 ft.; height of nave, 72 ft.; length of choir, 133 ft.; length of Nine Altars Chapel, 131 ft.; height of west towers, 144 ft.; height of central tower, 218 ft.; area, 44,400 sq. ft.

Total length, 470 ft.; length of nave, 201 ft.; width of nave with aisles, 60 ft.; height of nave, 72 ft.; length of choir, 133 ft.; length of Nine Altars Chapel, 131 ft.; height of west towers, 144 ft.; height of central tower, 218 ft.; area, 44,400 sq. ft.

Principal Building Dates

Principal Building Dates

Norman (1093-1140)—nave, choir, aisles, west towers, doorways, chapter-house; (1153-1195)—Galilee Chapel. Early English (1238-1275)—Nine Altars Chapel, choir vault. Decorated (1342-1346)—window in north transept and west windows of nave. Perpendicular (1386-1500)—cloisters, dormitory, central tower; (1661-1684)—library.

Norman (1093-1140) – main area, choir, side aisles, west towers, doorways, chapter house; (1153-1195) – Galilee Chapel. Early English (1238-1275) – Nine Altars Chapel, choir vault. Decorated (1342-1346) – window in the north transept and west windows of the main area. Perpendicular (1386-1500) – cloisters, dormitory, central tower; (1661-1684) – library.

PLAN OF DURHAM CATHEDRAL

Durham Cathedral Plan


RIPON CATHEDRAL

The historical associations of Ripon carry us back to very early times. Alcfrid, Prince of Deira, was lord of the soil in the seventh century, and in 660 bestowed on Eata, Abbot of Melrose, a portion of the ground at Ripon whereon to erect a monastic foundation. After the expulsion of the Scottish monks the same prince gave the monastery to St. Wilfrid, who, after he became archbishop, erected a church. This was of the basilican type, with which St. Wilfrid had made himself familiar during his sojourn in Italy. With the earlier monastery was associated the holy Cuthbert, who was the Hostillar. Wilfrid was ordained at Ripon, and here he resided when his episcopal seat was usurped by Ceadda (or Chad). The site of the old monastery was on the north-east side of the present Cathedral, bounded by Stammer Gate and Priest Lane. Wilfrid built his new monastery about 200 yards west of the old buildings. There is some doubt about the position of his church. It is the pronounced opinion of the learned that the famous Saxon crypt under the present church is really his work. Did he build an earlier church, and that which stood over this crypt later? Possibly so—but, in all probability, we may conclude that the monastic buildings only occupied the site on the west of Stammer Lane, and that his church stood over his crypt. This church was a very famous one. It is recorded that he brought workmen from Italy, who wrought in the Roman manner. It was fashioned after the model of a basilica, and constructed with wrought stones from the foundation, and had divers pillars and porticoes. It was dedicated to St. Peter, and splendid was the feast of the dedication. Here St. Wilfrid, after all the trials of his wandering life, was buried. For a brief space Ripon enjoyed the rank of an episcopal city, being so raised by Archbishop Theodore, and then for a thousand years the see was in abeyance, until in 1836 another Bishop of Ripon was appointed.

The historical connections of Ripon take us back to very early times. Alcfrid, Prince of Deira, was the landowner in the seventh century and in 660 gave Eata, Abbot of Melrose, a piece of land at Ripon to build a monastery. After the Scottish monks were expelled, the same prince gave the monastery to St. Wilfrid, who, after becoming archbishop, built a church. This church was of the basilica style, which St. Wilfrid had learned about during his time in Italy. The early monastery was associated with the holy Cuthbert, who was the Hostillar. Wilfrid was ordained in Ripon and lived there when his episcopal seat was taken over by Ceadda (or Chad). The old monastery was located on the northeast side of the current Cathedral, bordered by Stammer Gate and Priest Lane. Wilfrid constructed his new monastery about 200 yards west of the original buildings. There is some uncertainty about the location of his church. Many scholars believe that the famous Saxon crypt beneath the current church is actually his work. Did he build an earlier church, and was that which stood over this crypt constructed later? Possibly, but, most likely, we can conclude that the monastic buildings only occupied the area west of Stammer Lane, and that his church stood over his crypt. This church was very well-known. It is said that he brought workers from Italy, who constructed it in the Roman style. It was designed after the model of a basilica, built with carved stones from the foundation, and featured various pillars and porticoes. It was dedicated to St. Peter, and the dedication feast was magnificent. Here St. Wilfrid, after all the challenges of his wandering life, was buried. For a short while, Ripon held the status of an episcopal city, having been elevated by Archbishop Theodore, and then for a thousand years the see was inactive, until in 1836 another Bishop of Ripon was appointed.

But much happened during this long interval. When the Danes terrified the land, in 995, came Bishop Aldune, bearing the body of St. Cuthbert, and stayed here three months until they set[298] out and found peace at Durham. Before this Odo of Canterbury, coming into these northern parts, had pity on the desolation of Ripon Church, wrought by the "harrying" of Eadred of Northumbria in 948, and caused a new work to be edified where the minster now is. After the Conquest hard was the hand of William pressed upon his northern subjects, who liked not his yoke, and all this land was devastated by the Norman conquerors. But with the Conquest came peace, and soon some building was evidently set on foot here, though the chroniclers are silent. In later Norman times Archbishop Roger de Pont l'Evêque (1154-1181) began the building of the existing church, incorporating some portion of the older structure. His work is Transitional, and furnishes a good example of the gradual development of Early English style. Archbishop Walter de Grey (1216-1255) carried on the good work and built the west front with its flanking towers, adorned with lofty spires of timber and lead. The next alteration was carried out at the end of the thirteenth century, when Archbishop John Romanus determined to rebuild the eastern part of the choir, and for this purpose granted an indulgence of forty days to those who should help forward the work. This work was in all the glory of the Decorated style. The Scots made a ferocious raid in 1319, when the people of Ripon took refuge in the church, which suffered much from the attacks of the enemy. Archbishop de Melton repaired some of this damage, which was chiefly confined to the roofs, screens, stalls, and other woodwork, and Archbishop Thoresby (1352-1373) was very eager to continue this restoration and beautify the minster. He probably built the Lady Chapel. A century elapsed, during which the clergy do not seem to have been remarkable for zeal or earnestness, and then the lantern tower was so much shaken and broken that the greatest part thereof had already fallen, and the rest expected to follow, and speedy remedy was found immediately necessary. Archbishop Booth in 1459 adopted the usual and efficacious plan of granting an indulgence of forty days to all who should assist in re-edifying the steeple. The work was immediately begun, and a great era of church building was inaugurated. The canons awoke from their lethargy and worked vigorously. They rebuilt much of the tower, and then set themselves to entirely rebuild the Norman nave, which was in great decay and ruin. It was a great work, and nobly done. The fall of the tower had broken much of the woodwork of the stalls; so these indefatigable canons made new ones. It was only the dissolution of the Establishment which checked their progress, and[301] prevented them from finishing their work. The church was despoiled of all its wealth, and in Elizabeth's time, when Archbishop Sandys applied for an endowment, he could obtain "nothing but fair and unperformed promises." Elizabeth loved not this northern town, the people of which clung to the "old Religion," and took an active part in the rising of 1569. Many of them were hung for their pains. James I., however, restored the constitution of the collegiate chapter, and granted to it many of its old privileges and an assured income. During the Civil War Ripon escaped fairly well, save that the Puritan soldiers broke much of the beautiful glass in the east window, and perhaps were guilty of causing other damage, of which history telleth not. In 1660 the wooden spire, which had suffered by lightning in 1593, fell, and damaged the roof of the choir. This was repaired, and the other wooden spires on the west towers removed lest they, too, should fall. Since then there have been several restorations. In 1861 the church was placed in the hands of Mr. Scott, afterwards Sir Gilbert, who made a very complete renovation of the building, the details of which we will examine when we inspect the Cathedral.

But a lot happened during this long period. When the Danes invaded the land in 995, Bishop Aldune came, bringing the body of St. Cuthbert, and stayed for three months until they set out and found peace at Durham. Before this, Odo of Canterbury, visiting these northern areas, took pity on the devastation of Ripon Church caused by Eadred of Northumbria's "harrying" in 948, and inspired the construction of a new structure where the minster now stands. After the Conquest, William imposed a heavy hand on his northern subjects, who resented his rule, and this land was ravaged by the Norman conquerors. But with the Conquest came peace, and it was clear that building began here, although the chroniclers say nothing. In later Norman times, Archbishop Roger de Pont l'Evêque (1154-1181) started the construction of the current church, incorporating parts of the older structure. His work is Transitional, illustrating the gradual development of Early English style. Archbishop Walter de Grey (1216-1255) continued the good work by constructing the west front with its side towers, topped with tall timber and lead spires. The next modification happened at the end of the thirteenth century when Archbishop John Romanus decided to rebuild the eastern part of the choir and granted a forty-day indulgence to anyone who helped with the project. This work showcased the glory of the Decorated style. The Scots made a fierce raid in 1319, prompting the people of Ripon to seek refuge in the church, which was severely damaged during the attacks. Archbishop de Melton repaired some of this damage, mainly to the roofs, screens, stalls, and other woodwork, and Archbishop Thoresby (1352-1373) was very eager to continue this restoration and enhance the minster. He probably built the Lady Chapel. A century went by, and the clergy didn’t seem particularly zealous or earnest, leading to the lantern tower being so unstable and damaged that most of it had already collapsed, with the rest expected to follow, making immediate repairs essential. In 1459, Archbishop Booth enacted the usual and effective plan of granting a forty-day indulgence to everyone who would assist in rebuilding the steeple. The work began quickly, marking the start of a great era of church building. The canons shook off their lethargy and worked energetically. They rebuilt much of the tower and then focused on completely rebuilding the Norman nave, which was in serious decay and ruin. It was a great task, successfully done. The tower’s collapse had damaged much of the woodwork in the stalls, so these tireless canons made new ones. Only the dissolution of the Establishment halted their progress, preventing them from completing their work. The church lost all its wealth, and during Elizabeth's reign, when Archbishop Sandys sought an endowment, he could secure "nothing but fair and unfulfilled promises." Elizabeth did not favor this northern town, where the people adhered to the "old Religion" and participated in the rising of 1569. Many were executed for their efforts. However, James I. restored the collegiate chapter's constitution and granted it many of its previous privileges and a secure income. During the Civil War, Ripon fared relatively well, except that Puritan soldiers destroyed much of the beautiful glass in the east window and might have caused other undocumented damage. In 1660, the wooden spire, which had been struck by lightning in 1593, fell and damaged the choir's roof. This was repaired, and the other wooden spires on the west towers were removed to prevent similar collapses. Since then, there have been several restorations. In 1861, the church was entrusted to Mr. Scott, later Sir Gilbert, who undertook a thorough renovation of the building, the details of which we will examine when we look at the Cathedral.

Ripon Cathedral from North
Evening

Ripon Cathedral from North
Evening

In 1836 an episcopal see was erected at Ripon, and Charles Langley, afterwards Archbishop of Canterbury, became its first bishop.

In 1836, a bishopric was established at Ripon, and Charles Langley, who later became the Archbishop of Canterbury, was appointed as its first bishop.

The Exterior

The Outside

Although Ripon is not a Cathedral of the first magnitude or splendour, yet it is a stately structure, and greatly superior to many of our ecclesiastical buildings. It possesses also some features of profound interest, and the story of its building is attractive. Approaching the church from the market-place by Kirkgate we see the beautiful West Front, which compares favourably with most others, except perhaps York, Lincoln, Peterborough and Wells. It has much dignity and beauty. It consists of a gable between two square towers. The nave, built by Archbishop Roger, was Late Norman or Transitional, and to this Archbishop Grey added this façade in the best and purest period of the Early English style. In the lowest storey are three deeply-recessed doorways, with detached shafts. Round and hollow mouldings are used, and the dog-tooth ornament, the hall-mark of the Early English style, is plentiful. The doors are old. Above are five-lancet windows, and above them another row of five lancets of unequal height. The dog-tooth is used in the[302] mouldings. The towers have four stages. In the lowest is an arcade of trefoiled arches, and above lancets. Nail-head moulding is used in the string-courses. When the spires were pulled down in 1660, battlemented parapets were added, and later the pinnacles. The whole front has been much restored. There is a fine peal of ten bells in the south tower. There were formerly some old bells, one of which is said to have been brought from Fountains Abbey, but these have all been recast, and their interest has vanished. The nave has six bays, and was built in Perpendicular style in 1503. The south side is earlier than and superior to the north. The arches of the windows are less acutely pointed, and the buttresses have three stages, are crocketed, and have large finials. The pitch of the roof has been lowered since the nave was built.

Although Ripon may not be one of the most impressive cathedrals, it is an elegant structure that surpasses many of our churches. It features several elements of significant interest, and the story behind its construction is appealing. As we approach the church from the market square via Kirkgate, we are greeted by the beautiful West Front, which holds its own against most others, perhaps except for York, Lincoln, Peterborough, and Wells. It exudes a sense of dignity and beauty, presenting a gable flanked by two square towers. The nave, constructed by Archbishop Roger, is in the Late Norman or Transitional style, while Archbishop Grey later added the façade in the finest and purest form of Early English style. The lowest level showcases three deeply recessed doorways with detached shafts. Round and hollow moldings are applied, and there is an abundance of the dog-tooth ornament, a signature of the Early English style. The doors are old. Above them are five lancet windows, followed by another row of five lancets of varying heights. Dog-tooth is featured in the[302] moldings. The towers consist of four levels. The lowest level has an arcade of trefoiled arches, with lancets above. Nail-head molding is present in the string courses. When the spires were removed in 1660, battlemented parapets and later pinnacles were added. The entire front has undergone significant restoration. In the south tower, there is a fine set of ten bells. There were once some old bells, one of which is said to have come from Fountains Abbey, but these have all been recast, and their historical significance has faded. The nave, which features six bays, was constructed in Perpendicular style in 1503. The south side is older and superior to the north. The arches of the windows are less sharply pointed, and the buttresses are three-staged, crocketed, and topped with large finials. The pitch of the roof has been lowered since the nave was built.

The Great Buttresses
Ripon

The Great Buttresses Ripon

The Central Tower was rebuilt on the south and east sides in Perpendicular times, while the north and west retain Roger's work. It was formerly capped by a spire. Returning to the north side we see the north side of the nave, which is later than the south. There are six buttresses, which project widely and have two stages with crockets and finials, and grotesques. The arches of the windows both in the aisles and clerestory are very acute, and those of the latter[303] have five lights. From this point we see the original faces of the central tower, built by Roger (1154-1181), which has round-headed windows. The presence of dog-tooth shows the approach of the Early English style. The North Transept is also part of Roger's church and the best example of his work; it has round-headed windows. The parapet is later. We notice two sculptured stones in the north-west buttress, with rich scroll-work, evidently Saxon, and probably taken from Wilfrid's church. The doorway in the north side is remarkable, having a plain trefoil head rising from a corbel-like projection, and is flanked by three receding detached shafts with foliated capitals. The Choir has three bays of Tran[304]sitional Norman work, but the windows are Decorated. The remainder of this side was built late in the thirteenth century and is Decorated. The east end, with its grand window, is very fine. Massive buttresses stand on each side of the front with octagonal turrets. In the north turret there is a small chamber which was probably a reclusorium. The east window is flanked by heavy buttresses. The gable was rebuilt by Scott. The window (51 feet by 25 feet) is a magnificent specimen of Early Decorated work, one of the finest in England. On the south side we see the three eastern windows are Decorated as on the north, but the rest are Perpendicular. On this side is a building which retains some of the earliest Norman work in the Cathedral, probably built by Thomas of Bayeaux, archbishop (1069-1100). This building has three storeys—a crypt, the chapter-house and the Lady Chapel (erected in the fourteenth century), which we shall examine later. The South Transept retains much of Roger's Transitional work, but the east side was altered and rebuilt in Perpendicular times. On the south side is a fine doorway contemporary with the transept and resembling somewhat that on the north.

The Central Tower was rebuilt on the south and east sides during the Perpendicular period, while the north and west sides still show Roger's original work. It used to be topped by a spire. If we turn to the north side, we can see the nave there, which is later than the south side. It has six buttresses that project broadly and feature two stages with crockets, finials, and grotesques. The windows in both the aisles and clerestory have very acute arches, and the latter's arches have five lights. From this view, we can see the original faces of the central tower, built by Roger (1154-1181), which has round-headed windows. The presence of dog-tooth patterns indicates the shift toward the Early English style. The North Transept is also part of Roger's church and is the best example of his work, with round-headed windows. The parapet is a later addition. We notice two sculpted stones in the north-west buttress featuring intricate scrollwork, clearly Saxon, and likely sourced from Wilfrid's church. The doorway on the north side is notable for its plain trefoil head rising from a corbel-like projection, flanked by three receding detached shafts with foliated capitals. The Choir consists of three bays of Transitional Norman work, but the windows are Decorated. The rest of this side was built in the late thirteenth century and is also Decorated. The east end, with its impressive window, is particularly stunning. Large buttresses support each side of the front, with octagonal turrets. Inside the north turret, there is a small chamber that probably served as a reclusorium. The east window is flanked by heavy buttresses. The gable was rebuilt by Scott. The window (51 feet by 25 feet) is a magnificent example of Early Decorated style, one of the finest in England. On the south side, the three eastern windows are Decorated like those on the north, while the others are Perpendicular. Here, we find a building that preserves some of the Cathedral's earliest Norman work, likely constructed by Thomas of Bayeux, the archbishop (1069-1100). This building features three storeys—a crypt, the chapter house, and the Lady Chapel (built in the fourteenth century), which we will explore later. The South Transept retains much of Roger's Transitional work, but the east side was modified and rebuilt in Perpendicular times. On the south side, there is a fine doorway that dates back to the same period as the transept and resembles the one on the north.

The Apse
Ripon Cathedral

The Apse Ripon Cathedral

The Interior

The Interior

Entering by the west door we see a fine and imposing Nave, with tall and graceful piers that support without any intermediate triforium a range of lofty windows of elaborate tracery. This nave was constructed in the Perpendicular period, as we have said, and the main arcades stand on the foundation of Roger's earlier church. The latter had no aisles. These the sixteenth-century builders added, taking as their western starting-point the northern and southern extremities of the west tower. Hence the nave is unusually wide (87 feet), and exceeds all other cathedrals except York, Chichester, Winchester and St. Paul's. There are many points of architectural interest. The west bays opening into the tower are Early English. On either side is a lofty thirteenth-century arch, with plain mouldings, and capitals deeply undercut. Above is a blind arcade of four arches enclosed in a circular arch—this occupies the triforium stage; and the clerestory has a triple window, the centre round-headed, the side ones pointed. The west end, with its ranges of lancets, is most effective. The glass is modern. The next bay shows us clearly the character of Roger's church, and eastward we come to the Perpendicular work of the early sixteenth century, which[305] appears to be earlier than it really is. The traditions of the earlier style lingered on amid the hills and dales of Yorkshire, while the architects and townsfolk of less remote places had developed the more familiar details of the Perpendicular period. The roof is modern. The arch of the tower facing us is part of Roger's church, but there is a curious mass of masonry on the south pier which was erected by the Perpendicular builders, when want of funds or the dissolution of the chapter prevented the completion of the design. The contrast between the materials of the old building and the new in the nave will be noticed. The former is fashioned of yellow gritstone, the latter of white limestone. The aisles are Perpendicular work erected about 1503. The vaulting is modern. In the south aisle is the font, or rather there are two fonts. The earlier one reposes in the corner, and is Roger's work; the later is Perpendicular. Ripon is not very rich in monuments. In this same aisle there is a curious altar tomb with a slab of grey marble, upon which is carved the figure of a lion and near it that of a man kneeling. Tradition states that it covered the body of an Irish prince, who died here on his return from Palestine, whence he had brought a lion that followed him like a dog. There is some old glass, fragments of which have been collected in the window near the font. In the North Aisle at the west end is the consistory court. The old Saxon Crypt deserves close attention and has occasioned many conjectures and much antiquarian disputing. It is undoubtedly very early, and may with safety be assumed to have been part of St. Wilfrid's church. After descending several steps and passing along passages, which have two niches in the wall, we arrive at a cylindrically vaulted chamber (7 feet by 11 feet), and on the north side is the famous "St. Wilfrid's Needle." Formerly the superstition attached to it was that no unchaste woman could with safety pass through it; now we are told that if a virgin "threads the needle" she will be married within a year. This needle is only an enlargement of one of the niches which were doubtless used for lights. Recent excavations have been made here, which revealed the remains of an altar, a passage round the chamber, and a quantity of bones which were probably relics. It is conjectured that this was a relic chamber, and was built under the church of Wilfrid. It is impossible to touch upon all the interesting problems which this curious chamber suggests, especially as affecting the position and form of Wilfrid's early Saxon church.

Entering through the west door, we see a grand and impressive Nave, with tall and elegant piers that support a series of high windows with intricate tracery, without any intermediate triforium. This nave was built during the Perpendicular period, as mentioned, and the main arcades stand on the foundation of Roger's earlier church, which had no aisles. The builders of the sixteenth century added these aisles, starting from the northern and southern ends of the west tower. As a result, the nave is unusually wide (87 feet) and surpasses all other cathedrals except York, Chichester, Winchester, and St. Paul's. There are many points of architectural interest. The west bays leading into the tower are Early English. On either side, there are tall thirteenth-century arches with simple moldings and deeply undercut capitals. Above them is a blind arcade of four arches enclosed in a circular arch, which makes up the triforium level; the clerestory has a triple window, with the center being round-headed and the side ones pointed. The west end, with its rows of lancets, is striking. The glass is modern. The next bay clearly shows the character of Roger's church, and moving eastward, we find the Perpendicular work from the early sixteenth century, which[305] seems to be older than it actually is. The traditions of the earlier style continued in the hills and valleys of Yorkshire, while architects and townspeople in less remote areas were developing the more recognizable details of the Perpendicular period. The roof is modern. The arch of the tower facing us is part of Roger's church, but there’s an interesting mass of masonry on the south pier that was built by the Perpendicular builders, when lack of funds or the dissolution of the chapter prevented the completion of the design. The contrast between the materials of the old building and the new in the nave is noticeable. The former is made of yellow gritstone, while the latter is white limestone. The aisles are Perpendicular work built around 1503. The vaulting is modern. In the south aisle, there are two fonts. The earlier one is in the corner and is from Roger’s time; the later one is Perpendicular. Ripon isn't very rich in monuments. In this same aisle, there's a unique altar tomb with a grey marble slab, featuring a carved figure of a lion alongside that of a kneeling man. Tradition says it covered the body of an Irish prince, who died here on his return from Palestine, where he had brought a lion that followed him like a dog. Some old glass fragments have been collected in the window near the font. In the North Aisle at the west end is the consistory court. The old Saxon Crypt deserves careful attention and has sparked many speculations and much debate among antiquarians. It is undoubtedly very early and can be safely assumed to have been part of St. Wilfrid's church. After descending several steps and walking through passages that have two niches in the wall, we arrive at a cylindrically vaulted chamber (7 feet by 11 feet), and on the north side is the famous "St. Wilfrid's Needle." It used to be believed that no unchaste woman could safely pass through it; now, it is said that if a virgin "threads the needle," she will be married within a year. This needle is merely an enlargement of one of the niches, which were likely used for lighting. Recent excavations have taken place here, revealing the remains of an altar, a passage around the chamber, and a number of bones that were probably relics. It is speculated that this was a relic chamber built underneath Wilfrid's church. It’s impossible to cover all the interesting issues that this unique chamber raises, particularly regarding the location and structure of Wilfrid's early Saxon church.

The Transepts retain, with the exception of the east wall of the[306] southern member, Archbishop Roger's Transitional work, when Norman architecture was slowly developing into Early English. There is a niche on the east side of each transept. A Perpendicular arch forms an entrance to the North Transept from the north aisle, and on the north of this is a round-headed window. The triforium has two broad arches in each bay with a central detached shaft, while the clerestory has three arches, the centre round, the others pointed. In the north wall there are three round-headed windows in the highest stage. The mullions in the windows in the second stage are later insertions. On the east is the Chantry of St. Andrew, the Markenfields' Chapel. Outside the aisle is the effigy of Sir Thomas (1497), with that of his lady, and another Sir Thomas lies in the chapel (notice the armour and collar). This family lost its estates in the rising in the time of Elizabeth. Also there is the monument of Sir Edward Blackett of Newby (1718). The South Transept resembles the north, except that its east side is Perpendicular. The aisle is called the Mallorie Chapel, and there is a tablet to the memory of Sir John Mallorie of Studley, who defended Skipton Castle for Charles I. There are some ancient mural paintings, which may be seen when going to the library.

The Transepts preserve, except for the east wall of the [306] southern section, Archbishop Roger's Transitional work, during the time when Norman architecture was gradually evolving into Early English. Each transept has a niche on its east side. A Perpendicular arch serves as an entrance to the North Transept from the north aisle, and to the north of this is a round-headed window. The triforium features two broad arches in each bay with a central detached shaft, while the clerestory contains three arches: the center one is round, and the others are pointed. On the north wall, there are three round-headed windows at the highest level. The mullions in the windows on the second level were added later. On the east side is the Chantry of St. Andrew, the Markenfields' Chapel. Outside the aisle is the effigy of Sir Thomas (1497), along with that of his lady, and another Sir Thomas is buried in the chapel (note the armor and collar). This family lost its estates during the uprising in Elizabeth's time. There is also a monument for Sir Edward Blackett of Newby (1718). The South Transept is similar to the north, except that its east side is Perpendicular. The aisle is known as the Mallorie Chapel, and there is a tablet honoring Sir John Mallorie of Studley, who defended Skipton Castle for Charles I. Some ancient mural paintings can be seen when heading to the library.

The Choir-Screen is Perpendicular, and has beautiful enriched tabernacle work. Above the door is a representation of God the Father with angels. Above the screen is the organ. The Choir is a delightful architectural study, as the work of three periods are blended here—Transition Norman, Decorated and Perpendicular. The three western bays on the north are Roger's work, Transitional Norman. The three bays opposite were injured by the fall of the tower and renewed in Perpendicular style. The rest of the choir was renewed in the Decorated style of the fourteenth century. The three bays on the north resemble the work in the transept. The group of vaulting shafts is very fine. The triforium openings are glazed like the clerestory. A change was made in Perpendicular times. Before the triforium arches opened into the aisles, but the roof of these was lowered in 1459, and the openings filled with glass.

The Choir-Screen is in the Perpendicular style and features beautifully detailed tabernacle work. Above the door, there's an image of God the Father surrounded by angels. The organ is placed above the screen. The Choir serves as a lovely architectural study, showcasing the blend of three styles: Transitional Norman, Decorated, and Perpendicular. The three western bays on the north side are Roger's work, representing Transitional Norman. The three bays on the opposite side were damaged when the tower fell and were rebuilt in the Perpendicular style. The remainder of the choir was rebuilt in the Decorated style of the fourteenth century. The three bays on the north are similar in style to the work in the transept. The group of vaulting shafts is impressive. The triforium openings are glazed like the clerestory. During the Perpendicular period, changes were made; previously, the triforium arches opened into the aisles, but the roofs of those aisles were lowered in 1459, and the openings were filled with glass.

There is some of Roger's work in the other bays, the earlier work being altered and converted into that of the Decorated style. In the clerestory there is tracery on the inner side of the opening as well as the outer. The foliage of the carving is very beautiful. The roof is modern, but some very interesting ancient bosses have been re-inserted. Some of the subjects are:—the Good Samaritan, the expulsion from Paradise, the Virgin with lilies, the crucifixion[307] (modern), a bishop, a king, an angel. The east window is remarkably fine, one of the best Decorated windows in England. All the old glass was destroyed by Cromwell's soldiers, and the modern glass is but a sorry substitute.

There are some of Roger's works in the other bays, with the earlier pieces being modified and transformed into the Decorated style. In the clerestory, there is tracery on both the inner and outer sides of the opening. The foliage in the carvings is very beautiful. The roof is modern, but some fascinating ancient bosses have been reinserted. Some of the subjects include: the Good Samaritan, the expulsion from Paradise, the Virgin with lilies, the crucifixion (modern), a bishop, a king, and an angel. The east window is particularly impressive, one of the finest Decorated windows in England. All the old glass was destroyed by Cromwell's soldiers, and the modern glass is just a poor replacement.[307]

The woodwork of the Stalls is for the most part of excellent fifteenth-century execution. Rich tabernacle work rises at the back of the stalls. Several of the eastern canopies are modern. The finials are curious; some represent an elephant and castle with figures of men fighting, and a monkey. The misereres are interesting; the carvings represent many curious grotesques, fables and Scripture subjects. We notice Samson carrying the gates, Jonah and the whale, fox and geese, lion and dogs, griffins and rabbits, etc. The sedilia should be noticed. They have been restored, but much old work remains of Late Decorated style. A close examination of the grotesques should not be omitted. The pulpit and lectern are modern.

The woodwork of the Stalls is mostly exceptional for the fifteenth century. Elaborate tabernacle work rises at the back of the stalls. Several of the eastern canopies are more recent. The finials are interesting; some depict an elephant and castle with figures of men fighting and a monkey. The misereres are notable; the carvings feature many intriguing grotesques, fables, and biblical themes. We see Samson carrying the gates, Jonah and the whale, the fox and the geese, the lion and the dogs, griffins, and rabbits, among others. The sedilia is worth a look. They have been restored, but a lot of original work remains in the Late Decorated style. A close examination of the grotesques shouldn't be missed. The pulpit and lectern are modern.

The North Choir Aisle follows the architecture of the choir. Here once stood the famous shrine of St. Wilfrid. The South Choir Aisle is very similar to the opposite one. Here is a lavatory, and a piscina at the east end marks the site of a former altar. Above the west bay was a chantry chapel, now used for part of the organ. There is a monument in this aisle to Dean Fowler (1608). On the south is the Chapter-House and Vestry. The Crypt below formed part of the Early Norman church existing here before the rebuilding by Archbishop Roger. It is generally attributed to Thomas of Bayeaux (1070-1100). The vault is supported by square pillars with plain capitals. The windows have a double splay, which is a sign of almost Saxon work. The east end is apsidal. This crypt was formerly filled with bones. There are some interesting stone coffins preserved here.

The North Choir Aisle mirrors the design of the choir. This is where the famous shrine of St. Wilfrid used to be. The South Choir Aisle is very similar to the other one. In this aisle, there's a lavatory, and a piscina at the east end marks the spot of a former altar. Above the west bay was a chantry chapel, which is now part of the organ. There’s a monument in this aisle dedicated to Dean Fowler (1608). To the south are the Chapter-House and Vestry. The Crypt below was part of the Early Norman church that existed here before Archbishop Roger's rebuilding. It's generally credited to Thomas of Bayeux (1070-1100). The vault is supported by square pillars with simple capitals. The windows feature a double splay, which is indicative of almost Saxon craftsmanship. The east end is apsidal. This crypt was once filled with bones. Some interesting stone coffins are preserved here.

Returning to the Chapter-House we notice the stone benches where the canons once sat in conclave. The vaulting is very fine, of Late Transitional work, almost Early English. This chamber was built by Roger. An arcade runs along the north wall. The windows are circular, the piers round, and have circular bosses and capitals. Some curious fifteenth-century alabaster carvings are preserved here, the subjects being St. Wilfrid, the Coronation of the Virgin and the Resurrection. The Vestry is evidently of the same date as the chapter-house, and once formed part of the same building, the partition wall being much later. It has an apse with the remains of an altar and the treasury occupied the apse on the south.[308] Above these chambers is the Lady Loft, the date of which is uncertain; it was probably built about 1330, and is Decorated in style. It is strange to find a Lady Chapel in this position. The room is now the library. It possesses some interesting incunabula and a few MSS.

Returning to the Chapter-House, we see the stone benches where the canons used to sit in assembly. The vaulting is impressive, showcasing Late Transitional work, almost Early English in style. This chamber was constructed by Roger. An arcade runs along the north wall. The windows are circular, the piers are round, and they feature circular bosses and capitals. Some intriguing fifteenth-century alabaster carvings are preserved here, depicting St. Wilfrid, the Coronation of the Virgin, and the Resurrection. The Vestry is clearly from the same period as the chapter-house and was once part of the same building, with the partition wall being much later. It has an apse with the remains of an altar, and the treasury occupied the apse on the south.[308] Above these chambers is the Lady Loft, whose exact date is unclear; it was likely built around 1330 and is in the Decorated style. It’s unusual to find a Lady Chapel in this location. The room is now the library, which contains some interesting incunabula and a few manuscripts.

Dimensions

Sizes

Total length270 ft.
Length of nave133 ft.
Breadth of nave87 ft.
Height of nave88 ft.
Length of choir95 ft.
Height of tower110 ft.
Length of transept130 ft.
Area25,280 sq. ft.

Principal Building Dates

Main Construction Dates

  • Saxon—Wilfrid's crypt.
  • Norman (1070-1100)—Portions of chapter-house, vestry and crypt below.
  • Transition (1154-1181)—Three bays of north side of choir, portions of nave, piers adjoining west and central towers, transepts.
  • Early English (1215-1255)—West front and west tower, vaulting of chapter-house and windows.
  • Early Decorated—Two eastern bays of choir and east window.
  • Perpendicular—South and east sides of central tower, east side of wall of south transept, two bays south side of choir, nave.

Ripon has some other important and interesting ancient buildings. There is the Hospital of St. Mary Magdalene, rebuilt in 1674, with an old chapel of the twelfth century. The Hospital of St. Anne, founded in the fifteenth century, though rebuilt in 1869, has its old chapel, with piscina and altar stone, and there are many other old houses in this city. Near here is the famous Fountains Abbey.

Ripon has several other significant and fascinating ancient buildings. There's the Hospital of St. Mary Magdalene, rebuilt in 1674, featuring an old chapel from the twelfth century. The Hospital of St. Anne, established in the fifteenth century and rebuilt in 1869, retains its old chapel, complete with a piscina and altar stone. Additionally, there are many other historic houses throughout the city. Close by is the famous Fountains Abbey.


YORK CATHEDRAL

Few cities can rival York in interest, dignity and importance. The ancient city of Roman Cæsars, the centre of Saxon Christianity, of Danish supremacy, of mercantile enterprise, the abode of kings, the seat of an archbishopric that long contended for supremacy with Canterbury, York may well claim a foremost place in English history, and possesses features of peculiar interest. Professor Freeman stated that "Eboracum (York) holds a place which is unique in the history of Britain, which is shared only by one other city in the lands north of the Alps (Treves)." Here the Emperor Constantius died, here Constantine the Great was crowned. Bishops of York were present at the Councils of Arles (314), Nicæa and Sardica, and when the Christian faith died out, killed by Pagan Saxons, Paulinus taught again the lessons of the holy Cross, and baptised Edwin, the king, in a little wooden church which stood on the site of the present Cathedral. Then Christianity died down, killed by the onslaughts of fierce Paganism, until at length, under the influence of Oswald and the monks of Iona and Lindisfarne, the Cross again triumphed. There was much contention between the Roman faction, led by Wilfrid, and the upholders of the native church, as regards customs and observances, and the influence of Wilfrid predominated. Wilfrid was a great builder, restored the Cathedral at York and erected large churches at Ripon and Hexham. The Danes overran Northumbria, and under their rule York increased its importance and became a large and flourishing city.

Few cities can match York in interest, dignity, and importance. The ancient city of Roman Cæsars, the center of Saxon Christianity, Danish power, and trade, the home of kings, and the seat of an archbishopric that long competed for dominance with Canterbury, York rightfully claims a top position in English history and has many uniquely interesting features. Professor Freeman remarked that "Eboracum (York) has a special place in the history of Britain, shared by only one other city in the lands north of the Alps (Treves)." Here, Emperor Constantius died, and Constantine the Great was crowned. Bishops of York attended the Councils of Arles (314), Nicæa, and Sardica, and when the Christian faith faded, extinguished by Pagan Saxons, Paulinus revived the teachings of the holy Cross and baptized King Edwin in a small wooden church that stood where the present Cathedral is located. Christianity declined again, overcome by fierce Paganism, until, under the influence of Oswald and the monks of Iona and Lindisfarne, the Cross triumphed once more. There was much conflict between the Roman faction, led by Wilfrid, and supporters of the native church regarding customs and practices, with Wilfrid's influence prevailing. Wilfrid was a major builder, restoring the Cathedral in York and constructing large churches in Ripon and Hexham. The Danes invaded Northumbria, and under their rule, York grew in importance and became a large, thriving city.

Then came the Norman Conquest, and we find Ældred, Archbishop of York, crowning William at Westminster, but his people liked not the change of rulers and rebelled. The Conqueror came and ruthlessly crushed the revolt, and after his wont erected a castle to overawe his subjects. Again they rebelled; the king swore deep vengeance, and terrible was the punishment inflicted on the northern kingdom. He appointed Thomas of Bayeaux archbishop, who set about repairing the ruined church, and built a new nave with side aisles and transepts, using the old church as a choir for the new. For years the question of the supremacy of York[310] or Canterbury disturbed the ecclesiastical affairs of England, and on one occasion at a council the Metropolitan of York, finding his brother of Canterbury occupying the seat of honour at the right of the Papal legate, gravely sat down on the latter's lap. In the reign of Henry II. came Roger de Pont l'Evêque, who built the new choir and crypt, removing the remains of the old Saxon church.

Then came the Norman Conquest, and we see Ældred, Archbishop of York, crowning William at Westminster, but his people didn’t like the change in rulers and rebelled. The Conqueror came and ruthlessly crushed the revolt, and as was his custom, built a castle to intimidate his subjects. They rebelled again; the king vowed deep revenge, and the punishment inflicted on the northern kingdom was severe. He appointed Thomas of Bayeux as archbishop, who started repairing the ruined church and built a new nave with side aisles and transepts, using the old church as a choir for the new one. For years, the issue of whether York or Canterbury held supremacy disrupted the church affairs of England, and once, during a council, the Archbishop of York, seeing his Canterbury counterpart in the position of honor next to the Papal legate, seriously sat down on the latter's lap. During the reign of Henry II, Roger de Pont l'Évêque arrived and built the new choir and crypt, dismantling the remains of the old Saxon church.

The people of York have ever been eager for fighting, revolt and riot. Sometimes we find them killing Jews; now disputing with the monks of St. Mary's Abbey, because some offending citizen had escaped their vengeance by claiming the right of sanctuary; now fighting against the Scots, and even rebelling against rulers who were obnoxious to them. Kings of the House of Lancaster were especially hateful, and nowhere in the kingdom did reformers of religion find more bitter opponents.

The people of York have always been ready for fighting, rebellion, and chaos. At times, we see them killing Jews; at other times, arguing with the monks of St. Mary's Abbey because a guilty citizen avoided their punishment by claiming sanctuary; sometimes they're battling the Scots, and even revolting against leaders they disliked. The kings from the House of Lancaster were especially despised, and nowhere else in the kingdom did reformers of religion face such fierce opposition.

During the rule of Walter de Grey, archbishop (1216-1255), the Norman transepts were removed and the present ones built, and in the reign of the Edwards the old Norman nave was replaced by the present one, and the chapter-house built. At this period York enjoyed much prosperity. The Scottish wars brought kings here who made it the military and civil capital of the whole country. Parliaments were held here. York Minster saw the marriage of Edward III., and the burial of his infant son. But rebellions against the kings of the House of Lancaster, the famous Pilgrimage of Grace against the reformed doctrines, and other risings, diminished its influence and deprived it of many privileges. York was besieged for six weeks during the Civil War, and suffered much; but happily General Fairfax exercised a restraining influence on his soldiers and prevented them from damaging the Cathedral. Although the citizens at the Reformation rebelled against the "new Religion," at the Restoration they rebelled against the overthrow of Puritanism; and again, when James II. endeavoured to restore Roman Catholicism, they rebelled again, attacked the Roman Catholic prelate whom the king sent to them, wrested from him his silver-gilt crozier, and took it in triumph to the minster, where it remains until this day.

During Walter de Grey's time as archbishop (1216-1255), the old Norman transepts were taken down and new ones were built. During the reign of the Edwards, the original Norman nave was replaced with the current one, and the chapter house was constructed. York thrived during this era. The Scottish wars brought kings here, making it the military and civil capital of the entire country. Parliaments met here, and York Minster witnessed the wedding of Edward III and the burial of his infant son. However, rebellions against the kings from the House of Lancaster, the famous Pilgrimage of Grace against reformed beliefs, and other uprisings reduced its power and stripped it of many privileges. York was under siege for six weeks during the Civil War and suffered greatly; fortunately, General Fairfax managed to hold his soldiers back and keep them from damaging the Cathedral. Although the citizens revolted against the "new Religion" during the Reformation, they rose up again at the Restoration against the fall of Puritanism. Later, when James II tried to bring back Roman Catholicism, they rebelled once more, attacked the Roman Catholic bishop sent to them by the king, seized his silver-gilt crozier, and triumphantly brought it to the minster, where it remains to this day.

We will now briefly trace the history of the building, which has been rightly called "the King of Cathedrals." In 627 Paulinus built his little wooden church for the baptism of King Edwin. A year later a stone church was begun, which was finished by Oswald and repaired by Wilfrid. In the crypt are[311] some of the walls of this early church, which show the "herring-bone" work of Saxon builders. When the Conqueror besieged York much destruction was wrought on this church.

We will now briefly outline the history of the building, which has been rightly called "the King of Cathedrals." In 627, Paulinus built his small wooden church for the baptism of King Edwin. A year later, construction began on a stone church, which was completed by Oswald and repaired by Wilfrid. In the crypt are[311] some of the walls of this early church, showcasing the "herring-bone" design of Saxon builders. When the Conqueror laid siege to York, a lot of damage was done to this church.

Tomb of Archbishop Walter de Grey

Tomb of Archbishop Walter de Grey

In 1070 Archbishop Thomas of Bayeaux built the Norman nave and transepts, and used the old church as the choir. The apse in the crypt and the core of the tower piers are the remains of this work.[312]

In 1070, Archbishop Thomas of Bayeux built the Norman nave and transepts, using the old church as the choir. The apse in the crypt and the core of the tower piers are the remnants of this work.[312]

In 1154-1181 choir and crypt were rebuilt by Roger in Late Norman style.

In 1154-1181, Roger rebuilt the choir and crypt in the Late Norman style.

In 1230-1260 the present transepts were built.

In 1230-1260, the current transepts were constructed.

In 1291-1324 Norman nave was taken down and the new nave built, and also the chapter-house, vestibule, sacristy and treasury. In 1338 the west front of nave was erected.

In 1291-1324, the Norman nave was taken down and replaced with a new nave, along with the chapter house, vestibule, sacristy, and treasury. In 1338, the west front of the nave was constructed.

In 1361-1400 choir rebuilt and Lady Chapel.

In 1361-1400, the choir and Lady Chapel were rebuilt.

In 1400-1423 central tower built in place of Early English lantern.

In 1400-1423, the central tower was constructed to replace the Early English lantern.

In 1433-1474 north and south-western towers built.

In 1433-1474, north and south-western towers were built.

The Cathedral was now complete. At the beginning of the sixteenth century the organ-screen was erected, and two disastrous fires in 1829 and 1840 necessitated considerable repairs, and in 1875 some needful restoration of the south transept was carried out.

The Cathedral was now finished. At the start of the sixteenth century, the organ-screen was built, and two devastating fires in 1829 and 1840 required major repairs. In 1875, some essential restoration of the south transept was done.

The Exterior

The Outside

The West Front is "more architecturally perfect as a composition and in its details than that of any other English cathedral," and is unquestionably the best cathedral façade in this country. The lower part, with the entrances and lower windows, belongs to the Early Decorated period. Above the windows the work is Late Decorated, and the towers above the roof Perpendicular. Numerous niches cover the surface. It is doubtful whether they ever contained statues. The principal entrance is divided by a clustered pier, and above it is a circle filled with cusped tracery. Over the whole doorway is a deeply-recessed arch, and over that a gable with niches, one of which contains the statue of an archbishop, supposed to be John le Romeyn, who began the nave in 1291, and other niches have figures of a Percy and a Vavasour, who gave the wood and stone for the building. The favourite ball-flower ornament of the Decorated style is seen on the gable, and the mouldings in the arches have figures representing the history of Adam and Eve. Above the entrance is a large eight-light window, pronounced by many to be too large even for York Minster, containing very elaborate and beautiful tracery, and over it is a pointed gable. On each side of the west window are buttresses covered with panelling and niches. The noble towers, rising on each side of the west front, have buttresses similarly adorned, and each three windows, and over the second an open battlement forms a walk along the whole front. The towers have battlements and pinnacles. The south-west tower (1433-1457) was injured by fire in 1840; and the north tower (1470-1474)[315] has the largest bell in the kingdom.

The West Front is "more architecturally perfect as a composition and in its details than that of any other English cathedral," and is definitely the best cathedral façade in the country. The lower part, with the entrances and lower windows, belongs to the Early Decorated period. Above the windows, the work is Late Decorated, and the towers above the roof are Perpendicular. Numerous niches cover the surface. It's unclear whether they ever held statues. The main entrance is divided by a clustered pier, and above it is a circle filled with cusped tracery. Over the entire doorway is a deeply-recessed arch, and above that is a gable with niches, one of which contains the statue of an archbishop, believed to be John le Romeyn, who started the nave in 1291, and other niches have figures of a Percy and a Vavasour, who provided the wood and stone for the building. The popular ball-flower ornament of the Decorated style is present on the gable, and the mouldings in the arches feature figures depicting the story of Adam and Eve. Above the entrance is a large eight-light window, considered by many to be too large even for York Minster, featuring very elaborate and beautiful tracery, and above it is a pointed gable. On each side of the west window are buttresses adorned with panelling and niches. The impressive towers, rising on each side of the west front, have similarly decorated buttresses, and each has three windows, with an open battlement over the second that creates a walkway along the entire front. The towers have battlements and pinnacles. The south-west tower (1433-1457) was damaged by fire in 1840, and the north tower (1470-1474)[315] houses the largest bell in the kingdom.

Chapter House
Herbert Railton

Chapter House
Herbert Railton

The Nave is divided into seven bays by high buttresses, on the south side crowned with pinnacles. It was evidently originally intended to connect them with the clerestory wall by flying buttresses to support a stone vaulted roof. But the builders were alarmed by the great span of the roof and substituted a wooden vault. Hence the flying buttresses were not needed. There are some curious gargoyles. The north side is plainer, as formerly the Palace would conceal any elaborate carving. The style is Decorated.

The Nave is split into seven sections by tall buttresses, topped with pinnacles on the south side. It was clearly originally meant to connect to the clerestory wall with flying buttresses to support a stone vaulted roof. However, the builders were concerned about the large span of the roof and opted for a wooden vault instead. As a result, the flying buttresses weren't necessary. There are some interesting gargoyles. The north side is simpler since the Palace used to hide any detailed carvings. The style is Decorated.

The South Transept (1216-1241) is of Early English design. The central porch is not remarkable, though the clustered shafts are very fine, ornamented with dog-tooth ornament. On each side are lancet windows, and above similar windows; higher still a large rose window, and in the gable a cusped triangular light. Arcaded buttresses with octagonal turrets rise on each side. Extensive restoration took place in 1871, when the old clock was removed.

The South Transept (1216-1241) features Early English design. The main porch isn't particularly special, but the clustered shafts are quite beautiful, decorated with dog-tooth patterns. There are lancet windows on each side, and above them, there are similar windows; even higher, there's a large rose window, and in the gable, a cusped triangular light. Arcaded buttresses with octagonal turrets rise on each side. Significant restoration occurred in 1871, when the old clock was taken out.

The Choir and Lady Chapel are Perpendicular work. The four eastern bays, constituting the Lady Chapel, are earlier than the later ones of the choir, and vary in detail. The triforium passage in the former is outside the building, and the windows are recessed. Strange gargoyles, with figures of apes and demons, adorn the buttresses. The east end is mainly filled with the huge window, the largest in England, which does not leave much space for architectural detail. Above it is the figure of Archbishop Thoresby, the builder of this part of the Cathedral. Panelling covers the surface of the stone, and below the window is a row of seventeen busts, representing our Lord and His Apostles, Edward III. and Archbishop Thoresby. There are two aisle windows; buttresses adorned with niches separate the aisles from the central portion, and others, capped with spires, stand on the north and south of this front.

The Choir and Lady Chapel are done in the Perpendicular style. The four eastern bays that make up the Lady Chapel were built earlier than the later ones in the choir, and they differ in detail. The triforium passage in the Lady Chapel is located outside the building, and the windows are set back. The buttresses are decorated with unusual gargoyles featuring figures of monkeys and demons. The east end is mostly filled with a massive window, the largest in England, which leaves little room for architectural details. Above it is the figure of Archbishop Thoresby, who built this part of the Cathedral. The stone is covered with panelling, and below the window is a row of seventeen busts representing our Lord, His Apostles, Edward III, and Archbishop Thoresby. There are two aisle windows, and buttresses decorated with niches separate the aisles from the main section, with others topped with spires standing on the north and south sides of this front.

The Chapter-House (Early Decorated) is octagonal, and connected with the north transept by a vestibule, which shows by its architectural details that it was built after the completion of the chapter-house. These constitute the finest examples of Decorated Gothic in England. Buttresses project at each angle, crowned with pinnacles. Curious grotesque gargoyles are seen, and amongst them some strange-looking bears. The roof is in the form of a pyramid, and there is a battlement surrounding it.[316]

The Chapter-House (Early Decorated) is octagonal and connected to the north transept by a vestibule, which, based on its architectural features, was built after the chapter-house was finished. These are the best examples of Decorated Gothic architecture in England. Buttresses stick out at each corner, topped with pinnacles. You can see some unusual grotesque gargoyles among them, including some peculiar-looking bears. The roof is pyramid-shaped and has a battlement around it.[316]

The North Transept (1241-1260) is a beautiful specimen of Early English work. The five long lancet windows, called the "Five Sisters," surmounted by the seven lancets in the gable, are most effective.

The North Transept (1241-1260) is a stunning example of Early English architecture. The five tall lancet windows, known as the "Five Sisters," topped by the seven lancets in the gable, are quite impressive.

The Central Tower is the largest in England, and is in the Perpendicular style (1410-1433). It is 200 feet high. It has windows ornamented with ogee gables, and its surface is covered with niches and panelling. A pair of narrow buttresses support each angle of the tower, decorated with panelling. This tower is one of the greatest achievements of the fifteenth-century builders, and is one of the finest in the world.

The Central Tower is the tallest in England, built in the Perpendicular style (1410-1433). It stands at 200 feet. The windows feature decorative ogee gables, and its exterior is adorned with niches and paneling. Each corner of the tower is supported by a pair of narrow buttresses, which are also decorated with paneling. This tower represents one of the greatest accomplishments of fifteenth-century builders and is considered one of the best in the world.

The Interior

The Interior

The Nave.—The first impression on viewing this nave is a sense of its magnitude. Archbishop Romeyn and his builders determined to build a vast church which would eclipse all other rivals. They would have large windows, high, towering piers, a huge, vaulted roof, and everything that was grand and impressive. Edward I. was then fighting with the Scots, and made York his chief city. It was immensely prosperous, and the ecclesiastical treasury was replete with the offerings of knights and nobles, kings and pilgrims. Nowhere should there be so mighty a church as York Minster. In order to have space for large windows they made the triforium unusually small, which is formed only by a continuation of the arches of the clerestory windows. The design for the stone vaulted roof was never carried out. The builders feared that the great weight of a roof with so large a span would be too much for the walls, so a wooden vault was substituted. The piers have octagonal bases, and consist of various sized shafts closely connected. The capitals are beautifully enriched with foliage of oak and thorn, and sometimes a figure is seen amidst the foliage. We notice thirty-two sculptured busts at the intersection of the hood moulding with the vaulting shafts. Coats of arms of the benefactors of York appear on each side of the main arches. The clerestory windows have each five lights. The old roof was destroyed by fire in 1840. The present one has a vast number of bosses representing the Annunciation, Nativity, Magi, Resurrection, besides a quantity of smaller ones. The whole scheme of decoration is most elaborate.

The Nave.—The first thing you notice when looking at this nave is how massive it is. Archbishop Romeyn and his builders aimed to create a huge church that would overshadow all others. They wanted large windows, tall, towering piers, a massive vaulted roof, and everything grand and impressive. At that time, Edward I was battling the Scots and made York his main city. It was extremely prosperous, and the church's treasury was filled with offerings from knights, nobles, kings, and pilgrims. There should be no greater church than York Minster. To make room for large windows, they designed the triforium to be unusually small, just a continuation of the arches from the clerestory windows. The plan for the stone vaulted roof was never executed. The builders worried that the heavy roof with such a wide span would be too much for the walls, so they used a wooden vault instead. The piers have octagonal bases and are made of various sized shafts that are closely connected. The capitals are beautifully decorated with oak and thorn foliage, and sometimes a figure can be seen within the leaves. There are thirty-two sculpted busts at the intersection of the hood molding and the vaulting shafts. The coats of arms of York's benefactors are displayed on each side of the main arches. The clerestory windows each have five lights. The old roof was destroyed by fire in 1840. The current one features a large number of bosses depicting the Annunciation, Nativity, Magi, Resurrection, along with many smaller ones. The overall decoration scheme is extremely detailed.

North Aisle of Choir
Herbert Railton

North Aisle of Choir
Herbert Railton

The west window is a noble specimen of Decorated work, with its curvilinear tracery, one of the finest in the kingdom. It has been entirely restored. There are eight lights. It was glazed by Archbishop Melton (1317-1340). Niches and arcading cover[319] the west wall. The pinnacles are carved with figures of men and animals, and also the brackets of the niches. The aisles have stone vaulting, windows Decorated like the west window, carved panels and arcading work. Over the north doorway are some sculptured figures of doubtful signification. The walled-up door which led to the Chapel of the Holy Sepulchre has a headless figure of the Virgin. Here is a tomb of an archbishop of Late Perpendicular work, with Tudor flower cornice. All the other monuments have been destroyed. Over the south aisle door are three sculptured representations of David killing the lion, Samson and the lion with Delilah cutting his hair, and a man and woman fighting. The glass of the windows should be especially noticed. Most of it is either Decorated or Early English.

The west window is a remarkable example of Decorated style, featuring its curvilinear tracery, which is among the best in the country. It has been fully restored. There are eight panes of glass. It was installed by Archbishop Melton (1317-1340). Niches and arcading cover[319] the west wall. The pinnacles are carved with figures of men and animals, as are the brackets of the niches. The aisles have stone vaulting, windows styled like the west window, carved panels, and arcading work. Above the north doorway are some sculptured figures of uncertain meaning. The bricked-up door that led to the Chapel of the Holy Sepulchre features a headless figure of the Virgin. Here lies a tomb of an archbishop from the Late Perpendicular period, with a Tudor flower cornice. All the other monuments have been destroyed. Above the south aisle door are three sculptured scenes: David killing the lion, Samson with Delilah cutting his hair, and a man and woman in a fight. The glass in the windows deserves special attention. Most of it is either Decorated or Early English.

The South Transept is the earliest part of the present Cathedral (1230-1241). The finest view is obtained on entering by the south door. The extraordinary magnitude of the transepts, the five lancets with their old glass, and the beauty of the Early English architecture, are most striking. The triforium is not dwarfed as in the nave, but assumes large proportions, whereas the clerestory is small. The former consists of semi-circular moulded arches, with dog-tooth ornament, each enclosing two pointed arches, and sub-divided into two similar arches. Five pointed arches in each bay constitute the clerestory, with sculptured heads. Clustered shafts of stone and Purbeck marble form the piers. The vaulting is of wood of the fifteenth century, and the bosses are curious. A mermaid and merman, a monk and a nun, look down upon us; an arcade of pointed arches lines the walls. Chantry chapels were formerly in the east aisle. On the south was Ludham's Chantry, archbishop (1258-1265). It contains the large modern monument of Dean Duncombe. Next we see the Chapel of St. Michael with the tomb of its founder, Archbishop Grey (1216-1255), the builder of this transept, and near it the monument of Archbishop Sewal de Bovill (1256-1258).

The South Transept is the oldest section of the current Cathedral (1230-1241). You get the best view when you enter through the south door. The huge size of the transepts, the five lancets with their old glass, and the beauty of the Early English architecture are really impressive. The triforium is not cramped like in the nave; instead, it has large proportions, whereas the clerestory is small. The triforium features semi-circular molded arches with dog-tooth decoration, each surrounding two pointed arches and divided into two similar arches. The clerestory has five pointed arches in each bay, adorned with sculpted heads. The piers are made of clustered stone shafts and Purbeck marble. The vaulting is wooden from the fifteenth century, and the bosses are interesting. A mermaid and merman, along with a monk and a nun, look down at us; an arcade of pointed arches runs along the walls. Chantry chapels used to be in the east aisle. On the south side was Ludham's Chantry, archbishop (1258-1265). It features a large modern monument for Dean Duncombe. Next, we see the Chapel of St. Michael, which holds the tomb of its founder, Archbishop Grey (1216-1255), the builder of this transept, and nearby is the monument of Archbishop Sewal de Bovill (1256-1258).

The North Transept resembles the south, but differs in details. Especially noticeable is the profusion of dog-tooth ornament, the magnificent lancet windows, called the "Five Sisters," with the five smaller ones over it. These are the largest ancient lancets in England.[16] Curious grotesques are seen in the triforium moulding. The monuments here are:—(1) a brass to the memory of soldiers [320]slain in India; (2) Archbishop Harcourt's tomb (1808-1843); (3) a skeleton memorial of Thomas Huxby, treasurer (1418-1424); (4) Archbishop Greenfield's tomb (d. 1315), which lies before the place where the altar of St. Nicholas stood; (5) effigy of Dr. Beckwith (d. 1847).

The North Transept is similar to the south one, but has different details. One especially striking feature is the abundance of dog-tooth decoration, along with the stunning lancet windows known as the "Five Sisters," accompanied by five smaller lancets above. These are the largest ancient lancets in England.[16] You can also see interesting grotesques in the triforium molding. The monuments here include:—(1) a brass memorial for soldiers killed in India; (2) the tomb of Archbishop Harcourt (1808-1843); (3) a skeleton memorial for Thomas Huxby, treasurer (1418-1424); (4) the tomb of Archbishop Greenfield (d. 1315), which is located where the altar of St. Nicholas used to be; (5) an effigy of Dr. Beckwith (d. 1847).

In 1829 a disastrous fire occurred in the Cathedral, caused by a lunatic incendiary named Martin. He hid himself on the night of the fire behind the tomb of Archbishop Greenfield. There is a curious doorway leading to the vestibule of the chapter-house of Decorated style.

In 1829, a terrible fire broke out in the Cathedral, started by a crazed arsonist named Martin. He concealed himself on the night of the fire behind the tomb of Archbishop Greenfield. There's an interesting doorway that leads to the vestibule of the chapter-house in Decorated style.

Entering the Vestibule we notice the exact place where the Early English builders finished their work, and the Decorated style begins. The difference between the styles in the chapter-house and vestibule shows that the former was erected first. It has a wall arcade, and above are windows of curious tracery, filled with beautiful old glass. The shafts of the arcade support trefoiled arches, with a cinquefoil ornamented with a sculptured boss. Each boss and capital is beautifully carved with foliage, amidst which the heads of men and dragons appear. The glass is Early Decorated, and contains representations of Royal personages.

Entering the Vestibule, we notice the exact spot where the Early English builders completed their work and the Decorated style begins. The difference between the styles in the chapter-house and vestibule shows that the chapter-house was built first. It features a wall arcade, and above it are windows with intricate tracery, filled with beautiful old glass. The shafts of the arcade support trefoiled arches, with a cinquefoil that has a sculptured boss. Each boss and capital is beautifully carved with foliage, amidst which are the heads of men and dragons. The glass is Early Decorated and includes images of Royal figures.

The Chapter-House is one of the most beautiful in England. The entrance is an arch, divided into two arches by a canopied pier, which bears a mutilated statue of the Virgin and Child. Clustered shafts, with capitals, are on each side of the doors, which have remarkably good scrolled iron-work. The chamber itself is very magnificent. It is octagonal, and in each bay there are six canopied stalls under a five-light window. The window tracery is superb. Clustered shafts support the vaulted roof. Everywhere we see richly-carved stone-work, the finest in any cathedral, the foliage of maple, oak, vine, and other trees. Here are pigs and squirrels feeding on acorns, men gathering grapes, birds, and coiled dragons and reptiles. The grotesques are most curious and interesting. In 1845, unfortunately, the building was restored, and the painted figures of kings and bishops were destroyed, a poor tiled floor laid down; but, in spite of all, it can still maintain its proud boast:—

The Chapter-House is one of the most beautiful places in England. The entrance features an arch, split into two by a canopied pier that holds a damaged statue of the Virgin and Child. There are clustered shafts with capitals on each side of the doors, which showcase beautifully crafted scrolled ironwork. The chamber itself is truly magnificent. It’s octagonal, with six canopied stalls under a five-light window in each bay. The window tracery is stunning. Clustered shafts support the vaulted ceiling. Everywhere you look, there’s richly carved stonework, the finest found in any cathedral, displaying foliage of maple, oak, vine, and other trees. You can spot pigs and squirrels munching on acorns, men harvesting grapes, birds, and coiled dragons and reptiles. The grotesques are particularly curious and fascinating. In 1845, unfortunately, the building was restored, and the painted figures of kings and bishops were lost, replaced by a poor tiled floor; but despite everything, it can still proudly claim:—

"Like a rose among flowers," This is the house of houses.

["As the Rose is the flower of flowers, so is this House the chief of Houses."]

["Just like the rose is the best of flowers, this house is the best of all houses."]

The Ladye Chapel
Herbert Railton 1899

The Lady Chapel
Herbert Railton 1899

The Choir-Screen, erected in 1500, is good Perpendicular work, and has figures of kings from William I. to Henry VI. The rebus[323] of the master-mason, Hyndeley (a hind lying) occurs in the capitals. The canopies are richly carved. There is an ogee pediment, and a niche with angels on each side, with censers. The Tudor flower is used as an ornament, and plaster angels by Bernasconi were added in 1810. The organ was erected in 1632.

The Choir-Screen, built in 1500, is an excellent example of Perpendicular architecture and features figures of kings ranging from William I to Henry VI. The rebus[323] of the master mason, Hyndeley (which shows a hind lying down) appears in the capitals. The canopies are intricately carved. There’s an ogee pediment and a niche with angels on either side, holding censers. The Tudor flower serves as decoration, and plaster angels created by Bernasconi were added in 1810. The organ was installed in 1632.

THE CRYPT

THE VAULT

The Choir and Lady Chapel.—The Lady Chapel, occupying the four east bays, was built in 1361-1405, the choir in 1407-1420. The style is Perpendicular, though it follows the design of the nave; yet the builders endeavoured to improve upon the earlier work and remedy its defects. They were eminently successful, and produced one of the most stately and magnificent choirs in England. The roof is made of wood, like the nave, and has a large number of foliated bosses. A disastrous fire in 1829 destroyed all the old carved stalls and misereres, and the modern substitutes are fairly successful. The altar-screen is a good reproduction of the ancient one, and the reredos was designed by Street, with reliefs by Tinworth. The lectern was given by T. Cracroft in 1686.[324] The differences in the style of the clerestory windows in the east and west portions will be readily noticed. Only in the western part is the Perpendicular style fully developed. The east window is the largest window in England, retaining its original glazing, but in actual size it is surpassed by that at Gloucester. Its height is 75 feet, and breadth 32 feet, and each compartment is a yard square. The artist of the glass was one Thornton, of Coventry.

The Choir and Lady Chapel.—The Lady Chapel, which takes up the four eastern bays, was built between 1361 and 1405, while the choir was constructed from 1407 to 1420. The style is Perpendicular, although it mirrors the design of the nave; nevertheless, the builders aimed to enhance the earlier work and fix its flaws. They were very successful, creating one of the most impressive and magnificent choirs in England. The roof is made of wood, similar to the nave, and features many foliated bosses. A disastrous fire in 1829 destroyed all the old carved stalls and misereres, and the modern replacements are quite successful. The altar screen is a good reproduction of the original, and the reredos was designed by Street, with reliefs by Tinworth. The lectern was presented by T. Cracroft in 1686.[324] The differences in the style of the clerestory windows in the eastern and western parts are easily noticeable. The Perpendicular style is fully developed only in the western section. The east window is the largest window in England, retaining its original glazing, though it is actually smaller than the one at Gloucester. It measures 75 feet in height and 32 feet in width, and each compartment is a yard square. The glass was created by an artist named Thornton from Coventry.

The Altar of the Virgin stood under this window, and here was a chantry, founded by the Percys. There is a curious ancient carving, much mutilated, of the Virgin and Child. Archbishop Bowet's Chantry (1407-1423) was at the east of the south aisle, and his tomb is here, the finest in the Cathedral, though much mutilated. There are many monuments in the choir, which are too numerous to mention—the second son of Edward III. (d. 1344), Archbishop Savage (d. 1507), Archbishop Sterne (1689), Archbishop Scrope, beheaded by Henry IV., to whose tomb there was great resort by pilgrims.

The Altar of the Virgin was located under this window, and there was a chantry established by the Percys. There's an interesting ancient carving, though quite damaged, of the Virgin and Child. Archbishop Bowet's Chantry (1407-1423) was to the east of the south aisle, and his tomb is located here, the most impressive in the Cathedral, despite being heavily damaged. There are numerous monuments in the choir, too many to list—the second son of Edward III. (d. 1344), Archbishop Savage (d. 1507), Archbishop Sterne (1689), and Archbishop Scrope, who was executed by Henry IV., whose tomb attracted many pilgrims.

The Crypt was mainly discovered after the fire of 1829. It has fine Norman piers, part of Roger's Cathedral (d. 1181), and contains some "herring-bone" work of Saxon architecture, the remains of Edwin's church. The vestry has some very interesting antiquities: an old Installation Chair, used at the consecration and enthronement of the archbishops; an old treasury-chest; Prayer-Book and Bible, presented by Charles I.; an old chained Bible; two misereres, left after the fire; a pastoral staff of 1686; the famous Horn of Alphus, presented before the Conquest, the title-deed to several acres of land held by horn tenure; chalices and patens of the fourteenth and fifteenth centuries; episcopal rings, and the bowl of the Cordwainers' Company, formerly belonging to Archbishop Scrope.

The Crypt was mainly discovered after the fire of 1829. It features beautiful Norman columns, part of Roger's Cathedral (d. 1181), and includes some "herring-bone" patterns of Saxon architecture, the remnants of Edwin's church. The vestry contains some really interesting artifacts: an old Installation Chair, used during the consecration and enthronement of archbishops; an old treasury chest; a Prayer Book and Bible presented by Charles I.; an old chained Bible; two misereres, saved after the fire; a pastoral staff from 1686; the famous Horn of Alphus, presented before the Conquest, which serves as the title deed to several acres of land held by horn tenure; chalices and patens from the fourteenth and fifteenth centuries; episcopal rings; and the bowl of the Cordwainers' Company, which once belonged to Archbishop Scrope.

The vastness of York Minster, with its forest of clustered pillars, its unrivalled ancient stained glass, its importance as the metropolitan church of Northern England, combine to make this splendid Cathedral one of the most interesting in the kingdom.

The size of York Minster, with its collection of clustered pillars, its unmatched ancient stained glass, and its significance as the main church of Northern England, come together to make this magnificent Cathedral one of the most fascinating in the country.

Other Objects of Interest in the City

Other Things to Explore in the City

St. Mary's Abbey, in the Museum Gardens, founded by Earl Sward in 1050. The present buildings were erected, after a fire in 1137, in 1270, and the Abbey grew to become one of great wealth[325] and importance. The style is Decorated. On the site of the abbot's house is the King's Manor, or Royal Palace, now used as a Blind School. Near at hand is the Multangular Tower, which formed part of the old Roman wall, and St. Leonard's Hospital, founded by King Athelstan in 936 A.D., and rebuilt by Stephen. The Museum is worthy of a visit, and the Hospitium of the old Abbey, which now contains a good collection of Roman antiquities and carved stones from the Abbey.

St. Mary's Abbey, in the Museum Gardens, was founded by Earl Sward in 1050. The current buildings were constructed after a fire in 1137, completed in 1270, and the Abbey became very wealthy and significant[325]. The architectural style is Decorated. On the site of the abbot's house is the King's Manor, or Royal Palace, which is now used as a Blind School. Nearby is the Multangular Tower, which was part of the old Roman wall, and St. Leonard's Hospital, established by King Athelstan in 936 A.D., and rebuilt by Stephen. The Museum is definitely worth a visit, featuring the Hospitium of the old Abbey, which now holds a good collection of Roman artifacts and carved stones from the Abbey.

St. William's College (College Street), the famous abode of the chantry priests of the Cathedral, founded in 1460, is now a series of cottages.

St. William's College (College Street), the well-known home of the chantry priests of the Cathedral, established in 1460, is now a collection of cottages.

The city walls should be visited, and the old gates—Mickelgate, Walmgate, Monkgate, and Bootham Bar. The hall of the Merchant Adventurers' Company is interesting, and Clifford's Tower, the keep of the Conqueror's castle, celebrated for the Massacre of the Jews in 1190. Many of the churches are ancient, and have beautifully-carved doors and interesting old glass. The Church of St. Mary the Younger has a Saxon tower.

The city walls are worth exploring, along with the historic gates—Mickelgate, Walmgate, Monkgate, and Bootham Bar. The hall of the Merchant Adventurers' Company is fascinating, and so is Clifford's Tower, the main structure of the Conqueror's castle, known for the Massacre of the Jews in 1190. Many of the churches are old and feature beautifully carved doors and intriguing old glass. The Church of St. Mary the Younger has a Saxon tower.

Dimensions

Dimensions

Total length486 ft.
Length of nave262 ft.
Breadth of nave and aisles104 ft.
Height of nave99 ft.
Length of choir224 ft.
Length of transept223 ft.
Height of central tower198 ft.
Height of western towers196 ft.
Area63,800 sq. ft.

For Building Dates see page 312.

For Building Dates see page __A_TAG_PLACEHOLDER_0__.

PLAN OF YORK CATHEDRAL

York Cathedral Plan


BEVERLEY MINSTER

Beverley Minster, the West Front

Beverley Minster, West Front

Although Beverley is not a cathedral, its Minster is certainly worthy of being ranked as such, and perhaps some day, when our dioceses are again divided, it may have a bishop of its own. Of John of Beverley's foundation want of space forbids us to write, or of the great Æthelstan, who conferred great privileges on the place. Ælfric and Archbishop Aldred were great builders, and did much for the Minster; but in 1188 a great part of the church was destroyed by fire. The nave seems to have escaped without much serious injury, and the monks set about repairing the east end and building a central tower; but, after the manner of towers, this one fell, and reduced the eastern arm of the church to ruins. Then came the era of the great Gothic builders, and early in the thirteenth century the monks began to rebuild the east end of the church, the tower, and one bay of the nave, and nobly did they accomplish their undertaking. They accomplished a work which caused their Minster to rank with the best achievements of Early English Gothic art, and we must look to Salisbury or the choir of Lincoln to find anything equal to it. For many years the old Norman nave remained. Nearly 100 years passed away, and then a new era of building dawned. At the end of the first quarter of the fourteenth century the monks set to work to rebuild the nave. Quickly the work progressed, until the Black Death, which seems to have been especially virulent in monasteries, laid low many of the builders. The noise of the chisel ceased, until at length the monks resumed their work, and built that crowning glory of their Minster, the noble west front. Such was the history of the building of Beverley Minster. Since that time little has been done, except to preserve the exquisite workmanship of these early builders. The church suffered from neglect, and from the evil genius and vile taste of the Georgian architects; but happily all their monstrosities have been removed by Sir Gilbert Scott, who restored the Minster to its ancient beauty.

Although Beverley isn't a cathedral, its Minster definitely deserves to be considered one, and maybe someday, when our dioceses are split again, it will have its own bishop. We can’t write about John of Beverley's foundation due to lack of space, or about the great Æthelstan, who granted significant privileges to the area. Ælfric and Archbishop Aldred were impressive builders and contributed a lot to the Minster; however, in 1188, a large portion of the church was destroyed by fire. The nave seems to have come through without much serious damage, so the monks set to work fixing the east end and constructing a central tower; but like many towers, this one collapsed, turning the eastern arm of the church into ruins. Then came the time of the great Gothic builders, and in the early thirteenth century, the monks began to rebuild the east end of the church, the tower, and one bay of the nave, and they did an amazing job. They created something that allowed their Minster to stand alongside the best of Early English Gothic art; one would have to look to Salisbury or Lincoln’s choir to find anything comparable. For many years, the old Norman nave stayed intact. Nearly 100 years went by, and then a new building era began. By the end of the first quarter of the fourteenth century, the monks started rebuilding the nave. The work progressed quickly until the Black Death, which seemed particularly deadly in monasteries, struck down many of the builders. The sound of chiseling stopped, until eventually the monks returned to their work and created the crowning glory of their Minster, the impressive west front. This is the story of Beverley Minster's construction. Since then, not much has happened except to maintain the beautiful craftsmanship of these early builders. The church suffered from neglect and the poor taste of Georgian architects; but fortunately, all their mistakes have been fixed by Sir Gilbert Scott, who restored the Minster to its former beauty.

BEVERLEY MINSTER

Beverley Minster

The West Front is one of the finest examples of the Perpendicular style in England. It consists of two towers, flanking a[328] large window, above which is a high gable, and below a deeply-recessed door. The window has nine lights. The whole front is panelled, and the buttresses are ornamented with various tiers of niche-work of excellent composition and most delicate execution. These niches are about to be filled with figures. We enter the Minster by the north porch, which is a fine piece of Perpendicular work, with a parvise over it. On entering the building we are struck with its great loftiness and the consummate beauty of its architectural details. As we have said, the Nave is later than the choir, with[331] the exception of the first bay adjoining the tower. That one bay is Early English; the rest is superb Decorated work. The ball-flower moulding is conspicuous in the latter, the dog-tooth in the former; but there seems to have been some attempt to assimilate the later work with the earlier. The west end is Perpendicular, and the west window is a fine example of the work of that period. The glass is modern. There is some beautiful arcading in the aisles, that in the north aisle being more developed Decorated than that in the south. The tomb of the "Sisters of Beverley" in the south aisle should be noticed. It belongs to the Decorated period, and possesses many features of interest. History is silent as to the names of these sisters, who are supposed to have been benefactors to the townsfolk. The tracery of the windows in the aisles should be noticed, as it is remarkable for its gracefulness and variety. The only relic of Norman work in the church is the font, near the south door, which is of a somewhat late character. The Transepts are of noble Early English construction. Tall lancets shed light upon the exquisite architectural details displayed here. Each transept has double aisles. The arcading of the triforium is curious, but effective. In the tympanum of each trefoil arch there is a quatrefoil and two semi-arches, which are completed by similar ones under the next arch. The effigy and monument of a priest in the north transept (fourteenth century) have some exquisite carving, and afford an excellent study of ecclesiastical vestments. The East End of the church is entirely composed of Early English work, and without doubt contains some of the best and most perfect architectural achievements of the thirteenth century. The piers are composed of eight massive columns. There is no triforium gallery, a very exquisite arcade taking its place, similar to that in the transepts, consisting of trefoil arches, ornamented with dog-tooth. Purbeck marble is extensively used throughout the choir. The screen is modern. The choir stalls and misereres are scarcely surpassed by any in England. They belong to the sixteenth century, and the designs represented on the latter are extremely quaint and curious. Few churches have such a superb Altar-Screen as Beverley. It is Early English, but has been much mutilated and robbed of its images, which now have been replaced by good modern sculpture. It has also been decorated with glass mosaic work. Near it, on the north, is the famous Percy Tomb, which is well known to all students of architecture. It is very beautiful[332] Decorated work, and is generally considered to have no equal. It was erected about 1338, and is to the memory of Lady Eleanor Percy, the wife of the first Lord Percy. The carving is quite superb, the details of the figure-sculpture being worthy of the closest attention. In the gable is a figure of the Almighty receiving the soul of the deceased, who is represented as being held up by a sheet supported by two angels. The east transepts and retro-choir possess also some fine Early English work, and is similar to that which has been described. In this retro-choir stood the shrine of St. John of Beverley, which was watched by a monk stationed in the watching chamber over the altar-screen. Notice the frith-stool, seated in which the person who sought sanctuary could defy the approach of his enemies and escape the justice which doubtless he deserved. Beverley was a noted place for sanctuary, and the records relating to this privilege are full of curious interest. The Staircase leading to the chapter-house, now destroyed, is remarkably fine, and is certainly a very beautiful feature of this wonderful church. The great east window is Perpendicular, and has some ancient glass. On the north is the Percy Chapel, founded in the fifteenth century; in it lies the body of one of the Earls of Percy, who was cruelly murdered at the close of that century.

The West Front is one of the best examples of the Perpendicular style in England. It features two towers on either side of a[328] large window, topped with a high gable, and below is a deeply recessed door. The window has nine sections of glass. The entire front is paneled, and the buttresses are decorated with various levels of niche-work that is excellently designed and delicately crafted. These niches are about to be filled with figures. We enter the Minster through the north porch, which is an impressive piece of Perpendicular architecture, complete with a small room above it. Upon entering the building, we are struck by its immense height and the exquisite beauty of its architectural details. As we mentioned, the Nave was built after the choir, except for the first bay next to the tower. That one bay is Early English; the rest showcases magnificent Decorated work. The ball-flower molding is prominent in the latter, and the dog-tooth in the former; however, it seems an effort was made to blend the later details with the earlier ones. The west end is Perpendicular, and the west window is a fine example from that period. The glass is modern. There is beautiful arcading in the aisles, with the north aisle being more developed Decorated than the south. The tomb of the "Sisters of Beverley" in the south aisle is noteworthy. It belongs to the Decorated period and has many intriguing features. History does not record the names of these sisters, who are believed to have been benefactors to the townspeople. The tracery of the windows in the aisles should be noted for its gracefulness and variety. The only remnant of Norman work in the church is the font near the south door, which is somewhat late in style. The Transepts feature impressive Early English design. Tall lancets allow light to shine on the exquisite architectural details displayed here. Each transept has double aisles. The arcading of the triforium is unique but effective. In the tympanum of each trefoil arch, there is a quatrefoil and two semi-arches, completed by similar ones beneath the next arch. The effigy and monument of a priest in the north transept (from the fourteenth century) have some exquisite carving and provide an excellent study of ecclesiastical vestments. The East End of the church is entirely Early English work and contains some of the best and most perfect architectural achievements of the thirteenth century. The piers consist of eight massive columns. There is no triforium gallery; instead, a very elegant arcade replaces it, similar to that in the transepts, consisting of trefoil arches embellished with dog-tooth patterns. Purbeck marble is prominently used throughout the choir. The screen is modern. The choir stalls and misereres are unmatched by any in England. They date from the sixteenth century, and the designs on the latter are extremely quaint and curious. Few churches have such a magnificent Altar-Screen as Beverley. It is Early English but has been significantly damaged and stripped of its original images, which are now replaced by good modern sculptures. It has also been decorated with glass mosaic work. Nearby, on the north side, is the famous Percy Tomb, known to all architecture students. It is beautifully designed Decorated work and is generally regarded as unparalleled. It was erected around 1338 in memory of Lady Eleanor Percy, the wife of the first Lord Percy. The carving is superb, especially the details of the figure-sculpture, which deserve close attention. In the gable, there is a figure of the Almighty receiving the soul of the deceased, portrayed as being held up by a sheet supported by two angels. The east transepts and retro-choir also showcase excellent Early English work, similar to what has been described. In this retro-choir stood the shrine of St. John of Beverley, watched over by a monk stationed in a watching chamber above the altar-screen. Notice the frith-stool, where anyone seeking sanctuary could defy the approach of their enemies and escape the justice they likely deserved. Beverley was a prominent sanctuary location, and the records concerning this privilege are quite fascinating. The Staircase leading to the chapter-house, now destroyed, is remarkably fine and is a stunning feature of this amazing church. The great east window is Perpendicular and contains some ancient glass. On the north side is the Percy Chapel, founded in the fifteenth century; within it lies the body of one of the Earls of Percy, who was tragically murdered at the close of that century.

Percy Shrine
Beverley Minster

Percy Shrine
Beverley Minster


WAKEFIELD CATHEDRAL

The See of Wakefield was created in 1888. The enormous increase of the population of England and the growth of the Church's work have necessitated the multiplication of bishoprics and the division of many of the ancient enormous dioceses. This is one of the sees which it was found necessary to form. The old Parish Church of All Saints was converted into the Cathedral, but it possesses few of the associations and architectural beauties of our ancient minsters. It is, however, a fine parish church. It was consecrated by Archbishop William de Melton of York in 1329, but almost wholly rebuilt in the fifteenth century. Its main features are, therefore, Perpendicular. It consists of a chancel and large nave, with aisles. There is a clerestory, but no triforium. At the west end there is a tower, surmounted by a fine spire, rebuilt in 1860, the total height being 247 feet. A heavy screen separated the nave from the chancel of Jacobean style, and the organ and font belong to the seventeenth century. The whole building was restored by Sir G. Scott at a cost of £30,000.

The See of Wakefield was established in 1888. The significant rise in England's population and the expansion of the Church's activities have made it necessary to create more bishoprics and to divide many of the large historic dioceses. This is one of the sees that was created as a result. The old Parish Church of All Saints was transformed into the Cathedral, but it has few of the associations and architectural highlights of our historic minsters. Nevertheless, it is a beautiful parish church. It was consecrated by Archbishop William de Melton of York in 1329, but it was almost entirely rebuilt in the fifteenth century. Its main features are therefore in the Perpendicular style. It includes a chancel and a large nave, with aisles. There is a clerestory, but no triforium. At the west end, there is a tower topped with a beautiful spire, rebuilt in 1860, with a total height of 247 feet. A solid Jacobean-style screen separates the nave from the chancel, and the organ and font date back to the seventeenth century. The entire structure was restored by Sir G. Scott at a cost of £30,000.

On the bridge across the Calder there is a beautiful little chapel or chantry, dedicated to St. Mary (30 feet by 24 feet). This was built and endowed by Edward IV. in memory of his father, Richard, Duke of York, killed at the battle of Wakefield in 1460. It was restored in 1847. Near here was fought the famous battle between Queen Margaret, wife of Henry VI., and the Duke of York, whom this chantry commemorates. Wakefield was an ancient seat of manufacture, foreign weavers being established here by Henry VII.

On the bridge over the Calder, there’s a lovely little chapel or chantry dedicated to St. Mary (30 feet by 24 feet). This was built and funded by Edward IV in memory of his father, Richard, Duke of York, who was killed at the battle of Wakefield in 1460. It was restored in 1847. Nearby, the famous battle took place between Queen Margaret, wife of Henry VI, and the Duke of York, whom this chantry honors. Wakefield was an old manufacturing center, with foreign weavers brought here by Henry VII.

Wakefield Cathedral
Herbert Railton

Wakefield Cathedral Herbert Railton

Chantry Chapel on Wakefield Bridge
Herbert Railton

Chantry Chapel on Wakefield Bridge
Herbert Railton


LINCOLN CATHEDRAL

The city of Lincoln has a history of profound interest. The first view of its mighty minster rising above the lower houses of the city is most impressive, and the whole place teems with historical association. Professor Freeman states that Lincoln has "kept up its continuous being through Roman, English, Danish and Norman conquests." Before the advent of the Romans it was a British stronghold, and bore a Celtic name—Lindum; and when the conquering legions came they made it one of the chief towns of the empire, and honoured it with the rank of a "colony"—hence Lincoln, "the colony of Lindum," thus preserving its ancient name, and adding the title of its dignity. The only existing Roman gateway in England is here, and the remains of a basilica, mosaic pavements, altars, sepulchral monuments, testify to the greatness of Roman Lincoln. The Anglo-Saxons wrought much havoc, and devastated the city. Here came St. Paulinus in 627 A.D., and converted the Pagan Saxons to Christianity. The fierce Danes attacked Lincoln and made it their chief town, the principal member of their League of the Five Towns (Leicester, Stamford, Derby, Nottingham and Lincoln). Before the Norman Conquest it ranked fourth among the cities of England. Then came William the Conqueror, who raised a castle and made it the base of his operations against the northern counties. Lincoln soon was raised to a position of great ecclesiastical pre-eminence, when Remigius of Fécamp became the first Norman bishop, and ruled the vastest diocese in England, extending from the Humber to the Thames. The city was in the eleventh and twelfth centuries one of the greatest trading towns in the country, the resort of traders both of land and sea. Here King Stephen was vanquished and carried off a prisoner to Bristol. Here King John received the homage of William the Lion of Scotland. The din of wars and battles has often been heard in the streets of Lincoln; in the Wars of the Barons against the young King Henry III., the Wars of the Roses, and above all in the great Civil War, when the city was stormed and sacked by the Roundheads. Here Edward I. summoned his first Parliament. Here kings have held their court and worshipped in the minster, and here a most formidable insurrection arose in consequence of the arbitrary acts of Henry VIII. and the destruction of the monasteries. The Bishops of Lincoln have[338] been men of great power and influence, and have played prominent parts in the history of England. Such prelates as St. Hugh, Robert Grosseteste, and many others have conferred honour on the see over which they presided.

The city of Lincoln has a fascinating history. The first sight of its impressive minster towering over the surrounding buildings is striking, and the whole city is filled with historical significance. Professor Freeman notes that Lincoln has "maintained its continuous existence through Roman, English, Danish, and Norman invasions." Before the Romans arrived, it was a British stronghold with a Celtic name—Lindum. When the conquering legions came, they made it one of the main towns of the empire, granting it the status of a "colony"—hence Lincoln, "the colony of Lindum," which preserved its ancient name while adding a title of honor. The only remaining Roman gateway in England is located here, along with the ruins of a basilica, mosaic pavements, altars, and burial monuments, all of which showcase the grandeur of Roman Lincoln. The Anglo-Saxons caused significant destruction and devastated the city. St. Paulinus arrived in 627 CE and converted the pagan Saxons to Christianity. The fierce Danes attacked Lincoln and made it their main town, one of the Five Towns (Leicester, Stamford, Derby, Nottingham, and Lincoln). Before the Norman Conquest, it was the fourth-largest city in England. Then came William the Conqueror, who built a castle here and used it as a base for his operations in the northern counties. Lincoln quickly rose to great ecclesiastical prominence when Remigius of Fécamp became the first Norman bishop, overseeing the largest diocese in England, stretching from the Humber to the Thames. In the eleventh and twelfth centuries, the city was one of the largest trading hubs in the country, attracting traders from both land and sea. Here, King Stephen was defeated and taken prisoner to Bristol. Here, King John received the loyalty of William the Lion of Scotland. The sounds of wars and battles have often echoed through the streets of Lincoln, during the Barons' Wars against young King Henry III., the Wars of the Roses, and especially during the Civil War, when the city was stormed and looted by the Roundheads. Here Edward I. called his first Parliament. Kings have held court and worshipped in the minster, and a significant uprising occurred due to the arbitrary actions of Henry VIII. and the dismantling of the monasteries. The Bishops of Lincoln have been powerful and influential figures, playing key roles in England's history. Notable bishops like St. Hugh, Robert Grosseteste, and many others have brought honor to the see they led.

The Potter Gate & Towers of Lincoln Cathedral

The Potter Gate & Towers of Lincoln Cathedral

History of the Cathedral

Cathedral History

The first Cathedral of Lincoln was built by Remigius, the earliest Norman bishop, on the removal of the see from Dorchester[339]on-the-Thames about 1074. Previous to this Paulinus had preached here, and converted its prefect, Blaecca, who built a church of stone, which was probably on the site of St. Paul's Church, the name being corrupted from Paulinus. Stow village was the seat of the Lindsay Diocese until the Danish invasion. Then Dorchester was the bishop's residence until Remigius transferred his throne to Lincoln, and built a church "strong as the place was strong and fair as the place was fair, dedicated to the Virgin of Virgins." This church was ready for consecration on the founder's death in 1092 A.D. It was cruciform, with a semi-circular apse at the east end. The parts remaining are the central portion of the west front with its three recesses, a fragment of the first bay of the nave, and the foundations of the apse beneath the floor of the choir. It was a massive stern Norman building.

The first Cathedral of Lincoln was constructed by Remigius, the first Norman bishop, after the see was moved from Dorchester-on-the-Thames around 1074. Before this, Paulinus had preached here and converted its leader, Blaecca, who built a stone church, likely on the site of St. Paul's Church, with the name coming from Paulinus. Stow village was the center of the Lindsay Diocese until the Danish invasion. Then Dorchester became the bishop's residence until Remigius moved his seat to Lincoln and built a church "as strong as the place was strong and as beautiful as the place was beautiful, dedicated to the Virgin of Virgins." This church was ready for consecration upon the founder's death in 1092 A.D. It had a cruciform shape, with a semi-circular apse at the east end. The remaining parts are the central section of the west front with its three recesses, a fragment of the first bay of the nave, and the foundations of the apse beneath the floor of the choir. It was a massive, austere Norman building.

The third Norman bishop, Alexander, called "the magnificent," after a disastrous fire in 1141, restored the Cathedral "to more than its former beauty." This Alexander was a nephew of Bishop Roger of Salisbury, and during his time raged the war between Stephen and the Empress Maud. The adherents of the latter held the Castle of Lincoln; so Stephen seized the Cathedral and used it as a fortress. The chroniclers tell us that Alexander "remodelled the church by his subtle artifice," and made it the most beautiful in England. All that remains of his work are the three western doorways inserted in the arches built by Remigius, the intersecting arcade above the two side recesses of the west front, and the three lower storeys of the west tower, with their elaborately-ornamented gables facing north and south. These were all in the Late Norman or Transition style.

The third Norman bishop, Alexander, known as "the magnificent," rebuilt the Cathedral "to even greater beauty" after a devastating fire in 1141. This Alexander was a nephew of Bishop Roger of Salisbury, and during his tenure, the conflict between Stephen and the Empress Maud was raging. Supporters of Maud held the Castle of Lincoln, leading Stephen to take over the Cathedral and use it as a fortress. Chroniclers note that Alexander "remodeled the church with his clever designs," making it the most stunning in England. The remnants of his work include the three western doorways set in the arches created by Remigius, the intersecting arcade above the two side recesses of the west front, and the three lower levels of the west tower, featuring their intricately decorated gables facing north and south. All of these are in the Late Norman or Transition style.

A terrible earthquake wrought much damage in 1185, and grievous was the condition of the church after this deplorable visitation. But happily in the following year the famous St. Hugh of Avalon, near Grenoble, was made Bishop of Lincoln by Henry II. He determined to restore the ruined House of God, and began to build in 1192. Freeman states that "St. Hugh was strictly the first to design a building in which the pointed arch should be allowed full play, and should be accomplished by an appropriate system of detail." Before his death in 1200 he built the choir and aisles and east (or smaller) transept, with a portion of the east wall of the great transept. All architects praise this beautiful work, the first development of the Early English style, the earliest building of that style in the world.

A terrible earthquake caused a lot of damage in 1185, and the condition of the church after this awful disaster was dire. Fortunately, in the following year, the famous St. Hugh of Avalon, near Grenoble, was appointed Bishop of Lincoln by Henry II. He decided to restore the damaged House of God and started building in 1192. Freeman notes that "St. Hugh was essentially the first to design a building where the pointed arch was fully utilized, supported by an appropriate system of detail." Before he passed away in 1200, he completed the choir and aisles and the east (or smaller) transept, along with part of the east wall of the great transept. All architects admire this stunning work, recognized as the first development of the Early English style, marking it as the earliest example of that style in the world.

The great transept was completed and the nave gradually carried west-wards in the Early English style during the successive[340] episcopates of William de Blois, Hugh de Wells and Robert Grosseteste (1203-1253). Of the nave, Freeman wrote: "There are few grander works in the style of the thirteenth century than Lincoln nave, few that show greater boldness of construction and greater elegance of detail." To the same period we may assign the two western chapels, the arcaded screen wall of the west front and its flanking turrets, the Galilee Porch and the vestry, the two lower storeys of the tower, and chapter-house. During the rule of Grosseteste, the two lower storeys of the tower were built. This Grosseteste was a remarkable man, of great learning and ability, defended the rights of the English Church against the claims of the Papacy, and reformed many abuses in his diocese.

The great transept was finished, and the nave was gradually extended westward in the Early English style during the episcopates of William de Blois, Hugh de Wells, and Robert Grosseteste (1203-1253). About the nave, Freeman wrote: "There are few grander works in the style of the thirteenth century than Lincoln nave, few that show greater boldness of construction and greater elegance of detail." We can also attribute the two western chapels, the arcaded screen wall of the west front and its flanking turrets, the Galilee Porch, and the vestry, as well as the two lower stories of the tower and the chapter house, to the same period. Under Grosseteste's leadership, the two lower stories of the tower were built. Grosseteste was an extraordinary individual, knowledgeable and skilled, who defended the rights of the English Church against the claims of the Papacy and reformed many abuses in his diocese.

Great sanctity was attached to the body of St. Hugh, which caused many miracles. It was buried according to the wishes of this holy and humble-minded man in an obscure corner of the Cathedral. In such honour were his remains held that it was resolved to transport them to a more distinguished place; hence it was decided to erect a large and costly shrine, and the beautiful "Angel Choir" was erected for its accommodation. This magnificent structure was built in 1255-1280, and belongs to the period of Transition between the Early English and Decorated styles, just when Gothic architecture was touching its point of highest development. It is simply perfect in its proportion and details. The translation of the body of St. Hugh was performed with much pomp, and the ceremony was attended by the highest in the land, King Edward I. himself being one of the bearers of the revered saint's remains. The cloisters and vestibule belong to the Decorated period, 1296 A.D., of which they present a small but beautiful example. The "Bishop's Eye," the large circular window of the south transept, was erected in 1350. About the same period much was done to adorn the interior. John de Welbourn, treasurer of the Cathedral, 1350-1380, set up the beautiful choir stalls, erected the vaulting of the central and west towers, with the internal panelling of the latter, and the row of niches and regal statues over the great west door. The three western windows and the upper stages of the west towers belong to a closely subsequent period. In these works we see the transition from the Decorated to Perpendicular style. Some of the chantry chapels are purely Perpendicular.

Great reverence surrounded the body of St. Hugh, which led to many miracles. It was buried according to the wishes of this holy and humble man in ahidden corner of the Cathedral. His remains were held in such high regard that it was decided to move them to a more prominent location; thus, a large and elaborate shrine was to be built, and the beautiful "Angel Choir" was constructed to house it. This magnificent structure was built between 1255 and 1280 and represents the transitional period between the Early English and Decorated styles, just as Gothic architecture was reaching its peak. It is perfectly proportioned and detailed. The transfer of St. Hugh's body was done with great ceremony, attended by the highest leaders in the land, including King Edward I himself, who carried the revered saint's remains. The cloisters and vestibule are from the Decorated period, 1296 CE, representing a small but beautiful example from that time. The "Bishop's Eye," the large circular window in the south transept, was built in 1350. Around the same time, many enhancements were made to the interior. John de Welbourn, the Cathedral treasurer from 1350 to 1380, created the beautiful choir stalls, constructed the vaulting of the central and west towers with the internal paneling of the latter, and added the row of niches and royal statues above the great west door. The three western windows and the upper sections of the west towers belong to a closely following period. In these works, we see the shift from the Decorated to the Perpendicular style. Some of the chapels are purely Perpendicular.

At the Reformation great spoils of treasure were carried off by the infamous Commissioners of Henry VIII., who purloined a goodly store of jewels and nearly 9000 oz. of precious metals.[341] They plundered the gold shrine of St. Hugh and the silver shrine of Bishop Dalderby, and left the Cathedral bare of all the treasures which the piety of centuries had accumulated. The people of Lincoln liked not these proceedings, and there was a formidable insurrection, during which the church was used as a garrison. The advent of the Royal troops and the execution of some of the leaders and several abbots suppressed the revolt. A reforming bishop of evil memory, Henry Holbech, further desecrated the church, destroying images and monuments, so that in 1548 there was scarcely a whole figure or tomb remaining. Further terrible destruction took place in the Civil War, when the soldiers broke the beautiful glass windows, tore up the brass memorials of the dead, wrecked the Palace, and even threatened to pull down the Cathedral, but were happily stayed from their mad enterprise by the intercession of the Mayor, Mr. Original Peart, with Cromwell. After the Restoration Bishop Fuller set to work to repair the destruction which vandalism had caused, and although the hand of the "restorer" has been felt on the fabric of this noble building, Lincoln still maintains most of its ancient features, and remains one of the most interesting cathedrals in the kingdom.

At the Reformation, the notorious Commissioners of Henry VIII seized a vast amount of treasure, taking a large collection of jewels and nearly 9,000 ounces of precious metals.[341] They looted the gold shrine of St. Hugh and the silver shrine of Bishop Dalderby, leaving the Cathedral stripped of all the treasures that centuries of devotion had gathered. The people of Lincoln were not pleased with these actions, leading to a significant uprising during which the church was turned into a garrison. The arrival of Royal troops and the execution of some leaders and several abbots put an end to the rebellion. A reforming bishop known for his misdeeds, Henry Holbech, further defiled the church by destroying images and monuments, so that by 1548 hardly a complete figure or tomb remained. More horrific destruction occurred during the Civil War when soldiers shattered the beautiful stained glass windows, ripped up the brass memorials of the deceased, demolished the Palace, and even threatened to tear down the Cathedral, but were fortunately stopped in their reckless mission by the Mayor, Mr. Original Peart, who intervened with Cromwell. After the Restoration, Bishop Fuller began efforts to restore the damage caused by the vandalism, and although the influence of the "restorer" can be seen throughout the structure of this grand building, Lincoln still retains most of its ancient characteristics and remains one of the most fascinating cathedrals in the country.

The Exterior

The Outside

We will now walk round the building and note its chief architectural features. Standing at the west end we will examine first the imposing West Front. The central portion with its three recesses are parts of the earliest Norman church of Remigius. It will be noticed that the middle arch has been subsequently raised and pointed. A band of curious sculpture runs across the front, representing scenes from Bible history. They are of Norman character. Noah and the ark, the Deluge, the expulsion from Paradise, scenes from the life of our Lord and Hades are the most curious. The doorways are later than the recesses, and were inserted by Bishop Alexander, "the magnificent," who also built the arcade of intersecting arches above the two side recesses, and the three lower storeys of the towers, in the style of Late Norman. The rest of the screen is Early English work, erected 1200-1250. Bishop St. Hugh had sketched the outline of the new church, and his successors carried it out. Amongst them Bishop Grosseteste did much good work, and his portion is distinguished by the lattice-work ornament which appears in the gable of this front, proclaiming its author. There is a row of Royal statues (William I. to[343] Edward III.) above the central door, which were erected by the treasurer, John de Welbourn (1350-1380). The statue of St. Hugh surmounts the south turret, and the Swineherd of Stow[17] the north turret. The three large windows belong to the time of Henry VI., and at this time the towers were completed, which are Perpendicular work, above the Norman three storeys.

We’ll now walk around the building and take note of its main architectural features. Starting at the west end, let’s first look at the impressive West Front. The central part with its three recesses is from the earliest Norman church of Remigius. You’ll notice that the middle arch has been raised and pointed later on. A band of intriguing sculptures runs across the front, depicting scenes from Bible history. These are of Norman style. The most interesting ones show Noah and the ark, the Flood, the expulsion from Paradise, scenes from the life of Christ, and Hades. The doorways were added later than the recesses, put in by Bishop Alexander, "the Magnificent," who also built the arcade of intersecting arches above the two side recesses and the three lower stories of the towers in Late Norman style. The rest of the screen is from the Early English period, constructed between 1200-1250. Bishop St. Hugh outlined the design for the new church, and his successors implemented it. Among them, Bishop Grosseteste did a lot of significant work, and his contribution is marked by the lattice-work ornament seen in the gable of this front, indicating his authorship. Above the central door, there’s a row of royal statues (from William I to Edward III) that were erected by the treasurer, John de Welbourn (1350-1380). The statue of St. Hugh sits atop the south turret, and the Swineherd of Stow is on the north turret. The three large windows date back to the time of Henry VI, and during this period, the towers were completed, which are Perpendicular style above the Norman three stories.

Lincoln Cathedral
Exchequer Gate.

Lincoln Cathedral
Exchequer Gate.

Turning to the south side of the church we see the unique chapel and consistory court, and the curious grotesque popularly known as "the Devil looking over Lincoln." Heavy buttresses support the nave, and flying buttresses connect these with the clerestory. The Galilee Porch was built in 1230, and is cruciform. The name Galilee is attached to chapels at Durham and Ely, and we have already referred to the most probable conjecture with regard to its origin.[18] A profusion of dog-tooth ornament appears here, the characteristic moulding of Early English period. The muniment room is above the porch. The Central Tower is the finest in England, as it is the highest (271 feet), though the spires of Salisbury and Norwich exceed this altitude. Formerly it was capped by an immense timber spire, blown down in the first year of the sixth Edward's reign. Lincoln has suffered from falling towers as have other cathedrals. The two lower storeys were built by Grosseteste in Early English style on the fall of its predecessor in 1237. The lattice-work ornament so freely employed in the work of this bishop is observable here. The upper storey was begun by Bishop Dalderby in 1307 and finished in 1311 in the Decorated style. The timber spire covered with lead rose to a height of 524 feet, and was destroyed by a tempest. Storms and tempests have beat upon this tower for centuries, and occasionally have wrought mischief, but this has been from time to time remedied, and it remains the grandest and most majestic in the world. It is the abode of the famous "Great Tom of Lincoln," the fourth largest bell in the kingdom, recast in 1835. It weighs over five tons, and is 21 feet 6 inches in circumference. The Choir is the work of St. Hugh, the earliest example of Early English. In the Presbytery we see the style developed to his most perfect form, and merging into the Decorated period. The south doorway is especially worthy of notice, with its fine sculpture and splendid tympanum representing the Last Judgment. The Russell and Longland Chapels (Perpendicular) are on each side of this door[344]way. We notice the magnificent Decorated window of the Angel Choir, on the north side the Chapel of Bishop Fleming (Perpendicular), a doorway of good design; and then we see the chapter-house with its flying buttresses and pyramidal roof. On the north side is the cloister garth and Deanery. The cloisters are usually on the south side, and this position is uncommon. Lincoln was not a monastic church, being served by secular canons, and therefore had no necessity for a cloister court. However, this was built in the thirteenth century, the colonnade on the north side being erected in 1674 by Sir Christopher Wren, together with the library over it, which we shall visit presently. By an act of vandalism the old Deanery was pulled down in 1847 and the present house built, which is devoid of many of the interesting associations of its predecessor. The Cathedral close was surrounded by a wall and protected by strong gateways. Two of these remain, the "Exchequer Gate," opposite the west end, and the "Potter Gate." The old Bishop's Palace on the south of the close was destroyed during the Civil War, and quite recently a new episcopal residence has been erected near the ruins of the ancient house.

Turning to the south side of the church, we see the unique chapel and consistory court, along with the interesting grotesque often referred to as "the Devil looking over Lincoln." Heavy buttresses support the nave, and flying buttresses connect these to the clerestory. The Galilee Porch was built in 1230 and is in the shape of a cross. The name Galilee is associated with chapels at Durham and Ely, and we have already mentioned the most likely theory about its origin.[18] There's a lot of dog-tooth ornamentation here, which is characteristic of the Early English period. The muniment room is located above the porch. The Central Tower is the highest in England at 271 feet, though the spires of Salisbury and Norwich are taller. It used to be topped by a large timber spire that was blown down in the first year of King Edward VI's reign. Lincoln, like other cathedrals, has experienced issues with falling towers. The two lower levels were built by Grosseteste in Early English style after the collapse of its predecessor in 1237. The lattice-work ornament typical of this bishop's work can be seen here. The upper level was started by Bishop Dalderby in 1307 and completed in 1311 in the Decorated style. The timber spire, covered in lead, rose to a height of 524 feet and was destroyed in a storm. For centuries, storms and tempests have battered this tower, sometimes causing damage, but repairs have been made over time, and it remains the grandest and most majestic in the world. It houses the famous "Great Tom of Lincoln," the fourth largest bell in the kingdom, which was recast in 1835. It weighs over five tons and has a circumference of 21 feet 6 inches. The Choir is the work of St. Hugh, being the earliest example of Early English architecture. In the Presbytery, we see the style developed into its most refined form, blending into the Decorated period. The south doorway is especially noteworthy, showcasing fine sculpture and a stunning tympanum depicting the Last Judgment. The Russell and Longland Chapels (Perpendicular) are on either side of this doorway.[344] We admire the magnificent Decorated window of the Angel Choir, on the north side the Chapel of Bishop Fleming (Perpendicular), which features a well-designed doorway; and then we see the chapter-house with its flying buttresses and pyramidal roof. On the north side is the cloister garth and Deanery. Cloisters are usually found on the south side, making this layout unusual. Lincoln was not a monastic church, as it was served by secular canons, so there was no need for a cloister court. However, this was built in the thirteenth century, and the colonnade on the north side was constructed in 1674 by Sir Christopher Wren, along with the library above it, which we will visit shortly. Due to an act of vandalism, the old Deanery was demolished in 1847, and the current building lacks many of the interesting features of its predecessor. The Cathedral Close was surrounded by a wall and protected by strong gates. Two of these remain: the "Exchequer Gate," facing the west end, and the "Potter Gate." The old Bishop's Palace to the south of the close was destroyed during the Civil War, and recently a new episcopal residence has been built near the ruins of the old house.

The Interior.

The Interior.

As we have already stated, the nave of Lincoln was designed by Bishop Hugh in the Early English style, gradually carried west-ward by his successors, and completed before the death of Grosseteste in 1253. It consists of seven bays. Eight circular shafts of Purbeck marble surround each pier. The mouldings of the arches are deeply cut. Above is the triforium, consisting of two arches, each divided into three sub-arches. Clustered shafts with capitals carved with foliage support the arches. Above each main triforium arch in the clerestory are three lancet windows, and the roof is a fine specimen of English vaulting. Sir Gilbert Scott says that this nave "exhibits an Early English style in its highest stage of development: massive without heaviness, rich in detail without exuberance, its parts symmetrically proportioned and carefully studied throughout, the foliated carving bold and effective, there seems no deficiency in any way to deteriorate from its merits"—an opinion with which few visitors to Lincoln will be inclined to differ.

As we have already noted, the nave of Lincoln was designed by Bishop Hugh in the Early English style, gradually extended westward by his successors, and finished before Grosseteste died in 1253. It has seven bays. Eight circular shafts of Purbeck marble surround each pillar. The arch moldings are deeply cut. Above is the triforium, made up of two arches, each split into three sub-arches. Clustered shafts with foliage-carved capitals support the arches. Above each main triforium arch in the clerestory are three lancet windows, and the roof showcases a remarkable example of English vaulting. Sir Gilbert Scott remarks that this nave "displays an Early English style at its highest stage of development: massive without heaviness, rich in detail without excess, its parts symmetrically proportioned and carefully studied throughout, the foliated carving bold and effective, there seems no deficiency in any way to detract from its merits"—an opinion that few visitors to Lincoln would be likely to disagree with.

Under the towers will be noticed the Norman character of the first bay, which is part of the original church of Remigius. The west window, in its present form, is Perpendicular, and was inserted in the place of an earlier one. The Font also belongs to the time[345] of Remigius, and is a fine example of the Norman period. It is of black basalt, square in shape, and has been recently placed upon three steps of Derbyshire marble. Grotesque monsters are carved on the sides of the font. The aisles have lancet windows, and below a beautiful arcade of trefoiled arches, the south side being more elaborate than the north. The bosses have figures carved on them. On the north-west corner is the Morning Chapel, having a central column of Purbeck marble supporting a stone vaulted roof. Here is the pastoral staff of Archbishop Benson of Canterbury, who, when Chancellor of Lincoln, restored this chapel. Opposite to this chapel, in the south-west, is the consistory court. None of the old glass has survived in the nave, and most of the shrines and tombs have been destroyed. The fanatics of the Reformation and Cromwell's soldiers left little of the sepulchral brasses and gorgeous tombs and effigies which once were here. A marble slab, carved with Scriptural subjects, is supposed to represent the tomb of the founder, Remigius. The memory of Dean Hoywood (d. 1681), the founder of the library, is recorded on a tablet, and three slabs preserve the names of Bishops Smyth (d. 1514), Alnwick (d. 1449), and Atwater (d. 1521). The Pulpit is seventeenth-century work, and the lectern is a memorial of Dean Butler (d. 1894).

Under the towers, you can see the Norman style of the first bay, which is part of the original church built by Remigius. The west window, as it looks now, is Perpendicular and replaced an earlier window. The Font also dates back to Remigius's time and is a great example of the Norman period. It’s made of black basalt, square-shaped, and has recently been placed on three steps of Derbyshire marble. Grotesque monsters are carved on the sides of the font. The aisles feature lancet windows, and beneath a beautiful arcade of trefoiled arches, the south side is more intricate than the north. The bosses have figures carved on them. In the north-west corner is the Morning Chapel, which has a central column of Purbeck marble that supports a stone vaulted roof. Here lies the pastoral staff of Archbishop Benson of Canterbury, who restored this chapel when he was Chancellor of Lincoln. Opposite this chapel, in the south-west, is the consistory court. Unfortunately, none of the old glass has survived in the nave, and most of the shrines and tombs have been destroyed. The zealots of the Reformation and Cromwell's troops left little behind of the sepulchral brasses, elaborate tombs, and effigies that once filled this space. A marble slab, engraved with biblical scenes, is thought to represent the tomb of the founder, Remigius. The memory of Dean Hoywood (d. 1681), who established the library, is commemorated on a tablet, and three slabs preserve the names of Bishops Smyth (d. 1514), Alnwick (d. 1449), and Atwater (d. 1521). The Pulpit is from the seventeenth century, and the lectern serves as a memorial to Dean Butler (d. 1894).

The great transept contains some of St. Hugh's work. He devised a beautiful double arcade, and his work ends half-way on the east wall in north transept, and half-way the east wall in south transept, measuring from the centre of the building. The rest was built by his successors in the Early English style. The magnificent circular windows at the north and south ends are very striking, and extremely beautiful. The former is known as the Dean's Eye, the latter as the Bishop's Eye, which, with the gable and window above, is in the curvilinear style, and was erected about 1350. The Dean's Eye was placed there about 1220, and has some exquisite ancient glass of that period representing our Saviour in Glory. In the east of this transept are six chapels, dedicated to SS. Nicholas, Denis, James, Edward the Martyr, John the Evangelist and Giles.

The great transept features some of St. Hugh's work. He designed a beautiful double arcade, and his work stops halfway on the east wall in the north transept and halfway on the east wall in the south transept, measuring from the center of the building. The rest was completed by his successors in the Early English style. The stunning circular windows at the north and south ends are very impressive and exceptionally beautiful. The former is known as the Dean's Eye, and the latter as the Bishop's Eye, which, along with the gable and window above, is in the curvilinear style and was built around 1350. The Dean's Eye was installed around 1220 and features some exquisite ancient glass from that time showing our Saviour in Glory. In the east of this transept are six chapels dedicated to SS. Nicholas, Denis, James, Edward the Martyr, John the Evangelist, and Giles.

The stone screen before the Chapel of St. Edward should be examined, with its curious sculpture. Before the Reformation there seems to have been some laxity of conduct among the chaplains and choristers, who were accused of playing games in the church, and here in one of these chapels we see nine holes, which were probably used for the favourite pastime of "Nine Men's Morris."[346]

The stone screen in front of the Chapel of St. Edward is worth checking out for its interesting sculpture. Before the Reformation, the chaplains and choristers seemed to have been a bit careless, as they were accused of playing games in the church. In one of these chapels, we can see nine holes, likely used for the popular game "Nine Men's Morris."[346]

In the south transept there are the slender remains of the once famous tomb of Bishop Dalderby (d. 1320), to which there was great resort of pilgrims in mediæval times. His shrine was destroyed at the Reformation. This bishop built the upper part of the tower.

In the south transept, there are the slim remnants of the once-famous tomb of Bishop Dalderby (d. 1320), which attracted many pilgrims during medieval times. His shrine was destroyed during the Reformation. This bishop was responsible for building the upper part of the tower.

The Screen is good Decorated work, and consists of arches ornamented with figures of ecclesiastics and grotesques. It has been somewhat severely handled by fanatical destroyers, but, in spite of mutilation and restoration, it remains a noble example of the workmanship of the period. The organ stands above this screen. The doorways on each side of the screen are Early English, and are very beautiful.

The Screen is a beautifully decorated piece, featuring arches embellished with images of clergy and grotesque figures. It has suffered at the hands of zealots who sought to destroy it, but despite the damage and restoration, it continues to be a splendid example of craftsmanship from that era. The organ is positioned above this screen. The doorways on either side of the screen are from the Early English period and are quite stunning.

Entering the Choir, we see the earliest known example of pure Lancet Gothic or Early English, free from the trace of Norman influence. It was built by Bishop St. Hugh. The first stone was laid in 1192. The perfection of the ornament is wonderful. This part of the church suffered severely from the fall of the tower in 1237, and many traces of the disaster may still be seen. Screens divide the choir from the aisles, and were erected to strengthen the building. The Choir Stalls are very fine, and were erected by Treasurer Welbourn in 1370. The carving is most elaborate and beautiful, and the misereres are extremely curious and interesting. Behind each stall is a list of the Psalms which, according to the constitution of Lincoln, each prebendary is bound to repeat daily. The pulpit and bishop's throne are fairly modern. The brass lectern bears the date 1667. The Reredos was restored about the middle of the eighteenth century, but contains some thirteenth-century work. A very interesting feature of the north side is the Easter Sepulchre, fashioned for the deposition of the consecrated elements of the Eucharist from the evening of Good Friday until the morning of Easter day; during which time it was watched by a quasi-guard. Three figures of sleeping soldiers appear in the carving. The style is Decorated. This tomb has been very doubtfully assigned to Remigius. There are the monuments of Katherine Swinford, third wife of John of Gaunt (d. 1403), from whom King Edward is descended in a direct line, and of her daughter, the Countess of Westmoreland (d. 1440), much mutilated by the soldiers. In the North Aisle of the choir the beautiful double arcade work of Bishop Hugh is seen on the wall. In the South Aisle are the remains of the Shrine of Little St. Hugh, the Christian boy with whose crucifixion the Jews were charged in 1255. The[347] style is Decorated, but the shrine was mutilated by the soldiers in the Civil War. The great chronicler, Henry of Huntingdon, also lies buried here.

Entering the Choir, we see the earliest known example of pure Lancet Gothic or Early English, completely free from Norman influence. It was built by Bishop St. Hugh, with the first stone laid in 1192. The perfection of the ornamentation is remarkable. This section of the church was heavily damaged by the tower's collapse in 1237, and many signs of the disaster can still be seen. Screens separate the choir from the aisles and were put up to reinforce the building. The Choir Stalls are stunning and were created by Treasurer Welbourn in 1370. The carving is intricate and beautiful, and the misereres are particularly curious and interesting. Behind each stall is a list of the Psalms that each prebendary is required to recite daily according to the constitution of Lincoln. The pulpit and bishop's throne are relatively modern. The brass lectern is dated 1667. The Reredos was restored around the middle of the eighteenth century but includes some thirteenth-century work. A very interesting feature on the north side is the Easter Sepulchre, designed for the placement of the consecrated elements of the Eucharist from the evening of Good Friday until the morning of Easter Sunday, during which it was watched by a sort of guard. Three carved figures of sleeping soldiers can be seen. The style is Decorated. This tomb has been questionably attributed to Remigius. There are monuments to Katherine Swinford, the third wife of John of Gaunt (d. 1403), from whom King Edward is directly descended, and to her daughter, the Countess of Westmoreland (d. 1440), which have been heavily damaged by soldiers. In the North Aisle of the choir, the beautiful double arcade work of Bishop Hugh is visible on the wall. In the South Aisle are the remains of the Shrine of Little St. Hugh, the Christian boy for whose crucifixion the Jews were accused in 1255. The style is Decorated, but the shrine was damaged by soldiers during the Civil War. The great chronicler, Henry of Huntingdon, is also buried here.

The eastern transept is part of Bishop Hugh's church. In each arm, on the east side, there are two apsidal chapels, with arcading round the walls. The style of the construction resembles that of the choir. On the south of the north arm is the so-called Dean's Chapel, the use of which can only be conjectured. The iron-work of the door is worthy of notice, and also the faded paintings of some Lincoln prelates, by Vincenzo Damini (1728). It is sad to see the fragments of the tomb of Grosseteste, to whom the Cathedral of Lincoln and the whole Church of England owe so much, stored away in one of the chapels. Respect for his memory and gratitude for his work might suggest the restoration of this tomb. The southern arm of this east transept has been much altered, and most of the present work is later than the choir. In one of the chapels the sub-dean was murdered by one of the vicars in 1205. Here is the tomb of Bishop Kaye (d. 1853). The screen and lavatory of the choristers' vestry are beautiful examples of Decorated work.

The eastern transept is part of Bishop Hugh's church. In each arm on the east side, there are two apse chapels with arcading around the walls. The construction style is similar to that of the choir. On the south side of the north arm is the so-called Dean's Chapel, and its purpose can only be guessed. The ironwork on the door is noteworthy, along with the faded paintings of some Lincoln bishops by Vincenzo Damini (1728). It's sad to see the fragments of Grosseteste’s tomb, to whom the Cathedral of Lincoln and the entire Church of England owe so much, stored away in one of the chapels. Respect for his memory and gratitude for his contributions might call for the restoration of this tomb. The southern arm of this east transept has been significantly altered, and most of the current work is later than the choir. In one of the chapels, the sub-dean was murdered by one of the vicars in 1205. Here lies the tomb of Bishop Kaye (d. 1853). The screen and lavatory of the choristers' vestry are beautiful examples of Decorated style.

The Angel Choir

The Angel Choir

We now enter the Angel Choir (1256-1280), pronounced by Sir Gilbert Scott to be "the most splendid work of that period which we possess, and did it not lack internal height, I do not think it could be exceeded in beauty by any existing church." It is the latest portion of the main fabric, and was built when the Early English style was developing into the Decorated. The piers are[348] beautiful clustered shafts, with carved capitals of Purbeck marble. The east window of eight lights is very fine (the glass is modern), and is said to be the noblest example of Geometrical Decorated in the kingdom. The choir takes its name from the carved angels in the spandrels of the triforium, which exhibit combined grace and dignity. The famous Lincoln Imp can with difficulty be distinguished on the north side, above the most eastern pier. Early English glass fills the east windows of the north and south aisles. On the north of the Angel Choir is the Fleming Chantry, which contains the double effigy of the bishop (d. 1431), the founder of Lincoln College, Oxford, first in his episcopal robes, and then of his corpse in a state of decay. Bishop Fleming exhumed and burnt the bones of Wyclif. Opposite this chantry is the Russell Chantry, founded by Bishop Russell (d. 1494), Chancellor of Richard III., and near this the Chantry of Bishop Longland (d. 1547).

We now enter the Angel Choir (1256-1280), which Sir Gilbert Scott described as "the most splendid work of that period that we have, and if it had greater internal height, I don't think it could be surpassed in beauty by any other church." It is the newest part of the main structure and was built as the Early English style was evolving into the Decorated style. The piers are[348] beautifully clustered shafts, with carved capitals made of Purbeck marble. The east window, featuring eight lights, is quite impressive (the glass is modern) and is said to be the finest example of Geometrical Decorated style in the country. The choir gets its name from the carved angels in the spandrels of the triforium, which display a blend of grace and dignity. The famous Lincoln Imp can barely be seen on the north side, above the easternmost pier. Early English glass fills the east windows of the north and south aisles. To the north of the Angel Choir is the Fleming Chantry, which holds the double effigy of the bishop (d. 1431), founder of Lincoln College, Oxford, first in his episcopal robes, and then as his decayed corpse. Bishop Fleming exhumed and burned the bones of Wyclif. Facing this chantry is the Russell Chantry, founded by Bishop Russell (d. 1494), Chancellor of Richard III., and close by is the Chantry of Bishop Longland (d. 1547).

Here in the Angel Choir stood, in former days, the rich shrine of St. Hugh, plundered at the Reformation, and a monument of Queen Eleanor, the beloved wife of Edward I., who caused to be erected the famous Eleanor crosses at every place where her body rested, as it was borne to its final resting-place at Westminster. This monument was destroyed by Cromwell's soldiers, and recently a modern copy of the original has been erected. The Burghersh monuments are worthy of careful study. The family played an important part in history, and held high honours. Also we notice the tombs of Nicholas de Cantelupe (much mutilated), the artists Peter De Wint (d. 1849) and W. Hilton (d. 1839); Bishop Fuller's memorial of St. Hugh, Bishop Fuller (d. 1675), Bishop Gardiner (d. 1705) and Sub-Dean Gardiner (d. 1732), Bishop Wordsworth (d. 1885), Dean Butler (d. 1894), Bishop Sutton (d. 1299) and Robert Dymoke (d. 1735), whose family held the office of King's Champion.

Here in the Angel Choir once stood the lavish shrine of St. Hugh, which was looted during the Reformation, and a monument to Queen Eleanor, the cherished wife of Edward I. She had the famous Eleanor crosses built at every location where her body rested as it was taken to its final resting place at Westminster. Cromwell's soldiers destroyed this monument, but recently, a modern replica of the original has been put up. The Burghersh monuments deserve close examination. The family played a significant role in history and held high honors. We can also see the tombs of Nicholas de Cantelupe (heavily damaged), the artists Peter De Wint (d. 1849) and W. Hilton (d. 1839); Bishop Fuller's memorial of St. Hugh, Bishop Fuller (d. 1675), Bishop Gardiner (d. 1705), Sub-Dean Gardiner (d. 1732), Bishop Wordsworth (d. 1885), Dean Butler (d. 1894), Bishop Sutton (d. 1299), and Robert Dymoke (d. 1735), whose family held the position of King's Champion.

The Cloisters were erected in the thirteenth century, with the exception of the north colonnade, which was built by Sir Christopher Wren. Over this is the Library, which contains many treasures: an original copy of Magna Charta, a letter of Edward I.; a chalice of Bishop Grosseteste (1254) and his ring; Bishop Sutton's ring and chalice and paten (1299); a Roman mile-stone (260 A.D.). Of books there is a large collection, including a MS. copy of the Vulgate (1106), other valuable MSS., and many versions of the Bible in English. The old desks are curious and interesting.[349]

The Cloisters were built in the 13th century, except for the north colonnade, which was constructed by Sir Christopher Wren. Above this is the Library, which holds many treasures: an original copy of the Magna Carta, a letter from Edward I; a chalice from Bishop Grosseteste (1254) and his ring; Bishop Sutton's ring and chalice and paten (1299); a Roman milestone (260 CE). It also has a large collection of books, including a manuscript copy of the Vulgate (1106), other valuable manuscripts, and many English translations of the Bible. The old desks are unique and interesting.[349]

The beautiful Chapter-House is of Early English design, and was completed about 1230. It is ten-sided, and has a central pillar girt with Purbeck marble shafts, and a stone vaulted roof; lancet windows, filled with good modern glass enlighten the chamber, two in each side. An arcade runs round the walls beneath the windows, and in the carving we see the tooth ornament. There is a very ancient Chair of State here, which is said to have been the throne of Edward I. when he held his Parliament in this room.

The beautiful Chapter-House is designed in the Early English style and was finished around 1230. It has ten sides and a central pillar surrounded by Purbeck marble shafts, topped with a vaulted stone roof. Lancet windows, filled with modern glass, brighten the room, with two on each side. An arcade runs around the walls beneath the windows, showcasing intricately carved tooth ornaments. There is a very old Chair of State here, which is said to have been the throne of Edward I when he held his Parliament in this room.


[My grateful thanks are due to the Very Reverend the Dean of Lincoln for the great assistance which he has kindly rendered me in investigating the history of his Cathedral.]

[My sincere thanks go to the Very Reverend the Dean of Lincoln for the significant help he has generously given me in researching the history of his Cathedral.]

Dimensions

Dimensions

Total length482 ft.
Length of nave252 ft.
Breadth of nave with aisles80 ft.
Height of nave82 ft.
Length of choir158 ft.
Length of presbytery72 ft.
Height of central tower271 ft.
Height of west towers200 ft.
Area44,400 sq. ft.

Principal Building Dates

Key Construction Dates

  • Norman (1074-1092)—Central part of west front, fragments of first bay of nave.
  • (1123-1183)—West doors, arcade of west front, three lower storeys of west towers.
  • Early English (1192-1253)—Choir and presbytery, nave, transept to west chapels, turrets and screen of west front, Galilee, vestries, two lower stages of tower and chapter-house.
  • (1255-1296)—Angel Choir, cloisters.
  • Decorated (1307-1380)—Upper storeys of tower, "Bishop's Eye," stalls, statues over west door, upper stages of west towers.
  • (1450-1500)—Chapels.
  • (1674)—North colonnade of cloister and library.

PLAN OF LINCOLN CATHEDRAL

LINCOLN CATHEDRAL PLAN


SOUTHWELL CATHEDRAL

The ancient and interesting Church of St. Mary, Southwell, became a Cathedral in 1884, when the bishopric was founded, and the building is worthy of its high honour. In the time of Henry VIII. it nearly attained that rank, Southwell being one of the sees which that monarch proposed to found out of the spoils of the monasteries, but his good intentions were not fulfilled. For centuries it was in the large Diocese of York, and was esteemed as the Mother Church of the district, and enjoyed many rights and privileges.

The ancient and fascinating Church of St. Mary, Southwell, became a Cathedral in 1884 when the bishopric was established, and the building deserves its prestigious status. During the time of Henry VIII, it almost achieved that rank, as Southwell was one of the sees he planned to create from the wealth of the monasteries, but those good intentions were not realized. For centuries, it was part of the large Diocese of York and was regarded as the Mother Church of the area, enjoying many rights and privileges.

With the exception of a few fragments, no part of the present church dates further back than the twelfth century. There was an early Saxon church here, which was probably founded by Paulinus when he converted the wild folk of Nottinghamshire and Lincolnshire to the Christian faith. Then came the savage Danes, who swept away all traces of Christianity. The next church is said to have been built by the Saxon King Edgar, in 960 A.D., which was one of much importance before the Conquest; and in 1061 Aldred, Archbishop of York, founded prebends here, and built refectories for the canons. In the time of Henry I. it was raised to the dignity of Mother Church of the district, and the church was entirely rebuilt in the Norman style. When Walter de Grey was Archbishop of York (1216-1255), he was very energetic in improving the condition of his diocese and in erecting churches. He rebuilt the nave of Southwell, granting an indulgence of thirty days' pardon to all who should assist the work. John de Romeyn, sub-dean, whose son was afterwards Archbishop of York, assisted him in the work. There is a close resemblance between the nave of York Cathedral and the earlier choir of Southwell, and it is not improbable that the latter served as a model for the former. There is also a very close resemblance between the chapter-house of the two Cathedrals, which are evidences of the same designer and workmanship. Archbishop John de Romeyn was doubtless the architect of both buildings.

With the exception of a few fragments, no part of the current church dates back further than the twelfth century. There was an early Saxon church here, probably founded by Paulinus when he converted the wild people of Nottinghamshire and Lincolnshire to Christianity. Then came the fierce Danes, who erased all signs of Christianity. The next church is said to have been built by Saxon King Edgar in 960 AD, which was quite important before the Conquest; and in 1061 Aldred, Archbishop of York, established prebends here and built refectories for the canons. During Henry I's reign, it was elevated to the status of Mother Church of the area, and the church was completely rebuilt in the Norman style. When Walter de Grey served as Archbishop of York (1216-1255), he was very active in improving his diocese and constructing churches. He rebuilt the nave of Southwell and granted a thirty-day indulgence to anyone who helped with the work. John de Romeyn, the sub-dean, whose son later became Archbishop of York, assisted him in this effort. There is a strong resemblance between the nave of York Cathedral and the earlier choir of Southwell, and it’s likely that the latter served as a model for the former. There is also a close similarity between the chapter houses of both cathedrals, indicating the same designer and craftsmanship. Archbishop John de Romeyn was undoubtedly the architect of both buildings.

The community of clergy at Southwell consisted of the prebendaries, who formed the chapter, the vicars-choral and chantry[352] priests and choristers. The prebendaries had much power and many privileges. They held property, and each had a large house, hunted in neighbouring forests, and lived as country gentlemen as well as canons of Southwell. At the Reformation they surrendered their goods to Henry VIII., who contemplated making Southwell a Cathedral. He despoiled the church of vast quantities of plate and other valuables. In 1574, however, the college, like other similar institutions, was seized by the unscrupulous advisers of Edward VI. In Mary's reign it reverted to the Crown, and she restored the college to its former owners and uses, and this arrangement was happily left undisturbed by her successors. During the Civil War Cromwell's soldiers stabled their horses in the nave of the church. Charles I. stayed in the town at the "Saracen's Head," and here he delivered himself up to the Scotch commissioners, who stayed at the Palace. Cromwell wished to destroy the nave, but was stayed in his fanatical design by the intercession of one of his officers. The story is told of the wife of a hunted Royalist, named William Clay, registrar of the minster, hiding herself in the parvise, or room over the porch, and there giving birth to a child, while the soldiers lived in the church. A general pillage took place in the church at this time; the font was destroyed, lead torn from the roofs, brasses from the tombs, and every vestige of an image swept away.

The community of clergy at Southwell consisted of the prebendaries, who made up the chapter, along with the vicars-choral, chantry priests, and choristers. The prebendaries held significant power and many privileges. They owned property, each had a large house, hunted in nearby forests, and lived as country gentlemen as well as canons of Southwell. During the Reformation, they gave up their goods to Henry VIII., who considered turning Southwell into a Cathedral. He stripped the church of vast amounts of plate and other valuables. However, in 1574, the college, like other similar institutions, was taken by the unscrupulous advisers of Edward VI. In Mary's reign, it reverted to the Crown, and she returned the college to its original owners and purposes, an arrangement that was fortunately left untouched by her successors. During the Civil War, Cromwell's soldiers stabled their horses in the church's nave. Charles I. stayed in the town at the "Saracen's Head," where he surrendered to the Scottish commissioners who were at the Palace. Cromwell intended to destroy the nave but was stopped in his fanatical plans by the intervention of one of his officers. There's a story about the wife of a hunted Royalist named William Clay, who was the registrar of the minster, hiding in the parvise, or room over the porch, and giving birth to a child while the soldiers occupied the church. A widespread pillage occurred during this time; the font was destroyed, lead was ripped off the roofs, brasses were taken from the tombs, and every trace of an image was wiped out.

The College of Southwell has suffered in many other ways, sometimes from the carelessness of the prebendaries and their lack of zeal, sometimes from the effects of unwise and revolutionary legislation. In 1846 its position as a peculiar ceased to exist. Southwell is now a Cathedral with a diocese of its own, and if the ecclesiastical commissioners and the friends of the Church could see their way to granting an adequate endowment and means for carrying on its great work, Southwell would be able to maintain the dignity of an important see, and fulfil its mission to the Church and nation.

The College of Southwell has faced many challenges, sometimes due to the negligence of the prebendaries and their lack of enthusiasm, and sometimes because of misguided and radical legislation. In 1846, its unique status came to an end. Southwell is now a Cathedral with its own diocese, and if the ecclesiastical commissioners and supporters of the Church could find a way to provide sufficient funding and resources to continue its important work, Southwell would be able to uphold the dignity of a significant see and fulfill its mission to the Church and the nation.

Exterior

Outside

The finest view of this noble minster is obtained from the north-west corner of the churchyard. We notice the general Norman character of the building. The massive western towers, capped with spires, the lantern tower, the north transept and beautiful chapter-house, the noble roof, all combine to form a magnificent example of dignified and noble building.[353]

The best view of this impressive cathedral is from the northwest corner of the churchyard. You can see the typical Norman style of the structure. The strong western towers topped with spires, the lantern tower, the north transept, and the lovely chapter house, along with the grand roof, all come together to create a stunning example of dignified and majestic architecture.[353]

The West Front has been altered in character from its original Norman work. We see a huge Perpendicular window with an embattled parapet over it, an alteration made in the fifteenth century. The windows in the lower stages of the towers are modern imitation of Norman work. The towers have seven stages, and the sixth is enriched with fine arcading composed of intersecting arches. The present spires are modern imitations of the originals destroyed by fire in 1711. These were immediately restored, but removed in 1802, and have now again been replaced. The old Norman doorway is remarkably fine. It has five orders, the zigzag and filleted edge roll being the chief mouldings.

The West Front has changed significantly from its original Norman design. We can see a large Perpendicular window with an embattled parapet above it, a modification made in the fifteenth century. The windows in the lower parts of the towers are modern replicas of Norman work. The towers have seven levels, and the sixth level is beautifully decorated with intricate arcading made up of intersecting arches. The current spires are modern replicas of the originals that were destroyed by fire in 1711. These were quickly restored but removed in 1802, and they have now been added back. The old Norman doorway is exceptionally beautiful. It features five orders, with the zigzag and filleted edge roll being the main decorative elements.

Passing to the south side we see the wall of the nave pierced by apparent Norman windows, but these are modern imitations. The most western window in the north side is the only original Norman window; the rest are copied from it, and were erected in 1847.

Passing to the south side, we can see the wall of the nave featuring what appear to be Norman windows, but these are actually modern imitations. The westernmost window on the north side is the only original Norman window; the others are replicas of it, and they were installed in 1847.

Four Perpendicular windows were inserted in the fifteenth century. There is a row of small square windows above which light the triforium, and the clerestory has a curious series of circular windows which are unique in this country. The roof is high pitched, having been erected in modern times by the architect Christian, and the parapets are Perpendicular in style.

Four Perpendicular windows were added in the fifteenth century. There’s a row of small square windows above that light the triforium, and the clerestory features a unique series of circular windows that you won’t find anywhere else in the country. The roof is steeply pitched, having been built in modern times by the architect Christian, and the parapets are in the Perpendicular style.

The south doorway should be noticed, of Norman workmanship with zigzag string-course over it. Near here are the remains of the old Palace. The banqueting hall has been recently restored. The kitchens belong to the time of Henry VI. On the east of the transepts there were formerly apsidal chapels, which were removed when the present choir was built in the Early English period.

The south doorway is noteworthy, showcasing Norman craftsmanship with a zigzag pattern above it. Nearby, you can see the ruins of the old Palace. The banqueting hall has been restored recently. The kitchens date back to the time of Henry VI. To the east of the transepts, there used to be apsidal chapels, which were taken out when the current choir was constructed in the Early English period.

The Choir is a noble specimen of Early English work and "seems to be an emanation from Lincoln," wrote Sir Gilbert Scott, which it much resembles. We notice the extensive use of the dog-tooth ornament. Lancet windows give light to the interior. Two flying buttresses support the walls on the south side, and were added subsequently in the Decorated period to help them to bear the weight of the vaulted roof.

The Choir is a fine example of Early English architecture and "seems to be an extension of Lincoln," wrote Sir Gilbert Scott, which it closely resembles. We see a lot of the dog-tooth design used here. Lancet windows bring light into the space. Two flying buttresses support the walls on the south side; these were added later during the Decorated period to help hold up the weight of the vaulted roof.

The Chapter-House is on the north side, and was built in the Decorated period during the reign of Edward I., when York was extremely prosperous and profited by the presence of the court. The resemblance between the chapter-houses of York and Southwell is very striking, and both were evidently designed by the same[354] architect. This one is octagonal, and has windows of three lights with trefoil and circular ones in the heads. The roof is modern. A vestibule connects it with the church. An Early English wall with an arcade of lancets connects the vestibule with the north transept. The North Porch is good Norman work, and has a parvise which is very unusual in a porch of this date. This parvise was the scene of the story of the hiding of Mistress Clay in the troublous times of the Civil War. The inner doorway is very fine with its zigzag and beak-head moulding.

The Chapter-House is located on the north side and was built during the Decorated period in the reign of Edward I, when York was thriving and benefited from the court's presence. The similarity between the chapter-houses of York and Southwell is quite striking, and both were clearly designed by the same[354] architect. This one is octagonal and features windows with three lights, along with trefoil and circular designs in the tops. The roof is modern. A vestibule connects it to the church. An Early English wall with an arcade of lancets links the vestibule to the north transept. The North Porch showcases impressive Norman work and includes a parvise, which is quite unusual for a porch from this period. This parvise was the site where Mistress Clay hid during the tumultuous times of the Civil War. The inner doorway is exquisite, adorned with zigzag and beak-head molding.

The Interior

The Interior

We now enter the church by the west door, and looking down the nave (1110-1150) we are impressed by the massive appearance of the interior. The piers are rather short, only 19 feet high, six on each side, with square bases and round capitals. The triforium is large, and above is the clerestory with its unique plain circular windows. The Norman mouldings, zigzag, billet, hatchet, etc., are easily recognised. The present roof was erected in 1881.

We now enter the church through the west door, and looking down the nave (1110-1150) we are struck by the impressive size of the interior. The piers are fairly short, just 19 feet high, six on each side, with square bases and round capitals. The triforium is spacious, and above it is the clerestory with its distinctive plain circular windows. The Norman carvings, such as zigzag, billet, and hatchet, are easily recognizable. The current roof was built in 1881.

The Font, erected in 1661, is a poor substitute for the one destroyed by the soldiers of Cromwell. The Pulpit is modern; the figures represent the Virgin and Child, King Edwin and his queen, Augustine and Paulinus. The second pillar from the east on the south side is called Pike's Pillar, and retains faint traces of a mural painting of the Annunciation; the nave aisles have some good vaulting. A plain stone bench runs along the walls. This was common in old churches, and was the origin of the saying, "let the weakest go to the wall," where they could sit and rest, as the days of pews were not yet. The only original Norman window which remains is at the west end of the north aisle. Formerly there were several chantry chapels in the aisles, but all have been destroyed. The marble slab in the north aisle marks the site of one.

The Font, built in 1661, is a poor replacement for the one that was destroyed by Cromwell's soldiers. The Pulpit is modern, featuring figures of the Virgin and Child, King Edwin and his queen, Augustine, and Paulinus. The second pillar from the east on the south side is known as Pike's Pillar, and it still shows faint traces of a mural painting of the Annunciation; the nave aisles have some nice vaulting. A simple stone bench runs along the walls. This was common in old churches and is the origin of the saying, "let the weakest go to the wall," where they could sit and rest, as pews had not yet been introduced. The only original Norman window that remains is at the west end of the north aisle. There used to be several chantry chapels in the aisles, but all of them have been destroyed. The marble slab in the north aisle marks the site of one.

The Tower is a lantern, and also has a peal of bells. The chimes were given by Wymondesole in 1693. This tower is part of the original Norman church, and was built in 1150. The cable moulding round the four large arches should be noticed. It is composed of a series of double cones.

The Tower is a lantern and also has a set of bells. The chimes were donated by Wymondesole in 1693. This tower is part of the original Norman church and was built in 1150. The cable molding around the four large arches is worth noticing. It's made up of a series of double cones.

Southwell
Central Tower & N Transept

Southwell
Central Tower & N Transept

The Transepts are beautiful specimens of the work of Norman builders, and are full of interest. Originally there were apsidal chapels on the east side of both transepts. One has been destroyed, but the arch which connected it with the church can be seen in the[357] wall, with its zigzag and cable mouldings. The Norman chapel on the east of the north transept has been replaced by a Late Early English building which will repay careful study. There were formerly two altars here, as the piscinæ and aumbreys show. The old Norman arch is replaced by two pointed arches of unequal width. The windows are later insertions, and belong to the Decorated period. There is an upper storey, formerly the treasury, now the library. The chapel has been recently restored, and is a most interesting architectural study. Returning to the north transept we see a curious tympanum over the belfry doorway, with strange carving representing the teaching of Psalm xci. 13: "The lion and the dragon shalt Thou tread under Thy feet." Other interpretations are given of this subject, but this is the one usually accepted by scholars. It is also said by some to be Saxon, but this is incorrect. There is a very similar sculpture in the church of Charney Bassett, Berks. Here is the fine alabaster tomb of Archbishop Sandys (d. 1588). He is represented in his episcopal robes, and the details of his dress are important, as they show what the vestments of a bishop really were in the time of Elizabeth, a point often disputed by English Churchmen of to-day. The east arch of the central tower has some curious sculptured capitals hidden by the organ which belong to the twelfth century. Beginning on the south side, the subjects are lamb and dove, Triumphal Entry into Jerusalem, Nativity or Resurrection, Last Supper, bishop saying Mass, the Blessed Trinity, and the Virgin and Child.

The Transepts are stunning examples of Norman architecture and are very interesting. Originally, there were apsidal chapels on the east side of both transepts. One has been destroyed, but the arch that connected it to the church can be seen in the [357] wall, featuring its zigzag and cable moldings. The Norman chapel on the east side of the north transept has been replaced by a Late Early English structure that is worth a close look. There were originally two altars here, as indicated by the piscinæ and aumbreys. The old Norman arch has been replaced by two pointed arches of different widths. The windows are later additions from the Decorated period. There is an upper level, which used to be the treasury but is now the library. The chapel has been recently restored and is a fascinating architectural study. Returning to the north transept, we see an interesting tympanum above the belfry doorway, with unusual carvings representing the teaching of Psalm xci. 13: "You shall tread upon the lion and the serpent." Other interpretations exist for this subject, but this is the one most widely accepted by scholars. Some claim it to be Saxon, but that is incorrect. A very similar sculpture can be found in the church of Charney Bassett, Berks. Here lies the impressive alabaster tomb of Archbishop Sandys (d. 1588). He is depicted in his episcopal robes, and the details of his attire are significant, as they illustrate what a bishop's vestments looked like during Elizabeth's time, a point often debated by modern English Churchmen. The east arch of the central tower features some interesting sculptured capitals hidden by the organ, dating back to the twelfth century. Starting on the south side, the subjects include a lamb and a dove, the Triumphal Entry into Jerusalem, the Nativity or Resurrection, the Last Supper, a bishop saying Mass, the Blessed Trinity, and the Virgin and Child.

A stone Screen of rich Decorated work separates the transept from the choir, over which is now the organ (a modern instrument). The screen is richly ornamented, and a noble specimen of the work of the period. There are three arches opening to the space beneath the tower, separated by slight piers of clustered shafts, the capitals carved with foliage of a Late Decorated character. The walls of the screen support the old rood-loft, access to which is gained by two staircases.

A stone Screen with intricate designs separates the transept from the choir, above which sits the organ (a modern instrument). The screen is beautifully decorated and is a great example of craftsmanship from that time. There are three arches leading to the space under the tower, separated by narrow piers with clustered columns, and the capitals are carved with Late Decorated-style foliage. The walls of the screen support the old rood-loft, which can be accessed via two staircases.

Entering the Choir we see on each side of the doorway three prebendal stalls with misereres, on which are carved some foliage. The bishop's stall was once occupied by Cardinal Wolsey. The choir, as we have said, was built by Archbishop Grey in Early English style (1230-1250). There are six arches, with piers of eight clustered shafts. The dog-tooth moulding is conspicuous in[358] the arches, and on the vaulting of the roof. It will be noticed that the triforium and clerestory are blended together. The east window consists of two rows of lancets, the lower ones containing old glass brought from Paris in 1815, where it was formerly in the Chapel of the Knights Templar. The Baptism of our Lord; Raising of Lazarus (Francis I. is to be seen in a crimson cap); Christ entering Jerusalem (Luther is near our Lord, Louis XI. and the Duke of Orleans); the Mocking of our Lord (the figure of Dante appears).

Entering the Choir, we see three prebendal stalls with misereres on each side of the doorway, featuring carved foliage. The bishop's stall was once occupied by Cardinal Wolsey. As mentioned earlier, the choir was built by Archbishop Grey in Early English style (1230-1250). There are six arches supported by piers with eight clustered shafts. The dog-tooth molding is prominent in the arches and on the vaulted roof. You'll notice that the triforium and clerestory are combined. The east window has two rows of lancets, with the lower ones containing old glass brought from Paris in 1815, where it was previously in the Chapel of the Knights Templar. It depicts the Baptism of our Lord, the Raising of Lazarus (with Francis I seen in a crimson cap), Christ entering Jerusalem (with Luther near our Lord, Louis XI, and the Duke of Orleans), and the Mocking of our Lord (where Dante's figure appears).

The Sedilia were erected in 1350, and are good Decorated work. They have the unusual number of five seats on the same level. The arches are ogee-shaped, and are richly carved. The sculptured figures are remarkable, and represent the Creation and the Redemption. Beginning at the east we see the Father holding the world (two groups uncertain), Joseph's Dream, the Nativity and Flight into Egypt.

The Sedilia were built in 1350 and feature impressive Decorated work. They have an unusual five seats on the same level. The arches are ogee-shaped and are intricately carved. The sculpted figures are noteworthy, depicting Creation and Redemption. Starting from the east, we see God holding the world (with two unclear groups), Joseph's Dream, the Nativity, and the Flight into Egypt.

The Lectern belonged to the monks of Newstead Abbey, who threw it into the lake to hide it from the commissioners of Henry VIII. Its date is about 1500. The choir aisles had several altars, as we see from the piscinæ and aumbreys which are left. We will now visit the Chapter-House, and pass through the vestibule which leads to it, entering by a beautiful doorway in the north aisle. The transition between the Early English work of the choir and the Decorated style of the chapter-house is very gradual. The doorway, with its two arches and shafts of Purbeck marble, is remarkably fine. There is a small cloister court, with a stone-covered well. In the vestibule we see the walls covered with beautiful arcading of lancet arches of an Early English character. The capitals are beautifully carved with foliage. There is a curious boss of sculpture representing a secular priest shaking the regular monk by his hair, which figuratively depicts the supremacy of the former in the church of Southwell.

The Lectern belonged to the monks of Newstead Abbey, who threw it into the lake to hide it from Henry VIII's commissioners. It dates back to around 1500. The choir aisles had several altars, as we can see from the remaining piscinæ and aumbreys. We will now visit the Chapter-House and pass through the vestibule that leads to it, entering through a beautiful doorway in the north aisle. The transition between the Early English style of the choir and the Decorated style of the chapter house is very gradual. The doorway, with its two arches and shafts made of Purbeck marble, is particularly fine. There is a small cloister court with a stone-covered well. In the vestibule, we see the walls adorned with beautiful arcading of lancet arches in an Early English style. The capitals are beautifully carved with foliage. There is an interesting sculpted boss depicting a secular priest pulling a regular monk by his hair, which symbolically represents the supremacy of the former in the church of Southwell.

The Chapter-House (1285-1300) is described by Ruskin as "the gem of English architecture," and all architects agree in singing the praises of this noble building. It much resembles that of York, but is smaller and perhaps more beautiful. It is octagonal, has no central pillar, and is remarkable for its fine sculpture. The historian of Southwell says: "The foliage everywhere is most beautiful: the oak, the vine, the maple, the white-thorn, the rose, with a vast variety of other plants, are sculptured with exquisite freedom and delicacy; and no two capitals or bosses or spandrels[359] are found alike. Everywhere we meet, in ever-changing and ever-charming variety, with some fresh object of interest and admiration. Figures are introduced amid the foliage, heads with branches issuing out of their mouths, birds and lizard-like monsters. In the capitals a man reclines beneath a tree, puffing lustily at a horn, or a goat is gnawing the leaves, or a bird pecking the berries, or a pair of pigs are grunting up the acorns, or a brace of hounds just grabbing a hare. All this is the work of no mere chiseller of stone, but of a consummate artist; than whom it may be doubted whether any sculptor, of any age or country, ever produced anything more life-like and exquisitely graceful." The entrance doorway is remarkably fine and is worthy of close study. The main arch is divided into two by a slender shaft, and over them is a quatrefoiled circle, of beautiful design. The leaf ornament is largely used, both in the smaller arches and in the main arch. Filleted rounds and hollows are the other mouldings used.

The Chapter-House (1285-1300) is referred to by Ruskin as "the gem of English architecture," and all architects agree in praising this magnificent building. It closely resembles the one in York, but it's smaller and perhaps more beautiful. It has an octagonal shape, no central pillar, and is known for its stunning sculpture. The historian of Southwell states: "The foliage everywhere is incredibly beautiful: the oak, the vine, the maple, the hawthorn, the rose, along with a vast array of other plants, are carved with exquisite freedom and delicacy; and no two capitals, bosses, or spandrels[359] are identical. All around, we find, in an ever-changing and endlessly charming variety, something new to interest and amaze us. Figures are integrated into the foliage, with heads sprouting branches from their mouths, as well as birds and lizard-like creatures. In the capitals, there's a man lounging under a tree, puffing energetically on a horn, a goat munching on leaves, a bird pecking at berries, a pair of pigs snuffling for acorns, or a couple of hounds in pursuit of a hare. All of this is crafted by no ordinary stone carver, but by a master artist; one might wonder if any sculptor, from any time or place, ever created anything as lifelike and exquisitely elegant." The entrance doorway is exceptionally fine and merits close attention. The main arch is split in two by a slender shaft, with a beautifully designed quatrefoiled circle above them. Leaf motifs are extensively featured, both in the smaller arches and in the main arch. Filleted rounds and hollows are the other shapes used.

Southwell once contained the shrine of a Saxon saint—St. Eadburgh, Abbess of Repton (d. 714). "The Pilgrim's guide to the Saints of England" (a MS. in the British Museum, written in 1013) states that "the shrine of St. Eadburgh is still at Southwell," but no trace of it can now be found. There are several incised monumental slabs in the minster which have been cut and set in the floor. There is a Latin inscription to the memory of William Thorton, a chorister of the church, and the humble epitaph of William Talbot, who was a shining light in his day and died 1497, is of pathetic interest:—

Southwell once had the shrine of a Saxon saint—St. Eadburgh, Abbess of Repton (d. 714). "The Pilgrim's guide to the Saints of England" (a manuscript in the British Museum, written in 1013) notes that "the shrine of St. Eadburgh is still at Southwell," but no trace of it can be found today. There are several engraved monumental slabs in the minster that have been cut and set into the floor. One bears a Latin inscription in memory of William Thorton, a choir member of the church, and the simple epitaph of William Talbot, who was a prominent figure in his time and died in 1497, holds a poignant significance:—

"Here lies William Talbot, unfortunate" and unworthy priest, waiting "the resurrection of the dead under the symbol of the Cross."

[My thanks are due to the kindness of Archdeacon Richardson, Rector of Southwell Minster, for his kindness in explaining to me the interesting features of his church. I am also indebted to the works of Mr. Dimock, Mr. Livett and Mrs. Trebeck for much valuable information.]

[My thanks go to Archdeacon Richardson, Rector of Southwell Minster, for his generosity in explaining the interesting aspects of his church. I'm also grateful for the valuable information provided by the works of Mr. Dimock, Mr. Livett, and Mrs. Trebeck.]

Dimensions

Dimensions

Length, 306 ft.; breadth, 61 ft.; length of transept, 123 ft.; height of central tower, 105 ft.; height of west towers and spires, 150 ft.

Length: 306 ft.; width: 61 ft.; length of the transept: 123 ft.; height of the central tower: 105 ft.; height of the west towers and spires: 150 ft.


PETERBOROUGH CATHEDRAL

The towns and cities of England owe their origin to various causes. Some arose around the walls of great castles, some as trading centres or harbours, some clustered around the palace of a bishop, and others sheltered themselves beneath the shadow of a monastery.

The towns and cities of England have different origins. Some developed around the walls of large castles, some as trading centers or ports, some gathered around a bishop's palace, and others found shelter under the shadow of a monastery.

Peterborough, or Medeshamstede, is of this last class. It is a monastic town, and owes its existence to the great fenland Monastery of St. Peter, the minster church of which is now this beautiful Cathedral. Peada, the son of Panda, King of Mercia, first founded a monastery here in 654, of which Saxulph was the first abbot. The Pagan Danes came in 870 with fire and sword, and wrought fearful havoc in all this region, burning the holy house of Medeshamstede, and slaughtering the monks. For a hundred years the monastery lay in ruins; then came the religious revival under the rule of Dunstan and King Edgar. Monastic houses increased in number greatly, and Bishop Ethelwold of Winchester began to rebuild the waste places of the ruined Saxon Medeshamstede, and constructed a minster, some foundations of which still remain. The Abbey flourished for nearly a century, but sad misfortunes befell. Hereward the Wake, the hero of Kingsley's story, the gallant "last of the English," was making his last brave stand against William the Norman, and in conjunction with the Danes attacked the Abbey, and wrought much destruction. Fires and robbers were also occasionally dread visitants, and at last, in the time of Henry I., a great fire destroyed the whole buildings. The then abbot was John de Sais, who set to work immediately to erect a new monastery. This was in 1117. Then was begun the glorious minster which is the pride and glory of the fenlands. Subsequent abbots continued the work. Abbots Martin de Vecti and William de Waterville completed the transepts and tower and part of the nave, which was finished by Abbot Benedict (1177-1193). There is a striking uniformity of design throughout all this Norman work, which shows that the builders followed one plan, and imitated the work of their predecessors. The western transept, however, shows[361] evidences of the coming change, and when we come to the beautiful west front we find unmistakable Early English work. This part was probably finished in 1238, in the time of Abbot Walter of St. Edmunds, when the church was dedicated by Bishop Grosseteste of Lincoln. Abbot Robert de Lindsay, who liked not the windows of his monastery "stuffed with straw" to keep out wind and rain, filled many of them with glass, and built the lavatory in the cloister. Gradually the erection of the monastic buildings was being completed, and refectory and infirmary added, and Prior Parys built the Lady Chapel and one of the steeples at the close of the thirteenth century, which also saw the removal of the Norman windows from the aisles and the substitution of Early Decorated ones. This was a time of much splendour and magnificence for the Abbey, when Godfrey was abbot, and King Edward often visited it and received aid for his Scottish wars. This Godfrey built the large gateway. A century later the abbot was endowed with the privilege of a mitre, and thus took his seat in the House of Peers; and during this fourteenth century the lantern tower was erected with an octagon framed of wood, the triforium windows changed into the Decorated style, and the west front improved by the erection of the spire and the central porch. During the fifteenth century we hear sad complaints of the relaxation of the discipline of the monks, who too often frequented taverns and "the vulgar company of dancers and ballad singers." Abbot Kirton was a notable man, who built, or rather finished, "that goodly building at the east end of the church, now commonly known by the name of the new building," begun by his predecessor Ashton; and his rebus—a kirk and a tun—appears on the grand gate, now leading to the Deanery. At this time several Norman windows were filled with Perpendicular tracery. We see Cardinal Wolsey visiting the Abbey, and on Maundy Thursday washing the feet of poor persons, and the luckless Catherine of Arragon being buried here in 1535.

Peterborough, also known as Medeshamstede, belongs to that last category. It's a monastic town that was established because of the large fenland Monastery of St. Peter, whose main church is now this stunning Cathedral. Peada, the son of Panda, King of Mercia, founded a monastery here in 654, with Saxulph as its first abbot. The Pagan Danes invaded in 870, bringing destruction with fire and sword, devastating this area, burning the holy house of Medeshamstede, and killing the monks. The monastery remained in ruins for a hundred years; then a religious revival occurred under Dunstan and King Edgar. The number of monastic houses increased significantly, and Bishop Ethelwold of Winchester began rebuilding the forsaken parts of the ruined Saxon Medeshamstede, constructing a minster, parts of which still exist today. The Abbey thrived for nearly a century, but then misfortunes struck. Hereward the Wake, the hero of Kingsley’s story and the brave "last of the English," made his final stand against William the Norman and, in alliance with the Danes, attacked the Abbey, causing major destruction. Fires and robbers also occasionally visited this place with dread, and finally, during Henry I's reign, a huge fire destroyed all the buildings. The abbot at that time was John de Sais, who immediately set to work on building a new monastery. This started in 1117. Then the glorious minster began, which has become the pride of the fenlands. Successive abbots continued the construction. Abbots Martin de Vecti and William de Waterville completed the transepts, tower, and part of the nave, which Abbot Benedict finished (1177-1193). There's a noticeable uniformity of design throughout all this Norman work, indicating that the builders followed a single plan and imitated the work of their predecessors. However, the western transept shows[361] signs of the upcoming change, and when we reach the beautiful west front, we see clear Early English work. This part was likely finished in 1238, during the time of Abbot Walter of St. Edmunds, when Bishop Grosseteste of Lincoln dedicated the church. Abbot Robert de Lindsay, who disliked the windows of his monastery being "stuffed with straw" to block out wind and rain, filled many with glass and built the lavatory in the cloister. Gradually the construction of the monastic buildings was completed, with the refectory and infirmary added, and Prior Parys built the Lady Chapel and one of the steeples at the end of the thirteenth century, which also saw the removal of the Norman windows from the aisles and replaced with Early Decorated ones. This was a time of great splendor for the Abbey when Godfrey was abbot, and King Edward frequently visited and received support for his Scottish wars. This Godfrey built the large gateway. A century later, the abbot was granted the privilege of a mitre, allowing him a seat in the House of Peers; during the fourteenth century, the lantern tower was built with a wooden octagon frame, the triforium windows were modified to the Decorated style, and the west front was enhanced with the addition of the spire and central porch. In the fifteenth century, there were complaints about the monks' discipline slipping, as they often visited taverns and mingled with "the vulgar company of dancers and ballad singers." Abbot Kirton was a prominent figure who built, or rather completed, "that impressive structure at the east end of the church, now generally known as the new building," which had been started by his predecessor, Ashton; his rebus—a kirk and a tun—can be seen on the grand gate leading to the Deanery. During this time, many Norman windows were fitted with Perpendicular tracery. We see Cardinal Wolsey visiting the Abbey, washing the feet of poor people on Maundy Thursday, and the unfortunate Catherine of Aragon was buried here in 1535.

Then came the dissolution of monasteries, and Peterborough shared the fate of the rest. Whether it was on account of the subservience of the abbot, or because it contained the ashes of his queen, Henry VIII. spared the church, and made it a Cathedral, the last abbot being the first bishop. The burial of Mary Queen of Scots in 1587 is the next historical event which was here witnessed. We can imagine the scene of the torchlight procession bearing the executed body of the frail but fair queen into the church, and the last solemn obsequies of that sad and stormy life. Cromwell's[362] soldiers "did after their kind," and Dean Patrick tells us of "the rifling and defacing" that ensued:—

Then came the closing of the monasteries, and Peterborough faced the same fate as the others. Whether it was due to the abbot's submissiveness or because it housed the ashes of his queen, Henry VIII spared the church and turned it into a Cathedral, with the last abbot becoming the first bishop. The burial of Mary Queen of Scots in 1587 is the next significant historical event that took place here. We can picture the scene of the torchlit procession carrying the executed body of the fragile but beautiful queen into the church, along with the final solemn rites of that troubled and tumultuous life. Cromwell's[362] soldiers "did after their kind," and Dean Patrick recounts the "looting and vandalism" that followed:—

"The next day after their arrival, early in the morning, they break open the church doors, pull down the organs, of which there were two pair.

"The next morning after they arrived, they broke down the church doors and removed the organs, of which there were two sets."

"Then the souldiers enter the quire, and their first business was to tear in pieces all the common-prayer books that could be found. The great bible indeed, that lay upon a brass eagle for reading the lessons, had the good hap to escape with the loss only of the apocrypha.

"Then the soldiers entered the choir, and their first task was to rip apart all the prayer books they could find. Fortunately, the large Bible, which was placed on a brass eagle for reading lessons, survived with just the loss of the apocrypha."

"Next they break down all the seats, stalls and wainscot that was behind them, being adorned with several historical passages out of the old testament.

"Next, they dismantled all the seats, stalls, and paneling behind them, which were adorned with various historical passages from the Old Testament."

"When they had thus defaced and spoilt the quire, they march up next to the east end of the church, and there break and cut in pieces, and afterwards burn the rails that were about the communion table. The table itself was thrown down, the table-cloth taken away, with two fair books in velvet covers; the one a bible, the other a common-prayer book, with a silver bason gilt, and a pair of silver candlesticks beside. But upon request made to Colonel Hubbert, the books, bason and all else, save the candlesticks, were restored again.

"After wrecking the choir, they marched to the east end of the church and broke apart the rails around the communion table, then burned them. The table itself was knocked over, the tablecloth removed, along with two beautiful velvet-covered books; one was a Bible and the other a prayer book, along with a gilded silver basin and a pair of silver candlesticks next to them. However, upon Colonel Hubbert's request, the books, basin, and everything else except the candlesticks were returned."

"Now behind the communion table there stood a curious piece of stone-work, admired much by strangers and travellers: a stately skreen it was, well wrought, painted and gilt, which rose up as high almost as the roof of the church, in a row of three lofty spires, with other lesser spires growing out of each of them. This now had no imagery work upon it, or anything else that might justly give offence, and yet because it bore the name of the high altar, was pulled all down with ropes, lay'd low and level with the ground.

"Now, behind the communion table, there was an intriguing stone structure that caught the attention of many visitors and travelers. It was a grand screen, beautifully crafted, painted, and gilded, rising nearly to the church's roof, with three tall spires and smaller spires branching out from each. There were no images or anything else on it that could be deemed offensive, yet because it was called the high altar, it was pulled down with ropes and laid flat on the ground."

"Over this place, 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. This was defaced and spoilt by the discharge of muskets.

"Above this place, on the church’s roof, there was a large oval painting of Our Savior seated on a throne; one hand raised and holding a globe in the other, surrounded by the four evangelists and saints on each side, holding crowns, meant, I think, to represent Our Savior’s return for judgment. This was damaged and destroyed by gunfire."

"Then they rob and rifle the tombs, and violate the monuments of the dead. First then they demolish Queen Katherin's tomb: they break down the rails that enclosed the place, and take away the black velvet pall which covered the herse: overthrow the herse[363] itself, displace the gravestone that lay over her body, and have left nothing now remaining of that tomb, but only a monument of their own shame and villany. What did remain [of the herse of Mary Queen of Scots] that is, her royal arms and escutcheons which hung upon a pillar near the place where she had been interr'd, were most rudely pulled down, defaced and torn.

"Then they looted and vandalized the tombs, disrespecting the memorials of the dead. First, they destroyed Queen Katherin's tomb: they broke down the rails surrounding her area and removed the black velvet pall covering the hearse. They overturned the hearse[363], moved the gravestone over her body, and left nothing of that tomb except a monument to their own shame and wickedness. What remained [of Mary Queen of Scots' hearse], which were her royal arms and crests hanging on a pillar near her burial place, were brutally taken down, defaced, and torn."

"In the north isle of the church there was a stately tomb in memory of Bishop Dove, who had been thirty years bishop of the place. He lay there in portraicture in his episcopal robes, on a large bed under a fair table of black marble, with a library of books about him. These men soon destroy'd all the tomb.

"In the north aisle of the church, there was an impressive tomb dedicated to Bishop Dove, who had served as bishop for thirty years. He was portrayed in a portrait wearing his bishop’s robes, resting on a large bed beneath a beautiful black marble table, surrounded by a library of books. These men quickly destroyed the entire tomb."

"The like they do to two other monuments standing in that isle.

"They went about the same with two other monuments standing on that island."

"In a place then called the new building, and since converted to a library, there was a fair monument, which Sir Humphrey Orm (to save his heir that charge and trouble), thought fit to erect in his own life time, where he and his lady, his son and wife and all their children were lively represented in statues, under which were certain English verses written:—

"In a place then called the new building, which has since become a library, there was a beautiful monument that Sir Humphrey Orm (to spare his heir that charge and burden) decided to erect during his lifetime, where he, his wife, their son and his wife, and all their children were vividly represented in statues, underneath which were some English verses written:—

"Mistake not, Reader, I thee crave, This is an Altar not a Grave, Where fire raked up in Ashes lyes, And hearts are made the Sacrifice, &c.

"Which two words, altar and sacrifice, 'tis said, did so provoke and kindle the zealots' indignation, that they resolve to make the tomb itself a sacrifice: and with axes, poleaxes, and hammers, destroy and break down all that curious monument, save only two pilasters still remaining, which shew and testifie the elegancy of the rest of the work.

"These two words, altar and sacrifice, it is said, incited the zealots’ anger so much that they decided to turn the tomb itself into a sacrifice: and with axes, poleaxes, and hammers, they destroyed and demolished that intricate monument, leaving only two pilasters still standing, which show and testify to the elegance of the rest of the structure."

"When they had thus demolished the chief monuments, at length the very gravestones and marbles on the floor did not escape their sacrilegious hands. For where there was any thing on them of sculptures or inscriptions in brass, these they force and tear off.

"After they had destroyed the main monuments, even the gravestones and the marble on the floor weren't safe from their sacrilegious actions. Anything with sculptures or brass inscriptions was ripped off and torn away."

"Having thus done their work on the floor below, they are now at leisure to look up to the windows above.

"Having finished their tasks on the floor below, they now had time to look up at the windows above."

"Now the windows of this church were very fair, being adorned and beautified with several historical passages out of scripture and ecclesiastical story; such were those in the body of the church, in the isles, in the new building, and elsewhere. But the cloister windows were most famed of all, for their great art and pleasing variety. One side of the quadrangle containing the history[364] of the Old Testament; another, that of the new; a third, the founding and founders of the church; a fourth, all the kings of England downwards from the first Saxon king. All which notwithstanding were most shamefully broken and destroyed. Yea, to encourage them the more in this trade of breaking and battering windows down, Cromwell himself, (as 'twas reported,) espying a little crucifix in a window aloft, which none perhaps before had scarce observed, gets a ladder, and breaks it down zealously with his own hand.

"Now the windows of this church were very beautiful, adorned with various scenes from scripture and church history; these were in the main part of the church, in the aisles, in the new building, and elsewhere. But the cloister windows were the most famous of all, known for their incredible artistry and pleasing variety. One side of the quadrangle depicted the history of the Old Testament; another showed the New Testament; a third illustrated the founding and founders of the church; and a fourth displayed all the kings of England from the first Saxon king onward. Despite all this, they were shamefully broken and destroyed. To further encourage this vandalism, Cromwell himself, as it was reported, noticed a small crucifix in a high window that perhaps no one had seen before, so he grabbed a ladder and zealously broke it down with his own hands."

"But before I conclude the narrative, I must not forget to tell, how they likewise broke open the chapter-house, ransack'd the records, broke the seals, tore the writings in pieces, specially such as had great seals annexed unto them, which they took or mistook rather for the popes' bulls.

"But before I finish the story, I must mention how they also broke into the chapter house, searched through the records, broke the seals, and ripped the documents into pieces, especially those with large seals attached, which they took or confused for the popes' bulls."

"Thus, in a short time, a fair and goodly structure was quite stript of all its ornamental beauty, and made a ruthful spectacle, a very chaos of desolation and confusion, nothing scarce remaining but only bare walls, broken seats, and shatter'd windows on every side.

"Thus, in a short time, a beautiful and impressive structure was completely stripped of all its ornamental beauty, becoming a heartbreaking sight of desolation and chaos, with hardly anything left but bare walls, broken seats, and shattered windows on every side."

"Many fair buildings adjoyning to the minster, were likewise pulled down and sold by publick order and authority, such were the cloysters, the old chapter-house, the library, the bishop's hall and chapel at the end of it: the hall was as fair a room as most in England; and another call'd the green-chamber, not much inferior to it. These all were then pull'd down and destroyed; and the materials, lead, timber and stone exposed to sale, for any that would buy them. But some of the bargains proved not very prosperous; the lead especially that came off the palace was as fatal as the gold of Tholouse; for to my knowledge, the merchant that bought it, lost it all, and the ship which carried it, in her voyage to Holland."

"Many beautiful buildings next to the cathedral were also torn down and sold by public order and authority. This included the cloisters, the old chapter house, the library, the bishop's hall, and the chapel at the end of it. The hall was one of the finest rooms in England, and there was another one called the green chamber, which was almost as impressive. All of these were demolished, and the materials—lead, timber, and stone—were put up for sale to anyone who wanted to buy them. However, some of the sales turned out to be quite unfortunate; especially the lead that came from the palace was as disastrous as the gold from Toulouse. To my knowledge, the merchant who bought it lost everything, along with the ship that carried it, during its journey to Holland."

Peterborough Cathedral

Peterborough Cathedral

And thus the church continued for some time ruined and desolate. A relative of Cromwell, Oliver St. John, was granted the possession of it, and converted it into a parish church. The Lady Chapel was pulled down in order to obtain material for repairing the main building; the painted boards of the ceiling they found useful for making the backs for the choir. At the Restoration Dean Cosin was recalled, and since that time many alterations and much reparation have been undertaken, though often with more zeal than good taste. Dean Tarrant (1764-1791) collected the fragments of stained glass, and placed them together in two windows at the east end. Dean Kipling removed the octagon, and erected four[367] hideous turrets, which no longer disfigure the tower. Dean Monk (1822-1830) did much for the Cathedral, though little of his work remains. Since then the tower has been rebuilt (finished in 1886), much internal decoration added, and the west front rendered secure. Much controversy has raged about the restoration of this west front. Experts on both sides have expressed divers opinions, the relative merits of which it is difficult to decide. Certainly to take down a building stone by stone and rebuild it again is not legitimate restoration. But whether it was possible to make the north gable secure without this drastic treatment it is for experts to decide, and it is presumptuous for others to express an opinion or attempt to arbitrate when these experts puzzle us with the variety of their judgments.

And so the church remained in ruins and desolation for some time. A relative of Cromwell, Oliver St. John, was given ownership of it and turned it into a parish church. The Lady Chapel was demolished to gather materials for repairing the main building; they found the painted ceiling boards useful for making the backs of the choir. At the Restoration, Dean Cosin was reinstated, and since then many changes and repairs have been made, often with more enthusiasm than good taste. Dean Tarrant (1764-1791) collected the pieces of stained glass and arranged them in two windows at the east end. Dean Kipling removed the octagon and constructed four hideous turrets, which no longer disfigure the tower. Dean Monk (1822-1830) contributed significantly to the Cathedral, though little of his work remains. Since then, the tower has been rebuilt (finished in 1886), much interior decoration has been added, and the west front has been secured. There has been a lot of debate about the restoration of this west front. Experts on both sides have shared various opinions, and it's hard to determine their relative merits. Certainly, taking a building apart stone by stone and rebuilding it is not true restoration. However, whether it was possible to secure the north gable without such drastic measures is up for the experts to decide, and it seems presumptuous for others to express opinions or try to mediate when these experts confuse us with their differing judgments.

The Exterior

The Outside

We enter the precincts by the western gateway, built by Abbot Benedict in Norman style, but subsequently altered at the end of the fourteenth century. There is a Late Decorated arch, and two arcades of the same date built over the Norman wall; but the Norman arcades proclaim its ancient origin. The upper room was the home of the Peterborough branch of the Spalding "Society of Gentlemen," who advanced learning and published papers at the beginning of the eighteenth century. Previously it was the Chapel of St. Nicholas. On the left of the close is an old building, also erected by Benedict, the remains of the Chapel of St. Thomas of Canterbury. The old Grammar School, founded by Henry VIII., utilised the building until recent years. The style of the present building is Decorated.

We enter the grounds through the western gate, originally built by Abbot Benedict in the Norman style but later modified at the end of the fourteenth century. There's a Late Decorated arch and two arcades of the same period constructed over the Norman wall, but the Norman arcades still show its ancient origins. The upper room used to be the home of the Peterborough branch of the Spalding "Society of Gentlemen," which promoted learning and published papers in the early eighteenth century. Before that, it was the Chapel of St. Nicholas. On the left side of the close, there's an old building also built by Benedict, which is the remains of the Chapel of St. Thomas of Canterbury. The old Grammar School, established by Henry VIII., used the building until recently. The style of the current building is Decorated.

Immediately before us we see the noble West Front, "the pride and glory of Peterborough," the finest portico in Europe. With the exception of the porch, the style is pure Early English. On the north and south are two lofty turrets, flanked at the angles with clustered shafts and crowned with spires. Between these are three pointed arches, supported by clustered shafts, six on each side, with floriated capitals. The central arch is narrower than the rest, but its mouldings are ornamented with crockets and dog-tooth. A string-course runs along the top of the arches, and the spandrels have trefoils, quatrefoils and niches with statues. Above the string-course is a series of trefoiled arches, some of which have statues. Between the three gables are pinnacles much[368] ornamented. The gables have circular windows of beautiful design and a cross at the apex; they are ornamented with dog-tooth and have niches with statues—St. Peter in the centre, with SS. John and Andrew on either side. The turrets on the north and south have six stages panelled with arches. The spires are good examples of the difference between those of the Early Decorated and Perpendicular periods. The south spire is connected with the pinnacles of the tower by clustered pinnacles springing from an arch; these are decorated with crockets, and the spire belongs to the early fourteenth century; whereas the spire on the north has no such connection, and is Early Perpendicular.

Right in front of us is the impressive West Front, "the pride and glory of Peterborough," the finest portico in Europe. Except for the porch, the style is purely Early English. On the north and south sides, there are two tall turrets, each with clustered shafts at the angles and topped with spires. Between them are three pointed arches supported by clustered shafts, six on each side, featuring floriated capitals. The central arch is narrower than the others, but its moldings are decorated with crockets and dog-tooth patterns. A string-course runs along the top of the arches, and the spandrels have trefoils, quatrefoils, and niches containing statues. Above the string-course is a row of trefoiled arches, some of which hold statues. Between the three gables are intricately decorated pinnacles. The gables feature beautifully designed circular windows and a cross at the top; they are adorned with dog-tooth patterns and have niches for statues—St. Peter in the center, flanked by Saints John and Andrew on either side. The turrets to the north and south have six stages with paneled arches. The spires clearly illustrate the difference between the Early Decorated and Perpendicular periods. The south spire connects to the tower's pinnacles by clustered pinnacles emerging from an arch; these are embellished with crockets, and this spire dates back to the early fourteenth century, while the north spire, which has no connection, belongs to the Early Perpendicular style.

We now notice the Porch with parvise over it. This was built late in the fourteenth century in order to give additional strength to the west front and act as a kind of buttress to the piers of the central arch. The design is very beautiful. The entrance has an obtuse arch, and above a Perpendicular window with elliptical arch. Buttresses empanelled with niches stand on each side. It has a stone vault of good design. One boss is curious, representing the Trinity. The attitude of the Saviour shows that the figure was designed by a freemason, and bears witness to the antiquity of that fraternity. The parvise is now a library.

We now see the Porch with a parvise above it. This was built in the late 14th century to reinforce the west front and serve as a kind of buttress for the piers of the central arch. The design is quite beautiful. The entrance has an obtuse arch, and above it, there's a Perpendicular window with an elliptical arch. Buttresses lined with niches stand on each side. It features a well-designed stone vault. One boss is interesting, depicting the Trinity. The posture of the Savior suggests that the figure was created by a freemason and highlights the long history of that fraternity. The parvise is now a library.

A Late Perpendicular gateway at the north-east, erected by Abbot Kirton, whose rebus appears over the side door, leads to the Deanery. It has a Tudor arch, with the arms of the see in spandrels, and is ornamented with Tudor rose and portcullis, and Prince of Wales's feathers. Here is the old burial-ground, and a fine view of the Cathedral is obtained from the north-east. The Norman character of the building is evident, though there have been many changes. The Norman windows in the clerestory have been filled with Perpendicular tracery. The low Norman aisles have been raised, the windows taken out and replaced by thirteenth-century substitutes in the lowest range and by Decorated ones in the triforium. Below this the old Norman arcade remains. A good Norman door, called the Dean's Door, is in the centre of this north wall. An Early English parapet crowns the aisle walls, and a Decorated one surmounts the clerestory, which is continued in the North Transept, where similar alterations have taken place, and Perpendicular tracery inserted in Norman windows.

A Late Perpendicular gateway at the northeast, built by Abbot Kirton, whose emblem is above the side door, leads to the Deanery. It features a Tudor arch, with the arms of the see in the spandrels, and is decorated with a Tudor rose, a portcullis, and the Prince of Wales's feathers. This area includes the old burial ground, and you can get a great view of the Cathedral from the northeast. The Norman style of the building is clear, even though there have been many changes. The Norman windows in the clerestory have been filled with Perpendicular tracery. The low Norman aisles have been raised, with the windows removed and replaced by thirteenth-century versions in the lowest range and by Decorated ones in the triforium. Below this, the old Norman arcade still stands. A good Norman door, known as the Dean's Door, is located in the center of this north wall. An Early English parapet tops the aisle walls, and a Decorated one crowns the clerestory, which continues into the North Transept, where similar changes have occurred, and Perpendicular tracery has been added to Norman windows.

The central Tower was rebuilt in 1884. The necessity for continued rebuilding and restoration at Peterborough is much to be deplored. Probably the cause is the draining of the fens, which[369] makes the clay to contract and thus produces insecure foundations. It has some good windows. We have already recorded the history of the previous structures. As much of the old work as possible was preserved in the rebuilding of the present tower.

The main Tower was rebuilt in 1884. It's unfortunate that ongoing rebuilding and restoration are still needed at Peterborough. The likely reason is the draining of the fens, which[369] causes the clay to shrink and results in unstable foundations. It features some nice windows. We have already noted the history of the earlier structures. Much of the original work was preserved in the construction of the current tower.

Walking around the church we come to the east of transept, where formerly stood the Lady Chapel, pulled down at the Restoration by the townspeople, and its materials sold in order to provide funds for restoring the church after Puritan destruction. Notice the marks of the gable of Lady Chapel in the transept wall. The thirteenth-century builders pierced the Norman wall with lancets.

Walking around the church, we reach the east side of the transept, where the Lady Chapel used to be. It was demolished during the Restoration by the townspeople, and its materials were sold to help fund the church's restoration after the Puritan destruction. You can see the outline of the Lady Chapel on the transept wall. The thirteenth-century builders created pointed arches in the Norman wall.

The east end of Peterborough is rather peculiar. There remains the old Norman apse, with Decorated windows inserted, and this is surrounded by what is called the New Building, though it is 400 years old, formed by extending the walls of the choir and building a square end to the Cathedral. This was erected by Abbot Kirton. His work possesses the best features of Perpendicular style. It is richly ornamented, and when we examine his work we cannot say that the glories of Gothic achievement had quite departed. We see the twelve buttresses, each terminated with a seated figure, usually said to be one of the Apostles.

The east end of Peterborough is quite unique. The old Norman apse still stands, now with Decorated windows added in, and it’s surrounded by what’s called the New Building, even though it’s 400 years old. This structure was created by extending the walls of the choir and building a square end to the Cathedral. Abbot Kirton was responsible for this work, which showcases the best features of the Perpendicular style. It’s beautifully detailed, and when we look closely at his work, we can’t say that the brilliance of Gothic achievement has completely faded. We see the twelve buttresses, each topped with a seated figure, usually thought to be one of the Apostles.

On the south-east of the Cathedral are the ruins of the infirmary of the monks, always a pleasant place in a monastery. It is a thirteenth-century building, and consisted of a hall, with aisles and a chancel. The aisles were used as cells or couches for the sick monks, and the religious services of the infirmary were performed in the chancel. On the south are the remains of the monastery. Only the south and west walls of the cloister court remain. There is a good thirteenth-century doorway and Perpendicular lavatory. The south view of the Cathedral is very fine. Passing through the cloisters, which once echoed with the tread of the monks, or saw them poring over their tomes and writing their beautiful MSS., we retrace our steps to the west front and so enter the Cathedral.

On the southeast side of the Cathedral are the ruins of the monks' infirmary, which was always a pleasant spot in a monastery. It’s a thirteenth-century building that included a hall, with aisles and a chancel. The aisles served as cells or beds for sick monks, and religious services for the infirmary were held in the chancel. To the south are the remains of the monastery. Only the south and west walls of the cloister court are left standing. There’s a nice thirteenth-century doorway and a Perpendicular lavatory. The view of the Cathedral from the south is quite beautiful. As we walk through the cloisters, once filled with the sounds of the monks' footsteps or where they diligently studied their texts and crafted their beautiful manuscripts, we make our way back to the west front and then enter the Cathedral.

The Interior

The Interior

As we enter we notice the distinctive character of the Norman work of which this Cathedral is a notable and excellent example. In the extreme west there is a blending of the two styles of Norman and Early English, but the monks of Peterborough clung[370] tenaciously to their old ideas and to Norman and Romanesque models, and right up to the end of the twelfth century built in this style, not from any desire to imitate the work of their predecessors (as some writers assert) but from an obstinate adherence to conservative tradition. Even when the glorious tide of English Gothic was rising, and they could no longer resist the flood, they clung to the old zigzag mouldings. It is evident from the construction of the third column that they intended to end their church there; but happily the thirteenth-century brethren decided to rear the noble twin-towered front and the perfect portico. Some of the later columns show Transition work; on one side we see a Norman base or capital, on the other an Early English.

As we enter, we notice the unique style of the Norman architecture, of which this Cathedral is a remarkable and excellent example. At the far west, there's a blend of the Norman and Early English styles, but the monks of Peterborough stubbornly stuck to their traditional ideas and Norman and Romanesque models, continuing to build in this style right up until the end of the twelfth century, not out of a desire to copy their predecessors (as some writers claim), but from a firm commitment to conservative tradition. Even when the wonderful wave of English Gothic was rising, and they could no longer resist the change, they held on to the old zigzag moldings. It's clear from the construction of the third column that they planned to finish their church there; but fortunately, the thirteenth-century monks chose to build the impressive twin-towered front and the perfect portico. Some of the later columns display transitional work; on one side, we see a Norman base or capital, while on the other, an Early English style.

There is a grand uninterrupted view of the whole length of the Cathedral from west to east. It will be observed that the tower arch is Decorated, and this adds to the beauty of this view. Before leaving the west we notice some dog-tooth carved in wood, which is somewhat rare. The south end of this west transept is the baptistry, the font of which has a thirteenth-century bowl. The north end is now used as a vestry. The west window has Perpendicular tracery.

There is a stunning, unobstructed view of the entire length of the Cathedral from west to east. You'll notice that the tower arch is decorated, which enhances the beauty of this view. Before we move away from the west, we see some dog-tooth carving in wood, which is quite rare. The south end of this west transept serves as the baptistry, and its font has a bowl from the thirteenth century. The north end is currently used as a vestry. The west window features Perpendicular tracery.

NORTH-WEST TRANSEPT

NW TRansept

The nave has ten bays with Norman arches; the triforium has likewise Norman arches, but each of these has two sub-arches. The windows of the clerestory have Perpendicular tracery. The Ceiling is intensely interesting, and is original Norman work. It has various figures within lozenge-shaped medallions, viz.:—Agnus Dei, SS. Peter, Paul, Edward the Martyr, Edward the Confessor, Moses, and other kings, archbishops, bishops and allegorical and[371] grotesque figures. As we have seen from the exterior, the walls of the aisles have been raised, and later windows inserted. The roofs of the aisles were vaulted by Norman builders. The visitor may discover for himself some mason marks in the south aisle.

The nave has ten bays with Norman arches; the triforium also features Norman arches, but each one has two sub-arches. The clerestory windows have Perpendicular tracery. The Ceiling is highly interesting and is original Norman work. It includes various figures in lozenge-shaped medallions, such as: Agnus Dei, Saints Peter, Paul, Edward the Martyr, Edward the Confessor, Moses, and other kings, archbishops, bishops, along with allegorical and[371]grotesque figures. As we've seen from the outside, the aisle walls have been raised, and newer windows have been added. The roofs of the aisles were vaulted by Norman builders. Visitors can find some mason marks in the south aisle.

As at Norwich the Choir begins with the two east bays of the nave, which was the original arrangement, and not unusual in Benedictine minsters, and extends over the space under the tower, and besides the apse occupies four bays east of the tower. The gates are good modern iron-work. The erection of a screen is in contemplation. Two pillars have been placed in position; but the scheme presents difficulties which have not yet been solved. The piers are alternately round or polygonal. This portion was the earliest part of the Cathedral, and was constructed by Abbot de Sais (1114-1125). The hatchet moulding is conspicuous. The triforium arches are double, like the nave, and the clerestory has triple arches, the centre one being the highest. The apse is particularly fine. The Decorated style is evident in the windows, which were inserted in the fourteenth century instead of the old Norman ones, and the hanging tracery of graceful design was then added. The roof of the choir is late fourteenth-century work except at the east end where the roof is flat. Here Cromwell's soldiers discharged their muskets at the figure of our Lord in glory, which they deemed to be an idol. This ceiling was decorated in 1884 by Sir Gilbert Scott. The bosses of the rest of the roof are curious. Nearly all the old glass was destroyed in the Puritan desecration; the remaining fragments have been placed in the two highest east windows. The fittings of the choir are modern, except an ancient lectern of fifteenth-century date given by Abbot Ramsay and Prior Malden, as the inscription testifies, though it is now scarcely legible. The choir stalls are remarkably fine, and as the carved figures contain a history of the Cathedral written in wood, it may be well to record their names. We will begin with the dean's stall and proceed eastward:—

As in Norwich, the Choir starts with the two east bays of the nave, which was the original layout and not unusual for Benedictine churches. It extends over the space under the tower and, in addition to the apse, occupies four bays east of the tower. The gates are modern ironwork. There are plans to build a screen. Two pillars have been set in place, but the project has encountered challenges that haven't been resolved yet. The piers are alternatingly round or polygonal. This area was the earliest part of the Cathedral, built by Abbot de Sais (1114-1125). The hatchet molding stands out. The triforium arches are double, similar to the nave, and the clerestory features triple arches, with the central one being the tallest. The apse is particularly impressive. The Decorated style is clear in the windows, which were added in the fourteenth century to replace the old Norman ones, and the elegant hanging tracery was introduced then. The roof of the choir dates from the late fourteenth century, except for the east end where the roof is flat. Here, Cromwell's soldiers fired their muskets at the figure of our Lord in glory, which they considered an idol. This ceiling was decorated in 1884 by Sir Gilbert Scott. The bosses on the rest of the roof are interesting. Most of the old glass was destroyed during the Puritan desecration; the remaining pieces have been placed in the two highest east windows. The fittings in the choir are modern, except for an ancient lectern from the fifteenth century, given by Abbot Ramsay and Prior Malden, as the inscription notes, though it is now barely readable. The choir stalls are exceptionally beautiful, and since the carved figures tell the history of the Cathedral in wood, it would be good to note their names. We'll start with the dean's stall and move eastward:—

  • 1. St. Peter, the Patron Saint.
  • 2. Saxulph (656), first Abbot, afterwards Bishop of Lichfield.
  • 3. Adulph (971), Abbot Chancellor to King Edgar, afterwards Bishop of Worcester, and Archbishop of York.
  • 4. Kenulph (992), Abbot, afterwards Bishop of Winchester.
  • 5. Leofric (1057), Abbot.
  • 6. Turold (1069), Abbot, appointed by William the Conqueror.
  • 7. Ernulph (1107), Abbot, afterwards Bishop of Rochester.
  • 8. Martin de Vecti or Bec (1133), Abbot. During his time the choir and transept aisles were finished, and solemnly dedicated.
  • 9. Benedict (1175), Abbot, Keeper of the Great Seal for Richard I. He built the greater part, if not all, of the nave.
  • 10. Martin de Ramsey (1226), Abbot.
  • 11. John de Caleto or Calais (1249), Abbot, one of the King's Justices. He built the infirmary, and probably the refectory and part of the cloisters.
  • 12. Richard de London (1274), Abbot. He built the north-western tower.
  • 13. Adam de Boothby (1321), Abbot.
  • 14. William Genge (1296), first mitred Abbot.
  • 15. Richard Ashton (1438), Abbot.
  • 16. Robert Kirton (1496), Abbot. He built the Deanery Gateway, and the new building; his rebus, a church on a tun, carved in stone, is to be seen on most of his work.
  • 17. John Towers (1638), Bishop, previously Dean.
  • 18. Thomas White (1685), Bishop. He was one of the seven bishops committed by James II.; and also one of the seven non-juring bishops.
  • 19. William Connor Magee (1868), Bishop, afterwards Archbishop of York.
  • 20. Simon Patrick (1679), Dean, afterwards Bishop of Chichester, and finally of Ely.
  • 21. Augustus Page Saunders (1853), Dean.
  • 22. John James Stewart Perowne (1878), Dean, afterwards Bishop of Worcester.

The upper figures on the north side represent the following:—

The upper figures on the north side show the following:—

  • 1. Peada (655), King of Mercia, founder of the monastery.
  • 2. Cuthbald (675), second Abbot.
  • 3. King Edgar and his Queen.
  • 4. Ethelfleda.
  • 5. Brando (1066), Abbot.
  • [373] 6. Hereward, the Saxon Patriot (1070), nephew of Abbot Brando, and knighted by him.
  • 7. John de Sais (1114), Abbot. He commenced the building of the existing choir.
  • 8. Hedda (d. 870), Abbot murdered by Danes.
  • 9. Robert de Lindsay (1214), Abbot, with model of west front.
  • 10. Godfrey of Crowland (1299), Abbot. Gateway.
  • 11. William Ramsay (1471), Abbot.
  • 12. William Parys (1286), Prior, builder of Lady Chapel.
  • 13. St. Giles, with hart.
  • 14. Hugo Candidus, historian of Abbey.
  • 15. Henry de Overton (1361), Abbot.
  • 16. Queen Catherine of Arragon.
  • 17. Dean Cosin, afterwards Bishop of Durham.
  • 18. Simon Gunton (1546), historian of the church.
  • 19. Herbert March (1819), Bishop.
  • 20. George Davys (1839), Bishop.
  • 21. Dean Monk, afterwards Bishop of Gloucester and Bristol.
  • 22. Dean Argles (1891).

Much history is also contained in the carvings of the pulpit and bishop's throne. The altar has a marble canopy over it, which is a magnificent piece of work, but perhaps hardly suitable for its position. The mosaic pavement is remarkably fine. We now pass into the Choir Aisles, which have Norman vaulted roofs, and formerly had apsidal ends, but these were removed when Abbots Ashton and Kirton built the New Building or square end to the church, or perhaps earlier, as there are some aumbreys and double piscinæ of the thirteenth century, and also on the south wall some painted shields and a scroll border of the same date. The windows are later insertions as in the nave. Traces of the old entrance to the destroyed Lady Chapel may be seen in the north wall.

Much history is also captured in the carvings of the pulpit and bishop's throne. The altar features a marble canopy, which is an impressive piece of work, though it might not be entirely fitting for its location. The mosaic pavement is really exquisite. We now move into the Choir Aisles, which have Norman vaulted roofs and used to have apsidal ends, but these were taken out when Abbots Ashton and Kirton constructed the New Building or square end of the church, or possibly even earlier, as there are some aumbreys and double piscinæ from the thirteenth century, along with some painted shields and a scroll border on the south wall from the same time. The windows are later additions like those in the nave. You can still see traces of the old entrance to the destroyed Lady Chapel in the north wall.

We have noticed the building of the ambulatory called the New Building from the exterior of excellent Perpendicular work. Perhaps the most striking features of the interior is the fan-tracery of the roof, the curious bosses, the rebuses of the two Abbots Ashton and Kirton, and the monuments. The principal ones in the choir and aisles are a modern memorial stone of Catherine of Arragon (the old tomb was destroyed by the Puritans, of which fragments have been discovered); the tablet in memory of Mary Queen of[374] Scots; Archbishop Magee's marble monument; Sir Humprey Orme's mutilated tomb; several abbots' tombs and tablets to bishops; Late Saxon tombs of two Archbishops of York, and the famous Monks' Stone which popular tradition associates with the massacre of the Peterborough monks by the Danes in 870. Recent investigators have assigned a later date, and attribute it to Norman work, but we are inclined to favour the Saxon theory.

We have observed the construction of the ambulatory known as the New Building, which features impressive Perpendicular architecture on the outside. Perhaps the most eye-catching aspects of the interior include the fan-tracery of the roof, the unique bosses, the rebuses of the two Abbots Ashton and Kirton, and the monuments. The main ones in the choir and aisles are a modern memorial stone for Catherine of Aragon (the original tomb was destroyed by the Puritans, and fragments have been found); the tablet honoring Mary Queen of[374] Scots; Archbishop Magee's marble monument; Sir Humprey Orme's damaged tomb; several tombs and tablets for abbots and bishops; Late Saxon tombs of two Archbishops of York, and the well-known Monks' Stone, which local legend links to the massacre of the Peterborough monks by the Danes in 870. Recent researchers have dated it later and attributed it to Norman craftsmanship, but we tend to support the Saxon theory.

We will now visit the Transepts, which are of Norman character. Norman fish-scale ornament and cable and saw-tooth mouldings are plentiful. In both north and south transepts there is an eastern aisle separated by pillars and forming several chapels, which are divided off by Perpendicular screens. The Morning Chapel occupies the aisle of the north transept, formerly the Chapels of SS. John and James, and here is preserved two pieces of old Flemish tapestry, and portions of the old nave screen, and ancient tiles. In this transept are some interesting Saxon coffin lids. In the south transept are the Chapels of SS. Oswald and Benedict. In the former the relics were kept. Here Abbot Sutton's heart was buried. The window is modern. A pre-Reformation inscription is carved round the edge of a stone much worn by time. The old chapter-house, now a music-room, is on the west of this transept. It is Late Norman. A Perpendicular doorway has been inserted here instead of the old Norman door.

We will now visit the Transepts, which have a Norman style. You'll find plenty of Norman fish-scale decorations along with cable and saw-tooth mouldings. In both the north and south transepts, there’s an eastern aisle separated by pillars, creating several chapels that are divided by Perpendicular screens. The Morning Chapel is located in the aisle of the north transept, which used to be the Chapels of SS. John and James. Here, you'll see two pieces of old Flemish tapestry, some parts of the old nave screen, and ancient tiles. This transept also has some interesting Saxon coffin lids. In the south transept, you’ll find the Chapels of SS. Oswald and Benedict. The relics were kept in the former, where Abbot Sutton's heart was buried. The window is modern. An inscription from before the Reformation is carved around the edge of a stone that has worn down over time. The old chapter-house, which is now a music room, is located on the west side of this transept. It is Late Norman, with a Perpendicular doorway that has been added in place of the old Norman door.

A very interesting discovery was made here during the alterations a few years ago, and that is the remains of the actual original Saxon church which was sacked by the Danes, rebuilt by Bishop Ethelwold and visited by King Edgar and Dunstan, and then destroyed by fire. Evidences of this destruction were not wanting when the discovery was made. The east wall of the chancel stood just where the piers of the aisle of the transept stand. The church was cruciform. This discovery is of great interest and importance.

A very interesting discovery was made here during the renovations a few years ago: the remains of the original Saxon church that was looted by the Danes, rebuilt by Bishop Ethelwold, and visited by King Edgar and Dunstan, only to be destroyed by fire. There was clear evidence of this destruction when the discovery occurred. The east wall of the chancel was right where the piers of the aisle of the transept are located. The church was in the shape of a cross. This discovery is significant and important.

Old Scarlett's memory must not be forgotten, the aged sexton, who lived ninety-eight years, and buried two queens in the Cathedral, dying in 1594. The painting is a copy of the original made in 1747. The well-known rhymes beneath are:—

Old Scarlett's memory should not be forgotten, the old sexton who lived to be ninety-eight and buried two queens in the Cathedral, passing away in 1594. The painting is a copy of the original created in 1747. The famous rhymes below are:—

"You see old Scarlett's picture standing up there," But at your feet, his body lies; His gravestone shows his age and time of death, You can recognize his office by these signs. Unmatched in strength and durable build, A scarab with a powerful voice and a grim appearance, He had buried two queens in this place. And the homeowners in this town during his lifetime
Twice already; but finally, it was his turn. What he did for others, he did the same for himself. It’s done; there’s no doubt his soul lives on forever. In heaven: although here his body is covered in earth.

Dimensions

Dimensions

Total length of interior426 ft.
Nave, length228 ft.
Nave, width35 ft.
Transept, length185 ft.
Transept, width58 ft.
Height of interior78 ft.
Area41,090 sq. ft.

Principal Building Dates

Main Building Dates

  • Norman (1117-1193)—Choir, transepts, central tower (rebuilt in 1886), nave, ceiling of nave, chapter-house.
  • Early English (1214-1295)—West front, font, infirmary, refectory and part of cloisters, north-west tower, windows and parapet in aisles of nave.
  • Decorated (1299-1400)—Large gateway, west porch, roof of choir, south-west choir, parapet of clerestory, inserted windows.
  • Perpendicular (1400-1528)—New building, north-west spire, north-east gateway, Perpendicular tracery in windows, and west window.

PLAN OF PETERBOROUGH CATHEDRAL

PETERBOROUGH CATHEDRAL PLAN


ELY CATHEDRAL

Ely is one of the monastic towns of England, and owes its existence to the famous church and monastery which were built here in Early Saxon days. The patriotic monkish chronicler of Ely, who compiled the Liber Eliensis, wishing to add glory to his church, states that in 607 St. Augustine founded a church at Cratendune, a mile south of the present site. The first monastery on the Isle of Ely was founded by St. Etheldreda, daughter of Anna, King of the East Angles. She received the Isle of Ely as her dowry from her first husband, an Earldorman of the South Girvii or Fenmen, and when she married Egfrid, afterwards King of Northumbria, feeling the call to a religious life, she left her court and retired to the lonely isle, and there founded a monastery, of which she was the abbess. As was not unusual at that time, the house was a double one, for both monks and nuns. St. Wilfrid assisted her considerably in carrying out her plans, but no fragment of this early church and monastery remains. The saintly queen died in 679, and was buried in the nuns' resting-place. Some years later her body, placed in a marble sarcophagus, was translated to the Saxon church. In 870 the isle was ravaged by the Danes, who destroyed the church and monastery, slaying both monks and nuns, plundering the town, and returned loaded with the spoils of the pillaged island. Some of the monks who escaped returned to their ruined house, and King Alfred is said to have confirmed them in their possessions. King Edgar, by the advice of Dunstan, Archbishop of Canterbury, and Ethelwold, Bishop of Winchester, reorganised the monastery under the Benedictine rule, restored to it all its lands, and made Brihtnoth the first abbot.

Ely is one of England's monastic towns, and its existence comes from the famous church and monastery built here during the Early Saxon period. The patriotic monk chronicler of Ely, who put together the Liber Eliensis, wanting to bring honor to his church, claims that in 607, St. Augustine established a church at Cratendune, a mile south of where it stands today. The first monastery on the Isle of Ely was founded by St. Etheldreda, the daughter of Anna, King of the East Angles. She received the Isle of Ely as her dowry from her first husband, an earldorman of the South Girvii or Fenmen, and after marrying Egfrid, who later became King of Northumbria, she felt called to a religious life. She left the court and withdrew to the isolated isle, where she founded a monastery and became its abbess. As was common at the time, the establishment included both monks and nuns. St. Wilfrid significantly helped her in fulfilling her vision, but no remnants of this early church and monastery exist today. The saintly queen passed away in 679 and was buried in the nuns' burial place. Years later, her body was placed in a marble coffin and moved to the Saxon church. In 870, the isle was attacked by the Danes, who destroyed the church and monastery, killed both monks and nuns, looted the town, and left with the treasures of the plundered island. Some of the surviving monks returned to their devastated home, and it is said that King Alfred confirmed their rights to what remained. On the advice of Dunstan, Archbishop of Canterbury, and Ethelwold, Bishop of Winchester, King Edgar reorganized the monastery under the Benedictine rule, restored all its lands, and appointed Brihtnoth as the first abbot.

The Norman Conquest brought many troubles to the Isle of Ely. The monks espoused the cause of Hereward, "the last of the English," the hero of Charles Kingsley's romance, and here he made his last great stand against the Norman invaders; but the monks "did after their kind," and surrendered to the Conqueror in 1071. Little harm was done to the monastic buildings by the[378] warriors of either side, and twelve years later the building of the present Cathedral was begun by Abbot Simeon, brother of Walkelin, Bishop of Winchester. He commenced with the transepts, some parts of which still declare themselves to be his work. Abbot Richard (1100-1107) continued the building, and finished the east end, where the body of St. Etheldreda was conveyed and reburied before the high altar.

The Norman Conquest brought many challenges to the Isle of Ely. The monks supported Hereward, "the last of the English," the hero of Charles Kingsley's novel, and here he made his final stand against the Norman invaders; however, the monks "did after their kind," and surrendered to the Conqueror in 1071. Little damage was done to the monastic buildings by the warriors from either side, and twelve years later, the construction of the current Cathedral was started by Abbot Simeon, brother of Walkelin, Bishop of Winchester. He began with the transepts, some parts of which still show his work. Abbot Richard (1100-1107) continued the construction and completed the east end, where the body of St. Etheldreda was brought and reburied before the high altar.

ARM OF ABBOT'S CHAIR

Arm of the abbot's chair

Ely was now raised to the dignity of a bishopric, the revenues of the abbot being used for the endowment of the see, and henceforth the prior was the head of the monastery. The building of the church proceeded gradually. The nave was growing by degrees during the twelfth century, and Bishop Riddell (1174-1189), by his energy, did much towards its completion and that of the great west tower. The isle was much disturbed during the troublous time of Stephen's reign, and the bishop took the part of the enemies of the king, who exacted heavy fines from the prelate and his monks. Bishop Eustace (1198-1215) accomplished much, and erected the beautiful Galilee Porch. In 1235 the building of the noble presbytery was begun by Bishop Northwold (1229-1254), and here, in the presence of King Henry III. and his court, the shrines of the founders and of three other abbesses were removed, and the whole church in ground plan completed as we see it to-day.

Ely was now elevated to the status of a bishopric, with the abbot's revenues used to fund the see, and from this point on, the prior was the head of the monastery. The construction of the church progressed gradually. The nave was slowly expanding during the twelfth century, and Bishop Riddell (1174-1189), with his efforts, greatly contributed to its completion and the construction of the impressive west tower. The area faced significant turmoil during King Stephen's reign, and the bishop sided with the king's opponents, who imposed heavy fines on him and his monks. Bishop Eustace (1198-1215) achieved a lot and built the stunning Galilee Porch. In 1235, Bishop Northwold (1229-1254) started the construction of the grand presbytery, and here, in front of King Henry III and his court, the shrines of the founders and three other abbesses were relocated, completing the church's ground plan as we see it today.

Having finished their church, the monks turned their attention to their domestic buildings, and to the Lady Chapel, which stands here in an unusual position. It was erected by Alan de Walsingham[381] (the sub-prior) in 1321, and finished in 1349. In 1322 a sad calamity happened—the central tower fell, and caused much destruction. But the catastrophe called forth the constructive genius of Alan de Walsingham, a prince among architects, who built the beautiful octagon and lantern tower, which add so much grace and beauty to the building. The superb Lady Chapel, with its marvellous sculptured work, the sub-structure of St. Etheldreda's shrine, and Prior Crauden's Chapel—a perfect gem of beauty and originality—are all Alan de Walsingham's work. The monks elected this great builder Bishop of Ely, but the Pope refused to ratify the election. He is admirably described on his tomb as the Flos Operatorum, or "flower of craftsmen."

After completing their church, the monks shifted their focus to their living spaces and the Lady Chapel, which is located in a unique spot. It was built by Alan de Walsingham[381] (the sub-prior) in 1321 and finished in 1349. In 1322, a tragic event occurred—the central tower collapsed, causing significant damage. However, this disaster inspired the creative genius of Alan de Walsingham, a remarkable architect, who constructed the beautiful octagon and lantern tower, which greatly enhance the elegance and beauty of the building. The stunning Lady Chapel, with its amazing sculpted features, the base of St. Etheldreda's shrine, and Prior Crauden's Chapel—a true gem of beauty and originality—are all masterpieces created by Alan de Walsingham. The monks chose this great builder as Bishop of Ely, but the Pope declined to approve the election. He is aptly described on his tomb as the Flos Operatorum, or "flower of craftsmen."

WEST TOWER FROM DEANERY GARDENS

West Tower from Deanery Gardens

In this period Decorated windows were inserted in the triforium of the presbytery, the outside walls being raised for this purpose, and flying buttresses added. The Cathedral then appeared externally much as we see it to-day. The Perpendicular style finds few examples in Ely except in some of the smaller chapels and one or two windows.

In this time, decorative windows were added to the triforium of the presbytery, and the outside walls were raised for this purpose, with flying buttresses added as well. The Cathedral then looked much like it does today. The Perpendicular style has few examples in Ely, except in some of the smaller chapels and a couple of windows.

The Assumption of the Blessed Virgin Mary Lady Chapel.

The Assumption of the Blessed Virgin Mary Lady Chapel.

At the Reformation the monastery shared the fate of similar institutions, and a dean and chapter were appointed. The fact that the bishop occupied the place of the abbot of the monastery is observable in the position of the bishop's seat, which is south of the entrance to the choir. He has not a throne, which most bishops[382] have in their cathedrals. Ely was spared much destruction in the Civil War. The Parliamentarians pulled down some of the cloisters, and broke a few windows, but the Cathedral fared better than most others at the hands of Cromwell. It has suffered, however, from the fancies of "restorers." In 1770 the ritual choir, with the stalls, was moved from under the octagon to the extreme east end, to be again moved to its present position in 1847. About the same time the massive Norman stone screen, which for eight centuries had stood across the nave, was ruthlessly destroyed, and the roof of the upper hall of the Galilee Porch removed, and the western opening of the tower arch filled with a modern window. Wyatt's destructive hand was only just restrained from working further mischief, though some authorities make him responsible for the removal of the screen and the destruction of the roof of the Galilee. A vast amount of money has during the last century been spent upon the fabric, and happily the restorers have been, in the main, governed by good taste and sounder architectural knowledge than that of their destructive predecessors.

At the Reformation, the monastery faced a fate similar to other institutions, and a dean and chapter were appointed. The bishop took on the role of the monastery's abbot, which is evident from the bishop's seat being located south of the entrance to the choir. Unlike most bishops, he doesn't have a throne in his cathedral. Ely was fortunate to avoid much destruction during the Civil War. The Parliamentarians demolished some cloisters and broke a few windows, but the Cathedral was better off than many others under Cromwell's actions. However, it has suffered due to the whims of "restorers." In 1770, the ritual choir with the stalls was moved from its spot under the octagon to the far east end, only to be moved again to its current position in 1847. Around the same time, the large Norman stone screen, which had stood across the nave for eight centuries, was brutally destroyed, and the roof of the upper hall of the Galilee Porch was taken down, with a modern window replacing the western opening of the tower arch. Wyatt's destructive influence was nearly unchecked, though some sources hold him responsible for the screen's removal and the destruction of the Galilee roof. A significant amount of money has been spent on the building over the last century, and fortunately, the restorers have mostly been guided by better taste and more sound architectural knowledge than their destructive predecessors.

The Exterior

The Outside

As you ascend the hill from the station you will undoubtedly be struck by the external appearance of this magnificent pile. Professor Freeman remarked that the first glimpse of Ely overwhelmed us, not only by its stateliness and variety of outline, but by its utter strangeness and unlikeness to anything else. Its huge western tower, its beautiful but curious central octagon, are quite peculiar, and the general view, especially from the north-west, is extremely fine, and can never be forgotten.

As you climb the hill from the station, you will surely be impressed by the stunning exterior of this magnificent building. Professor Freeman noted that the first sight of Ely left us in awe, not just because of its grandeur and unique shape, but also due to its complete strangeness and how different it is from anything else. Its massive western tower and its beautiful yet unusual central octagon are truly distinctive, and the overall view, especially from the northwest, is absolutely breathtaking and unforgettable.

We will begin our survey, as usual, with the West Front, which has been much altered, but remains a very imposing structure. It will be noticed that the north side differs from the south, and either was never completed or fell into decay. They both belong to the Late Norman or Transitional period. The Galilee Porch is a perfect gem of exquisite architecture. It has been pronounced "the most gorgeous porch of this style in existence, combining the most elegant general forms with the richest detail." The style is Early English, and is the work of Bishop Eustace (1198-1215), who was ordered by the Pope to excommunicate King John, and had to fly from England in consequence. It will be seen that this porch is one of the earliest examples of good Early English work, and for[383] its excellence and perfection rivals the choir at Lincoln. There is a profusion of dog-tooth ornament. The doorways are most graceful. The main arch is divided into two cinquefoiled sub-arches, separated by a slender shaft, and in the head there is very beautiful tracery. The walls are covered with arcading, of lancet-shaped arches cinquefoiled. In the interior there is a beautiful double arcading, similar to that which we have seen at Lincoln.

We will start our survey, as usual, with the West Front, which has seen many changes, but still stands as a striking structure. You’ll notice that the north side looks different from the south, and either was never finished or fell into disrepair. Both sides belong to the Late Norman or Transitional period. The Galilee Porch is a stunning example of beautiful architecture. It has been called "the most gorgeous porch of this style in existence, blending the most elegant overall forms with the richest detail." The style is Early English and was designed by Bishop Eustace (1198-1215), who was commanded by the Pope to excommunicate King John, leading him to flee from England as a result. You'll see that this porch is one of the earliest examples of impressive Early English work, and for[383] its excellence and perfection rivals the choir at Lincoln. There's a wealth of dog-tooth ornamentation. The doorways are very graceful. The main arch is split into two cinquefoiled sub-arches, separated by a slender shaft, and the head features beautiful tracery. The walls are adorned with arcading made of lancet-shaped cinquefoiled arches. Inside, there's lovely double arcading, similar to what we've seen at Lincoln.

ELY CATHEDRAL FROM SOUTH-EAST

Ely Cathedral from the southeast

The West Tower is earlier than the porch, and its lower stages are Transition Norman. The upper stages are Early English, except the highest octagonal stage, which is Decorated. Bishops Riddell and Northwold were the builders of earlier stages, and the octagonal summit was built during the bishopric of John Fordham (1388-1425). This magnificent tower has been a source of continual anxiety to the monks and masons of Ely, on account of the great weight of the superstructure, and continual repairs and strengthening operations have been needed.

The West Tower was built before the porch, and its lower sections are in the Transition Norman style. The upper sections are Early English, except for the top octagonal section, which is Decorated. Bishops Riddell and Northwold were responsible for the earlier stages, while the octagonal peak was constructed during the bishopric of John Fordham (1388-1425). This impressive tower has constantly worried the monks and masons of Ely because of the massive weight of the structure above, requiring ongoing repairs and reinforcement efforts.

THE OCTAGON AND LANTERN FROM NORTH-WEST

THE OCTAGON AND LANTERN FROM NORTH-WEST

The North Side of the nave preserves its Norman character, but Perpendicular windows with ogee arches have been inserted. Formerly the Church of St. Cross stood on this side, erected by[384] Walsingham, but it fell into decay and was pulled down in 1566. We can still see the walled-up door in the north wall of the Cathedral which led to this parish church. Norman mouldings (such as the billet) may be seen round the arches of the windows in the clerestory. The curious and beautiful Octagon is a striking feature of Ely. It consists of an eight-sided tower crowned with an octagonal lantern, the dimensions of which are much smaller[385] than those of the tower which supports it. Decorated windows of large size occupy the sides facing north-west, north-east, south-west and south-east, which are narrower than the other sides. Turrets crowned with pinnacles stand at each corner of the lower tower, and quadrangular turrets at each corner of the lantern, which is made of wood. The whole has been recently restored with the greatest possible success.

The North Side of the nave still shows its Norman style, but has Perpendicular windows with ogee arches added. Previously, this side housed the Church of St. Cross, built by [384] Walsingham, but it fell into disrepair and was taken down in 1566. We can still see the bricked-up doorway in the north wall of the Cathedral that led to this parish church. Norman mouldings (like the billet) are visible around the arches of the windows in the clerestory. The unique and beautiful Octagon is a standout feature of Ely. It has an eight-sided tower topped with an octagonal lantern, which is much smaller[385] than the tower that supports it. Large decorated windows are found on the north-west, north-east, south-west, and south-east sides, which are narrower than the other sides. Turrets with pinnacles rise at each corner of the lower tower, and square turrets stand at each corner of the lantern, which is made of wood. The entire structure has recently been restored with great success.

The North Transept is Norman. Some Perpendicular and Decorated windows have been inserted, and the north-west corner, which fell in 1699, was rebuilt by the builder of St. Paul's, London, Sir Christopher Wren, who inserted the Renaissance door in the north side.

The North Transept is Norman. Some Perpendicular and Decorated windows have been added, and the north-west corner, which collapsed in 1699, was rebuilt by Sir Christopher Wren, the architect of St. Paul's in London, who added the Renaissance door on the north side.

The Lady Chapel has been pronounced to be one of the finest specimens of Decorated architecture in the kingdom. It is the work of Walsingham, and was finished in 1349. The east and west windows are later insertions, but belong to the same century. The building is oblong, and is enriched with much beautiful carving; niches destitute of figures appear in the buttresses, and at the east and west ends. The tracery of the side windows should be noticed.

The Lady Chapel is regarded as one of the best examples of Decorated architecture in the country. It was created by Walsingham and completed in 1349. The east and west windows were added later, but they are from the same century. The building is rectangular and features a lot of beautiful carvings; there are niche spaces without figures in the buttresses and at both the east and west ends. The tracery of the side windows is noteworthy.

The Presbytery is fine Early English work, built by Bishop Northwold (1229-1254), and has been scarcely altered by succeeding builders. The windows are double lancets in each bay, and in the clerestory three lancets under an arch, the centre one higher than the others. The arrangement of the east end is as follows:—In the lower stage three tall lancets with dog-tooth moulding, above them five lancets of unequal height, and in the gable three lancets of the same height. Buttresses carved with niches stand on each side, and flying buttresses springing from the side buttresses support the roof. Alterations have been made in the triforium in order to increase the light in the church.

The Presbytery is a remarkable example of Early English architecture, built by Bishop Northwold (1229-1254), and it has hardly been changed by later builders. The windows feature double lancets in each bay, and in the clerestory, there are three lancets under an arch, with the center one higher than the others. The layout of the east end is as follows:—In the lower section, there are three tall lancets with dog-tooth detailing, above them five lancets of varying heights, and in the gable, three lancets of equal height. Buttresses with niches are positioned on each side, and flying buttresses extending from the side buttresses support the roof. Changes have been made in the triforium to allow for more light in the church.

The South Transept is Norman, with some later windows inserted. Notice the curious Perpendicular window on the south side. The Cloister Court was on the south side of the church, but was destroyed by the Commissioners of Cromwell. Two doorways are remarkable, named the Monks' Door and Prior's Door, both Late Norman work, and enriched with much carving. The tympanum over the Prior's Door contains a representation of our Lord in glory.

The South Transept is in the Norman style, with some later windows added. Check out the unique Perpendicular window on the south side. The Cloister Court used to be on the south side of the church but was destroyed by Cromwell's Commissioners. Two notable doorways, the Monks' Door and Prior's Door, are both Late Norman and feature a lot of intricate carving. The tympanum above the Prior's Door shows a representation of our Lord in glory.

The Interior

The Inside

We now enter the church at the west end, and are struck by[386] the noble character of this magnificent Norman work. It consists of twelve bays (there were thirteen before the central tower fell). The two eastern bays were finished by Abbot Richard (1100-1107), and the rest completed by Bishop Riddell (1147-1189). The earlier character of the five bays nearer the central tower is discoverable. The ceiling was painted forty years ago by Mr. le Strange and Mr. Gambier Parry, whose artistic work can also be seen at Gloucester. The subjects are the Creation, the Fall, Noah Sacrificing, the Sacrifice of Isaac, Jacob's Dream, Marriage of Ruth, Jesse, David, Annunciation, Nativity, Adoration of the Shepherds and Magi, the Lord in Glory. We see also representations of the patriarchs and prophets, and in the medallions at the sides the heads of the human ancestors of our Lord. The west window was inserted at the close of the eighteenth century and filled with modern glass (when the roof of the upper hall of the porch was removed), thus effectively blocking the view of the three great lancets, 40 feet further west, through which, up to that time, the setting sun must day by day, through so many centuries, have flooded the nave with its evening light.

We now enter the church from the west end and are amazed by[386] the impressive beauty of this grand Norman structure. It has twelve bays (there were originally thirteen before the central tower collapsed). The two eastern bays were completed by Abbot Richard (1100-1107), and the rest were finished by Bishop Riddell (1147-1189). You can see the older style in the five bays closer to the central tower. The ceiling was painted forty years ago by Mr. le Strange and Mr. Gambier Parry, whose artistic contributions can also be found in Gloucester. The themes include the Creation, the Fall, Noah Sacrificing, the Sacrifice of Isaac, Jacob's Dream, the Marriage of Ruth, Jesse, David, the Annunciation, the Nativity, and the Adoration of the Shepherds and Magi, along with the Lord in Glory. We also see representations of the patriarchs and prophets, and in the medallions on the sides are the heads of the human ancestors of our Lord. The west window was added at the end of the eighteenth century and filled with modern glass (after the roof of the upper hall of the porch was taken down), effectively blocking the view of the three large lancets, 40 feet further west, through which the setting sun had illuminated the nave with its evening light for so many centuries.

ST. CATHERINE'S CHAPEL

St. Catherine's Chapel

At the west end, under the tower, we notice the strengthening of the original pillars with additional Perpendicular work. The arches of the tower, though Norman, are pointed, showing that they were erected at the end of that period, and the richness of ornament and detail of the southern portion of the west transept bears out the[387] same conclusion. St. Catherine's Chapel is in the south corner, rebuilt in the old style, and the font is modern.

At the west end, under the tower, we see that the original pillars have been reinforced with additional Perpendicular design. The arches of the tower, while Norman, are pointed, indicating that they were built at the end of that period, and the intricate ornamentation and details of the southern part of the west transept support the[387] same conclusion. St. Catherine's Chapel is located in the south corner, rebuilt in the old style, and the font is modern.

The Nave Aisles have arcades of Norman arches, and the chevron moulding appears about them in several parts where it has not been cut away. In the south aisle is an interesting memorial of Ovin, the steward of St. Etheldreda, which has been recovered from a neighbouring village. It is part of a cross, with the inscription on the base—"Lucem tuam Ovino da Deus et requiem. Amen." (O God, give light and rest to Ovin. Amen).

The Nave Aisles feature a series of Norman arches, with chevron moldings visible in various areas where they haven't been removed. In the south aisle, there’s a fascinating memorial for Ovin, the steward of St. Etheldreda, which has been brought back from a nearby village. It’s a piece of a cross, with the inscription on the base—"Lucem tuam Ovino da Deus et requiem. Amen." (O God, give light and rest to Ovin. Amen).

The Octagon would require a volume adequately to record its many beauties and perfections. We have already described its construction. It is pronounced by all architects as the gem of the Cathedral, and one of the most beautiful buildings in the world. The vault is of wood, and a remarkable series of paintings appears on the boarding. The Crucifixion and the Apostles are here represented. Large corbels have sculptured scenes of the life of St. Etheldreda. The vault has been painted by Mr. Gambier Parry.

The Octagon needs a detailed account to capture its many beauties and features. We've already talked about how it was built. All architects agree that it’s the highlight of the Cathedral and one of the most stunning buildings in the world. The ceiling is made of wood, and there’s an impressive collection of paintings on the panels. The Crucifixion and the Apostles are depicted here. Large corbels feature carved scenes from the life of St. Etheldreda. The ceiling was painted by Mr. Gambier Parry.

IN SOUTH AISLE OF NAVE LOOKING TO NORTH TRANSEPT

IN THE SOUTH AISLE OF THE NAVE LOOKING TOWARDS THE NORTH TRANSEPT

The Transepts were the portions of the church first begun by Abbot Simeon when he first commenced the present Norman Cathedral. The lower part of the walls and part of the triforium[388] were built by him and finished by Abbot Richard (1100-1107). The arcading in the south transept is Transitional, and the upper windows Late Decorated.

The Transepts were the parts of the church that Abbot Simeon started when he began the current Norman Cathedral. He built the lower section of the walls and part of the triforium[388], which was completed by Abbot Richard (1100-1107). The arcading in the south transept is Transitional, while the upper windows are in the Late Decorated style.

CARROL IN CLOISTER

Carroll in Cloister

Perpendicular windows have been inserted in the north transept. There are three chapels at the east of the north transept, one of which bears the name of St. Edmund, and is divided off by a wooden screen of the middle of the fourteenth century. The east[389] aisle of the south transept is walled off and used as the library, and the west as the vestry.

Perpendicular windows have been added to the north transept. There are three chapels on the east side of the north transept, one of which is named St. Edmund and is separated by a wooden screen from the mid-fourteenth century. The east[389] aisle of the south transept is enclosed and used as the library, while the west side serves as the vestry.

A modern oak screen of graceful design, replacing a massive Norman screen ruthlessly destroyed in 1760, separates the octagon from the Choir, which we now enter. It will be remembered that the central tower fell and carried away three bays of the choir. Hence the work of these bays is later than the more eastern portion forming the presbytery, which was built by Bishop Northwold (1229-1254) in Early English style. The choir was erected by Bishop Hotham (1316-1337), and is a noble specimen of Decorated work. Between the choir and presbytery are fine Norman piers of the earlier choir. On the bosses of the roof we see figures of St. Etheldreda and the Virgin. The east wall is pierced by lancet windows, which are grouped in a most perfect manner. The stalls are splendid examples of Decorated work, and the misereres have some curious grotesques. The fifty carved panels of scenes from the Old and New Testament are by Abeloos of Louvain, a modern wood-carver. The lectern is modern, and also the reredos. Of this eastern part Freeman says:—"Nowhere can we better study the boldly clustered marble pier with its detached shafts, the richly foliated capitals with their round abaci, the yet richer corbels which bear up the marble vaulting shafts, the bold and deeply cut mouldings of every arch great and small. Lovelier detail was surely never wrought by the hand of man."

A sleek modern oak screen, designed elegantly, replaces the massive Norman screen that was unfortunately destroyed in 1760, separating the octagon from the Choir, which we are about to enter. It's worth noting that the central tower collapsed, taking down three bays of the choir with it. Therefore, the work on these bays is newer than the eastern part that forms the presbytery, which was constructed by Bishop Northwold (1229-1254) in Early English style. The choir was built by Bishop Hotham (1316-1337) and is an impressive example of Decorated architecture. Between the choir and presbytery are beautiful Norman piers from the earlier choir. On the roof bosses, we can see figures of St. Etheldreda and the Virgin Mary. The east wall features lancet windows that are arranged in a beautifully perfect way. The stalls are outstanding examples of Decorated style, and the misereres have some intriguing grotesques. The fifty carved panels depicting scenes from the Old and New Testament were created by Abeloos from Louvain, a contemporary wood-carver. The lectern and the reredos are modern as well. About this eastern section, Freeman states:—"Nowhere can we better study the boldly clustered marble pier with its detached shafts, the richly foliated capitals with their round abaci, the even richer corbels supporting the marble vaulting shafts, and the bold, deeply cut moldings of every arch, both large and small. Such beautiful detail was surely never crafted by human hands."

On each side of the presbytery are some ancient monuments of especial interest. On the south side, beginning at the west, we see Bishop William de Louth (1298), a fine tomb of Early Decorated character; Bishop Barnet (1373), translated from Bath and Wells (the effigy has been lost); Tiptoft, Earl of Worcester, with his two wives, one of whom was the sister of "the King-maker," Earl of Warwick (this earl was one of the victims of Edward IV., and lost his head in 1470. He was a great patron of learning and art, and Fuller exclaims, "The axe did at one blow cut off more learning than was left in the heads of all the surviving nobility"); Bishop Hotham (1337), much mutilated. On the opposite side are the monuments of—Bishop Northwold (1254), which affords a good illustration of the ecclesiastical dress of the period (at the foot of the tomb is an interesting representation of the martyrdom of King Edmund, who shared the fate of St. Sebastian. Northwold was abbot of St. Edmundsbury before he came to Ely, hence the origin of the carving); a shrine, believed to be that of St. Etheldreda, of[390] Decorated design, probably constructed by Walsingham about 1340; Bishop Kilkenny (1286), who died in Spain, his heart being buried here; Bishop Redman (1505), a fine Perpendicular structure.

On each side of the presbytery, there are some ancient monuments of particular interest. On the south side, starting from the west, we see Bishop William de Louth (1298), a beautiful tomb of Early Decorated style; Bishop Barnet (1373), who was moved from Bath and Wells (the statue has been lost); Tiptoft, Earl of Worcester, alongside his two wives, one of whom was the sister of "the King-maker," Earl of Warwick (this earl was one of Edward IV's victims and lost his head in 1470. He was a major supporter of learning and art, and Fuller remarks, "The axe did at one blow cut off more learning than was left in the heads of all the surviving nobility"); Bishop Hotham (1337), which is quite damaged. On the opposite side are the monuments of—Bishop Northwold (1254), which provides a good example of the ecclesiastical attire of the time (at the base of the tomb is an interesting depiction of the martyrdom of King Edmund, who met the same fate as St. Sebastian. Northwold was abbot of St. Edmundsbury before arriving in Ely, hence the origin of the carving); a shrine, thought to be that of St. Etheldreda, with a Decorated design, likely built by Walsingham around 1340; Bishop Kilkenny (1286), who passed away in Spain, with his heart buried here; and Bishop Redman (1505), a beautiful Perpendicular structure.

At the end of the north aisle is the chantry of Bishop Alcock (1500), a fine Perpendicular work in good preservation, though the figures which once adorned it were destroyed at the Reformation. He founded Jesus College, Cambridge, and built Ely Palace. On the east is the inscription, "Johannes Alkoc Epus Eliensis hanc fabriciam fieri fecit 1488." In this aisle are the supposed arm of Northwold's chair, which he brought from his abbey (the sculpture represents the wolf with St. Edmund's head in his paws), and the tombs of Bishop Marson (1771), Bishop Patrick (1707), and Basevi, architect of the Fitzwilliam Museum, Cambridge.

At the end of the north aisle is the chantry of Bishop Alcock (1500), a remarkable Perpendicular structure in good condition, although the figures that once decorated it were destroyed during the Reformation. He founded Jesus College, Cambridge, and constructed Ely Palace. On the east side is the inscription, "Johannes Alkoc Epus Eliensis hanc fabriciam fieri fecit 1488." In this aisle are the supposed arm of Northwold's chair, which he brought from his abbey (the sculpture shows the wolf holding St. Edmund's head in its paws), along with the tombs of Bishop Marson (1771), Bishop Patrick (1707), and Basevi, the architect of the Fitzwilliam Museum, Cambridge.

In the retro-choir are the monuments of Bishop Allen (1845), Canon Fardell (1819), Cardinal Louis de Luxembourg, Bishop, 1444, and an early muniment chest.

In the retro choir, you'll find the monuments of Bishop Allen (1845), Canon Fardell (1819), Cardinal Louis de Luxembourg, Bishop (1444), and an early document chest.

At the east end of the south aisle is Bishop West's chantry (1534), a beautiful chapel in the Late Perpendicular and Renaissance style. The carving is very elaborate, with delicate tracery. This Bishop was the champion and chaplain of Catherine of Arragon, Henry VIII.'s queen. Above his tomb, in seven small niches, are deposited the bones of six Saxon bishops and of Earl Bryhtnoth, killed by the Danes in 991, who exclaimed when he died, "God of Nations, I thank Thee for all the joy I have had in life." Here are the tombs of Bishops Woodford (1885), Sparke (1836), Keene (1781). In the south aisle are—an ancient gravestone of Norman date, representing Michael carrying to heaven the soul of a bishop, with the inscription, "St. Michael oret pro me"; Bishop Hotham (1337), Canon Selwyn (1875), Dean Steward (1557), last prior and first dean of Ely; Bishop Gunning (1684), author of The Prayer for All Conditions of Men; Bishop Goodrich (1554), a zealous reformer, destroyer of images and shrines, compiler of "Duties to God and Neighbour," in the Catechism; Bishop Heton (1609), Dean Tyndall (1614), and other monuments.

At the east end of the south aisle is Bishop West's chantry (1534), a beautiful chapel in the Late Perpendicular and Renaissance style. The carving is very intricate, featuring delicate tracery. This Bishop was the supporter and chaplain of Catherine of Aragon, Henry VIII's queen. Above his tomb, in seven small niches, rest the bones of six Saxon bishops and Earl Bryhtnoth, who was killed by the Danes in 991. He famously exclaimed as he died, "God of Nations, I thank You for all the joy I have had in life." Here are the tombs of Bishops Woodford (1885), Sparke (1836), and Keene (1781). In the south aisle, there’s an ancient gravestone from Norman times, depicting Michael carrying a bishop's soul to heaven, with the inscription, "St. Michael oret pro me"; Bishop Hotham (1337), Canon Selwyn (1875), Dean Steward (1557), the last prior and first dean of Ely; Bishop Gunning (1684), author of The Prayer for All Conditions of Men; Bishop Goodrich (1554), a passionate reformer who destroyed images and shrines, compiler of "Duties to God and Neighbour" in the Catechism; Bishop Heton (1609), Dean Tyndall (1614), and other monuments.

The Lady Chapel is a superb structure, with its beautiful sculptured work, one of the finest specimens of Decorated architecture in the kingdom in spite of the cruel mutilation to which it was subjected at the Reformation. It was completed in 1349, but the east window is a little later and shows evidence of the approach[391] of the Perpendicular period. An arcade of sculptured canopies runs round the walls, of extremely delicate carving. The mythical history of the Virgin and of Julian the Apostate appear in the spandrels, and the bosses of the roof have some sculptured figures representing the Crucifixion, Ascension, Annunciation, the Virgin crowned, the Virgin and Elizabeth, and some which cannot be distinguished.

The Lady Chapel is an impressive structure, showcasing its beautiful sculptural work as one of the finest examples of Decorated architecture in the country, despite the severe damage it suffered during the Reformation. It was completed in 1349, but the east window, which is a bit later, reflects the beginnings of the Perpendicular style. An arcade of intricately carved canopies surrounds the walls, featuring extremely delicate detailing. The legendary stories of the Virgin and Julian the Apostate are depicted in the spandrels, and the bosses of the roof feature sculpted figures representing the Crucifixion, Ascension, Annunciation, the Virgin crowned, the Virgin and Elizabeth, along with some figures that are hard to identify.


[My thanks are due to the Dean of Ely for his kind assistance in interpreting the history of the Cathedral which he knows and loves so well.]

[I'm grateful to the Dean of Ely for his helpful guidance in understanding the history of the Cathedral, which he knows and loves deeply.]

Dimensions

Dimensions

Total length517 ft.
Length of nave230 ft.
Breadth of nave78 ft.
Height of vault70 ft.
Length of transept190 ft.
Diameter of octagon65 ft.
Height of west tower215 ft.
Area46,000 sq. ft.

Principal Building Dates

Principal Building Dates

  • 1083-1189—Transepts, nave, lower stages of tower, monks' and prior's doorways.
  • 1189-1254—Galilee porch, presbytery, upper stages of tower.
  • 1316-1349—Lady chapel, octagon, choir, windows of triforium of presbytery, buttresses, Prior Crauden's Chapel, stalls.
  • 1388-1534—Highest stage of tower, chapel and some windows.
  • 1699—North-west corner of north transept and doorway.

PLAN OF ELY CATHEDRAL

Ely Cathedral Floor Plan


NORWICH CATHEDRAL

Norwich, the capital of East Anglia, is a delightful city, beautifully situated on the winding Wensum and full of the charm of the associations of mediæval times. The hill on which the castle stands carries our thoughts back to Saxon days, to King Uffa in the sixth century. Saxon, Dane and Norman held sway here. It was also the city of the Dutch. The cruelties of Alva sent Flemings and Walloons, who came with their silks and threads and worsteds and implements, and made the textile manufactures the glory and fortune of the county. Here kings kept their Christmas feasts, and in no less royal fashion did the old Dukes of Norfolk, when Norwich was the gayest of episcopal cities. Very independent were the turbulent burghers, who often contended with the monks and bishops for rights and privileges, as when in 1272 they quarrelled over the tolls of a fair, and sacked the Cathedral, and in 1549 when Kett the tanner raised his formidable rebellion, which was with difficulty subdued. Few cities can rival Norwich in the interest of its associations and the treasures of antiquity which here abound.

NNorwich, the capital of East Anglia, is a charming city, beautifully located along the winding Wensum and filled with the allure of its medieval history. The hill where the castle stands takes us back to Saxon times, specifically to King Uffa in the sixth century. Saxons, Danes, and Normans all ruled here. It was also the city of the Dutch. The harshness of Alva drove Flemings and Walloons to settle here, bringing their silks, threads, worsteds, and tools, which made textile manufacturing the pride and fortune of the county. Kings celebrated their Christmas feasts here, and the old Dukes of Norfolk hosted their festivities in grand style when Norwich was the liveliest of episcopal cities. The independent and often rebellious townspeople frequently clashed with monks and bishops over their rights and privileges, notably in 1272 when they fought over fair tolls and sacked the Cathedral, and again in 1549 when Kett the tanner led a significant rebellion that was hard to quell. Few cities can match Norwich in its rich history and the plentiful ancient treasures it holds.

The Cathedral—Its History

The Cathedral—Its History

The See of Norwich was created in Norman times, Dunwich, Elmham and Thetford having previously been the episcopal seats. In the time of Rufus there was a general transference of bishoprics to the larger towns, in accordance with a decree of a church synod, hence in 1094 Norwich had the honour conferred on it by Bishop Herbert de Losinga, who two years later commenced his Cathedral. This bishop obtained his preferment by simony, and it is said built the church in expiation of his crime. Beginning at the east end "he finished the church as far as the altar of St. William,"[19] which was on the north side of the present screen. This included the choir and transepts with the two chapels and two bays of the nave. His successor, Bishop Eborard, finished the nave. Herbert [394]built also a Bishop's Palace, and a monastery of Benedictine monks was attached to the Cathedral. A curious scene was witnessed here in 1144 when a number of Jews were tried for the ritual murder of the boy saint, St. William of Norwich, in Thorpe Wood, whom they cruelly tortured. The houses of the Jews were plundered, and in memory of the miracle-working boy a chapel was built on the scene of his murder, and a shrine erected in the Cathedral.

The See of Norwich was established during Norman times, with Dunwich, Elmham, and Thetford having previously served as the seats of bishops. During Rufus's reign, many bishoprics were moved to larger towns, following a church synod's decree. In 1094, Norwich was honored with this status by Bishop Herbert de Losinga, who began constructing his Cathedral two years later. This bishop secured his position through simony and is said to have built the church as penance for his crime. Starting from the east end, "he finished the church as far as the altar of St. William,"[19] which was located on the north side of the current screen. This work included the choir, transepts, two chapels, and two bays of the nave. His successor, Bishop Eborard, completed the nave. Herbert[394] also constructed a Bishop's Palace, and a monastery for Benedictine monks was associated with the Cathedral. A notable event occurred here in 1144 when several Jews were tried for the ritual murder of the boy saint, St. William of Norwich, in Thorpe Wood, where they had tortured him. The homes of the Jews were raided, and in remembrance of the miracle-working boy, a chapel was built at the site of his murder, along with a shrine in the Cathedral.

Fire played its usual destructive part here, as elsewhere, in 1171, and the church was repaired and perfected by Bishop John of Oxford in 1197. In the Early English period there seems to have been little progress, except the building of the Lady Chapel at the east end by Walter de Suffield (1244-1257), which was destroyed in the time of Queen Elizabeth. The entrance only remains.

Fire played its usual destructive role here, as it did everywhere else, in 1171, and the church was repaired and improved by Bishop John of Oxford in 1197. During the Early English period, there seems to have been little advancement, except for the construction of the Lady Chapel at the east end by Walter de Suffield (1244-1257), which was destroyed during Queen Elizabeth's reign. Only the entrance remains.

Very stormy times befell the Cathedral at the end of the thirteenth century. The city was sacked by the revolting barons in 1266, and a few years later a dispute arose between the citizens and the prior about the right of tolls to a fair held in the Tombland at Whitsuntide, which were of much profit to the monastery. It was the same story which is told of many towns, the quarrels of the burghers and the ecclesiastics. In 1272 the disputants fell to blows, and some of the citizens were slain. They arrested some of the men of the monastery for murder, and an interdict was hurled by the prior against them. Moreover, he imported three barges-full of mercenaries who plundered the burghers' houses and killed and wounded many. Reprisals followed. The citizens stormed the Priory and Cathedral, routed and slew the monks and their mercenaries, set fire to the buildings, and pillaged the church. Such violence against the Church was then unheard of, and dire punishment was inflicted on the citizens of Norwich. The Pope excommunicated them, Henry III. deprived them of their liberties, and ordered 3000 marks to be paid towards the restoration of the Cathedral. New gates and gatehouses were erected by order of the Pope in order to prevent the renewal of such sacrilege, and St. Ethelbert's Gate was built at the close of the thirteenth century to guard the precincts. History concludes that the violence of the fierce prior was the main cause of the trouble, and not the obstinacy of the people. The work of restoration was immediately begun and the church reconsecrated in 1278 in the presence of King Edward I. and his queen and a grand assembly of bishops, knights and nobles, when Bishop Middleton was raised to the see. His successor, Bishop Ralph de Walpole, began to rebuild the cloisters, which[395] were continued by Bishop Salmon, and form some of the largest and most beautiful in the country. Their style is mainly Decorated, but there is some Perpendicular work constructed in Bishop Wakering's time, who was a great persecutor of the Lollards (1416-1425). The chapter-house was erected by Walpole.

Very stormy times hit the Cathedral at the end of the thirteenth century. The city was attacked by rebellious barons in 1266, and a few years later, a dispute broke out between the citizens and the prior over the right to collect tolls during a fair held in Tombland at Whitsuntide, which were very profitable for the monastery. It was just like the stories told in many towns, where the townspeople clashed with the church officials. In 1272, the argument escalated into a fight, and some citizens were killed. They arrested several men from the monastery for murder, and the prior retaliated by placing an interdict against them. Additionally, he brought in three barges full of mercenaries who looted the townspeople’s homes and killed or injured many. The citizens struck back. They attacked the Priory and Cathedral, defeated and killed the monks and their mercenaries, set fire to the buildings, and looted the church. Such violence against the Church was unheard of at that time, and severe punishments were imposed on the citizens of Norwich. The Pope excommunicated them, Henry III took away their rights, and ordered 3000 marks to be paid for the restoration of the Cathedral. New gates and gatehouses were built by the Pope’s order to prevent such sacrilege from happening again, and St. Ethelbert's Gate was constructed at the end of the thirteenth century to protect the area. History shows that the aggression of the fierce prior was the main reason for the conflict, rather than the stubbornness of the people. Restoration work began immediately, and the church was reconsecrated in 1278 in front of King Edward I, his queen, and a grand assembly of bishops, knights, and nobles, when Bishop Middleton was elevated to the see. His successor, Bishop Ralph de Walpole, started rebuilding the cloisters, which[395] were continued by Bishop Salmon and are among the largest and most beautiful in the country. Their style is mainly Decorated, but there is some Perpendicular work built during Bishop Wakering's time, who was a strong persecutor of the Lollards (1416-1425). The chapter-house was constructed by Walpole.

In the time of Edward IV. troubles sore oppressed the diocese. Bishop Anthony, who was of a violent and imperious spirit, rendered himself very obnoxious to the monks, and was poisoned by his servants, and six years later the Black Death is said to have carried off 50,000 inhabitants. This was in the time of Bishop Bateman, buried at Avignon, a mighty prelate who compelled the powerful Lord Morley to do penance in the Cathedral for killing the bishop's deer.

In the time of Edward IV, the diocese faced significant troubles. Bishop Anthony, known for his aggressive and domineering nature, became very unpopular with the monks and was poisoned by his servants. Six years later, the Black Death reportedly killed 50,000 residents. This was during the time of Bishop Bateman, who was buried in Avignon; he was a powerful figure who forced the influential Lord Morley to do penance in the Cathedral for killing the bishop's deer.

The lofty spire was blown down by a fierce hurricane in 1361, and rebuilt by Bishop Percy, who rebuilt also the clerestory. His successor, Henry de Despencer, was a very warlike prelate, who ruled with an iron hand. He crushed the revolting peasants in 1381, and fought in the Netherlands for Pope Urban VI. against the adherents of his rival, Clement. The vicissitudes of prelates were great in those days; both he and his successor, Totington, were imprisoned by the king. Bishop Alnwick (1426-1449) began to alter the west front, and Bishop Lyhart put in the large west window and built the rood-screen and vaulted the nave. During the rule of Bishop Browne (1436-1445) the quarrel between the burghers and the monks again broke out, and the former besieged the monastery, for which conduct the king deprived them of their rights and liberties. A fire occurred in 1463, caused by lightning striking the spire, and did much damage to the presbytery, which was restored by Bishop Goldwell (1472-1499), who also finished the spire. Fire again did much damage in 1509 during the rule of Bishop Nykke or Nix (1501-1536), whose reputation was not so unblemished as his name (snow). The transept roof was destroyed, which Nykke rebuilt in stone. The dissolution of monasteries soon followed in 1538, and Norwich shared the fate of the rest. The Cathedral foundation was renewed, the last prior being made the first dean. The church suffered from the usual acts of spoliation and desecration at the hands of the Commissioners of Edward VI. and the Puritans. Dean Gardiner (1573-1589) destroyed the chapter-house and the beautiful Lady Chapel. Bishop Hall (1641-1656) thus alludes to the misdeeds of the Puritans:—

The tall spire was knocked down by a fierce hurricane in 1361 and rebuilt by Bishop Percy, who also repaired the clerestory. His successor, Henry de Despencer, was a very aggressive bishop who ruled with an iron fist. He suppressed the rebellious peasants in 1381 and fought in the Netherlands for Pope Urban VI against supporters of his rival, Clement. The challenges faced by bishops were significant during that time; both he and his successor, Totington, were imprisoned by the king. Bishop Alnwick (1426-1449) began to change the west front, and Bishop Lyhart added the large west window, built the rood screen, and vaulted the nave. Under Bishop Browne (1436-1445), conflict broke out again between the townspeople and the monks, with the townspeople besieging the monastery, leading the king to strip them of their rights and freedoms. A fire in 1463, caused by lightning hitting the spire, did considerable damage to the presbytery, which was restored by Bishop Goldwell (1472-1499), who also completed the spire. Fire caused more damage in 1509 during the tenure of Bishop Nykke or Nix (1501-1536), whose reputation was not as pure as his name (which means "snow"). The transept roof was destroyed, and Nykke rebuilt it in stone. The dissolution of monasteries came soon after in 1538, and Norwich met the same fate as others. The foundation of the Cathedral was renewed, with the last prior becoming the first dean. The church endured typical acts of looting and desecration at the hands of the commissioners of Edward VI and the Puritans. Dean Gardiner (1573-1589) demolished the chapter house and the beautiful Lady Chapel. Bishop Hall (1641-1656) referred to the wrongdoings of the Puritans:—

"It is tragical to relate the furious sacrilege committed under the authority of Lindsey, Tofts the sheriff, and Greenwood; what clattering of glasses, what beating down of walls, what tearing down of monuments, what pulling down of seats, and wresting out of irons and brass from the windows and graves; what defacing of arms, what demolishing of curious stone-work, that had not any representation in the world but the cost of the founder and the skill of the mason; what piping on the destroyed organ pipes; vestments, both copes and surplices, together with the leaden cross, which had been newly sawn down from over the green yard pulpit, and the singing books and service books were carried to the fire in the public market place; a lewd wretch walking before the train, in his cope, trailing in the dirt, with a service book in his hand, imitating in an impious scorn the tune, and usurping the words of the Litany; the ordnance being discharged on the guild day, the cathedral was filled with musketeers, drinking and tobaccoing, as freely as if it had turned ale-house."

"It's heartbreaking to describe the outrageous vandalism ordered by Lindsey, Sheriff Tofts, and Greenwood; the sound of clinking glasses, the tearing down of walls, the destruction of monuments, the removal of seats, and the tearing out of metal from windows and graves; the defacing of coats of arms, the wrecking of beautiful stonework that had no value other than the cost to the founder and the skill of the mason; playing on the ruined organ pipes; vestments, including copes and surplices, along with the lead cross that had just been cut down from above the green yard pulpit, and hymnals and service books being thrown into the fire in the public marketplace; a foolish person walking in front of the group, in his cope, dragging it through the dirt, with a service book in his hand, mockingly singing the tune and misusing the words of the Litany; on guild day, as the cannon fired, the cathedral was packed with musketeers, drinking and smoking as if it had turned into a tavern."

The citizens joined eagerly in the work of spoliation and burned in the open market, by order of the court of assembly, "Moses and Aaron, and four Evangelists that came from the Cathedral, and some other superstitious pictures."

The citizens eagerly joined in the looting and burned in the open market, by order of the assembly court, "Moses and Aaron, the four Evangelists that came from the Cathedral, and some other superstitious pictures."

The Restoration of the Monarchy caused the restoration of the Cathedral. A new organ and church plate were presented, and since that time much restoration has taken place, which has greatly enhanced the glory and beauty of this ancient House of God.

The Restoration of the Monarchy led to the renovation of the Cathedral. A new organ and church silverware were introduced, and since then, a lot of restoration has occurred, significantly enhancing the glory and beauty of this historic House of God.

The Exterior

The Outside

We enter the Cathedral precincts by the Erpingham Gate, built by Sir Thomas Erpingham, a knight who fought at Agincourt, and is mentioned by Shakespeare (Henry V., Act IV). The style is Early Perpendicular. Notice the figures of saints in the arch moulding, the donor's kneeling figure in the niche above the arch, his arms and those of his two wives on the buttresses, and the word Yenk (think) on the shafts. The other gates are that of St. Ethelbert, Early Decorated, much restored, built by the citizens in expiation of their sacrilege in 1272, and the Bishop's Gate leading to the Palace, built by Bishop Alnwyck in Early Perpendicular style.

We enter the Cathedral grounds through the Erpingham Gate, built by Sir Thomas Erpingham, a knight who fought at Agincourt and is mentioned by Shakespeare (Henry V., Act IV). The style is Early Perpendicular. Take a look at the figures of saints in the arch molding, the donor's kneeling figure in the niche above the arch, his arms and those of his two wives on the buttresses, and the word Yenk (think) on the shafts. The other gates include St. Ethelbert's Gate, which is Early Decorated, heavily restored, and built by the citizens to atone for their sacrilege in 1272, and the Bishop's Gate leading to the Palace, built by Bishop Alnwyck in Early Perpendicular style.

EXTERIOR VIEW OF NORWICH CATHEDRAL

Outside view of Norwich Cathedral

Entering by the Erpingham Gate, on the left is the Grammar School, formerly the Chapel of St. John the Evangelist, founded by Bishop Salmon in 1315. Below was a charnel-house, now used as a gymnasium. The porch was added by Lyhart at the[399] end of the fifteenth century. Here Nelson was educated, and George Borrow and many other distinguished men.

Entering through the Erpingham Gate, on the left is the Grammar School, which used to be the Chapel of St. John the Evangelist, established by Bishop Salmon in 1315. Below it was a charnel house, now a gymnasium. The porch was added by Lyhart at the [399] end of the fifteenth century. This is where Nelson received his education, along with George Borrow and many other notable individuals.

The West Front, in spite of its noble window, is far from being a satisfactory compilation. The injudicious restoration of 1875 has had much to do with this. Portions of the original Norman work remain in a great part of the wall, two side doors, arcades and windows above. The main doorway was erected by Bishop Alnwyck, who seems to have cased the old Norman with Perpendicular work—an arch of the old work was uncovered by Dean Goulburn. The same bishop left money for the great Perpendicular window of nine lights, which was erected by Bishop Lyhart. We can see the result of perverse modern restoration by comparing the present front with those shown in earlier illustrations, and discover that the towers flanking the great window have been cut down and shorn of their cupolas, and also the turrets at the extreme north and south have suffered a like deprivation, and some inelegant pinnacles erected instead, while the battlemented parapet has been removed, and some ridiculous little round windows inserted. Certainly the efforts of modern architects have not been crowned with success.

The West Front, despite its impressive window, is far from a satisfying design. The careless restoration in 1875 played a big role in this. Parts of the original Norman structure still exist in much of the wall, including two side doors, arcades, and the windows above. The main entrance was built by Bishop Alnwyck, who seems to have covered the old Norman work with Perpendicular style—an arch from the original was revealed by Dean Goulburn. This same bishop set aside funds for the large Perpendicular window with nine lights, which was created by Bishop Lyhart. We can see the unfortunate results of misguided modern restoration by comparing the current front with earlier illustrations, revealing that the towers beside the great window have been shortened and stripped of their domes, and the turrets at both the north and south ends have faced similar losses with some unattractive pinnacles put in their place. Additionally, the battlemented parapet has been taken down, and some silly little round windows have been added. Clearly, the work of modern architects has not been successful.

The best view of the long nave is obtained from the upper close, or from the cloister garth. The wall is divided into three storeys. Behind the cloisters some late windows have been inserted in the aisle. Above the cloisters we see a Norman arcade with Norman windows over it, which have been blocked up; above them a row of Perpendicular windows, with a battlemented parapet, and above this a row of Norman windows, and parapet added later. Two Perpendicular windows were inserted at the west end by Bishop Nykke. Norman buttresses divide the windows. The north side resembles the south, and is enclosed by the bishop's garden.

The best view of the long nave is from the upper close or the cloister garden. The wall is divided into three levels. Behind the cloisters, some later windows have been added in the aisle. Above the cloisters, there's a Norman arcade with blocked-up Norman windows over it; above that is a row of Perpendicular windows with a battlemented parapet, and above these, a row of later-added Norman windows and parapet. Two Perpendicular windows were added at the west end by Bishop Nykke. Norman buttresses separate the windows. The north side looks like the south and is bordered by the bishop's garden.

The south transept is Norman, but it has been recased with new stone, and pyramid caps set on the turrets in imitation of Norman work, instead of some Perpendicular turrets which these replaced. Why will architects and restorers thus destroy the history of a building written in stone by trying to imitate what they imagine to have been the original form? On the east is the dean's vestry, formerly a chapel. The chapter-house and ancient slype have been destroyed, also an apse-shaped chapel on the east side of the south transept.[400]

The south transept is of Norman style, but it has been covered with new stone, and pyramid caps added to the turrets to mimic Norman work, replacing some Perpendicular turrets. Why do architects and restorers destroy the history of a building, which is written in stone, by trying to copy what they think the original form was? To the east is the dean's vestry, which used to be a chapel. The chapter-house and old slype have been destroyed, along with an apse-shaped chapel on the east side of the south transept.[400]

The Choir in its lower storeys resembles the nave, with its Norman arcade, windows, and inserted Perpendicular windows, but it has a lofty clerestory of Late Decorated style supported by flying buttresses, erected by Bishop Percy, when the fall of the spire destroyed the old Norman clerestory. Carved figures surmount the summits of the exterior buttresses. There are projecting Chapels of St. Mary-the-Less (Decorated), St. Luke and the Jesus Chapel (Norman).[20] The Lady Chapel was destroyed by iconoclastic Dean Gardiner, as we have mentioned, who regarded Lady Chapels as relics of Popery. The north front is very similar to the south, and needs no separate description.

The Choir on its lower levels looks like the nave, featuring its Norman arcade, windows, and added Perpendicular windows, but it has a tall clerestory in the Late Decorated style supported by flying buttresses, which were built by Bishop Percy after the old Norman clerestory was destroyed when the spire fell. Carved figures sit on top of the exterior buttresses. There are projecting chapels for St. Mary-the-Less (Decorated), St. Luke, and the Jesus Chapel (Norman).[20] The Lady Chapel was destroyed by the iconoclastic Dean Gardiner, as previously mentioned, who considered Lady Chapels to be remnants of Catholicism. The north front is very much like the south front and doesn’t need a separate description.

The chief glory of Norwich is its Tower and Spire. The tower is a very fine example of Norman work. At the four corners are noble Norman buttresses, crowned with crocketed pinnacles, added in Early Perpendicular times, when the fall of the old wooden spire had carried away the original Norman ones. On the surface of each wall are three Norman arcades, and in the upper and lower three of the arches have been pierced with windows, and above are two rows of small circular windows. The spire is Perpendicular work, erected by Bishops Lyhart and Goldwell towards the end of the fifteenth century. May it long escape the fate of its predecessors, one of which was blown down in 1361, and the other struck by lightning, on each occasion causing considerable damage to the church.

The main highlight of Norwich is its Tower and Spire. The tower is an excellent example of Norman architecture. At each of the four corners are impressive Norman buttresses topped with intricately designed pinnacles, added during the Early Perpendicular period when the old wooden spire collapsed, destroying the original Norman ones. Each wall features three Norman arcades, and in the upper and lower sections, three of the arches have been turned into windows, with two rows of small circular windows above. The spire is a Perpendicular structure, built by Bishops Lyhart and Goldwell towards the end of the fifteenth century. May it long avoid the fate of its predecessors, one of which was blown down in 1361, and the other struck by lightning, both times causing significant damage to the church.

The Bishop's Palace is on the north, founded by Bishop Herbert, but subsequent alterations have left little of the original structure. Some of the original vaulting is in the basement, and the ruin in the garden is the remains of the great hall built by Bishop Salmon in 1318. In the chapel are monuments to Bishop Reynolds (1661-1676) and Bishop Sparrow, a learned divine, who assisted in the revision of the Prayer Book in 1661.

The Bishop's Palace is located to the north and was established by Bishop Herbert, but later modifications have erased much of the original design. Some of the original vaulting can still be found in the basement, and the ruins in the garden are what's left of the great hall constructed by Bishop Salmon in 1318. In the chapel, you can find monuments dedicated to Bishop Reynolds (1661-1676) and Bishop Sparrow, a knowledgeable theologian who contributed to the revision of the Prayer Book in 1661.

There was a curious open-air pulpit, with a cross over it, somewhat similar to Paul's Cross in London, on the north, in what was known as Green Yard. Galleries were erected around it, and good accommodation provided for the mayor and his officers, with their ladies, who came in summer time to hear the sermons.

There was an interesting open-air pulpit, with a cross above it, kind of like Paul's Cross in London, located to the north in an area known as Green Yard. Galleries were built around it, and there were nice accommodations for the mayor and his officials, along with their wives, who came in the summer to listen to the sermons.

The Interior

The Interior

The view of the nave from the west end is magnificent. A [401]long vista of Norman arches, and beautiful expanse of vaulted lierne roofing, is most impressive. A fine screen, with organ above it, prevents a full view of the whole interior, but this detracts nothing from the grandeur of the view.

The view of the nave from the west end is stunning. A [401]long line of Norman arches and the beautiful stretch of vaulted lierne roofing is truly impressive. A lovely screen with an organ above it blocks a complete view of the entire interior, but this takes nothing away from the magnificence of the scene.

The nave has fourteen piers on each side, divided into seven bays, two arches to each bay. The lower arches, and those in the triforium, are about equal. Each pier has several shafts attached. A lofty shaft runs up the face of the main arch to support the roof. The zigzag and billet mouldings will be observed on the arches. The clerestory is Norman, and has triple arches. The first Norman prelate, Herbert, built the nave as far as the two most eastern bays, and his successor, Eborard, finished it. The old Norman roof was destroyed by fire in 1463, when Bishop Lyhart, who loved to display his punning rebus, a stag lying in water, erected the lierne stone vaulted roof, which is a noble specimen of its kind. The bosses are very interesting, and contain a full epitome of Bible history from the Creation to the Descent of the Holy Spirit, and include the terrors of Hades and the Final Judgment. One boss is absent, and through the hole in the roof it is conjectured that on Whitsunday a white pigeon was released and a burning censer swung, as an eyewitness testifies to a similar representation in old St. Paul's. There is a somewhat similar custom in Florence at the present time.

The nave has fourteen piers on each side, divided into seven bays, with two arches for each bay. The lower arches and those in the triforium are about the same size. Each pier has several attached shafts. A tall shaft runs up the face of the main arch to support the roof. You'll notice the zigzag and billet moldings on the arches. The clerestory is Norman and features triple arches. The first Norman leader, Herbert, built the nave as far as the two easternmost bays, and his successor, Eborard, completed it. The old Norman roof was destroyed by fire in 1463, when Bishop Lyhart, known for showcasing his punning rebus—a stag lying in water—constructed the lierne stone vaulted roof, which is an impressive example of its type. The bosses are quite interesting and provide a complete summary of Biblical history from Creation to the Descent of the Holy Spirit, including the horrors of Hades and the Final Judgment. One boss is missing, and it's believed that through the gap in the roof, on Whitsunday, a white pigeon was released and a burning censer was swung, as one eyewitness claims happened in old St. Paul's. There’s a somewhat similar tradition in Florence today.

A Bay
N side of Nave.

A Bay
North side of Nave.

We notice in the west the large window erected by Lyhart, with modern glass, and the Norman arch over the door. The north aisle has Decorated windows inserted in the Norman walls. A reconstruction of the roof was made in the fifteenth century, when the walls were raised and Perpendicular[402] windows added, and the slope of the roof changed into one much less steep. The South Aisle differs little from the north. In the centre was Bishop Nykke's Chapel, which he devised for himself, to perpetuate a not very desirable memory. Here we have Late Perpendicular work in the vaulting and windows. Few monuments or brasses escaped the destructive hands of the Puritans. In the aisles there are a few—the altar tomb of Sir T. Wyndham and four wives; Dean Prideaux (d. 1724), a distinguished divine, the author of The Connection between the Old and New Testament, Sir John Hobart, Attorney-General to Henry VII. (1507); Bishop Parkhurst (1574).

We see in the west the large window built by Lyhart, featuring modern glass, along with the Norman arch above the door. The north aisle has Decorated windows added to the Norman walls. The roof was reconstructed in the fifteenth century, when the walls were raised, Perpendicular[402] windows were added, and the roof slope was changed to a much less steep angle. The South Aisle is similar to the north. In the center was Bishop Nykke's Chapel, which he created for himself, to keep a rather undesirable memory alive. Here, we see Late Perpendicular work in the vaulting and windows. Few monuments or brasses survived the destructive actions of the Puritans. In the aisles, there are a few— the altar tomb of Sir T. Wyndham and his four wives; Dean Prideaux (d. 1724), a notable divine, author of The Connection between the Old and New Testament; Sir John Hobart, Attorney-General to Henry VII. (1507); and Bishop Parkhurst (1574).

The Choir occupies the space between the two last arches of the nave, being shut off from it by an interesting stone Screen. The lower part of this structure is ancient, having been erected by Bishop Lyhart in Perpendicular style. The upper portion was added about 1830. Two altars stood near the central door, one dedicated to the boy saint of Norwich, St. William, slain by the Jews. The scanty remains of these altars mark the site of two chapels, over which were the rood-loft and organ, destroyed by the iconoclastic Puritans, whose sacrilege and abominable riotings have been already mentioned in the records left us by Bishop Hall. At the Restoration Dean Croft endeavoured to remedy the result of their evil deeds, and fashioned a new organ which, with additions and improvements, remains and stands over the screen.

The Choir is located between the two last arches of the nave, separated from it by a striking stone Screen. The lower part of this structure is ancient, built by Bishop Lyhart in the Perpendicular style. The upper section was added around 1830. Two altars were placed near the central door, one dedicated to St. William, the boy saint of Norwich, who was killed by the Jews. The few remaining pieces of these altars mark the site of two chapels, which once housed the rood-loft and organ, destroyed by the iconoclastic Puritans, whose sacrilegious actions and destructive riots have already been noted in the records of Bishop Hall. After the Restoration, Dean Croft worked to fix the damage caused by their actions and created a new organ, which, with some updates and improvements, still stands over the screen.

Modern taste has removed some of the obstructions erected in times when the ideas of beauty and fitness were defective, and the alterations and improvements of the east end were not concluded till a few years ago. The stalls are very good Perpendicular work, fashioned at the time when the art of wood-carving had attained its highest development. The misereres are specially worthy of examination. The old popular legend is often repeated concerning them, that if one of the monks fell asleep during service, and caused the bench to fall, he was condemned to severe penance. This idea has no foundation in fact, as the raised seat was designed, as its name implies, out of pity for the infirmities of the brethren, and not for any idea of punishment. The bishop's throne and pulpit are modern, and the lectern is good Decorated work.

Modern tastes have removed some of the barriers established in earlier times when notions of beauty and suitability were flawed, and the renovations and enhancements of the east end weren't finished until just a few years ago. The stalls showcase excellent Perpendicular craftsmanship, created when wood-carving had reached its peak. The misereres are particularly worth a closer look. There's a common legend that if a monk fell asleep during service and caused the bench to drop, he would be sentenced to harsh penance. This belief is not true, as the raised seat was intended, as its name suggests, out of pity for the weaknesses of the brothers, not as a form of punishment. The bishop's throne and pulpit are modern, while the lectern features quality Decorated work.

The presbytery was damaged on two occasions by the fall of the tower, and these accidents obliged subsequent repairs and alterations, which were constructed in the style then in use. Hence we have blended with the old Norman work the Decorated clerestory[403] of Bishop Percy (1355-1369), and the Perpendicular roof of Bishop Goldwell, erected a century later. The lower arches were altered by the same bishop into the Perpendicular style, and his name is preserved in the canting rebus—gold and a well. The old Norman triforium remains. The vaulting of the roof is curious. Between each pair of clerestory windows is a niche, and from the heads of these spring the ribs, which form a beautiful example of lierne vaulting. The eastern termination is the original Norman apse, built by Bishop Herbert. The old bishop's throne is particularly interesting, chiefly from its position in the centre of the apse, with the presbyters' seats on each side. This idea was probably derived from Rome, where this position was not uncommon, though unusual in this country. The bishop's throne at Torcelli is a well-known example of this use. The present altar is modern, and also the present floor, designed by Sir Arthur Blomfield.

The presbytery was damaged twice when the tower fell, which required later repairs and changes made in the architectural style of the time. As a result, we see a mix of the old Norman work with the Decorated clerestory[403] from Bishop Percy (1355-1369) and the Perpendicular roof from Bishop Goldwell, built a century later. The lower arches were modified by the same bishop to the Perpendicular style, and his name is represented by the canting rebus—gold and a well. The old Norman triforium still stands. The roof's vaulting is interesting. Between each pair of clerestory windows is a niche, and from the heads of these niches spring the ribs, which create a stunning example of lierne vaulting. The eastern end features the original Norman apse, built by Bishop Herbert. The old bishop's throne is particularly noteworthy, mainly because it's positioned in the center of the apse, with the presbyters' seats on each side. This design likely came from Rome, where such arrangements were not uncommon, although they were rare in this country. The bishop's throne at Torcelli is a well-known example of this style. The current altar is modern, as is the present floor, designed by Sir Arthur Blomfield.

Ancient Bishop's Throne

Ancient Bishop's Chair

The following are the principal Monuments:—

The following are the main Monuments:—

A slab marks the resting place of Bishop Herbert, the founder; Goldwell's Chantry and tomb; Bishop Wakering's tomb (d. 1425); Bishop Overall (d. 1619); Sir W. Boleyn (d. 1505).

A slab marks the resting place of Bishop Herbert, the founder; Goldwell's Chantry and tomb; Bishop Wakering's tomb (d. 1425); Bishop Overall (d. 1619); Sir W. Boleyn (d. 1505).

The North Transept, built by Herbert, has good Norman arcading, and a vault erected by Nykke. The clerestory resembles the nave. There was at the east an apsidal chapel dedicated to St. Anne, but it is now closed and used for baser purposes. A processional path runs round the presbytery. On the north side is a curious bridge, which was connected with the Reliquary Chapel, now destroyed, situated on the exterior of the church. This bridge[404] was an ante-chapel to that in which the relics were stored, and is adorned with mural paintings. Probably relics were exhibited here for the worship of the pilgrims, who went in procession along the path below.

The North Transept, built by Herbert, features impressive Norman arches and a vault created by Nykke. The clerestory is similar to the nave. There was once an apsidal chapel at the east end dedicated to St. Anne, but it’s now closed and used for lesser purposes. A processional path encircles the presbytery. On the north side, there's an interesting bridge that was linked to the now-destroyed Reliquary Chapel, which was outside the church. This bridge[404] served as a ante-chapel for the room where the relics were kept and is decorated with wall paintings. Relics were likely displayed here for the worship of the pilgrims who would process along the path below.

Bridge
North Aisle of Presbytery.

Bridge
North Aisle of Presbytery.

The curiously-shaped Chapels—the Jesus and St. Luke's—with their Norman arcading are next seen. In the former there is some mural painting much restored—a facsimile of the ancient picture—and over the chapel is a museum. The latter is a parish church for the precincts. The windows are sham Norman, having been inserted in the last century. There is a mutilated font of fifteenth century, carved with Crucifixion and Seven Sacraments. Above it is the treasury. Here is a curious oil painting accidentally discovered by Professor Willis, which was part of a reredos, converted into a table after the Puritan outbreak. It is sometimes attributed to an Italian artist of 1370, but there is no reason to suppose that it was not the production of genuine English art of that period. Even Dean Stanley attributes the Eleanor bronze to an Italian, Torel, and Professor Freeman calls De Noyer of Lincoln a "crazy Frenchman," and others ascribe the Exeter chancel-screen to French workmen. This error of attributing pure English work to foreign artists has caused a very unjust depreciation of the skill and genius of our native craftsmen. The subjects of these paintings are the last scenes[405] of our Lord's life. Other mural paintings are:—On ceiling of sacrist's room of late thirteenth century—subjects: Virgin, SS. Catherine, Margaret, Andrew, Peter, Paul, and Richard of Chichester. On south wall of south aisle—SS. Wulstan, Edward the Confessor, and others.

The uniquely-shaped Chapels—the Jesus and St. Luke's—with their Norman-style arches are up next. In the first chapel, there's some mural painting that has been heavily restored—a replica of the original artwork—and above the chapel, there's a museum. The second chapel serves as a parish church for the area. The windows are fake Norman, having been added in the last century. There's a damaged 15th-century font, carved with depictions of the Crucifixion and the Seven Sacraments. Above it is the treasury. Here you'll find an interesting oil painting that was accidentally found by Professor Willis, which was once part of a reredos but turned into a table after the Puritan uprising. It's sometimes thought to be by an Italian artist from 1370, although there's no solid reason to believe it wasn't created by genuine English artists from that time. Even Dean Stanley attributes the Eleanor bronze to an Italian named Torel, and Professor Freeman labels De Noyer of Lincoln as a "crazy Frenchman." Others attribute the Exeter chancel screen to French craftsmen. This mistake of assigning pure English work to foreign artists has led to an unfair undervaluing of the talent and creativity of our local artisans. The themes of these paintings depict the final scenes of our Lord's life. Other murals include:—On the ceiling of the sacrist's room from the late 13th century—images of the Virgin, SS. Catherine, Margaret, Andrew, Peter, Paul, and Richard of Chichester. On the south wall of the south aisle—SS. Wulstan, Edward the Confessor, and others.

The Lady Chapel has been destroyed, as we have said, by Dean Gardiner in Elizabeth's reign, but happily the doorway remains, the only part of the Cathedral of Early English workmanship. The profusion of the dog-tooth ornament is evident. The doorway is formed of a double arch, with clustered shafts, and was built, together with the Lady Chapel, about the middle of the thirteenth century by Bishop Walter de Suffield. Stone was brought from Caen and Barnack for the purpose. The destruction of these Lady Chapels was a sign of the decay in the worship of the Virgin, which was so extensively followed in mediæval times.

The Lady Chapel was destroyed by Dean Gardiner during Elizabeth's reign, but fortunately, the doorway is still standing, which is the only remaining part of the Cathedral showcasing Early English craftsmanship. The abundance of dog-tooth decoration is clear. The doorway features a double arch with clustered shafts and was constructed, along with the Lady Chapel, around the mid-thirteenth century by Bishop Walter de Suffield. Stone was sourced from Caen and Barnack for this project. The destruction of these Lady Chapels reflected the decline in the worship of the Virgin, which had been widely practiced in medieval times.

There is another chapel on the south; that of St. Mary-the-Less, now used as the consistory court, built by one Bauchun in the fourteenth century. An ecclesiastical lawyer, Seckington, added the groined roof in the fifteenth century. The altar has been displaced by a doorway. The sculptured bosses represent the legendary history of the Virgin.

There’s another chapel to the south, that of St. Mary-the-Less, which is now used as the consistory court. It was built by a man named Bauchun in the fourteenth century. An ecclesiastical lawyer, Seckington, added the vaulted ceiling in the fifteenth century. The altar has been replaced by a doorway. The carved bosses depict the legendary history of the Virgin.

We enter the South Transept by a Tudor doorway, over which is some rich open screen work of fifteenth-century design, under the original Norman arch. This transept, built by Herbert, is fine Norman work, with good arcading, the vault being added by Bishop Nykke. This transept has the oldest coloured glass in the Cathedral, a copy of Raphael's Ascension, erected by Dean Lloyd in 1790. Here we see the following Monuments:—

We enter the South Transept through a Tudor doorway, topped with elaborate open screen work from the fifteenth century, beneath the original Norman arch. This transept, constructed by Herbert, showcases beautiful Norman craftsmanship, with nice arcading, and the vault was added by Bishop Nykke. This transept features the oldest colored glass in the Cathedral, a replica of Raphael's Ascension, installed by Dean Lloyd in 1790. Here we see the following Monuments:—

Bishop Bathurst (d. 1837), by Chantrey; and memorial tablets to East Anglian heroes who fell in China and Afghanistan.

Bishop Bathurst (d. 1837), by Chantrey; and memorial plaques for East Anglian heroes who died in China and Afghanistan.

The Cloisters are extremely interesting and beautiful. We enter them by the Prior's Door, a fine Decorated work, having four columns on each side, with archivolt mouldings, in front of which are seven canopied niches, with richly-sculptured crockets, containing figures. The Norman cloisters, probably constructed of wood, were destroyed in 1272, at the time of the citizens' revolt. The east walk was rebuilt by Bishop Walpole (1289-1299) in Early Decorated style. His successor, Bishop Salmon, built the south walk, the windows of which show a great advance in the same style, the windows having flowing tracery. The west walk has also Late Decorated work, and the north walk has at the east end[406] an Early Decorated window, at the west end two Late Decorated, while the other five are Perpendicular in their tracery. This part was finished by Bishop Alnwyck (1426-1436). The slype and chapter-house have both been destroyed. The usual plan of Benedictine monasteries was followed here. The dormitory was on the east side, the refectory on the south, with entrance at south-west corner, and near to this is the monks' lavatory, the kitchen being further west. Carved figures representing the Temptation of Adam and Eve are above this door leading to the refectory. The locutory or parlour of the monks was on the west side of the cloisters and the hospitium, and from this walk the Monks' Door leads us back to the Cathedral. The bosses are extremely interesting. In the east walk the subjects are foliage, the four Evangelists, the Scourging, Crucifixion and Resurrection of Christ, and Nebuchadnezzar eating grass. In the south and west, scenes from the Book of the Revelation of St. John; and in the north, legends of the saints—Christopher, Laurence (being burnt on a gridiron); the dancing of Herodias's daughter before Herod, which represents her as tumbling rather than dancing, in accordance with the usual conceptions of mediæval artists.

The Cloisters are fascinating and beautiful. We enter through the Prior's Door, an impressive decorated structure with four columns on each side and detailed archivolt moldings. In front of it are seven canopied niches with intricately carved crockets that contain figures. The Norman cloisters, likely made of wood, were destroyed in 1272 during the citizens' revolt. The east walk was rebuilt by Bishop Walpole (1289-1299) in the Early Decorated style. His successor, Bishop Salmon, constructed the south walk, featuring advanced window designs with flowing tracery in the same style. The west walk also showcases Late Decorated work, and the north walk includes an Early Decorated window at the east end, two Late Decorated windows at the west end, and the other five display Perpendicular tracery. This section was completed by Bishop Alnwyck (1426-1436). The slype and chapter house have both been destroyed. The typical layout of Benedictine monasteries was followed here, with the dormitory on the east side, the refectory to the south, accessed via the southwest corner, and nearby is the monks' lavatory, with the kitchen located further west. Above the door to the refectory are carved figures depicting the Temptation of Adam and Eve. The locutory, or monks' parlor, was located on the west side of the cloisters, and from this walk, the Monks' Door leads us back to the Cathedral. The bosses are quite intriguing. In the east walk, the subjects include foliage, the four Evangelists, the Scourging, Crucifixion, and Resurrection of Christ, as well as Nebuchadnezzar eating grass. In the south and west, there are scenes from the Book of Revelation; and in the north, legends of the saints—Christopher, Laurence (being burnt on a gridiron); and the dance of Herodias’s daughter before Herod, which shows her more as tumbling than dancing, reflecting medieval artistic conventions.

Dimensions

Dimensions

Length of church407 ft.
Nave length252 ft.
Nave to choir-screen204 ft.
Width of nave72 ft.
Height of roof95 ft.
Height of spire (from ground)315 ft.
Height of tower140 ft.
Height of spire from tower174 ft.
Area34,800 sq. ft.

Objects of Interest in Norwich

Points of Interest in Norwich

The Castle, of which I have already written.

The Castle, which I've already mentioned.

Guild Hall, parts of which were built in 1407, and contains much that is interesting—portraits of Norwich worthies, regalia, etc.

Guild Hall, parts of which were constructed in 1407, has many interesting items—portraits of prominent figures from Norwich, regalia, and more.

St. Andrew's Hall, once the Church of the Dominicans, in Perpendicular style, which has passed through many vicissitudes, and has some good pictures.

St. Andrew's Hall, formerly the Church of the Dominicans, built in the Perpendicular style, has undergone many changes and showcases some great artwork.

Norwich abounds in interesting churches—

Norwich has many interesting churches—

St. John of Timberhill—Norman font, squint; parvise, principally Decorated.

St. John of Timberhill—Norman font, small opening; entrance area is mostly Decorated.

All Saints—fine Perpendicular font.

All Saints—beautiful Perpendicular font.

St. Michael-at-Thorn—Norman doorway, curious registers.

St. Michael-at-Thorn—Norman doorway with interesting registers.

St. Peter, Mancroft; St. Gregory, Pottergate; St. Giles, St. Helen's, St. John the Baptist, St. Michael-at-Plea.

St. Peter, Mancroft; St. Gregory, Pottergate; St. Giles, St. Helen's, St. John the Baptist, St. Michael-at-Plea.

The Stranger's Hall is well worthy of a visit, and Norwich abounds in objects of the greatest interest.

The Stranger's Hall is definitely worth a visit, and Norwich has plenty of intriguing sights to explore.

The old "Maid's Head" hotel is one of the most ancient and interesting hostels in the kingdom.

The old "Maid's Head" hotel is one of the oldest and most interesting places to stay in the country.

Principal Building Dates

Main Building Dates

  • Norman (1091-1145)—Choir, transept with chapels, nave and tower.
  • Early English (1244-1257)—Door of Lady Chapel.
  • (1278-1299)—Ethelbert's gate, east walk of cloisters.
  • Decorated (1299-1369)—Chapter-house and cloisters, clerestory of presbytery, Chapel of St. Mary-the-Less, some windows.
  • Perpendicular (1420-1538)—West front altered, Erpingham Gate, presbytery restored, vault of nave and transepts, spire, screen, stalls, some windows, Bishop's Gate.
  • (1573-1859)—Chapter-house and Lady Chapel destroyed.

PLAN OF NORWICH CATHEDRAL

Norwich Cathedral Plan


ST. ALBAN'S CATHEDRAL

St. Albans, the ancient Verulam, is one of the most ancient towns in England, and is replete with historical associations. It was the home of the British chieftain Cassivellaunus before the Romans came. Boadicea killed many of the people for loving the Romans; and soon came Christianity, and then the record of the slaying of St. Alban, Britain's proto-martyr. It was during the Diocletian persecution that Alban sheltered a deacon named Amphibalus from the fury of the oppressors, and was himself converted to the Christian faith. Alban enabled his guest to escape, and was himself seized and slain, many miracles taking place at his execution. Offa founded a monastery here in 793, near his manor-house—of which the earthworks remain—and dedicated it to the saint, finding the remains of the martyr, which he placed in a reliquary and deposited in the church. The monks introduced here were Benedictine, of which order this was the chief house in the kingdom. The town increased, and Ulsi, the sixth abbot, founded the three churches of SS. Peter, Michael, and Stephen. We need not dwell on the records of Saxon abbots, many of whom were of Royal descent. When the Normans came, Paul of Caen, a relative of Lanfranc, was made abbot in 1077, and rebuilt the church, using the Roman town of Verulam as a quarry. He found much material collected by the last two Saxon abbots, who intended to build a new church, but were prevented by the troubles of the time. The large amount of Roman tiles used in the construction of the building is apparent. Much of his work remains in the eastern portion of the nave and in the tower and transepts. The church was dedicated during the rule of Abbot Richard D'Aubeny, in the presence of the king, Henry I., his court, and a goodly number of bishops, in 1115, and a little later we read of the relics of the saint being deposited in a beautiful shrine and conveyed to a place of honour in the minster. One Ralph de Gobion, seventeenth abbot, plundered the shrine in order to increase the territorial possessions of the Abbey, but his successor, Robert de Gorham (1151-1167), restored the shrine, and built anew some of[410] the monastic buildings. This monastery had the high honour of producing the only English Pope, Nicholas Breakspeare, who was a monk here, and who, in the time of his prosperity, forgot not his early monastic home. The noble west front that once adorned this church, ruined by modern "restoration," was begun by Abbot John de Cella (1195-1214), but the troubles of John's reign prevented him from finishing it. His work was continued by William de Trumpington (1214-1235), who placed a lantern on the tower and rebuilt the west end of the nave. St. Alban's was fortunate in having a historian among its monks. Matthew Paris lived here, and died in 1259. He tells us much in his chronicles about the Abbey he loved so well, of royal visits, of dread plagues, and of the abbots who ruled here. Here came Edward I. on his way to Scotland, here his queen's body lay on its last sad journey, and here one of the Eleanor crosses was raised—alas! now destroyed. There was here a famous school of chroniclers, who did much for the history of England, and amongst them were Roger of Wendover, Matthew of Westminster, Thomas of Walsingham, and many others. A great work was begun in 1256 by Abbot John de Hertford (1235-1260), the successor of Trumpington, and this was the rebuilding and extension of the eastern arm. The apsidal termination was removed, the aisles lengthened two bays, a square-ended central chapel placed at the end, and the Lady Chapel begun. The work lasted until almost the end of the century, and is pronounced to be the most perfect example of the art of the age. A terrible disaster befell the Abbey in the rule of Hugh de Eversden (1308-1326). A great part of the south aisle gave way, two piers, with triforium and clerestory roof and south wall, being involved in a mighty ruin. The abbot set to work to restore the church; he built in the Decorated style, and finished also the Lady Chapel. The usual disputes between the monks and townsfolk raged at St. Albans, as in most places where there was a powerful abbot and a growing town. In Eversden's time the lordly abbot was compelled by the king to give way, but his successor regained all his power over the town. He was a wonderful man, this Richard de Wallingford (1326-1335), who made a marvellous astronomical clock, and could manage to tell the ways of the stars and the course of the sun as easily as he could manage the people of St. Albans. But all disputes did not cease for many a long year, and frequently the abbot's servants and the townsfolk came to blows. The work of restoring the south aisle progressed, and was finished by Abbot Mentmore (1335-1349), who also repaired the north walk of the[413] cloister, damaged by the fall of the adjoining aisle. Abbot Thomas de la Mare (1349-1396) was the son of a noble house, and a favourite of Edward III. After Poictiers the French King John was brought here, and kept as an honourable prisoner, and afterwards expressed his gratitude to the courtly abbot for his care. Edward III. granted leave to the abbot to fortify his monastery, and walls and gates were much needed a few years later when Wat Tyler and his rebels besieged it and frightened the abbot and caused much damage. The rebels suffered here later when the king came, and some he hanged. Then was the Great Gate, with its prisons and vaults, constructed, which still stands, mightily convincing of the power of the abbot. Nor did he forget his church. He paved all the west part at great cost, and spent large sums on the services. The abbot, John de la Moote (1396-1401), took some part in dethroning Richard II., and it is said that the conspiracy was hatched at the abbot's dinner-table. Here they brought as a prisoner the Bishop of Carlisle, who stoutly defended Richard at Westminster. The rivalry of the Houses of York and Lancaster brought trouble to St. Albans. Here was fought the first battle, and here, in the house of a tanner, Henry VI. was found and conveyed to London. The second battle of St. Albans was fought here in 1461, when the king's party were victorious, and the Abbey was the scene of a great thanksgiving service. Great privileges were granted to the Abbey by Edward IV. Several alterations were made in Perpendicular times. The walls of the nave aisles were lowered and their roofs flattened, so that the backs of the Norman triforia were exposed, and their openings made into windows. Several Perpendicular windows were also inserted. St. Albans played a great part in the introduction of printing, and a press was set up in the Abbey. The earliest book printed here was in 1480, and many other incunabula came from this renowned press. The era of the Reformation is at hand. Cardinal Wolsey was abbot here in 1521. The fate of the monastery was doomed. In 1539 it was surrendered to the king by his creature Abbot Boreman, and the manors, goods and possessions were soon seized by the courtiers. Much damage was done in the church; of course, the beautiful shrines were destroyed. The Abbey church and buildings were granted to Sir Richard Lee, who soon began to uproot and destroy. The cloisters were levelled to the ground. Abbot Boreman did good service in buying the site of the monastery from Sir R.[414] Lee. Then the townsfolk did nobly. They bought the church from the Crown, and made it the Parish Church of St. Andrew, and moreover established a Grammar School in the Lady Chapel. The eastern ante-chapel was walled up, and a public passage made across the church west of the Lady Chapel. The knives of the schoolboys improved not the ancient stone-work of this once beautiful building. Various attempts have been made in successive ages to keep this Abbey in repair. In 1832 and 1856 much was accomplished, and the story of the reparation of 1870 under Sir G. Scott tells of the triumphs of the skill of modern builders, and their bravery and resolution in saving the fall of the great tower. This mighty mass began to give way, and the architect discovered that some dastard attempt had been made to destroy it, after the dissolution of the monastery, by digging a great hole under one of the piers. The greatest credit is due to all concerned in the hazardous and most difficult task of saving the falling tower. The Grammar School was removed from the Lady Chapel, and much done to restore the building to its ancient beauty. In 1871 it was raised to the dignity of a Cathedral; and surely no church more worthily deserved this honour. In quite recent times injudicious "restoration" has wrought terrible mischief. The west front has been entirely modernised, and much else has been "restored" beyond all knowledge of English Gothic art; but, in spite of all this, St. Albans remains one of the most interesting buildings in the kingdom, and one can only regret that time has dealt so hardly with this venerable pile.

SSt. Albans, the ancient Verulam, is one of the oldest towns in England and is filled with historical significance. It was home to the British chieftain Cassivellaunus before the Romans arrived. Boadicea killed many people for their loyalty to the Romans, and soon after, Christianity came along, leading to the account of the martyrdom of St. Alban, Britain's first martyr. During the Diocletian persecution, Alban sheltered a deacon named Amphibalus from the wrath of the oppressors and converted to Christianity himself. Alban helped his guest escape, but he was captured and killed, with many miracles occurring during his execution. Offa founded a monastery here in 793, near his manor house—of which the earthworks still exist—and dedicated it to the saint. He discovered the remains of the martyr, placed them in a reliquary, and put them in the church. The monks brought in were Benedictine, making this the main house of that order in the kingdom. The town grew, and Ulsi, the sixth abbot, established the three churches of SS. Peter, Michael, and Stephen. We need not focus on the records of Saxon abbots, many of whom were of royal lineage. When the Normans arrived, Paul of Caen, a relative of Lanfranc, became abbot in 1077 and rebuilt the church, using the Roman town of Verulam as a quarry. He found many materials collected by the last two Saxon abbots, who intended to build a new church but were hindered by the tumult of the times. The substantial use of Roman tiles in the construction is evident. Much of his work remains in the eastern part of the nave and in the tower and transepts. The church was dedicated during the tenure of Abbot Richard D'Aubeny, in the presence of King Henry I, his court, and numerous bishops, in 1115. Soon after, we read about the saint's relics being placed in a beautiful shrine and moved to a position of honor in the minster. Ralph de Gobion, the seventeenth abbot, looted the shrine to expand the Abbey's landholdings, but his successor, Robert de Gorham (1151-1167), restored the shrine and rebuilt some of the monastic buildings. This monastery had the unique honor of producing the only English Pope, Nicholas Breakspeare, who was a monk here, and who, during his time of prosperity, didn’t forget his roots. The magnificent west front that once adorned this church, now ruined by modern "restoration," was started by Abbot John de Cella (1195-1214), but the challenges of John’s reign prevented him from completing it. William de Trumpington (1214-1235) continued his work, adding a lantern to the tower and reconstructing the west end of the nave. St. Albans was fortunate to have a historian among its monks. Matthew Paris lived here and died in 1259. He provides insights in his chronicles about the Abbey he cherished, royal visits, devastating plagues, and the abbots who presided here. Edward I visited on his way to Scotland; here, his queen's body rested on its final journey, and one of the Eleanor crosses was erected—unfortunately, now destroyed. There was a renowned school of chroniclers who greatly contributed to English history, including Roger of Wendover, Matthew of Westminster, Thomas of Walsingham, and many others. A significant project began in 1256 under Abbot John de Hertford (1235-1260), his successor to Trumpington, focusing on the rebuilding and expansion of the eastern arm. The round termination was eliminated, the aisles lengthened by two bays, a square-ended central chapel was added, and the Lady Chapel was initiated. This work continued until nearly the end of the century and is considered the finest example of the art of that era. A catastrophic event struck the Abbey during the reign of Hugh de Eversden (1308-1326). A large part of the south aisle collapsed, involving two piers, the triforium, the clerestory roof, and the south wall in a massive ruin. The abbot took action to restore the church, constructing in the Decorated style, and also completed the Lady Chapel. As in most places where a dominant abbot and a growing town existed, disputes between the monks and townspeople flared up in St. Albans. During Eversden’s term, the powerful abbot was forced by the king to concede, but his successor regained all his authority over the town. Richard de Wallingford (1326-1335) was a remarkable man; he created an extraordinary astronomical clock and could track the stars and the sun's path as easily as he could manage the people of St. Albans. However, conflicts persisted for many years, and often the abbot's servants clashed with the townsfolk. The restoration of the south aisle progressed and was completed by Abbot Mentmore (1335-1349), who also repaired the north walkway of the cloister, damaged by the fallen aisle. Abbot Thomas de la Mare (1349-1396), of noble birth and a favorite of Edward III, arranged for the French King John to be held here as an honorable prisoner after Poictiers, and John later expressed his gratitude to the courteous abbot for his hospitality. Edward III permitted the abbot to fortify his monastery, and walls and gates became necessary a few years later when Wat Tyler and his rebels besieged it, causing the abbot much fright and damage. The king later took his revenge, hanging several rebels who had come there. The Great Gate, with its prisons and vaults, was built, which still stands as a powerful testament to the abbot's authority. Nor did he neglect his church; he paved the entire western area at great expense and invested significant sums in its services. Abbot John de la Moote (1396-1401) was involved in the dethroning of Richard II, with the plot allegedly being developed at the abbot's dinner table. The Bishop of Carlisle, who fiercely defended Richard at Westminster, was also brought here as a prisoner. The rivalry between the Houses of York and Lancaster brought turmoil to St. Albans. The first battle of the Wars of the Roses occurred here, and in a tanner's house, Henry VI was found and taken to London. The second battle of St. Albans was fought here in 1461, with the king’s forces emerging victorious, and a grand thanksgiving service was held at the Abbey. Edward IV granted the Abbey significant privileges. During the Perpendicular period, many alterations were made, including lowering the walls of the nave aisles and flattening their roofs, exposing the backs of the Norman triforia and turning their openings into windows. Several Perpendicular windows were also added. St. Albans played a pivotal role in the introduction of printing, with a press set up in the Abbey. The earliest book printed here was in 1480, and many other early works came from this famous press. The Reformation era approached. Cardinal Wolsey was the abbot here in 1521. The fate of the monastery was sealed. In 1539, it was surrendered to the king by Abbot Boreman, and the manors, goods, and possessions were soon confiscated by courtiers. Much damage was inflicted on the church; naturally, the beautiful shrines were destroyed. The Abbey church and buildings were granted to Sir Richard Lee, who quickly began uprooting and demolishing. The cloisters were flattened to the ground. Abbot Boreman did well to buy the monastery's site from Sir Richard Lee. The townspeople also acted nobly; they purchased the church from the Crown and made it the Parish Church of St. Andrew, establishing a Grammar School in the Lady Chapel. The eastern ante-chapel was sealed off, and a public passage was created across the church west of the Lady Chapel. The schoolboys' knives did not benefit the ancient stonework of this once-beautiful building. Various efforts have been made over the years to maintain this Abbey. In 1832 and 1856, much was achieved, and the story of the repairs in 1870 under Sir G. Scott highlights the triumphs of modern builders' skills, bravery, and commitment to saving the great tower from collapse. This massive structure began to weaken, and the architect discovered that there had been an attempted sabotage to destroy it after the monastery's dissolution, involving digging a large hole underneath one of the piers. Huge credit goes to everyone involved in the challenging and risky task of preventing the tower from falling. The Grammar School was relocated from the Lady Chapel, and considerable efforts were made to restore the building to its former beauty. In 1871, it was elevated to the status of a Cathedral; no church more rightfully deserved this honor. Recently, careless "restoration" has caused significant damage. The west front has been completely modernized, and much else has been "restored" with little regard for English Gothic art; nevertheless, despite all this, St. Albans remains one of the most fascinating buildings in the kingdom, and one can only lament how hard time has hit this venerable structure.

St Albans from the N W

St Albans from the NW

The Exterior

The Outside

As we approach the Cathedral from the south we get a fine view and notice the great length of the building, its great central tower, and large amount of Roman tiles used in the construction. These tiles are 1-1/2 inches thick and measure 16 inches by 12. In addition much flint is used. The piers, arches, towers and staircases are mainly composed of tiles. Originally the building was covered with cement, which has almost entirely disappeared. Its plan is that of a Latin Cross, and originally there were no less than seven parallel apses, all of which have disappeared. The grand Tower is Norman. Formerly there were turrets at the four angles, and in the thirteenth century an octagonal lantern was added; but these have disappeared, and the tower is very much the same as it[415] was in Norman times. The embattled parapet is recent. The West Front creates sad reflections, and words are powerless to convey a sufficiently strong protest against the evils which have been wrought by the injudicious though well-meaning efforts of modern restorers. The original Norman west front was removed by Abbot John de Cella (1195-1214), who began to erect a new one. It was a magnificent intention, but it was too ambitious for the resources of the monastery, and the levies of Richard I. for his crusading exploits, and the confiscations of John, were too much for the abbot, and put a stop to his enterprise. He intended to build two western towers, but got no further than the foundations. The front would have been 160 feet in width, 40 feet wider than Salisbury. Abbot William de Trumpington proceeded to finish the work, and rebuilt five bays on the south side of the nave and four on the north. John de Cella's three deep porches are left to us in some small fragments; the rest is modern, and owes its erection to Lord Grimthorpe. The Nave shows three periods of architecture. The eastern portion is the work of Paul de Caen (1077-1097). On the south side the three easternmost bays are Norman and were constructed by him. The next five bays are Decorated. These were begun by Abbot Hugh de Eversden (1308-1326), in whose time during Divine service two great piers on the south fell, and all the roof and beams of the south part were ruined. The rebuilding was finished by Abbot Michael de Mentmore (1335-1349). The four remaining bays are the Early English work of William de Trumpington (1214-1235). In Perpendicular times the roof of the aisle was lowered and made flat, disclosing the triforium openings, but in the recent restoration the original pitch has been renewed. On this side stood the cloister court, and against the south wall of the church are seen the remains of the arches of the north cloister walk. Part of the east walk cloister left its marks on the west wall of the south transept, but recent restoration has obliterated them. The south transept is Norman, the work of Paul de Caen, except the south wall, which has been entirely rebuilt by Lord Grimthorpe. The tall lancets are an imitation of "the Five Sisters" of York Minster. Turrets crowned with small caps stand at each angle of the transept. Below the window are the remains of the slype, or passage from the cloister to the monks' burial-ground. The south wall is all that remains of the chapter-house. On the east side of the transept were formerly two apsidal chapels, but all traces of these have been removed. They were destroyed in the time of Edward II. to make room for a sacristy. On[416] the south of the south chancel aisle is a fine Norman arch leading to these apsidal chapels. When they were removed the arch was contracted by the insertion of a pointed arch. A vestry was constructed here in 1846.

As we approach the Cathedral from the south, we get a great view and notice the building's impressive length, its tall central tower, and the large number of Roman tiles used in the construction. These tiles are 1-1/2 inches thick and measure 16 inches by 12. Additionally, a lot of flint is used. The piers, arches, towers, and staircases are mainly made up of tiles. Originally, the building was covered with cement, which has mostly worn away. Its layout is shaped like a Latin Cross, and originally there were seven parallel apses, all of which have vanished. The grand Tower is Norman. There used to be turrets at the four corners, and in the thirteenth century, an octagonal lantern was added, but these are no longer there, and the tower looks much like it did in Norman times. The embattled parapet is recent. The West Front inspires sad reflections, and words fall short in expressing a strong enough objection to the damage caused by the misguided but well-intentioned efforts of modern restorers. The original Norman west front was removed by Abbot John de Cella (1195-1214), who started building a new one. It was a grand plan, but it was too ambitious given the monastery's resources, and the taxes collected by Richard I for his crusades and John’s confiscations were overwhelming for the abbot, halting his project. He intended to add two western towers but only laid the foundations. The front was meant to be 160 feet wide, 40 feet wider than Salisbury. Abbot William de Trumpington took over and completed the work, rebuilding five bays on the south side of the nave and four on the north. John de Cella's three deep porches remain, though only in small fragments; the rest is modern and was built by Lord Grimthorpe. The Nave displays three architectural styles. The eastern part is the work of Paul de Caen (1077-1097). On the south side, the three easternmost bays are Norman and were built by him. The next five bays are in the Decorated style, started by Abbot Hugh de Eversden (1308-1326). During his time, two large piers on the south collapsed during a service, destroying the roof and beams in that section. The rebuilding was completed by Abbot Michael de Mentmore (1335-1349). The remaining four bays are the Early English work of William de Trumpington (1214-1235). During the Perpendicular period, the roof of the aisle was lowered and made flat, revealing the triforium openings, but recent restoration has restored the original pitch. On this side stood the cloister court, and the remains of the arches from the north cloister walk can be seen against the south wall of the church. Some traces from the east cloister walk left marks on the west wall of the south transept, but recent restoration has erased them. The south transept is Norman, the work of Paul de Caen, except for the south wall, which Lord Grimthorpe completely rebuilt. The tall lancet windows mimic "the Five Sisters" from York Minster. Small turrets top each corner of the transept. Below the window are the remains of the slype, or passage from the cloister to the monks' burial ground. The south wall is all that remains of the chapter house. On the east side of the transept, there used to be two apsidal chapels, but all traces of them have been removed. They were destroyed during Edward II's reign to create space for a sacristy. To the south of the south chancel aisle is a beautiful Norman arch leading to those apsidal chapels. When they were taken out, the arch was altered with the addition of a pointed arch. A vestry was built here in 1846.

This eastern part of the church beyond the third bay from the tower was built in the latter half of the thirteenth century under the rule of Abbot John de Hertford, and completed by Abbot Roger Norton (1260-1290). The Lady Chapel was mainly built under the rule of Abbot Hugh de Eversden (1308-1326), one Reginald of St. Albans being the master-mason. It is in the Decorated style, and was begun as early as 1280. Abbot Wheathampstead (1420-1464) embellished it with much decoration in the Perpendicular style. It was with the ambulatory long separated from the church by a wall, and used as a Grammar School. A public path passed through the building here. The north side of the chapel and presbytery resembles the south. The north door is much later. The most western part of the wall is Norman. The north transept is entirely Norman, the work of Abbot Paul. On the east side were two apsidal chapels, removed in the fifteenth century. The upper part of the north front was rebuilt by Lord Grimthorpe. The north side of the nave preserves its Norman character, both in the clerestory and aisle, except at the west end, where it has been reconstructed in the Early English style.

This eastern part of the church, beyond the third bay from the tower, was built in the latter half of the 13th century under Abbot John de Hertford and completed by Abbot Roger Norton (1260-1290). The Lady Chapel was mainly constructed under Abbot Hugh de Eversden (1308-1326), with Reginald of St. Albans as the master mason. It features the Decorated style and started being built as early as 1280. Abbot Wheathampstead (1420-1464) enhanced it with extensive decoration in the Perpendicular style. It included an ambulatory that was long separated from the church by a wall and used as a Grammar School. A public path ran through the building here. The north side of the chapel and presbytery looks similar to the south. The north door is much later. The most western part of the wall is Norman. The north transept is completely Norman, constructed by Abbot Paul. On the east side, there were two apsidal chapels that were removed in the 15th century. The upper part of the north front was rebuilt by Lord Grimthorpe. The north side of the nave retains its Norman character in both the clerestory and aisle, except at the west end, which has been rebuilt in the Early English style.

On the west of the Abbey is the Great Gateway, which is an unusually important building. The greater part of the present structure was built by Abbot Thomas de la Mare (1349-1396), but there seems to be some thirteenth century incorporated with it. Here the abbot held his court, and dealt out justice to the townsfolk and received his rents, and transacted other business; and here there were prisons for rebellious clerks and others. The gateway was stormed by Wat Tyler's rebels in 1381, who broke into the Abbey and terribly frightened the abbot and his monks. But vengeance was in store for the rioters, several of whom were imprisoned here and afterward hanged. After the dissolution it was used as the Assize Court, and subsequently as a prison. Then the Grammar School, evicted from the Lady Chapel, found a home here. All the other monastic buildings have been destroyed.

On the west side of the Abbey is the Great Gateway, which is a particularly significant building. Most of the current structure was built by Abbot Thomas de la Mare (1349-1396), but it seems that some parts from the thirteenth century have been integrated into it. This is where the abbot held his court, administered justice to the townspeople, collected rents, and conducted other business; it also had prisons for defiant clerks and others. The gateway was stormed by Wat Tyler's rebels in 1381, who broke into the Abbey and severely frightened the abbot and his monks. But revenge awaited the rioters; several were imprisoned here and later hanged. After the dissolution, it was used as the Assize Court, and later as a prison. Then the Grammar School, forced out of the Lady Chapel, found a new home here. All the other monastic buildings have been destroyed.

The Interior

The Interior

We enter the church by the west door, and are at once struck[417] by its immense length. It is the longest in England, and consists of thirteen bays. Originally the Norman style prevailed throughout the building, but in the course of ages numerous alterations have been made, and its architectural history is somewhat complicated. The five bays on the north and the three bays on the south are the work of Trumpington, who left the great piers standing, removed the Norman arches, triforium and clerestory, and began his reconstruction with all the gracefulness of the Early English style. He cased the piers with stone-work, which are octagonal and have attached shafts. The triforium has in each bay an arch enclosing two sub-arches with a quatrefoil in the head. The dog-tooth appears in the string-courses. The clerestory windows have two lights. The roof is modern. It was evidently intended to have a stone vault, but this was abandoned apparently for want of means. The work in the aisles corresponds to that in the nave as far as Trumpington's building extends. There is a remarkable juncture of this Early English work with the Norman on the north side of the nave. This Norman work is that of Paul de Caen. It is simple and plain, and not dissimilar from that at Caen, whence the abbot came. On the south side the five bays next to Trumpington's work were rebuilt by Abbots Hugh de Eversden (1308-1326) and Michael de Montmore (1335-1349), owing to the fall already alluded to. Here we see rich Decorated work, and though it differs in detail, it follows the lines of the earlier work on the west. Instead of dog-tooth, we have the ball-flower alternating with lilies. There is more sculpture, some of the heads being beautifully carved. The aisle here is similar in character to the nave. The cloister court having been on the south side of this wall, the windows here are high up. The next three bays on the south side are Norman, and also the nine eastern bays on the north side. The piers are very massive and are square-edged. The arches have three orders. The triforium arches are plain, but less lofty than those of the nave, and the clerestory arches are of the same character. We will now examine the mural paintings in the nave, which are of Norman date. Upon the west side of the six Norman piers are examples of the same subject, the Crucifixion, with St. John and the Virgin. Beginning with westernmost Norman pier we notice a representation of our Lord, and below is the Annunciation. On the south is St. Christopher, on the next pier is the same subject, and on the south the figure of St. Thomas of Canterbury. The figures of St. Syth, Edward the Confessor, Coronation of the Virgin, and the Virgin and Child also appear. The nave[418] has been shorn of most of its monuments, but on the second pier on the north side is the monument of Sir John Mandeville, the great traveller, with this inscription:—

We enter the church through the west door and are immediately struck[417] by its immense length. It is the longest in England, featuring thirteen bays. Originally, the Norman style dominated the entire building, but over time, numerous modifications have been made, resulting in a rather complicated architectural history. The five bays on the north and the three bays on the south were constructed by Trumpington, who preserved the great piers, removed the Norman arches, triforium, and clerestory, and initiated his reconstruction with the elegance of the Early English style. He clad the piers with stone, which are octagonal and have attached shafts. Each bay of the triforium has an arch that encloses two sub-arches topped with a quatrefoil. The dog-tooth design appears in the string-courses. The clerestory windows have two lights. The roof is modern; it seems it was supposed to have a stone vault, but this plan was likely dropped due to a lack of funds. The work in the aisles matches that in the nave as far as Trumpington's construction extends. There's a notable junction of this Early English work with the Norman style on the north side of the nave. This Norman work is attributed to Paul de Caen. It is simple and plain, resembling styles from Caen, where the abbot came from. On the south side, the five bays next to Trumpington's work were rebuilt by Abbots Hugh de Eversden (1308-1326) and Michael de Montmore (1335-1349) due to the previously mentioned collapse. Here, we see rich Decorated work, and while it varies in detail, it aligns with the earlier work on the west. Instead of dog-tooth designs, we see ball-flowers alternating with lilies. There's more sculpture here, with some heads beautifully carved. The aisle has a similar character to the nave. Since the cloister court was located on the south side of this wall, the windows here are positioned high up. The next three bays on the south side are Norman, as are the nine eastern bays on the north side. The piers are very massive and have square edges. The arches have three orders. The triforium arches are plain but less tall than those in the nave, and the clerestory arches share the same character. Now, let's look at the mural paintings in the nave, which date back to the Norman period. On the west side of the six Norman piers, there are depictions of the same subject, the Crucifixion, featuring St. John and the Virgin. Starting with the westernmost Norman pier, we see a depiction of our Lord, with the Annunciation below. To the south is St. Christopher, and on the next pier is the same subject, alongside a depiction of St. Thomas of Canterbury. Also present are figures of St. Syth, Edward the Confessor, the Coronation of the Virgin, and the Virgin and Child. The nave[418] has lost most of its monuments, but on the second pier on the north side is the monument of Sir John Mandeville, the great traveler, with this inscription:—

"Stop moving forward, Mandevil rests in the urn" Here humbled; they know that monuments die.
"Hey, in this Inn of Travelers lies One wealthy only in memories; His name was Sir John Mandeville; satisfied, Having seen a lot, with one last continent, He has been traveling toward it since he was born. And at last traded his body for the earth, Which, according to a law, must be in a mortgage. "Until a Redeemer comes to set it free."

There is another monument which records the undying fame of one John Jones, who wrote a poem on "the Shrine of St. Albans." But time has been unkind to the poet, and his poem no longer exists. The massive stone pulpit was designed by Lord Grimthorpe. An inscription at the west end informs us that in the time of Henry VIII. and Elizabeth, on account of the Plague in London, the Courts of Justice were held in this nave. Dividing the choir from the nave is the fine Decorated screen commonly but erroneously called that of St. Cuthbert, erected about 1350 by Abbot de la Mare. It is not the rood-screen as it is commonly described. That with its great, high, towering rood stood a little further east. This is excellent Decorated work. It has suffered from iconoclastic reformers. Over the screen is the modern organ. The extensions of the screen over the aisles are the work of Lord Grimthorpe. Notice the rich tabernacle work of the screen.

There’s another monument that commemorates the lasting fame of one John Jones, who wrote a poem about "the Shrine of St. Albans." Unfortunately, time hasn’t been kind to the poet, and his poem is gone. The large stone pulpit was designed by Lord Grimthorpe. An inscription at the west end tells us that during the times of Henry VIII and Elizabeth, because of the Plague in London, the Courts of Justice were held in this nave. The beautiful Decorated screen that separates the choir from the nave is often mistakenly referred to as that of St. Cuthbert; it was erected around 1350 by Abbot de la Mare. This is not the rood-screen as it is often described. That, with its tall, towering rood, was located a little further east. This is an impressive example of Decorated style, though it has been damaged by iconoclastic reformers. Above the screen is the modern organ. The extensions of the screen over the aisles were done by Lord Grimthorpe. Take note of the intricate tabernacle work of the screen.

The South Aisle of the Choir beyond the screen is all Norman, except the modern vault. Here on the south is the tomb of two famous hermits—Roger and Sigar—who lived in the time of King Stephen, though the tomb is later. Roger lived near Dunstable, and Sigar in the wood of Northaw, of whom it is said that he banished all nightingales from his retreat, as their sweet song prevented him from saying his prayers. Next we notice the Abbot's Door, which is rich Decorated work, built by the fashioner of the screen, Abbot de la Mare (1349-1396). The Transepts and Central Tower are plain Norman, the work of Paul de Caen. The south wall of the south transept, however, with its Five Sisters' Window, copied from York Minster, was entirely rebuilt by Lord Grimthorpe. The eastern triforium arches are extremely interesting, as they have[419] curious baluster shafts which are recognised as Saxon work. These doubtless are the sole remaining relics of the ancient church built by Offa in 793, and were inserted here by Abbot Paul. The capitals are, however, Norman. The small window on the opposite side was an opening into a watching chamber, whence a monk could keep guard over the treasures in the transept. This chamber was not a reclusorium as the legends tell. On the east side were two apsidal chapels, destroyed in order to make room for a sacristy, which has now shared their fate. The altars of SS. Stephen and John the Evangelist stood here. On the west side are three ancient Jacobean cupboards, fashioned for the distribution of bread to the poor on Sundays. On the south is a fine Norman doorway, brought here from the slype, which is now entered through it. The south wall of this passage is all that remains of the old chapter-house. Here are some Norman arcading, and as the modern verses tell us, "fragments brought together from all sides." We enter the Choir, which occupies the three eastern bays of the nave and the space under the tower. The stalls are modern. The ceiling is extremely interesting and dates from the time of Edward III., the painted panels being adorned with the sacred monogram, numerous shields with royal arms supported by angels, the Te Deum, and invocations to the Virgin. The Roses of York and Lancaster appear on the lofty ceiling of the tower. The choir pulpit here was given by the English Freemasons. The North Transept resembles the south, and is mainly Norman. Here is another Saxon baluster-shafted arch in the triforium, a relic of Offa's church. The old painted ceiling has been replaced by a modern roof. The upper part of the north wall was rebuilt by Lord Grimthorpe, who inserted here a huge rose window which has received some very severe criticism. He has also placed beneath it an inscription which records the fact that he ("Edmund") has built anew the work of Abbot "John" Wheathampstead which had perished while that of Abbot Paul remains. On the east were formerly apsidal chapels, which have been removed, and altars dedicated to the Holy Trinity, St. Osyth, and the Holy Cross of Pity. Near the last is a painting on the wall, the subject being the Incredulity of St. Thomas. On the floor are some remarkable ancient tiles. On the splay of one of the Norman windows a vine is represented, and there is a small Norman door. Bishop Claughton's fine monument is here (1892) and Bishop Blomfield of Colchester (1894).

The South Aisle of the Choir beyond the screen is entirely Norman, except for the modern ceiling. On the south side, you'll find the tomb of two well-known hermits—Roger and Sigar—who lived during the time of King Stephen, although the tomb itself was created later. Roger lived near Dunstable, while Sigar was in the woods of Northaw. It's said that he drove all nightingales away from his home because their beautiful songs kept him from praying. Next, we see the Abbot's Door, which features rich Decorated work, crafted by the screen's designer, Abbot de la Mare (1349-1396). The Transepts and Central Tower are simple Norman architecture, built by Paul de Caen. However, the south wall of the south transept, where the Five Sisters' Window, modeled after York Minster, is located, was completely rebuilt by Lord Grimthorpe. The eastern triforium arches are particularly interesting, as they contain[419] unique baluster shafts identified as Saxon work. These are likely the last remaining pieces of the ancient church established by Offa in 793, added here by Abbot Paul. The capitals, though, are Norman. The small window on the other side once opened into a lookout chamber, where a monk could watch over the treasures in the transept. This chamber was not a recluse area as legends suggest. On the east side, there were two apsidal chapels, demolished to make space for a sacristy, which has now met the same fate. The altars of SS. Stephen and John the Evangelist used to be here. On the west side are three old Jacobean cupboards, designed for distributing bread to the poor on Sundays. On the south side is a beautiful Norman doorway that has been moved here from the slype, which is now accessed through it. The south wall of this passage is all that remains of the old chapter-house. Here, you'll find some Norman arcade work, and as modern verses say, "fragments gathered from all sides." We enter the Choir, which covers the three eastern bays of the nave and the space beneath the tower. The stalls are contemporary. The ceiling is very interesting and dates back to the time of Edward III, with painted panels featuring the sacred monogram, various shields with royal arms supported by angels, the Te Deum, and invocations to the Virgin. The Roses of York and Lancaster can be seen on the tall ceiling of the tower. The choir pulpit was donated by the English Freemasons. The North Transept mirrors the south and is primarily Norman. Here, there's another Saxon baluster-shafted arch in the triforium, a remnant of Offa's church. The old painted ceiling has been replaced with a modern roof. The upper part of the north wall was rebuilt by Lord Grimthorpe, who included a large rose window that has faced considerable criticism. He also added an inscription below it that records the fact that he ("Edmund") has rebuilt the work of Abbot "John" Wheathampstead, which had fallen apart, while Abbot Paul's work remains. Previously, there were apsidal chapels on the east, which have been removed, along with altars dedicated to the Holy Trinity, St. Osyth, and the Holy Cross of Pity. Near the last altar, there's a wall painting depicting the Incredulity of St. Thomas. The floor features some remarkable ancient tiles. On the edge of one of the Norman windows, a vine is depicted, and there's a small Norman door. Bishop Claughton's impressive monument is here (1892) along with Bishop Blomfield of Colchester (1894).

The presbytery occupies the space between the tower and the[420] Wallingford screen, and retains its Norman walls as far as the third bay. The rest is the work of Abbot John de Hertford (1235-1260). The style is Early English. Before us is the famous Wallingford screen or reredos, erected by Abbot William Wallingford (1476-1484), which resembles that at Winchester. It was much mutilated, and has very recently been thoroughly restored, and the niches filled with statuary. There is a fine figure of our Lord in the centre, with the Virgin and St. John on either side, surrounded by angels. Below are the twelve Apostles with our Lord in the midst. On either side are figures of saints and kings connected with the history of the Abbey. On the north is the Chantry of Abbot Ramryge (1521), which has some rich Perpendicular work; the abbot's rebus—rams with ryge on the necks—may be discovered. Notice the representation of the martyrdom of St. Alban over the door. On the south is the Chantry of Abbot Wheathampstead (1464), which has a fine brass (that of Abbot Thomas de la Mare), and bears his arms (three ears of corn with the motto Valles habundabunt). Some attribute this tomb to Abbot Wallingford, but the details seem to point to Wheathampstead. This abbot caused the ceiling to be painted whereon are depicted the Agnus Dei and the Eagle of St. John. There are numerous tombs and brasses of other abbots here. The south door has some fine Early English tabernacle work. The architecture of the adjoining North Aisle corresponds with that of the presbytery, and through it we pass to the Saints' Chapel, which is the work of Abbot John de Hertford and his successors, and may well be described by Sir G. Scott as being "among the finest productions of that period." On the east side of the reredos are some fine modern statues of the Virgin and other saints. Here is the famous Shrine of St. Alban, broken and destroyed at the Reformation, and now happily built up again, the fragments having been collected by careful hands from many parts of the building. It was first erected by Abbot John de Marynis (1302-1308), and is of Decorated style. Gorgeous must have been its original appearance; but though shorn of all its jewels, gold and silver, it remains a noble piece of work. The holes in the panels of the base were intended for the insertion of diseased limbs, in order that they might be healed by the merits of the saint. The carved leafage in the tympana of the canopied niches is admirable. Only two carved figures remain, those of Offa and St. Oswin. On the west we see a representation of the martyrdom of the saint, and at the east his scourging. On the north side[421] of the chapel is the Watching Tower, a wooden structure, probably erected by Abbot John de Wheathampstead. This and a similar one at Christ Church, Oxford, are the only watching towers remaining. A monk was stationed here to guard the treasures of the shrine. There are some curious carvings on the frieze. Treasures were preserved in aumbreys which now contain some curios. The famous Humphrey, Duke of Gloucester, son of Henry IV., murdered by order of Queen Margaret (1446), lies buried here in a tomb on the south. The sculpture of the numerous figures is very bold and vigorous. Some painting is observed on the piers, and there is a figure of St. William of York. In the North Aisle is part of the Shrine of St. Amphibalus, which shares the history of its neighbour, and has been now partially recovered. It belongs to the last half of the fourteenth century. On the sides are the initials of Ralph Whitechurch, sacrist of the Abbey.

The presbytery sits between the tower and the [420] Wallingford screen, keeping its Norman walls up to the third bay. The rest was built by Abbot John de Hertford (1235-1260). The style is Early English. In front of us is the famous Wallingford screen or reredos, put up by Abbot William Wallingford (1476-1484), which looks similar to the one at Winchester. It was heavily damaged but has recently been fully restored, with the niches filled with statues. There’s a beautiful figure of our Lord in the center, flanked by the Virgin and St. John, surrounded by angels. Below are the twelve Apostles with our Lord in the middle. On either side are figures of saints and kings linked to the Abbey’s history. On the north side is the Chantry of Abbot Ramryge (1521), featuring some intricate Perpendicular work; you can spot the abbot's rebus—rams with ryge on their necks. Don’t miss the depiction of St. Alban’s martyrdom over the door. On the south side is the Chantry of Abbot Wheathampstead (1464), which has an impressive brass (that of Abbot Thomas de la Mare) and displays his arms (three ears of corn with the motto Valles habundabunt). Some say this tomb belongs to Abbot Wallingford, but the details seem to indicate Wheathampstead. This abbot had the ceiling painted with the Agnus Dei and the Eagle of St. John. There are many other tombs and brasses of different abbots here. The south door shows some beautiful Early English tabernacle work. The architecture of the adjoining North Aisle matches that of the presbytery, and we move through it to the Saints' Chapel, built by Abbot John de Hertford and his successors, which Sir G. Scott described as "among the finest productions of that period." On the east side of the reredos are some excellent modern statues of the Virgin and other saints. Here is the renowned Shrine of St. Alban, which was broken and destroyed during the Reformation, and is now fortunately rebuilt, with fragments carefully collected from various parts of the building. It was originally established by Abbot John de Marynis (1302-1308) and is in the Decorated style. It must have looked magnificent originally; although it's now stripped of its jewels, gold, and silver, it still stands as a remarkable work. The holes in the panels of the base were meant for inserting diseased limbs so they could be healed by the saint's merits. The carved foliage in the tympana of the canopied niches is stunning. Only two carved figures remain, those of Offa and St. Oswin. On the west side is a depiction of the saint's martyrdom, and on the east, his scourging. On the north side of the chapel is the Watching Tower, a wooden structure likely built by Abbot John de Wheathampstead. This and a similar one at Christ Church, Oxford, are the only remaining watching towers. A monk was stationed here to guard the shrine's treasures. There are some interesting carvings on the frieze. Treasures were kept in aumbrys, which now hold some curiosities. The famous Humphrey, Duke of Gloucester, son of Henry IV., murdered by Queen Margaret’s orders (1446), is buried here in a tomb on the south side. The sculpture of the many figures is quite bold and vigorous. Some painting can be seen on the piers, and there’s a figure of St. William of York. In the North Aisle, there's part of the Shrine of St. Amphibalus, which shares a history with its neighbor and has now been partially restored. It dates back to the last half of the fourteenth century. On the sides are the initials of Ralph Whitechurch, sacrist of the Abbey.

The Ante-Chapel and Lady Chapel have been extensively restored. Indeed, their condition was deplorable. A public path ran through the former, and the latter was used as a Grammar School, and suffered in consequence. The story of the architecture is rather complex. The ante-chapel was begun by De Hertford and finished by his successor, Roger Norton (1260-1290), who continued to build the Lady Chapel, which was finished by Hugh de Eversden (1308-1326). The style is Decorated. The whole of the chapel has been most completely restored by Lord Grimthorpe. The modern carving is exquisite. We now pass to the South Aisle, which follows the architecture of the rest of the east end. Here we see an iron trellis screen of thirteenth-century work. There is here some good arcading, and an interesting panel taken from the old ceiling of the north transept representing the martyrdom of St. Alban. At the east end of this aisle was the Altar of St. Mary of the Four Tapers, and numerous other altars existed in the aisles and ante-chapel. In the wall above the old poor box is a curious figure of a pensioner carved by a sexton about 100 years ago.

The Ante-Chapel and Lady Chapel have been extensively restored. Their condition was really bad. A public path ran through the former, and the latter was used as a Grammar School, which caused some damage. The story of the architecture is quite complex. The ante-chapel was started by De Hertford and completed by his successor, Roger Norton (1260-1290), who also continued to build the Lady Chapel, which was finished by Hugh de Eversden (1308-1326). The style is Decorated. The entire chapel has been completely restored by Lord Grimthorpe. The modern carving is exquisite. Now we move on to the South Aisle, which follows the architectural style of the rest of the east end. Here we see a 13th-century iron trellis screen. There is some nice arcading and an interesting panel taken from the old ceiling of the north transept that depicts the martyrdom of St. Alban. At the east end of this aisle was the Altar of St. Mary of the Four Tapers, and there were several other altars in the aisles and ante-chapel. In the wall above the old poor box, there's a curious figure of a pensioner carved by a sexton about 100 years ago.

An ascent of the tower reveals many interesting features of that ancient structure, and helps one to realise the formidable nature of the task which the skilful architect and builders of 1870 accomplished when they saved this massive pile from destruction.[422]

Climbing the tower shows off many fascinating aspects of that old structure and makes you appreciate the impressive job the skilled architect and builders in 1870 did to save this massive building from destruction.[422]

Dimensions

Dimensions

Total length550 ft.
Length of nave to tower284 ft.
Length of nave to screen215 ft.
Width of transepts189 ft.
Width of tower144 ft.
Total area40,000 sq. ft.

Principal Building Dates

Principal Building Dates

  • Saxon—Baluster shafts of windows in triforium of transepts.
  • Norman (1077-1115)—Nine bays on north of nave, and three bays on south, transept, and three bays of presbytery.
  • Early English (1195-1260)—Western end of nave, presbytery, Saints' Chapel with aisles.
  • Transition (1260-1290)—Foundations of Lady Chapel and ante-chapel.
  • Decorated—Lady Chapel and five bays of nave.
  • Perpendicular—South buttresses of choir; windows inserted which have since been removed.

The city possesses many objects of interest:—

The city has many interesting attractions:—

The Roman city of Verulamium.
The Churches of St. Michael, St. Peter, St. Stephen.
Sopwell Nunnery.
The old Moot Hall.
And the old inn called the "Fighting Cocks," said to be one of the oldest inns, and the oldest inhabited house in England, but this reputation is somewhat legendary.

The Roman city of Verulamium.
The Churches of St. Michael, St. Peter, St. Stephen.
Sopwell Nunnery.
The old Moot Hall.
And the old inn named the "Fighting Cocks," which is said to be one of the oldest inns and the oldest inhabited house in England, though this claim is somewhat legendary.

Note

Note

The Welsh Cathedrals of Llandaff and St. David's should be approached from Gloucester; and Chester is the most convenient starting-point for St. Asaph and Bangor.

The Welsh Cathedrals of Llandaff and St. David's should be approached from Gloucester, and Chester is the best starting point for St. Asaph and Bangor.


ST. ASAPH'S CATHEDRAL

This Cathedral, like that of Bangor, is small, but its history is not unimportant. It owed its origin to Kentigern, otherwise called St. Mungo, the founder and Bishop of Glasgow, who, being driven from his northern see in the sixth century, found a refuge here, and enjoyed the protection of Prince Cadwallon. This prince aided him in building a church and founding a monastery here, and fabulous records tell of the amazing number of the monks. His biographer assures us that there was no less than 965 dwellers in this monastery, which number must be an extraordinary exaggeration. When Kentigern returned to Scotland, he left one of his followers, St. Asaph, to act as bishop of the diocese. The chroniclers are silent about the names of the subsequent bishops, until they record the doings of Norman times. In 1143 one Gilbert was consecrated bishop. The church in existence during his rule was burnt down in 1283, during the fierce wars between Edward I. and the Welsh. Anian II. was bishop during that time, and contemplated the transferring of the seat of the bishopric to Rhuddlan; but, on the advice of the Archbishop of Canterbury, he determined to rebuild the ruined church, and most of the present building is his work, or that of his two successors, Leoline and David. The work extended from 1284 to 1350. Owen Glendower, after his fashion, set fire to the church and burned the roof in 1404, and for a century the church remained in a roofless ruined state. Bishop Redman, in 1490, began to rebuild and restore the ruined church. He raised walls, erected a new roof, added the east window, and placed in the choir the stalls and a throne. Bishop Owen Jones, in 1631, made some further alterations, and repaired the steeple and belfry. Then came the disasters of the Civil War, when terrible desecration ensued, principally caused by a wretch named Miller, who turned the Palace into a wine-shop, and the church into a stable and cow-house, and the font into a hog-trough. Since the Restoration there have been several learned and devout prelates, amongst others, Isaac Barrow, William Beveridge, Thomas Tanner, author of Notitia Monastica; Samuel Horsley;[424] but they were more learned in theology and their books than in the study of the correct principles of architecture. Hence they disfigured the church, and destroyed many of its most interesting features. In 1780 the choir was remodelled, a plaster ceiling erected, and much further damage done. "Oh, Restoration! what evils have been wrought in your name."

This Cathedral, like the one in Bangor, is small, but its history is significant. It was established by Kentigern, also known as St. Mungo, the founder and Bishop of Glasgow, who, after being forced out of his northern see in the sixth century, found refuge here under Prince Cadwallon's protection. This prince helped him build a church and establish a monastery, with legends claiming an incredible number of monks resided there. His biographer insists there were at least 965 residents in the monastery, a number that must be an extreme exaggeration. When Kentigern returned to Scotland, he left one of his followers, St. Asaph, as bishop of the diocese. The chroniclers don’t mention the names of the following bishops until they document events from the Norman period. In 1143, a man named Gilbert was consecrated as bishop. The church that existed during his tenure was burned down in 1283 amidst the fierce wars between Edward I and the Welsh. Anian II was the bishop during that period and considered moving the bishopric to Rhuddlan; however, on the advice of the Archbishop of Canterbury, he decided to rebuild the destroyed church, and most of the current building is his work or that of his two successors, Leoline and David. The construction lasted from 1284 to 1350. Owen Glendower famously set fire to the church and destroyed the roof in 1404, leaving the church roofless and in ruins for a century. Bishop Redman began rebuilding and restoring the church in 1490. He raised the walls, put on a new roof, added the east window, and installed the choir stalls and a throne. In 1631, Bishop Owen Jones made further changes and repaired the steeple and belfry. Then came the devastation of the Civil War, which led to terrible desecration, primarily caused by a scoundrel named Miller, who turned the Palace into a wine shop, the church into a stable and cow shed, and the font into a hog trough. Since the Restoration, there have been several knowledgeable and devoted bishops, including Isaac Barrow, William Beveridge, Thomas Tanner, author of Notitia Monastica, and Samuel Horsley;[424] but they were more focused on theology and their writings than on understanding sound architectural principles. As a result, they disfigured the church and destroyed many of its most interesting features. In 1780, the choir was remodeled, a plaster ceiling was added, and even more damage was done. "Oh, Restoration! what evils have been wrought in your name."

The church is cruciform. At the west end is a large Decorated window, and a deeply-recessed doorway of six orders, with buttresses on either side, which have crocketed pinnacles; a wooden cross surmounts the gable. It will be noticed that the shafts supporting the arch of the doorway have no capitals, the wave moulding making a complete sweep round the arch, with no capitals intervening. This arrangement we shall notice in the church. The great central tower was the latest addition to the mediæval church, and was constructed late in the fourteenth century. The embattled parapets were added in 1714. It is 93 feet high. The nave consists of five bays, and at once we notice the same peculiarity observable in the west doorway. The mouldings are carried up the piers and round the arches without any break. They are very plain, and of two orders, and are of the Early Decorated style, the work of Bishop Anian. Formerly there was a clerestory, but during one of the tasteless restorations a ceiling was erected, which shuts it out from view. The windows of the clerestory were in the Perpendicular style, and exist still in the south. Grotesque carvings appear on the brackets supporting the roof. The windows of the aisles have been much restored, and are in the style of the Early Decorated. The south transept was once the Lady Chapel, the consistory court and chapter-house. The windows are of five lights, and were finished about 1336. Here is a much mutilated effigy of a bishop, which is of great beauty, especially the figures of censing angels. It is supposed to represent Bishop Anian.

The church is shaped like a cross. At the west end, there’s a large decorative window and a deeply recessed doorway with six sections, flanked by buttresses that have pointed tops; a wooden cross sits on the gable. You’ll notice that the shafts supporting the arch of the doorway don’t have capitals; the wave molding wraps fully around the arch without any capitals in between. We’ll see this setup throughout the church. The great central tower is the most recent addition to the medieval church, built in the late 14th century. The battlements were added in 1714. The tower stands 93 feet tall. The nave has five sections, and there’s a similar feature to what we see in the west doorway. The moldings rise up the piers and around the arches continuously. They are very simple, in two sections, and of the Early Decorated style, crafted by Bishop Anian. There used to be a clerestory, but during one of the poorly thought-out restorations, a ceiling was put in, blocking it from view. The clerestory windows were designed in the Perpendicular style and can still be seen on the south side. Grotesque carvings are visible on the brackets that support the roof. The aisle windows have been heavily restored and are in the Early Decorated style. The south transept used to be the Lady Chapel, the consistory court, and the chapter house. The windows here have five sections and were finished around 1336. There is a much-damaged effigy of a bishop, which is quite beautiful, especially the figures of angels holding incense. It is believed to depict Bishop Anian.

The north transept has the monument of Bishop Luxmore (1830). In the south aisle are some monuments of the relatives of Mrs. Hemans, the poetess, and a tablet has been erected to the memory of that lady, who died in 1835. Under the central tower stand the old finely-canopied stalls. The throne is modern.

The north transept features the monument of Bishop Luxmore (1830). In the south aisle, you can find some monuments dedicated to the relatives of Mrs. Hemans, the poetess, along with a tablet honoring her memory, as she passed away in 1835. Under the central tower are the old beautifully canopied stalls. The throne is modern.

The style of the old choir was almost entirely changed at the eighteenth-century "restoration." It was of Early English design, and Sir G. Scott wisely resolved to restore it to its primitive form. This proceeding was somewhat drastic, but such was the condition of the choir, and so severe was the treatment it received in 1780,[425] that perhaps no other course could with advantage have been taken. He discovered the old sedilia, and the door leading to the old chapter-house. The east window has entirely modern tracery, and the reredos is modern. Bishop Barrow's tomb outside the west door is worthy of notice.

The style of the old choir was almost completely changed during the eighteenth-century "restoration." It was designed in the Early English style, and Sir G. Scott wisely decided to restore it to its original form. This approach was a bit extreme, but given the choir's condition and the harsh treatment it underwent in 1780,[425] perhaps there was no better option. He found the old sedilia and the door leading to the old chapter house. The east window features entirely modern tracery, and the reredos is also modern. Bishop Barrow's tomb outside the west door is worth mentioning.

The Bishop's Palace is a large modern building. At the foot of the hill is the parish church. From the summit of the tower of the Cathedral a fine view can be obtained of the Vale of Clwyd, with the Castles of Denbigh and Rhuddlan, and a long line of sea coast. Robert Montgomery sang sweetly of this wondrous view:—

The Bishop's Palace is a big modern building. At the bottom of the hill is the parish church. From the top of the Cathedral's tower, you can get a great view of the Vale of Clwyd, including the castles of Denbigh and Rhuddlan, along with a long stretch of coastline. Robert Montgomery beautifully sang about this amazing view:—

"Your heart might beat" In exciting response to the tension I express, If you were with me, from the sacred tower, "Looked at this beautiful valley."

BANGOR CATHEDRAL

The early Bishops of Bangor are shadowy beings. We read of Bishop Daniel in the sixth century, concerning whom the records are misty, although he was canonised. Godwin says that there were no bishops here before the Norman Conquest. At any rate Hervey, or Harvé, was consecrated bishop in 1092, but he was so rigid in his discipline, and so severe upon the Welsh, that they rebelled, murdered his brother, and threatened him with a like fate. So he fled for refuge to the court of Henry I., and was ultimately appointed to the See of Ely. The early Celtic church was destroyed by the Normans in 1071. A second church was at once built, and here, in 1188, Archbishop Baldwin preached the Crusades, and so moved the heart of the Bishop of Bangor that he joined the army of Crusaders to rescue the Holy City from the Saracens. This church was destroyed in 1211 by a great fire. It was, however, partly restored, and again fell a prey to destruction in the wars of Edward I. and the Welsh. Bishop Anian, however, seemed to have been a favourite of the king, who helped him to rebuild his church. This bishop baptised the first Prince of Wales, born at Carnarvon Castle. He also drew up the Bangor Use, or Service Book, which ranked highly among the Cathedral uses of the mediæval church.

The early Bishops of Bangor are mysterious figures. We read about Bishop Daniel in the sixth century, but the details around him are unclear, even though he was canonized. Godwin mentions that there were no bishops in this area before the Norman Conquest. In any case, Hervey, or Harvé, was consecrated as bishop in 1092, but he was so strict in his discipline and harsh towards the Welsh that they rebelled, killed his brother, and threatened him with the same fate. So, he fled to the court of Henry I and was eventually appointed to the See of Ely. The early Celtic church was destroyed by the Normans in 1071. A second church was built immediately, and here, in 1188, Archbishop Baldwin preached the Crusades, inspiring the Bishop of Bangor to join the army of Crusaders to save the Holy City from the Saracens. This church was destroyed in a major fire in 1211. However, it was partially restored, only to be destroyed again during the wars of Edward I and the Welsh. Bishop Anian seemed to be favored by the king, who assisted him in rebuilding his church. This bishop baptized the first Prince of Wales, born at Carnarvon Castle. He also created the Bangor Use, or Service Book, which was highly regarded among the Cathedral uses of the medieval church.

During the wars of Owen Glendower in 1402 the church was completely gutted, and for nearly a century it lay in ruins. A new church was begun by Henry Deane in 1496, who finished the choir, and the Cathedral was completed by Bishop Skeffington, Abbot of Beaulieu, Hants, who was appointed to the See of Bangor in 1509. The style of the architecture was therefore entirely Perpendicular. Though the body of this benefactor was buried in his Hampshire Abbey, his heart was conveyed for sepulchre to the church he loved so well. The church suffered at the Reformation, when the see was held by Bishop Bulkely, who cared not for his church, and sold its store of vestments, plate, ornaments, and the bells given by his predecessor. Bishop Rowlands, in 1598, put a new roof on the church, and gave four new bells. In the Civil War it suffered[427] much; the soldiers destroyed all the woodwork and broke the glass. At the Restoration the church was renovated and beautified, and Brown Willis gives a good account of "its lightsome" appearance. In the early nineteenth century some terrible "restorations" took place, and the church was divided into two portions, one for the Welsh and the other for the English service. The general appearance of the church was stunted and low, and was much inferior to many parish churches, possessing neither dignity nor beauty. In 1866 a very thorough restoration was undertaken by Sir G. Scott, which practically amounted to a rebuilding. He, however, carefully collected all the old materials found built up in the wall, and from these he endeavoured to reconstruct the church as it originally stood.

During Owen Glendower's wars in 1402, the church was completely destroyed, and it remained in ruins for almost a century. A new church was started by Henry Deane in 1496, who completed the choir, and Bishop Skeffington, Abbot of Beaulieu, Hants, finished the Cathedral after being appointed to the See of Bangor in 1509. The architecture style was entirely Perpendicular. Although this benefactor was buried in his Hampshire Abbey, his heart was taken for burial to the church he loved so much. The church suffered during the Reformation when Bishop Bulkely held the see and showed little care for it, selling its vestments, silver, decorations, and the bells given by his predecessor. Bishop Rowlands put a new roof on the church in 1598 and donated four new bells. During the Civil War, the church was heavily damaged; soldiers destroyed all the woodwork and broke the glass. At the Restoration, the church was renovated and beautified, and Brown Willis provides a good account of its light appearance. In the early nineteenth century, some terrible "restorations" happened, dividing the church into two sections, one for Welsh services and the other for English services. The overall look of the church became stunted and low, lacking the dignity and beauty seen in many parish churches. In 1866, Sir G. Scott undertook a very thorough restoration that essentially rebuilt the church. He carefully gathered all the old materials found within the walls and tried to reconstruct the church as it originally was.

The plan of the church consists of a west tower, a nave with aisles, a central tower, transepts and choir, and on the north a muniment room, and above it the chapter-house. The West Tower was built by Bishop Skeffington (1509-1533), and is a good example of Late Perpendicular work. It has three stages, and is 60 feet high. The door is of the usual character of the style, and above it is the inscription:—"Thomas Skevynton, episcopus Bangorie hoc campanele et ecclesiam fieri fecit, Ao Partus Virginei, 1532." In each of the other stages there is a window of three lights. The Nave has six bays, and the Perpendicular style is evident in the arches, octagonal piers and characteristic bases. The windows in the south aisle are Decorated, and those in the north Perpendicular. The masonry of the walls seems to have survived the various fires and other accidents which befell this ill-fated Cathedral, and probably are the remains of Bishop Anian's work. The font was probably erected by Skeffington, and is good Perpendicular. The Transepts have been almost entirely rebuilt, and the Perpendicular work, which was much decayed, was replaced by Decorated, authority for which was discovered by Sir G. Scott in the fragments of old stone-work built up in the walls. Some very fine thirteenth-century piers stood at the crossing until an unfortunate restoration in 1824, when they were replaced by imitation Perpendicular. These have now been removed, and new piers and arches constructed in accordance with the conjectured design of the originals. There was no central tower in the Perpendicular church, but the relics of earlier work prove that the original church had such a tower. Hence Scott added this to his design, and when completed it will enhance the dignity of the building.[428]

The church's layout includes a west tower, a nave with aisles, a central tower, transepts, a choir, a muniment room on the north side, and above it, the chapter-house. The West Tower was built by Bishop Skeffington (1509-1533) and is a notable example of Late Perpendicular architecture. It has three levels and stands 60 feet tall. The door features the typical style of that era, and above it is the inscription:—"Thomas Skevynton, episcopus Bangorie hoc campanele et ecclesiam fieri fecit, Ao Partus Virginei, 1532." Each of the other levels has a window with three lights. The Nave contains six bays, showcasing the Perpendicular style in the arches, octagonal piers, and distinctive bases. The windows in the south aisle are Decorated, while those in the north are Perpendicular. The masonry of the walls appears to have withstood various fires and other incidents that plagued this unfortunate Cathedral, likely retaining remnants of Bishop Anian's work. The font, likely built by Skeffington, is a fine example of Perpendicular style. The Transepts have been nearly completely rebuilt, with the decayed Perpendicular work replaced by Decorated features, a change confirmed by Sir G. Scott through fragments of old stone incorporated into the walls. Some impressive thirteenth-century piers remained at the crossing until a regrettable restoration in 1824 replaced them with imitation Perpendicular piers. Those have now been removed, and new piers and arches have been constructed based on the speculated design of the originals. There was no central tower in the Perpendicular church, but remnants of earlier work show that the original church did have such a tower. Therefore, Scott included this in his design, and when finished, it will enhance the building's dignity.[428]

The Choir has had a chequered history, which, as Sir G. Scott states, is of a threefold nature. The Norman choir had an apsidal termination. This apse was removed, and the length of the choir or presbytery greatly increased in Early Decorated times. After the destruction wrought by Owen Glendower, Bishop Deane (1496-1500) restored it, and the main object of Scott's restoration was to make the present choir conform to the condition in which Bishop Deane left it. The Civil War brought much destruction to this excellent work of the Perpendicular period, and decay had also left its marks upon it; but during the recent restorations all has been again renewed, and all that we see conforms as nearly as possible to that produced in the days of Henry VII. Cromwell's soldiers left none of the fittings untouched. The stalls were destroyed. Now all has been restored, and most of the fittings are new. The modern tiles of the floor are worthy of notice. Some mural paintings have been added at the east end. The tombs on either side are probably those of Bishop Anian (1328), the rebuilder of the church, and one Tudor ap Tudor (1365). In the south transept is recorded the burial of Owen Gwynedh (1169), the son of the last King of Wales, Gryffydh ap Gynan, who also was buried here. A rude representation of our Lord upon the Cross appears over the supposed Royal tomb. In the north transept is a memorial to a Welsh bard, Gronovil Owen (1722).

The Choir has had a complex history, which, as Sir G. Scott points out, has three main aspects. The original Norman choir had an apsidal end. This apse was taken down, and the length of the choir or presbytery was greatly extended in the Early Decorated period. After the damage caused by Owen Glendower, Bishop Deane (1496-1500) restored it, and Scott's primary goal was to make the current choir match the condition in which Bishop Deane left it. The Civil War caused a lot of damage to this excellent work from the Perpendicular period, and decay had also taken its toll; however, during the recent restorations, everything has been renewed, and what we see now closely resembles what was there during the time of Henry VII. Cromwell's soldiers left none of the fittings untouched, and the stalls were ruined. Now everything has been restored, and most of the fittings are new. The modern floor tiles are noteworthy. Some mural paintings have been added at the east end. The tombs on either side likely belong to Bishop Anian (1328), who rebuilt the church, and one Tudor ap Tudor (1365). In the south transept, there is a record of the burial of Owen Gwynedh (1169), the son of the last King of Wales, Gryffydh ap Gynan, who is also buried here. A rough depiction of our Lord on the Cross is placed above the supposed Royal tomb. In the north transept, there is a memorial for a Welsh bard, Gronovil Owen (1722).

Sir G. Scott entirely rebuilt the old chapter-house and muniment room on the north side of the choir in the Early Decorated style.

Sir G. Scott completely rebuilt the old chapter house and storage room on the north side of the choir in the Early Decorated style.

The Bishop's Palace is a large mansion, but has no great architectural merits. The Deanery and some old almshouses and an Elizabethan school are all near the Cathedral.

The Bishop's Palace is a big house, but it doesn't have any significant architectural value. The Deanery, a few old almshouses, and an Elizabethan school are all close to the Cathedral.


LLANDAFF CATHEDRAL

The history of the Welsh sees carries us back to the early days of British Christianity. When the Saxon tribes swept over the land they destroyed the churches and monasteries, and drove the British west-ward, who found a refuge in the hills of Wales, in Devon, Cornwall and Somerset, and in the regions north of the Mersey, and there the British Church continued to exist and flourish, though the rest of England was submerged in the flood of Paganism. When Augustine came he found in these parts of England a church governed by its bishops, who did not recognise the authority of the Pope, and whose customs differed somewhat from those of Rome. He summoned them to a conference, which was held at a place called "Augustine's oak," where by his haughty demeanour he offended the representatives of the ancient native church, who refused to abandon their accustomed usages, especially in the matter of the time for observing Easter and the forms of the tonsure.

The history of the Welsh sees takes us back to the early days of British Christianity. When the Saxon tribes invaded the land, they destroyed the churches and monasteries and pushed the British westward, who found refuge in the hills of Wales, Devon, Cornwall, Somerset, and the areas north of the Mersey. The British Church continued to exist and thrive there, even as the rest of England was overwhelmed by Paganism. When Augustine arrived, he found a church in these parts of England governed by its bishops, who didn’t recognize the authority of the Pope and whose customs differed somewhat from those of Rome. He called them to a conference at a place known as "Augustine's oak," where his arrogant attitude offended the representatives of the ancient native church. They refused to abandon their traditional practices, especially regarding the timing of Easter and the styles of tonsure.

In Roman times Caerleon was a see, which seems to have embraced the whole of Wales. Then there were five principalities, each of which had a bishop. These were Bangor, Llanelwy (St. Asaph's), St. David's, Llandaff and Llanbadarn, afterwards incorporated with St. David's. Judging from the number of the names of saints which occur in Welsh nomenclature, we may conclude that the Welsh Church was famous for its zeal and activity and for the holiness of its members. It sent preachers and missionaries to Ireland, to Brittany, and Cornwall and Devon. It founded colleges and schools, and the great Celtic Church assisted in the conversion of the Northern Saxons of England, and even sent missionaries to the Continent. By degrees the British Church became merged in the English, founded by Augustine, and with the appointment of Norman prelates in the time of the Conqueror, any lingering survivals of ancient customs and usages were lost, and the unity of the church fully established.

In Roman times, Caerleon was a diocese that seemed to cover all of Wales. At that time, there were five principalities, each having its own bishop. These were Bangor, Llanelwy (St. Asaph's), St. David's, Llandaff, and Llanbadarn, which later merged with St. David's. Looking at the number of saints' names in Welsh place names, we can conclude that the Welsh Church was known for its enthusiasm and activity, as well as the holiness of its members. It sent preachers and missionaries to Ireland, Brittany, Cornwall, and Devon. It established colleges and schools, and the great Celtic Church played a significant role in converting the Northern Saxons of England, even sending missionaries to the Continent. Gradually, the British Church was absorbed into the Church of England, founded by Augustine, and with the appointment of Norman bishops during the Conqueror's time, any remaining ancient customs and practices disappeared, fully establishing the unity of the Church.

The earliest bishop of the See of Llandaff whose name is recorded was St. Dubricius. He is reputed to have founded the[430] see in 612 A.D., but his successor, St. Teilo, seems to have had the chief credit of accomplishing the work. Of course the mythical King Lucius is dragged in as the earliest founder, but we have always neglected the legends connected with him. Of the early Welsh bishops we have no sure information, though there is the famous Book of Llandaff, which does not afford much certain knowledge, and is full of inaccuracies. Bishop Urban was consecrated in 1107, conveyed here the relics of Dubricius, and began to rebuild his Cathedral, for which an indulgence was granted by the Archbishop of Canterbury to all who should assist him in the work. Possibly it was finished in his time, but we have no certain information, and the stones of the church can alone tell the story of its building. During the thirteenth century the western part of the nave was erected, and also the chapter-house, which is of Early English design. During the Decorated period the Lady Chapel was added and the presbytery rebuilt, and the walls of the aisles also renewed. The north-west tower was erected in the Perpendicular period by the Earl of Pembroke, uncle of Henry VII. Thus the church was completed. It was not a very beautiful structure, and time has dealt hardly with it. The spoilers at the Reformation plundered it; decay and desolation reigned in the deserted "long-drawn aisle." Some bishops seem to have attempted to do something, but the whole condition of the church was deplorable. Then the troubles of the Civil War period fell upon this Job-like structure, and in spite of some attempts to improve its condition at the Restoration, and at subsequent periods, it still remained in a ruinous state. Then in 1723, when the taste for Italian models was rampant, the authorities erected an Italian temple-like building at the east end. This happily has been entirely removed during the restorations, which commenced in the middle of the last century, when the church was completely renovated, and all the old portions which had escaped the action of time, or the barbarous efforts of the followers of Christopher Wren, restored to their original state. The work was finished in 1869. Although much of the church is new, on close inspection we can discover some ancient work that lacks not interest.

The earliest bishop of the See of Llandaff recorded by name was St. Dubricius. He is believed to have founded the[430] see in 612 CE, but his successor, St. Teilo, seems to deserve most of the credit for making it happen. The legendary King Lucius is often mentioned as the first founder, but we've generally ignored the myths associated with him. We have no reliable information about the early Welsh bishops, although the famous Book of Llandaff exists, which doesn’t provide much certain knowledge and is full of inaccuracies. Bishop Urban was consecrated in 1107, brought the relics of Dubricius here, and started rebuilding his Cathedral, for which an indulgence was offered by the Archbishop of Canterbury to anyone who helped with the work. It might have been completed during his time, but we have no definite information, and only the stones of the church can reveal its construction story. In the thirteenth century, the western part of the nave was built, along with the chapter-house, designed in the Early English style. During the Decorated period, the Lady Chapel was added, the presbytery was rebuilt, and the walls of the aisles were renewed. The north-west tower was erected in the Perpendicular period by the Earl of Pembroke, the uncle of Henry VII. This completed the church. It wasn’t a very beautiful structure, and time has not been kind to it. The spoilers during the Reformation looted it; decay and neglect prevailed in the deserted "long-drawn aisle." Some bishops seem to have tried to make improvements, but the overall condition of the church was poor. Then the troubles of the Civil War affected this Job-like structure, and despite some attempts to enhance its condition during the Restoration and later, it remained in a dilapidated state. Then, in 1723, when the trend for Italian styles was at its peak, the authorities built a temple-like Italian structure at the east end. Fortunately, this was completely removed during the restorations that began in the mid-19th century, when the church was thoroughly renovated, and all the older parts that had survived the ravages of time or the destructive efforts of Christopher Wren's followers were restored to their original state. The work was completed in 1869. Although much of the church is new, on close inspection we can still find some ancient work that is quite intriguing.

The West Front is very beautiful. The doorway is a fine example of Early English work. It consists of a round arch, with two sub-arches, and in the tympanum there is an episcopal figure, probably that of St. Dubricius. The shafts at the sides of the doorway are Early English. Above them are lancet windows,[431] and in the gable a figure of our Lord in glory. The cross above the gable is modern. The front is flanked on each side by two towers. The north-west tower is Perpendicular, the work of Jasper Tudor, Earl of Pembroke, uncle of Henry VII.; the south-west tower is modern.

The West Front is really beautiful. The doorway is a great example of Early English design. It features a round arch, with two smaller arches underneath, and in the tympanum, there's a figure of a bishop, probably St. Dubricius. The columns on either side of the doorway are Early English. Above them, there are lancet windows,[431] and in the gable, there's a figure of our Lord in glory. The cross above the gable is modern. The front is flanked on each side by two towers. The north-west tower is Perpendicular, created by Jasper Tudor, Earl of Pembroke, who was the uncle of Henry VII.; the south-west tower is modern.

The Nave consists of five bays, and is of Early English design. There is no triforium. The clerestory windows are lancets, and a passage runs in front of them. We notice the graceful foliage on the pier capitals, of Late Early English design, when the stiff-leaved foliage was giving way to the more natural foliage of the Decorated period. The aisles were rebuilt in the Late Decorated period, but two Norman doorways on the north and south sides were preserved. The choir is of the same character as the nave, but in the presbytery we see some of the Norman work of Urban's church, mixed with that of the Decorated period. Here stood the Italian temple, until happily this monstrosity was removed. The clerestory was destroyed when the temple was erected, but in the restoration of Sir Gilbert Scott it was rebuilt. On the south side we notice the curious blending of the Norman with the Decorated work. One of the most striking features of this Cathedral is the Late Norman arch at the east end. It is very richly ornamented, and has four orders, being adorned with zigzag, roll, and a curious row of flower-like circles. The reredos is modern, and has some fine paintings by Rosetti. The sedilia are modern.

The Nave has five sections and is designed in the Early English style. There’s no triforium. The clerestory windows are lancets, and there’s a walkway in front of them. We can see the elegant foliage on the pier capitals, which reflect Late Early English design, as the rigid-leaved foliage transitioned to the more natural foliage of the Decorated period. The aisles were rebuilt during the Late Decorated period, but two Norman doorways on the north and south sides were kept. The choir matches the nave's character, but in the presbytery, we find some of the Norman work from Urban's church mixed with Decorated elements. Here used to be the Italian temple, until thankfully this eyesore was taken down. The clerestory was destroyed when the temple was built, but Sir Gilbert Scott restored it. On the south side, there’s an interesting mix of Norman and Decorated styles. One of the most notable features of this Cathedral is the Late Norman arch at the east end. It’s very elaborately decorated, with four layers and features zigzag patterns, rolls, and a unique row of flower-like circles. The reredos is modern and has some beautiful paintings by Rosetti. The sedilia are also modern.

The Lady Chapel has a stone vault, the ribs rising from Purbeck marble shafts. The windows are of good design, having two lights with a circle in the head. The east window is modern. The chapter-house is Early English, and is almost unique in having a square plan with a central pier.

The Lady Chapel features a stone vault, with the ribs extending from Purbeck marble columns. The windows are well-designed, consisting of two lights topped with a circle. The east window is contemporary. The chapter-house is Early English and is quite rare for having a square layout with a central support.

Few of the monuments possess much interest. We notice that of St. Dubricius; a brass memorial of Bishop Copleston (1849); Bishop William de Bruce (1287); Bishop St. Teilo; Bishop Bromfield (1393); Bishop Marshall (1496), a skeleton figure of the memento mori type; Sir David Matthew, standard-bearer to Edward IV. (1461); Sir William Matthew; Lady Audley. The old reredos discovered during the restoration has been placed in the north aisle of the choir.

Few of the monuments are particularly interesting. We see the one for St. Dubricius; a brass memorial for Bishop Copleston (1849); Bishop William de Bruce (1287); Bishop St. Teilo; Bishop Bromfield (1393); Bishop Marshall (1496), a skeleton figure of the memento mori type; Sir David Matthew, standard-bearer to Edward IV (1461); Sir William Matthew; Lady Audley. The old reredos found during the restoration has been moved to the north aisle of the choir.


ST. DAVID'S CATHEDRAL

Far away on the most western point of Southern Wales stands the ancient Cathedral of St. David's, the most inaccessible, but the most interesting of the four Welsh Episcopal churches. The see was founded in the sixth century, and was known by the name Menevia. St. David was the reputed founder of the see, concerning whom there are many legends. He founded a monastery at Glyn Rhosyn, which became a fruitful school of saints and Celtic worthies, wrought divers miracles, and through him the Welsh Church extended its influence to Ireland, and also to Scotland and Northumbria. After his death troubles befell the monastery. It was plundered in 645, but recovered from the disaster. Here Asser, the biographer of Alfred the Great, acquired his wisdom. Then the Norse pirates frequently attacked the place, and on one occasion, in 1011, Eadric of Mercia wrought havoc here. But the see survived all these misfortunes, and here came William the Conqueror, who made an offering at St. David's shrine. For a time Welsh prelates continued to hold the see, but in 1115 Bernard, the first Norman prelate, chaplain of the queen of Henry I., was appointed to the see. Although he altered the constitution of the chapter, he made no alterations in the old church. The rebuilding was begun by Bishop Peter de Leia (1177-1198), but it is doubtful whether he personally did much to forward the work, as on account of his unpopularity he spent most of his time in England. However, the work progressed rapidly during his episcopacy, and was finished in the early years of the thirteenth century. After the fashion of cathedral towers, the tower of St. David's fell in 1220, and was immediately rebuilt. But it showed signs of again collapsing, and for centuries was a cause of anxiety, until it was made secure by Sir G. Scott in the restoration of 1866.

Far away at the western edge of Southern Wales stands the ancient Cathedral of St. David's, the hardest to reach but the most fascinating of the four Welsh Episcopal churches. The diocese was established in the sixth century and was known as Menevia. St. David is said to be the founder of the diocese, and there are many legends about him. He set up a monastery at Glyn Rhosyn, which became a thriving school for saints and notable Celtic figures, performed various miracles, and through him, the Welsh Church spread its influence to Ireland, Scotland, and Northumbria. After his death, the monastery faced challenges. It was plundered in 645 but managed to recover. Here, Asser, the biographer of Alfred the Great, gained his knowledge. The place was often attacked by Norse pirates, and in 1011, Eadric of Mercia caused significant destruction. Yet, the diocese endured all these hardships, and William the Conqueror visited, making an offering at St. David's shrine. For a while, Welsh bishops continued to oversee the diocese, but in 1115, Bernard, the first Norman bishop and a chaplain to Henry I's queen, was appointed. Although he changed the chapter's structure, he made no changes to the old church. Bishop Peter de Leia (1177-1198) began the rebuilding process, but he likely did little to advance the work since he spent most of his time in England due to his unpopularity. Nonetheless, the project progressed quickly during his tenure and was completed in the early 13th century. Following the style of cathedral towers, St. David's tower collapsed in 1220 and was rebuilt immediately. However, it showed signs of potentially falling again, which caused concern for centuries until it was secured by Sir G. Scott during the restoration in 1866.

The greater part of the present building is Transitional Norman, but there was much architectural activity in later periods. Owing to the fall of the tower and the action of an earthquake in 1248, much rebuilding was found necessary. The thirteenth century witnessed[433]nessed the reconstruction of the north transept, together with the building of the east chapels, which incline at so great an angle, much reparation of the choir, and the commencement of the Lady Chapel and eastern portion of the presbytery. During the Decorated period much work was accomplished. Bishop Martyn (1290-1328) finished the Lady Chapel, and Bishop Gower (1328-1347) did much for the fabric of the Cathedral, and built the noble Palace, which is still beautiful in decay. His work is seen in the upper portion of the walls of the nave and eastern part of the choir and presbytery, the inserted Decorated windows, the eastern chapel of the south transept, the alterations in the corresponding chapel of the north transept, the south porch, the second stage of the tower, and the famous rood-screen. During the fifteenth century and the latter years of the fourteenth century, new roofs were added, the south window in the south transept constructed, heavy buttresses placed against the north wall of the nave, which had shown signs of giving way, and during the early years of the sixteenth century the tower was raised, and a stone vault erected over the Lady Chapel and the chapels behind the high altar.

The main part of the current building is Transitional Norman, but there was a lot of architectural activity in later periods. Due to the collapse of the tower and an earthquake in 1248, a significant amount of rebuilding was needed. The thirteenth century saw the reconstruction of the north transept, along with the building of the east chapels, which tilt at such a steep angle, major repairs to the choir, and the beginning of the Lady Chapel and the eastern section of the presbytery. During the Decorated period, a lot of work was done. Bishop Martyn (1290-1328) completed the Lady Chapel, and Bishop Gower (1328-1347) contributed greatly to the Cathedral's structure and built the impressive Palace, which remains beautiful even in its decay. His influence can be seen in the upper parts of the walls of the nave and the eastern section of the choir and presbytery, the added Decorated windows, the eastern chapel of the south transept, the changes in the corresponding chapel of the north transept, the south porch, the second stage of the tower, and the well-known rood-screen. During the fifteenth century and the later years of the fourteenth century, new roofs were added, the south window in the south transept was constructed, strong buttresses were placed against the north wall of the nave, which had started to show signs of weakness, and in the early years of the sixteenth century, the tower was raised, and a stone vault was built over the Lady Chapel and the chapels behind the high altar.

During the Civil War sad havoc was wrought; lead was torn from the roof, and this caused the eastern chapels and the Lady Chapel to fall into decay. The once noble Cathedral, in consequence of the treatment which it received during the strife of King and Parliament, and of subsequent neglect, was shorn of its ancient glory, and ruin and desolation reigned. At the beginning of the nineteenth century some efforts were made to improve this state of things, and the west front was rebuilt in a debased and miserable style, and during the course of the century sundry alterations were made, and at length, in 1862, Sir G. Scott commenced a thorough restoration. Vast sums have been expended upon the fabric of the Cathedral, and though the eastern chapels remain in their ruined state, the rest of the building has been repaired and renewed, and preserved from destruction. "It remains," wrote Sir G. Scott, "a wonderfully interesting and valuable landmark in architectural history, taking in the extreme west a position parallel to that held by Canterbury in the extreme east of the island."

During the Civil War, there was a lot of destruction; lead was ripped from the roof, which caused the eastern chapels and the Lady Chapel to fall into disrepair. The once-grand Cathedral, because of the damage it suffered during the conflict between King and Parliament, as well as later neglect, lost its former glory, and ruin and desolation took over. At the start of the nineteenth century, some attempts were made to improve this situation, and the west front was rebuilt in a poor and unattractive style. Throughout the century, various changes were made, and finally, in 1862, Sir G. Scott began a complete restoration. Huge amounts of money have been spent on the Cathedral's structure, and although the eastern chapels still remain in ruins, the rest of the building has been repaired and renewed, saving it from destruction. "It remains," wrote Sir G. Scott, "a wonderfully interesting and valuable landmark in architectural history, taking in the extreme west a position parallel to that held by Canterbury in the extreme east of the island."

The Exterior

The Exterior

The West Front is entirely modern, the work of Sir G. Scott, but it is designed after the fashion of the ancient front which existed[434] before the hideous construction of the early eighteenth-century architect. As we walk around the Cathedral we must remember that nearly all the work is Transitional Norman, although its character is much disguised by later alterations and the insertion of Decorated windows. The North Doorway, with its curious ornamentation, is Transitional Norman, but time and weather have destroyed much of its beauty. The walls of the aisles were raised in the time of Bishop Gower (1328-1347), who inserted Decorated windows. The massive flying buttresses were added about 1500 A.D. On this side was the cloister court of the College of St. Mary, the ruined walls of which appear on the north. This college was founded by John of Gaunt in 1377 for the maintenance of a master and seven priests. The North Transept has been much altered. During the recent restoration the low Perpendicular roof has been removed, and one with a high pitch erected. The north window was inserted by Butterfield in 1846 in place of one which had been blocked up. A curious building is seen on the east side of this transept, which has three storeys, and is higher than the roof of the main building. It contains the Chapel of St. Thomas the Martyr, built mainly by Sir Richard Symonds in 1329, and above it the old chapter-house, and in the highest storey the treasury. The east end of the church was extensively restored by Scott. The Perpendicular roof was retained, but finding amongst the débris the evidence of lancet windows at the east end, Scott reproduced these with excellent effect. The Lady Chapel, built by Bishop Martyn (1296-1328), is still in ruins. The south transept has a Transitional Norman west wall, and the rest was built about 1220, after the fall of the tower. Large Perpendicular windows were inserted in the south wall. The old vestry is on the east side. On the south side is the beautiful Porch, built by Bishop Gower (1328-1347) in the Decorated style. There is a parvise chamber above. The doorway is remarkable; the sculptures represent the Root of Jesse, with Adam and Eve on the west side and the Patriarch Jesse on the other; above it a representation of the Holy Trinity, with censing angels.

The West Front is completely modern, designed by Sir G. Scott, but it follows the style of the ancient front that existed[434] before the ugly construction by the early eighteenth-century architect. As we walk around the Cathedral, we should keep in mind that most of the work is Transitional Norman, although its character has been significantly altered by later changes and the addition of Decorated windows. The North Doorway, with its unique ornamentation, is Transitional Norman, but time and weather have worn away much of its beauty. The walls of the aisles were raised during Bishop Gower's time (1328-1347), when Decorated windows were added. The large flying buttresses were constructed around 1500 CE On this side was the cloister court of the College of St. Mary, the ruined walls of which are visible to the north. This college was founded by John of Gaunt in 1377 to support a master and seven priests. The North Transept has undergone many changes. During recent restorations, the low Perpendicular roof was taken down, and a new high-pitched roof was put in place. The north window was added by Butterfield in 1846 to replace one that had been bricked up. A unique building can be seen on the east side of this transept, which has three stories and rises higher than the main building's roof. It houses the Chapel of St. Thomas the Martyr, mainly constructed by Sir Richard Symonds in 1329, and above it is the old chapter-house, with the treasury on the top floor. The east end of the church was extensively restored by Scott. The Perpendicular roof was kept, but when Scott found evidence of lancet windows among the débris at the east end, he recreated these with great effect. The Lady Chapel, built by Bishop Martyn (1296-1328), remains in ruins. The south transept features a Transitional Norman west wall, with the rest built around 1220, after the tower's collapse. Large Perpendicular windows were added to the south wall. The old vestry is located on the east side. On the south side is the stunning Porch, built by Bishop Gower (1328-1347) in the Decorated style. Above it is a parvise chamber. The doorway is remarkable; the sculptures depict the Root of Jesse, with Adam and Eve on the west side and the Patriarch Jesse on the other; above it is an image of the Holy Trinity, accompanied by angels with incense.

The Tower was erected originally by Bishop de Leia, and fell in 1220. It was then rebuilt. Bishop Gower added a second storey in the Decorated style, and above this a Perpendicular storey was raised in Perpendicular times. The wonder is that all this extra weight did not cause the tower to collapse again. It certainly caused continual anxiety, and produced bulges in the neighbouring[435] walls. However, the restoration of Sir G. Scott has secured safety and removed anxiety. The Perpendicular parapet is curious and not very beautiful.

The Tower was originally built by Bishop de Leia and collapsed in 1220. It was then rebuilt. Bishop Gower added a second floor in the Decorated style, and above that, a Perpendicular floor was added during Perpendicular times. It's amazing that all this extra weight didn't cause the tower to fall again. It definitely caused constant stress and created bulges in the nearby [435] walls. However, Sir G. Scott's restoration has ensured safety and reduced anxiety. The Perpendicular parapet is interesting but not very attractive.

Only one gateway remains, though there were four in the great wall which surrounded the precincts. The Tower Gate is a fine structure, flanked by two towers, one of which is octagonal and the other semi-circular. The ruins of the Bishop's Palace, a magnificent structure, should be visited. It was built by Bishop Gower, and must have been one of the finest residences in the whole kingdom.

Only one gateway is left, even though there used to be four in the great wall that surrounded the area. The Tower Gate is an impressive structure, flanked by two towers—one is octagonal and the other is semi-circular. The ruins of the Bishop's Palace, an amazing building, are worth a visit. It was built by Bishop Gower and must have been one of the finest homes in the entire kingdom.

The Interior

The Interior

The Nave is the work of Peter de Leia (1176-1198), and is Transitional Norman. The elaborate carving and the richness of the ornamentation are remarkable, and the colour of the stone adds a wonderful effect. St. David's has many peculiar features, and is unlike any other church in the kingdom. The arches are round, the triforium and clerestory are blended together under one arch. The piers are round and octagonal, with attached shafts. It was evidently intended to vault the nave, but this was abandoned. A Perpendicular roof of intricate and unusual design was constructed about 1500. The capitals afford an interesting study. The west end is modern, the work of Scott. Traces of coloured decoration may be seen on some of the piers of the nave; among the designs are figures of the Virgin, our Lord, and some monarch. The font in the south aisle is, with the exception of the shaft, of the same date as the nave. It is octagonal, and is carved with an arcade of pointed arches. The aisles do not possess any special features of interest. The architectural changes which have taken place there have already been mentioned. In the north aisle is the Transitional Norman doorway, and in the south the Decorated door of Bishop Gower.

The Nave was created by Peter de Leia (1176-1198) and represents Transitional Norman style. The intricate carvings and rich ornamentation are striking, and the stone's color adds a beautiful effect. St. David's has many unique features and is unlike any other church in the country. The arches are round, and the triforium and clerestory are combined under one arch. The piers are both round and octagonal, with attached shafts. It was obviously meant to have a vaulted nave, but that plan was dropped. A Perpendicular roof with a complex and unusual design was built around 1500. The capitals provide an interesting study. The west end is modern, done by Scott. You can still see traces of colored decoration on some of the nave's piers; among the designs are figures of the Virgin, our Lord, and a monarch. The font in the south aisle, except for the shaft, dates to the same time as the nave. It is octagonal and features an arcade of pointed arches. The aisles don't have any particularly interesting features. The architectural changes that have occurred there have already been noted. In the north aisle is the Transitional Norman doorway, and in the south is the Decorated door of Bishop Gower.

The Rood-Screen is very remarkable, the work of Bishop Gower in the Decorated style. It is very massive and elaborate, and contains several tombs and monuments, has a groined roof, and is a very unusual and noble structure. The organ, which is modern, stands above this screen. The iron gates leading to the choir are also modern. Before entering the choir we will visit the Transepts, which are entered through Late Norman doorways from the nave. The western walls are Late Norman, built by De Leia, the rest were[436] erected after the fall of the tower in 1220. In the North Transept the large north window was erected in 1846 in the Decorated style. This transept was dedicated to St. Andrew. On the east side is the Chapel of St. Thomas the Martyr, begun in 1220, refounded by Sir R. Symonds in 1329, and used for a variety of purposes. We notice a fine Early English piscina in the south wall. Above is the library and the old treasury. The South Transept, formerly known as the "Chanter's Chapel," had altars dedicated to the Holy Innocents and St. David, and was once used as a parish church. The east side of this transept has passed through several vicissitudes, and has now been restored to its original form.

The Rood-Screen is quite impressive, created by Bishop Gower in the Decorated style. It’s very large and detailed, featuring several tombs and monuments, a groined roof, and is an unusual and grand structure. The modern organ is positioned above this screen. The iron gates to the choir are also modern. Before we head into the choir, let’s check out the Transepts, which you can access through Late Norman doorways from the nave. The western walls are Late Norman, built by De Leia, and the rest were[436] constructed after the tower fell in 1220. In the North Transept, the large north window was added in 1846 in the Decorated style. This transept is dedicated to St. Andrew. On the east side is the Chapel of St. Thomas the Martyr, which started in 1220, was refounded by Sir R. Symonds in 1329, and has been used for various purposes. You can see a beautiful Early English piscina in the south wall. Above is the library and the old treasury. The South Transept, once called the "Chanter's Chapel," had altars dedicated to the Holy Innocents and St. David, and was previously used as a parish church. The east side of this transept has undergone several changes and has now been restored to its original form.

The Choir is entered through the gates of the rood-screen, and occupies the space beneath the tower and half a bay beyond. The presbytery occupies the rest of the space beyond the parclose screen to the east wall behind the altar. All this is the work of Bishop de Leia, or that of his immediate successors, who rebuilt the tower after its fall in 1220. First, we examine the tower itself, and wonder at the marvellous skill of our modern architects and masons who could rebuild from their foundation two out of the four piers, each sustaining a weight of 1150 tons. Rich ornamentation is observed on the east and west arches, one of which is round, the rest pointed. Scott raised the wooden ceiling, and greatly improved the appearance of the interior of the tower. The Stalls were erected at the end of the fifteenth century, and are the work of Bishop Tully. There are a number of curious misereres with strange grotesques, amongst others—three men in a boat with a fourth rowing, one of the passengers being very sea-sick; a cowled fox offering a wafer to a goose with a human head; a carpenter building a boat, etc. The fox is doubtless a satire on the monks, and possibly also the sea-sick passenger. The Bishop's Throne is an elaborate structure erected by Bishop Morgan (1496-1505), and is of great height. It is a blend of the Perpendicular and Decorated styles; probably Bishop Morgan used some older materials in its construction. The Parclose Screen, separating the choir from the presbytery, is a peculiar feature of this Cathedral. It is of Decorated design. Passing through it we enter the Presbytery. At the east end above the altar are two rows of lancets, the lower lights being blocked, and filled with rich mosaics. The glass in the upper lights is modern, of good design and execution, erected by the Rev. John Lucy in memory of his ancestor, Bishop Lucy (1660-1677). The subjects of the mosaics are the Crucifixion, and figures representing the[437] Christian and Jewish Churches. The type of our Lord upon the Cross, the brazen serpent, appears below the central figure. Scenes from the life of St. David also are represented. The roof of the presbytery dates from about 1500, and on the bosses and in the panels are heraldic shields. The altar is modern. The floor is paved with old tiles, and the five crosses cut on some of the slabs in the sanctuary show that these stones were formerly altars. On the north of the presbytery is the famous Shrine of St. David, to which pilgrims flocked from all parts of Great Britain and Ireland. Kings and queens, nobles and princes came to pay their devotions at this shrine of the great Welsh saint, and bestowed many offerings on St. David's Church. Only the base of the shrine remains, and above this once stood the feretrum, which was doubtless covered with gold and jewels. The base is of Late Early English design, and was probably constructed in 1275 by Bishop Richard de Carew. The lowest part consists of three pointed arches with quatrefoils in the spandrels. The two inner quatrefoils communicate with lockers at the back, and were evidently intended for offerings. The upper portion consists of three arches with Early English capitals to the shafts, and under the arches were paintings of SS. David, Patrick, and probably Denis, but these have disappeared.

The Choir is accessed through the gates of the rood-screen and occupies the area beneath the tower and half a bay beyond it. The presbytery fills the remaining space beyond the parclose screen, up to the eastern wall behind the altar. This was all created by Bishop de Leia or his immediate successors, who rebuilt the tower after it collapsed in 1220. First, we take a look at the tower itself and admire the incredible skill of our modern architects and builders, who managed to rebuild two out of the four piers from the ground up, with each one supporting a weight of 1150 tons. The east and west arches feature elaborate ornamentation, one of which is round while the others are pointed. Scott raised the wooden ceiling and significantly enhanced the interior appearance of the tower. The Stalls were built at the end of the fifteenth century and were the work of Bishop Tully. There are several intriguing misereres with odd grotesques, including three men in a boat with a fourth rowing, one of the passengers looking very seasick; a hooded fox offering a wafer to a goose with a human head; a carpenter constructing a boat, etc. The fox likely serves as satire on the monks, and possibly also on the seasick passenger. The Bishop's Throne is an elaborate structure built by Bishop Morgan (1496-1505) and is quite tall. It combines the Perpendicular and Decorated styles; Bishop Morgan probably used some older materials for its construction. The Parclose Screen, which separates the choir from the presbytery, is a unique feature of this Cathedral, designed in the Decorated style. Passing through it leads us into the Presbytery. At the eastern end above the altar, there are two rows of lancets, with the lower lights blocked and filled with rich mosaics. The glass in the upper lights is modern, well-designed, and crafted, commemorated by Rev. John Lucy in memory of his ancestor, Bishop Lucy (1660-1677). The subjects of the mosaics include the Crucifixion, and figures representing the [437] Christian and Jewish Churches. A depiction of our Lord on the Cross, along with the bronze serpent, appears below the central figure. Scenes from St. David's life are also illustrated. The roof of the presbytery dates to around 1500, with heraldic shields on the bosses and in the panels. The altar is modern. The floor is laid with old tiles, and five crosses cut into some of the slabs in the sanctuary indicate that these stones were once altars. To the north of the presbytery is the famous Shrine of St. David, which attracted pilgrims from all over Great Britain and Ireland. Kings, queens, nobles, and princes came to pay their respects at this shrine dedicated to the great Welsh saint, making many offerings to St. David's Church. Only the base of the shrine remains today, and above it once stood the feretrum, which was likely adorned with gold and jewels. The base is of Late Early English design and was probably constructed in 1275 by Bishop Richard de Carew. The lowest part features three pointed arches with quatrefoils in the spandrels. The two inner quatrefoils connect to lockers at the back and were clearly intended for offerings. The upper section consists of three arches with Early English capitals on the shafts, and there were once paintings of SS. David, Patrick, and probably Denis under the arches, but these have now vanished.

Another shrine is in the Cathedral, that of St. Caradoc, on the south side of the north transept. He was a Welsh saint, who was ordained and ministered in the Cathedral of St. David, and dying in 1124 was canonised by Innocent III. Here too are seen two quatrefoil openings for the reception of offerings.

Another shrine is in the Cathedral, that of St. Caradoc, on the south side of the north transept. He was a Welsh saint who was ordained and served in the Cathedral of St. David, and after his death in 1124, he was canonized by Innocent III. Here, you can also see two quatrefoil openings for collecting offerings.

We need not linger in the choir aisles except to observe the monuments, and will at once pass to the part of the east end behind the altar. This part consists of Bishop Vaughan's Chantry on the east of the presbytery, the ante-chapel, with two chapel aisles, and the Lady Chapel. This part of the church awaits restoration, for which funds are needed. With the exception of Vaughan's Chantry and the ante-chapel, all the building is roofless, exposed to the storms and rains of this exposed headland, and pitifully beseeches a new roof and shelter. Several architectural puzzles are presented by this portion of the Cathedral, which have not yet been entirely satisfactorily solved. Examining first Vaughan's Chantry or Trinity Chapel, we find a very beautiful example of Perpendicular work. The roof is a fine example of fan-tracery, and the whole structure rivals King's College Chapel, Cambridge, or Henry VII.'s Chapel at Westminster. Before the construction of this chapel the space[438] occupied by it was left waste, and was described by Vaughan as Vilissimus sive sordidissimus locus in totâ ecclesiâ. A curious recess of Late Norman work has been discovered behind the high altar with beautifully-carved crosses. Above the recess is the figure of an angel, and some relics were found in the cill embedded in mortar, where they had doubtless been placed for the purpose of preservation at the Reformation. Recent discovery has revealed at the east end a beautifully-carved niche and two fine windows. Here are preserved some interesting Celtic crosses. On the south is the Chapel of King Edward the Conqueror, and on the north the Chapel of St. Nicholas. The Ante-Chapel has Early English arches with a Perpendicular roof. The Lady Chapel in its present form belongs to the transition from Early English to Decorated. Bishop Gower added the sedilia, founded a chantry here, and made sundry other alterations of a Decorated character.

We don't need to linger in the choir aisles except to look at the monuments, so let's move on to the area behind the altar at the east end. This section includes Bishop Vaughan's Chantry to the east of the presbytery, the ante-chapel with two chapel aisles, and the Lady Chapel. This part of the church needs restoration, which requires funding. Except for Vaughan's Chantry and the ante-chapel, the rest of the building is roofless, exposed to the storms and rain of this vulnerable headland, and desperately needs a new roof and shelter. This section of the Cathedral presents several architectural puzzles that haven't been fully resolved yet. Looking first at Vaughan's Chantry or Trinity Chapel, we find a stunning example of Perpendicular architecture. The roof features impressive fan-tracery, and the entire structure rivals King's College Chapel in Cambridge or Henry VII.'s Chapel in Westminster. Before this chapel was built, the space it occupies was left empty and was described by Vaughan as Vilissimus sive sordidissimus locus in totâ ecclesiâ. A fascinating recess of Late Norman work has been found behind the high altar with beautifully carved crosses. Above the recess is an angel figure, and some relics were discovered in the cill, embedded in mortar, likely placed there for preservation during the Reformation. Recent findings at the east end revealed a beautifully carved niche and two impressive windows. Here are a few interesting Celtic crosses. To the south is the Chapel of King Edward the Conqueror, and to the north is the Chapel of St. Nicholas. The Ante-Chapel has Early English arches with a Perpendicular roof. The Lady Chapel, in its current form, represents the transition from Early English to Decorated style. Bishop Gower added the sedilia, established a chantry here, and made various other alterations of a Decorated nature.

The Cathedral is rich in monuments. The most important are:—

The Cathedral has a lot of monuments. The most significant ones are:—

Bishop Gower, south of rood-screen.
Bishop Morgan (1564), south of nave.
Edmund Tudor, Earl of Richmond, father of Henry VII. (1456), presbytery.
Bishop Anselm le Gras (1247), presbytery.
Two tombs of Knights, on each side of presbytery.
A Priest (Decorated period), in presbytery.

Bishop Gower, south of the rood-screen.
Bishop Morgan (1564), south of the nave.
Edmund Tudor, Earl of Richmond, father of Henry VII. (1456), in the presbytery.
Bishop Anselm le Gras (1247), in the presbytery.
Two tombs of knights, on each side of the presbytery.
A priest (Decorated period), in the presbytery.

Two ancient Celtic slabs, one of which records the name of Bishop Abraham (1078), and is in memory of his two sons.

Two ancient Celtic slabs, one of which mentions Bishop Abraham (1078) and honors his two sons.

In the ruined eastern chapels are the monuments of Bishop Vaughan, Sir J. Wogan (temp. Edward I.), Archdeacon Hoit (1319), an unknown knight, Bishop Martyn, and the fine tomb of a priest under a beautifully-carved canopy.

In the ruined eastern chapels are the monuments of Bishop Vaughan, Sir J. Wogan (during the reign of Edward I), Archdeacon Hoit (1319), an unknown knight, Bishop Martyn, and the impressive tomb of a priest under a beautifully carved canopy.


SCOTTISH CATHEDRALS

Although the Church of Scotland is Presbyterian, it was not until the stirring events of the Revolution of 1688 that this form of church government was adopted. From that day forward the Church of Scotland knew no bishops, and hence the application of the term cathedral to a church belonging to that communion is a misnomer. The Episcopal Church of Scotland has its cathedrals, but these for the most part are modern. But Scotland still possesses many of its ancient fanes, which are usually preserved with much care and solicitude, and retain much of the splendour of their Gothic architecture, and are rich with historical associations and tradition.

AAlthough the Church of Scotland is Presbyterian, it wasn’t until the significant events of the Revolution of 1688 that this style of church governance was established. From that point on, the Church of Scotland had no bishops, making the use of the term cathedral for their churches incorrect. The Episcopal Church of Scotland has its cathedrals, but most of them are modern. However, Scotland still boasts many ancient churches, which are typically preserved with great care and attention, retaining much of the beauty of their Gothic architecture and rich historical significance.


GLASGOW CATHEDRAL

The Cathedral of St. Mungo in this city has vast treasures of architectural beauty. Its Patron Saint was the contemporary of St. Columba, a devout, miracle-working apostle, who converted the King of the Strathclyde Britons to Christianity and gained a victory for the Cross of Christ over the wild people who inhabited these parts. A cathedral was built here in Norman times. It was begun in 1124 and consecrated in 1192 in the presence of King David of Scotland. Before the century had closed fire destroyed this ancient church. But a new one was immediately begun, and five years later a portion of the building was so far finished that it was fit for consecration. About 1258 the fine Early English choir was completed. It is one of the best works of the thirteenth century in Scotland. The style of architecture followed closely the Early English of the northern type. The windows are deeply moulded on both sides, and the piers are strong and massive without clustering shafts. But Scotland at an early date developed peculiarities in her architecture which differed from English art. We see this in the use of the double lancet and simple tracery, whereas in England the[440] lancets were widened. The influence of French architecture was not yet felt, though there was a distinct difference from the English usage. We see also that the choir has two storeys, the lower or crypt being entirely above the ground. Mr. Watson has recently published a learned work on this double choir, and gives excellent reasons for assuming that the vault of the "lower church" was built at five different periods, extending over half a century. His first period (circa 1220) includes only the south-east compartment. Then followed the north and south aisles with the springers of the south middle portion. The lower church was then left unfinished until the upper church had been built. The central portion of the lower church was then vaulted (circa 1260), and later still the eastern aisle and chapel. Mr. Watson's conclusions have not been universally accepted, but they are certainly worthy of credence. A few years later the tower and transepts were finished. Bishop Wishart took the part of Bruce as a loyal Scot against Edward I. and his attempted conquest, and suffered a long imprisonment. A disaster happened to the steeple in 1400, when it was struck by lightning. Bishop Lauder erected a stone one. The chapter-house was built by Bishop Cameron in the Perpendicular style. The rood-screen, with its curious sculpture, was the work of Bishop Blackadder, and also the great staircase leading to the crypt or lower church. At the close of the fifteenth century Glasgow became the seat of an archbishopric. Beaton, the nephew of the more famous Cardinal, finding that he lived in times dangerous for prelates, fortified his Palace and stored therein all the plate and precious things he could find, and then carried them off to Paris. The Cathedral happily was spared when the storm of contending forces at the Reformation raged, though it was long disused. The archbishop was in France, and Episcopacy was not in favour. With the advent of James VI. of Scotland to the throne of England Episcopacy was restored, and Spottiswood became Bishop of Glasgow. Then during the civil war Cromwell came here during the Presbyterian rule, but Episcopacy was restored with the monarchy, until it vanished again with the coming of Dutch William.

The Cathedral of St. Mungo in this city showcases vast treasures of architectural beauty. Its Patron Saint was a contemporary of St. Columba, a dedicated, miracle-working apostle who converted the King of the Strathclyde Britons to Christianity and achieved a victory for the Cross of Christ over the wild people living in this area. A cathedral was built here during the Norman period. Construction began in 1124 and it was consecrated in 1192 in the presence of King David of Scotland. Before the century ended, a fire destroyed this ancient church. But a new one was quickly started, and five years later, a part of the building was completed enough to be consecrated. Around 1258, the impressive Early English choir was finished. It is considered one of the finest works of the thirteenth century in Scotland. The architectural style closely followed the northern type of Early English design. The windows are deeply molded on both sides, and the piers are strong and solid without clustered shafts. However, Scotland early on developed unique characteristics in its architecture that differed from English styles. This is evident in the use of the double lancet and simple tracery, while in England, the lancets were widened. The influence of French architecture had not yet made an impact, though there was a clear distinction from English practices. We also see that the choir has two levels, with the lower or crypt being entirely above ground. Mr. Watson has recently published a scholarly work on this double choir and offers excellent reasons to support the idea that the vault of the "lower church" was constructed in five different phases over the span of fifty years. His first phase (circa 1220) includes just the south-east compartment. Then came the north and south aisles along with the springers of the south central area. The lower church remained unfinished until the upper church was built. The central part of the lower church was vaulted (circa 1260), and later, the eastern aisle and chapel were added. While Mr. Watson's conclusions have not been unanimously accepted, they are certainly credible. A few years later, the tower and transepts were completed. Bishop Wishart supported Bruce as a loyal Scot against Edward I and his attempts to conquer, leading to a lengthy imprisonment. A disaster struck the steeple in 1400 when it was hit by lightning, prompting Bishop Lauder to build a stone one. The chapter-house was constructed by Bishop Cameron in the Perpendicular style. The rood-screen, featuring its intricate sculpture, was created by Bishop Blackadder, along with the grand staircase leading to the crypt or lower church. By the end of the fifteenth century, Glasgow became the seat of an archbishopric. Beaton, the nephew of the more famous Cardinal, knowing the dangers faced by church leaders at the time, fortified his palace and stored all the silver and valuables he could find before sending them off to Paris. Fortunately, the Cathedral was spared when the tumult of opposing forces during the Reformation took place, though it was largely unused for a time. The archbishop was in France, and Episcopacy was out of favor. With the arrival of James VI of Scotland on the throne of England, Episcopacy was restored, and Spottiswood became Bishop of Glasgow. Then during the civil war, Cromwell visited during the Presbyterian rule, but Episcopacy returned with the monarchy, only to vanish again with the rise of Dutch William.

Much has been done during the past century in the way of "restoration." Two western towers have been bodily removed. The glass is modern and is almost entirely the work of foreign artists. The great east window was the gift of Queen Victoria. From the close we gain a fine view of the necropolis, which abounds in the sculptured tombs and monuments so dear to Scotland's sons.

Much has been achieved over the last hundred years in terms of "restoration." Two western towers have been completely taken down. The glass is modern and is predominantly created by foreign artists. The grand east window was a gift from Queen Victoria. From the close, we get a beautiful view of the cemetery, filled with the sculpted tombs and monuments that are cherished by Scotland's people.


IONA CATHEDRAL

We must now journey to the ruined shrine of Iona, the cradle of Western Christianity, the place whence flowed the stream of missionary enterprise which watered the dry furrows of northern England as well as Scotland, and caused Christianity to flourish throughout the country. We owe much to this lonely isle where St. Columba landed in 563 and built his rude monastery, the forerunner of the ruined buildings which now greet us. This isle could tell us of many a scene of carnage when the wild Norse pirates came. The Cathedral was begun in the Early English period, and is cruciform. The tower, 75 feet high, has two fine windows. The capitals are beautifully carved, though they are much weather-worn owing to the roofless condition of the church. On the north side are the remains of the monastery; a Norman arcade shows that it is older than the present Cathedral; and on the south is the Chapel of St. Oran, the companion of St. Columba. It is of early date, probably founded in the eleventh century by Queen Margaret when the isles were wrested by Scotland from the Norsemen. Its western doorway is Norman with beak-head ornament. In the Reilig Oiran, or cemetery of kings, lie buried forty-eight Scottish, four Irish, and eight Scandinavian monarchs, together with many abbots and monks and chieftains, a veritable Valhalla of the great. The carved sepulchral stones and crosses of Iona are noble examples of early art, the interlacing work sculptured upon them being wonderfully intricate and beautiful. The two most perfect crosses are Maclean's cross and St. Martin's, one of the most beautiful and perfect in Christendom. A nunnery was founded here in Norman times, and traces of Norman architecture are evident in the ruins. In 1208 a colony of Benedictine monks was established here by one Reginald, the heir of the Abbot of Derry, who handed over the nunnery to the guidance of his sister Beatrice. There was a close connection between Iona and Norway, and for a long time the bishopric of the Isles was united with that of the Isle of Man. At the present time the bishop of that island is known as the Bishop of Sodor and Man, Sodor being a corruption of Sud Ja, or southern island, so called by the Norwegian Vikings, who long held rule here. The monastery was destroyed in 1561. Iona was a much-esteemed seat of learning, and was much frequented by pilgrims. It was long regarded as the isle of special sanctity, and kings and warriors[442] from far and near were brought here to be laid in their last resting-place near the sacred tomb of Columba. Few places have so great a fascination as this sacred isle.

We must now head to the ruined shrine of Iona, the birthplace of Western Christianity, the place where the flow of missionary work nourished the dry lands of northern England and Scotland, helping Christianity thrive throughout the region. We owe a lot to this remote island where St. Columba arrived in 563 and built his simple monastery, the ancestor of the ruined structures that welcome us today. This island could tell us stories of many battles when fierce Norse pirates attacked. The Cathedral was started in the Early English style and has a cross shape. The tower, 75 feet tall, features two beautiful windows. The capitals are intricately carved, although they are quite weathered due to the church being roofless. On the north side are the remnants of the monastery; a Norman arcade shows that it predates the current Cathedral; and on the south is the Chapel of St. Oran, the companion of St. Columba. It dates back to early times, likely founded in the eleventh century by Queen Margaret when the isles were taken from the Norsemen by Scotland. Its western door is Norman with beak-head decoration. In the Reilig Oiran, or cemetery of kings, lie forty-eight Scottish, four Irish, and eight Scandinavian monarchs, along with many abbots, monks, and chieftains—a true Valhalla of the great. The carved tombstones and crosses of Iona showcase early art, with the intricate interlacing work on them being remarkably beautiful. The two most perfect crosses are Maclean's cross and St. Martin's, one of the finest and most complete in Christendom. A nunnery was established here in Norman times, and signs of Norman architecture are visible in the ruins. In 1208, Benedictine monks were settled here by Reginald, the heir of the Abbot of Derry, who entrusted the nunnery to his sister Beatrice. There was a strong link between Iona and Norway, and for a long time the bishopric of the Isles was connected with that of the Isle of Man. Currently, the bishop of that island is known as the Bishop of Sodor and Man, with Sodor being a twisted version of Sud Ja, or southern island, named by the Norwegian Vikings who once ruled here. The monastery was destroyed in 1561. Iona was a highly regarded center of learning and drew many pilgrims. It was long viewed as a particularly sacred island, and kings and warriors from far and wide were brought here to rest near Columba's holy tomb. Few places hold as much allure as this sacred isle.


BRECHIN CATHEDRAL

Brechin has many interesting features, notably its half-finished Cathedral, the famous round tower which was undoubtedly connected with it, or an earlier shrine, and the ruins of the Maison Dieu or hospitium founded by William of Brechin in 1256. The old Cathedral was founded by King David of Scotland in 1150. It is a plain and unpretentious building, now used as a parish church, and it has suffered much from restorers and renovators. Its plan was originally cruciform, but some vandals at the beginning of the eighteenth century entirely destroyed the transepts. The west window and doorway are thirteenth-century work. Most drastic treatment did this church receive in 1806, when besides the destruction of the transepts, the aisles were removed, and new and larger ones erected. The renovators were not satisfied with the old arches of the nave; so they built new and wider ones, and raised the walls, so that one roof could span the whole, and thus eclipsing the clerestory windows. The south side of the nave seems later than the north. Its piers are lighter than those on the opposite side. At the north side of the choir are three lancet windows. The church is disfigured by galleries and pews. The ruins of the chapel of the Maison Dieu are small but interesting. An Early English doorway and a few lancet windows remain. The Round Tower is the principal architectural feature of Brechin. Ireland possesses many of these curious structures, and besides this one Scotland has only one other, the tower at Abernethy. Its date is about 980. The object of such towers is mainly to provide a place of refuge in times of attack, where the monks could store their treasures and protect themselves. They may also have been used as belfries, and their origin is certainly ecclesiastical. There is no staircase, access to the top being gained by ladders resting on wooden floors. The height is 86 feet, the thickness of the wall near the base 4 feet, and the inner diameter 8 feet. An octagonal spire crowns the summit. There is a doorway on the west which is adorned with rude carvings. Over the doorway is a carved representation of the Crucifixion, and on either side of the door are[443] ecclesiastics, and below are strange creatures realistically carved. These figures are interesting memorials of Celtic art.

Brechin has many notable features, especially its half-finished Cathedral, the famous round tower likely associated with it or an earlier shrine, and the ruins of the Maison Dieu, a hospice founded by William of Brechin in 1256. The old Cathedral was established by King David of Scotland in 1150. It's a simple and unassuming building, now serving as a parish church, and has undergone significant changes from restorers and renovators. It originally had a cruciform layout, but some vandals in the early eighteenth century completely destroyed the transepts. The west window and doorway are from the thirteenth century. The church faced the most severe modifications in 1806 when, in addition to the destruction of the transepts, the aisles were taken down and replaced with new, larger ones. The renovators weren't satisfied with the old nave arches, so they built new and wider ones and raised the walls to create a single roof that obscured the clerestory windows. The south side of the nave appears to be newer than the north side, with its piers being lighter than those on the opposite side. There are three lancet windows on the north side of the choir. The church is marred by galleries and pews. The ruins of the chapel of the Maison Dieu are small but intriguing, with an Early English doorway and several lancet windows still intact. The Round Tower is the main architectural feature of Brechin. Ireland has many of these interesting structures, and Scotland has only one other, located at Abernethy. It dates back to around 980. The primary purpose of these towers was to provide a safe space during attacks, where monks could store their treasures and protect themselves. They may also have functioned as bell towers, and their origins are undoubtedly religious. There is no staircase; access to the upper levels is gained by ladders resting on wooden floors. The tower stands 86 feet tall, with wall thickness near the base of 4 feet and an inner diameter of 8 feet. An octagonal spire tops the structure. There is a doorway on the west side adorned with rough carvings. Above the doorway is a carved depiction of the Crucifixion, and on either side of the door are[443] ecclesiastics, with strange, realistically carved creatures below them. These figures are fascinating examples of Celtic art.


ABERDEEN CATHEDRAL

One mile north of the large and flourishing city is the quiet, ancient town of Old Aberdeen. Here is the Cathedral of St. Machar, built entirely of granite. It is not remarkable for its sculptured elegance or vast dimensions, but it has an interesting history, and its flat panelled ceiling, adorned with numerous heraldic shields, is a distinguishing feature. The church is small, and is only 200 feet in length. Its Patron Saint was a companion of St. Columba, who journeyed here on his missionary work, and founded a church about the year 597. A second church was begun in 1183, but this was not equal to the ambition of Bishop Cheyne, and was destroyed by him in order to make way for a better. This again was superseded by a church begun by Bishop Kinnimond, in 1357, but the work progressed slowly, and not until the rule of Bishop Leighton (1422-1440) was the nave finished with the north transept and west towers. The roof was added by his successor, Bishop Lindsay, and the central tower and spire by Bishop Elphinstone, who began the ill-fated choir. Bishop Stewart built the chapter-house. The troubles of the Reformation and of the Civil War wrought much havoc. The lead was torn from the roof; the bells were shipped off to Holland and lost at sea. The stones of the choir were used for fortifications by Cromwell's troops; the great tower fell and destroyed the transepts, and all that remains of this church is the nave. The west front is an imposing piece of work. The west window consists of seven lofty narrow openings, with cusped arches at the head. The towers, capped with spires, are very massive in their granite ruggedness. There are five bays in the nave, with round piers, Decorated arches, no triforium, and small clerestory windows. On the ceiling are forty-eight heraldic shields of princes, nobles and bishops who aided in the erection of the church.

One mile north of the big, thriving city lies the quiet, historic town of Old Aberdeen. Here stands the Cathedral of St. Machar, made entirely of granite. It isn’t notable for its intricate design or large size, but it has a fascinating history, and its flat panelled ceiling, decorated with numerous heraldic shields, is a distinctive feature. The church is small, measuring just 200 feet in length. Its Patron Saint was a companion of St. Columba, who traveled here on his missionary work and established a church around the year 597. A second church was started in 1183, but it didn’t meet Bishop Cheyne's ambitions and was destroyed to make way for a better one. This was later replaced by a church initiated by Bishop Kinnimond in 1357, but construction was slow, and it wasn’t until Bishop Leighton’s time (1422-1440) that the nave was completed along with the north transept and west towers. The roof was added by his successor, Bishop Lindsay, and the central tower and spire by Bishop Elphinstone, who also started the unfortunately doomed choir. Bishop Stewart constructed the chapter-house. The upheavals of the Reformation and the Civil War caused significant destruction. The lead was stripped from the roof; the bells were sent to Holland and lost at sea. The stones of the choir were repurposed for fortifications by Cromwell's troops; the great tower collapsed, damaging the transepts, and all that remains of this church is the nave. The west front is an impressive piece of work. The west window has seven tall, narrow openings with cusped arches at the top. The towers, topped with spires, are very robust in their rugged granite form. The nave has five bays with round piers, Decorated arches, no triforium, and small clerestory windows. The ceiling displays forty-eight heraldic shields of princes, nobles, and bishops who contributed to the church’s construction.

King's College, founded by Bishop Elphinstone in 1498, should be visited. The original oak canopied stalls, misereres, and lofty open screen in the chapel, are some of the finest work of the period. The influence of the French Flamboyant style is evident in their execution. These beautiful works of art were saved from destruc[444]tion by the bravery of the Principal, who summoned his people, and protected his treasures from the fury of the barons of Mearns, after they had sacked the Cathedral.

King's College, founded by Bishop Elphinstone in 1498, is a must-visit. The original oak canopied stalls, misereres, and tall open screen in the chapel are some of the finest examples from that era. You can see the influence of the French Flamboyant style in their design. These beautiful artworks were saved from destruction by the courage of the Principal, who rallied his people to protect these treasures from the wrath of the barons of Mearns after they looted the Cathedral.


DUNBLANE CATHEDRAL

This Cathedral is one of the few specimens of Gothic art in Scotland which escaped destruction at the Reformation. Nearly all the building is Early English, except the tower, which is Early Norman. Ruskin wrote his praise of this edifice:—

This cathedral is one of the few examples of Gothic art in Scotland that survived the Reformation. Almost the entire structure is Early English, except for the tower, which is Early Norman. Ruskin wrote his praise of this building:—

"He was no uncommon man who designed the Cathedral of Dunblane. I know nothing so perfect in its simplicity, and so beautiful, so far as it reaches, in all the Gothic with which I am acquainted. And just in proportion to his power of mind, that man was content to work under Nature's teaching, and instead of putting merely formal dog-tooth, as everybody else did at that time, he went down to the woody banks of the sweet river, beneath the rocks of which he was building, and took up a few of the fallen leaves that lay by it, and he set them on his arch, side by side for ever."

"The man who designed the Cathedral of Dunblane was exceptional. I've never seen anything as perfect in its simplicity, and so beautiful, in the realm of Gothic architecture that I know. He was genuinely happy to learn from Nature, and rather than just using the standard dog-tooth pattern like everyone else at that time, he went down to the wooded banks of the beautiful river, beneath the rocks where he was building, and picked up some fallen leaves that were lying around. He placed them on his arch, side by side for eternity."

There was an early church on this site founded by St. Blane. This early church was superseded in 1150 by one erected by King David of Scotland. All that remains of this church is the fine Norman tower. The rest of the church fell into ruin and neglect, until the time of Bishop Clement, who, about 1240, began to build this beautiful church in Early English style. At the Reformation great damage was done, when over-zealous Protestants pulled down the roof and carried off much plate and treasure. For centuries the nave remained in this condition; the choir and chapter-house were roofed over, in order to form a parish church; and now a great restoration of the church has recently taken place. A new roof has been erected, after the fashion of the Cathedral church of Aberdeen, with its heraldic devices, and the whole church repaired and beautified.

There was an early church on this site founded by St. Blane. This early church was replaced in 1150 by one built by King David of Scotland. All that remains of this church is the impressive Norman tower. The rest of the church fell into decay and neglect until Bishop Clement began constructing this beautiful church in Early English style around 1240. During the Reformation, significant damage occurred when overzealous Protestants tore down the roof and took away much silver and treasure. For centuries, the nave remained in this state; the choir and chapter house were roofed over to create a parish church. Recently, a major restoration of the church has taken place. A new roof has been put up, modeled after the Cathedral church of Aberdeen, complete with its heraldic designs, and the entire church has been repaired and beautified.

The west front is Early English in design, with lancet windows, a deeply-recessed doorway, and in the gable a window with the leaf decoration praised by Ruskin. The nave has eight bays, and is Late Early English. The pulpit is modern, and also the screen.[445] The choir has no aisles, and has six lancet windows, with a large east window. The stall-work of sixteenth-century is beautifully carved, and there are some interesting grotesques. On the west side of the choir is the chapter-house, which is the earliest part of the present church, with the exception of the tower, and has an upper room, possibly used as a treasury or Reclusorium. The tower is an important structure, of Early Norman character, and doubtless served the same purpose as the round towers of Ireland and Brechin, affording shelter in case of attack. There are good reasons for believing that originally it was separate from the church. The upper portion was added later. A fine view can be obtained from the summit. There are some interesting monuments in the Cathedral, and in the churchyard is the tomb of the heroine of the song, "Charming young Jessie, the flower of Dunblane."

The west front is designed in the Early English style, featuring lancet windows, a deeply recessed doorway, and a gable window adorned with leaf decorations praised by Ruskin. The nave consists of eight bays and reflects the Late Early English style. The pulpit and the screen are modern. The choir lacks aisles and has six lancet windows along with a large east window. The sixteenth-century stall work is beautifully carved and includes some interesting grotesques. On the west side of the choir is the chapter house, which is the oldest part of the current church, excluding the tower, and has an upper room that may have been used as a treasury or Reclusorium. The tower is a significant structure with Early Norman characteristics, likely serving the same purpose as the round towers in Ireland and Brechin, providing shelter during attacks. There is good reason to believe that it was originally separate from the church. The upper portion was added later. A great view can be enjoyed from the top. The Cathedral features some intriguing monuments, and in the churchyard is the tomb of the heroine from the song "Charming young Jessie, the flower of Dunblane."[445]


DUNKELD CATHEDRAL

The first church was founded by Constantin, King of the Picts, about 800 A.D., and the Culdees were established in a monastery here. In 1107 it became the seat of a bishopric, and a colony of Augustinian canons replaced the former dwellers. A new choir was built in 1220-1250, in the Early English style. During the wars with England, in 1380, it was burnt, but almost immediately restored. The nave was finished by Bishop Lauder in 1465. He was a most munificent prelate, who did much for his Cathedral, began the tower and chapter-house, and furnished the Cathedral with gifts of much valuable church plate. There is a curious story[21] of a Highlanders' raid, and of their entry to the church, and of the bishop's perilous escape to the rafters of his church, in order to escape their hands. On another occasion the church was besieged in the time of the famous Bishop Gavin Douglas, the translator of the Æneid (1576). His election to the see was opposed by the Stewarts, the inveterate enemies of his house; and Andrew Stewart barred the door against him, and fought against him from his stronghold in the tower. Douglas soon gathered his friendly clans together, and forced an entrance. It is uncertain when the nave lost its roof, probably when certain lairds at the Reformation went on their base crusade, plundering and destroying churches, and seizing their goods and valuables.

The first church was founded by Constantin, King of the Picts, around 800 A.D., and the Culdees were established in a monastery here. In 1107, it became the site of a bishopric, and a group of Augustinian canons replaced the former inhabitants. A new choir was built in the Early English style between 1220 and 1250. During the wars with England in 1380, it was burned but was restored almost immediately. The nave was completed by Bishop Lauder in 1465. He was a very generous bishop who did a lot for his Cathedral, started the tower and chapter house, and donated many valuable items to the church. There’s an interesting story[21] about a raid by Highlanders, their entry into the church, and the bishop’s narrow escape to the rafters to avoid capture. At another time, during the tenure of the well-known Bishop Gavin Douglas, who translated the Æneid (1576), the church was besieged. His election was opposed by the Stewarts, enemies of his family, and Andrew Stewart blocked the door against him, fighting him from the tower. Douglas quickly gathered his allies and forced his way inside. It’s unclear when the nave lost its roof, likely when certain landowners during the Reformation waged a destructive campaign, plundering churches and seizing their treasures.

After the battle of Killiecrankie there was a great fight here, and an asylum of refuge was found here by the people, who fortified their position with the seats, and did much damage. The roof was destroyed, and the nave has been ever since exposed to the storms of wind and rain. The choir is now used as the parish church, having been rebuilt. The nave has seven bays, and measures 120 feet by 60 feet. The piers are of massive Norman character, and there is a somewhat poor triforium and clerestory. The original choir was built by Bishop Sinclair in 1350. The tower, 96 feet high, is Perpendicular, the work of Bishop Lauder (1469), and finished by Bishop Brown in 1501, and is a very good example of the style. The south porch was built by Lauder, but it is now in ruins. The chapter-house is the work of the same bishop. It contains the vault of the Dukes of Athol. Here, near the porch, is buried Alexander Stuart, Earl of Buchan, better known as the "Wolf of Badenoch" (1394), who burned down Elgin Cathedral and devastated the place. Few churches have passed through such stormy scenes as Dunkeld, and its ruined state is a melancholy testimony to the lawlessness of the tumultuous times, which have left their mark upon its desecrated walls.

After the battle of Killiecrankie, there was a major fight here, and the local people found refuge, fortifying their position with the seats and causing a lot of damage. The roof was destroyed, and the nave has since been exposed to the storms of wind and rain. The choir is now used as the parish church, having been rebuilt. The nave has seven bays and measures 120 feet by 60 feet. The piers are massive in a Norman style, and there’s a rather poor triforium and clerestory. The original choir was built by Bishop Sinclair in 1350. The tower, which is 96 feet high, is in the Perpendicular style, created by Bishop Lauder (1469) and completed by Bishop Brown in 1501, and it’s a great example of that style. The south porch was built by Lauder, but it’s now in ruins. The chapter-house was also built by him. It contains the tomb of the Dukes of Athol. Near the porch, Alexander Stuart, Earl of Buchan, better known as the "Wolf of Badenoch" (1394), is buried here; he burned down Elgin Cathedral and devastated the area. Few churches have experienced such turbulent times as Dunkeld, and its ruined state is a sad reminder of the lawlessness during those chaotic periods, which have left their mark on its desecrated walls.


ST. ANDREW'S CATHEDRAL

Of the once great Cathedral of St. Andrew, the Primatical See of Scotland, few traces are left. Its consecration in the time of Robert Bruce was marked by unparalleled pomp and circumstance. All the most distinguished in Church and State were present, no less than seven bishops and fifteen abbots, the king and well-nigh all the flower of his nobility. It was originally founded by Bishop Arnold (1159-1162). Its plan was cruciform, and was 355 feet in length, and the nave 200 feet, and there was a Lady Chapel at the east end. It had a grand central tower, and six turrets, of which three remain. A fire partly destroyed it in 1378, but it was restored and embellished, and finished in 1440. In 1559 John Knox preached a fiery sermon in the town church, which led the magistrates and inhabitants of the city to plunder the Cathedral and strip it of its altars and ornaments. The whole church was ransacked and left to fall into ruin. Soon the central tower fell, and carried with it the north wall; and since then the church has been used as a quarry. The ruins are picturesque in their decay. All[447] that remain are the east and west gables, part of the south wall of the nave and the west wall of the south transept. The style of these ruins is partly Norman and partly Early English. Under the east window, built up in the wall, is a curious Runic inscription. The Castle at St. Andrews is closely connected with the Cathedral, as it was built by Bishop Roger in the thirteenth century as an episcopal residence. The old Castle was destroyed in the fourteenth century, and soon afterwards rebuilt. Here Cardinal Beaton was murdered, who had witnessed the burning of Wishart in front of his Castle. The Bottle Dungeon is a curious place of incarceration, and, besides the towers and walls, there is an interesting subterranean passage which enabled persons to escape from the Castle in time of siege.

Of the once-great Cathedral of St. Andrew, the main church of Scotland, only a few traces remain. Its consecration during the time of Robert Bruce was marked by unmatched splendor. All the notable figures in the Church and State were there, including seven bishops and fifteen abbots, the king, and nearly all of his nobility. It was originally founded by Bishop Arnold (1159-1162). The layout was cruciform, measuring 355 feet in length and with a nave length of 200 feet, featuring a Lady Chapel at the east end. It had a grand central tower and six turrets, of which three are still standing. A fire partially destroyed it in 1378, but it was restored and finished in 1440. In 1559, John Knox preached a passionate sermon in the town church, leading the city magistrates and residents to raid the Cathedral, stripping it of its altars and decorations. The entire church was plundered and left to decay. Soon, the central tower collapsed, taking the north wall down with it; since then, the site has been used as a quarry. The ruins are beautiful in their decay. All that remains are the east and west gables, part of the south wall of the nave, and the west wall of the south transept. The style of these ruins is a mix of Norman and Early English. Under the east window, built into the wall, is an interesting Runic inscription. The Castle at St. Andrews is closely linked to the Cathedral, as it was built by Bishop Roger in the thirteenth century as a bishop's residence. The old Castle was destroyed in the fourteenth century and soon rebuilt. Here, Cardinal Beaton was murdered after witnessing the burning of Wishart in front of his Castle. The Bottle Dungeon is a fascinating place of imprisonment, and in addition to the towers and walls, there is an intriguing underground passage that allowed people to escape from the Castle during a siege.


ST. GILES' CATHEDRAL, EDINBURGH

Edinburgh was not raised to episcopal rank until the time of Charles I. The church has a great history, though it is popularly remembered as the place where Jenny Geddes threw her stool at the dean, when the English service book was introduced in the time of Charles I. The first Church of St. Giles was consecrated in 1243, but it was burnt down during the English wars, when most of the city shared the same fate. Indeed, signs of fire may still be detected on the piers of the choir and elsewhere. The church is remarkable for its numerous chapels. On the south of the nave two were built in 1387, but these have been destroyed by drastic "restoration." There are the Chambers's Memorial Chapel, the Preston Aisle, named after one William Preston, who brought from France a relic of the Patron Saint; the Chapman Aisle, named after Chapman, the "Scottish Caxton," who introduced printing into Scotland, and the Moray Aisle. During the fifteenth century much building was in progress. The choir was lengthened, a clerestory added and the roof raised, and ere the century had elapsed it was raised to the dignity of a collegiate church. The choir is a fine example of fifteenth-century work, and the Gothic crown which surmounts the central tower forms a very distinguishing feature. It is unlike anything else we know. Few scenes and events in Scottish history have not in some way been connected with this church. We see John Knox preaching violently here against the iniquities of the court, and especially of the unfortunate[448] Queen Mary. Knox was appointed minister of the church. It was divided into three portions—the Great and Little Kirk and the Tolbooth. Then in the time of James I. Episcopacy was restored, and in 1633 Charles I. made St. Giles into a Cathedral. Here Jenny Geddes, as we have said, expressed her displeasure at the new English liturgy by throwing her stool at the clergyman, and commenced the famous riot which had lamentable results. Later on we see the struggle between the Covenanters and the Royal Party, and the head of the Duke of Argyll stuck on a spike on a gable of the Cathedral, the advent of "Bonny Prince Charlie," and all the events of Scottish history seem to be associated in some way with St. Giles'. Its war-worn banners, its monuments of national heroes, all combine to add a peculiar interest to the building. The church owes much of its present beauty to the munificence of Dr. William Chambers, who rescued the building from neglect, and renewed and beautified it. He was one of the firm of the great Edinburgh publishers. Amongst other memorials of recent worthies we find a window to R.L. Stevenson, and in the Moray Chapel a monument to General Wauchope, who was killed gallantly leading his troops in the recent war in South Africa. Although the choir is fifteenth-century work, it differs much from that of the same period in England. In Scotland French influence was much felt in the development of architecture, and the builders inclined more to the French Flamboyant rather than to the English Perpendicular.

Edinburgh wasn’t elevated to episcopal status until the time of Charles I. The church has a rich history, although it’s popularly remembered as the place where Jenny Geddes hurled her stool at the dean when the English service book was introduced during Charles I's reign. The first Church of St. Giles was consecrated in 1243, but it was destroyed during the English wars, which devastated most of the city. In fact, signs of fire can still be seen on the choir piers and elsewhere. The church is notable for its many chapels. Two were built on the south side of the nave in 1387, but these were lost due to extensive “restoration.” There’s Chambers's Memorial Chapel, the Preston Aisle, named after William Preston, who brought a relic of the Patron Saint from France; the Chapman Aisle, named after Chapman, the “Scottish Caxton,” who introduced printing to Scotland; and the Moray Aisle. During the fifteenth century, much construction was underway. The choir was lengthened, a clerestory was added, and the roof was raised, and before the century was over, it was elevated to collegiate church status. The choir is a beautiful example of fifteenth-century work, and the Gothic crown atop the central tower is a very distinctive feature. It’s unlike anything else we know. Few scenes and events in Scottish history are not somehow connected to this church. We see John Knox passionately preaching here against the wrongdoings of the court, especially those of the unfortunate Queen Mary. Knox was appointed minister of the church. It was divided into three sections—the Great and Little Kirk and the Tolbooth. Then during James I's reign, Episcopacy was restored, and in 1633, Charles I made St. Giles a Cathedral. Here, Jenny Geddes, as mentioned, showed her discontent with the new English liturgy by throwing her stool at the clergyman, sparking the infamous riot with serious consequences. Later, we witness the conflict between the Covenanters and the Royal Party, with the head of the Duke of Argyll displayed on a spike on the Cathedral’s gable, the arrival of “Bonny Prince Charlie,” and it seems that all events in Scottish history are somehow connected to St. Giles’. Its battle-scarred banners and monuments to national heroes all contribute to the building's unique significance. The church owes much of its current beauty to Dr. William Chambers, who saved the building from neglect and renovated and enhanced it. He was part of one of the major publishing firms in Edinburgh. Among other memorials of recent figures, there’s a window dedicated to R.L. Stevenson, and in the Moray Chapel, a monument to General Wauchope, who was killed heroically leading his troops in the recent war in South Africa. Although the choir is from the fifteenth century, it differs significantly from similar work in England from that period. In Scotland, French influence played a major role in architectural development, with builders leaning more towards the French Flamboyant style than the English Perpendicular.

The new Cathedral of the Episcopal Church of Scotland at Edinburgh, designed by Sir G. Scott, is one of the finest and largest of our modern Gothic buildings.

The new Cathedral of the Episcopal Church of Scotland in Edinburgh, designed by Sir G. Scott, is one of the finest and largest of our modern Gothic buildings.


KIRKWALL CATHEDRAL

If we journey to the remote Orkneys we shall see a noble Cathedral at Kirkwall, which is of peculiar interest. Until the year 1472 these islands belonged to Norway, and were under the episcopal supervision of the Archbishop of Drontheim in that kingdom. The Cathedral is therefore connected with the rule of Norwegian earls and bishops, and has many features differing from those types which are more familiar to us. It was founded by the Norwegian Earl Ronald in 1137, and was designed and constructed by the Norwegian Kol. Here were buried many[449] Scandinavian jarls and bishops, but their tombs have disappeared. There is a fine nave of eight bays, which is of the Norman character, and a choir of six bays, screened off so as to form a parish church. The piers are all round and massive, and the arches round-headed, both in the main arcade and in the triforium and clerestory. There is some fine Norman arcading, with intersecting arches on the side walls. The church is dedicated to St. Magnus, and is 226 feet long by 56 feet wide. The original choir ended in an apse, but it was lengthened by Bishop Stewart in 1511, and the west end of the nave was finished by Bishop Reid in 1540. Different coloured stone is used extensively in the building, principally the red and yellow sandstone, and these varied hues add greatly to the architectural effect. The three west doors are particularly fine. The tower has fifteenth-century windows, and the bells were given by Bishop Maxwell at the end of the fifteenth century. Near the church are the ruins of the Bishop's Palace, where King Haco died in 1263, and also the Earl's Palace, which, after the incorporation of the islands with Scotland, was assigned to the bishops for a residence. The church has been much restored during the last century.

If we travel to the remote Orkneys, we’ll find a magnificent Cathedral in Kirkwall that’s particularly interesting. Until 1472, these islands were part of Norway and were overseen by the Archbishop of Drontheim in that country. The Cathedral is linked to the rule of Norwegian earls and bishops and has many features that differ from the styles we’re more familiar with. It was established by the Norwegian Earl Ronald in 1137 and was designed and built by the Norwegian Kol. Many Scandinavian jarls and bishops were buried here, but their tombs are now gone. The nave has eight bays and exhibits a Norman style, while the choir, which has six bays, is partitioned to serve as a parish church. The piers are all round and sturdy, and the arches are rounded, present in the main arcade as well as in the triforium and clerestory. There’s some impressive Norman arcading with intersecting arches on the side walls. The church is dedicated to St. Magnus and measures 226 feet long by 56 feet wide. The original choir ended in an apse but was extended by Bishop Stewart in 1511, and Bishop Reid completed the west end of the nave in 1540. Different colored stone is used extensively in the building, mainly red and yellow sandstone, and these varied colors greatly enhance the architectural effect. The three west doors are especially beautiful. The tower features fifteenth-century windows, and the bells were donated by Bishop Maxwell at the end of that century. Near the church are the ruins of the Bishop's Palace, where King Haco died in 1263, as well as the Earl's Palace, which was assigned to the bishops for their residence after the islands joined Scotland. The church has undergone significant restoration in the last century.


FOOTNOTES:

[1] History of Gothic Art in England, by E.S. Prior.

[1] History of Gothic Art in England, by E.S. Prior.

[2] There were some British Bishops of London. One of these, Restitutus, was present at the Council of Arles in A.D. 314, and Geoffrey mentions Theon, Bishop of London, amongst those who fled into Wales during the Saxon invasion.

[2] There were a number of British Bishops of London. One of them, Restitutus, attended the Council of Arles in CE 314, and Geoffrey mentions Theon, Bishop of London, as one of those who escaped to Wales during the Saxon invasion.

[3] A pilaster is a column attached to a wall.

[3] A pilaster is a column that’s built into a wall.

[4] When the queen was departing he apologised for his poor entertainment, but she replied "Satis" ("sufficient"), from which august reply Watts named his house.

[4] When the queen was leaving, he apologized for his lackluster entertainment, but she replied "Satis" ("enough"), which is what led Watts to name his house.

[5] Authorities differ as to whether the colouring is ancient or modern. Mr. Palmer, in his recent and valuable history of the Cathedral, pronounces in favour of the latter; but Mr. St. John Hope considers it to be ancient.

[5] Experts disagree on whether the coloring is old or new. Mr. Palmer, in his recent and valuable history of the Cathedral, argues it's the latter; however, Mr. St. John Hope believes it's ancient.

[6] St. Swithun became bishop in 837; he was "a diligent builder of churches in places where there were none before, and a repairer of those that had been destroyed before." In modern times his name is best known as a weather prophet; according to the tradition that if it is fine or wet on St. Swithun's day (July 15th) the same weather will last for the next forty days. The legend arose from the moving of his body from the lowly grave in the churchyard to its golden shrine in the Cathedral being delayed on account of continued rain.

[6] St. Swithun became bishop in 837; he was "a dedicated builder of churches in areas where there were none before, and a restorer of those that had been destroyed." Nowadays, his name is mostly known as a weather prophet; according to the tradition, if it’s nice or rainy on St. Swithun's day (July 15th), the same weather will continue for the next forty days. This legend came from the delay in moving his body from the humble grave in the churchyard to its golden shrine in the Cathedral due to the ongoing rain.

[7] The modern Pevensey.

The new Pevensey.

[8] Mr. Micklethwaite considers these remains to have belonged to Ethelred's church.

[8] Mr. Micklethwaite believes these remains belonged to Ethelred's church.

[9] Mr. Micklethwaite believes these apses to have been part of Ethelred's church.

[9] Mr. Micklethwaite thinks these apses were part of Ethelred's church.

[10] Although Mr. Park Harrison's theory is attractive, we are unable to accept all his conclusions as to the pre-Norman character of the details of the church.

[10] While Mr. Park Harrison's theory is appealing, we cannot agree with all his conclusions regarding the pre-Norman aspects of the church's details.

[11] Froude, Hist. Engl., vi. 468.

__A_TAG_PLACEHOLDER_0__ Froude, Hist. Engl., vol. 6, p. 468.

[12] Prior's Gothic Art.

__A_TAG_PLACEHOLDER_0__ Prior's Gothic Art.

[13] Murray's Cathedrals.

Murray's Cathedrals.

[14] Rot. Lit. Clans., 19, Henry III.; quoted by Britton and Murray.

[14] Rot. Lit. Clans., 19, Henry III.; cited by Britton and Murray.

[15] Baine's Lancashire, Vol. II., p. 365.

__A_TAG_PLACEHOLDER_0__ Baine's Lancashire, Vol. 2, p. 365.

[16] We must except Lord Grimthorpe's modern innovations at St. Albans.

[16] We have to acknowledge Lord Grimthorpe's modern changes at St. Albans.

[17] This swineherd is said to have given a peck of silver pennies to the building of the Cathedral.

[17] This pig farmer is said to have donated a large sum of silver pennies to the construction of the Cathedral.

[18] Page 291.

__A_TAG_PLACEHOLDER_0__ Page 291.

[19] Registrum Primum.

__A_TAG_PLACEHOLDER_0__ First Register.

[20] The restorers have been very busy here, and most of the windows are imitations of Norman work.

[20] The restorers have been hard at work here, and most of the windows are replicas of Norman designs.

[21] Scottish Cathedrals and Abbeys, by M.E. Leicester Addis.

[21] Scottish Cathedrals and Abbeys, by M.E. Leicester Addis.


GLOSSARY OF ARCHITECTURAL TERMS

Abacus.—The uppermost division of the capital, or head of a column, originally square and plain, in later styles more or less decorated with moulding, and in the Early English and Decorated periods generally circular or polygonal. In classic architecture it supported the horizontal superstructure of the entablature, but in Gothic architecture the arch rises directly from it.

Abacus.—The top part of the capital, or head of a column, which was originally square and simple, became more or less decorative in later styles with moulding. In the Early English and Decorated periods, it was typically circular or polygonal. In classic architecture, it supported the horizontal structure of the entablature, but in Gothic architecture, the arch rises directly from it.

Apse.—The round or polygonal end of a chancel.

Apse.—The rounded or polygon-shaped end of a chancel.

Architrave.—The lowest division of the entablature in classic architecture; ornamental moulding round the exterior curve of an arch or round the openings of doors and windows, etc.

Architrave.—The bottom part of the entablature in classical architecture; decorative molding around the outer curve of an arch or around the openings of doors and windows, etc.

Ashlar.—Hewn stone.

Ashlar.—Cut stone.

Aumbrey or Almery.—A cupboard for containing the sacred vessels.

Aumbrey or Almery.—A cabinet for holding the sacred vessels.

Ball-Flower Moulding.—Ornament resembling a ball enclosed in a globular flower of three petals.

Ball-Flower Molding.—An ornament that looks like a ball surrounded by a round flower with three petals.

Baluster.—A small turned wooden pillar, generally circular.

Baluster.—A small, round wooden post that has been shaped on a lathe.

Bay.—The compartment of a church formed by the buttresses or pilasters on the walls, the main arches or pillars, the ribs of the vaulting, or other features which separate the building into corresponding portions.

Bay.—The section of a church created by the support structures like buttresses or pilasters on the walls, the main arches or columns, the ribs of the ceiling, or other features that divide the building into distinct areas.

Campanile.—A bell tower.

Campanile.—A bell tower.

Cavetto.—A concave moulding of a quarter of a circle, used in classical and other styles of architecture.

Cavetto.—A concave molding shaped like a quarter of a circle, used in classical and other architectural styles.

Chamfer.—To cut off angles.

Chamfer.—To bevel edges.

Clerestory or Clear-Story.—An upper storey, or row of windows in a Gothic church; so called to distinguish it from the blind-storey, or triforium.

Clerestory or Clear-Story.—An upper level, or row of windows in a Gothic church; named to differentiate it from the blind storey, or triforium.

Corbel.—A projecting stone or piece of timber supporting a weight.

Corbel.—A stone or wooden support that sticks out and holds up weight.

Corbel-Table.—A row of corbels.

Corbel-Table.—A series of corbels.

Credence.—A small table or shelf near the altar on which the bread and wine were placed before they were consecrated.

Credence.—A small table or shelf near the altar where the bread and wine were set before being blessed.

Crocket.—A bunch of projecting flowers or foliage decorating pinnacles, arches, etc.

Crocket.—A group of flowers or leaves sticking out, used to decorate tops of buildings, arches, etc.

Cusps.—The projecting points in Gothic tracery, or inside an arch; sometimes worked at the ends with leaves, flowers, or heads.

Cusps.—The pointed extensions in Gothic tracery, or on the inside of an arch; sometimes adorned at the ends with leaves, flowers, or faces.

Dog-Tooth Moulding.—Ornaments usually consisting of four plain leaves, arranged so as to form a point.

Dog-Tooth Moulding.—Decorative elements typically made up of four simple leaves, arranged to create a point.

Dripstone.—Projecting tablet or moulding over heads of archways, windows, doorways, etc.

Dripstone.—A projecting ledge or molding above archways, windows, doorways, etc.

Fan-Vaulting.—Vaulting in which the ribs rise with the same curve and diverge equally in every direction from the springing of the vault.

Fan-Vaulting.—A type of vaulting where the ribs rise with the same curve and spread out evenly in all directions from the starting point of the vault.

Finial.—A foliated ornament ending a pinnacle or gable, etc.

Finial.—An ornamental piece that tops off a pinnacle or gable, etc.

Flamboyant.—A name given to Late Decorated style of architecture from the flame-like wavings of its tracery.

Flamboyant.—A term used for the Late Decorated style of architecture, named for the flame-like curves of its tracery.

Gargoyle.—A projecting spout, often carved in a grotesque form.

Gargoyle.—A projecting spout, usually shaped in a bizarre or exaggerated manner.

Groin.—The angle formed by the intersection of vaults.

Groin.—The angle created where two vaults meet.

[451] Herring-Bone Work.—Masonry in which the stones are placed aslant, forming a fish-bone pattern.

[451] Herring-Bone Work.—Masonry where the stones are laid at an angle, creating a fish-bone design.

Jamb.—The side of a window or door, etc.

Jamb.—The side of a window or door, etc.

Miserere.—A projecting bracket on the under side of the seats of stalls, which were made to turn up; the monks were allowed to lean on these brackets during the long services, which were performed standing.

Miserere.—A projecting bracket on the underside of the seats in stalls, designed to flip up; the monks were permitted to lean on these brackets during the lengthy services, which were held while standing.

Mullion.—Perpendicular bar between the lights of windows in Gothic architecture.

Mullion.—A vertical bar that separates the panes of windows in Gothic architecture.

Nail-headed Moulding.—Moulding in imitation of ornamental nail-heads.

Nail-headed Moulding.—Moulding that looks like decorative nail-heads.

Newell.—The column round which a spiral staircase winds.

Newell.—The column that a spiral staircase wraps around.

Ogee.—A moulding partly concave and partly convex, forming a round and a hollow. Term also applied to an arch formed of contrasted curves.

Ogee.—A molding that is partially concave and partially convex, creating both a rounded and a hollow shape. This term also refers to an arch made up of contrasting curves.

Orders.—The recesses of a divided arch.

Orders.—The spaces of a split arch.

Parvise.—A small room over the porch.

Parvise.—A small room above the porch.

Pilaster.—A pillar, sometimes disengaged but generally attached to a wall.

Pilaster.—A pillar that may stand free but is usually attached to a wall.

Piscina.—A basin attached to the wall near the altar of a church, where the priest washed his hands and rinsed the chalice.

Piscina.—A basin attached to the wall near the altar of a church, where the priest washed his hands and rinsed the chalice.

Plate-Tracery.—Tracery which appears as if formed by piercing a flat surface with ornamental patterns.

Plate-Tracery.—Tracery that looks like it was created by cutting decorative patterns into a flat surface.

Plinth.—The lowest division of the base of a column, or projecting face at the bottom of a wall.

Plinth.—The bottom part of a column's base, or the protruding part at the base of a wall.

Presbytery.—The part of a church where the high altar stands.

Presbytery.—The area of a church where the main altar is located.

Reredos.—A screen at the back of an altar.

Reredos.—A decorative screen at the back of an altar.

Rood-Loft.—A gallery over the screen separating the nave from the chancel, on which the great cross or rood was fixed.

Rood-Loft.—A gallery above the screen that divides the main church area from the chancel, where the large cross or rood was mounted.

Sedilia.—The seats for the officiating clergy.

Sedilia.—The chairs for the officiating clergy.

Soffit.—The under side of an arch, cornice, etc.

Soffit.—The underside of an arch, cornice, etc.

Spandrel.—The triangular space between arches.

Spandrel.—The triangular area between arches.

Splay.—The expansion given to windows and other openings by slanting the sides.

Splay.—The widening of windows and other openings by angling the sides.

Springing.—The point at which an arch unites with its support.

Springing.—The point where an arch connects with its support.

Squint.—An oblique opening in the wall of a church.

Squint.—A slanted opening in the wall of a church.

Stoup.—A vessel or stone basin formed in the wall, serving as a receptacle for holy water.

Stoup.—A container or stone basin built into the wall, used for holding holy water.

String-Course.—A horizontal moulding running along a wall.

String-Course.—A horizontal molding that runs along a wall.

Transom.—A horizontal cross-bar in a window.

Transom.—A horizontal bar across a window.

Triforium.—A gallery in the wall over the arches which separates the body of the church from the aisles.

Triforium.—A gallery in the wall above the arches that separates the main part of the church from the side aisles.

Tympanum.—The space above the horizontal opening of a doorway and the arch above; the space between an arch and the triangular drip-stone or hood-mould which surmounts it.

Tympanum.—The area above the horizontal opening of a door and the arch above it; the space between an arch and the triangular drip-stone or hood-mould that sits on top of it.


INDEX

  • Aberdeen, 443
  • Bangor, 426
  • Bath, 161
  • Beverley, 327
  • Brechin, 442
  • Bristol, 138
  • Canterbury, 68
  • Carlisle, 272
  • Chester, 248
  • Chichester, 96
  • Dunblane, 444
  • Dunkeld, 445
  • Durham, 283
  • Ely, 377
  • Exeter, 164
  • Glasgow, 439
  • Glossary of Architectural Terms, 450
  • Gloucester, 178
  • Hereford, 204
  • Iona, 441
  • Kirkwall, 448
  • Lichfield, 230
  • Lincoln, 337
  • Liverpool, 263
  • Llandaff, 429
  • Manchester, 264
  • Newcastle, 282
  • Norwich, 393
  • Oxford, 125
  • Peterborough, 360
  • Ripon, 297
  • Rochester, 57
  • Salisbury, 108
  • Southwell, 351
  • St. Alban's, 409
  • St. Andrew's, 446
  • St. Asaph's, 423
  • St. David's, 432
  • St. Giles', Edinburgh, 447
  • St. Paul's, 8
  • The Architecture of the Cathedrals of Great Britain, 1
  • Truro, 177
  • Wakefield, 333
  • Wells, 149
  • Westminster, 35
  • Winchester, 85
  • Worcester, 216
  • York, 309

Transcriber's Notes

Punctuation and spelling errors and inconsistent hyphenation have been corrected.

Punctuation, spelling mistakes, and inconsistent hyphenation have been fixed.

In ambiguous cases, the text has been left as it appears in the original book.

In unclear situations, the text has been kept exactly as it is in the original book.


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