THE CATHEDRALS OF ENGLAND AND WALES “The Builder” Series. Fr Widat Rpm i= =F From T The ba 13 Tremsept Roof: WHEEL, hi@aput Nereic). I.ONDON : The Publisher of “The Builder,” 46, Catherine Street, W.C. 1894. SW Cae LR AY ga he I Gul Ca Me ©0 4 FO Ce) PNW Sonia” 6 * [IT PREFACE. ch NE or two brief remarks only are necessary in regard to this collection of views and plans of the Cathedrals of ‘Eogland and Wales. The views are all entirely. new ones, made especially for this series; and in the case of some of the Cathedrals which are the most “popular,” and have been most drawn -and illustrated, the point of view most commonly taken in illustrations has been purposely avoided, in order to give a view which has more novel interest, and has not been so much forestalled by previous prints. Unlike most series of illustrations of this kind, the method of execution is various; some of the original drawings having been executed in water-colour, some in pencil and monochrome tint, some in pen line drawing. While there might certainly have been a greater unity of effect produced by having the drawings all executed by the same method, on the other hand the variety of style thus introduced perhaps gives some additional interest to them; and it was adopted, at all events, for a reason which all artists will sympathise with, viz.: that as the drawings are by many different hands, it seemed to me to be desirable that each draughtsman should be left free to choose the method of working with which he had most sympathy, and in which he felt able to do himself most justice. In regard to the plans, these will be to architects the most valuable part of the book, being the first collection ever published of plans of the English Cathedrals to a large scale, and the accuracy of which can be depended upon. In two or three instances they are reproduced from plans previously made by architects and kindly placed at our disposal; but in the majority of cases the buildings have been specially measured for this work. In some cases existing published plans have been taken as the basis, and have been carefully checked and corrected by reference to the building; in other cases the whole Cathedral has been completely surveyed anew. The names of the authors of the descriptive articles have been appended in special cases only, “where they had a. special personal interest in and knowledge of the Cathedral in question, as in the case of Canon Venables's article on Lincoln, and one or two others; or where architects professionally concerned as custodians of a Cathedral have kindly volunteered an article, as Mr. Waller did for Gloucester, and Mr. Ferguson for Carlisle. Where the article has been entirely by one writer engaged to undertake it his initials - have been added; but in some cases the articles are the work: of more than one contributor, and in this casc-it has been thought best to leave them anonymous, rather than attempt to assign the various portions to their owners. There is one signed description which comes under none of these heads; but every one who reads Mr. Beresford Pite's remarkable article on Ely Cathedral (written by special request, to replace a previous rather unsatisfactory one) will understand why I felt it only justice to him that he should have the full credit of it by name. 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The south-west angle of the precinct is in fact the only place from which a general and comprehensive view of the greater portion of the building can be obtained. But for the purposes of a drawing the furthest point attainable within the precinct is too close, and includes too large an angle of vision. At the south-eastern portion of the precinct there is space enough for a comprehensive view, but the fine trees which in one sense form so great an addition to the general picturesque effect of the Cathedral shut out too much for a complete architectural view, in which in any case the western towers would be reduced to a very subordinate position. The view of the central tower and part of the Cathedral from the cloister on the north side is magnificent as a picture, but loses again a great deal of the architecture. Taking the south-west view therefore as the only comprehensive one, the main lines of the building have been set out from a plan, as they would appear from a point of sight some little distance beyond the precinct. The principal heights, those of the towers, the roof ridge, eaves, &c., have been in like manner set out from the heights given in Britton’s Geometrical Elevations and Sections, which in regard to these principal measurements may safely be assumed to be correct. The details have then been filled in partly from sketches on the spot, partly from photographs, used, of course, only as memoranda of the actual facts of detail, which could thence be drawn according to the assumed position of the spectator. Nothing in the drawing is copied from a photograph. Photographs are invaluable as memoranda, but illusive as representations, owing to their constant tendency to distort and misrepresent proportion. It will thus be recognised that considerable pains have been taken to obtain accuracy of representation, and it is believed that the view of the Cathedral here given may fairly claim that merit, so far as a building of such size and multiplicity of parts can be represented on a small drawing. For it is one of the most impressive characteristics of Canterbury Cathedral that it seems not so much a building as an assemblage of buildings. Promontory after promontory opens out as you walk round it eastward; the eastern end by itself, necessarily lost here behind the Norman transept, is a grand study of piled-up masses, and the small tower at the re-entering angle of the choir aisle and the eastern transept, seen at a distance in the drawing, contains on a near view enough of rude but powerful detail to make a picture in itself. The plan which we have the privilege of publishing is a very complete and painstaking one, and reflects the highest credit on the care and ability of the architect, Mr. George Smith, of Canterbury, who drew it from actual measurements a few years ago. The plan, nearly twice the size of this reproduction, now hangs in the Cathedral Library, and we have reason to feel much indebted to the Cathedral authorities for permitting the publication of a plan which affords so valuable a record of the architectural history of the Cathedral. : Mr. Smith’s plan, it will be seen, distinguishes the dates of various portions of the building by varieties of shading. But the mere fact that this portion is of the Norman - period, and that portion belongs to the thirteenth century, &c., easily enough perceived from the plan, does not in itself bring out the true meaning and history of these changes.” Let us endeavour in a few words to sum them up here. The foundation of the archiepiscopal Cathedral dates from the time of St. Augustine, its architectural foundation in a sense probably from before that time, since it is recorded that St. Augustine made use in the first instance of a church which had been constructed already by Roman converts to Christianity. This was enlarged subsequently in 950, but when Lanfranc, abbot of Caen, one of the strong, gifted, and energetic characters who shine out from time to time in the history of the Mediaeval church, was appointed Archbishop of Canterbury towards the latter part of the eleventh century, he found the ancient church in so ruinous a state that he, in 1070, pulled it down and commenced an entire rebuilding. Of ‘the ancient church thus removed it is not probable that any fragment now exists. Having been originally built under Roman influence, it probably was of the Roman basilica type, with colonnaded aisles and an eastern apse. Lanfranc’s church extended to less than half the length of the present Cathedral, the tower being in the same position as now, and the masonry of Lanfranc’s crossing piers being probably still existent within the body of the crossing piers as they now appear ; as is indicated on the plan. The nave probably did not extend so far west as the present one by a good deal. The western transepts were on the site of the present ones, in which also some of Lanfranc’s building is incorporated. These transepts, according to the almost universal custom of the period, would have an apse on their eastern side, and the choir would have terminated eastwards in a larger apse extending perhaps jo ft. or so east of the crossing. Lanfranc built from necessity, as the church to which he was appointed was ruinous. But twenty years after his church was completed came another great alteration and extension arising purely out of that enthusiastic passion, at once religious and architectural, which again and again in the history of Medieval architecture led to the sweeping away of a building that was in perfectly good condition, in order to replace it by something nobler, more ambitious, and more in accordance with the advanced architectural ideas of a new generation. The work done under Lanfranc’s successor, Anselm, is probably that shown in black on the plan, Looking at the plan of the crossing piers, on the east side, it will be seen that Anselm, or those who worked under his suggestion, commenced by slightly widening the choir. They built a new eastern transept, and beyond it the two towers or chapels inclining inwards towards these towers, being really tangent to the large apse which completed the building eastward, and on the centre line of which was the Trinity Chapel, on the site of the present one of that dedication, but which is not the original structure. This stage of the work is connected most especially with the names of the priors Ernulf and Conrad, but more especially with that of the latter, who is supposed to have been the real designer and master of works of the choir which bore his name, and which, in all its pristine glory, was the scene of the murder of Beckett, or at all events of the savage attack which was the prelude to it. But this “glorious choir,” as it was called, was short-lived ; it was destroyed by fire, beyond possibility of restoration, in 1174. Then came in the reign of William of Sens, who commenced rebuilding the choir in loftier proportions: than before. He died before his work was completed, and his successor, an English William, completed the eastern portion of the church as it now stands. And here we are in a position to appreciate the reason for that curious narrowing of the walls of the existing presbytery as we come eastward, which gives such a peculiar character to this portion of the interior: it is the influence of the older building on the later one. It was not desired to disturb or remove the two towers which had flanked the old apse, so the new choir was narrowed to get between them, and also to bring the rebuilt Trinity Chapel on the same site as the original one; a remarkable instance of the adapting power of the Mediaeval builders in turning a practical difficulty into a new source of the picturesque. All this time the nave of Lanfranc had remained as it was, the Cathedral being in the condition in which several of our Cathedrals have remained, of having an Early nave and a later and more elaborate choir; the choir, the most sacred portion of the building, being always the first to be taken in hand in any scheme for improving and heightening the architectural effect of the building. But as Lanfranc had been compelled to build anew purely on account of the ruinous state of the church as he found it, so in turn his own nave was found at the close of the fourteenth century to be so dilapidated that rebuilding became a necessity. As far as the exterior is concerned this .is probably to be regretted, for the rather weak Gothic of the present nave is not of great architectural interest; but the lofty interior with its fine vault is far superior to anything that could have been done in Lanfranc’s time; partly of course on account of its very height, for Lanfranc’s nave must have been much lower. The latter appears to have been demolished about 1378, but the rebuilding was not commenced for some years later. The great central tower belongs to the same architectural movement, so to speak, though it was probably not completed till a good while after the completion of the nave. The piers were thickened and strengthened very materially to carry the tower. The central tower now stands as it was left, or nearly so, the ravages of time and weather alone having affected its appearance, by no means for the worse as far as picturesque effect is concerned. The western towers were recased, the northern one to a great extent rebuilt, in the earlier part of the present century. To some extent this is perhaps a gain to the general effect, for their smooth and finished appearance gives by contrast a greater effect to the rugged weather-beaten grandeur of the central tower, which is remarkably bold in detail for the time at which it was erected, and specially remarkable for the fine and effective treatment of the angles, with the series of strongly- marked vertical lines formed by the radiating buttresses, or rather (if one may use the word of a Gothic building) pilasters, for that word mote correctly represents their function, which is purely architectural and not constructive. The plan of this angle is unusual, and as far as can be judged by the eye appears to be a portion of a hexagon, the buttresses radiating from the centre. The buttress next the face of the tower joins the wall-plane at an acute angle, giving a sharply-defined shadow, as shown on the southern face of the tower in the drawing. The restorers of the western towers seem to have had the fancy, so common in Italy as to be almost a characteristic of Italian towers, of leaving all the putlog holes unfilled, a circumstance which adds a certain amount of character to them. Looking at the view once more, we see these restored towers nearest to us, and the nave with two or three of the buttresses refaced, making a strong contrast with the rugged state of those that have not been so treated. Beyond is the western transept on the foundation-lines of Lanfranc’s transept, but transformed into a piece of Late Gothic, and beyond that the plain unadorned mass of the eastern transept of the time of Anselm (probably) with its curious and rather foreign-looking tower or campanile. HHS * PLATE | INK-PHOTO. SPRAGUE & CS 4 & 5, EAST HARDING STREET, FETTER LANE, E.C H. H. STATHAY. DRAWN BY Mr. CANTERBURY FROM THE SOUTH WEST, LAP ILL Pond LISLE RS Tigh ee ois Sdvray oy “The Builder” @athedral Zievies. EXPLANATIONS. A Baptrstery B Sub rawlts C Treasiry D StAndrenws Chogpel. E Henry iv Cleartry F Corona orBechets Crown C StArselms Chapel H SeMickasls D2 | ZZe Lady or Dears’ D® J South Porch K Steers to Parruse L Westerre #nrtrance Lranfrarnc 7 net brome to ANermer { be Loanprames oreanesge Pellearre of Seres Fired Lesh Prellear 73% cernlur Y 7 4% : Al° 76-44 de Post-feformalion Ut rncerlarr Loresent eer Crery CiLOISTERS. 00 PLAN oF (anTERBURY CATHEDRAL. iO Rp dr a “The Builder” Cathedral Lrevies. Angles J Orientalior Retro-cho Lye. ———— SS) 7 — —~ SN NY | LisrARyY. H © ® | — X er CHAPTER House re —————— a SEES i 2 9 == = i Z ] > x ‘ 3 i | D Oo = 0 4 bi ——— RTH AISLE or CHOIR. MONUMENTS. 3 Deen Lyallé cenotaph 2 SAT prert 3 Onlando Gibbons +Abp Sronners cenotaph & 37%. merc 6 on: eyo 7 Serdames Hales 8 Abp Peohom 9 , Warkam 10 Dear. poppers "noo, Fotherby 12 » Boys 43 # Nevel E23 Ap Chechel 5 5, Honwleysr cero 6 5» Ph ii 3 Henry iy 18 Dears Wotton so Cardznal Fole 20 » Chasétillcon 21 Urlprorr 22 Abp Courtenay 238 The Black Frere 2s AbpMepharre 25 ASeec wry RZ] »ileny 28 wHubert Walter 20 » Walter Beyrolds 50 Stepliern Lan ton 31 4 Doroth ornhurst 32 Ser George Looke 33 Lady Zrharnhurst 34 Margaret Holland 55 Sor Thomas Thorre rst 36 L£5Col Prede 35 » Godf rey 38 ”» Mackesorn 30 Berkeley 40 1LCl Stuart 41 Sympsor. 12 16% Lancers 43 1 Lipht Infantry +5 8B wehop Brovghto 7e 4dasnvyy 3°N LL [ LdISNVYY | MNS Seale or Palau » 20 ( i J 3 EY ST ec Leer | 1 ——ea an a PressyveryY TrRiNniTY CHAPEL So SU TH AI1SLEor CHOIR Ld3ISNVYE | JC Measured and drawn by G.Smith. 1583. Reproduced. by permassuon of the Dean, from the Flan wn the " 9° 18° fuce Cathedral Library at Canterbury. PHOTO-LITHO. SPRACUE & C© 4 & 5 EAST HARDING STREET FETTER LANE, E.C. LICHFIELD. sag [| E early history of Lichfield, like that of most of our cathedrals, is | considerably mixed up with legendary lore, vague accounts of massacres, and the wonderful occurrences surrounding the life of the Patron Saint. The latter history of the -See has been so full of detail and memorable occurrences that this earlier history is, perhaps more than is usually the case, placed in the background. Its very position, in the centre of England, and in the midst of one of the principal fields on which the Civil Wars were fought, rendered it more liable to mutilation than probably any other cathedral in the country ; the fact that its Close was a fortified one made its cathedral an object of attack; and, lastly, the merciless treatment it received from the Parliamentary soldiers in the first place, and from Wyatt in later times by “restoration,” filled to the full its cup of misfortunes. The purely historical matter is outside the limits of this description, except where it bears directly on the building itself. The Cathedral, as we see it to-day, is the result of many years of patient labour and skill devoted to its restoration, and. the result must, as a Dealing, in the first place, with the whole, be pronounced to be highly satisfactory. plan, we find a simple and straightforward scheme of design. with aisles and two western towers, transepts with eastern aisles, a choir of eight bays with aisles and Lady Chapel at the east end, the Chapter House on the north, A nave of eight bays its eastern wall. Of this eastern wall considerable traces exist under the present pavement, and are shown (slightly hatched) on the larger ground-plan, passing under the seventh It will also be noticed that this late extension deviated from the straight line of the first design,—it had, as the Norman addition had, a slight inclination southward. The deflexion is also to some extent visible at present in a mass of masonry outside the second buttress (counting from the eastward) of the south aisle, which is evidently a portion of the footing or plinth of this earlier building. At this period, too, a sacristy was built on the south side of the choir, and an additional room on its west side, which may have been a depository for valuables. Both of these also remain. , During the same century the reconstruction of the transepts and the building of the beautiful Chapter House* and its vestibule took place, and before the end of the century the nave and a portion, at all events, of the west front had probably been built. It will be seen that the nave, although at right angles with the transepts, is not in line with the choir. It seems probable that, as the Early English choir followed pretty - closely the line of the Norman choir, so the transepts and the nave did likewise, and the divergence from the straight line, whatever its meaning, was in accordance with that of the earlier church. The extent of the deviation of the centre line of the choir from that of the nave is 5 ft. at the east end of the Lady Chapel, a distance of nearly north and south piers of the present presbytery. LICHFIELD CATHEDRAL Plans shewing the alferalions & additfons fo Choir 8. Preshyrery, _ (sec also general ground plan) ie fF 2 13 29 R “Scale ~~ ev =" a= — pp mn & = - Pp ’ RS ® SSE Ts = - a - eT > » —— —-- 2 The Early English Choir 4. Exlension 1. The Norman Chor ¢ @ © Pb #2 ¢ ¢ ¢ 5 The Rebuilding of Presbytery gpnesiniey ICHFIELD I = To i eo I} I); ! — Tel XK] { LO Lo] Mn li 5, 4 ~~ I lk Es OCS 2 all under site of feredos fee) | 3, I #4 is : A ee Z qt a EB I in ll ual if | fi 4 7 Decorated approached by a vestibule, and on the south an ancient sacristy—all these, as will be seen on reference to the plan, make up a very symmetrical whole. The gradual growth of the building is a point of interest, both in itself and as an example to compare with the growth of other buildings coeval with it. In 1860 the Cathedral was undergoing a thorough restoration by the late Sir G. G. Scott, and in the course of the alterations and the sweeping away of Wyatt's excrescences, the foundations of the early buildings were discovered, and at that time carefully plotted. A paper, by Professor Willis, read before the Archeological Institute in 1861, gives the result of the exploration. We are also able, by the kindness of Mr. St. John Hope, F.S5.A., to give “a series of plans showing the gradual growth of the eastern arm of the church. This should also be taken in conjunction with the larger plan of the whole building, on which has been shown the relative position which the early bears to the present structure. The only portion of the Norman building of which we have any remains, is the choir or presbytery, with its semi-circular apse. “(See Plan 1 and the general plan.) The lines of the choir of this early church, which probably extended to about go ft. westward of the present central tower, seem to have been followed in later times, although some of the buildings of intermediate date show deflections southwards. The first growth, a small one, was a rectangular chapel extending beyond the Norman apse for a distance of 38 1t. and with a slight inclination to the south. (See Plan 1.) very complete character, involving the destruction of the superstructure of Norman times, and substituting an Early English choir. This thirteenth-century building, which is the first which appears above ground in the Cathedral as it stands at present, was apparently The next change was of a planned to enclose the early church, the inner face of its walls almost abutting on the outer face of the earlier ones. It extended also further eastward, and had a square termination. The plan No. 2 shows what the form and dimensions of this church in all probability were, and also the later extension which, like the Norman Church, it underwent, an extension of two bays farther to the eastward, giving four altars across 200 ft. from the centre of the eastern arch of the central tower. The Chapter House and its vestibule follow the line of the choir, and are not parallel with the transept, and the same applies to the before-mentioned sacristy on the south. We now come to the last and, to some extent, the most important change in the building. - Walter de Langton became bishop in 1296, and, like Beckington at Wells, was a great benefactor as well as builder to his city and church. The Lady Chapel, as we see above, was commenced by him, and formed the beginning of the remodelling of the presbytery. The “feretrum,” or shrine of St. Chad, was made at a cost of 2,000/, and placed immediately east of the great reredos (see g on general plan), in a corresponding position to those at St. Albans and Westminster. Langton’s successor, Roger de Norburgh (1322-1359), carried on the scheme of rebuilding westward, by finishing the Lady Chapel (for which money had been left by Langton), pulling down the Early English work as far as the third bay eastward of the central tower and rebuilding the presbytery, making the eastern arm of the church of eight bays (exclusive of the Lady Chapel) instead of seven as before (see Plan 3 and general plan). The central gable of the west front and the two western steeples were Norburgh’s work. Only the south-west or Jesus steeple remains, however, in its original state, the north- west tower above the sills of the belfry windows having been rebuilt in Perpendicular times in imitation of the earlier work. The height of this tower is not so great as the “Jesus” steeple by nearly 2 ft, and the spire is also shorter. The central spire was rebuilt by Bishop Hackett (1661-1669), to whose energy is due the restoration of the Cathedral after its spoliation during the Civil Wars. Of the ancient fittings of the Cathedral as it stood in the fifteenth century not a vestige remains. In 1643 the Close, protected by a wall and ditch, was garrisoned * The Chapter House is of two stories, the upper one, approached by a circular stair at the south- west angle, being used as a library. ’ 8 ih | The Cathedrals of England and Wales. for the King, and during the next three years it underwent three sieges, being finally surrendered to the Parliamentary forces on July 10, 1646. In 1643 the pillage took place. A clean sweep was made of the ornaments of the church, and the records were destroyed ; the brasses were taken from their slabs, and the main structure itself had suffered severely by the destruction of the central spire, and damages from the fire that had been kept up on it during the siege. Of what little might have remained down to the period of Wyatt's restoration, or “improvements,” as they were at that time called, we have to-day but two or three monuments left; two early effigies, one said to be that of Bishop Langton, who was buried first in the Lady Chapel and afterwards removed to where Bishop Hackett's monument now stands, and the other supposed to be Bishop Patteshull (1243). They are now behind the choir stalls under two arches of the south arcade (# and z-.on plan), and are both of Purbeck marble. There is also a sixteenth-century monument opposite, in the south wall, to Licheetd / ff 5 : CS reaa. J ff (EY LL ft] f= Tin Ik = = = A nme AE | o Till) ¢ NX \ oo WN CRE \ N=? & A is WN Yl : iF 4 a XD & AS 2 ; a ig 10 : 4 Ee Wess iu serial 0 iT A) NY \ / ¥ — ' ) . 7 \ — =I [ R= = i Callery nthe. Aouth CRor Atsle %. enfiance heli rR ~ Sir John Stanley, of Pipe (1515) with an effigy under a canopy, and at one or two points in the nave and choir (see plan) a remarkable type of monument consisting of two recesses in the wall, resembling aumbries in size, containing the head and feet of an effigy. Three fourteenth-century monuments between the buttresses on the south side of the Lady Chapel have been restored as a memorial to Bishop Selwyn, whose effigy is placed in the central chapel. An interesting effigy of an archdeacon also remains under what was a rich Decorated canopy, outside the south end of the east aisle of the south transept. Traces of the Chapel of Dean Yotton are still to be seen outside the wall of the north nave aisle, where a four-centred arch with most delicate carving in the spandrils still remains,—now locked up. Other special features of the building are the Chapter House, with its arcading and vestibule; the sacristy, on the south side of the choir, with a stone gallery projecting into the choir aisle (said to have been for ‘the exhibition of relics to the pilgrims on their way to the shrine of St. Chad); and (> HL : 7A the monument of Bishop Hackett, formerly in the south transept, and removed here about 1787, with some good heraldic work on the splay of the window, which is here deeper than the others. There is a broad double band of foliage on the splay of this window, which was probably inserted when Dean Heywood’s monument occupied the site. There is some curious work in the details of the early walls of the choir, and ‘the treatment of the entrance to the vestibule from it on the north (see sketch). The junction of the two dates occurs here both in the side walls and columns. The way in which the Early English column (an octagon of 5 ft. diameter surrounded by clusters of three engaged columns) was partially cut away and partially utilised in the new work is interesting. The plinth was kept, and the forms of the later clustered shaft were evidently designed with some regard to the earlier work. On the east faces of the arches at the west end of the choir aisles is some Early work with chevron ornament (of similar character to the well-known work at Wells and Glastonbury), and probably one of the earliest pieces of work in the building. The recent restoration under the late Sir G. G. Scott was really begun in 1856, but it was not until 1858 that the choir was handed over to be dealt with on a more extensive scale. Wyatt's work has happily been effaced, a modern reredos has been erected on the site of the old one, and new stalls, a metal screen, and a metal pulpit have been provided. The organ, formerly over the choir screen, a composition partly in cement, by Wyatt, has now been removed to, and occupies the greater part of, the aisle of the north transept. Tiles, taken in a large qn i rq number of cases from the old examples found, have | ypg.p, been laid down in the choir, and there has been The Char gradually springing up around the new altar a group of modern monuments to the memory of various gatinet dignitaries connected with the church at Lichfield.* Junction Sec of Early English Wen % vo Decorated. It is to be hoped that when funds are procurable, a screen will be placed across the entrance to the Lady Chapel. It would vastly improve the interior, which suffers, if in anything, from a lack of “ mystery,” besides being a restoration in some form of what originally was intended, and which actually did exist until the Civil Wars. Reverting to the plan once more it is believed that this is the first time it has been published to a large scale. All the chief dimensions have been checked and plotted on the spot, the sacristy has been reduced from drawings made during the restoration, and much information has been obtained as to the position of coffins and monuments from an excellent plan made by Mr. J. T. Irvine, to whom we are indebted for other information concerning the fabric. - The plans showing the gradual enlargement of the presbytery were made by Mr. St. John Hope, F.S.A., and Mr. Irvine, and have been kindly placed at our disposal for reproduction by the former gentleman. The general view from the north-west, shows the west front filled with its sculpture, the latest portion of the restoration, and which once more brings it back to something like its original beauty. * By an error the monument of Archdeacon Moore, d. 1876, has been omitted on the plan. Tt stands in the next bay west of Bishop Hackett's monument in the south aisle. Po PLATE 11. i i F Ar NO a AAA TN PA N\\ NRA AN 7 TANNING A \ CHF RFHET D INN. RX Hy my ill in / i Ml = — PHOTO-LITHO. SPRAGUE & C? 4 & 5 EAST HARDING STREET, FETTE'R LANE, E.G LICHFIELD FROM THE NORTH WEST, DRAWN BY Mr. W. H. BIDLAKE. = — —— — —— Sa RS SE —— = —— — — ~~ ———— RS SS = eo ——— a a a = = “@he Builder” @athedral Series, The Builder’ Cathedral Hevies, LICHFIELD CATHEDRAL. GROUND PLAN. a 370 feel — — ~~ - - N 7 \ » | | } Ny | | | | a i , He \ 0 t i ir ules ' yoo Ln ay ar > | [face N 8 = a 7 X N < 7 oe of Bishop” i tr. q Sesthe oes : = 7 4 ned ‘on N . } N ~ ' Lal) ’ «__TRANsEPT \ A N 7 = / / \ wlio ~ cdl > 7, 1 .YY% ka oo T Pra i iT ’ bv ; i ” N SN : > 3 N SN v r j at nr sob i Sale Sas wt) bor RETA TE in AS fa ik Ad Vb i 5 1 z ~ 2 Noe) il ~ | 7 N | , Ne J / —_——— = — Le em ee I mm = ae et Ye ee ee ee ee | s ” - 7 N > ol | 5 os zg : ™ ” i TN | 5 Z 5& BF OU AH ASK ep mE Te To e > | i ~N Vo Sy i ~ i” od ~ ~ z Tay os D Sat Xe - DD i i Room Former! receptacle for Nave. & Transep. A. Remains of Dean YoiTons Chapel (AD.1512). ”. Coffins discovered. cc. Foundalions o intended buttresses. 0.0. Dem -Effigies w wall. ny | / “TRANSEPT \ ol 5 ae | | X 2 > | E. Anciebl monument outaide Transept” F. Site of Monument of Dean Gasey (An.1337). C. EFffiQy of Dean Heywood (An.1492). HH, Fonvment L. Mont Mrs. Mary Madan. (1227). +5 Gen! Rich? Vvse (1325) K. Sir Chas. Oakley Bart: (1926) Approximalie Dares. L. . Catherine Buckeridge (1787. Westmacolt sculptor). ] (I M. Organ (now occupres whole of Aisle ). Chow 1200 Nave 1250 N. Bust of Drdohnefon (1784 Weafmacort acuiplor) - N 0. Mont Bishop Cormnwalths (1824). OS Trane pt 122.0 D\\ W. Fron!” 1275 Loa : § {pror). ois oe P Pus of Garrick (1799 Wesimacdt aculpior) NTreasctt 1240 HH Lady Chapel 300 R. Mon’ Andrew Newton Esq (1806). ch Pret leri25 S. Ofticers 80 Reg Siatfordshire Volunteers (1791). Chapfer To. roomier y. T. Mon" Bishop Smallhroke (1749). Note y. Dean Howard (1868). = The portions halched wn Choir &. Preshy ry thus 7 Here fier srwbd that of Bishop Lan fon & 2econdly shew (1) The foundations of the Ape. @) “Walls otChapel aflerwards added job SF AIRE Xatier: We Wate teahidhae &.(3) The transverse wall witch famed E.end of Barty English’ building. ~ fon =e i CoE me erry I 270 Zz : Ee IS 7 | Aap) Tl ! iY / BS AS fay Noy \ Al Ni / l Vo Le A DY J | / | \ J / \ \ fo ae ee pes air ne A \ ! y As th / ne bali Yt £/") > 1 CHAPEL Fy od Soy / ~ x iy da \ ~ \ / CN N\ V9s ~ a fy > y ih Ni \ a v wall. Choir. V. Traditional sie of Interment of wo Saxon Kings. Er AT IIA a ORO NXE . Effiqy of Bishop Langton. " « Bishop Fatteshul| (1243) Mon® & Remaws of SwrJohn Hanley & Pipe, (1515). Morr. of Bishop Hackett (removed here c. 173) . Here dvodMor of Dean Heywood) Site of fone coffin of Adam de Sanford, Precenfor; (1278) Coffin found 1856 - Probable zife of Moo' of Pushop Scrope. (afterwards Archbishop of York). Beheaded 1405. Die of Monk of Bishop felon (1295) Probable sife of Mon’ of Mishoo Rlyrbe. 1530 abe of Mont Fof Rok! Master, Chancellor (1625) Resfroyed during Ctl Wars. Se of Shrine of OF Chad. Sie of Robert Lord Passette Mon' (1390) . Deseribed by Sie W.coft as Marmons "Sleeping Children” Naus. of Canon Rehinson (1812. &. 813) Dir F Chavirey 1817. Sife of Pishop Langone Mont (132.2) . Prsbable Sire of Mont of Pishop Lengespee or Meulan or Meylan (1296). Piohop WR de Corbhull (d. 1222). ve of Done Green. Destoyed during Civil Wars. Three 4* Century Mon'® reafored 1879, in memory of Fishop Selwyb. Bishop Ryder dig36 (Sir F Chantrey sculpt). Major Hodoon 1858 (CESreer RA). Pughop Lonedale 1668 (Dw GC. Seott RA. Effigy by Xatts) Archdeacon Hodson 1845 (CESKTeet RA. Earp Sculptor) Ancient Mon® oufotde Dacrioly (is Ceotury). Fito tv Rul Hows del” Jay 1891 ~ PHELCTO-LITHO. SPRACUE & C9 4 8 5 EAST HARDING STREET, FETTER LANE, E.C BRISTOL of Saint Augustine at Billeswick, outside the walls of Bristol Castle, in 1142. Four hundred years afterwards,—namely, in 1542, —the first Bishop was elected to the See. These two dates mark the two chief epochs in the history of Bristol Cathedral, now dedicated to the Holy Trinity, formerly dedicated to St. Augustine, and forming the Minster church. We have but scanty remains of the Norman church, and it would be difficult to place the work that remains as belonging to Fitzharding’s original = structure. But the transept walls are very largely of the Norman period, retaining on the south front the mark of the pitch of the early roof They have been much altered in later times, but enough remains of this to testify to the importance and size of the first building. It is in the conventual buildings that we find the most important remains of this period. The beautiful chapter-house,—now somewhat shortened,—is unique in its way, and is approached by a picturesque vestibule divided into three aisles. North-west of the church are interesting remains in the" lower portion of the great gateway of the monastery, and on the south side of the cloister, towards the river, are considerable remains of the monastic buildings incorporated with more modern work. The fine doorway, of which we give an elevation, led from the south cloister walk to the refectory. This is, of course, later, and Early English in style. : Returning to the church, we find that in the thirteenth century a Lady Chapel was erected eastward of the north transept, parallel with the north side of the Norman choir. It was detached on its south side from the church, like similar additions of later date at Peterborough and Ely, and the early wall of the transept was very curiously cut back to obtain sufficient space for the Early English arch. This chapel, now in a sadly ruinous condition, has some very beautiful wall arcading, richly ornamented with sculptured grotesques and some slight remains of colour decoration. Fitzharding’s church was destined, in the fourteenth century, to be replaced to a large extent by a structure which is also of the highest value, and for which we could more contentedly spare the first building. In 1306 Edmund Knowle succeeded to the abbacy, and commenced the great work of rebuilding the church. The change was commenced, as was usual, at the east end, and we may conclude that by the time of his death in 1332 he had completed the greater portion of the present presbytery and choir. Knowle increased both length and breadth, and his new aisle abutted against the wall of the Early English Lady Chapel and closed its windows on that side. There are, however, two portions of the eastern arm which do not seem to have been included in the work actually completed by Knowle. Firstly, a chapel, known as the - Brigfol Cathedral Doorway fo the Refectory Berkeley Chapel, projects south from the easternmost bay of the presbytery aisle, and is approached through a vestibule or sacristy, with some very interesting and curious carving and skeleton vaulting. From evidences on the exterior, where the plinth is of different design, it appears to have been an addition by, perhaps, Knowle’s successor, John Snow. Again, on referring to the ground plan, it will be seen that the vaulting of the western bay of the south aisle of the presbytery differs from that of the rest of the church. It seems possible that in rebuilding the church Knowle was more anxious to complete the north side, as being that seen from the public approach, than the OBERT FITZHARDING founded the Abbey for Canons Regular south, which joined the monastic buildings. The Early English, now known as the “ Elder,” Lady Chapel was retained, and used for service during the progress of the new choir, and was afterwards incorporated with the new work. On the south a Norman chapel probably still projected from the east face of the transept, and this might have been left until the rest was complete, and afterwards added by Snow when the whole scheme, including the chapel, now the Newton Chapel, was carried out. The central and western portions of the church were undoubtedly intended to be carried out in a corresponding style with the presbytery. As was the case at Salisbury, foundations would seem to have been laid, if not for immediate use, at all events as a preparation for future work, and a guide to future builders. At Lichfield an example occurs of a strongly-marked orientation—a deflexion of the eastern arm. to the north. The same occurs at Bristol, and, as in the other case, is Priel Cathedral Tomn & Thgmen Lo - erke! ey fdr TIT mm I | =H 5 i tm aL LAT Vautting probably a retention of the lines on which the earlier church was built. We know from records that the great building Abbot, Knowle, was buried in front of the rood altar (which stood under the western arch of the central tower). Although this fact does not prove that Knowle completed the fabric, it seems evidence that he had completed his ideas of the transformation of the fabric up to that point, and his grave thus marks the limit of his work westward. It was found, however, in 1866, when the ground was lowered, that 'the foundations had not only been put in on the north side, but a portion of the west facade had also been set out. Here again it must be borne in mind that the north side was, at Bristol, the public approach to the great church, and that, therefore, it might have been considered as of greater importance that in any alteration of the fabric provision should be made for the completion of that side before that facing the monastery. The nave in Augustinian Abbey chugches having often been used as a parish church (the altar under or west of the rood screen being the parochial altar) was an additional reason for this mode of procedure. Abbot Newland, in the fifteenth century, would seem to have carried Knowle’s work (supposing the foundations to have been his) up to the sills of the windows, but the dissolution over- took the monastery before the new nave was completed, and with the destruction of the Norman nave (which would seem to have been left by the later builders), Bristol, made a cathedral, remained an incomplete building up to 1868, when the foundation-stone of the present nave, from the designs by the late Mr. G. E. Street, was laid. The central tower, which has been purposely omitted in the foregoing account, demands some special attention. From a casual glance at the pavement, it is evident that the tower is not square, but on more careful examination, the reason of this is evident. As has been before noted, the presbytery bends to the north, being out of the line of the nave by about 5 ft. at the east end. When Knowle rebuilt or transformed the piers of the central tower, he kept the east and west arches parallel with the sides of the transepts, and at right angles with the lines of the presbytery, but the north and south arches were made parallel with the nave; and the ingenious manner of the planning reduces to a minimum any distortion which may be apparent in looking from west to east, or vice versd. The upper, or belfry, stage of the central tower is of fifteenth-century date—early in the century, and probably the work of Abbot Newbury. It is, as will be seen on reference to the exterior view, a very stately and impressive piece of design, simple in detail, but now, unfortunately, in a sadly dilapidated condition. It is, however, decidedly a feature which adds considerable dignity to the Cathedral. The exterior of Bristol Cathedral is certainly no guide to the effect of the interior. On first approach the buttresses with considerable projection, and the great height of the side aisles, have a peculiarly heavy effect, the value of which is not appreciated until the interior has been seen. Knowle, as if foreseeing the rise of the great western mercantile centre, and its consequent smoke-laden atmosphere, designed his choir, if for nothing else, certainly for light. He placed a magnificent nine-light window at 10 The Cathedrals of England and Wales. the east end of the Lady Chapel, and filled it with equally magnificent glass, illustrating the stem of Jesse, and he carried up his side-aisles to an almost equal height with the central aisle of the presbytery, introduced the peculiar form of vaulting which we show in the sketch, and inserted tall transomed three and four-light windows in the side walls. There is consequently no clearstory, and the place of a triforium is taken by a passage which passes round the interior on a level with the window-sills. The vaulting of the church is a very curious and interesting feature, one of the most curious examples being that already referred to in the sacristy on the south side, and which was fully illustrated by measured drawings in the" Builder, August 8, 1885. Uncommon in design also are the sepulchral recesses, apparently a portion of Knowle’s original design. They occur in the side aisles of the choir and presbytery, and on either side of the Lady Chapel. Two in the north aisle are empty; the three in the lady Chapel are occupied by the effigies of Abbots Newbury, Hunt, and Newland, while those in the south aisle are devoted to the descendants of the founders, the Berkeleys. The effigy of Thomas, Lord Berkeley (of whose tomb we give a sketch), is a fine piece of workmanship, with a good example of a heater-shaped shield, charged with the Berkeley arms. There is also a curious Berkeley monument in the Berkeley Chapel, with armorial shields. : ; Another interesting feature is the elaborate arcading of the Lady Chapel, with its series of lias shafts and grotesque carvings. This portion of the church is in need of restoration, but it should be most carefully done, and the carvings religiously preserved from scraping. Other features of later date are the reredos at the east end of the Lady Chapel, erected by "Abbot Burton (1530-1537), and consisting of three large ogee arches deeply recessed with armorial bearings above, and a cresting in which the Abbot’s rebus is placed (see sketch); the choir-stalls, the work of Abbot Elliott (1515), with curious misereres ; and the monuments of Paul Bushe, the first Bishop of the See, 1542, in the north aisle of the presbytery, and those of the Newton family, of still later date, in their chapel adjoining the south transept. Now that the Cathedral has been, so far as the main fabric is considered, completed by the rebuilding of the nave and two western towers, it remains for the presbytery and the choir fittings to be brought back to their proper position. Knowle carefully marked the extent of the presbytery in his vaulting, the first four bays eastwards from the tower having cusping introduced, whereas those further east are without it. Everything now is pushed eastward, and the ritual choir occupies the site of the altar and the former aisle or ambulatory which passed behind the reredos and divided it from the Lady Chapel. The result is a sad want of elevation (there is only one step between the west and east walls!). So long-as the Cathedral remained in an incomplete state, some sort of arrangement such as this became necessary, but now there is every season . why the internal arrangements should be brought back to their att RX Al 0 N | 57 ] b an aif 8 2 os or 3 DEL " Bl 5) O y, dl ) 14} 3 WP t Nigam ve) 3905s | pe hg Bristol Cathedral. I Rebus, of Abbot” Burton fam feredos, 2 Inifiale’ of Thos Wight original and proper place, and thereby add a dignity to the interior which is at present seriously wanting. The monastery on the south side, the chapter-house, and refectory, have already been noted. The east cloister alley remains, and is roofed ; the north cloister has been moved outwards by Mr. Street's new nave, and has not yet been covered in. The quadrangle is not square, as the south side runs parallel with the choir and not with the nave. The western portion, or nave, shown on the plan, has been taken from. one kindly placed at our disposal by Mr. Arthur Street. The remaining ancient portion of the Cathedral has been specially measured and plotted for this series. wah 2 w PHOTO-LITHO. SPRAGUE & C° 4 & 5 EAST HARDING STREET, FETTE'R LANE, LEC BRISTOL. FROM THE SOUTH EAST. : DRAWN BY Mr. ROLAND W. PAUL. Whe Builder’ Cathedral Series, BrRisToL CATHEDRAL. G ROUND PLAN. I Ld 23 3% 3: SP 100, Foet- “Scale. ine Dales. BE Norman. FEL rank EJ EarlyEnglioh. —~ Decoraled. da Moa: Lo hutlt” from dest the late G. Eafe ada 2 opened 23.19 lowers aby ag of Ry roof cotnpleled June (888, il —- ‘ ry oon Se Ny ER oA : See al IF AN 0 lo . If == : ne Load = i > Vd Sg A _— al -- Syste 7 fetal - f=» iT bk rr Yi | Z ys | tes : ee ales IN ANSE A ‘ I Zh i 1 rl = bi - Ce eB Ts il mar? ; i |_cenlre ine, of Choir cenlte nc of Nave . Reference. . | Tomb Ablock Ne ewbury. ion i W2 Hunt? 4713 3 « « Newland. 3 31. 4 Bedi 5. Peredos. 6 Tomb Bishop wl Bushe. 154-2. . Mont Mrs. Middleton. 1326 3 Remains of redos (Rrpendicular). 9 Se (ho Hi io Torte: “Maurice 14 Berkeley &.bisMother 12 Arched recess (ro Monumeno 13 Berlele Font Te s.[9Berkele ey dw 14 Tomb oie Briel % 128. 15 Tomh-Thes. 14 Berkeley d.1243 16 Mont Si Richard Newlion Gadock. 17 « Si-Heor ry Newion. d.vs 29 2 « DirJohh Newton d.166 So fo Monaster wy. ebus of [ky Jens HE rc. norway (oo Kefeco fh Churdhye 9 9 Earl Et lish a 23%. Modern Stone Screeh. 24. Monumen'= Dir Chas. Vaughan 1630. | Decora Road doovidy wall. ° aa ed 5 tots cogs 2efeele _modern wall Cloister * hy I U CLOISTER COURT. modern approach. Fast 2-1 oust Toul oma st dell: Site of the Refectory. {now School) PHOTO-LITHO. SPRAGUE & C° 4 85 EAST HARDING STREET FETTER LANE. EC “ @he Builder’ @athedral Series. Ag 3 Tora. Coal. bine Sa Ra 3 oon fanaa 4 5 Doh dn cd Pes Ey y i Re TR Seles 7 , To EN 2 Ne pecs ne ins ln pA A ha i a SE i ban A ein Sn St nS a ae CARRE s i Migr a Senne Hs i ROCHESTER. BILE Cathedral Church of Rochester is situated a little eastward of the Castle, almost under the shadow of Archbishop William's mighty keep, and about midway between the High Street and the old southern line of the city wall. The first church that occupied the site was built, apparently of stone, by Athelbert, King of West Kent, in 604, and dedicated in honour of St. Andrew. It stood just to the west of, and partly under, the present church, and the foundations of its eastern apse were found in 1838 Its plan and extent westwards have during the underpinning of the west front.* not, however, been traced. The old church seems to have survived the various ravages of the Danes, but by the time of the Norman Conquest it had fallen into decay. = It was, therefore, pulled down by Bishop Gundulf, who built a new church to the east of it, and replaced the secular canons whom he found in possession by a convent of Benedictine monks. The new church consisted of a presbytery and choir, both with aisles, six bays long ; a very narrow transept; and a nave and aisles (left incomplete) of nine bays. The presbytery and its aisles were square-ended, with a small square chapel projecting from the centre of the front, and both presbytery and aisles stood over a crypt of four bays. There was no central tower, but in the angle formed by the north transept and choir stood a massive detached campanile, built by Gundulf, probably as a defensive work, before he began his new church. Much of it still remains. On the south side of Gundulf’s church, in the angle east of the transept, was a corresponding tower, but of lesser size and closely connected with the main building. This was removed in the thirteenth century. Of Gundulf's work we can still trace five arches of the south arcade of the nave, but recased on the nave side; five bays of the south and three .of the north wall of the nave as high as the window sills; the great north tower (in ruins) ; the western half of his crypt ; and probably the main part of the choir walls. - The nave, which was the parish church of St. Nicholas, had been left incomplete by Gundulf, probably on that very account, but from indications found during the recent underpinning, some attempt seems to have been made to finish it. About 1115, however, the nave appears to have been boldly taken in hand by Bishop Ernulf, and given much its present form. But the west front and the diapers filling in the heads of the triforium openings are a little later, though done in continuation of the “Green Church Haw” on the north of the cathedral church. During the fifteenth century the clearstory and vault of the north choir aisle were built, and new windows inserted in the nave aisles. The Norman clearstory of the nave was also taken down and rebuilt in the prevailing style, the north pinnacle of the gable replaced by an octagonal turret, and the large west window inserted. The still later extension westward of the south transept, which was the Lady Chapel, by the building of a nave, completed the chief alterations and additions made to the church before the suppression of the Benedictine monks and re-foundation of the secular canons. : : In 1664 the south aisle of the nave was re-cased, and four years later the north aisle was partly rebuilt. In 1749 Hamo de Heythe’s addition to the tower was also rebuilt, and in 1763 the bad state of the west front necessitated the lowering of the southern turret and the entire rebuilding of the north turret. In 1826 and following years large sums were spent in repairs under the direction of Mr. Cottingham, who also pulled down the spire and re-cased and raised the tower as we now see it. A more conservative reparation was begun in 1871 by Sir Gilbert Scott, who thoroughly repaired the whole of the church east of the nave. The repair of the west front, which had to be left for lack of funds, has since béen carried out by Mr. J. 1. Pearson. Externally, the church is uninteresting, and its appearance is not enhanced by Cottingham’s poor tower and Scott’s roofless gables. The west front retains much of its original Norman work, though in so bad a state that a good deal of the facing must be renewed. There is no’ need, however, for the repairs to include the adding a new head to the mutilated figure of our Lord in the tympanum of the great door, nor ought the unique images of Henry I. and his consort on the jambs to be ruined by giving them new faces. Yet we hear such mischief has actually been suggested! Internally, though not remarkable for beauty, the church is an extremely instructive example of the growth of old buildings and of the way in which the old builders altered them from time to time to suit their tastes and needs. The chief feature of the nave is the rich Norman work of the arcades and triforium ; but the Perpendicular clearstory and roof are of very ordinary character. Of the Decorated work only two arches on each side remain. The east end of the nave has an unfinished look through the shafts of the tower arch being stopped off at some height from the floor. This was on account of the existence here of a solid stone screen or rood-loft against which, until 1423, stood the parish altar of St Nicholas. The south transept was built at other work. Whatever alterations were also made in the choir and presbytery have disappeared through later rebuildings. About the end of the twelfth century, subsequent to a fire that took place in 1179, the reconstruction of the crossing and transepts and the building of a central tower were begun. These works were, however, temporarily abandoned, and instead the eastern part of the church was taken in hand. The works were carried out by Prior Ralph de Ros and his successor Helias, and included a spacious eastern transept and a new presbytery of A more than twice the length of the old one. The new work was built up around the Norman east end, and when it was sufficiently advanced the castern half of the old presbytery and the part of the crypt under it were taken down. The new building was then finished, together with an extensive crypt beneath it, which was joined to the western half of the I. old crypt. The Norman choir, which had up to this time been used for E the monks’ services, was now altered to harmonise with the new presbytery, where the services were temporarily carried on. The work included the eastern piers of the new central tower, with the arch above them and the bay of the transept immediately adjacent on either side. The new choir, which was first used in 1227, was built by William de Hoo, sacrist (who became prior in 1239), out of the offerings at the tomb of St. William, a Perth baker, who was murdered outside the city of Rochester in 1201, when on a pilgrimage to the Holy Land, and canonised in 1256. With the widening of the south choir aisle, and the partial rebuilding of the north aisle, the reconstruction of the monks’ half of the church was complete, ‘and in 1240 it was formally consecrated by the Bishops of Rochester and Bangor. Shortly after the completion of the new choir the north transept a i HN Ormond En race. N, 3 NN mE RR ed Rochester Cathedral. Pan of Crypl? Norman, fempGundulf SER Foundations of Cundulfs Bend. V/. 2: Mediaval al teralions & extensions NN A NN an | L A R% \, 2, 3 - \ 5 3 Tr Di, ~ SA 3 »N > \ »N v7 / 77 | | | | | YS Ne x | 2 WA \ TR ses, . 5 ~ , N . 3 .. > 75 ty SY . 1 28 1 PAREN i! Ze WN rr N of =: ETHOS - Ne ’ \ Y ’ 4 ’, ’ Nv’ 2’ 1 ‘ > 1 N . 2 ’ \ ~ > ~ AN hs . |’ >. 7’ aN ’, Ne ss \ ¥, ive Se Se 2 NU SO ~ “ = = mlm me ---- o TTRRERS Ur AR DENS > 2 PN 7 N wa PRES ZS ” 0 2% ,e fo ’, SN 7. Nel” \ \ >, IN pal d| A : (3 iL) | I 1 ' >, Ne” 1 1 NY hi IN” 7’ S ~ ‘. 1 NO 8 ‘, No | A oe, at ~ Nel, ae AI TTT TV $ hell 1 er x 3{Fea- Sadie. Her ar was taken in hand and finished, together with the north-west tower pier. Owing, probably, to lack of funds, the rebuilding of the south transept and the carrying-up of the new tower clear of the roofs were not completed till the end of the thirteenth century. The reconstruction of the nave was also: begun, but abandoned after two bays had been altered. In 1343 the central tower was raised and capped by a wooden spire by Bishop Hamo de Heythe, who also placed four bells therein. The only other important works of the Decorated period were the side windows of the presbytery, the door and lower walls of the chapter-room, and the upper part of the south choir aisle. In 1423 the altar of St. Nicholas was removed from the nave into a new church built for the citizens in the graveyard called * See an excellent paper by the Rev. G. M. Livett, in “ Archaologia Cantiana,” vol. xviii. + Its completion was sufficiently advanced to allow of the burial in it in 1214 of Bishop Gilbert de Glanville. first to hold two altars, but early in the fourteenth century the altar recesses were converted into one, and the transept became the Lady Chapel. Behind the altar recess is a small vestry. The north transept contains a single altar recess. Both transepts are vaulted, the north with stone, the south with wood. Of the same date as the south transept vault is the curious lop-sided wooden roof of the south choir aisle. The north choir aisle contains the tomb ascribed to Bishop Hamo de Heythe, and opposite it the mutilated memorial of William Streaton, nine times Mayor of Rochester, who died in 1609. Under the tower is a flight of ten steps, on which stands the pulpitum or choir Its Early Decorated front has been recently enriched with canopied images as The south choir aisle is twice as wide as its screen. a. memorial to the late Dean Scott. fellow, and has assumed its present proportions by a very curious series of changes too long to describe here. It contains two pairs of stairs, one leading down to the crypt, 12 The Cathedrals of England and Wales. will be replaced by better. The present custom of disfiguring the walls with huge brass plates below the windows might be discontinued with advantage. Of the conventual buildings some interesting remains exist. The first cloister the other to the upper church. At the head of the crypt stair, under a singular canopy, is a mutilated effigy ascribed to Bishop John de Bradfield. The crypt is both lofty and spacious. The two bays beneath the eastern half of the choir are Bishop Gundulf’s work. The crypt contained at least six altars, and some interesting remains of paintings Rochester Lohen neh . . : ral Zundulf urc may yet be traced on the walls and vaults. The crypt is at present little better Sriirg existing remains than a mere lumber-place. Saxon {emefery The choir is remarkable, not only for the architectural treatment of its unpierced walls, but also as retaining zz situ remains of the earliest choir fittings in this country. ens The stalls and misericords are almost entirely new, but the low benches in front, with La Cr A much of their original colouring, are those put in when the choir was first used in 1227. We prrhder fn W oe The singular low desks escaped destruction through being encased, when the choir was Nave rh ja 3 . tf -— refitted, in 1541, by the Tudor panelling now forming the choir book-desks. Of the same [ L AE RE i date as the stalls is the eastern side of the pulpitum. The flat wall surfaces above the stalls are covered with an heraldic diaper of lions and fleurs-de-lis, in part fourteenth century, but chiefly a good modern copy of the original. Opposite the bishop’s seat is the greater part of a wall-painting representing the Wheel of Fortune. The eastern transept and presbytery are not remarkable architecturally, and the general effect is greatly marred by the abuse of clumsy marble shafts. In the centre of the north transept, between the tombs of Bishop Walter de Merton on the north, and Bishop Lowe on the was built by Gundulf on the south side of the nave, but it was afterwards removed to south (since moved), stood the shrine or tomb of St. William of Perth. An interesting the south side of the presbytery, where Bishop Ernulf built a chapter-house, dorter and an Laler Cloister Ee a ochesier (Gitbedral. Lm LU / avalory 8. fuphéad = : > ino og . Ee “a N\ fresbyfery® E> soi, “bchnd > ees re: | Ti he A Hi =i wp HE TTT o | | he Am = fetes == i Ca 2 fl \ = 4 177d Jn Stil i EL | Zr V3 A A I, HII . VL 7 Vy of 77 NAL Z i | \ => N\=— W\ i == 5 \ : es ERE yi i LHUTUIA), Bi { ABA i i V — eo Tal : eT eo fre | = A pa! ie Th CFS a. | e ~ = = == : 0. ett re CA met [1 “TheSatbCharhige =m marble coffin of a Prior also remains against the north wall. The south transept contains frater. The shell of the chapter-house, which was a very fine room, still remains, as does a fine door of Decorated date, with figures of the Christian and Jewish Churches and the the basement of Ernulf’s dorter. The frater retains a fine door, with groined lavatory four Doctors. During Mr. Cottingham’s repairs, the mutilated female figure of the and towel recess, the work of Prior Helias, about 1215. Of the western range only a Christian Church was “restored ” by giving it a bearded beshop's head! The presbytery Late Perpendicular porch is left. Three late gateways of the Precinct have also escaped contains some good tombs. On the north side is the beautiful effigy of Bishop John de demolition. | W. H. ST. JouN Hop. Sheppey, with its very perfect original colouring; a curious tomb ascribed to Bishop Glanville, with mitred heads in medallions; and a fine marble effigy of Bishop Laurence The following are the chief dimensions of the cathedral :— de St. Martin. Opposite Bishop Laurence’s figure *is that of Bishop Thomas de Total length of church ... “es fe “er 305 ft. 6 in. Ingoldesthorpe, the work, apparently, of the same “marbler.” The three sedilia are Length of choir and presbytery ee “es 147 ft. 6 in. poor Late Perpendicular. Behind the high altar, which stands against a top-heavy Length of great transept “ee cee ee 120 ft. reredos designed by Sir G. G. Scott, is the casement of a large brass of Sir William Length of choir transept ee “es eon 88 ft. Arundel, K.G., Governor of the Castle and City of Rochester, who died in 1400, and Width of choir ... se “e “o “ee 28 ft. of his wife Agnes. In the north wall is a curious lavatory recess, with a little cupboard The plan of the Saxon apse shown on the large ground-plan is from measurements beneath it. Res 2 made by the Rev. Grevile M. Livett in 1889, to illustrate his paper in the “ Archaologia The whole of the stained glass in the church is modern, and some day we hope Cantiana.” TIT HD hae TET _— y 2-1 RS A=, iy Em IS N ETN TR N ed PTT SETI nt I TA ES SS 3 . . = E fy {i Cm iy EL TAA 3% ST il ini / litt 7% /f vn 51 7 SITTIN RTT \ WRIA IIREI ATTY ATW = — 3 NLT IT LL 3 = WSN % ] gn iz Hh X HIN, i A { ) RI 12) lA rat Z Hepes Sra Zr GE ee e 57 A 2 15) 7 2 A ni % ty, NN ql 7, 75 2) A aN : XS 4 c ee wl " Re X “s $ QO AL Ne OQ GN NX N\ A ROR AN \ Ne BN AU RR A \ WN RR A 2 Kit Ale) bf, 14) Clee a SRA rH Wal a elle dal Er] SS fre ji ROCHESTER FROM THE EAST. DRAWN BY Mr. H W. BREWER. “The Builder’ Gathedral Series. LITHO. SPRAGUE & C° 4 & 5, EAST HARDING STREET, FETTER LANE, E.C LA All LV. RochneESTER CATHEDRAL. Reference foMonuments Ele... GROVND-PLAN . : Bishop Hamo de Heythe dip52. | 13.Bishoplaurence de 5.Marfin diya. 2 William lrealon dwife, 1609. 14.91 WE Arundel KG. a 1400 &. {ody Ado. 3 Bishop Walfer de Meron, d.1277. 15. Coffity assigned, fo Dishop Gundulf “a. 108, % Tyg > Effigy of Walter de Merfon. 16, Bishop Thomas de Ingoldathorpe d. 1291. : 77 : Jommoro vio, 17 Dedilia.. Early Nota ono Earl Decoried BoE §. Pishop Jonlowe d. 1467. (fimerlyat 6) & Coffinlid lately removed from Crypt: 7. John Warner eq |, 1693. 9. Unknown Tordb. 9. Arch deacon John Lee Warner d.1679. 21. Sir Richard Head d 63 lo. Bishop John de Sheppe d. 1360 22, Bust of Richard Watts (d on) 1736. I-2 Gilberl aeGlanville d. 214 75 of S.Nicholas, Altar Till (423, 2 Lavarory Efe behind High Altar. 24. Font fire used 1 13573. Laler do: H&S Earty English ofl do: Olfrs &. Olcidne, EEE do: do: a0 190 ES Decorated 1245. do: do. do- 2102 Ferpendicviar sgl Gradh: Child Faw do: do 1300 EH 8. Bishop Warner d. 1666. 20. Bishop Joht de Bradfield di233, do: do: here Loterg. Modern. Es Gundulfs Tower . do: do. do: AN A A Foundations of Eastern Apse of Saxon Church. > J NN rf Sef Shrine —~— eof rr » a - ~~ =~3iNofsl a , ~~ I > 0 ot ET g < : = gi ic Kr $ x S:Williafmaf Pert . aA > La >, Zz” SN AS iz SS ST rn rim mime ste em: fom sm —— a —— o—— = oo. — — on 00 ——— —— mn — Chapter Room Site ’ . i nr >| |F == of = Nave of Lady Chapel te SE i rN = fi : Ps hl Ly i ot HY. nr irst Cloister I! Snel 27 ; I To TE TR MAE oD Comm m=! Chapter 3 Mouse (in ruins) . Cellarer’s : a Site of later Cloister Buildings : ig 0 Ww 20 35 40 30 HOP Feer: or escole : W. H. St John Hohe mens: et delt: ETRE ff > TRAnPW OF Tiss bs \ UNIve tis \ \ ERSITy | N\ Ca E J N&LFo 2th PHOTO-LITHO. SPRAGUE & CO 4 & 5 EAST HARDING STREET, FETTER LANE EC « @he Wuilver’’ Cathedral Levies. oh pi PETERBOROUGH. FTER a period extending over about seven years, the structure of Peterborough Cathedral Church has now assumed its former appearance, if we are to except the absence of the four pinnacles or turrets which formerly crowned the central tower. It was during the rebuilding of this lantern, when everything in the nature of fittings was necessarily removed, and the foundations generally examined, that the traces of the early church, which we are able to show on the plan, were discovered and plotted. Whether or no these foundations are of the church which immediately preceded the great Norman building begun by Abbot John de Sais, it seems extremely probable that the relative proportions were to some extent taken as a basis for the plan of the Norman work. The dimensions of the Saxon building, of which we have the foundation walls of the transepts and choir still in existence, have been approximately doubled in the Norman work, whether by accident or design. The site of the Saxon nave would occupy the space on which stand the nave, cloister-walk and the south aisle of the present nave, and digging—a matter of no great difficulty so far as the garth is concerned —would reveal without doubt the extent westward of the early church, and determine whether or not it had aisles. The doorway at the north-west angle of the cloister, which is inserted in a portion of a very early wall, happens to be central with the centre of the Saxon church, and may mark the west wall of the church. It is also a curious coincidence that the length of the nave, supposing it to be taken from the wall to the western piers of the Saxon central tower, is exactly half the total length of the present nave of the Cathedral. Fire, so often chronicled in the history of these establishments, destroyed the church preswt[U) Wail O) Aroadle (®) Rewgh Foundafién Ty rik 77 = X : NJ| & NN" ZC = TS N NAN OW NR Ne RR nik NN) Ne TT Cr, eS ( > \ nv o ||| Via shine bud grave Rp ah] Sa Peferboroudh Saxon Carhedreal. monumental Slabs found on WwW. Side of NTransept Pell 3 Seale & fect | — EAE = et Ie EE 1 | nthe Sou ~—2_ = oil Asie ye TE Cho Rterhorough Cathedral: ~~ — existing at the beginning of the 12th century, and Abbot John de Sais, in March, 1117, began the erection of the Norman work, and we may reasonably suppose that, following the usual method, the work was commenced at the east. Allowing for the larger scale on which his building was designed, the idea may, in all probability, have occurred to design the new work to occupy some portion of the old site. The space, too, north and east of the first church seems to have been a burial-ground of importance, and Saxon monumental slabs have been discovered in the north transept (see plan and diagram here given). The new church would thus occupy the ground that was associated with the early history of the Abbey. The apsidal termination was adopted here, as in other great churches of the time, the aisles also being finished in a similar manner. One of the side apses was recently laid bare, and has been marked by a step in the south aisle (see plan). Although the design has been pretty closely adhered to throughout the long period which the remodelled church occupied in building, there are many traces in the detail, chiefly in strings and the sudden alteration or abandonment of ornament, which serve to denote that there was a stoppage from time to time in the works, It is west- ward of the central tower, however, that the more important changes in the structure are apparent. The second column westward of the crossing differs on plan from the first and other columns for eight bays from the central. tower. It is quite possible, however, that this alteration in plan was either for the sake of variety (as in the Sanctuary, where there are round, octagonal, and twelve-sided columns) or to mark the termination of the monastic choir westward. This purpose it now serves for the new return stalls recently put up. For six bays westward of this the columns are the same as that of the first column west of the crossing. The respond, however, of this bay is of larger dimensions, and marks the first termination westward, or, more properly speaking, forms one of the piers which supported the west towers which were intended; or built. In Transitional times the nave was lengthened by two bays, and shallow western transepts were thrown out beyond the aisles north and south. Its design can be partially traced to-day, but it has been considerably dovetailed into later work. The desire for future extension was not apparently satisfied, and in the thirteenth century (the exact date is not recorded) the present western “porch” was erected. That it is unique is not to allow that it is in every sense satisfactory. However much we may admire the boldness of the conception, there is a lack of relation to what is behind it which almost causes regret that the earlier front of Transitional times, which certainly expressed its meaning better, was not spared. It is now impossible of course to say what the original Norman front was, but the design of the great arches of Peterborough recalls strongly the great Norman arch of the west front at Tewkesbury Abbey, a monastery which belonged to the same order—the Benedictine. An interesting point also with regard to the gradual spreading of the design may be suggested. It may reasonably be conjectured that, considering the church to be symbolical of the Cross, the base should take the form of the “Calvary,” or steps. In the plan of Peterborough, it is the more apparent on account of the second projection formed by the small towers which flank the last facade; but the projecting towers, as at Wells, might well have been suggested by this endeavour to make symbolism largely enter into the design. We have given this amount of space to the description of the Norman work, as it forms so large a portion of the existing fabric. The remaining portions of later date occur mostly eastward. -As at Ely, a Lady Chapel was erected, by William Paris, prior (1274-1296), parallel with the Sanctuary on the north side, and was approached from the north transept and north ambulatory. For this purpose the outer wall was pierced (at AA on plan) the columns still remaining. In 1651 it was destroyed, Ere i S rd ~~ 4 LL a { { \ Fr 1] 1 Lr = HE y bi I : ; i) Bi i Io) ATW r nn a ee / TTT] | I A ) > of the Apse nah Cothe tial. | — ~~ Doorway In w wall of S Transeph Fs = Peferborouch Cathedral \ however, and also the cloister, and some windows from the latter were placed in the wall, which was again built up. The remodelling of the east end of the church was the joint work of Abbot Richard Aston, 1438-1496, and of Robert Kirton, who succeeded him. The Roman apsidal terminations to the aisles were destroyed, and a rectangular building was thrown out eastward of the great apse, forming an ambulatory, and giving space for five altars against the east wall. The treatment of the external wall of the apse, to make it accord in some degree with the new work, forms a very picturesque portion of the interior. The wall of the apse had already been pierced in Decorated times, and the very beautiful work (of which we show a portion in the subjoined sketch) was inserted. The two side windows on the outer face of the wall (the delicate traceried work shown formed the rear arches only) were glazed, and still retain their saddle bars. The extension or “new work,” as it is still called, rendered this unnecessary, and it not only seems to have been removed, but the three windows which occupied similar positions in the curved bays of the apse were destroyed, and Perpendicular tracery inserted. The wall of the apse seems at this time to have been richly decorated with fresco consisting of heraldic shields on a diaper background, some considerable traces of which yet remain. The only other additions of importance were the central lantern, of Decorated date, and recently rebuilt from the foundations, and the chapel over a vaulted porch, which was so curiously inserted under the middle arch of the west front (see view), and which is now used as a library. But scanty remains exist of the monuments. Some effigies, including a mutilated one of Bishop John Chambers (d. 1557), and a curious tomb and effigy of Bishop Alexander, of Allwalton marble, still exist in the south aisle. A curious Early shrine, with rude figures carved on its sides, and finishing with a coped top, has been placed in one of the recesses of the apse on the south-east. A good fragment of 1s | The Cathedrals of England and Walks. ironwork still remains on the door to the west aisle of the south transept (see sketch) now used as a singing school, and for meetings of the Chapter. The sites are shown of the burial - places of Catherine of Aragon and Mary of Scotland, in the north and south aisles of the presbytery respectively. Nothing, however, remains of any monument in either case. Of the former fittings of the choir, some remains of the thirteenth-century choir stalls are to be seen in the chapel of St. James in the north transept. Parclose screens remain in the eastern chapels of both transepts, and the traces of the screens which stood between the presbytery arches are still visible on the Norman columns (see sketch of south aisle of presbytery). The font, now in the south-west transept, is modern, with the exception of the bowl, which appears to be of the thirteenth century. With the exception of these few details, however, the interest of Peterborough lies almost exclusively in the early work of the main fabric. Of the abbey, which adjoined it on the south, the walls of the cloister exist and some considerable remains of the infirmary standing south-east of the garth with its chapel. The cloister is apparently of fourteenth-century date, with later details inserted. The early wall at the north-west angle with its doorway has been already referred to. The refurnishing of the choir has been commenced. Blore’s organ-screen, throne, and stalls have all been removed, and the first portion of the new stalls, designed by Mr. Pearson, are now the only permanent fittings in the choir. The steps on the plan have been shown as they at present exist, but in time further alteration will, no doubt, become necessary when a new reredos is placed in the sanctuary. oo) =z PLATE V. Cn 7 A SAL. SC me ps AN Ta » Rea 2 Spins et od 5 : URI Sr 0 sera BE part : : : : v Asarold Mitchell pelt : ; but FEBRUARY IBS| ny oF {ls EE + NE SH EAA SAAR Yrve BANE Wham 0h Nig ideo Nei; Ys ais 5 a hp AW me oy TEE ee Rm ; x CER SEM Ng : : HEE : Ris Moe s Set : “de ; i) in 43 He Vg tie op Ws Vip guh i HE ; AAA, We ¢ . >. ’ Lia Re pasa Lv i oy EE 58 To ae o 7 y He niin RAT > 5 wo % s > p ats tn 3 « v : a what? ae ri al : ’ gig i Sh ee a : oF : Ym bo a ; oo Feerboroudh (afaedial ‘ 5 ¥ : . « os La Lui : : : Cn Fy i : = = ’ v SLE eed ; INK-PHOTO. SPRAGUE & C© 4 & 5,EAST HARDING STREET, FETTER LANE, E.C DRAWN BY Mr. ARNOLD MITCHELL, ARI.BA. “The Builder’ Cathedral Series. a ~~ LBRART /4 ht Th / 4 he / OF THE \ | UNIVERSITY J a THE CATHEDRAL CHURCH of 9! PETER. PETERBOROUGH. GrRounND PLAN. Note : Windows ci- AAAA. were from Cloister &.1nserled when GS PRPE, EET ve 7 i= 5 A aati merit ls Tr eRe dies cl nil Present line of line of . Weex Froot Second West Front Fiat West Front a -————— aa. ———— i ————— Sant __tgo Feet: Sire of me Lady Chapel | | | | | removed 105]. | I | | Saxon Monume to | |Slabe ps NORTH TRANSEPT. = ott wy wl CT ANEMIC op aa I SUING ein ¥ ii CK ABA XN RF XK RAXX) Ld 3 pte i 1 J— ——— me p= — — — 1 r= ———- ~ : en ps z Exterdal | | {3 J a ¥ ’ | | Chapel Sormenly | yo Doovway here. 1B lof OD) 3 | (bere with rod a “ / 7 N aver, 7 bo or Er CTE Ee FE i FSI : Fr rim ===== I Eo a Be —, | 3 > bi Sz ; i | 1 nS INT ~ ! nN % , = ? : ws | i VA eal | Tgwee J oy t Ne Tas bh al 4 st / \ 278 | | x N | 1 Zz 0, Ie \ I 5 | re Soe ! yy ZaLs St a Te Ll ae EEA a 2 4124/14 Nei ay Modsrn Reference for Dates. -_\ ’ J > 7 Fro Buttress, » as o 2 Pn = VZZ77) Walle, & Saxon Chwrch. =:bod & Movue Sa, BEE Norman 4 \ Roqm i’ A eal 7 ! 18.1 He al Transitional - widow oe / \ WII Eo: English pL Py ’ Decorated , : MW Perpendicular fi ny #9, S Sem Girewlav asad Lova¥Yories / i i i 1 BF ——— PHOTO-LITHO. SPRAGUE & C2 4 & 5 EAST HARDING STREET, FETTER LANE, 6 EC CC @ he Builver Cathedral Sevies. ST ALBANS BT is only within recent years that St. Albans has been the centre of ny ) NY P&P] 2 diocese, the first bishop being consecrated in 1577. For centuries Loh 8 8 before this it had been the head of the Benedictine monasteries in AS Al England, and one of the chief centres of the military and civil life ON =) Jl of the day; its abbots were privileged to wear the mitre, and its RET » shrines were the object of pilgrimage from all directions. As at Lichfield, the great church which now crowns the hill opposite mt the site of Roman Verulam was the result of the circumstances attending the life and death of its saint, in this case St. Alban, the proto-martyr of England. From a wooden shed, with little but its sanctity to impress beholders, it gradually grew to the large pile which we see, although in a mutilated condition, at the present day. The Norman builders were the first to make any decided change. What they found there is conjectural, but it was, in all probability, a building of some size, as there are still in the triforium in the transepts* balusters of an early date. It seems clear, however, that the early portions we have left—that is to say, the central tower, transepts, and a considerable portion of the nave—are the work of Abbot Paul, of Caen (1077-1093), the balusters being probably re-used from the Saxon church which he destroyed. After a period of nearly a century, 1195, John de Cella, the twenty-first Abbot, commenced the alterations to the Norman church by pulling down the west front. He only partially succeeded in rebuilding it, the work coming to a standstill for want of funds. Those who remember the beautiful detail as-it existed prior to the recent alterations will probably agree with the late Sir Gilbert Scott in doubting whether canopies fiom ee Altar of there existed “in England a work so perfect in art ‘as the half-ruined portals of St. Albans” were at that time. John de Cella’s work was continued by his successor, ~ William de Trumpington, who completed the west front and also rebuilt, in the style of the period, five bays of the nave on the south side and four on the north. The next great alteration was the remodelling of the eastern portion of the presbytery. The work, which is of two dates, was in all probability begun by Abbot John de Norton, 1260-1290, who replaced the Norman apse by the present presbytery, carrying his work eastward, and laying the foundations of the Lady Chapel. Up to the sills of the windows is probably his work ; the upper portion, which has long been known as a gem of Decorated work, being of Abbot Eversdon’s time (1308-1326). The flat panelled ceiling over the ante-chapel is of this later date, or rather was, it being in so dilapidated a state as to require replacing by a copy during the restoration, under the late Sir G. G. Scott. During Eversdon’s abbacy also, five bays on the south side of the nave, eastward of Trumpington’s work, were also rebuilt, the Norman work having fallen suddenly in 1323. The cloisters, probably owing to this catastrophe, were rebuilt; but Mr. Neale in his valuable work on the building considers that this was probably the work of Richard de Walyngford (1326-1335). Hugh de Eversdon’s work may be said to have been the last great structural change that the abbey underwent. Lesser details—such as the windows, were altered from time to time; the three great windows, two at the end of the transepts and one at the west end, being the most important, and the work of John of Wheathampstead (1420-1440). The extramural chapel of St. Andrew, on the north-west of the nave, should also be * A view of the north transept, showing these balusters, appeared in the Builder, of April 5, 1890. added to the list of comparatively minor alterations and additions. Reference to the plan (which Mr. James Neale has kindly allowed us to reproduce from his original drawing, with notes as to the various dates added) will show how closely the simple form of the early church was adhered to. The great feature in the plan is the unusual, in fact unique length of the nave, which is the longest in England, 284 ft. The transepts have no aisles and have been shorn of their eastern Norman chapels. As at Lichfield, the eastern tower of the Norman church has been entirely remodelled, and the apsidal termination has disappeared, but a portion of the walls (two western bays) next the great central tower, were no doubt left to ensure the safety of that structure, and were simply arcaded to match the new presbytery arches.* The interior in its original state was probably for richness without a rival. Much of its glory has departed, and is even now disappearing,t but what is left is a wonderful example of the care and thought which was lavished on the tombs and shrines in medieval days, . For descriptive purposes it is best to divide the interior of the church into three parts :—(1) the nave to the rood-screen; (2) the choir to the altar-screen; and (3) the portion of the church east of the altar-screen. The chief objects of interest in the nave are the different styles exhibited in the arcading, the changes in which have been already alluded to, the frescoes on the Norman piers on the north side near the rood-screen, and the delicate piscina against the inner face of the west wall. The rood-screen, of Decorated date, and sometimes called St. Cuthbert’ screen, against which was a central altar, and another in the north aisle, is a magnificent STAlbanN® Carhedral. — Heads of, | fT oy a x SERRE N Ree Ne \ a — ANN ARR 2 TREE A gli SS TR SN NaS TRL Se er er ___9'Alhans Cathedral Le ~The Ramryoe [ =~. Chanity. {id piece of work, some of the spandrels being of very delicate workmanship. It seems probable that the same hand worked on this as on a small reredos in the north transept at Wheathampstead church, a few miles north, the work in the spandrels being almost identical. ; : Between the rood-screen and the tower there is little perhaps of interest. The choir ceiling is flat and painted, dating probably about 1440. In the south wall of the aisle is a recess for a tomb, and the doorway which formerly led to the cloisters. The transepts are chiefly remarkable for the early work, as already mentioned, which still remains in the triforium arcades. Until recently an interesting slype existed south of the south transept, but this has been removed, and the large Perpendicular window of Wheathampstead’s time taken out. On the door which led to this slype was a good piece of early ironwork, and in one of the recesses, formerly a chapel on the east side of the south transept, is a small collection of fragments of carved work which have been . discovered from time to time. It is, however, in the sanctuary that the rich detail commences. Fronting us is the high altar screen reaching to the level of the top of the triforium, built by Abbot Walyngford 1476-1484, and one of the same type to which those at Winchester, Christchurch, and St. Saviour’s, Southwark, belong. On the right stands Wheathampstead’s tomb, in which is placed the magnificent Flemish brass of Abbot de la Mare (1349-1396). On the left or north side is the chantry of Abbot Ramryge (1492), a marvel of delicate carving. "A general idea of the appearance of this * Shown in a view looking into the choir in the Builder for April 5, 1890. + In the year in which this was written (1891) the remains of an external chapel on the south side of the presbytery aisle were cleared away. 16 The Cathedrals of England and Wales. chantry is given in the sketch, and also details of an angle and pastoral staves held by rams (a rebus on the name) who act as supporters to the arms in the lower panels. The whole chantry has a general resemblance to others of the same date, but the clever filling in of the arch of the arcade with tall and slender canopied arches divided by upright bands of open tracery has an unusually elaborate effect. Eastward of the great screen (which has now, through the liberality of Mr. H. Hucks Gibbs, been. restored and refitted with figures)* comes the Saints’ Chapel. The centre is occupied by the shrine of St. Alban, which was found in fragments in 1872 built up in the O" Alan's Cathedral C aving (Purbeck) m South Side SAlbaris Shrine. arches at the east end of the presbytery.t+ The material of which it was constructed— Purbeck marble—does not seem to have prevented the carver from obtaining the most delicate effect in the spandrils and carving generally. We give three of the pieces of carved foliage which occupy gables on the south side. The spaces between the gables were filled with seated figures with the martyrdom of St. Alban at one end, and the scourging of St. Amphibalus at the other, while the angles of the shrine had censing angels. The whole is surmounted by a rich cornice and a mutilated cresting. * See Builder, October 29, 1887. t+ In the Builder for May 4, 1872, a full description was given of the design with engravings taken from photographs. A general view as it is at present was given in the Builder, October 29, 1887. NE V7 Xr 3 = Sal (03551 (oH : North of the Saints’ Chapel stands the watching loft, of fifteenth century date and of wood, with a glazed lower story for the exhibition of relics. On the south stands the monument of Humphrey, Duke of Gloucester, the upper portion of similar design to the Ramryge Chantry, but later in its details. There are some splendid specimens of heraldic work on this monument, which has been well engraved by Blore.: Here, as at Westminster, the Saints’ Chapel is on a level with the sanctuary, and approached by doorways in screens from the side aisles or ambulatories. Opposite Duke Humphrey's monument was, until recently, a panelled arch, which formed part of an external chapel. (See plan.) Against the east wall was a fragment of the old rood beam which had been brought from the nave. In the ante-chapel to the Lady Chapel is a second shrine, that of St. Amphibalus. Like St. Alban’s shrine, it has been gradually put together from fragments discovered during the restoration, but it is far less perfect. It is of two bays, of Totternhoe stone, and retains traces on the lower portion of the words “ Amphibalus,” and the initials R. W. (Ralph Whitechurche, sacrist in the time of Abbot de la Mare, 1349-1396, at whose cost it was erected). The wall arcading of this portion of the church has of necessity been a good ° | deal restored, for a passage formerly ran through the church at this point, and the Lady Chapel itself was a school. : The Lady Chapel (of which interior views were given in the Builder of April 5, 1890) forms a fitting termination to this fine church. The interior, with its figure sculpture “and painted niches, must have been very gorgeous. A large number of the figures are still left, and there is some very beautiful canopy work over the sedilia. This chapel is vaulted in wood. In fact, with the exception of the aisles the whole of the church is either vaulted or ceiled in wood, the presbytery vaulting being a fine specimen, with its colour remaining. During the last few years St. Albans has been the object of a large amount of discussion. Into the merits of the case this iS not a suitable place to enter, but all lovers of what is most beautiful in our medieval buildings must deplore the destruction of many objects of interest which this cathedral has recently suffered and is still liable to. It is on this account that we have preferred to give a view of the cathedral as it existed prior to these alterations. To have given the south transept as now existing would only have been to have paid an undeserved compliment to an architectural monstrosity. ~ 2% E he = = Non 8 y Ey j —— Tr Em 2 oe \¢ Zi TEE aga ; SS Anim ) > R - —— = A J “k pe Z i 4 | eT a Eee: | | =, 1 Lak? 2 7 Es :: 7 % in = < y A IN 2 sh [me yp, r [4 Sis fo =r B23 Ll 7 IIe k, 43 fie | ” 3 fp: \ - x Le 7 i Ha =A { il | 1: 3 EN ; 9% =S 71 ji Ll | | V7 IR i i : 7 Ee : i 2 i mh E ep re ’ 1 ul Sy < 9 RR a OH : =r ah Ae TE > Ey «bebe HT \ - % E ¢ { @ ~ ¢ £ —r ST. ALBANS FROM . THE SOUTH EAST. DRAWN BY Mr. H. W. BREWER. “@he Builder” @athedral Hevies, 2 hs —— et ge — ee Te ——— ro wis ————————— eee} — = ae ————] ———————— ———— am | Cat = ro] ; ——— ee ee — =A Can L a = EE = = rm arrest] ee er eg : ea a == - = a ER = i == or) \ i : Jy: ; SIoRRL S TE aaa EE RE To EE : i 1G : ie IS oe == = nee ——=c = Z 1am, S = : TT, / LS BE > ! i —s g= \ pb Mi > T= = g ol —_—_—— EEE ; SR — —— ” Taeth) —t AT ie A | A | PHOTO-LITHO . SPRAGUE & C9 4 & 5,EAST HARDING STREET, FEYTER LANE, E.C. PLATE VY) —— PLAN oF ©: ALBaNS CATMEDRAL. —— THE WHOLE OF THI® PLAN WAS MEASVRED AND DRAWN TO BGALE ON we BroT SITE OF THE DESTROYED CHAPEL OF SAINT [ANDREW There was a doorway 5 4 wide this Window oS T= is @ doorway 5+ wide under Ihis window 7 here unde, ! 5 This North Wall was built af > : the time of the dastruchon of s Saint findrews Chapel hye Junction of. E.English and Norman work Stairs from Clore | oof oF orion rte S208 UBL. oor bi emer arse tie oi — Te ne 1 oo W I) Sify of Holy Rood NAVE 2 Alvar recon Fisony Junction pier of i rells Early English & Decorated work, u " == 20 0pm 22 PE ee 22 BF J Gm Oe? 3 S x ! Font is x . Sours modern N SourH Piste | Porn > 1 or: # ! i | ~ tema rns of Arch originally’ —— u leading te Tower; at present ! builk up. Jan 75 i i ! i | : i Site oF besTROY EDI TowER : , i } ) i ASSUMED SITE OF * FORENSIC PARLOUR i | WiTH ABBATS CHAPEL OVER 3 Site oF 3 CLOISTER 3 EN SITE oF THE GREAT CLOISTER COURT Scare oF FEET & ww 4 0 id s0 fo So go 72 So 0 100 $ NoRMAN. wan > EARLY EngLioH. ANN DecoraTED. Perpen Dicu LAR, NorTH AISLE This North fisle was oiginally vaulted buf it 1s of presen Covered with a Modern Wooden Roof Staircase leoding § ro Tower § vow = 32 9. Site Dastroyed Chapel ! i NorTH [ TRANSEPT } sa | > TE LY i Oo | tte of i 2 Destroyed Chape | ll Stwitcase on lo : kl roof of Lady Chopel ~Prlastor an ~ ee \ Cur away 32 2° “\ 2 Steps 7 Shrine of ; iio Ante Chapel 7m" o / CHAREL or S. SRY IOV) oR THE TRANSFICURAT | ' / t Piscine There was originolly a Window itchingg > L hamber, | Pitaster in the Edst Woll of this Chope! | : Te | 1 i i rr 3 is cutaway ! but iF is of present blocked Entrance, ST ig and o fireplace inserted. ny ; \Romeins re ; 3 Destroyed Vaviting, Shafts Wifi Siti f destroyad 5 | Chagos burr fo Vorger Site of destroyed op ha Chopol Fo t | ii i RANSEPT : 4 fn } SITE oF DESTROYED r i , fi 8, oO VESTRY OK TREASURY $8 Y Sn : SITE oF Sy 4 i CLOISTER dq oy i nN : | est roy TEL Snr? SR: vo RE - 32 0 ~ 4m | : i i i { Staircase fo Roofs and Passages) XP ne Slype Ng op o ah Saad Sire oF THE CHAPTER House NoTE.—The Plan is reduced from that given in Mr. James Neale's work on St. Alban’s; the indications of date of various portions are added for this Publication. “ Fhe Builder’ Cathedral Levies. PHOTO-LITHO. SPRAGUE & C9 4 & 5 EAST HARDING STREET, FETTER LANE, 6 EC HEREFORD. BN general outline as well as in detail the Cathedral at Hereford bears strong evidence of its Norman foundation, and the “sturdiness,”— if it may be so termed,—of its exterior is largely due to the considerable remains of the earlier church which we find in the interior. Although there are vague accounts of a round church,— planned after the fashion of the basilica of Charlemagne at Aix- la-Chapelle,—having been erected by Bishop Losing in early Norman times, there are now no traces above ground, and nothing in the Norman work at present existing, to suggest that such a form had either been in existence or incorporated with the later work. If, indeed, it ever existed, ‘its destruction has been complete, and the present work of the Norman period is distinctly English in its form and treatment. The form and character of this Norman church is very clearly shown by the ground plan. A nave of eight bays with aisles, a choir of three also with aisles, a central tower, transept, and a sacristy on the east side of the south transept formed the chief parts of the Norman Church, finished by Robert de Bethune (1131-1148). The east end was not treated as one large apse with a surrounding ambulatory, as at Peterborough, Norwich, and Gloucester, but each alley had its own apse, a small one at the end of each aisle, and a larger one projecting eastward from the present eastern arch of the presbytery. Of this church, the apses eastward have gone, and the greater part of the aisles of the choir, and both those of the nave; the Heretord Doorway om (cathedral losters fo (bciplerHoase Elevation. Moulded Step : Gabo Pp & Hots fh Woe, £ --3 + + { north transept has been for the most part remodelled and extended and the westernmost bay of the nave has entirely disappeared. In 1786 the western tower fell and ruined the front, and Wyatt, who had already been busy with deeds of Vandalism at Salisbury, was called in and rebuilt the west front, but shortened the nave by a bay, and availed himself of this opportunity to remove all the Norman work above the nave arcade and substitute a design,—if it be worthy the name,—of his own. The gradual developments which took place after the Norman period bear, as is natural, a strong resemblance to similar alterations which were going on at other buildings of the same class during the same time. The alterations, as in other cathedrals, took the form of eastward extension, and the rebuilding of the aisles was no doubt considered necessary owing to the gloom of the Norman work, which, even with the later windows, is still a characteristic of the Hereford presbytery. The work attributed to De Vere (1186-1199) is, as might be expected by its date, of Transitional character, and bears a strong likeness to the well-known work at Glastonbury Abbey. These alterations entailed the sweeping away of the three Norman apses already mentioned, and De Vere, not contented with a simple elongation of the presbytery aisles, doubled them, thus making two side chapels in each transept (for such in fact it was). How the centre portion was treated is mere conjecture, but the late Sir G. G. Scott, in his paper read before the Archaeological Institute in 1877, suggests that the central part projected one bay beyond the sides. open to the church as far as the belfry stage, and One peculiar feature in this work of De Vere’s was the placing of columns in the centre of the central division. When we consider the distinctly unsightly appearance that the central column even now presents, placed as it is in the centre of the east arch of the presbytery, there can be but little doubt that the portion we have now was only the commencement of a larger scheme, which included the building of the presbytery and dividing the eastern wall into two arches instead of one, as was the case later at Chichester, Lichfield, and Exeter. This scheme, however, was destined never to be realised, and the building which followed partook more of the character of alterations on the old lines than of additions or new schemes involving alteration of plan. The Early English Lady Chapel was an extension of De Vere’s work (if we are to accept Sir Gilbert Scott’s theory), but its having been raised on a crypt adds interest to this part of the church, as being a unique example of its date. The great work of the latter half of the thirteenth century and the beginning of the fourteenth was the tebuilding of the north transept. This very beautiful part of the church has always been associated with the name of Bishop Aquablanca (1240-1268), whose tomb is one of the finest in the Cathedral. The Norman work of the transept was pulled down entirely, with the exception of the arches leading into the aisles of nave and choir. The new transept was of two bays with an eastern aisle, this aisle having a story over, now used as a library, and approached from the north aisle of the presbytery by a staircase turret. This transept is well known from the peculiarity of its “straight-sided” arches, and the great length of its windows in the western wall. The triforium stage is very elaborately diapered, but this part of the design suffers from the thinness of its tracery, which is very striking as seen from below. The Decorated period has left its mark in the beautiful central tower, and in the aisles and eastern chapels. These latter should be considered first, as being probably the earlier parts. It amounted chiefly to a remodelling of De Vere’s work. The bases of his piers and responds were allowed to remain, and are still visible, and upon the former, octagonal columns were erected to carry the vaulting, and the windows were altered throughout. The aisles of the nave seem to have been rebuilt at the same period, and the windows are all of Decorated design. The central tower, one of the glories of the Cathedral, is a fine example of Decorated work, and covered with a profusion of ball-flower ornament. Like the central tower of Salisbury, it probably owes something of its design to the earlier lantern of Pershore Abbey, not in this case far distant. The likeness is most noticeable in the disposition of the upper windows, and the character and position of the dividing pilasters and bands of ornament. Allowing for the alteration of detail consequent on development of style, the resemblance is striking. Pinnacles placed diagonally take the place of the partly-engaged octagonal turrets which make the resemblance of Salisbury to Pershore more apparent, and large angle pinnacles rise above these, leading to the great central spire which formerly existed. It is shown,—although only as a timber one covered with lead,— in old prints of the Cathedral. Hereford, however, before the catastrophe of 1786, possessed two towers, that at the west end being, if we are to credit the old prints, of a very similar design to the existing central one, but rising only one stage above the nave leads. This was, in all probability, used as a belfry ; whereas the central tower was a lantern. It is now exhibits what has been called “pillar construction,” as may still be seen in the upper stage at Lichfield and Wells, an expedient adopted for lessening the weight on the arches below. This is well shown in a section in Britton’s book on the Cathedral. The only other portions of the Cathedral of Decorated date are the inner north porch (as dis- tinct from Bishop Booth’s addition) and what remains of the chapter-house. The north porch, especially in the doorways, has some very delicate detail, and what remains of the chapter-house shows it to have been a very beautiful piece of design. We here give an elevation of the entrance to it from the cloister, from a drawing by Mr. H. D. Walton. The chapter-house itself was, as will be seen by the plan, a decagon, each side (except the one occupied by the entrance) being sub-divided into five panels or seats. Remains of three sides only are left, and even these only as far as the window-sills, and in a very ruined state. The remaining portions of the Cathedral are additions made in the fifteenth and sixteenth centuries. The Chantry Chapel of Bishop Audley (1492-1525) is placed on the south side of the Lady Chapel, and is in the form of a semi-octagon, two stories in height, with an elaborately-panelled screen towards the Lady Chapel. Bishop Booth (1516-1535) lengthened the great north porch, and his design, although later in date, somewhat resembles the porch in the centre of the west front at Peterborough Cathedral. It is a very bold piece of Perpendicular work, the outer arch having richly-panelled spandrels and a large five-light window over. Octagonal turrets flank the entrance on either side, and contain staircases which lead to the room over the porch. An earlier addition of the Perpendicular period is the chapel of Bishop Stanbury (1453-1474), 18 | The Cathedrals of England and Wales. approached from the north aisle of the presbytery, and richly panelled and vaulted. Some additions were made to the Norman sacristy, on the east side of the south transept, in Tudor times, lengthening it a bay eastward, and placing a turret in the angle leading to an upper story. It was used for some time as a chapter-house, but is now a vestry. The cloisters are on the south side of the nave; and of three walks, two,—the east and south,—remain, and are of late Perpendicular date. Against the south wall, towards Tomb of Bishop Tho* Chariton 1327-43 a Zz 4 its east end, are some remains of two Norman chapels dedicated to SS. Katherine and Margaret. A second cloister, known as the Vicar’s Cloister, connects the Vicar’s College with the south-east transept. The arrangement here is interesting to compare with Chichester, as showing the probable arrangement there before the destruction of the south walk, and its connection with the cloister of the Vicar's Choral. It now only remains to notice the objects of interest in the Cathedral. A very large and interesting series of episcopal and military effigies exist here. Amongst the former, i Er PA Bs ot RTI oy TH NW — A 4 oe pw we 3 qr 0 Pee Ss YY Ln ee sg TSE " For Se Emel = ae ema » : Toma of Sig Riciago Petprioee the beautiful tomb of Bishop Aquablanca, in the north aisle of the choir, stands first, with its delicate detail and simplicity of design. Near it is the base of the shrine known as the Cantilupe shrine, but thought by some to be the remains of the shrine of St: Ethelbert. It consists of two stages, the lower having a series of cinquefoiled niches and fourteen figures of Templars in chain armour, and the upper an open arcade, the slab inside still bearing the matrix of the brass of an episcopal figure - having traces of the arms of the See (those of Cantilupe), and another space formerly occupied by a brass figure of St. Ethelbert, now in the sacristy east of the south transept. The traces of where the shrine fitted in on the top are still visible. The material is a fine sandstone. Amongst the other monuments worth particular notice are those of Bishop Chariton in the north transept (here illustrated) * and Bishop Stanbury’s tomb on the north side of the presbytery opposite his chapel, with some good heraldic work, one of which bears the arms of the See. Another good monument is that of Sir Richard Pembridge in the nave, formerly at the Greyfriars’ Monastery, but removed here at the suppression. He was a Knight of the Garter in the time of Edward III. and died 1375. Hard by is the Norman font, a circular bowl ornamented with mutilated figures of the twelve Apostles. On the opposite side of the church, near the porch to which he added, is the tomb and effigy of Bishop Booth. : On the north side of the Lady Chapel is a fine monument hitherto ascribed to Humphrey de Bohun, and so called in the reference on the plan, but said, in the guide to the Cathedral, by Rev. Francis T. Havergal, to be the monument of Peter Baron de Grandisson who died 1358. There is a very fine recumbent effigy, and, on the canopy, statuary representing the crowning of the Virgin in the centre, with figures of King Ethelbert and St. John the Baptist on one side, and St. Thomas a Becket and Bishop Thomas de Cantilupe on the other. The choir-stalls are largely ancient, with good canopy work and quaint misereres. The screen and reredos are, however, modern, the former of metal, from the design of the late Sir G. G. Scott, and the latter one of the additions made during the restoration by the late Mr. Cottingham. Immediately north of the. altar is placed the ancient bishop's chair, attributed to the twelfth century. Scattered about the eastern end of the Cathedral are several fragments of stained glass, some of the best, apparently of early fourteenth- century date, being in one of the lancets on the south side of the Lady Chapel, west of the Audley Chapel, having a Majesty and the four evangelistic symbols, besides other fragments of interest. There are also some figures of saints in the windows of the eastern transepts, but not of a very high order of merit, although apparently of fourteenth-century date. The ground-plan of the Cathedral has been reduced from a very carefully-plotted quarter-scale plan by Mr. William E. Martin, kindly placed at our disposal by Mr. Kempson, of Hereford. To this have been added the cloisters and chapter-house, as they exist at the present time. We have to acknowledge also much help and valuable information received from Mr. St. John Hope and Mr. Gordon Hills. A paper by the latter in the Archeological Association “Proceedings” of 1871 is a very valuable and exhaustive account of the building. * For this and the two other illustrations on this page we are indebted to Mr. F. Graham Price. hm HAR A AW, aires mn A BRE Am TAT 2 ““@he Builder’ Cathedral Sevies, HEREFORD: FROM THE NORTH-EAST. DRAWN BY Mr. |. JOHNSON, ARLBA. hd LUFormA INK-PHOTO. SPRAGUE & CC 4 & 5, EAST HARDING as Artes STREET, FETTER LANE, E.C GRroOUND PLAN. HEREFORD CATHEDRAL : B aE § o 3 0 | 0 § 5 E § 2 : 3 Bd £3 $ } : FTE : 8 g v 3.2 8 3%. ; LI 27 = t 54 : $k i ’ Lz — Ren 8 Sh : QE z s. 0; 5 HEE S24: Cnr 0 2 23 a 2 © < E 3 Eoe EEE griie AN Bos Sha 2 38. FSR AR. 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This, by far the most important of the Welsh cathedrals, is the most difficult of approach, and is the only Cathedral city in England or Wales that is still without direct communication by railway with the outer world, and its isolation gives an additional charm to its surroundings, which are naturally wild and extremely picturesque. The Cathedral itself is situated on low ground, in the narrow valley of the river Alan, which flows within a few yards of the west front, and passes to the sea about a mile and a-half distant. The high ground rises on the south and east sides, and, to some extent, on the north, and provides that shelter which was, no doubt, the chief idea in the minds of the founders in choosing the site. The most effective views of the building are from this high ground eastward, embracing not only the Cathedral, but St. Mary’s College on its north side, and the grand ruin the exterior are the south porch, at the second bay eastward of the nave, and the buttresses,—some modern, others dating back to the fifteenth century,—which support the north side of the nave, and encroach on the cloister court still existing in the space between the church and the College of St. Mary. : In strong contrast with the simplicity of the exterior is the richness of the interior. From the work of De Leia to that of Bishop Vaughan every effort seems to have been made to render the interior of the Cathedral a fitting and imposing setting for the shrine of 5t. David, the great patron saint of the Welsh Principality. Of the ‘early church preceding De Lela's there is good reason to believe that the original site of the first church was retained. The western piers of the tower,.the west wall of the transepts, and the whole of the nave with the exception of its outer southern casing, the porch, and the inner portion of the ‘west front, are of De Lein's date. The arcade is of six bays of wide span, circular arches rising from alternately octagonal and circular piers, having semi-attached shafts. at the cardinal points. Over the arcade, and divided from it by a reconstruction we have no trace, but 0 AY Nie XR 2 > il ] i l ; "i WN i) ’ , YI il I l AN A : ty Ko x, / = iy ~ ity (| Mi RU ; I O ) 77 2 Q S RR f{ 5 AN WN NW LN > 2 Ly Ga) 7 5 hn 150 =a a == ener] HEE = (28 | EE me DMB AY — ZA wy bold string-course, is the upper stage of the design, which includes the clearstory and triforium under an enclosing arch. The triforium consists of two pointed arches with a circle between them, the clearstory windows having been simple round-headed lancets now in some cases filled in with later tracery. All the work is Transitional in character, combining the solidity of the Norman with the Pointed arch of the thirteenth century. Ornament has been lavishly bestowed wherever possible, and the main arches, and the smaller ones above them, are full of rich detail characteristic of the style and date. Over all is the late roof, with elaborately-carved pendants dating from the time of Owen Pole, treasurer, 1472-1509. The whole may take rank as one of the most striking and elaborate interiors in the kingdom. The aisles were raised in Decorated times, and some of the windows are of this date,—others are modern copies. The aisles have wooden roofs, although vaulting shafts remain against the outer walls. The portion of the church east of the nave is considerably raised above it. In addition to the steps, the whole of the nave floor slopes up gradually eastward, and by this means full advantage is taken of the natural slope + of the ground to give extra dignity to the interior. At the last pair of | main piers eastward are three steps to the platform, which stretches across the nave in front of Bishop Gower’s rood-screen, a very beautiful specimen of fourteenth-century work, rich in its details, but with a judicious use of plain wall-space giving a reserve and dignity to the whole. Practically it is divided into three sections. In the centre is a doorway which leads through a vaulted vestibule to the choir. On the north side is a range of canopied niches, apparently earlier work re-used, forming a reredos to the altar of (?) St. John. At the extreme southern end is the tomb of the Bishop, Gower (1328-1347), during whose episcopacy the screen was erected. It consists of a recumbent effigy on a tomb surrounded by small figures on pedestals attached to its side, the whole inclosed in a vaulted space of Bishop Gower’s Palace beyond the Alan on the west. The tower and gable of St. Mary’s College appear on the right hand of the view here given ; from this point, however, the Palace is invisible, being hidden by St. Mary’s College and the foliage about it. The Cathedral, a building with a total length of slightly over 300 ft., is a cruciform structure with a central tower, and it retains examples of nearly every period of archi- tecture from the time of its commencement by Bishop Peter de Leia in the latter part of the twelfth century (1176-1198) to the present time. The stone used came largely from Caerfai, not far distant, on the coast, and the material for the recent restorations has been obtained from the same neighbourhood, although the more recent stone is not of the same colour as the old. With its rugged surroundings it is not surprising that the exterior of the fabric shows little attempt at ornamentation. Beyond the tracery of the Decorated windows in the aisles, one or two Perpendicular ones, and the parapet and canopied niches of the tower, all the external features have been kept as plain as possible. The only portion of the fabric which has been rebuilt to any considerable extent is the outer portion of the west front, a restoration by the late Sir Gilbert Scott, which took the place of the west front erected by Nash at the end of the last century, at a time when the Cathedral must have been in a very dilapidated condition. The Lady Chapel and the aisles flanking what is known as Bishop Vaughan’s Chapel are, as will be seen on reference to the view, still roofless. The window tracery of these parts of the building is modern, their design having been, to some extent, recovered from fragments found #7 sztu. The central tower piers, being in a dangerous condition, were underpinned and largely rebuilt and restored with the old material by Sir Gilbert Scott, a dangerous and difficult work happily crowned with success. The tower is of more than one date, the first stage clear of the roofs being Decorated, as also part of Bishop Gower’s building. This in turn has had a Perpendicular belfry stage of Bishop Vaughan’s time added, with an open parapet, and angle and intermediate pinnacles. A prominent feature in the eastern views of the church is the three-storied building projecting eastward from the north transept, the lower portion being formerly the Chapel of St. Thomas of Canterbury, and the upper the chapter-house. The chapter-house now occupies the portion on the ground level. The upper stories are approached by a stair from the north aisle of the presbytery. A smaller chapel, now used as a vestry, projects from the corresponding wall of the south transept, and was rebuilt at the time of the last restoration. The only other portions of the building which break the main lines of Se aT 2 : : d EW RA IE rl — a having richly cusped arches on the west and south sides, with grilles. On either side of the main entrance flanking the first bay of the vestibule are two other recum- bent effigies of priests.* The staircase to the loft is entered at the north-west angle of the screen (see plan). Over the screen is a wooden cornice and cove, restored from fragments of the vaulted cove which were in existence. At present the organ occupies the space over the screen. The general design will be more clearly understood by reference to the illustration on this page. i Al ui ” En Tie (5 IIE \ i a SARA NS hE IY ER TR I ni SEN RE al U 4 3 i J FAS l 1 IR = f Ihe See fiema greg PEE of rresbykry Five more steps lead from the screen platform to the choir, giving a total of eight in all from the nave level. The choir stalls are arranged under the tower and returned against the back of the rood-screen. They are of fifteenth-century date (Bishop Tully, 1460-1480), and have misereres, quaintly carved. There is a bishop’s throne, of wood, on the south side, and to all appearance a mixture of fourteenth and fifteenth-century work—portions, * The No. 26 on the plan has been placed in error opposite the altar of St. John, instead of being opposite the tomb on the north side of the entrance, corresponding with 235. 20 Te Cothedval: of England and Wales. doubtless, of earlier fittings of Gower’s period, to which also belongs the unique parclose screen which encloses the choir proper, and divides it from the presbytery. The central tower which formed part of De Leia’s building, fell, like others of its date, either from bad foundation or bad construction—probably from both causes. It fell eastward and laid the presbytery in ruins, and this largely accounts for the curious points which are observable in the present presbytery. While some of the details,—notably the caps of the arcade, —are Early in character, a marked advance in the style is shown in the arches which are pointed, and in the lancets (one in each bay) of the clearstory. . No doubt, as was generally the case, old material was largely re- used and worked up in the new design. As will be seen by the sketch of the interior of the presbytery aisle, the level of the large caps and that of the aisle vaulting shafts differ considerably, the former being raised above the latter. Agreeing in height with these vaulting shafts attached to the presbytery piers is a semi-circular arch in the east wall of the aisle, showing the level of the vaulting of, presumably, De "Leia’s ‘church. The vaulting shafts of the aisles (against the outer wall) are again higher than the main arcade, pointing to the fact that the vaulting of the aisle as rebuilt in the thirteenth century was intended to spring from corbels above the junction of the label of the arcade, disregarding entirely the existence of the earlier shafts against the pier, The alsles are, however, "at present covered in with modern lean-to roofs, sii Sle aan 3 : : and it is a matter of conjecture how far the project of vaulting the aisles was carried out. The east wall of the presbytery was pierced by three very fine lancets, their heads reaching nearly to the level of the apex of the clearstory lancets, ~ . The space between these and the roof was, and is still, filled by a row of four shorter lancets (which show over . the Vaughan Chapel .in the exterior view) Only these upper ones, which are restorations by the late Sir G. G. Scott, are at present glazed, the lower this portion is Early English, transformed in places by Gowers alterations in Decorated times. The Lady Chapel itself was built in the time of Bishop Martyn (1290-1328), and received additions also from Bishop Gower. : The last structural addition to the Cathedral was the construction by Bishop Vaughan (1509-1522) of his chapel east of the presbytery, and occupying what is presumed to have been up to that date an open space. The chapel was elaborately vaulted with the fan tracery of the period, and the lancets were, and still remain, walled up. Hence the somewhat unusual appearance of the east end of the presbytery seen from the west. Under these lancets, and facing towards the later chapel, was discovered a recess, partly filled with bones, and the back ornamented with crosses of various patterns, the central one being pierced the entire thickness of the wall. Its use has not been satisfactorily explained, but it seems to have been undoubtedly used at some period as a squint or hagioscope. Bishop Vaughan’s Chapel and the ante-chapel eastward are ‘the only portions of the church, east of the presbytery, which are covered in. The side aisles flanking them, and likewise the Lady Chapel itself, are still in a semi-ruinous state, although within the past year or so the tracery in the windows has been restored. There are several fragments and monuments scattered about in different parts of this portion of the building, but all have suffered much from the weather. In the south aisle, built into the modern cross walls, are some old shields, apparently bosses, one charged with the arms of the See (see illustration on preceding page). In the Chapel of St. Thomas of Canterbury (now the chapter-house) is a case containing some fine specimens of pastoral staves and rings found during the restoration. North of the nave are the ruins of St. Mary's College, with its tall tower and domestic buildings. West of the Cathedral is the magnificent ruined Palace of Bishop Gower,—a prelate who did so much, both to the fabric of the Cathedral, and to other buildings in this part of Wales,—Swansea Castle, church, and another episcopal palace at Lamphey, near Pembroke, besides other smaller works. The arcading, which is so characteristic of his work, -is to be seen here in good preservation, and amongst other details is a beautiful rose window, or “marigold,” at the end of the great hall. The Close wall, which surrounded both the Cathedral and Palace, and other buildings connected with the fabric, remains in places, and a very curious two-storied octagonal building, attached to the eastern gate of the Close, still remains, and is seen ones being filled by mosaic (placed there within recent years) for reasons which we shall explain later. At present the presbytery is covered by a Perpendicular panelled roof of slightly earlier date than that of the nave. It has been richly decorated, as far as could be done on the old lines, and contains a number of shields of arms of persons connected with the fabric. On the north side of the presbytery, under the second arch east of the central tower, is. what is known as the shrine of St. David. ‘It | may be described as an oblong structure, 3 ft. 6 in. in depth, and with a frontage of nearly 12 ft. towards the presbytery aisle. The upper portion of the front facing the presbytery is arcaded, and below are three pointed | arches springing at the floor level, and having recesses I ft. 3 in. in depth. pi On the north front, facing the aisle, the design is of a far simpler character, : the plain wall being merely pierced by apertures of various forms,—those below being three with semi-circular heads, others above them quatrefoils, and these latter having between them two shallow oblong recesses, round which a string moulding is carried. The whole has a plain mould round the top, and carried the shrine proper. It seems, perhaps, curious that the shrine of so celebrated a saint as St. David should not have been of more elaborate workmanship, bearing in mind the elaborate erections of St. Albans, Chester, and Christ Church, Oxford. We have the authority Lil a Hs \ Na a 2 De 8 \ : \ \ of Browne Willis that the back of the arcading on the presbytery side was decorated with figures of SS. David, Denis, and Patrick. In its present condition, however, but a poor idea can be obtained of its original beauty. There are many other monuments of interest in the aisles of the presby- tery. On the north side (east of the shrine) is a knight in a heraldic Jupon. In the south aisle is a similar effigy, two figures of bishops side by side, View of Shrine two or three effigies of priests, and a collection of slabs with crosses and semi-effigies brought here for safety from the ruined portions of the church. In the north transept, under the north arch of the central tower, and back to back with the stalls, is what is known as the shrine of St. Caradoc, a simple stone structure with a projecting upper portion, and having recessed apertures similar to those on the shrine of St. David, already described. Plan Hrough Lower Portion Plan Ihrough Upper Portion from Pre sbyléry pened, | SS" Davids (obec 2 g The Shned Zi Sant Dovid. = al on he northside = of the Presbytery ==, ¥ Jpn That portion of the church east of the presbytery is one of the most curious points in the planning of the Cathedral. The aisles, instead of being returned round the east end of the presbytery, were carried a sufficient distance eastward to allow a space of 15 ft. (from east to west)’ east of the presbytery wall. There seems to have been a desire to retain the glazing of the lower lancets. A connecting aisle was built, and formed the ante-chapel to the Lady Chapel, which projected again eastward, and completed the fabric in that direction. Much of a = wr or =cale = Label ermndgion at the extreme left hand of the general view. It has been suggested that it formed a detached campanile during the period before the rebuilding of the central tower. The plan which we give has been taken from one kindly lent us by Mr. T. Taylor Scott, of Carlisle, to which we have made certain additions to bring the plan, which was made a few years ago, up to date. Rr PLATE VIII. . . ’ = at ~ t . ¥ 1 ef . mae ~ MA NR mri iene Ep , er ig Es A gr er § INK- PHOTO SPRAGUE & C° 4 & 5 EAST HARDING STREET, FETTER LANE, E.C. ~ rg ST. DAVID'S FROM THE NORTH-EAST, “The Builder” Cathedral Sevies, DRAWN BY MR. ROLAND-W. PAUL. Reference to Monumenia ele. I. Canopied Tomb (? Bishep David Martyn) 2, « (Bp. Beck 290-07). 3 Effigy ofa il ae Wogan “of Fiction) 4 i = » Pricey’ 5, Archdeacon tio d.i41g. 6, Fragments of Serie. .- Archbishop Vaughan. 3: Effigy of a Knigh t= 9. Thos Lloyd Treasurer 1612. 4 0. S. Davids Shrine - Il. Edmund Tudor, Earl of Richmond 1456. LLOISTER QUADRANGLE 5 2 Slab. 13 «do. « 4. Shrine. oF S. Caradoc . 15. E€CIgy of a Priest” 16. Bishop’ Anselm le Gras (1231-1247). .5 si 17: Bishop (?Gervase)i2is —1220. . i BO 13. EFFIgy of a knight Sod gy 3 Eas = i do. i o.EFffigy ofa Priest” 5 RA k 21 Slab with Cross. Ea a AY a 22 Effigy oka Priest” S IRE Ney 7 / 2B ot G5 wi! ey BY aN / i < 24 Bishop dower [347 frie RAT rerio} Ex 1 Ala Na 's 25 Effigy of a Priest 3 3 £9 LN 1 oo ge 26, v “do “ Sr JN 3 27. Bishop John Morgan (1406-1504). “ / a 2 / / TAL 0 i 2 Mh YX — if 7 1 soa\/ \ = od 7 Y \ ' oo. o ¢ Pe tH — tl {330% + vd : Iw iY Wo NORTH. 3 — ATR J $18 mee ort 3 bi 1s 3 } A : ~$ Zs 47 2 44 © S “A : o a 1 7 55-0t 8 ] 3. 37-9 q. 1 i [on o 0 rere EE CHOIR AISLE" 2 Er nN TA i ! : 294 7 1. | fies Sih pelt pen 15. 4 2 rs — = : Bis : : zs 0. NW | VW, JASE 1 > eee Bl HE em Q 9. 2 26 Pu 2 7 oa | 7 ——— pA ————— ~“-t Wr R=_T_--_ J “ & NLT “4 3 “NAVE HRC “CHOIR Gadi Tower 12. > » LT Nol 3 i » [ Jzoyomaez cal Hl = : 1 a wlll. 25; JQ xq ® : 5 | 24, He . ASR i er) 1 | 2 2.3 Cr 18 20 36-2 Qo) 126-11 : Br : | Rg 7 : | THOR ATILE TE od | YOUTH AISLE" 9 , S 2 o ‘ “ rd v : —Lf ie 55.7 2s 1 . én ges z mT = | : ois *Y TIRANSEPT + Le 101-25 Ho 1 month 10 sd Tl Y JF Zz 3 x Bar en an Pull | S In noo Tz a No ! i fon aves |B -o bh fg A ' w i Reference fo Dates. a Te a, ye (after Jobes &.Freeman)- Ea 4. co a: : —————— 354% —— — 20-6 —- — 20 i Gols DMN (243, V/s 290. > : ITI =< 4. 1461-1522. : “ds Fr Plan lent b = Modernkrehuilding, dun Io 29 30 40 So 60 79 89 3° igo so 8 zs {2 oe Seale of feel - pie MET Taylor Lor t | PHOTO-LITHO. SPRAGUE & C© 4 & 5 EAST HARDING STREET FETTER LANE LEC «The Builder’ Cathedral Series. { { | F pusacmiid ak Spica NE ECR hi on nuns iS SEAL Buda JER mm Kuta a RE _- = pp : £3 X dary madd a a <1 vA SERA Hh 15 LF Mei: pl £3 NR a ae Sein Td a i A SALISBURY, S every one knows, Salisbury is unique among English cathedrals for its comparative unity of style and date. The spire and the upper stage of the tower are rather later than the bulk of the building, but otherwise, with the exception of one or two unimportant portions, the whole building is in one style and forms one design, carried out systematically during a course of about thirty-five to forty years from its foundation in 1220. : That is to say, the foundation of the present building,—for the cathedral church of the diocese, as in other cases in England, was founded in Norman times, in 1092, at Old Sarum, and probably to a great extent rebuilt again after that period on the same site. It was owing to political and social difficulties, to the rough treatment of the clergy on apparently more than one occasion by the soldiers of the neighbouring castle (the quarrel arising out of some dispute about boundaries), that Bishop Herbert Poore, consecrated in 1194, applied for royal authority to remove the site of the cathedral to some less turbulent neighbourhood. The carrying out of this idea, however, seems to have been reserved for his brother and successor, Bishop Richard Poore, who pitched upon the present very low and at that time probably very marshy site. There seems some reason to think that he gave the site out of his own land. Both the Poores were evidently “ men of light and leading,” of considerable influence and determination, as indeed may be said of many other founders or improvers of our English cathedrals. A cathedral might be dedicated to God, but its existence is often the monument of the strong will and personal influence and ambition of one man. Bishop Bingham, Poore’s successor in 1229, carried on and nearly completed the building, and the next Bishop, Bridport, I) i | || = Ib 111 > : -— ~, — Bry IRE == y 4 ¢ LEANERY "GARDEN is recorded to have seen its completion and dedication in 1258. How the tower was then left, or what finish it was ultimately intended to have, it is impossible to say now. The upper stages of the tower are sensibly later in style than the lower one, but are evidently of one design with the spire, the whole being the ambitious effort of some remarkably bold builder of about half a century later. That the substructure was never intended for such an erection must be obvious to every one who studies the building ; and to those who can realise what is the weight of the structure above, and what the nature of the pressure brought to bear on the crossing arches and the adjoining arcades, there is something slightly “uncanny” in standing under the crossing and contemplating the lines of the first arch and pier east and west of the crossing, thrust visibly out of the perpendicular in either direction by the enormous weight piled on the centre of the building. However, it is ascertained that the spire, though it lapsed somewhat from the perpendicular at an early period of its life, has not moved further since the date of Wren’s examination of the building, and therefore we may conclude that it has come to its final bearings. The walls of the tower itself, however, were showing great signs of weakness in quite recent years, under the weight of the spire. The masonry at the angles was carefully strengthened and large bond stones inserted ; but the more important precaution has been the insertion of strong internal iron cross-ties from angle to angle at two or three levels; a piece of work carried out, we believe, under the direction of an engineer, Mr. Shields. A little bit of Medizval engineering with the same object is to be seen in the light diagonal buttresses which are carried from the nearest buttresses of the nave up to the angle of the tower, about the level of the roof parapets, one of which is seen in the view* These serve to illustrate the curious faith which the Medieval mind had na flying buttress, however light, so long as it appeared to afford a resistance to the line of pressure. If the tower tended to bulge at this point so as to throw any serious pressure on these oblique buttresses, they would splinter at once. Looking at the general aspect of the cathedral externally, it presents a remarkably complete architectural picture, not only from the unity of style before referred to, but from the clear open level lawn nearly all round it, only broken up partially by fine trees, which, however, are not planted close enough to obscure the architectural design from Satshvry Cathedral Plan ; ¢ eo chal Monument®) shewib aa Score white Re fon. 8. the Peauchamp & Hungerford Chanlifies atthe ecastend.: Note Noa 19, 236 a rT worrectly hh 5 ape : » J ¥ p- | BrnopBeauchamp oH Lil ahd. 4: ao hn Chere: in. Longs ce of Sarum 3 RG ean % Siesy a 24 Borenler Beuek | J J 2 val Sa rs gious 3b Rodd o z Bithop, Quid iw Edu A Fey, 22. Bebop Davendot- = : Ww dei ope q Nlongmpee 2 * 3 ) 25... ~ Gabor 31 Alex Hyde Th 24. Dir Richd Mompesson 3a. Rojer 19. Ws gb. [A 25° Bishop Siren de Ganl™ as Hinged Coantiy the west, north, and east sides. This wide lawn appears to form a peculiarly appropriate base for the symmetrical and pyramidal pile of the architecture. Some persons no doubt find this symmetry and unity of style less picturesque and less impressive than the varied architecture of other great cathedrals which have been erected at different dates and in different styles. This was the way it at first impressed Motley, the historian, who thought the cathedral and its precinct looked too finished, too “neat,” after the French cathedrals (Salisbury was the first English one he visited) ; but he records that he became converted to it on further acquaintance, and thought afterwards that he had seen nothing in England more essentially English in character. We certainly would not lose the historic and picturesque interest arising from the variety of style of many of our cathedrals, but on the other hand we cannot but think it well that at least one of them (we would have been willing to have two or three more!) should have been completed from one design, if only to give the world a monumental record of the Medieval conception of a cathedral in one style, as every cathedral was no doubt contemplated by those who commenced it, though in other cases either never entirely carried out, or partially removed to be replaced with work according to the taste of a later day. The west front, which is the latest portion of the exterior, is certainly also the least admirable portion of the building. It has been criticised on the ground that it is moar il TS ANN : MDI N Fria eS Fr —] Salisbury@hedral. ~ A corner’ in rhe N.E, Transept™ a facade designed independently of the section of the building in its rear, but there is a great deal to be said for this system, as it is very difficult to give a dignified front to a building with low aisles on each side without masking it to some extent. The real objection to the west front is that it is wanting in the repose and refinement of detail which characterise the rest of the building, with the design of which it is entirely out of keeping ; and the ragged outline at the angles, produced by the high relief and rather clumsy section of the decorative detail, has a very bad effect. There is nothing of all * The pinnacle shown on this buttress, close against the angle of the tower, does not at present exist at the south-west angle ; it has either never been carried out, or been destroyed and not replaced ; but as it exists complete at the north-west angle, it is restored in the view, to complete the design at this point. 22 The Cathedrals of England and Wales. this in the remainder of the exterior, which combines solidity with grace and finish in a remarkable degree. A look of power is given to the work by the double line of base mouldings, the one high above the other, giving the impression of a large podium all round, and this strongly-marked base-line affords a most satisfactory foundation for the design. Among other noticeable details are the strongly-marked lines of the five mouldings or set-offs carried round the buttresses at about half their height; the admirably-designed parapet and corbel-table carried continuously all round the upper roofs, and the picturesque effect of the obliquely-placed staircase-turrets of the west transepts, with their tall slender spirelets. =~ With the exception of the west front and the tower one cannot but observe how little ornament there is; the effect is produced by fine proportion and broad and massive wall and buttress surfaces, and in this plain character and in the unusual symmetry with which the building is carried out, there is something about it which recalls the spirit of Greek architecture. The same simplicity of design is observable in the greater portion of the interior. Except in the piece of late lierne groining over the crossing, the vaults are simple quadripartite throughout the building, the vaulting ribs being lined out with mouldings rather smaller in proportion to the scale of the building than are sometimes found in this class of vaulting, combining the simplicity of the quadripartite vault with some- thing of the grace and lightness usually associated with more elaborate styles of vaulting. The plan of the main piers is admirable and most effective architecturally, but it may be questioned whether the use of Purbeck marble has not been overdone in the church and especially whether the entire employment of this for the piers and shafts of the triforium is not a mistake ; the dark material does not show up against the shadowed space behind, and the effect is produced of a long mass of dark along the line of the triforium. The separate shaft between the windows also has rather a rain-spout appearance. In the west transepts Purbeck capitals and bases are employed with stone piers, the bases of the shafts in the responds, it may be noticed, oversailing the line of the plinth (also Purbeck) in a curious and characteristic manner. : In the choir the design of the arcade differs from that of the nave, in the employment of a richer but perhaps hardly so effective a section for the piers, and a larger number of Purbeck shafts than in the nave piers; the arches are decorated with a single small dogtooth ornament about the middle of the section; the crossing arches have two enrichments of this kind on each side of the arch mould. In the north and south arches of the crossing are to be seen the low Perpendicular sub-arches with straight battlemented heading built across from pier to pier, obviously with the —. a TE HE Lis = Re ivz 2 2 NE i 4 « EE ANG lis : 7 = ok A ; i rab AGE | RL posh CIUnoE |r P ‘ru i nL ak : | o el =r v = ETT 4 | Pp A ~ | = l 2 IL _—= mas 7 Be i er Jaan. S : v : zs = = gr le —_— WL = go : The Hunge rch nity &. 16 Eda & Bridport == “ purpose of strengthening the piers under the weight of the spire; but as the tendency of the piers would be to bow outwards rather than inwards, it may be doubted whether this expedient had much constructive effect. What was wanted was a tie, not a strut. The arches opposite the openings of the eastern transepts have also been treated with inverted arches inserted in the same manner as at the crossing at Wells, but with the spandrils left solid instead of being pierced as they are at Wells; this addition was evidently. made with the object of checking the thrust of the choir arcade eastwards by the weight of the tower. The fine and bold triforium design of the nave is carried out in the choir until we come to the eastern transepts, where the design is simpler. The main triforium design illustrates the feeling for alternation of treatment which is traceable a good deal in Salisbury; the circles in the head of the large arches are alternately eight-foiled and quatre-foiled ; and in the cloisters it may be noticed that the large circles are alternately sex-foil and cinque-foil. : At the east end we come on the extreme of elegant simplicity in the internal architecture of the Lady Chapel, the vault of which is poised on Purbeck shafts so tall and slender in proportion that only very accurate balance of weight could have rendered them secure ; they show no signs of failure however. Around the lower part of the wall of the Lady Chapel is fixed the rich and delicate line of canopies-and cresting which Wyatt, about 1790, looted from the Hungerford and Beauchamp Chapels, other parts of which he used as a choir-screen, removing in his caprice the original choir-screen, a portion of which, of exquisite beauty of detail, is now to be seen along the west wall of the north-east transept. Wyatt's screen was in turn removed by Scott, and the portions of the ancient work are now in the Plumbery. The north-east transept also contains the interesting Late Gothic lavatory, and an interesting piscina of earlier date, which are shown in one of the sketches of the interior, and over the piscina is seen part of Bishop Audley’s chantry, a Late Gothic work with an elaborate imitation groined ceiling. Eastward of this chantry is the monument to Bishop Poore, a heavy roof-like solid canopy carried by an arcade on small Purbeck shafts of very effective section. A sketch in the south-east transept shows the monument of Bishop Bridport, a very charming piece of Early Decorated work, in which there may be observed a considerable general resemblance to the design of the cloister bays; beyond this is seen the iron enclosure of the Hungerford chantry, with its cresting (this ironwork has been painted and gilt on the side next the choir, in the process of Scott’s restoration), and a tomb westward of this, surmounted by a bold open ogee arch and finial, and filled in with a Mediaeval grille of simple but effective design. Some further sketches are given from various other details of monuments. Of the modern work in the choir it may be said that the wrought metal work is mostly good, especially the choir-screen, executed by Skidmore from the design of Scott. The tiled floor is somewhat commonplace (said to be a restoration from old remains), and the costly reredos by no means satisfactory : there is a furniture-shop look about it, especially in the manner in which angle shafts of marble are stuck on projecting beyond the line of the structure and carried on large and over-carved corbels. The modern Gothic font in the north-east transept is also a very bad affair. The modern woodwork in the choir, where also remains a good deal of the work of the ancient stalls, is much better. The organ-pipes ought to be decorated ; their dull leaden hue, in so large a mass, has a very bad effect at present. The restoration, as it is said to be, of the decoration of the vault has been well done by Messrs. Clayton & Bell, probably in more delicate tones than the original. Medizval painting, but not the worse for that. The circles planted in the middle of the plain white vaulting spaces have not a good effect, they seem to want connecting with the rest of the work. The design of the cloister is beautiful, but would be still more so if the exterior wall towards the garth had been kept a little lower. There is too great a mass of blank wall above the arcade. The chapter-house interior is also one of the remarkable points of Salisbury, with a vault springing, as at Westminster, from a central pier; an arcade with Purbeck shafts and cap mouldings and carved caps in white stone ; the combination is not a very good one, the dark marble cappings seem rather to crush the carving. Over this arcade is the remarkable series of naive Mediaeval historical sculpture, a never-failing source of interest to tourist and cicerone. The large windows have been filled with stained glass of rather light colour and in a repeated geometric pattern, which was the right kind of way to treat them, in a decorative sense; they might be better, they might also be much worse. The windows of the south transept are filled with somewhat similar modern glass, with good effect. The north transept wants some similar glass badly; the mass of white light through these large window spaces taking up so much of the wall is far too great. The windows of the south-east transept and those at the west of the nave aisles are filled up with fragments of ancient stained glass arranged in a quasi-geometrical form, and the west window is a conglomeration, made at an earlier period of the century, of A i Shield frome AlN Zhao Bi | bulfess 0 Hoult Shield &. bY Lettering # “ Gab tS Be onett: 55%. 8, Letterin from SE fhe ies of Chancellor Willen various remains of glass of different dates, not very fortunate in result, but less disagreeable than the east window, a thing of the days of barbarism in stained-glass design, which ought to be removed and something better substituted. The view of the exterior of the Cathedral from the wide spaces adjoining the north side of the building is the best known. There is a beautiful view from the bishop's garden south-east of the Cathedral, a picture in which the spire rises from amid groups of trees; but the architecture is a good deal hidden here. Perhaps few points of view ‘are more impressive than that from the cloisters, where the outer world is shut out and the great spire rises into the sky with nothing to interrupt its effect. This is the point of view shown in the illustration ; not quite literally as seen from the south cloister, for the spire would have appeared too much foreshortened, but the imaginary point of the spectator is not pushed very much back, and the grouping is pretty nearly as actually seen from the cloister. The Late Gothic building over the north-east portion of the cloister is the Library, said to have been added by Bishop Jewell. The octagonal staircase turret of the chapter-house is seen on the right. The tower and spire show a great deal of richness of ornamentation even when seen from below, though a good deal of it is lost. An ascent to the roofs shows what a | profuse use has been made everywhere of the ball-flower ornament, which is clustered along mullions and shafts with the most lavish hand. The design of the pinnacles of the base of the spire is fine and effective, and the work, as seen from the parapet at the base of the spire, admirably executed. The angles of the spire are treated with a very large bold roll, projecting 8 in, and with a series of ball-flower ornaments in the hollow on each side. s These details are interesting, and add to the rich effect of the work as a whole, though not all distinguishable in detail. Few things in architecture can be more beautiful and impressive than the sight of this great tower and spire seen in the evening light from the silent cloister (silent except for the birds, who have an elaborate choir service of their own after the cathedral services are over and the building and its precinct deserted), rising up into the sky above its surrounding buildings, with the green sward of the cloister garth and its two cedars in the foreground completing the picture of which we have endeavoured to convey an impression. H.H5 PLATE IX. 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GS eS] - 3 > a) x TiN abi om eS Zz, Ti 0 Lo vo / a 7h" Zale = 1 / som ors ah Ss A 7 ig hy - go PEN gl Zo ON NG pea 2 NL x 2 Zz 3 ! 8 Ey veh x t ~ 7 Ah 7 y Ry Ny * ! . 1 ' 7 % ‘ , y , \ ' \ ' 3 3 » ! », ' 2 Su \ R : 2 . hd " AX 1 ' SD —— ' rs . SEN ! \ NG \ \ ' N ' \ ) ' & » " % $ ' . 2 N 1 > :L / Ret . ’ N Ay y | / roy ba > } ’ Nels : ND) Np 2 yt ov Ail Nig t=, > > Sb Ss sl NZ AL, NZ TL NLL aka a x > <{ erly Te mmr empereey ep EL a EL LL LE aap eyes errs zl | ,EAST HARDING STREET, FETTER LANE,6 E.C PHOTO-LITHO. SPRAGUE & C° 4&8 5 “The Builder’ Cathedral Zreries. WELLS INLIKE many other cathedrals, Wells shows no traces in its fabric of the Norman church. Although it is known that a building stood on the site in very early times, and that a church of some size was standing in Bishop Robert’s time (1135-1165), the building now presents to the eye nothing that can be placed at an earlier date than the end of the twelfth century. To this period and the first portion at all events of the thirteenth century, the portions shown black on the plan belong. This includes the whole of the nave, the central tower to the ridges of the roofs, the first three bays eastward of the tower, the transepts, and the west front and base of the two western towers. Various theories have been advanced from time to time as to the order in which these portions were built. The western front is of distinctly later type than the plainer work of the nave, and it is reasonable to suppose that, during the long period which elapsed between the destruction of Bishop Robert’s church and the completion of the Early English building by Reginald and Joceline, the works began at the east and advanced gradually westward. At this time the ritual choir would have extended a short distance west of the central tower, and an aisle or ambulatory stood at the east end. This aisle is easily traceable on reference to the plan. The peculiar feature of the Early English work at Wells is the use of the square abacus in the caps of the arcade. It has a very un-English appearance, and suggests Canterbury influence. Projecting south from the transept there would seem to have been a cloister, and nearly half-way down, on its eastern side, was a chapel known as the Lady Chapel “juxta claustrum.” In 18335 excavation revealed the plan of an octagonal building, the centre line of which coincided with an Early English doorway still zz sifu. This probably was the building referred to, and which was also used as a chapter-house (before the present one was built on the north side) and as a burial-place for some of the De Bitton or Button family. The next important addition was the magnificent chapter-house standing on a crypt or substructure. Strictly speaking, it is not a crypt, its level being only very slightly lower than that of the church itself. The entrance to it we give in the subjoined sketch. This portion is of distinctly earlier date than the chapter-room over it; and we have indicated it as “Transitional” on the plan. The unique staircase and the chapter-house itself (1443-1446). Alteration had previously been made by Bubwith (1407-1424), who vaulted the east alley and built the present library over it. His arms with the four holly-leaves are in the stained glass in the windows. The north-west tower was also completed by Bubwith, the south-west one being due to Bishop John Harewell (1366-1386). Wello(thedrl. Eyamples of Arms &. « Rebus of II |Rlsno Bekindion N* Rd 5 are from eiffl YN Ne —— I SRDS The last addition to the structure was the rebuilding of the Lady Chapel “juxta claustrum,” by Bishops Stillington and King. This was, however, destroyed by Sir John Gates in the reign of Edward VI., and only the fragments of the return walls exist against the cloister wall. It was, to judge by what is left, entirely panelled inside, and must have contained some rich detail. The foundations of this chapel have, however, been traced and are given on the plan. T FAA ars’ Aili 3) = - AZ TIN SY i} fi | I Dn mp pe SEE Rg of IR Si en Sti | Wells Cartredro The Tomb: of Bishop Beching rorr Inscriplion above af A > Thos de Beckhinton Epis Bathon et Wellens Ahno On MCCCCLXIV. A = 60 oh re ge = Wells Cahearal: — Tomb of BishopPeckingion: AD.1464. Nei ced Doorway iy Cr are Decorated work of the time of Bishops Burnell (1274-1292) and Wm. de la Marchia (1294-1304). Following this work came the elongation of the presbytery, making it of six bays instead of three, and the new Lady Chapel with the lesser transeptal chapters flanking its vestibule on either side. The general effect of this portion of the building as an interior is probably not to be surpassed in England for grace and cleverness of design. The new Lady Chapel, like the old one “juxta claustrum,” was designed on an octagonal plan—in this case somewhat elongated in form—and even the little sacristy on the south side (now destroyed, but shown on the plan) was in itself a semi-octagon. During the Decorated period a portion of the central tower was raised, but like some other towers built in Mediaeval times, its weight caused the earlier piers to give way, and additional strength was given to them by the insertion of inverted arches on the west, north, and south sides. Serious cracks are still visible in the tower, which was originally intended to be a lantern, but in Perpendicular times was vaulted above the main arches. Additional strength was given by inserting flying buttresses in the walls which blocked the lower portion of some of the clearstory windows next the tower. This tower is a very graceful one, the delicate clusters of pinnacles at the angles which were built at a later date adding much to the effect, and contrasting with the somewhat unfinished appearance of the western towers. The cloister, which had been protected on the south side by a wall in the fourteenth century, had its western alley completed by Beckington Such is a rough outline of the gradual growth of the fabric. The general effect of the building and the additions at its eastern end are clearly shown on the plan, and on the view taken from the south-east. The original Early English windows of the presbytery have been blocked, and Decorated windows inserted to match the additional works eastward. The aisles have been likewise transformed, and in later times Perpendicular windows were inserted in all the Early English lancets westward of the crossing, except the great triplet of the west front. This has been also a good deal altered inside, so that there is not a complete window of the Early English period remaining. Fine as the whole undoubtedly is as a group, with its unequalled surroundings, and cluster of Mediaeval buildings, the wealth of decorative features and details throughout the building will repay the closest examination, and deserve more attention than they usually receive. The sculptured west front with its wonderful series of statues claims general attention on account of its prominence, but in less conspicuous portions of the building is to be found a mass of work of all kinds and dates which the ordinary observer would perhaps overlook. : The ground plan which, by the kind permission of the Society of Antiquaries, we are able to publish, is valuable as showing the arrangement of the choir-stalls and pres- bytery before they were transformed by Salvin (1848-1854). It is much to be regretted that the alteration was ever made. The present effect of the stone stalls, set between the piers to give extra width, is cold in the extreme, and the scheme unfortunately included 24 The Cathedrals of England and Wales. the removal of the beautiful canopy of the altar which Beckington erected during his lifetime near his tomb. It will be seen on referring to the plan what the arrangement was. The canopy, which is of stone elaborately coloured, and more like wood in the delicate treatment of its sculpture, was illustrated in the Builder of February 18, 1888. It is now placed against the east wall of the chapel of St. Calixtus. The detail of the tomb, more particularly the treatment of the angels, is the same as on the canopy, and the whole retains considerable traces of colour. Surrounding it was a good wrought-iron railing, part of which still encloses the tomb, and part is used as a screen to the eastern chapels of the south transept. It is to be hoped that at no distant date this beautiful work may be replaced, and thereby add. to the beauty of the presbytery. It was a great mistake ever to have moved it, and the question of accommodation is so slightly affected that there is little excuse for its remaining in its present dismembered condition. We have not space to enter into the details of the various monuments. There is in this Cathedral a very fine series of stone effigies from the early Bishops to those of the seventeenth century. Two chantry chapels similar in the arrangement of their altars (though with no altar tombs) to that of Beckington stand in the nave in the second bays of the nave arcade west of the crossing. That on the north is ascribed to Bubwith, and has his arms against the column at the west end. That on the south side is the chantry of Hugh Sugar, LL.D. one of Beckington’s executors, with the late nave pulpit attached to, and approached from it, built as a memorial of Bishop Knight (d. 1537). | amy < “0 Of "the other monuments the most interesting are those of Bishop Bitton 2nd (an incised slab in the south aisle of the choir), the effigies of Wm. de la Marchia (whose tomb was fully illustrated in the Builder, June 12, 1886), Ralph de Salopia, Bishop Harewell, ‘and the later tombs of Bishop Creighton and Bishop Still. A great. number of the windows in the eastern arm of the church retain their fourteenth-century glass. The great east window of the presbytery is a “ Jesse” in good preservation, and in the aisles and the Lady Chapel are numerous fragments of the same date. There is some good heraldic glass, and an interesting series of figures of fifteenth- century date in the windows of the south nave aisle. Again, in the chapter-house and its # Tl lth {il fa A Ny fr I : wl) 0» < Ly i 3 %) < 7 A £2) a BE staircase there are still some valuable portions of the glazing remaining. There is not much ironwork left—the earliest example is the inner door of the crypt or undercroft of the chapter-house, which is of fourteenth-century date. The amount of decorative carving in various portions of the building is very large. Most of it occurs on the monuments, such as the panels on the tomb of Dean Husse in St. Calixtus’ Chapel, the rebuses on the Gunthorpe and Cornish tombs, Hugh Sugar’s chantry, and in the cloisters. In the west walk of the cloister is a very interesting and valuable series of examples of the arms and rebus of Bishop Beckington, which we here illustrate. : Others occur in various places, chiefly on the gateways to the Close, locally called & Eyes,” which were erected during that Bishop’s episcopacy. In woodwork the cathedral is not rich, but two or three misereres of excellent workmanship are to be seen in the library over the east cloister, and were illustrated in the Builder, August 3, 1889. In the north transept is the celebrated clock, brought from Glastonbury Abbey at the Dissolution. Outside the north transept two armed figures strike the quarters on bells, while inside a seated figure does the same with his heels. At noon four knights revolve in ‘opposite directions and tilt. It is said to date from the fourteenth century, and bears the maker's name and inscription, “ Petrus Lightfoot monachus, fecit hoc opus.” The font, which stands in the south transept, is apparently Norman reworked, and is the only remaining portion of the earlier church. Wells Cathedral The Fob 2 = Tw No architectural description of Wells Cathedral would be complete without some notice of the buildings which surround it. On the south stands the Bishop’s Palace, with its fine Decorated chapel and ruined banquetting-hall of Bishop Burnell’s time, the whole building being surrounded by an embattled wall and a moat, which is crossed by a drawbridge at a point nearly opposite the centre of the south front of the cloister. North of the Cathedral are the Deanery, the Canons’ houses, and the Vicar’s College, with its own chapel and hall, and communicating with the Cathedral by a passage crossing the Bath-road to the top of the chapter-house staircase, known as the “ Chain Gate.” It is a prominent feature in the views of the north side of the Cathedral, and shows in a view published in the Builder of February 18, 1888. There are several other detached houses mostly of the fifteenth century, including the Precentor’s house and the house of the Master of the Fabric, both north-east of the Cathedral. It must always be remembered that the foundation at Wells was for secular canons as distinct from the monastic rule, and therefore we find a totally different arrangement of buildings. The whole, with the grand pile of the Cathedral in its centre, is, perhaps, the most perfect example we have remaining of a Mediaval city. bi E. EC FETTER! LAN PHOTO. SPRAGUE & C¢ 4 & 5;EAST HARDING STREET, INK WELLS. PAUL. ROLAND W. DRAWN BY MR. “@he Builder’ Cathedral Series. 250) BPAY 35pug i ($7 HHT I k | GO 2s EE £93 5% P&E 2c £55 53 Vig 0 5V 3 NbEES TOUS VY NS ss ie ST © Reig} vv § NEEL SE $ \o : 3 AD) y c= 5 £8 2% goon 2 Sew dN 222 tem 2Y TE SLE 3s C5 SPY REL RRR ELE cS SEonewr gr Ure c 5 So 8 5 2 No s po=s Z2 ¢ TEC Rs ee =, = $38 © QL, — Vé2 so FRO Co Lo NANXZIERRIIBS : $ : S nw . oS o 2 °F . o on 3. 5 2 Ts : 3. .& 0 5.24 By PR HEHE c Lely. Sgy © Qa" ps WW SE OY _ $5.8 LE EWS CVUcppLOo =U L2VFC cS = B50 S$ 22-12 OSC USBXE “HB EN HE, £ T5550 cE lD (HEV UFS 3 git, RT Eo. Eon © IP 32 ce Oo .9 SE : wo § se T Bf. Boosters of $4998 Y $= wul =n -N fo @ at oly — nthe Og DNtoe ne gn @ c Ls £0 BU Eg, : 3% wSLrqecat 3 geemP¥sy=¢ 3 ££ YF STZ PE 2 FEF O2 30% @ OE Ten | © 20 Og BS B Xr ou n2s - Do XK X- - 4 A= 3 x iy . SLL 22d ~ v ye Q E (Y) Oo <= C 25 = oS gl Tos 28% g Zon Ue 2% crf) ct 33 <{ O¢ PV 8 SUo cEL 3] $3 £558 Soe A en: IEEE } 8 224 J Eb ANSE tod r= C00 ra =g37 ono 431doyd © dl \ 1 Re 1 vit Sc S H 421doy )] SN Ql ey glen hee beey pas NO dpa ag aL EER aie eA pr Iw : Ne J ~o x r rrr { 5 Ta Tle "~~ x Ie 7 TTT | 5 By Lr Ai : 1 . : A Ne 7 Jv 9 N |! : | i wis A Flan gE bd / 2 i vy = 1nd } buy A 2 Z\ = Cy bel tS / ~ NZ ARS rr oy SNC NIT Zz ~ 74 on 1 ARR Xe x ul 18 J = . » O & ol c a J ” L ul al a x . 2% With the Cathedral so far completed, the scope of the two remaining periods is narrowed, and it can easily be imagined that if no local saint had attracted pilgrims and canonisation to his remains there would have been no need for further extension of the plan. The Third Period, however, embracing the thirteenth and the opening of the . Chichester Cathedral. Norman pier in Preshytery Chichester Cathedral Clustered Column mn Prespy®ry fourteenth cerituries, witnessed the erection of two chapels adjoining the south aisle of the nave, each occupying two bays in length, and filling up the unoccupied space between the south porch and the south-west tower. They are divided from each other by a cross wall, which has been removed in post-Reformation times. The eastern of these two chapels was dedicated to St. Clement, and the western to St. George. The south aisle wall was pierced by four wide arches of the period, and a width and effect gained in the Cathedral nave that was soon to be emulated on the other side. Large windows were provided with gables over them, and the ridge of the vault was tilted up in order to include a larger window area. The similarity and the slight development of the style shows that no great period had elapsed since the last link had been added to the architectural chain. A small chapel in the easternmost available bay of the north aisle was built at this period, and dedicated to St. Thomas ; it contains a very beautiful and perfect stone reredos arcade and adjuncts. There are traces in the southern chapels of such reredoses, but in its present condition the northern one is quite unique. Sic edie, Ir | ; = TX 1 = \ J : re oh 1 i Tet, yo F i i PEE ami Thm l I | Tt 1 : | 3 wr hl a Cire; -— i a 7 7 ” Sketch from Old Drawing, showing Organ Case and Return Stalls before the fall of the Tower. To this period we must assign the central tower that lasted until thirty years ago; the spire to the succeeding period; the battlements and turrets are not original. The rose window in the east gable of the choir, which is of graceful Geometrical design, belongs to the Third Period ; also the upper story of the south-west tower. The earliest works of the Fourth Period are the two remaining chapels of the north aisle, which very exactly correspond with the earlier ones on the south side. They were, however, only separated from each other by a screen-wall. These two groups of chapels give, with the nave and aisles, such width to Chichester, that it is difficult to realise that it is second only to York among English Cathedrals, the former being go feet and the latter a little The Cathedrals of England and Wales. 27 over 100 feet across the nave. Very picturesque and sombre effects of light and shade and of grouped arches give interest to what is quite a small interior in general The Lady Chapel was lengthened by the addition of two bays, and the same character given to the three Norman bays. This was executed by Bishop Gilbert de Sancto Leofardo, 1288-1304. For purity and beauty of detail this work can be considered as one of the best examples of the early fourteenth century. The western Galilee porch of the nave is of about the same period, but the date of its erection cannot be fixed by contemporaneous facts; it contains a founder's tomb on its south wall, which may be that of Bishop Berghestede, the predecessor of Gilbert, who died in 1287, and was buried after a pilgrimage to Rome to be absolved from excommunication, and whose authority was obtained for the works. The design of the porch is simple and large, the mouldings and piers marking the steady development of the Geometrical into the Decorated style. The very fine Decorated window in the south transept, with the adjoining wall, buttresses, gable, and rose window, are the work of Bishop John de Langton, and recorded as given by him in 1308. The great window occupies the whole southern wall, and immediately below its south-east corner is the canopied tomb of appearance. i TE i, Te Ti | [OF a 7 TT 77 wi TN . — TI] IA TR Jud] | wil YC [IIT rT] ill J 1 od hij 7/13 mn Ti 7 mh Canopied Tomb of Bishop —: : SS 5 Langron eft in South Transepr—= T~ ~x ® Langton (see illustration); he was Chancellor of England, as was also his successor, Robert Stratford. The parapets to the nave are Decorated in period. The unusually crooked character of the building, in spite of its homogeneity of design, made their treatment a matter for the exercise of considerable skill. The difficulties have been overcome by the use of two corbel tables, one over the other, the varying projection of the corbels making the parapet straight without drawing attention to the way in which it is effected. The spire, with its solid dormers and octagonal pinnacles, was added to the central tower in the fifteenth century; the proportions are distinctly elegant, and the ornament refined and well concentrated. The traceried bands around the spire emphasise the satisfactory diminution of the spire, which is of a somewhat wide angle of 13 deg. Fergusson remarks that this is similar to Lichfield, and with it differs from Salisbury, Norwich, and Louth, which are only 10 deg, and far too slender. Passing on to Early Perpendicular work, a large window was inserted in the north transept to emulate Langton’s on the south, but was much more clumsily carried out, a great flying buttress being necessary to save the upper portion of the north wall from falling. The settlements caused by this window are apparent now. An upper story was added to the sacristy with two buttresses. This room was used as a 7 IN 1 consistory court, and from it access was obtained to a vaulted treasury over the south porch by a secret door in the panelling. The episcopate of Sherborne of New College, Oxford, 1508-1536, was a time of much gain to the Cathedral. There existed until a short time previous to the fall of the central tower in 1861 a very beautiful stone rood-screen, known as the Arundel Shrine, containing two shrines within a graceful and richly-vaulted arcade of Early Perpendicular work, behind the eastern wall of which were staircases giving access to the rood, and in later times to the organ, as shown in the sketch. Most of the decorative details of this screen are preserved in the north-west tower. Within the choir Sherborne erected a complete range of simple but beautiful stalls under a canopy arcade returning at the back of the rood-screen. A fine reredos and similar screen-work was also erected by him, and he provided some most interesting painted decorations, by employing an Italian named Theodore Bernardi, some of which remain on the vaulting of the Lady Chapel, and in the screen of kings’ and bishops’ portraits that lined the south transept walls. The cloisters, which lie around the south transept as a centre, instead of against the south aisle of the nave, as more usual, are Perpendicular, with a simple arched wooden rafter roof; the detail is interesting, and the enclosing wall of the three sides is probably of very varying dates, and its irregular shape indicates that it formed the boundaries of buildings to which the cloisters lead, rather than that it was laid out on the usual plan. In the south-east corner, the cloister passes under the west end of St. Faith’s Chapel, the gable of which stands upon the angle and adjoining bay of the cast walk. An archway at this point opens into an interesting Vicars close, one side of which only remains, with the ancient hall adjoining St. Faith’s. The Bishop’s Palace occupies the corresponding angle of the precinct. The massive detached campanile to the north-west of the Cathedral is of Late Perpendicular style (see sketch), and appears by its breadth and low proportions to have been designed for the purpose of emphasising the gracefulness of the ancient central spire. There is a Renaissance monument to Bishop Sherborne in the south choir aisle, maintained by his former college. In the Parliamentary wars Chichester was stormed by Waller, whose men damaged the monuments and organ. Sir Christopher Wren rebuilt the upper portion of the central spire, and devised a heavy pendulum within it of timber to preserve its centre of gravity under wind pressure. Nothing, however, since the completion in the thirteenth century can be compared in importance to the works preceding the fall of the tower in our time. The stonework walls of the Arundel Shrine, with the return stalls and handsome organ, were removed to throw open the nave for services with the choir, and shortly after the fall took place, destroying shrine, stalls and organ, though the damage resulting to the rest of the building was comparatively slight. Sir Gilbert Scott rebuilt the tower, with its supports, and added 6 feet to its height. Old prints exist, and a view was published in the Builder of March 2, 1861, showing the old proportions, which were, perhaps, not improved upon. A very large masonry reredos was erected in the presbytery by the late Mr. Slater, and Messrs. Bodley and Garner have recently finished a large and delicate oak choir-screen. The comfortable proportions and effect of the old choir will not, however, be regained until Bishop Sherborne’s oak reredos and the return stalls are restored to connect what are now but two detached ranges of stalls and canopies, and complete the interest of a very satisfactory interior. rs ; BP. PLATE XI. a SX aa Ne CESARE SNS as aaa es SERN AES RS Teas Hl mi i Mi : AN vee i, i [i fH { han fai I INK-PHOTO. SPRAGUE & C? 4 & 5, EAST HARDING STREET, FETTER LANE, EC CHICHESTER: FROM THE NORTH-EAST. DRAWN BY Mr. BERESFORD PITE, A.RI.BA. “The Builder’ Cathedral Series, 0 i i) 1 HHH] il Il JHA -NoRTHWesTTowsR - Tre PaLace “The Builder’ Cathedral Hevies. LTTE THE- CATHEDRAL: GIVRCH-OF “THEHOLY TRINITY ~ ‘CHICHESTER - 1802 PT 8 a 2 3 40 pS Joule [IITHTIILE t f oy Eo He » ke i N, PARADISE - Chronological - Key to Plan: Period. Norman: 2% Period: J186- 1199. an rs 3iPeriod 1109-1255 mp 4 Period: [288 —er seg. Monuments. I. Bishob Ralph. 24 “ b 4 i 3. Seffrid il. 7 : Day. : " Storey. 6. Dean Hook. 7. Bishop Shevbarne. 8.8. Sculptures from Selsey. 9. Bishop Richard de la Wych. 10. " Langton. 9 de Moleyns. 12.9) Maud Countess of Arundel. 13. Richard Fitzalan, | th Earl of Arandel. and bis Countess. 14 Bishop John Arundel. From a Plan made by do. Butler, formerty rchitect to the Cathedral . CHAPEL Of OT Frit I te b A.B d Pite. Revised and brought to date by eresford Rite PHOTO-LITHO. SPRACUE & C9 4 & 5 EAST HARDING STREET, FETTER LANE, EC TRURO, river it is a very striking object, towering up above the houses on all sides in the centre of the valley or basin in which the city is built. It occupies the site of the ancient parish church and spreads out beyond that site in every direction excepting towards the south, where one of the main streets forbad further extension. In the design of this Cathedral Mr. Pearson has produced an adaptation of the English work of the thirteenth century, with some traces of foreign influence, and the whole stamped with the impress of his own individuality. It is of the double cruciform plan, the narrow and lofty eastern transepts contrasting with the broader treatment of those of the crossing. It will have, when completed, all the features of our old English Cathedrals: Nave and aisles with south porch, western towers, western narthex, lofty transept with aisles, out of the southern of which, westward, is designed a circular baptistry, lofty crossing, with glazed lantern, open to the church, choir and aisles, eastern transepts, and—what is one of the features of the building—the old south aisle of St. Mary’s Church connected with it on the south side by a lofty ambulatory. The chapter-house and cloister garth, with canons’ residences, are designed to communicate with the Cathedral on the north side, but these, of course, are still in abeyance. With the exception of the nave, with its aisles and the western towers, the ground plan of the building is completed. As seen from the railway, the want of length, in consequence of the absence of the nave, is much felt, and from a nearer point of view the low temporary church and the long ugly roof of the temporary west end are a miserable substitute for the west front, as represented in the complete design, with its projecting gable and deeply-recessed circular window flanked by western towers of simple but carefully-studied design, and which will derive additional dignity by contrast with the more elaborated western narthex. The nave as designed is 30 ft. wide, and in its length is divided into four bays, each 28 ft. wide, again subdivided by slighter piers, so as to form an arcade of eight arches on either side ; over them an open triforium, coupled clearstory windows, and sexpartite vaulting. Abutting upon the main piers are flying buttresses over the aisle roofs. The aisles are lighted by an arcade of lancets separated by buttresses. = The total height of the nave is 70 ft. The transepts at the crossing rise to the same height as the nave and choir; the southern arm is like the west end of the nave in so far as they both have large circular windows, but the treatment is totally different. Here the window is flanked on the west side by a massive turret, and on the east by a square campanile rising with its pyramidal roof to a height of 140 ft. Below the rose window is a treatment of three lancets, and the enriched southern entrance, the gift of the late Canon Phillpotts. gabled aisle and circular baptistry form a feature outside as well as in. The northern “arm of the transept has still another treatment of the rose window with here an arcade below it. The Proceeding eastward we pass the old aisle, its continuous range of windows and panelled wall-surfaces contrasting with the more severe treatment of the Cathedral. The choir has on each side five bays, little more than 12 ft. wide, with triforium and clearstory in character with those of the nave, but treated with a more delicate hand. East of these bays rise the eastern transepts, with angle turrets and a bold treatment of four lancets on the south side and coupled lancets on the north. The east end is a treatment of three broad lancets in two tiers, with flanking buttresses terminating in open octagonal turrets, and with a traceried circle in the gable. Entering by the south porch and standing under the western arch of the central tower, one is struck by the lofty proportions of the choir, with its tall arches, clustered shafts, enriched triforium, and recessed clearstory, terminating in simple quadripartite vaulting, while the rows of arcades, three in number, on the north side, give an effect of mystery and extent. The reredos extends across the choir, and is enriched with canopy-work and sculpture rising tier above tier, the crucifixion occupying the centre with a majesty above, and surrounded by Old Testament types of sacrifice. The altar is of wood, with a marble top, and is arcaded and decorated in gold and colour. The sanctuary is enclosed by side screens of stone, richly canopied, and provided with sedilia on both the north and south sides. Westward the choir is enclosed by screens of wrought iron. The choir floor is of marble mosaic, and contains some pieces of ancient porphyry. The stalls are of teak, without canopies, and they do not return at the west end, and as there is no western screen the choir is quite open to the nave. The Bishop’s throne stands on the south side of the choir east of the stalls, with enriched canopy, and simpler seats for chaplains on either side of it. In the centre between the stalls stands a large brass eagle, and next the north-east pier of the crossing is the pulpit, of considerable size, and enriched with sculpture. The circular baptistery is raised three steps above the nave; the font, of red marble, stands in the centre of the circle, and has a canopied cover richly carved. The floor is in harmony with that of the choir. The groining springs from clustered shafts arranged around the wall, terminated in a centre boss. A scheme has been elaborated for the painted glass for the whole of the Cathedral. The east windows, the rose windows of the transept, and the lancets under them, and several windows of the choir, aisle, and baptistery have already been put in. Under the choir is a groined crypt, which is level with the ground on the north side, and is of considerable elevation. In it provision is made for a temporary chapter- house, vestries, and singing school. In the view of the Cathedral as at present existing, which forms one of the series of Cathedral illustrations, Mr. Prentice has, at our request, adopted a point of view which as much as possible loses sight of the unfinished portions of the building, and gives a view of the eastern portion as it will always appear; the central tower being the only uncompleted portion which comes into the view. The western towers, if completed, “would hardly show from this point of view. “The Builder’ Cathedral Series. VAR, M0 mL uy VINE vim VN WII Ib al) zzz Iii] | DIN p8 mI] IVE ad III 303 Do mpmi NY ay, ~ Lt Pina Peon Ram ea, ~ So oN ~ WANMW ER 1a ' TIBIA tiga iagyy We reo i en 100 3040000 ag. DEY) : RE rT RL] 2 = GR NI tr Bay YE TRURO: FROM THE SOUTH-EAST. DRAWN BY Ms. A. N. PRENTICE, ARLBA 300 IIIB Tades DIAN PHOTO-1ITHO. SPRAGUE & C© 4 & 5 EAST HARDING STREET, FETTER LANE, EC PLATE X11 CATHEDRAL. CRoOUMND TRrRURO PLAN. Reference. Bl oon ereced V/A Portion not erected. oraled thed IT 4 Church ; eoerved §. Inco ith the new Ca V2 re aisle of SMar . CHURCH ~ ~ oo > - ’ MARYS wd. > ATHY —- 7 ~ ~ or 9) ~ | = oof eel a Ns a CHAPTER House. Ais\E OF OLD 5. EPT ~ TRANS ~ ouUTH TRANSEPT PORC Sou TH loo feet” 90 30 6o Scale. 40 30 Oo o :. =tttrtttx P p Archoifect” Mr John. Ll. .Pearson R.A. LANE EC. PHOTO-LITHO. SPRAGUE & C2 4 & 5 EAST HARDING STREET, FETTER « @he Builder’ @athedral Dervies. LINCOLN. NF the Cathedrals of England were to “go forth,” like the trees in Jotham’s parable* to choose them a queen, the choice would be likely to fall on Lincoln. York may excel it in the bulk and stately magnificence that becomes the kingly dignity; but in queenly beauty, as she calmly reposes on her “sovereign hill,” and looks abroad over the wide plain below, Lincoln has no rival among English minsters. The outline, as seen from a distance standing out against the sky, is almost perfect. The three noble towers crowning the well-balanced mass, the high-pitched roof, lofty gables, and general harmony of design, form a whole which delights the eye at the first view, and which, the better it is known and the more closely it is studied, proves itself more worthy of admiration. Nor is there any cathedral which, in the purity of its design, the symmetry of its parts, and the excellence of its details, both in mouldings and carvings, presents a more delightful and instructive school for the architectural student who desires to make himself master of the beginnings and early development of English Gothic. As Sir G. G. Scott has said, the student may here obtain “an accurate’ knowledge of the whole course of thirteenth-century architecture, exemplified by one of the finest series of works this or any other country can boast”+ The old building, with some partial exceptions, such as the western towers and the upper story of the central tower, the little -chantry chapels, and a few windows, pinnacles, and parapets,—belongs to the Early English period, passing in the easternmost limb into Early Decorated. Salisbury, which is also entirely Early English, has the disadvantage for the architectural student of being all cast in one mould, each bay being a reproduction of one design, whereas at Lincoln, the erection having been spread over the greater part of a century, while the same general design is adhered to throughout, the treatment is varied ; and even in the portions which were built at the same time, there are minor differences which prevent, monotony and impart a charming play of life: and feeling to the conception. Time can hardly be better spent than in a careful study of the successive sections of this magnificent church, tracing the growth of the Gothic idea from its first appearance in St. Hugh’s choir, through the transepts down the nave to the west front, and then retracing one’s steps to the Angel Choir at the east end, comparing and measuring each, bay by bay, part by part, detail by detail. To do this will take time, but it will bring its reward. Lincoln stands in the first rank of English churches in point of scale. According to Lord Grimthorpe’s very useful tables,} it stands second of our Medieval churches in superficial area, being only surpassed by York,—the one giving 57,200 square feet against 62,300 square feet in the other. The total length is about the same in both,—486 ft. at York against 481 ft. at Lincoln. The chief transepts are also about equal in length,— 223 ft. at Lincoln and 222 ft. at York. In breadth and in internal height, however, York surpasses Lincoln, the breadth at Lincoln being 83 ft. in the choir and 80 ft. in the nave, against 106 ft. at York; while the roof at York is ror ft. from the ground in the choir and 93 ft. in the nave; the corresponding heights at Lincoln being 74 ft. and 82 ft. It must be borne in mind that the groinings at York are of wood,—“ paltry roofs” Mr. Freeman contemptuously calls them,§ while the whole of those at Lincoln are of stone. The towers at Lincoln exceed those at York in height, as they do in beauty of design, the lantern tower of York being evidently incomplete. The heights given in Lord Grimthorpe’s list are,—central tower, 262 ft. Lincoln, 198 ft. York; western towers, 206 ft. Lincoln, 196 ft. York. "Lincoln, like York and Worcester, Southwell and Selby, practically maintains its full height from end to end. There is neither a group of low chapels at the east end, as at Wells and Salisbury, Winchester and Exeter, nor a porch ‘or chapel at the west end, as at Ely and Chichester and Durham, to add to its measured length. The ridge line of the choir roof at Lincoln, is, in point of fact, a little lower than that of the nave, but the difference is unimportant. The ground-plan of Lincoln is complete in all its parts, and one of the most harmonious in its proportions among English minsters. It will be seen from the plan given that, in common with Canterbury, Salisbury, Worcester, Beverley, Rochester, and York (where, however, the second transept was of small projection, and was subsequently absorbed in the widened aisles); it is provided with a second pair of transepts. These choir transepts, which seem to have been borrowed from Clugny, came into use contemporaneously with the removal of the ritual choir from its original place in the lantern space and the eastern bays of the nave, into the elongated eastern limb, and to have been connected with the processional visitation of the altars on high festivals. It will be also seen that there is a kind of second transept at the west end containing chapels. This arrangement gives great breadth to the west front, and an effect of space and light to the church on first entering, which is very attractive.|| The east arm of the great transept has an eastern aisle of three square chapels, according to the common arrangement. The smaller and earlier eastern transept has two chapels in either arm, each a segment of a circle in plan. A two-storied Early English porch, cruciform in plan, known as the Galilee, one of the most marked features of the exterior, projects from the west side of the south arm of the great transept, as a state entrance for the Bishop, the room above serving as the Court of the Dean and Chapter, where causes were heard and offenders tried pertaining to the jurisdiction of the Close. Of annexed buildings the chief is the Early English decagonal chapter-house on the north side of the Angel Choir, and the Decorated * Judges, ix. 38. + ¢ Lectures on Medieval Architecture,” vol. i. p. 306. 1 Beckett's “Book on Building.” || There is a similarly-placed chapel on the north side of the west end of the “ Abbaye aux Hommes ” at Caen, also, like that in the same place at Lincoln, called the Early Morning Prayer Chapel.” § “Towns and Districts,” p. 308. cloisters which give access to it. A vestry, also Early English, with a vaulted treasury below, and a chamber above, now used as a song school, projects from the south-west angle of the smaller southern transept. There are three Late chantry chapels,—that of Bishop Fleming, annexed to the north aisle of the Echo choir, and those of Bishops Russell and Longland to the south aisle, which, by their difference in height and contrast of style, contribute much to the picturesqueness of the exterior. The first cathedral was erected by Remigius of Fécamp, the first Norman Bishop, on the removal of the see-church from Dorchester-on-Thames to Lincoln. A small parochial church, dedicated to St. Mary Magdalene, stood on part of the site, which was entirely demolished by him, part of the western portion of the Cathedral being assigned to the parishioners for worship. Lincoln Cathedral, therefore, was from its commencement a “double church,” partly parochial, partly collegiate. Such it continued till the episcopate of Oliver Sutton (1280-1300), when mutual convenience led to the erection of a separate church for the parishioners between the two newly-erected gate-houses on the west side of the Close. Remigius’ church was ready for consecration at the time of his death (1092 A.D.). It was a cruciform church, doubtless with a low central lantern, and with preparations for two western towers, which it was left to his next successor but one, Bishop Alexander, circa 1141, to complete. The eastern limb was short and had no aisles. It terminated in a semi-circular apse, as at Peterborough destitute of a procession path, of which the foundations remain beneath the pavement of the present choir, the springing of the arch being visible under the floor of the stalls. There is enough left of Remigius’ church to determine its dimensions approximately. It was about 323 ft. in interior length, Ze, full 160 it, short of the existing church, by 28 fi.in breadth, exclusive of the aisles, for which we have no data (Ze, 10 ft. narrower than at present), and 6o ft. in height to the level of the flat-boarded ceiling. The only portion of Remigius’ cathedral remaining besides the footings of the apse is the central portion of the west front, with its three deep-arched recesses, forming a kind of screen in front of the western towers, and the first bay of the nave, where the character of the clearstory is indicated by a single rather wide Norman window, ranging with the triforium of the existing church, and the wider arch of the triforium which may be traced below. Remigius’ church suffered from a severe conflagration, circa 1142, when, as so often happened in Norman churches, the ceilings and roofs were burnt off, and the stone-work was more or less damaged. The injury was repaired by Bishop Alexander, “the Magnificent,” the nephew of the great building prelate, Roger of Sarum, the -able Chancellor of Henry I, who vaulted the whole church with stone, and that with such “subtle artifice,” says Henry of Huntingdon, that “it looked more beautiful than in its first newness.” To this prelate we may safely assign the completion of the west front by the addition of three richly-arcaded gables over the deep-arched recesses of Remigius’ design, and the corresponding gables on the north and south-western flanks of the towers which still remain. Those on the west front were removed when the church was heightened and the facade re-fashioned, not very happily, in the first half of the thirteenth century. The weather-mouldings of the two side gables still remain in the wall behind, together with the intersecting arcade at their base, to bear witness to their former existence. Alexander also at the same time raised the western towers, with their three ranges of rich Norman arcading, and probably crowned them, as well as the corner turrets, with spires of timber covered with lead, as at Long Sutten, near Spalding. The great centre and side doorways, with their richly-ornamented receding archways and grotesquely-carved shafts, belong to the same epoch of “reformation.” They fully deserve Sir G. G. Scott’s praise as “truly exquisite specimens of the latest and most refined period of Romanesque just before its transition into the Pointed style”* With the exception of the features connected with the west front, the whole of Alexander’s work has passed away. The great epoch of change, which substituted the present exquisite fabric for the plain and heavy work of the Norman builders, began with the episcopate of Hugh the Burgundian (1196-1200). In 11835 the Cathedral had been rent “from the summit to the base.” How much damage was actually done we cannot tell, but soon after Hugh's appointment he set to work vigorously, not merely to repair the mischief, but to erect a new and larger church in the recently-developed style, which we know as Early English Gothic. The foundation was laid in 1192. The architect was one Geoffrey of Noyers. Whether he was an Englishman or a Frenchman has been a matter of rather warm debate, and also whether the great advance from the Transition to the pure Gothic, of which St. Hugh’s choir and transept afford the earliest example of which we know the exact date, was conceived, and brought to the birth on this or the other side of the Channel. Jn support of the English claim are the great names of Scott, Parker, Freeman, and Viollet-le-Duc ; while the French origin of the design is upheld by the late Professor Willis, and, more recently, by Professor C. H. Moore, of Cambridge, Mass., U.S.A+ It is a controversy on which it is not necessary to enter here. St. Hugh's work at Lincoln consists of the ritual choir of four bays, the eastern transept of three bays in each arm, with the crossing, and the commencement of the eastern wall of the western or great transept. As originally built, this eastern limb terminated in a three- sided apse, with segmental chapels attached to the diagonal walls, corresponding to those on the east side of the small transept.] A processional aisle was continued round the % “Lectures on Medieval Architecture,” vol. i. p. 303. + “Development of Gothic Architecture,” p. 134. ‘In general, the foreign influence governs the construction, while Anglo-Norman influence appears in the decorative details. Nearly every part of the structure is French in general form, and Anglo-Norman in decorative detail.” 1 It will be remembered that at Canterbury semi-circular chapels occupy a similar position in the eastern transept, though much shallower than those at Lincoln. 32 | The Cathedrals of England and Wales. apse, and it was finished by a hexagonal chapel, occupying a similar position to the chapel known as Becket's Crown at Canterbury. The foundations of this apse were first discovered in 1791, when the church was being repaved, and again in 1887, when a detailed description of the discovery, with plans, was published in the Builder, May 7, 1877. In St. Hugh’s choir each bay contains a somewhat broad pier arch, with mouldings of a singularly beautiful profile, supported on clustered columns, with detached shafts, and capitals of stiff curling foliage @ crochet. The fall of the central tower, of which we shall speak hereafter, having jarred the arcade, several of these piers have been cased and the detached shafts built up, to the great sacrifice of beauty, but to the advantage of strength and stability. The triforium range, which was also dislocated at the same time, contains in each bay two arched openings, each subdivided into two sub-arches. The tympanum is everywhere solid, pierced with a trefoil or quatrefoil, unmoulded, affording an example of plate-tracery of the rudest kind. In one bay on the east side of the south-east transept the tympanum is unpierced, as it is at the Cathedral of Sens.* In the adjacent bays we have a trefoil punched out, as it were, in the solid stone. It would almost seem as if this was the first part of the new work executed, and that the architect was trying his hand on a novel experiment. The heaviness of the solid tympanum displeased him, so in the next bay he tried how the piercing would look, and thus took the first step which gradually led on to the complicated ramifications of traceried windows. The clearstory throughout St. Hugh's work consists of lancets, coupled in the west bay, in the other bays in groups of three, and always shafted. The vaulting of the choir is eccentric, and unpleasing in its eccentricity. The pairs of vaulting cells, instead of meeting on the central rib, diverge, one to the east, the other . to the west; producing a singularly crooked effect. The vaulting of the transepts, both eastern and western, is sexpartite of an ordinary type, and is much more satisfactory. Before we pass from the choir the stall-work must be mentioned. This was the work of Treasurer John of Welbourne, who died in 1380. Each stall is surmounted by a lofty canopy of tabernacle work, graceful in design and careful in execution. The misereres and poppyheads exhibit some curious grotesques. A marked characteristic of St. Hugh's work is the double wall arcade beneath the windows in the aisles; a row of trefoil arches on shafts standing in front of a row of pointed arches, the shafts of the outer row bisecting the arches of the inner. This arcading is found throughout the choir, and extends through the first bay of the great transept to the beginning of the second bay on each side, and there suddenly stops, the arcade being continued in a single plane. This reduction of the more elaborate plan probably corresponds with the death of St. Hugh in 1200. ~The transepts which followed the completion of the choir agree with it in general design, but with a decided falling off in the treatment, which must be pronounced clumsy. The chief features here are the two circular windows, the “Dean's Eye” looking to the north, a fine example of plate tracery, with a circumference of sixteen circles surrounding a large trefoil, all filled with its original thirteenth-century painted glass; and the “Bishop’s Eye” looking to the south, a beautiful specimen of Flamboyant, substituted for the earlier window in the first half of the fourteenth century. We have no documentary evidence as to the building of the nave. But we must certainly place it between the death of St. Hugh in 1200 and the fall of the central tower circa 1237. During these years we know from written documents that large building works were in progress, and we can hardly be wrong in identifying them with the nave. It is a noble work, exhibiting the Early English style in its perfect development, free from the crudities and clumsinesses which are observable in the choir and transepts. It consists of seven bays, with a ground-story of richly-moulded arches supported on clustered piers of varied plan. The two westernmost bays are narrower than the others, and it is to be wished that the same proportions had been adhered to throughout, and the sense of instability created by the wide spacing of the arches avoided. As in the choir, each bay of the triforium contains two arched openings, subdivided into three sub-arches, except ih the narrower western bays, where there are only two. The clearstory is formed of lancet windows set in groups of three. The vaulting is quadripartite, with two pairs of secondary ribs which are only ornamental. Throughout the church the want of height in the vault is sensibly felt. In the choir it is positively crushing. But in the nave, where the vault is actually somewhat loftier, the lowness is far less per- ceptible. The western chapels, opening on either side into the nave, have been already mentioned. That to the north has its groined roof supported by a very tall clustered Purbeck marble pillar of very slender proportions. The west end of the nave gives us a kind of narthex formed by the base of the towers and the space between them. Through an error in planning the axis of the latter the nave does not strike.the centre of the west front, and the arch connecting the new work with the old is consequently out of centre. The west window is filled with somewhat flimsy tracery of Early Perpendicular date, unhappily inserted in a lovely Early English arch. Above it is a large cinquefoiled circle of that date, fortunately untampered with. The west front, though singularly striking, and, from an historical point of view most interesting, as an architectural composition is far from admirable. It presents a combination of architectural features of various dates, without any structural unity, and it is rather a mask to hide the building behind it than its decorative architectural expression. The lofty screen wall which flanks the gable and terminates the front—*a clothes-horse to hang arcades on” it has been called,—is singularly unhappy from its hiding the lower portion of the towers which stand behind it, and deepens our regret for the Norman gables already referred to, which carried their design down to the ground in honest fashion. The noble lofty belfry stories, with their pairs of tall canopied windows, which finish Alexander's Norman towers, belong to the very earliest period of our native Perpendicular. Singularly enough, the Cathedral records are absolutely silent as to the date of their erection. There is perhaps not much reason to lament the removal of the slender spires,—“spits” rather than spires,—at the beginning of this century. : In or about 1237, during the episcopate of Grosseteste, the newly-erected central tower fell from the weakness of its legs, and was replaced by the existing tower, then carried up to the height of the two lower stories, and capped with a timber spire. In * See the view given in Scott's Lectures, vol. i. p. 94, fig. 30. these two stories we have the Early English style in its greatest perfection of pure design and rich but well-considered ornament. The stone diaper work which here and elsewhere marks Grosseteste’s epoch, is a simple but most effective decoration. In the episcopate of Bishop John of Dalderby, circa 1307, the lofty upper story of this tower was begun, and finished in about four years. It was ready for its bells in 1311. Originally it, too, supported, a tall spire of wood, covered with lead, which contended with that of Old St. Paul’s for being the highest in England. This was struck by lightning and fell in 1548. The present cut battlement was put up by Essex in 1775, and is by no means bad. This tower is the crowning glory of the building, perfect alike in its proportions and its ornamentation. It is acknowledged by that rather severe critic, Professor Moore, to be “truly magnificent, and certainly one of the grandest and most beautiful towers in Europe.” The latest part of the fabric and the most beautiful, is the prolongation of the choir beyond the eastern transept, popularly known as the “ Angel Choir.” This addition, the gem of the building, which was begun soon after 1255, and was ready for the translation of St. Hugh's relics in 1280, consists of five bays, two included in the ritual choir, and three forming the retro-choir in which stood the shrine of the saint, and under the east window the altar of Our Lady. It is an exquisite work, belonging to the very best period of our native architecture, and executed with the greatest delicacy and refinement. The sculptured angels in the spandrels of the triforium, from which it derives its popular name, are allowed, even by Professor Moore, — who considers the whole design to be much over-praised,— to have “considerable merit.” The general richness of the exterior is well exhibited in the view, which shows also the grand east window, styled by Mr. Freeman “the very noblest specimen of the pure and bold tracery of its date,” as well as the gabled and elaborately-sculptured southern portal, a second state entrance for the Bishop, the nearest approach, after the north transept-doors at Westminster Abbey, to the magnificent doorways which are the glory of the French cathedrals. Within, the Angel Choir suffers, in common with the whole church, from want of height. The view will show that, as the roof rises sufficiently high to give “room for a gable window big enough,” says Mr. Freeman, “to be the east window of a large church,” there is less excuse for the timidity which has kept the whole vault, especially that of the eastern limb, so low. There was no substantial addition to the fabric of the church after the completion of the Angel Choir. The central tower received its upper story, and the western belfries were ‘raised, the three western windows were inserted, to the detriment of the symmetry of the west front, and the chantries, already mentioned, were added outside the aisle walls, but in other respects Lincoln is singularly free from Perpendicular additions and depravations. Of subordinate buildings, there are cloisters and chapter-house. The latter, a decagonal building with a lofty pyramidal roof and huge detached flying buttresses, subsequently added to resist the thrust of the vaulted roof, which springs from a central clustered pillar, is well-shown in the view. It has recently been subjected to a thoroughly good conservative repair under Mr. Pearson’s directions. This has included the restoration of the magnificent double doorway, and a very beautiful Early English wall arcade, a continuation of the design of the interior on the western outer wall, which has been brutally hacked away by the builders of the cloisters to accommodate it to their new work. Happily they left fragments enough to completely recover the original design, which has been faithfully reproduced by Mr. Pearson. The cloisters are a charming work of the Early Decorated style, erected quite at the end of the thirteenth century, in the episcopate and mainly at the instigation of Bishop Oliver Sutton. The groining is of wood, with elaborately-carved bosses. Those of the eastern walk were illustrated in the Builder, July 19, 18go. But Medieval masons often did very bad, dishonest work. It was so here. The cloister was built without any foundations. The walls naturally bulged outwards, and that to the north fell and lay in ruins till the latter part of the seventeenth century, when it was replaced by a Doric arcade supporting the library above, the work of Sir Christopher Wren, recalling his design in Neville’s Court at Trinity, Cambridge. To prevent further ruin, during the last few years the whole of the remaining three walls have been taken down and carefully rebuilt, stone for stone. Lincoln is not rich in monuments. There were never very many, the sepulchral brass being the form of memorial usually adopted by bishops and others. The whole of these, of which there was a great abundance, as the matrices show, were torn up by the Parliamentary soldiers in 1644, who also greatly mutilated the altar tombs, and effigies. At the east end are the canopied tombs of Sir Nicholas Cantelupe and Prior Wymbysh, and a series of Burghersh tombs, including those of the Bishop, his father, and his brother, Sir Bartholomew. All of these are works of great excellence, of the latter part of the Decorated period. The panelled back of the shrine of Little St. Hugh, in the south aisle of the choir, belongs to a somewhat earlier period in the same style. The reredos is a modern work of Essex, but the adjacent screen walls preserve portions of the original Decorated work of great beauty. The Easter sepulchre, on the north side of the choir, with its six lofty pedimental canopies and elaborate sculpture is also a fine Early Decorated work. The organ screen is a composition of great richness of detail, belonging to a later period of the same style. The diapered wall of the Choristers’ Vestry and the lavatory below is a beautiful work of the same time. The Norman font of black marble, with a square basin resting on four shafts, and a central cylinder, like that at Winchester, is a relic of the original Cathedral of Remigius. There is some old painted glass of great excellence in the windows of the great transept, and in those at the end of the choir aisles. Some of this, however, is in its original position, with the exception of that in the northern rose, or “ Dean’s Eye.” This is described by Mr. Winston as “one of the most splendid and most perfect works of the thirteenth century.” The southern rose, or “ Bishop’s Eye,” is mostly filled with fragments collected from other windows, producing, however, a fine effect. Of the modern stained glass, of which there is a great deal, the less that is said the better, with the exception of the windows in the Chapter House, illustrating the history of the Cathedral, by Messrs. Clayton & Bell. - EDMUND VENABLES. PLATE X11. Gh Se PERI] 42 5, EAST HARDING STREET, FETTER LANE INK-PHOTO.SPRAGUE & C¢ fo A in LINCOLN FROM THE SOUTH-EAST. DRAWN BY Mk. JOHN BEGG. “Fhe Builder’ Cathedral Feries. avian, rorseey under LIBRARY a . r of Westmoreland. 5. Prior Wimbush& Dir Nicholas Cantilupe Monuments. aster Sepulchre. 2. Monument of Catherine Swinford & the Countess: Dir Rab" de: 4 Sir Rartholemew Bargbersh. 3. Bishop Barghersh & f ¢ § 9 3 & / S * IEE) gt ed. Rosy Grpqrsy Transition 4% Egrl Engl EE. Dec? Reference. 2 cg § © £ 25s Zz Ea wd 285 2g ESL S on ES ay oe. Se... Oo, 22802 $264 RUN NG \O pobo 08 O LANE, EC ET, FETTER mens. fF del Arthur Beresford Pite PHOTO-LITHO. SPRAGUE 8 C® 4 & 5 EAST HARDING STR Deccrated NE RRRERHALT Rerpendicubr kefbeed SS \ AN ) iE nQlish. IriEarlytnglish. ¥ rary “Whe Wuilder’’ Cathedral Hervies, EXETER $0 CATHEDRAL affords a more remarkable illustration than Exeter of the variety and individuality of the architecture of our English cathedrals, in spite of their generally uniform theory of plan, and of the prevalence of the same character of mouldings and decorative detail everywhere at the same dates. No two of them produce the same impression, each has its own especial character and feeling, and nowhere is this more characteristically marked than at Exeter. Four special points in it must strike every one who studies its architecture critically. First, the remarkable and unusual position of the towers. A large central tower and smaller west-end towers is the normal scheme of an English cathedral ; here alone (among the cathedrals) we find the central tower dispensed with, and twin towers built at the extremities of the two transepts. Secondly,—a point which however is almost suggested by the position of the towers—we observe the absence of the prominence usually given to the crossing, with its comparatively massive piers and four great arches dividing the nave architecturally from the choir. Here, there being no central tower to carry, the extra mass of pier is dispensed with, the great arches do not interpose, and the vault is seen as an almost unbroken vista from end to end. Thirdly, the equal length of the nave and choir, equal also in their number of bays; a very unusual feature either in a cathedral or any other Medieval church. The fourth characteristic is to be rather felt than defined ; ‘a peculiar modulus of design pervading the building, exhibited mainly in the rather low and wide proportions of the openings, the windows especially. The vertical jamb is remarkably short in proportion to the span of the arch in most of the windows, and the prevalence of this short and wide proportion gives a character of breadth, dignity and spaciousness to the ensemble of the building ; its expression is less aspiring than in some other cathedrals, but on the other hand more full of breadth and repose, and remarkable for the flood of light with which the wide windows fill it everywhere. Like others of our cathedrals, Exeter stands on a Saxon site, as is known by tradition and something of a vague kind of historical evidence, quite in ; v keeping with probability and there- fore to be accepted, though no stone of the Saxon fabric is known to remain. The founder of the exist- ing church was (as usual) a Norman bishop, William Warelwast, who commenced his work in 1112, considerably later therefore than many of our Norman churches, as in fact the style of the original portion of the tower would in itself testify, the interlacing arches of the wall arcade half-way up the tower especially. EXETER CATHERAL Paeriny to Chapter House TE 1 wa FE : a dtellie. smn, These two towers now repre- sent the Norman church, to sight at least, though it is probable that a considerable amount: of Norman work is encased in the later altera- tions. The peculiar position occu- : : 5 a ne pied by these towers gave rise to a Ta a theory at one time that they were 4 | ee the western towers of the original of" f= 8s church, which had extended eastward only from this point, a theory which was fully disposed of by the late Archdeacon Freeman in his sketch of the history of the Cathedral. His remarks on this point are worth quoting :— “By putting together such evidences as remain, we may form some idea how far the plan was carried out in the earlier or purely Norman period. The towers speak plainly for themselves. Eastward from them, at a point near the end of the third bay in that direction, apsidal terminations, traces of which have been found lately, mark the extent of the Norman choir. Westward of the towers, the lower courses of the Norman work are visible still, from the north tower as far as the north porch. The thickness of the great western wall also accords with this date. On the interior face of both north and. south walls of the nave aisles, disturbances of masonry occurring at regular intervals indicate the position of a series of Norman pilasters, the base of one of them having been recently found 77 situ beneath the stone seat. Outside, and corresponding to the position of each several pilaster, may be observed either flat buttresses of Norman form and masonry, or else traces of their removal. These remains, linking together the obviously Norman towers and the massive west wall, point to the conclusion that the Norman cathedral as Marshall + found it, included the entire nave. Thus, what was completed in the true Norman or round-arched period would seem to have been the towers ; the choir of three bays with its apse and aisles; and (probably) apsidal chapels east of the towers, and north and south of the central apse; and the nave with its aisles. All the windows were, no doubt, like those in the transept, of a single light; the doors perhaps enriched with Norman mouldings [Norman ornament the writer probably meant]. But the general aspect must have been as at Chichester, stern and heavy ; the roofing, probably, as at Peterborough, of wood, flat, and panelled.” Bishop Marshall extended the choir eastward and built the Lady Chapel, at the close of the twelfth century, and the building was then a Norman and Transitional cathedral. * The two lectures on which the Archdeacon’s “ History” was founded were delivered in 1871. + Bishop from 1174 to 1208. ‘massiveness about the work, unusuaj ’ The chapter-house, under Bishop Bruere, in the first half of the thirteenth century, was the next important addition. A sketch of its doorway has been supplied to us by Mr. Greenslade, to whom we are also indebted for the sketch of the Transitional doorway on the south side of the nave, near the crossing, which, in fact, was the doorway into the cloister, preserved amid the later alterations to the nave. Carter's plan, on which this is founded, shows the south cloister walk as included within the buttresses, a feature which we have reproduced here as his, in the plan, though it does not represent the present state of the buttresses, and must be taken only as his record of what he found in 1797. It has an odd appearance, but we can hardly suppose Carter would have drawn it so except from observation ; and there seems little doubt that the north walk of the cloister must have run under the flying buttresses. - The cloister was destroyed in Cromwell’s time, and- everything about it is more or less conjectural now. The scheme by which the Norman cathedral was transformed, except the towers, into a Gothic one, was initiated by Bishop Quivil, a master-mind evidently, towards the close of the thirteenth century. He only carried out the transformation of the transepts, the eastern bay of the nave, the Lady Chapel and the portion of the choir adjoining it, and threw the towers into the transepts. His successor, Bishop Bitton, completed the transformation of the choir at the commencement of the fourteenth century ; and Bishop Grandisson, about the middle of the fourteenth century, completed the alteration of the nave and the vaulting. The west front was altered to its present form by Bishop Fox late in the fifteenth century, and his predecessor Courtenay had added the late Gothic pinnacles and parapet to the Norman towers. \ What we see now, therefore, is an originally Norman church transformed into a Decorated one, by means which it would be impossible fully to trace except by a demolition of the building, which alone could reveal how much of the Norman work was cased in, how much was actually removed and destroyed. The Norman towers, in their square and massive strength, remain as a kind of central rock around which the later Gothic has grown as on a base. Internally, the remarkable points are the bold and effective plan of the piers, a series of clustered shafts of three different orders, and the fine design and execution of the nave vaulting, just at the period when | nL I Ti] I Z\ — the radiation of the numerous ribs Bi iay form into which it was ultimately to be resolved; the ribs are collected on | to an unusually small impost, and the collecting and mitreing of them has cost the builders no small trouble, not without a certain amount of ingenious “fudging.” The beautiful minstrel gallery, with its canopied front filled with statues, is another was beginning to suggest that fan I ft or = oa ~~ = mw ~ = a special feature of interest, and also the elaborate and varied carving of the long vertical bosses or corbels from which the vaulting shafts spring, | | though it must be admitted that | these are not very constructional in i | | I I 11 1 WH i LLL ET & EL ELS iH a ly} 1] design, and seem rather ornaments to all the tail of the vaulting shaft than designed for (architecturally) sup- porting it. Externally there is a remarkable degree of solidity and IRE | €xeTerR CATHEDRAL Doorzcay 1A S.Ausle = oF Mave . Cost. ® at that date, and which in itself 4 seems to speak of the spirit of the / Norman design still affecting the style and proportions of that which superseded it This look of strength and massiveness is well conveyed in the view. In 1871 Sir Gilbert Scott was commissioned to make a “restoration ” of the interior of the Cathedral, which was probably at that time very much in need of thorough renovation and as the fabric was in sound condition there was after all little done in the really objectionable form of restoration, viz., building new imitations of old work ; nor has the exterior been much touched. New stalls were executed by Messrs. Farmer & Brindley from Scott's designs, and a new reredos executed by the same firm was put up, of not very happy design, which (as our older readers will remember) was the subject of a violent controversy at the time, and was even officially condemned by the bishop and ordered to be removed, but, as in most such cases when the work has actually been executed and fixed in its place, retained its position after all. A new pulpit, in memory of Bishop Patteson, was inserted at the same time. ‘Scott also introduced the open screen between the nave and choir, which must be admitted to be an architectural as well as a ritual improvement to the interior; and in doing this he left the organ in its old position over the screen, a position which we venture to think is architecturally a fine incident in a cathedral interior, and not a detriment to the effect, as has been maintained of late years by many people. The difficulty in the ‘way of maintaining this position for the organ lies of course in the great size to which modern organs have developed, and which would render it now hardly possible to plant the whole instrument on the chéir-screen in the old position ; but, nevertheless, the old choir-screen organ-case made a fine central object in the vista of our cathedrals, and we regret to have lost it in so many cases. | : | : : : PLATE XIV. i i UH i [ri a Li ames wi, Hn ia rs rR a * io d Lhd ie He it 2 i 20 . ie ov Ans SW OMA tte htt +850 id #3 . . ve . ay by hing N Sn ne ~~ ) ve fe ite of ) fo HK Pitino Bk - struts BLAY et tr mse gE de in Fi % RAGAN MAL ¢ aga WY WAN ; - ver Ak co TIT xi MR : ‘ > “a fr Ss is Wi " A TA gn CAL ft Ire a ; ) Se rics \ 3 Fol fre a Lan NEL Ww oH os diy git MN: on A He ¢ ; So 4 2 = Ba a or i 7 g i! ji Tn gn Boh pe ge Tg Poin 2 Ag pt 9 Sah iy oasis he 4 ik : “ SMUT pais A bed la] Lend ART i AY ou MR 7 hte: eanl ge $ pe I trse : AMET a 3 wo Bh digi Ades hry SEE aie jem SL Se ne Th = Shs pa i iy FAA EE Te x oe Tee NITE eed SRE Ria SS = ~ NOT eT Nin gg Fas. 7 PONG ny TO — Pras HA A Per RNA Le, el AREAL on . “awn hus wi ee x MgC] WT Sr RRR A Al i we BE aitkariabits Rp deren ape i : Sn 4 wi a He = : z Hig ED ro Hus Soi a VA WC i Hitt ! at Stat sina nh: bi fies ? {7 ) nr a ai ae Bera Riv Ey . A(t .f SARA fi i he A HR 5 diki : Re Fh gh Rhian SHERI So pe : PHOTO-LITHO. SPRAGUE & C° 4 & § EAST HARDING STREET, FETTER LANE. EC EXETER. . 3 DRAWN BY Mz. A. NEEDHAM WILSON, ARIBA “@he Builder’ @ athevral Lrevies, House . Part” of a Prebendal I 05. , PEKES CHANTRY. 0 . Vv \ \ + + - \ PALACE Ih il I =i i My U \ Veaswy . The EL » ' ol ’ = WS HOLY GHOST CHAP, Fv ¥ 1 ery ! ut ) 94 ~ ~ SR ~1.- \ 190 Fee \ 1 \ 1 Cloister | » ‘ . ' ’ - Send 8 led CRrRounND PLAN. Scale. Sn Site 4 EXETER CATHEDRAL 1¢ ' Fomad SI Monumen’s. ele. the Society by John Cg 1797. % 055€5S1o1. © quae from Plan {now w the of Anti Bishop Cotton g 1 i Ds gz Tr $ 8 ng §3%E NE Yyo=J\ EES) 2EI3t onsgst SRELEU eico> Fp GG Roa TEFTR . o o 0 : 2 mw g a. Re 9 Pos o n= o a. SS 9x HT 3 sESe S82 US Qe L LOE SQ .. 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N the difference in the sites of English and Welsh cathedrals, Professor Freeman says :—“ Founders of Welsh cathedrals, unlike their English contemporaries, seemed to seek their dwellings in remote places rather for retired contemplation than for any active government of the Church, in sites suited rather for Cistercian abbeys than for cathedral churches.” The English sees in several instances were removed to cities of greater importance, whilst the Welsh remain where they were originally founded to this day. There is no reason to believe that the cities of St. David's and Llandaff were at any time of greater importance than at present in a military or commercial sense, though the ecclesiastical population both in proportion and in actual numbers has no doubt declined. Some remains of the original clergy - houses can still be seen, either in foundations or in walls, or built into modern work. The situation of the Cathedral is one of great beauty, and in a way unique. It is surrounded on the south and west sides by wooded hills, and elsewhere by pleasant fields and meadows, which give to the Cathedral a character more distinctly rural than any other in the country. In this respect it differs from most of its English fellows, for whilst they, as a rule, are the centre and nucleus around which a busy city has grown, here at Llandaff, the City” is little more than a village, consisting mainly of the ruined Bishop's Palace, the Deanery, and the Clergy-houses, and a few untidy, deserted-looking streets, all of which are to the south and west of the Cathedral, and high on a hill above it. From this hill a steep and picturesque lane, shaded with trees, leads down to the west front, and past it to meadows bounded by the river Taff, from which the city takes its name. Taking Llandaff as a whole, there is little in its external appearance, except its beautiful west front, that is suggestive of a cathedral in the absence of any central feature, such as a tower or lantern, or of transepts, or of collegiate buildings (for the ruined Bishop’s Palace has no connection with the Cathedral, and might, indeed, be the ruins of a castle, so little is there to mark its original purpose), the whole fabric might well be taken at first sight, externally at least, for an immense parish church. The feature which is immediately noticed by a student of architecture, and which gives this Cathedral its unique character, is the long and, except at one point, unbroken plan, comprising the nave, choir, and presbytery under one roof. The Lady Chapel projects at the east end at a lower level. The aisles extend the whole length of the church, and include one bay of the Lady Chapel. The one break in this line is the chapter-house, which projects on the south side from the second bay westward of the presbytery aisle; on the plan it is a little suggestive of a transept. Another most strongly-marked characteristic is the absence, before mentioned, of any transepts or central tower. “In this respect,” Professor Freeman says, “it is unique amongst the cathedrals of South Britain, and has but few parallels amongst churches of equal size, even when not designed as episcopal sees, as the present Cathedral of Manchester, Dorchester Abbey, and the churches of Boston, in Lincolnshire, and of St. Michael's, at Coventry.” In Llandaff, again, there is but the difference of detail between the nave and choir, viz, in the plan of the piers, in the arch mouldings, and in the treatment of the shafts dividing the bays; and the only difference externally between the latter and the presbytery is in the arrangement of the clearstory, Hence the external appearance loses a great deal in effect; the long line of roof, unbroken except where the chapter-house occurs, and the general plainness and flatness of the treatment, is very unsatisfactory, and must have been still more so in its original state, for the addition of the buttresses in the recent restoration helps to a great extent to relieve what would otherwise be the general monotony. The ecclesiastical foundation of the I See is said to be the oldest now existing I il in Great Britain still remaining upon its Hz I NREL: original site; but, although there is plenty i : Cr yp NEL % of evidence to show what the original 3 Ao i : building was like (for a minute description ~ LP 3 of it appears in “Liber Landavensis”), no 0 5 0) 0; / ’ ~~ 4 QR stone of an earlier building than that founded by Bishop Urban in 1120 now remains. The original Saxon church was most likely entirely destroyed to make room for its Norman successor, the principal remains of oc 5, 1 which are the large Early Norman arch 2 behind the high altar, and which is one of the most effective features of the interior, and a portion of a window and wall a on the south side of the presbytery, part nr of which has been cut away in a very curious manner by the Decorated arcade. The large Norman arch was, doubtless, the chancel arch of Bishop Urban’s church, and his nave stood where the presbytery now is, whilst the site of his choir is now occupied by the present Lady Chapel. Judging from this, the original Norman ls \ my or 8 = (3 OUTH THN Yn [TR [ HIS o Ny pth 4 NT 3 3 YY = from adderall church must have been a very small one, although, as the remains indicate, of a somewhat elaborate character. There is a theory that these remains are but a portion of a much larger church extending as far as the present west front, but the later work in the porches at the western end is much too advanced in detail to admit of the idea that they formed any portion of Urban’s work; the latter is more likely to have consisted of only nave and choir without central tower or transepts, as no signs of these having existed eastward of the present presbytery remain. Some foundations have, indeed, been found on the north side near the presbytery aisle, but what they originally formed is only very conjectural. There are more definite indications, however, on the south wall of the present presbytery, which seem to point to the fact that a Norman tower of an irregular polygon shape existed over the present Early English vaulted bay into the chapter-house; the core of the walls of this bay is evidently Norman, although the facing is Transitional. The walls here are very thick, and seem by their strength to have been built for a tower. The extent of Urban’s church may have been one bay westward of this part. . Bishop Urban died in 1133, and there seems to have been an interval of about fifty or sixty years before building operations were again commenced. The external walls of the nave and choir, including the two ‘Transitional doorways, are attributed to ai E) A | y. [¥- | ' oT Ae RE 7 i : RHR red org Tl = er 2h 3 << A — 3 < i Bishop Henry, of Abergavenny, who held the See from 1193 to 1218, the nave and choir and the vaulted bay to the chapter-house being built during the latter years of his rule, and that of his successor William Prior, of Gouldcliff, whose death is recorded in 1229. The work carried out by these prelates is by far the most beautiful and interesting in the whole building, and well repays careful study. The detail is especially good and pure of its date, and is marked everywhere with great individuality, notably in the arch-moulds and the manner in which these die upon the piers at the springing. The first sketch on next page illustrates this, and also the difference in the detail between the nave and choir before mentioned. The sketch shows the first bay of the nave with the last choir pier and the first pier of the nave. As already observed, the chief beauty and the most attractive portion of the Cathedral is to be found in the west front. It was built at a time when the Early English style was at its best, and is entirely free (with the exception, perhaps, of the porch) from the slight Romanesque feeling which still lingers in the details of the nave and choir, It is interesting to compare this front with that of Saint Remi at Rheims; the similarity of the treatment is very evident, the proportion and grouping of the windows in the middle stage is almost identical, and appears to suggest that the architect at Llandaff and Saint Remi was one and the same man. The interior design of this portion, both in detail, arrangement, and proportion is admirable ; it gains a great deal in dignity by the difference in height between the level of the nave floor and of the ground outside, there being a fall of several feet at this point. The additional height thus gained is given to the stage occupied by the three great central lights, whose internal sill reaches nearly to the tympanum of the semi-circular doorway outside, the loss of proportion to the lower internal Stage being made up by the depth below the external ground line. The manner in which the different proportions of the exterior and interior, necessitated by the two levels, are managed so as to give effect of dignity and good proportion to each, is very ingenious, and deserves close attention. From the fact that traces of the springing of arches exist in the eastern bay of the aisle on each side of the choir, Professor Freeman believes that they were originally the western arches of a pair of towers, the position of which would have been similar to 26 | ry The Cathedrals of England and Wales. those at Exeter, except that at the latter they are separated by the aisles from the church itself, whilst here they would have been built over them. If these towers ever existed, the Early English church would have consisted of two steeples flanking the choir, with two larger ones at the west front. This would have contributed a great deal to break up the general monotony of the design. Soon after the nave and choir were completed the chapter-house was added by Bishop William de Burgh, chaplain to Henry III. (consecrated 1244, and died 1253), and probably completed by William de Radnor, 1256-1265. It is transitional from Early English to Decorated in style, clearly later than the nave and choir, having deeply-recessed lancet windows, with foliated heads. The plan is very unusual—if not unique—amongst chapter-houses, for where they are usually either rectangular or polygonal in plan, here it is square and vaulted, in four compartments, with a plain central pillar. It has an octagonal upper story, finished with a high pyramidal roof. During this time Urban’s nave and choir existed, but on the completion of the chapter-house his choir was removed to make room for the next and last addition— the Lady Chapel—which was built about the latter half of the thirteenth century, and consequently is Early Geometrical in date. It was founded by Bishop de Breos, who was Bishop of Llandaff from 1265 to 1287, and whose tomb is in the Lady Chapel on the north side of the altar. This part of the Cathedral is fortunate in being to-day in oma 90 \ Ee E 1 | | i] \ EE AUN 1 = == be / fd RATTAN) == 1 mr E IB = I 2 | git I" Fh I Iii 2 ol Qu E {illo 0! oi i nent oni fi Et I il E f= EE Til ge He A & iy FET ERS fa TIRST BN or re NT LIANG: Tron A TFENGL BBAWING bv GM) 2 = EE = Eas os py = 1 Nia Be E : — re =n . 5) sme i= 1 (CE TN TI RT MT AER LO Tm I TO GT TS ond ey I Tr en a =e 2 1 1: ! | [ IX 7 NEW We I EEA : SR re AW = i practically the same condition as that in which its founder left it. It is a very good example of the period to which it belongs; but, by reason of its tall and narrow proportions, is in strong contrast to the rest of the work, and somewhat out of harmony with it. It is vaulted in stone of five bays, with Purbeck marble vaulting shafts, and has some good carved bosses at the intersections of the groins. The whole detail is of a very simple and refined character. The external treatment is somewhat plainer, with long and narrow two-light windows between the buttresses, these latter have three stages ; the lower one has a gablet or pediment at the height of the window-sill, and the upper one carried up to and terminating in the deep stone parapet which finishes the sides. The whole is covered with a low-pitched modern roof, considerably spoiling the external appearance. But, taken generally, the effect of this delightful building is quiet and dignified. On the completion of the Lady Chapel, a complete repair and remodelling of the aisles was undertaken. It was apparently from one uniform design throughout, and originated at the east end of the aisles, the work there being contemporary with that of the Lady Chapel. In some parts the original walls were left standing, in others completely reconstructed from the ground. This work was so slowly carried out that it extended through the remaining portion of the thirteenth century, and probably through the whole of the fourteenth, when the present aisle windows, with their ogee heads and reticulated tracery, were inserted. It was at this time that all indications were destroyed, so far as the aisles were concerned, of the bases of the supposed towers. The earliest portion of Decorated date is that comprising the two bays of the aisle on the north side of the presbytery, and the work commenced but never completed in the rebuilding of Bishop Urban’s nave. : Two arches were finished on the north side, but on the south the eastern one only; the next arch on this side was just started, leaving the head of a Norman arch and the commencement of the next one above, the latter cutting into the head of a Norman window just above the springing, and leaving the western jamb and the greater portion of the arch intact. This peculiar stopping of the Decorated work, and the mixture of the Norman with it, forms one of the most interesting points in the Cathedral. | The north-west or “ Jasper Tudor” tower and some tracery in the eastern windows of the aisles were the only additions of the Perpendicular period. The former was erected by Jasper Tudor, Earl of Pembroke, afterwards Duke of Bedford, and uncle of Henry VII. The Early English tower, contemporary with the west front, was probably destroyed at this time, but much of the old work in the lower portion was used in the reconstruction of the new Perpendicular tower, and the latter still rests upon the original walls on the east and south sides. : The building of this tower was the last event in the. architectural history of the Cathedral, until the first of those changes occurred which ended in the shameful state of neglect and decay in which Deans Bruce Knight and Conybeare found it, and from which they were the means of bringing it to the present—on the whole— satisfactory condition. Few cathedrals have suffered more since Reformation days than Llandaff, for its history from that time until about thirty years ago is one of gradual ruin, spoliation, and decay. It was in such a dilapidated and unsafe condition in the year 1718 that the removal of the See to Cardiff was for some time seriously entertained. Storms, literal and figurative, have waged around its walls, playing havoc with its beauty, WN 3 / Z AN a+ 0 IE £08 OI SA P XX 72. AY 0 4 by I il SONAR = RRR IO Ee oa WN) ) = NR \ \ \ = Ri i li rT i \ | oN \ IN. = be \ V I ih MN A A | Ce N a) LE Ry i \ NNN == Eee = - —— REE — a xm He LANINT Jrved fem a peril dram FM 91. terminating in that of November 27, 1703, which destroyed the upper part of the north-west tower and a large portion of the nave. It was then left practically to the mercy of the weather for years, and in a pitiable state of decay, the walls of the nave and aisles were ivy-grown, and grass grew on the nave floor, whilst the aisles themselves were roofless. : A worse misfortune, however, awaited the Cathedral when it fell into the hands of Wood, the well-known Bath architect, about the middle of last century. A sum of about £7,000 was spent in converting the presbytery and the four eastern bays of the nave into what has been aptly compared to a Bath pump-room, but what was said by the architect to be a reproduction of an Italian temple. This incongruity existed for nearly one hundred years, until the movement for the complete restoration of the Cathedral commenced, as just mentioned, under Dean Bruce Knight in 1843; this restoration included the rebuilding of the presbytery, choir, and nave, and the external completion of the chapter-house. One or two other points of interest remain to be noticed ; of these, the principal is the ruined Bishop’s palace, which stands on the top of the hill on the south-east side of the Cathedral. It was, apparently, mainly of the Decorated style, and very strongly fortified, and, as the remains indicate, had more the character of a castle than a palace—indeed, it is commonly mistaken for the former. The greater portion—nearly the whole—was destroyed by fire in his wars against Henry IV. by Owen Glendower, who is responsible for the loss of many of the architectural beauties of Llandaff and elsewhere in the county. The old gateway, which forms such a picturesque adjunct to the Cathedral, and some ruined walls, are all he left standing of this, at one time, stately palace. At no period in the history of the Cathedral do there appear to have been any cloisters, and there are but few stones left of its collegiate buildings. The principal of the latter class was the archidiaconal castle, said to have been of great magnificence. This was also destroyed at the same time as the Bishop's palace, and by Owen Glendower. This castle formerly stood on the north-west side of the church opposite The Cathedrals of England and Wales. 37 Jasper Tudor's Tower. In Browne Willis’s time (the first half of last century), there was also standing to the north-east of the castle a prebendary and a treasury house, but both in very bad repair, and soon to be pulled down ; and exactly east of the Cathedral, outside the graveyard, there was formerly standing a small college for the vicars choral. : Llandaff once possessed a famous campanile, which stood about 120 yards south- west of the west front. There were but few such towers in the country, others being at Evesham, Chichester, and Salisbury ; the latter, however, was destroyed by Wyatt in the beginning of this century. Judging from an old description of the tower at Llandaff, which appears in “ Liber Landavensis,” it was evidently of considerable size and fine design. The ground plan measured 42 ft. square, and the doorway,—that is, the wooden door itself,—was 13 ft. high and 7 ft. broad. The famous “Great Peter” bell of Exeter formerly hung here, but was taken down in the fifteenth century by Jasper Tudor, and exchanged to Bishop Courtenay, of Exeter, for five smaller bells. Another interesting relic of the Cathedral as it existed before the visitation of Wood is the painting on wood from the back of the Bishop's throne, which formed part of the Decorated choir-stalls, these latter, according to Browne Willis, were very refined in detail, and of an elaborate character. The painting represents the assumption of the Virgin Mary with seven attendant angels. At the top of the picture on either side is an angel playing on an instru- ment of music, probably intended to mark her welcome into heaven. At the foot, on the left side, is an angel holding an. escutcheon, on which are painted the arms of the Bishop and See, and on the right a full-length portrait of the Bishop himself, having a scroll coming from his mouth, on which is written the hexameter line :— ‘ O Virgo scandens sis Marshall celia pandens. The history of this painting is very curious; during the Rebellion it narrowly escaped destruction, and was partly defaced by being covered with lamp-black. It was taken from its position during the alterations of last century, and built in the wall over Wood’s Classic portico, where it was discovered by some workmen during subsequent alterations. It was then carefully cleaned and repaired, and is now on the staircase of the palace of the present Bishop. The Decorated altar-screen, which was removed to make way for the present modern one, is an excellent example of the work of that date; it was erected by Bishop Marshall, and is contemporary with the choir-stalls just mentioned. It now stands in the east end of the north presbytery aisle. Llandaff Cathedral does not possess many monuments or tombs, although there are some deserving notice. Of these one is Decorated in style and is on the north side of the Lady Chapel, and in the second bay from the west end. It is of alabaster, and has nine canopied niches on each side, each containing a small figure of a saint; the whole tomb is in an unusually complete state of preservation. The tomb of Saint Teilo (whose statue is in the vesica of the tympanum of the west doorway), is interesting locally as being the tomb before which it was formerly the custom for people making purchases of land, &c., to swear to their bargains. Two curious tombs are those of Lady Audley, who ‘is in a long robe and close muffler, with two monks bearing escutcheons at her feet, and of an emaciated figure in a winding- sheet, who fell a victim to disappointed love in the fifteenth century. C.EM Es » Sih PLATE XV. 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RIPON, HE Abbey Church of Ripon has been a cathedral twice in its history ; | the original monastic church of St. Wilfrid becoming a cathedral upon the appointment of Eadhed, or Eata, to be the first Bishop of Ripon, A.D. 678, by the then Archbishop of Canterbury, Theodore of Tarsus, after St. Wilfrid had left his see of York. Eadhed had no successor, and the cathedral became an abbey of Augustinians, then a parish church, afterwards a collegiate church, and again in : 1836 a cathedral upon the appointment of Doctor Longley to be second bishop, and he later on succeeded the founder of Ripon Abbey, St. Wilfrid, in the mother see of York. It is a circumstance of almost unique interest that there should be sufficient remains of a portion of the Cathedral of Eadhed of undisputed Saxon workmanship for his successor, the fourth and present Bishop, to recognise as an unaltered and integral portion of the original church; and though an interval of over eleven hundred years occurred between the first and second bishop, Ripon Cathedral, as we now possess it, bridges the centuries and reaches beyond the foundation of the bishopric to the time when Wilfrid, in the seventh century, erected the church of which the crypt under the central tower now remains intact. The historical figure of Wilfrid should not be passed over without remarking that he was one of the principal agents in effecting the adhesion of the English Church to the customs and allegiance of Rome at the great Synod of Whitby in 664, and that foreign influence was as manifest in his architecture as in the making of his tonsure, the Roman method of which was one of the great matters of discussion with the Irish Bishops at Whitby. A settlement of Irish monks from Melrose existed at Ripon shortly before Wilfrid's time, and upon his victory at the Synod of Whitby, they retired to Iona, and King Alchfrith bestowed their monastery upon Wilfrid. Wilfrid was an Englishman, supposed to have been born near Ripon, and acquired his love of Italian methods during his frequent sojourns in the south. Before the days of the great Norman building Bishops of the eleventh century it is interesting to observe in Wilfrid an English Bishop with architectural tastes and enthusiasm. He built two basilicas, one at Hexham and the other at Ripon, besides restoring and beautifying the Cathedral of St. Peter, at York, on his accession to the See. Of his church at Ripon, Eddi, one of his chaplains who resided in the monastery, tells us that it was “a basilica of polished stone from its foundations in the earth to the top, supported on high by various columns and porticoes.” And similarly of his church at Hexham that “it was supported by various pillars and porticoes, adorned with a marvellous length and height of walls, and with passages of various turnings ; nor was it ever heard that such another church was erected on this side the Alps.” Workmen were brought from Italy to build in the Roman manner, as the Saxon churches of that time were uniformly of wood and thatch. These descriptions and facts are entirely applicable to the work of the crypt which remains at Ripon. It is a chamber below the crossing at the position of the high altar of the earlier church, 11 ft. 3 in. long by 7 ft. 9 in. broad, covered with a cylindrical Roman vault 9 ft. 4 in. high. A round-headed window is in the middle of the eastern wall, and small niches also with round heads cut out of one stone are in each wall. Narrow passages surrounded the crypt upon the north, west, and south sides, but the latter has been blocked eastwards and extended westwards, skirting the foundation of the south-west pier of the lantern tower, and giving the present access from the mave. The original steps in the northern passage can be traced still. Mr. Micklethwaite has pointed out that Wilfrid’s church, RIPON MINSTER PLAN OF SAXDN CAYPT Bl S.xon Work Later Work = Deposits of Bones 8 LON N ; ' DESCENDING PASSAGE w= i S N NN N A NJ he) Way down — Church 9 v 8Ca: e rE€s ’ » A x. | N NN W150 ha Hope, mans et del 189) after the Italian manner, had the altar at the west end instead of at the east end of the church, and that the window in the east wall of the crypt was for the purpose of obtaining a view of the relics contained in the crypt from the nave, the passages descending right and left. This arrangement coincides with that of St. Peter's at Rome to-day. There are many traditions, and theories somewhat akin to them in probability, of the purposes of this very curious crypt that we need not trouble ourselves with, the facts of greater interest and complete certainty being that the masonry is of a description far in advance of and different from that of the Saxon architecture of England; the monolithic arches, the unbroken and excellently built vault, the smooth masonry, coated with a fine and very hard plaster which takes a polish, all indicating the Italian or rather un-English character of the work. The non-orientation and plan prove that the Roman mission of Wilfrid was prosecuted with a thoroughness and attention to detail and precedent that would not have been unworthy of a nineteenth-century ecclesiologist. The original Irish monastery was not on the site of the present Cathedral, and it appears that Wilfrid must have built two churches at Ripon, as Leland tells us that the basilica described by Eddi was at some little distance from the Cathedral and was destroyed by Eadred in 948, when he devastated Northumbria. Leland goes on to say that “Odo Archbishop of Cantewarbyri (942-959) cumming ynto the northe partes hod pitie on the desolation of Ripon Chirch, and began, or causid a new work to be edified wher the minstre now is,” but of Odo’s building no part remained at the time of Leland’s visit. Leland indeed asserts that Odo accompanied Eadred on his harrying expedition, and Odo himself relates that he took the bones of St. Wilfrid to Canterbury, out of pity to their wretched plight; but as the bones of the saint were believed to be in the shrine prepared for them by Archbishop Walter de Grey at Ripon centuries later, some little mistake must have been made by Odo in his “pitie” and zeal for treasures for his church at Canterbury. Upon the south side of the choir, underneath the chapter-house and-the vestry, there is a Norman crypt of the history of which little is known; that of the subsequent later Norman work can be traced, but this crypt and the apsidal end of the vestry above must have formed part of the Norman church of Thomas of Bayeux, the first Norman Archbishop of York (1070-1100). The position of this crypt, whether relatively the same as to the present church or below the high altar cannot be easily determined ; the latter suggestion would appear most probable if the position of Wilfrid's Saxon crypt under the lantern could be reconciled with it. The peculiar value of the architecture of Ripon Cathedral to the student is the evidence of the new vigour of English life and thought that converted the Norman into the Gothic, and in its Transition period united the characteristics of both conquerors and conquered in a national style. Sir Gilbert Scott, in his lectures on “Mediaeval Architecture,” has illustrated and explained the special beauties of the work at this epoch at Ripon, and the student can be earnestly recommended to study the design of the nave, transepts, and choir of the Transitional Norman Church at Ripon as an illustration of how rapidly a living architecture progresses under original conditions, unhampered by, and yet availing itself of its own past. Archbishop Roger Pont d’Eveque (1154-1181), the partisan of Henry II. against Thomas a Becket, who described him in language worthy of a modern amateur architectural critic as “ malorum omnium ‘incentor et diabolus ille,” began, de novo, the rebuilding of St. Wilfrid’s basilica. The western and eastern bays of his nave, the transepts and the part of the choir that remains to us, have all the finer qualities of the Transition style ; a beauty of form begins to invade the detail and a delicacy of proportion takes the place of the massive weight of the very slightly earlier work to be seen at Fountains Abbey close by. The solemn majesty of the latter, attained by the Cistercian abstinence from ornamental features and by the huge scale of the arcades and walls, is vastly different from, but would not have robbed, the work of Roger at Ripon of its own breadth and dignity in comparison. The Ripon nave was of greath width, being over 40 ft. between the walls, and had neither aisles nor open arcades. The lower story of the wall was plain and featureless; a lofty blind wall-arcade rose from a string-course some distance above the ground, divided into bays by vaulting shafts, and consisting of an acutely pointed arch enclosing two open arches springing from a detached central shaft. The tympanum of the enclosing arch has a pierced quatrefoil, the blind wall at back forming a triforium passage within the arcade. The clearstory above consisted of groups of three lancet arches carried on detached piers, all of equal height. The vaulting shafts rise some distance against the wall above the clearstory and carried the wooden ceiling. The first and last bays on each side of the nave which exist enable a clear idea to be obtained of the impressicn produced by this gracefully decorated single nave. Two arched bays at the west end open into the towers. These in Roger's time occupied the same position as the present later towers, so that the nave extended at the west front to the full width of the later aisles. The arches between the north and south walls of the towers and the nave are of later date than Roger's nave, being evidently rebuilt, but the triforium story above them and the clearstory are his work, and correspond with the design of the transepts. The nave opens into the tower with a lofty semi-circular arch, boldly moulded, springing from a delicate cluster of columns. The north and south arches of the crossing were higher than the west and east ones, not only because the sides of the tower were of unequal size, but the springing line has, in addition, been raised several feet. Among many interesting points in the ground-plan of Ripon Cathedral are the piers of the central tower and their curious irregularities caused by the partial carrying out of their Perpendicular casing. The Norman arches remain on the north and west sides, and the south-west pier has been cased, whereas the north-west pier remains in much its original state. The north arch has a considerable deflection, as will be seen by the plan. This is not observable outside in the tower itself, the difficulty having been surmounted by corbelling it out. The eastern arm bends slightly to the north of the main axis of the nave, and this is more marked on account of the centre of the rood- screen between the eastern tower piers being considerably south of the centre line of the nave, which latter has been built, as far as its arcade is concerned, on the earlier nave walls of Archbishop Roger’s Church. The north transept remains a nearly perfect specimen of the Transitional period, but the south transept has had its arcade remodelled at the same date as the rebuilding of the tower piers. The two eastern bays of the eastern arm of the church are of Decorated date, with a very fine eastern front, with bold buttresses and generally severe treatment on the exterior. The other bays on the north side are Transitional in style, while those on the south of the choir are Perpendicular, part of the reconstruction after the fall of the eastern central tower. The piers of the Decorated work have been very closely copied from the Transitional work which was found remaining, giving this portion of the church an earlier look than it really is. ; The nave and its aisles are very spacious, being 87 ft. in width from wall to wall. At the west end there is an interesting bit of detail showing the design of Archbishop Roger's nave pretty clearly, with the Perpendicular work of the nave abutting against it on one side, and the Early English work of the western towers on the other. 40 | | Ze Cotledials of England and Wales. The great transepts, also of Archbishop Roger's work, are of much interest. The triforium and clearstory of pointed arches and detached columns, the large groups of corbelled, vaulting shafts, and the plain treatment of the north and south walls, the chapels in the eastern aisles, and the beautiful doorways in the western corners, have all much simple beauty. The width and low proportions of the triforium arcades, and the large semi-circular headed windows, suggest a foreign feeling of design, but all has much that is distinctly original and English, and in comparison with Becket’s shrine at Canterbury gains in national character. There is some delicate leaf carving to the capitals of the transept doors and in the chapels of the north side. The north door has a trefoiled enclosed arch springing from moulded corbels. The elevation of the north transept is the most characteristic external work of Archbishop Roger's that remains. The gable has two stories of plain semi-circular headed windows, and is flanked by lofty square turrets, which have pyramidal spire tops, with rude spindles at each angle as pinnacles. In the top of the turrets are windows, enclosed in a semi-circular arch, with a balluster mullion. This work is more Norman in feeling than the internal face of the transepts would suggest, and the turrets much resemble those of the west front of Tewkesbury. The north and west faces of the lantern tower are Roger's work, of a similarly severe Norman type. The south and east faces, together with the piers and arches below them in the crossing, were rebuilt after a partial fall of the tower, before 14509. The north transept is the Markenfield Chapel, and there was formerly here a chantry of St. Andrew. Of the Markenfield tombs, that in the aisle, with its eastern end against the east wall, is of the greater interest. There is some very delicate heraldic carving on the shields around the tomb, unhappily much defaced, and the effigy of Sir Thomas Markenfield (zemp. Richard II.) wears a curious collar of “park palings,” and a badge with a stag couchant, of which we give a sketch. : The other Markenfield tomb, against the north wall of the transept, is late and poor in Rigen HEN Boog ofe SirThos FR 0 E aisle of ol y N® Transept™ 2 cross in relief. The choir olE the church of Archbishop Roger was evidently co-extensive with the existing . one, so. that the Cathedral has not been materially lengthened since he completed it; but most: of ‘the south side of" his choir was destroyed by the fall of the tower, and the three -eastern bays, ‘excepting the arcade piers, had been rebuilt in the early Decorative style about 1288-1300. The three western bays on the south side, which were ruined about 1459, were rebuilt in the current Perpendicular style. ' It is, however, remarkable, that in the three periods during which the choir was building, an enforced harmony with the earlier design was observed ; the heights of the strings and the spacings of the bays were maintained, while the semi-circular arch which Archbishop Roger employed for his clearstory in the Transitional days is adhered to in the decorated and fifteenth-century work. The preserving of his piers to carry later arches is also remarkable. The design of the choir corresponds with that of the transepts, and its vaulted choir aisles returning on the east sides of the transepts must, in conjunction with the wider aisleless nave, have had a fine contrasting effect. The slender piers of the crossing, having their arches carried outwards to the width of the nave, call to mind the late Mr. Street's original treatment of modern churches for the same purpose of combining a wide congregational nave with a narrow choir. After the fall of the tower, the north-west bay of Roger's choir was sacrificed to a solid buttressing wall, and when the later Perpendicular stone screen was erected against it, the choir was effectively shortened by half a bay. The vaulting shafts in the choir and its aisles should be remarked, as their bases have an interesting corbel inserted under the lowest circular moulding to carry it back to the square die upon which it rests; it is an original device for avoiding the frequent Norman angle leaf or claw, and as it diminishes the area of the base is the more suitable as a corbel. The shrine of St. Wilfrid, built by Archbishop Walter de Grey (1215-1255), owner of the well-known and beautiful tomb in the south transept of York Cathedral, stood in the eastern bay of the north choir aisle. In the south aisle wall is a long lavatory by the door into the vestry, a not unfrequent position ; another doorway westwards opens into the chapter room, which with the adjoining vestry, was built over the Norman crypt before described. The room now called the chapter-house and used as such is, together with the vestry east of it, a fragment of the earlier church. The vaulting and columns are, however, Early English, and the wall now dividing the chapter-house from the vestry is also of course a later insertion, ‘and cuts through the vaulting of the first-named portion (see plan). There are some lockers here in the north wall with their ironwork remaining, and in a glass case are three fragments of carved work retaining their original colouring, and thought to have formed part of the shrine of St. Wilfrid. They were found in the choir under the floor during the restoration, and consist of two panels about 9 in. by 7 in.; one a representation of the Resurrection, and the other the Crowning of the Virgin. The former is very quaint, with soldiers in various positions round the tomb, in an earlier style of costume however than the date of the work, which is evidently of the Perpendicular period. There is also a figure of a bishop, in the same case, dug up, we understand, at the same time. From the chapter-room steps descend to the crypt below, and there is an interesting chamber, either a treasury or chantry, formed in the block of buttresses at the south-east angle of the vestry. The work of Archbishop Walter de Grey is Early English of the purest phase, with an abundance of its most characteristic dog-tooth ornament. He pulled down Roger’s west front and towers, of which no record or trace remains, and erected upon detail. Just west of it is an early slab with a the same foundation the very beautiful and complete composition that we now see. The lofty west gable wall, over a hundred feet in height, consists of three stories below the gable. On the ground story are three boldly-recessed porches with fine clusters of shafts, the centre porch being the widest; each group of arches is covered with a gable. Above the porches is a tier of five elegant windows all of equal height, with clustered and banded shafts and much dog-tooth enrichment; the upper story also has five loftier windows gradating upwards to the centre, and a triplet fills the gable. The west end of the nave is flanked by two lofty towers continuing the facade on the same plan as the gable wall, and broken only by very severe buttresses, grouped at the angles and -carried up vertically without any set-offs or splays. Three stories of arcades, of three arches each, the lower ones corresponding with those of the west gable, are repeated on each face of the towers, the centre arch being opened into a window in every story. A small blind trefoiled arcade enriches the basement. The parapets and pinnacles are later—of a debased eighteenth-century style. Both the western and lantern towers formerly had spires of wood and lead, which were taken down in the seventeenth century to avoid the cost of repairs, but the simple broad masses and plain surfaces of the west front are so effective that it is not all suggested to the mind that they are required to complete the composition. The lower tier of windows in the front was filled in with refined early geometrical tracery that was removed by Sir Gilbert Scott’s illogical purism, though he left the terrible parapets alone. The decorated work of the choir is of a refined but vigorous type, the small caps having a leaf enrichment; the recessing to the jambs of some of the aisle windows is particularly good, consisting of two orders of arches with a square reveal between. The east window is of great size, occupying the whole of the wall; it is boldly designed and delicately moulded. The clearstory has a double plane of tracery, as at Lincoln and Ely, and is of a very beautiful late geometrical design. A traceried arcade is carried along the east wall under the window. The sedilia now occupy the eastern bay, having been removed from the second bay ; they are of later decorated work of rather heavy design, but having some fine carving. : A staircase from the south transept gives access to a Lady Chapel loft over the chapter-house and vestry, into which the south choir aisle windows look. This is a simple apartment, now used as the chapter library, and has square-headed decorated windows of Te ToT] i i In ui N ( Ripon Cath? zr of the |hapter House three lights each along the south side, and a square projecting window of five lights in the east wall over the Norman apse below. This Lady Chapel was probably erected about 1330. The stone choir-screen is a very fine Perpendicular work elaborately niched and traceried, it is of great thickness, and was possibly regarded as assisting in buttressing the lower tower piers then rebuilt. The stalls and canopies which return against it are remarkably beautiful specimens of fifteenth-century wood-work, a complete series of subselliz of great interest and technical merit exist, also some good stall ends, notably an elephant and castle occupied by soldiers. ~The backs of the stalls have openings cut in them to give a view from the aisles to the altar. There are only a few remains of the ancient stained windows, some fragments probably from the east window having been glazed into the south-west window of the nave ; they are, however, of considerable beauty and interest. The Perpendicular nave is of the type of that of a fine parish church, a lofty and well-proportioned arcade carried on clustered piers of picturesque plan supports a large clearstory of traceried windows with a passage across their sills in the place of a triforium. The design is simple and good, and does not destroy the scale of the lofty and wide nave planned by Roger. The aisles are Perpendicular, and connect the western towers, till then projecting beyond the church, with the transepts. The aisles are of slightly differing date, though similar in design, Pe) south being bolder and the north more refined in treatment. Externally the northern walls and buttresses have had more elaborate treatment than the south, but the pinnacles upon the battlements have vanished. The effect of the partial rebuilding of the tower is of a later period still, the piers and arches being coarse and weak in detail. The partial character of the rebuilding is singular, as the enlarged south-west pier of the crossing only carries its proper arch across the south transept, leaving a projecting pier in the nave to carry a larger arch that has never been built. The extensive restorations undertaken by Sir Gilbert Scott have been most valuable to the building ; he added wooden ceilings in the place of lath and plaster and papier- maché ones, and put the choir into a simple order that makes one wish that he had oftener worked under similar limitations ; and excepting the unjustifiable removal of the beautiful fourteenth-century tracery from the west front, the general verdict on the net result of the nineteenth-century work at Ripon will be satisfactory. 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YleF Wo SEELER DL LIFSBEERD 56 Sl eRePE 0 iM AYRE a “ANY OONS GO= g| fe re KOASAS ; 5 | A ! | =o ' 3 5 ! I OS ' eb } f be ER, : 0 roe ped wl, j Ji - Tad £0 E £4 {x ; i TI 45 | 1a ru | | 9 ry a | 0 Zz [ : 20 | [ : zZ | 1 0 q fio ihe ge | 0% a i i NE § | I 1 | | y 1 / | yo! 2 : [ LP 3g WW 8+ : ; : ® a = ' vy > 0 32 g dada ae — I S ior RAI) 25 pet vq 7 \ y s . oC ' g ; Foy aL ON H Lh 3 J YER 5 © WZ <€ ul U 0 oll @ ERR res 0 N\ 3 \ N 3 am ol 1% ah oo avn ERE el rele ee ] oll reed Decorated. ALIN Perpendicular: PHOTO-LITHO. SPRAGUE & C2 4 & 5 EAST HARDING STREET, FETTER, LANE, EC. eries. « @he Builder’ Cathedral SRR : sabe wn 5 jp ST. PAUL'S the illustration given of the celebrated London Cathedral, the object has been to select a point of view which would realise something of the soaring effect which the composition of the two campaniles and the dome present to the eye when they are seen in conjunction on the approach from Ludgate Hill. In the flank view St. Paul's has too much the effect of a long box with a dome seated on the centre of it. Seen from the western position, where the campaniles group directly with the dome, the defect of this long level line is kept out of sight, and the whole assumes more the aspect of a spontaneously conceived architectural composition, with a unity of effect and conception which certainly does not strike one in the flank view of the building. In fact, the dome, which pre-supposes a wide central area perfectly different in ‘character from the narrow “crossing” of a Medieval cathedral with its central tower, is a feature much more fitted for the culmination of a plan of tolerably square proportions, a plan of the Greek cross type, than for a long narrow plan of the Medieval type; it requires a pyramidal rather than a longitudinal composition ; and there can be no doubt that Wren'’s architectural instinct was true in leading him to prefer his former plan for St. Paul’s (the one worked out in the well-known model now in the Cathedral), in which a nearer approximation is made to the Greek cross type of plan, and the whole composition has more distinct reference to the dome as its central motive. The same principle is illustrated in the plan and design of St. Peter’s, which must undoubtedly have presented a much finer external effect, as a composition, when in the dimensions left by Michelangelo, and before Carlo Maderno had added the lengthened nave which throws the dome back and prevents it from taking its proper place in the composition. St. Paul's is, in fact, a Medieval plan treated as a Renaissance building, and the two elements do not harmonise. A foreshortened view from the west realises this pyramidal effect of grouping which the dome seems to require, and affords an opportunity of throwing the more delicate and graceful treatment of the campaniles into contrast with the broad mass of the dome behind, the two features mutually assisting each other by contrast. There is no accessible point on the ground level, however, from which this combination could be shown in a drawing without distortion. There are photographs which give fine combinations of the dome and campaniles, but they are all taken from the roofs of houses, and even then the dome is in some cases either distorted or thrown too far back or too low in the composition, and loses its rightful predominance. We have therefore assumed a point of view sufficiently far back to allow the dome to be seen in its true proportions in combination with the campaniles. The assumed standpoint is distant from the building about two and a-half times its own length, and the proportions have been carefully worked out in perspective, from the plan and from Gladwin’s careful engraving of the north elevation, made in 1828, a copy of which, in the possession of Mr. Penrose, he has very kindly lent to us for the purpose. Of this engraving we give, on the next page, a zincograph reproduction, about two-thirds the size of the original, which may be of interest, as correct geometrical drawings of St. Paul's as a whole, and on a large scale, are not very plentiful or easy to come at; and Gladwin’s engraving, though in the formal mechanical style in vogue at the time it was made, has the merit of being an exceedingly correct representation of its kind, in every detail The Queen Anne Monument, which should naturally have shown in the view, has been omitted intentionally, since it is no part of the building, and from this point of view it would have obtruded awkwardly in front of the Cathedral. The peculiar effect of the weathering on the building, which has divided its two stages almost precisely, over most of the building, into a light-coloured story above and a dark and smoke- blackened one below, it may be said is also an accidental effect, having nothing to do with the architectural design of the building ; but it is too characteristic and picturesque an effect, and too much blent with every one’s recollection of the building, to be omitted. The sharp line of demarcation between the upper and lower stories almost suggests the idea that a different bed of stone had been employed in the upper portion ; but the result is due, we believe, merely to the greater effect of rain on the more exposed upper portions, coupled with the fact that the cornice of the lower order affords a protection from rain to the parts immediately beneath it, and thus gives that marked separation between the blackened and the cleaner portions. The plinth stones are whitened again where the drip from the cornice has fallen on them, and the angle pilasters at the exposed south-west corner have also got their share of cleansing. St. Paul's occupies a very different position from any of the cathedrals illustrated in this series, with the exception of Truro and the nave of Bristol, in the fact that it was built in the post-mediaval period, and is the individual work of an architect whose name and history are well known. The building of St. Paul's followed, of course, upon the destruction of the Gothic cathedral in the great fire of London, but it is not popularly known, probably, that before that event the old Cathedral had been so much damaged by fire and neglect combined, that a complete scheme for its restoration had been formed, first entrusted to Inigo Jones, and latterly, in the reign of Charles II. to Wren, who intended to add to the medieval cathedral additions in the Italian style, “after a good Roman manner, instead of the Gothic rudeness of the old design.” It was in the consideration of the method of doing this that Wren first suggested the idea of the central space with a dome over it, which was eventually to form part of his new design. In 1666 the estimates for the work had actually been ordered, when the great fire broke out and (perhaps fortunately) put an end to all idea of this patch- work of Gothic and Renaissance, by destroying the old church completely. The first stone of the present Cathedral was laid on June 21, 1675, and the top stone of the lantern laid in 1710. Before the existing design was finally adopted, there had been (besides stray sketches) two other designs made by Wren. One of these is a Greek cross design already referred to, of which the model was made, and another is one which received the formal approval of the King, but with leave to deviate from it, fortunately for us and for Wren’s reputation, for this officially approved design is unquestionably the worst of the three. The central feature is a kind of mélange of a dome with a minaret on it, and it is difficult to understand how an architect capable of designing the dome as we see it could have ever thought of erecting such a barbaric affair. In regard to the first design, to which we have already referred, on the Greek cross type of plan, while there is no doubt that the plan was the finer, and the general conception of the whole broader and more dignified than the present building regarded as a whole, we cannot share the wish sometimes expressed that the design shown in the model had been carried out in place of the present building. The type adopted is far better, but the details are much inferior, especially of -the dome, which, as carried out, is far more refined, more graceful, and better proportioned than in the “model” design. The plan of St. Paul’s is changed in axis from that of the old cathedral, partly to get rid of ‘the difficulty which would have been caused by building on the site of walls whose foundations could not be depended upon, and which it would nevertheless have been a work of great labour to entirely remove. As matters are, the oblique position toward ®° Ludgate Hill which the Cathedral assumes is hardly =a disadvantage to it, as it is so closely shut in by houses and so entirely devoid of anything like a grand approach, that it seems better that it should have the element of irregular picturesqueness in its position, since that of stateliness is out of the question. It is greatly to have been desired that the surroundings of the Cathedral should have been laid out in a more stately and spacious manner while there was the opportunity afforded by the destruction of house property wrought by the fire ; but in the natural eagerness of owners to repair their misfortune’ as soon as possible’ the re-building of the adjoining houses had been commenced before anything was settled as to the plan of the Cathedral site, and Wren had to accept the position. As it stands, the Cathedral loses much of the dignity of effect it might have had on a better arranged site, and moreover there is no point whence it can be seen as a whole. On the other hand it perhaps gains a certain effect of sublimity,— what we have called its “soaring” effect,—from the very fact of rising out of the confined mass of inferior buildings so closely surrounding it. The two chapels eastward of the western towers were added to the plan much against the will of Wren, in order to be used as chapels to special saints in case the Romish ritual could be restored, as James II. secretly wished. Internally they are an addition to the architectural variety of the church, but externally they are an excrescence and a detriment to its effect, fitting awkwardly against the base of the towers, and shortening the apparent length of the nave when seen in perspective. : Architecturally speaking, the campaniles and the dome are the making of St. Paul's. The design of the substructure is very commonplace, consisting of a double order of applied pilasters repeated in an almost mechanical and formal manner all round the building; and the windows are of poor and ineffective design. The worst thing about it all, however, is the fact that the upper half of the wall is for the most part a mere empty sham with nothing behind it, and when once this is known it is impossible to forget it, or to have the same feeling towards the building which a spectator might have, despite its defects of detail, who believed its external visible mass to represent * its interior arrangement and contents. The floral ornament above and about the windows is in the artificial taste of the day, and cannot be called ornament, being merely sets of festoons with no design whatever, though with a certain boldness and freedom of execution. The sculpture is respectable, and nothing more. The double-storied colonnade of the facade has however a fine effect, partly owing to the deep shadow from the recesses behind the columns; this in fact just shows what it is that the rest of the building wants; it is all too flat. All these faults of the substructure, however, are forgotten when the eye rises to the campaniles and the dome. The former are most graceful and original in design, and as full of play of surface and light and shade as the * substructure (except the portico) is destitute of it. The dome, with its fine colon- nade, with the original and truly constructive treatment of the solid bay at every fourth inter-columniation (marking the main points “of support of the dome), and the deep recesses between and behind the columns, is a noble piece of architecture of its kind ; and the actual dome, with its finely-curved outline, rises in a most effective and graceful manner above the main colonnade behind which it is recessed. The lantern also is a very graceful structure, though rather too heavy for its apparent situation; and here again we come on the drawback of want of architectural truth. The merest tyro in construction knows that the stone lantern could not stand on that timber dome ; and the concealed cone to carry it (the line of which is partially discerned, however, and not .disagreeably, behind the colonnade below the dome) only half reconciles us, by its ability and novelty as a constructive device, to the aesthetic sin which has been perpetrated. In a previous study for the dome Wren had adopted, like Brunelleschi, the device of a slightly- pointed masonry dome to carry the weight of the lantern, ingeniously counter- weighting its exterior thrust at the base by a cove hung inwards. It is a pity that he did not adopt this completely logical constructive expedient, which would have made the exterior dome a reality instead of a sham. With all these drawbacks, however, St. Paul's dome remains one of the great things of architecture, which has produced few structures at once so grand and so graceful, and we do not say that the popular admiration of it is at all more than it justly claims. We may call attention to one aspect of the colonnade which architects and artists will enjoy, though it cannot be shown on a drawing in consequence of the conditions of perspective drawing. Go on a bright day into the southern enclosure of the railed space, stand near the remains of the old cloister and carry the eye up the re-entering angle of nave and transept. Over where the two cornices meet curves the colonnade of the dome, three or four bays only visible, the whole depth and solidity of the construction emphasised by the manner in which we look up between the columns to the very back of the soffit over them, and realise the scale and the projection of the colonnade, crowned by the sweep of its cornice against the sky. The effect is quite sublime. HHS mL = a , = : sl pg a Te . A CRE a A RAO TU WA i i. SiN A AO ML ARSE | EL EE eg Io Lot vas Es a ha} NORTH ELEVATION. (From an Engraving by Gladwin, published in 1828.) ‘ 4 \ #7 . F/ 2 i \ 1) \ if PLATE XVIL IE fen 2, Te NEU 2 LANE, E cETY INK-FHOTO. SPRAGUE & C¢ 4 & 5,EAST HARDING STREET ST. PAUL'S FROM THE SOUTH WEST. DRAWN BY Mr. H. H. STATHAM, FRI1.BA. “ @he Builder’ Cathedral Treries. y B15 359). S Monuments, 3 ® 3S in £2 bo Y R { re. 3c To 5 by > Cay, QQ ORE SUN > =D NPS ox 0 s 3 oc ELUNE nN=20® 0 ; ~ » Ra .H Op® c > Xz 2 <9 2%=-2a 53> ® \- 3 vogx) EG e 0 = Cea) y pgioner is - 8X (Ps oY LQ (0 i } : o 35 ySoEYe3t 65} : CER 5 80 u3a Epler s | 1 Fn, 0 on =H O3EELTSs ED Ww ; hin 5 oF \ 1 ®. foamy 3 os ois lad an fuel ER 50 IDE USESSSEERE 0 my Kell mes -- =e J 1 : 8526086555060 a I= fe. 8 ; BY SERIGESEZEASd 2492 TACK" ""- ~~~" | : JE , 3 sd RONG — 0 FORK QQ oe ARERE EL He LATA ® Se NRO BRNO 0 9000 T ” ~ JARRE 3 a . 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So | i ey ' ~ V0 YY 5 dep2oesespisat al cho its cols | fo P UEyoRogitRlanios = - 1 ‘ i . ys O- a Oe gaaeiginutt 0 elias, ates, Eo B3pessrabion ty, SH=0) QF qLo= A=cieklge= TC ee 1 “i 310] 2 1 > Op LJ) § >00 3 TSCCEP SLO sc=00% OC BES 2 > OSE { ir eo 7) SL pr LEV ero v SH INET Rely = =2SXe ile ih *s ' qa Ye amp r a Mont gi me y S685 5v= ccf ly g OR8S= XL, Fri] OQ § re ar. prlemtien = Ly Je orien NF mms ao is | 7 i 2 ~ wi Tt a. 20 gl" i Z 4 br i 5] = { ta | < io EE en 2 ba wl vt to {ocala ee ee” ——— c= Re a 9 she Tr a 3 | i ( i i: rk rs | i r 2 2 | coi ; L TTT i mmm | 2 2 bern Raa §) 2 . | pm ’ Ye ee” SU ee «== wd I ' 1" el AM pe BS Fn, Yl et | : L i | p= “Phe Builder’ @athedral Series. NORWICH. eM [IE history of the present fabric commences with the removal of the See from Thetford to Norwich in 1074 by Herbert de Losing, or Losinga. The foundation deed was signed in 1101, so that the Cathedral must have advanced to some considerable extent by that period. Bishop Herbert is said to have erected the presbytery, choir, and transepts, and no doubt prepared a suitable base for the great central tower, which, as it appears now, however, was not built until a later period. The great western arm of the cross was built by Herbert's successor, Eborard or Everard, in the early part of the twelfth century. The church, as completed at that time, is almost entirely in existence, so far as its ground plan is concerned, at the present day; and Norwich, of the three great foundations of the Eastern counties, is the most complete as a specimen of the architecture of the Norman period. The extent of this early work will be at once apparent by reference to the ground plan given by us, which has been taken from an unpublished one made by A. D. Repton at the beginning of the present century, and has been kindly placed at our disposal by the Society of Antiquaries. The Cathedral at the present time is correctly represented by Repton’s plan, with the exception of the slype, or passage between the south transept of the church and the chapter-house, which exists no longer. Some additional information has also been added, and the plan brought up to date. Norwich Cathedral, like Peterborough, lies in a hollow, not, however, like the latter, from the absence of higher ground. It does not, therefore, show to advantage, except when approached from the river on the east side. Here the solid Norman chapels flanking the apse, and the fine central Norman tower with its later spire, contrast finely with the richer and lighter clearstory, the large windows of which have reduced the wall space Jrch Mould The presbytery has within the last few years undergone a change. The level has been considerably lowered to show the bases of the columns, and the sanctuary is now raised two steps only above the choir instead of six, as is shown in Repton’s and Britton’s plans. This has been corrected on the plan which we publish, and also the new position of the altar, which has been brought back into the chord of the apse. Behind, in the wall between the two easternmost columns of the apse, were discovered the remains of the ancient Norman Bishop’s chair, which was approached from the presbytery by a flight of steps. On either side are stone seats for the clergy in attendance on the Bishop, as was usual in churches of the early basilican type. Around the ambulatory was a series of chapels. Two Norman ones still remain flanking the great apse, as at Gloucester; a chapel dedicated to the Virgin, erected eastward by Bishop Suffield in the thirteenth century, but since destroyed; and three chapels, two on the north and one on the south, occupied the space immediately on either side of the presbytery. Only one of these, founded by one Bauchon (since corrupted into Beauchamp) in the fourteenth century, remains on the south side, with an elaborate vault, similar to those in the presbytery and nave, added in the fifteenth century. Another chapel projects eastward from the southernmost bay of the south transept, apparently of thirteenth-century date. The lower part is now used as a vestry, and on the spot once occupied by the apsidal Norman chapel north of it is a building now devoted to the Diocesan Registry and other offices. The monuments in the Cathedral are comparatively uninteresting, and the detail is not by any means, in most cases, of that refinement which we are accustomed to see in Mediaeval work of this class. Bishop Goldwell’s effigy is, however, an interesting one, and has a good example of a shield with helmet and mantlings over the centre of the canopy. There isi a good deal of later panelling in the presbytery, which covers the earlier work; and two other bays on the south side, east of Bishop Goldwell’s a INGA) — 1. titi), TT nu J rs ry 2) als Norwich Cathedral Portion) of Cano Norwich Cathedral y bw Roorway in East Ciloidter AN to a minimum, and necessitated the use of flying buttresses to resist the thrust of the vault. The other portions of the exterior are not so well grouped, and the great length of the nave is, like St. Albans, rather remarkable for its dimensions than for its picturesque effect. The west front, too, has not been improved by the later additions made to the Norman work, and is an example of an unhappy bit of design handed down to us from Medi®val times. It is, however, when we reach the interior that the full extent of the impressiveness of Norwich is seen. Standing at the west end we have a magnificent range of Norman arcading—eleven bays to the rood-screen, fourteen to the tower—crowned by an elaborate vault of Perpendicular date, which has taken the place of the flat Norman ceiling. The vista is broken by the rood-screen and its organ, giving value to the effect of the interior without entirely hiding the vaulting of the presbytery, and the apsidal termination lighted above by the delicate tracery of the windows already referred to. The whole of the interior effect is wonderfully enhanced by the suitable subdivision and screening of the several parts, giving an air of mystery which is so sadly wanted in some of our cathedrals, where the whole length of the building, from the west end to the altar, can be seen at a glance. The ritual choir extends two bays into the nave, and the stalls—fine specimens of fifteenth-century wood-carving—are ranged on either side against the arches, and are continued eastward under the central tower. Only those, however, in the nave retain their canopies. At the present time (1891) the portions of the Cathedral immediately north and south —including the transepts—are in a condition which tends to detract from the proper effect of the interior. The north transept is occupied by a series of pews with a screen across about midway, and the arrangement of the pews in the south transept leaves much to be desired. These portions of the building are blocked up to a much larger extent than is compatible with the satisfactory effect of the interior, and it would be better if a clean sweep were made of these excrescences. Pis® Goldwells Ze oh Norwich CATHEDRAL ortio o Chow Per” Phos of © 8 45 monument, were used for sepulchral purposes. The founder's slab, inserted in the seventeenth century, still remains in front of the high altar. In the nave are a few monuments ; one to Sir Thomas Windham, which, after having been removed to the Jesus Chapel from the Lady Chapel, has now once again been shifted, and occupies one of the arches of the north arcade, immediately opposite the door to the west door of the cloisters. In the south arcade are two canopied monuments to Bishop Nix (the builder of the vaulting of the transepts), and to Chancellor Spencer, and the simple Norman cross-barrel vault of the aisle has been here panelled over. In the bay east of this is a curious late monument to Bishop Parkhurst, and a fine heraldic panel has been fitted into the columns of one of the piers on the north, immediately east of the tomb of Sir James Hobart, which was once enriched by a brass. South of the Cathedral, and approached by two doorways from the south aisle of the nave, are the cloisters, erected during the fourteenth and fifteenth centuries, and forming a magnificent quadrangle of about 180 ft. square. The buildings which surrounded them have all disappeared, with the exception of a fragment of the Strangers’ Hall, and a room at the north-west angle, formerly the locutory, and now used as a schoolroom for the choristers. There is in this latter some bold Norman work, but the western wall is later, and has been, with some other portions of the exterior, restored. The Bishop's Palace is on the north side, and has remains of an interesting gateway, and there arc also on the west side of the Close two interesting gateways—one of the fourteenth, the other of the fifteenth century—which are remarkable for the delicate flint panelling so common in Norfolk, and for their sculptural decoration. Our view of the Cathedral is taken from the roof of the south cloister, the long flank view of the building being treated in elevation, a treatment unavoidable where, as in this case, the standpoint is half-way between the two extremities of the building. This gives, perhaps, a rather conventional effect to the drawing, but it has the advantage of giving a very comprehensive view of the architectural design, from a point from which it is not often scen, a PLATE XVI INK-PHOTO. SPRAGUE & C° 4 & 5,EAST HARDING STREET, FETTER LANE, E.C NORWICH FROM ROOF OF SOUTH CLOISTER. K. GREENSLADE. DRAWN BY Mr. S. ““ @Whe Builder’ @atbhedral Zrervies. SD ar, whe Fv > NorwIicH CATHEDRAL GC ROVND PLAN. tae. ~ 100 Feet & 49 Scale 20 1O i) a] ww. t 4 A i ’ ———— mm ——— SITE. OF LADY CHaPEL. 1 ' I i ' ! ' ' i t 1 ' 1 ' ' 1 I I | | | 1 . ' 1 ' | | | | ' ' t ' ' NSS ha Propet LE ~0- ar) 5 + - EP - iy \ Wt a Nr # 206 --- =~ y ow occupied san Regist Space n by Dioce ZR. 8 ~&-- 7 . a TRAN 0-0-5 0s ”y -O-- \ \ \ Hy =z - foNave a la ) ‘\ |. ©ir Thomas Windham. — [This muument™ is now removed 423 Ses [i Via bis 52.8 hy - ~ Eg Fon iii ~— ~§ V 1 0 = 0 3 3 Ja g v2 TC 38 NE \5 RO BE BREF. 2 XF = = 0 Bm robs i>L o> Pog = | ££ O SEZ) ESE. Vv rs —— 2387 SPE" EEE EgEST2 SET pEEiEy Ef a2gTrd ES=3uiy v= @ CO << 85 iv ZiSi En 2f88F., VE = srs RE Lr.o RN EY EBEES 0 PERO O=oPC + 0 vr NnNg Tod Hovee. SITE OF CHAPTER 14 Bishop Nix (i501 =55). 2 . ~y ‘ 01) 19 Stairs 8.5¢reen (now ( ence pi 7 New Nave Ful 15.19 15 Chancellor Sp 16 Lavafries in Cloiefer: removed) Allars. Chapelo®. . Jesus Chapel B. 9 Lukes C. Hig A Dales Norman. Carly English. VAJMIA the Less. y h Altar. E © Anne. 0 SMar ee] IL) E o jv a fur te Fut sets” 179). S = re te] & o a E ov Repton (now in the possession of oy with dd tons. J.A From of the \ 0) ’ oo SNe ON v oz CLOISTER 4. Nis sd. a ~~ 05-9-< bo <> Ne, -T Sy i ~ ay ’ Q w w Z < = x w te f- w L o I w x F n Q Zz c « a I I w < w 0 of + ° 0 * w =) © < ox a ® o T i= = o = o T a * The Builder’ Cathedral Lrevies. rv COX PFORD, ERVING both as the Cathedral of the Diocese and as the Chapel of the College, Christchurch Cathedral holds a unique position amongst our episcopal buildings. The changes it has undergone since its foundation have each left their mark on the fabric, lend clear record of its gradual development from early times to the Wo Ree present. Q ! In dimensions, it is the smallest of our cathedrals, its total internal length, with the modern bay added to the nave, being but 175 ft. Its position, too, well set back from all the principal approaches, and much hidden by the great buildings of Wolsey’s College, deprive it of that importance and dignity which is generally associated with a cathedral-church. But it possesses a picturesqueness quite its own, and the peculiar form which the plan takes east of the crossing is a point of great interest,—an interest which is increased in the light of recent discoveries. With the exception of the west walk of the cloister and three western bays of the nave, the church remains much as it was at the Dissolution. necessarily fared worse, as they were, with the exception of the refectory and the chapter- house, destroyed to make room for Wolsey’s new works. : : Founded originally in~the beginning of the eighth century by King Didan, and existing as a nunnery under his daughter, Frideswide, it was, three centuries after, converted into a monastery of Secular Canons, and later of Canons Regular of St. Augustine, and so remained until the sixteenth century, when Cardinal Wolsey obtained a large amount of interest to its plan and detail, and give a fairly The monastic buildings have of the choir. It should be noted that, although the nave and south transept are at right angles, the eastern arm bends to the north, and the north transept, being at right angles with the choir, turns a little westward. The projecting portion of the presbytery is not in line with the rest, turning a little more to the north. In 1887 Mr. J. Park Harrison, to whom we are indebted for much information with regard to the discoveries, had excavations made outside the east wall of the north choir aisle and Lady Chapel. The result was the finding of foundations of three apses, in all probability forming the eastern termination of the Early Church which Dinan founded. It will be noticed on reference to the plan that these foundations coincide with-two rough arches which still exist in the east wall of the aisles, and there are distinct traces of a central arch now nearly covered by the Norman buttress. How far this wall is ancient is difficult to say. At first sight it appears Early, and the fact of the new Norman choir having been built south of what was the south aisle of the Saxon church, seems to point to the fact that it was intended to keep the original building temporarily at least. There is no reason, however, to suppose that the Norman design was not completed. The vaulting shafts of the north aisle still remain, and also the angle of this aisle with the east aisle of the north transept. In addition to this a chapel was thrown out eastward from the northernmost bay of the east transept aisle, and it is quite possible that the north aisle of the Saxon church might have been retained, occupying as it would the space immediately north of the north aisle of the choir. Whether or not this was the case, any of the original building which might have been standing was swept away-in the thirteenth century a i i1 t 2 \ G0 WY WL AYO "rh Y, Si NN a A) We \ ¢ NY NN N NAN " ll 2X Al il i WAN To» 5 Hehe A RIG, 7 Ale uh tipans, Ti Gp PAT Rll IRE {aH EG iH its suppression, for the purpose of founding the college which was to bear his name, and which is now represented chiefly by his alterations to the Cathedral, and the great “Tom” Quad, with its hall and unfinished cloisters, standing between the Cathedral and the present main street. The peculiarities of plan, and the curious mixture of detail, have afforded, and still afford, much matter for discussion and research, although of late something has been done which tends to clear up the mystery which enveloped the north-eastern portion of the church. The original church of Didan and his daughter, afterwards Saint Frideswide, was doubtless a humble structure, and, if not of wood, was of small dimensions. At the commencement of the eleventh century the nuns of St. Frideswide were massacred and the church burnt; and afterwards additions were commenced by King Ethelred II. About 1120 further additions were made by Prior Guimond, and the consecration took place sixty years afterwards (1180). In these cases it was probably the endeavour, so far as was possible, to keep the original church sanctified as it had become by the presence of St. Frideswide’s burial, as an integral part of the structure, and it is this point which makes the ground plan at the present time one of so much peculiarity and interest. The church now comprises a nave of four bays with aisles (and a modern bay or vestibule westward), a central tower, a north transept of three bays with a western aisle, a south transept of two bays, and an eastern chapel dedicated to St. Lucy, and a choir of four bays, the central alley of the presbytery being carried one bay beyond. On the north side of the north choir aisle are two aisles of later date, the first being the Lady Chapel, of thirteenth-century date, and the outer, or north aisle, known as St. Katherine's, or the Latin Chapel. Both these aisles occupy in their western bays the site of the eastern aisle And it is here that we find the first evidence of something unusual in the plan. The two eastern bays of the Lady Chapel are 2 ft. wider than the others. At first’ sight this is apparently Decorated work, but on closer examination it will be found that the vaulting shafts including the one at the north-east angle are Early English. Bearing in mind that this aisle stood on the site of the Saxon church in which St. Frideswide was buried, it is not impossible that this widening was necessary to increase the accom- modation for worshippers at the shrine of St. Frideswide. It so happens that the foundation-wall of this addition would be clear of the older foundation of the Saxon building, the early foundations not being considered strong enough to bear the newer and heavier load. This addition was the Lady Chapel, and occupied a similar position to the “ Elder Lady Chapel” at Bristol, which was also an Augustinian house. The next alteration was in the fourteenth century, when the chapel at the north- east angle of the transept was removed, the north wall of the Lady Chapel opened out, and a very beautiful chapel was erected of equal length with the Lady Chapel, and now known. as St. Katherine’s or the Latin' Chapel. About this time also the eastern termination of the chapel on the east side of the south transept was removed and a large three-light window,—with tracery of somewhat similar design to those at Dorchester Abbey,—was added. This chapel is known as St. Lucy’s Chapel, and is now the baptistery, with a modern font. The south transept is of three bays, as the north; the southernmost bay, how- ever, is of two stories, the lower being formed by the slype which leads from the cloister to the cemetery eastward, and the upper being a gallery approached by a stair from the inside of the transept which was formerly a communication between the church and 46 The Cathedrals of England and Wales. the dormitory. The same arrangement, in a slightly modified form, exists at Bristol, but there the chapter-house immediately adjoins the transept and there is no slype. With the exception of the rich pendant roof of the choir and presbytery, the additions made in Perpendicular times were chiefly confined to the insertion of windows and doors, and the rebuilding of the Cloister Court. The outer wall of the north nave aisle appears to have been rebuilt at this time, and the vaulting here is in cement, and a bad imitation of earlier work. The general character of the interior is one of simplicity.. Only the aisles and the choir are vaulted. The nave, transepts, and tower have wood ceilings of late date. : - The caps of the arcades are at two levels, carrying an upper and a lower series of arches; the caps themselves vary much in character, the earlier ones being in the choir, with some curious carving, resembling Saxon ornament, while those in the nave are more fully developed, bordering on Early English foliage. It is thought that some of these Early caps are portions of Ethelred’s church. They are more worn, and have the appearance of having belonged to a building that had been ruined and exposed to the weather, and afterwards incorporated in a larger scheme. The whole series of these caps, from east to west, form a very interesting study of the progress of carving. The most important of the monuments are all in the north-eastern portion of the church, standing in close proximity to the shrine of St. Frideswide. The most: interesting objects here “now are the remains of the shrine itself. Some fragments of what appears to be Forest marble, with delicate carving, were found, forming the sides of a well in the yard south-west of the Cathedral, and they have been set up under the easternmost arch between the Lady Chapel and the north choir aisle, stone having been used to fill in the missing parts, A portion of the plinth formed a step with a carved portion turned inwards, and another was found built in a chimney in “Tom” quad. This interesting piece of work is probably the shrine which was in course of construction in 1270, and to which St. Frideswide’s relics were removed in 1289. It measures 7 ft. in length by 3 ft. 6 in. in breadth, and consists of an arcade of two arches at the sides, and one at each end. There was no vaulting inside, the arch moulds being repeated on the inner face, and mitreing with a "slightly projecting cornice moulding which served as a ledge in which the upper part of the structure, containing the shrine proper, was fixed. The spandrels throughout are filled with very beautifully carved foliage —the carving being very naturalistic, and suggesting a later date than is ascribed to it. The plants represented are: on the south side, the greater celandine, maple, and columbine ; on the north side, ivy, oak, and sycamore; at the east end, vine and fig; and at the west end, white thorn and bryony.* It should be noticed that the foliage at the “angles takes the form of pastoral staves, either by accident or design. The intermediate spandrels on the north and south sides are circular in form, with heads in the centre. A large portion of the plinth has been found, showing a series of quatrefoils with heads of queens on the south side, and at the west end, that of a bishop. Very delicate foliage is worked on a little roll moulding at the angle, and foliage instead of a head occupies the centre and end panels on the longer sides. Much of course is still missing, and considering that the fragments already found came from places some distance apart, it is difficult to organise a search in any one particular part of the fabric with any hope of finding more. After the shrine the most interesting monuments are those arranged under the arcade between the Lady Chapel and St. Katherine’s Chapel. Under the east arch is a large stone tomb richly panelled, with a staircase at. its western end leading to an upper chapel or loft, constructed of wood, and of later date than the tomb. It is supposed by some to have been a watching-chamber to guard the shrine of the saint, as at St. Albans, but at present there is no satisfactory evidence as to where the shrine itself stood, and it seems more likely that the loft was used as a chantry chapel in connexion with the tomb below. In the next bay, westward, is a beautiful tomb of Elizabeth, Lady Montacute, who died in 1359, and who gave Christchurch Meadow to the Priory for the founding of a chantry. The effigy is itself a very fine piece of workmanship, the ornament on the dress being rendered in gesso and coloured. On each side of the tomb are six standing figures, which are excellent examples of the costume of the period, and which will be found, as well as the principal effigies, finely engraved in Hollis’s “ Monumental Effigies.” : The next tomb, westward, is that of Prior Alexander de Sutton, 1294-1316. The effigy of Purbeck lies under a canopy composed of three gables supported on shafts of Purbeck. There were formerly figures at the angles, but only one,—at the north- west angle,—remains at all complete, and still has a little of its original colour. A tomb, with the recumbent effigy of a knight,—said to be Sir George Nowers, a companion of the Black Prince,—occupies the next bay, which is actually the old eastern aisle of the transept. These two last-mentioned monuments were shown in a sketch given in the Builder, August 9, 1890, and also some of the caps from Prior Sutton’s tomb. In the floor of the Lady Chapel are several stones of interest. Two contain brasses,—one to John Fitzalan, 1452, and another to Edward, son * The names of the plants are given in an appendix to two sermons by the Very Rev. H. Liddle, (late) Dean of Chichester, as identified by Mr. Druce, of Oxford. of Hugh Courtenay. Immediately south of Lady Montacute’s monument is a stone with a large cross in the centre, and the following remains of a marginal inscription in Lombardic characters : JOHAN : DE : COL .. Vv. LE { GIST : ICI : DIEV :. {llegible) MCCC (or MERCI) ."POVR LAME PRIER : DIS : JOVRS : DE : PARDON : AVER : AMEN. In the adjoining north aisle of the choir is a stone commemorating “Andreas de Soltre Quondam rector Ecclesie de Kalleyn.” In this aisle is also a fine brass to James Chfscmuch A A vr eonyee 50 Coorthoppe, Canon of Christchurch, 1546, and Dean yom ous nH of Peterborough, who died in 1557. J) 2s Under the north window of the transept is C0 a small altar tomb to James Zouch, who died in 1503, and near St. Lucy’s Chapel, a monument to Bishop King, the first Bishop of Oxford, who died in 1557. It is not, however, in its original position, having been removed from the choir. ; In the Latin Chapel are some stalls, zezp. Wolsey, and probably forming part of his choir fittings. The poppy-heads are very elaborate. We give two, showing the way the Cardinal's hat and tassels were worked into the design. The windows of the Latin Chapel are shown in the view of the exterior, with their flowing tracery. Some of the glass is of the same date, and includes figures of SS. Frideswide, Margaret, and Catherine, Ethelreda, (?) and the Virgin and Child. In the borders are various animals, monkeys being introduced both here and in the glass now in St. Lucy’s Chapel. This latter is a fine example of reticulated tracery with elaborate cusping. The glass, too, is interesting, of early fourteenth-century date, and including representations of St. Cuthbert (with St. Oswald’s head), St. Blaze, St. Martin (giving his cloak to a poor man at the gate of Amiens), the murder of Beckett, and St. Augustine preaching to his clerics. The upper floor over the slype, which forms a portion of the south transept, as before mentioned, is now used as a small museum, and contains several ‘specimens of early stonework and carving, found from time to time. Amongst these is the base of a cross with sockets, central shaft, and two side brackets for figures. (See illustration.) AR / rl ENT Co Chrisichurch Gif or? ei VT KG fed fo Doig) Ox ord Wg CIA (i ha Passe of a Cross formerly builtin buttress of SLlucys:- Chapel , now IN Oacristy in X Transepl \ SB Sketch shewn X / Z/sublects: Ada We.Eve and wil=>" Abraham &. 1900K NY LL I 3 Gory 7 All le > 5 Totem 2-2 SRT Narr FE ed Plan of top o Pedestal wih holes Portion of one side . Moses for Shaft ee receiving ables of Ibe Law: Rta lou f2 In the chapter-house, which is a fine specimen of Early English work, is some interesting old glass, of Wolsey’s time and later. The entrance to the chapter-house is Norman, and just within, lying on a stone bench, is the slab which covered the remains of Ela, wife of Thomas de Newburgh, Earl of Warwick, and daughter of William Longspée. It was brought here from Rewley Abbey, and is an interesting specimen of its date (thirteenth century). The cloisters have been extensively restored. All the vaulting is modern except that in the south walk and the two southern bays of the east walk. There are some foundations, evidently of some important building, still visible in the garth. They would seem, however, to have no connexion with any of the portions lr CANIS ACN PRR IATA TRNMAN % 740 ERT WATERCO (e = Bl 2S Per NE ER EN AS 2 Slo fomerly covering IRL DANS our Slow SRE - Sas I House, (hrought™ from Rew Y -y EE nn A = 2 Abbey 12 4 ~ Scale © lnches ¢ fi y now in existence. The interior of the Cathedral has been restored, and new choir fittings and a reredos put up. The pulpit is a fine specimen of Jacobean work. Some good modern stained glass, from designs by Mr. Burne-Jones, should not be overlooked. It is placed in the eastern windows of the aisles and in that at the west end of the south aisle. Will 0 ii HIT if iil i aa) fi | | Ii UH] [1S fue i gH I fll f Ti iy ty 3 rm 1 ““@he Builder’ Cathedral Levies. i I | 1) | I hi i IH HTH Alien ern Wr Whi ii sie ad Ee ee 7171) a 4 gl Ir re i hae i Bi HER J lai Te tne dl a ky EE i hm en pe i HU Ta a y | na Gy fl AEH / A, I | i i | I 1 i (i i A TH] nL a {7 CHRISTCHURCH, OXFORD: FROM THE NORTH-EAST. DRAWN BY MR. ROLAND W. PAUL. Hu pb pai tim RL ] : ei LO TA PHOTO-LITHO. SPRAGUE & C© 4 & 5 EAST HARDING STREET, FETTER LANE, E.C. PLATE XIX. 6p Feel” OXFORD. 9 20 30 Scale. GROUND PLAN. 19 CHRISTCHURCH CATHEDRAL discovered | 37. \ ' ' . *. 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' ‘ ' . ’ | * Early Decorated. lore © do Perpendicular: : Modern. Youd loud trams. ef: dull /#98 es 3c0cce o 3 7 ol PHOTO-LITHO. SPRACUE & C° 4 & 5 EAST HARDINC STREET FETTER LANE EC. “@he Builder’ Cathedral Zeries. ' EEE Et iLL FLEE 3 a Bl Y. - HE architectural value of Ely Cathedral exceeds that of its great record of archeological and historical facts, though this is of unusual continuity and definiteness, and consists of more than the charm of @sthetic design, though the pure beauty of its Early English presbytery and Galilee can scarcely be excelled. It may indeed be questioned whether the grand idea and constructive triumph of the architect of the octagonal crossing of the nave choir and transepts, whose name is happily recorded for us as “ Alanus de Walsingham, venerabilis et artificiosus frater,” has yet attained its proper appreciation as a landmark of design and a pregnant point de départ in the fascinating study of the history and theory of domes. Let the plain facts, however, be stated: that the octagon is covered by a lofty and beautiful vault having a clear span of over 65 feet, pierced and crowned by a lofty lantern of 36 feet diameter; and that the whole stands without internal ties or obstructing buttresses, a triumphant combination of constructive and artistic genius, without a rival among the Medi@val cathedrals of Europe in its internal spaciousness and grandeur. Fergusson declares that it is the only Gothic dome in existence, but it is questionable whether he remembered the chapter-house of York Minster, or the very interesting but little known Medieval domed church of Karlshof, at Prague, which has a diameter of over 70 feet. Sir Christopher Wren’s uncle, Matthew Wren, was Bishop of Ely for many years (and earned the character from Hallam of being the worst on the bench), and as he rebuilt the north transept he must have been well-acquainted with the merits of Alan de Walsingham’s plan, which he practically followed in supporting the dome of St. Pauls, proving a discipleship and revealing the connection of Ely with Wren’s architectural as well as domestic parentalia. Speculations as to other resemblances of plan, such as in the western transepts and chapels of both cathedrals, may be interesting, but there can be little doubt that had not Alan de Walsingham showed the way how to roof an English cathedral with a dome, Christopher Wren’s St. Paul's would not be the building that we now know and love so well. The monastic church of St. Peter and St. Etheldreda was founded by Abbot Simeon, of the order of St. Benedict, in 1083, and became in addition a cathedral church on the erection of the diocese of Ely out of that of Lincoln in 1100. Hemry VI111., by letters patent in 1541, the dissolution of the monastery having taken place in 1539, reconstituted it into a cathedral church dedicated to the Trinity. The building, therefore, was for the first twenty-six years [orp only of its history without a cathedra, but such is the persistency of type in architectural evolution Diagram Flan in Thirteenth Century before fallin LO Toner and erection of Saas Tors that the Bishop to this day sits in the original A Crom B tion AAR C fiRtToRYd the 4 ABBESSTS abbot’s stall on the right hand entry of the 2 Ps As are’ choir, with the Dean on. his left hand occupying the priors stall. Abbot Lunion, the founder, has some points of interest to be noted by the architect. He was the brother of Walkelin, Bishop of Winchester, was a family connection of William the Conqueror, and belonged to the monastery of St. Ouen. He was eighty- seven years of age when transferred from the monastery of Winchester to that of Ely in 1081, and, in spite of his years, with characteristic Norman energy at once laid the foundations of a new church, the work of which he superintended for thirteen years dying at the age of one hundred in 1093. He planned a great and splendid church, the scale of which governs the Cathedral as we now know it, though it has become by later extensions one of the longest in Europe. His brother's cathedral at Winchester was not commenced until Simeon had begun operations, and has points of contact with that of Ely in plan that are of much importance. The earliest Norman work at Ely consisted of the crossing the great transepts and presbytery. The presbytery consisted of five bays, with aisles and an apse without an ambulatory or chapels. The crossing of the lantern tower was supported by the transepts and sufficient of the proposed nave and aisles for the purpose, probably the two first bays to which the choir always extended. The transepts are of the full width of the nave aisles, and had, similarly to Winchester, aisles continued around three sides, giving a greatness of area in the centre of the church that was most importment to its later developments. The scale of height was just as liberal as that of the plan, and has practically been maintained by successive generations of builders. Ely presents in this particular a rare uniformity of proportion that renders its parallelism of styles the most useful for comparative study. Though Simeon’s greatness of idea animates the whole building the actual remains of his handiwork are few. They comprise the lower story of the two great transepts, the foundations of five piers of the present choir (in his time there were five bays, the westernmost bay being absorbed into the octagon crossing by Alan de Walsingham), the foundation of the original apse, discovered below the paving in 1850, and a pair of A. I ot o © 20 0 2 lb 1 > Scale of Feet —— ww = 2 ‘ | f HL () ) — | We ot — {/ EE Sl 1m : L 5 1 ot - (p7rie) : eff, Trey Ely Cathedral Plan of Foundalions of Norman Apse. ele vaulting piers, which exist to their full height at the springing of the apse from the choir. The original choir was in the crossing under the lantern tower, and the presbytery of five bays with the apsidal sacrarium beyond must have had a fine effect. The choir remained in this position, as it does now at Winchester, and extended two bays into the nave all through the history of the monastic church, and long after, until 1770, when it was removed, not to its present position, but to the far eastern end of the church, by the architect Essex. The suitability of its original central position to the spacious planning of the transept is greater than any other, and fitted the church not only for monastic Medieval uses, but also for any general use of the main body of the building. The examination by Professor Willis of the remains of the apse proved of great interest, and revealed the probability of a change of plan as to the apsidal termination of the church soon after Simeon’s time, as it is probable that he himself did not live long enough to see the building carried to its full height. There are square spandrels of masonry built at a later period, though anterior to adjoining Early English foundations, against the original semi-circular wall, that would adapt it for carrying a square superstructure. It is open to conjecture as to what their purpose was, as they may have been applied later in order to carry some such structure as a reredos or steps. The examination of the ground adjoining the apse proved the absence of any features that would indicate a chevet or ambulatory as at Westminster, Norwich, or Tewkesbury, and it is fairly certain that the aisles of the presbytery were terminated by square east walls. This accords well with the square and simple proportions of the Norman plan. A crossing bond wall, nearly 9 ft. thick, was discovered connecting the end, north and south piers of the presbytery, mentioned before, and proving the existence of a crossing arch, carrying in all probability the square upper stories of the east end with the gable and the steps to high altar below. It is probable that Simeon’s presbytery would have been standing to this day had he possessed more than the usual Norman skill in’ building his central tower. His brother's tower at Winchester fell very soon after erection. The easternmost piers only remain, because they were bonded into and formed the respond of the Early English retro-choir that was added more than a century after his death. The original central tower fell in 1322, apparently from failure of construction, as the services had been discontinued in the choir immediately beneath it for some time, and we are informed that the monks, on the day of the collapse (St. Ermenilda’s eve), had sung their matins in St. Catharine's Chapel, which is in the western transept. Professor Willis’s investigations of the foundations of the apse have revealed the fact that the Norman excavators had stopped short of reaching the bed of rock upon which the later builders placed their foundations, and it is probable that this had been the case with the tower, and contributed to its ruin and that of the arcades upon which it fell. The piers themselves are grouped, and rise with an attached column as a vaulting shaft in an unbroken line, significant of the earliest Norman work, from the floor to the ceiling. They are now only slips inserted between the beautiful Early English and late Decorated work of the choir, and in spite of their fourteenth-century carved and moulded capitals, and the elegant vaulting springers that they carry, are, with their roughly-wrought and shaped stones and broad mortar joints, unmistakably and characteristically archaic and rude, yet thoroughly expressive of the simple strength and directness of purpose of their makers. 50 The Cathedrals of England and Wales. The transepts are of their original length, but have only three bays instead of four as built by Simeon, that nearest the crossing having been absorbed into the octagon. The returns of the aisles of the transepts, across their north and south ends respectively, have been altered, shallow galleries varying in design taking the place of the full aisle. The vaulting shaft and piers against the walls clearly indicate the former existence of the aisles that can now be seen in Simeon’s brother's church at Winchester. The eastern aisles were sub-divided into chapels, those in the north transept still remaining, and presented a range of seven altars, not counting the two bays occupied by the presbytery aisles. The ground story throughout the transepts exhibits the characteristics of Early Norman work : rude masonry tooled with a large cross stroke, square unmoulded soffits and abaci. The second: bay east and west on the north side, and the third bay on the south side have great cylindrical shafts. Those in the north transept have small definite volutes worked on the cushion of the capitals, and with the exception of two capitals in the south transept there is as complete an absence of carving as of moulding in the earliest work. The upper portions are of the later Norman work of the nave and aisles. Abbot Simeon’s work was continued by his successor Abbot Richard, though for seven years before his appointment the abbacy was vacant during the reign of William Rufus, whose minister had possessed himself of the abbey estates. Richard became Abbot in 1100, on the accession of Henry I, and six years later he had finished the eastern arm for the reception of the bodies of the Saxon abbesses whose fame had founded Ely—St. Etheldreda and her two sisters, Sexburga and Withburga, and her niece Ermenilda. church may possibly have been made at this juncture in order to provide accommodation for the shrines of the chief and three subsidiary saints. The church as then completed compelled admiration, and a chronicler-monk of Ely waxes eloquent in Mediaeval Latin over its just composition and subtle workmanship, as of the noblest in the kingdom. There is no need to discount his praises, and from that day to this Ely Cathedral has succeeded in maintaining her ground among contemporaries. The scale of the church was but an indication of the wealth of the monastery, which, situated in the Isle of Ely, was a stronghold that claimed independence. Disputes with their Diocesan, and policy on the part of the king, led to its establishment as a separate See, and to the consequent diminution of the enormous diocese of Lincoln, which previously had included the largest part of England. Abbot Richard died before the Council of London under St. Anselm agreed upon the bishopric scheme, and Hervey, Bishop of Bangor, was appointed in 1109. He was succeeded by Nigel in the troublous days of King John, and not until 1174, when Geoffrey Ridel of Canterbury succeeded to the See are there any recorded accounts of building works, which, however, could not have been suspended by the monks upon the death of Richard, as the completion of the transepts and the erection of the nave have been continued in the gradually developing Norman. The eastern end of the nave, in fact, is simpler and earlier in character than’ the others—the vaulting of the aisles, for instance, not ha. ing the transverse arches that are found in the western bays; but Simeon’s plan was followed in all particulars as the building was completed westward without any break in the design. It is possible, though not probable, that Bishop Richard completed the body of the nave without a west front otherwise than of a temporary character, as the hint given that Bishop Ridel completed the new work “to its western end,” together with the tower, is applicable to the west front and transepts. The architecture of the nave is stern and restrained, and grand only as-a whole from the effect of its It was originally "of thirteen bays, but is now reduced to twelve by the octagon crossing, and possesses height and spacious width. The walls are divided into three nearly equal stories in height, the triforium being very similar in dimensions great length. and design to the nave arcade, with the addition of ‘an inner order of twin arches and a dividing shaft. The clearstory has an inner arcade of three arches, the centre one being wide and forming the window recess. The design of the piers is alternately a group of small shafts with a square pier and a cylindrical column both in the ground and triforium stories. Horizontal stringcourses divide each story, that over the ground having a billet mould, ceiling shafts character suffers from this the massiveness of Norman effect that greater columns have imparted at Gloucester, Tewkesbury, and Durham. The design of the nave of Ely is of the same type as that of the neighbouring cathedrals, Peterborough and Norwich, and in comparison with the latter the internal effect undoubtedly suffers from the removal eastward of the original choir with its enclosing screens; as at present the sense of containing nothing and of being a corridor only leading to an and the strings return around the that the bays. too consistent subdivision, and has not and pilasters mark The general auditorium under the lantern is not satisfactory. The original ceiling but was removed when the higher-pitched roof ‘erected * in the fourteenth century. was probably flat, required by the octagon was The alteration before-noticed to the apsidal end of the The aisles are vaulted with simple unmoulded vaulting. Indications of SE the later Norman character are found in the stilted arches, the re- cessings and roll mouldings of the arcades, and the more slender shafts. There are singular indications here of a fact often to be noticed else- where, that the south side of a church frequently received more 3% = 2 Sp A ak Episcopal | FEIgAC 8 Chair Drought AZ == by Bishop a1 > Bundy SW: | from Eury : ¥ now 10 2% 3 rls iy gige Fréshyiery / { \ WN Nearly one hundred years after the foundation by Simeon, Ridel is said to have completed the church; and though the architecture of this century had been entirely Norman there was yet much progress to be made, from the style of the nave, before the Transition evolved into Early English. The lower stories of the western transepts, with their chapels eastwards and the western tower, are Late Norman in style, with many interlacing wall arcades and much zigzag ornamentation, and are characterised by an increasing complexity of design and by a decorative use of constructive features that developed to a singular extent, and plainly marked the decadence and death of one style before the birth of its successor, the Early English being practically born The two upper stories (out of five) of the western transepts exhibit a rapid development into the Transitional style, and the wing turrets and western tower are completed similarly. The difference between these upper and lower stories is so marked, the pointed arch and trefoil being well developed in the Transitional work, that it seems more than probable that the free of any unnatural growth of decorative features. completion to the west end of the new work by Bishop Ridel may have been the carrying upwards of the west end generally in the Transitional style upon the later Norman, and the completing of the tower and facade. He was succeeded by William Longchamp for eight years only (1189-1197), and as he was followed by Bishop Eustace of York, who erected the Early English Galilee porch, a quite insufficient space of time, even allowing for the rapid movement of the Transitional period, would be allowed between the emphatic though developed Norman of the lower stories and the Early English, ~ without allowing that Ridel’s work was the full Transitional of the upper stories. The western transepts are rather narrower than the nave, but of its full height, and open into the crossing of the tower. They are without aisles and had an apsidal chapel in each arm of the east wall. The contemporaneous erection of the abbey at Peterborough gives this plan. great interest, the naves of the two churches being very similar in dimension—Ely being rather longer and Peterborough somewhat loftier. The western transepts of Peterborough were erected by the same Abbot who built its nave, Abbot Benedict (1177-1193), and the closeness of the dates and resemblance of the plans suggest competition. The internal effect of the: west end of Ely succeeded in surpassing its rival, and one can imagine that it may have originated the evident efforts to surpass all other conceptions that resulted in the west front of Peterborough. The western transepts would appear to be useful and appropriate to the monastic purpose and origin of the Cathedral, as those who were not monks would probably be restricted to the church west of the choir. The effect on entering is impressive, the view of the nave through arches that open into the aisles or under the tower being very fine. The transepts are lighted from the upper stories, the two arcades nearest the ground being blind. A slender shaft divides each wall of the transept into two bays, and there is an abundance of zigzag ornament on the arches to the nave and to the arcades. The chapels are well proportioned and very effective: examples of the type of vaulted apsidal chapels so often found in the French cathedrals. A western porch beyond the tower was probably intended as part of Ridel’s scheme, as Bishop Eustace, the immediate successor of Longchamp, proceeded to erect one. As part of the Norman history of the Cathedral two enriched doorways of varying dates, built into the south wall of the nave, must not be overlooked. They are evidently completely inserted into the wall at a later date than the erection of the nave, and conjecture only can guide us as to their origin. The easternmost bay of the south aisle opens by one of them into the eastern walk of the cloister, and is properly called the Monks’ door. It is a fine specimen of enriched Late Norman work, and may possibly have been the western doorway of Bishop Ridel's entrance or porch, removed on the erection of the Galilee, and saved from destruction owing to its rich and mythical carvings, and perhaps from veneration for its donor or author, not long deceased. It is trefoil-headed, and enclosed in a rich semi-circular jamb and arch, carved with this is again enclosed by three orders of arches having enriched columns and capitals. The workmanship is not so fine as that of the celebrated western doorways of Lincoln Cathedral, but comparison as to character and date can The second doorway, which is inserted in the same south aisle wall dragons in conflict; well be made. Spandril- from Me \ T \ decoration and attention than the north. Both aisles have a wall arcade, but that on the south side has a zigzag moulding throughout, which only occurs in the easternmost bay on the north side which marked the limit of the Norman choir. It may also be observed that Ely Ca The Priors Door of = a the NE.angle of Clot =——— WS in the earlier work of the great transepts the attempt at carving volutes on the capitals of the detached columns is more elaborate on the : south side. This apparent principle is noticeable in other periods than the Norman, the nave of Lincoln presenting a very striking and similar instance of the decoration of the south wall arcade, and an opportunity is certainly offered for a common-sense theory to explain the fact. Traces of Norman colouring exist fe in the eastern portion of the nave and in the transepts, which suggest its completeness and decoration when ready for the reception of the shrines of the saints. was in the next bay to the western walk of the cloisters and is the Prior's door. This is smaller than the Monks’ door, and consists of square jambs and semi-circular arch enclosing a second arch supported on columns, an inner jamb carrying a tympanum square from the springing line on carved corbels. The whole is covered with very rich and interesting carvings of animals, men, grotesques and foliage in connecting scrolls and panels, with some fine acanthus carving. The tympanum contains a finely- carved gloria, of great interest and merit as a work of English Romanesque sculpture. The Cathedrals of England and Wales. 5 Our Lord is seated enthroned in a full vesica piscis, which is grasped by two supporting angels. The drapery and details are fine, and the whole design is admirably fitted into its panel. It is not easy to conjecture whence this door came, its late date being a difficulty. Ridel’s predecessor, Nigel, after having robbed the Cathedral treasury and shrine for himself, had built a castle at Ely, of which no remains exist; and it may be possible that this doorway once formed part of his own buildings. Regarding Bishop Ridel as bringing to completion the Norman Cathedral in the Transitional style, we may pause to reflect upon the result of the century's effort, and to form some conception of the ideal church of our energetic architectural and ecclesiastical forefathers. Externally, without doubt, the Cathedral at the close of the twelfth century had reached its point of perfection. None of the subsequent works which have imparted so much beauty and wonder to the interior have had any beneficial effect upon either the elevation or grouping of the building as a whole. The west front must have been peculiarly impressive facing the enclosed green, formerly occupied by the Saxon monastery-church, surrounded by a complete series of monastic dwellings, the buildings on the site of the present Bishop’s palace on the south being connected with the south-west transept by a covered way of access over an archway that spanned the road. The stately western tower, still perfect, though altered in effect by later additions, EI A WA JRE rere IT IRF Ih Rte f=] il | il | ail Rk met] Heer omrre RTM rere fT YE i LL il y eh Ih =r 1 yin eee X ofelb ome ote LAY i ae HN 2a I Eh CAI acter THAT Die | i 1 Hib RETA all Ee TAMAR il r- iti BI ng III IIIT I M | fim fu Il 1 ni aE LL reralpe I mm JLT E01 a, ALLA ge INAAN hz TUL 1 J AAA SUEY 2 Diagram d West Front in middle d Tmrleenth Century crowned by a spire roof, was supported on each side by the lofty and very finely-pro- portioned flanks of the north and south-western transepts, with their early high-pitched roofs, and richly decorated with arcades and stories of windows, all of bold and telling design, well recessed and finely graduated in scale, and each terminated by the lofty twin turrets of octagon plan which so happily enclose the front and give such a satisfactory sense of solidity to the facade. and simple composition, and appeals to the imagination as being more unhesitatingly satisfactory than the later more mysterious front at Peterborough, or the ambitious spreading walls at Lincoln and Salisbury. The fagade at Wells is nearer to Ely in idea and success, and the comparison of the effect of its two western towers at the side The whole was a masterpiece’ of stately aisles with that of the single one that completes the nave is most interesting, and enables the truth of the direct impressiveness of a pyramidal group line to be instantly observed. No accusation of manufactured effects, such as may be charged against some of its rivals, can be laid against the facade of Ely. The whole results from simple success of plan, and the resolve that the west end shall ab initio be a front, and the front of the building behind it. The gracefulness of the detail, and the scale and harmony imparted by the rhythmical repetition of the parts, seem at the period of the transition to be coming in play as natural to the style, and arrived at without effort or design. Indeed, it is the naturalness of the whole of this facade when contrasted with the manifest effort in the others named that is so considerable an element in its charm. : A glance at the plan will also be sufficient assurance that the west front had no unpleasing ends or backs. The group of the western buildings from the south-east is most picturesque and dignified, and presents by far the pleasantest picture of the whole Cathedral. This must also have been the case when the central tower of Abbot Simeon existed in the place of the octagon, and which, being the full width of the nave, was of similar area to the western tower of Ridel and Longchamp, though probably not so lofty; and the emphasis of the western group must have been greater before the later extension of the presbytery, the early east end, however, having six bays and being of sufficient length to make a suitable head to the cruciform plan. Bishop Geoffrey Ridel probably owed some of his success to his high position with Henry II, who made him chief of his justices in the eastern counties and his executor. In his early days as Archdeacon of Canterbury he had sided with the king against Beckett, and that interesting controversialist has recorded specimens of his genius for abuse of a very emphatic character, which he levelled at his archdeacon ; and on Ridel's election to the bishopric he had to swear that he was in no way implicated in the vengeance that overtook that “proud priest.” " that has alone made him notable. | The Galilee porch of Bishop Eustace (1198-1215) has been the subject of much discussion. It is of remarkably beautiful Early English design, and may well be quoted as an example of the virile beauty of the new style of the early thirteenth century. It has often been compared with St. Hugh's work in the choir of Lincoln Cathedral, and it is sought to prove that the porch at Ely must be later than Bishop Eustace, and is the work of some unrecorded benefactor and subsequent in date to the retro- choir erected by Bishop Northwold, who began in 1229 and completed his work in 1252. It is expressly recorded of Eustace that he built the new Galilee of the church at Ely at his own cost from the foundations, and therefore something unknown must have been done with his work so described, to account for its being replaced so soon after erection. A careful examination of the work of Bishops Eustace and Northwold at Ely does not seem to prove the porch to be later than the retro-choir—the resemblance indeed is very close; but as it is possible and probable that both may have been the work of one architect, and allowing for some subsequent alterations to the exterior of the Galilee, the case against the record of Bishop FEustace's gift is not sufficiently strong to be conclusive. While some details of the external treatment may appear later than the earliest part of the thirteenth century there can be no question that the character of the vaulting is not later than that of the aisles of the retro-choir, and the quaint and beautiful treatment of the trefoiled arches that are fitted -under - the wall rib of the vault is also adopted for the upper lights in the inner wall of eastern gable of the choir. The treatment of a double arcade in the thickness of the wall is not a later development of St. Hugh's peculiar idea at Lincoln, but is such an improved adaptation of it as a skilful architect would suggest, while the proportions of the arcades and the shapes of the trefoil arches are distinctly early ; and a comparison of the external arcades with those of the east end will offer as many points of resemblance to earlier as to later features. Sir Gilbert Scott fully stated the question in a lecture on Ely Cathedral which is unfortunately now difficult of access, and concluded that Bishop Eustace’s Galilee still exists. If so, it is at once one of the first and most beautiful achievements of the new English style, and the interest as to its certainty is consequently great. England was now conscious of the movement of a powerful artistic impulse, and during the ensuing thirteenth century our native architecture assumed at once its purest and most vigorous phase. Without travelling from this part of the country we find in the west front of the Abbey of Peterborough, in the angel: choir at Lincoln, and in the retro-choir of Ely, magnificent specimens of a truly splendid style. Bishop Northwold was appointed to Ely in 1229 from the abbacy of the important monastery of St Edmondsbury near by, and commenced five years afterwards the works at the east end. The Cathedral was then a complete building, there was ample accommodation within its walls for all its needs, the spacious feretory that contained the shrines of the four abbesses was by no means insignificant, and no modern saint rivalled in interest or wonder-working novelty the ancient St. Etheldreda; but the building fever ran high, and after adding the timber and lead spire to the western tower, Northwold proceeded to pull down the Norman apse, and with it the next adjoining bay of Simeon’s presbytery, and projected a retro-choir of six additional bays, finishing with a square castern wall. He thus left four of the five bays of the earliest Norman work standing, bonding his addition into the vaulting pier that we have before noticed as still preserved. The character of the new architecture is equally good in proportion and strength of detail. By a simple scheme he preserved the internal storiation but improved the effect of height by narrowing the bays in a most satisfactory manner. The design of the arcades and vaulting, with the fine geometrical filling of the triforium story, the graceful grouping of the Purbeck clustered shafts, the bosses of the vaulting, the corbels that carry the vaulting shafts above the level of the nave piers, and relieve their grouping from the awkwardness sometimes caused by either corbelling them at the capitals or by carrying them down to the ground being obviated, the pure conventionality of the ornamental foliage, and the fulness of the mouldings as well as the powerful design of the eastern wall, all make the building as typical an example of our best indigenous style as an enthusiast could wish. The peculiar interest of other parts of this Cathedral, perhaps, has allowed the retro-choir to be somewhat overlooked, but the student cannot be recommended to a more satisfactory precedent for all that is lasting and serviceable in a bygone style, being at the same time thoroughly characteristic, as comparison both with the early and later work adjoining will show, of independence and originality of design. Northwold's tomb has most interesting figure sculpture, in very good preservation, portraying the martyrdom of King Edmund. His recumbent effigy is surrounded by a most vigorous canopy, and the compactness of the whole is a most pleasant contrast to the sprawling failures in this class of design by modern architects. Northwold’s buildings occupied eighteen years, and its sound workmanship upon good foundations, and thorough completeness, justifies the time spent upon it. It was dedicated in 1252, two years before his death, King Henry IIL. and the future Edward I. honouring the festival with their presence. Seven bishops followed Northwold without leaving any other monuments than their effigies, till in the episcopate of the eighth, John Hotham, some seventy years after the dedication of the retro-choir, old Abbot Simeon’s central Norman tower fell into the presbytery, ruining the remaining bays of the original work. In 1321, the year before this catastrophe, John of Wisbech, a brother of the monastery, had laid out the foundations of a magnificent Lady Chapel to the east of the north transept, with a communicating cloister that opened by a beautiful Decorated archway into ‘the choir aisle. The celebrated Alan de Walsingham was sub-prior at this time to Prior John of Crawden, being appointed by himself and elected simultaneously. It is not the accident that his name is among the few of our Medi@val architects who have come down to us There was no finer work carried out in England during the whole of that century than his Lady Chapel and octagon at Ely, and he comes down to our time as the very genius of the Decorated period, his work being instinct with all its constructive skill and msthetic grace. After Alan English art declines ; there is no Decorated work of power to compare with his, and all the great Perpendicular energy of the next century is graceless and mechanical in comparison with the work of his genius. : A great deal of description might well be bestowed upon the octagon, but 52 The Cathedrals ~ of England and Wales. only a few of the more important facts can be mentioned here. The area and general external walls of Simeon’s church were not disturbed. There is no trace of the octagon upon the exterior of the plan. The factors of width in nave, choir, transepts, and aisles that existed were adopted. Four great arches, as lofty as the adjoining roofs would admit, and consequently. rising above the choir vault, were thrown over the crossing on a line with the outer aisle walls that eventually received their abutments, involving the removal of the next bay to the central tower in each of the four arms. These probably were ruined with the tower, and one can easily imagine that the effect of the internal clearance of the ruins, so unexpectedly spacious and enclosed by the angles of the aisle walls, impressed itself upon the architect's mind as claiming to be perpetuated and not again blocked up with piers. The four great arches were connected with each other by walls crossing the junctions of the aisles, thus forming the octagon, the sides however of which are not all equal. The angle walls are pierced with beautifully-recessed arches, approximating in height to the main arcades; the triforium story is blind and is decorated with a series of large trefoil niches of an original character; above, in each of the four angles, is a magnificent four-light lofty traceried window, by which a flood of light is poured into the middle of the Cathedral, and gives an airy lightness of effect to the groining and lantern above that is very charming. The vaulting that springs from the piers of the octagon is of wood, and carries with satisfactory sthetic support the lofty lantern story. This is a true octagon on plan and has its angles presented to the sides of the lower octagon, affording a pleasant and scientific variety in the general symmetry of its design. The lantern consists of a gallery with a panelled front to the church, which is externally below the main roof of the octagon, with a lofty clearstory above of eight large mullioned and traceried windows and a fine cluster of vaulting arches over all. The design is eminently satisfying to the eye and judgment, it appeals to the imagination without exciting criticism, and in the total balance of internal effect does not distract the main effect and proportions of the building. | The construction is quite a wonderful achievement in the face of many difficulties, the principal one being the scarcity of suitable timber. The stonework of the octagon was completed in 1328, six years after commencement, but fourteen more years elapsed before the lantern was completed. The framing repays examination and can be inspected without much difficulty ; it is all of oak, and the original timbers, which are of great size, remain doing their duty to this day. The framing does not suggest to the modern mind any great excess of timbering; and as a work of engineering skill, though different altogether, it may worthily be compared with its great contemporary, the roof of Westminster Hall. Though the whole octagon was twenty years in building, it is pleasant to find that Alan survived its completion by twenty-two years more. But the octagon is not all that he has left to Ely; the magnificent Lady Chapel, without doubt, was designed by his hand. Its erection, as mentioned above, is due to the labours of another brother; but there are the same fine characteristics of beautiful design in this unique building as in the cathedral work itself. The chapel, the foundation stone of which was laid by Alan de Walsingham in 1321, and was completed in 1349, is rectangular, of five bays, situated apart from the main group. The site was probably chosen out of respect to the beauty of Northwold’s east end, and because it was ‘necessary to do sufficient honour to the object of the Lady Chapel without interference with the saints in the retro-choir. The span of the vault is considerably over forty feet in excess of the width of the choir. The interior is characteristic of the great window period and type that culminated in King’s College Chapel at Cambridge. The interior is all windowed, which meant, of old, glorious decoration by painted glass. The walls below a gallery which is formed at the window sills are divided into sedilia, with exceedingly elaborate canopy work. The detail of this portion of the building is well known as a most beautiful example of Decorated Gothic. Beauty of form and good masonry combine with freedom and minuteness of detail to make their wall arcades worthy of their reputation. There are evident traces of ancient colouring, which in addition to the stained glass of the walls of the windows must have fulfilled all the colours vision of the most gorgeous fancy. Among the buildings of the precinct is a very interesting domestic chapel of the same period built for Prior John de Crawden by Alan de Walsingham. It is delicate in design, with many unique points of interest. It is also worthy of note that it was Bishop Hotham, during Alan's career, who acquired the manor in Holborn, of which the name “Ely Place” reminds us, as well as the lovely chapel dedicated there to the patron saint of his cathedral, St. Etheldreda, and erected in the same period. A consideration of all the building carried out during the half-century of Alan’s lifework is well calculated to deepen our admiration not only for the complete artistic life and equipment of the age, but of the wonderful scope and facility of this one man’s architectural genius. ; Bishop Hotham died in 1337, leaving money for the re-erection of the three ruined bays of the choir, remaining after the building of the octagon. This work, compared with the octagon, appears over-developed and attenuated in detail, and though it has been imputed to Alan de Walsingham, it is unlikely that the hand that planned the detail or general character of the Lady Chapel and octagon drew these weaker bays of the choir. The outer wall of the triforium story of the two west bays of the retro-choir was taken down, and the inner arcade glazed with decorated tracery, and the additional lighting surface increases the impression of thinness in design. Alan, if alive at this period, was too old for the work, which betrays the inanition of the coming dissolution of the style; and a tomb-slab before the rood-screen of the choir (as he knew it), below the octagon, may mark his resting-place. The Perpendicular builders found little to do at Ely, as at other completed Cathedrals, such as Lincoln, Salisbury, or Wells. They removed the spire from the western tower and erected the octagon lantern story with angle pinnacles. The general effect is picturesque enough in its quaint old age, but one cannot but feel a certain contempt for the weakness that so feebly parodied Alan’s grand octagonal idea on the top of the stern old Norman tower. The arches below the tower were filled in with a subsidiary strengthening arch as a consequence of these additions. Late windows are inserted in the aisles and triforium, and chantry chapels were erected at the east end of the aisles of the retro-choir by Bishop Alcock, who died 1501, and Bishop West in 1534. Both are most elaborate and exhibit the developing ingenuity of detail of the Perpendicular period; both were inspired by the richness of the canopy work of the Lady Chapel and retro-choir reredos, but both, apart from their elaboration, have little that is stimulating in their design. These and other tombs have interest, but are completely inferior, as works of art, to the noble spirit of the work that perpetuates the man in the building. Sir Christopher Wren’s useful rebuilding of the north-west angle of the great transept has been noted before and deserves favourable recognition; he had the courage to rebuild the Norman work that was falling, as such, and to insert a new doorway in his own style, thus naturally adding a small but interesting appendix to the cathedral history of greater interest than any mere re-writing in the old character. : The modern work at Ely is of some considerable importance, and will undoubtedly become increasingly a typical specimen of the restorations of the rapidly-passing epoch of Mediaeval revivalism. In this case the earliest is the best The painted ceilings to the west end and nave by the late Mr. Styleman Lestrange are works of great force and power. The ecclesiological scholarship displayed is interesting and thorough, and the effort to comport with the Norman work below has been successful; the whole work is readable from the floor and powerful in drawing and design, the colour scheme is pure and luminous, and the continuous scheme of subject is quite comprehensible and instructive. The area of the “ picture,” which is unbroken, covers nearly 1000 superficial feet, and as an executive feat, apart from its genuine decorative merit, is one of the most important of our age. The decoration of the octagon and lantern is by the late Mr. Gambier Parry, and is not so impressive as that of Mr. Lestrange; the colour though full is timidly lowered, and the drawing of the angel figures is not powerful enough to tell from the floor. The whole effect, however, is striking and rich. Sir Gilbert Scott did invaluable repairing works, but his decision to adopt, as far as the Cathedral was concerned, an entirely novel position for the choir is open to the objection that it renders Alan de Walsingham’s octagon an appendage of the choir rather than the heart and centre of the whole that it was designed to be, and as which it existed for four hundred years, that is, until removed in the last. century. The reredos and choir-screen are good examples of the almost reckless confusion of effect that was mistaken for richness by St. Gilbert Scotts school of revivalists.. The beholder is worried and perplexed by them, and while recognising the object. of having something or other in its position, longs to have the opportunity of pruning and stripping the mediaeval sprigs and leafage away, to discover whether any real merit underlays all the display. From this point may a healthy national life lead us to fresh emulation of the real genius of the work of the Cathedral of Ely. A. 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Abbot Froucester, who is supposed to have written the “History and Chartulary of St. Peter's Monastery,” which is received as the great authority for everything connected with the buildings up to the time of his decease, states that Aldred, Bishop of Worcester (1044-1060), rebuilt the church and consecrated it in 1058, also that Serlo laid the foundation of a new church in 1089, and dedicated it in 1100. Now, there need be no question as to Aldred’s church having existed in the eleventh century, but considerable doubts have arisen as to whether any portion ofthis structure remains in the buildings as we now see them,—an inquiry which, perhaps, to most people, may be satisfactorily answered by stating the opinions of Professors Willis and Freeman, as published in the papers of the Royal Archaeological Institute (1360), and in the “Records of Gloucester Cathedral, 1882-84 ;” the former stating “that he was clearly of opinion that when the foundations of the Cathedral were laid, the crypt was planned to receive the existing superstructure and no other,” and © that the building is in conception a Norman building from bottem to top;” and the latter (Professor Freeman) saying, “the first thing we do know for certain is, that in the year 1089, thirty-one years only after the dedication of Ealdred’s church, Serlo, the Rog Norman abbot, began the building of a new church, which was itself dedicated in 1100.” This church of Abbot Serlo, the church of the great Benedictine Abbey of St. Peter, is erected on high ground in the city of Gloucester, and is built over the north-west corner of the old Roman wall, the wall itself having provided much of the stonework used in the Norman fabric. : The foundations of this wall pass in a direction east of the south porch, taking a diagonal line towards the north-cast under the nave and its aisles, from thence turning round by the chapter-house, and traversing in a south-easterly direction past the east end of the Lady Chapel. The whole outline of { the Norman church remains almost perfect, the exception being the west front of the nave and its aisles, which have been entirely removed, as also the east end of the chapter-house. The church was originally surrounded with all the usual and necessary monastic buildings, part of which remain, though much altered and mutilated, and in 1104 Abbot Peter enclosed the monastery with a stone wall, nearly all of which may yet be traced, together with remains of old gateways, but these are of later date. About this time commenced the alterations and additions of various kinds, arising from fire, imperfect foundations, love of variety, or other causes, which have resulted in producing one of the most interesting studies of ancient architecture. There can be no doubt that fire was the origin of much destruction, as it has left its mark in the chapter-house, on the nave columns, and in the cloisters, and it is often mentioned in the Froucester chronicles before referred to. Taking these alterations, since Serlo’s time, in their proper sequence, a com- mencement must be made with the works executed in the crypt, in the twelfth century, and which were effected in order to strengthen the original building, the foundations of which were faulty; this was done by casing the early imposts to make them strong enough to carry additional arches underneath those already provided, and this work, followed in the fourteenth century by the large masses of masonry which were erected to carry the new choir above, then in course of erection, makes the crypt, on a first inspection and until properly explained, a very complicated problem. The outer walls of the crypt are about 10 ft. thick, and the aisle-floor is on an average 8 ft. below the level of the soil on the outside of the building. The centre part is divided by two rows of small columns, irregularly placed, from which spring arches carrying the floor of the choir above; the bases and capitals of these small columns are much out of level, from west to east, and from north to south, and in design they vary greatly, as to their capitals, abaci, and bases; all of which are strikingly different from the half columns, with cushion capitals, attached to the outer walls, on which rest the ribs they mutually carry; so different, indeed, are they, as to make it very questionable if by far the larger portion of these columns does not belong to an earlier church; is it not possible that there may be more ancient work than that of Serlo (possibly Aldred’s) simply re-used ? The shape of the east end of the old church is very unusual, being partly round and partly polygonal; round as regards the outer wall of the main building and the inside and outside of the small chapels in the crypt, but polygonal in the interior walls of the main building in the crypt; whereas on the ground floor, the main building and the chapels are all polygonal. Before 1242 the Early English vaulting of the nave was erected, said to have been done by the monks themselves after the wooden roof of the nave had been destroyed by fire. About this time also much Early English work must have existed on the north side of the church, of which there are the remains of the infirmary, the refectory, and other buildings ; in the church itself is the beautiful reliquary, the nave vaulting and some small works in the crypt. The next great era in this building (and it marks a very striking one, as regards ways and means) was inaugurated by the good policy of Abbot Thokey, who caused the body of Edward II. to be brought from Berkeley Castle to the Abbey Church for interment, and with this important result, viz, that the offerings at his tomb were of such magnitude as to provide the monastery with funds sufficient to execute all the important works which were undertaken during the fourteenth and fifteenth centuries. From this time (cz7ca 1307) commenced the singular and withal successful operations of cutting, contriving, and casing which now represent some of the most remarkable features in this church (verily these men took marvellous liberties with the works of their predecessors); parts of the edifice had already been propped, the foundations were known to be doubtful, and also that the Norman walls were most indifferently constructed. These men of the period continued however to progress more or less under various Abbots from the early part of the fourteenth to nearly the middle of the sixteenth centuries, pulling the old Norman work about and rebuilding on old foundations without in any way coming to grief, and in no part do their works even now show the least sign of settlement. Abbot Thokey (1307-1329) himself commenced with the south aisle of the nave, leaving a very small portion of the old Norman wall remaining, attaching to and building in with this, the windows, buttresses, and vaulting as now seen, and which, of its kind perhaps, is one of the finest and boldest bits of “Decorated” work in England. This was followed by the alteration, casing, and vaulting of the south transept under Abbot Wygmore, 1329-1337, the early date and character of which led Professor Willis to remark “that the Perpendicular style might have commenced in this district.” The early mouldings throughout, the absence of bosses in the vaulting and other minor details, in combination with the unmistakable leading “Perpendicular” lines, are very remarkable. Abbots Staunton and Horton, 1337-1377, cased and vaulted the choir and presbytery, a really magnificent design. They completed also the north transept, and finished the great cloisters as far as the chapter-house, these being completed by Abbot Froucester, 1381-1412. Professor Willis believed that fan-vaulting, of which the cloisters are a splendid specimen, was first produced in Gloucester. Abbot Morwent, who presumably pulled down the western facade of the Cathedral, erected the two western bays of the nave, the south porch, and possibly the windows in the clearstory of the nave. Abbot Seabroke, 1450-1457, commenced the great central tower, which was completed by Robert Tully, a monk of Gloucester, which is thus commemorated above the western arch of the tower: — “Hoc quod digestum specularis opusque politum Tullii haec-ex onere Seabroke Abbate jubente.” The Lady Chapel was built by Abbots Hanley and Farley, 1457-1498; the east end of the chapter-house, remains of the little cloisters, and alterations in the library, possibly about the same time,—and this brings to a conclusion a short summary of the works of the Abbots of Gloucester. The ancient monuments of interest are those to Osric, Robert of Normandy, Foliot, John de Staunton, Edward II, Seabroke, Knight and Lady unknown, and Parker, the last Abbot. Osric, said to be the first founder of the Church (729), the tomb having been erected in the sixteenth century, by Abbot Parker. Robert of Normandy, eldest son of the Conqueror, an effigy in oak, time of Henry III, on an oak chest, probably fifteenth-century work; it was originally placed in the centre of the presbytery. Foliot (?) Henry, 1243.—A much damaged effigy of an Abbot (Early English work), placed on a bracket of same date as choir. John de Staunton, until lately in the cloisters opposite chapter-house door. One half of a flat stone, with incised work filled with white cement, now in the crypt. (He was a kinsman of Abbot Staunton, who died after him in 1351.) Edward II.—Lower part of tomb of Purbeck marble, exquisitely carved (the best-executed work in the Cathedral). The effigy of alabaster, and canopy above of freestone. Abbot Seabroke.—A chapel formerly complete with altar, reredos, &c., and surrounded by open screens of stone; effigy of alabaster. Abbot Parker, the last Abbot of Gloucester. An alabaster effigy on a high Shh There are several slabs in the north and south transepts, and in the chapels under the tower arches, and in the cloisters, on which the outlines of former brasses can be traced, and also some few incised flat stones. Of old painted glass the finest specimen is that in the great east window, supposed by the late Mr. Winston to have been put up between 1347 and 1350. This glass was taken down and simply releaded in 1862, under Mr. Winston’s supervision. There are more than 2,000 square ft, and the first cost is said to have been 140. There are fine remains of old glass in the Lady Chapel and in some other parts of the building. In the upper floor of the tower is a peal of eight bells, and on the floor below is “Great Peter,” which weighs 6,500 Ib, and on which is written, “Me fecit fieri conventus nomine petri.” The framing carrying this bell is a fine piece of oak construction. * A view of the cloister, drawn by Mr. Mallows, appeared in the Builder for Oct. 19, 1889. 54 The Cathedrals of England and Wales. GENERAL DIMENSIONS. Length. Width. Height ft. ft. ft. In RAVE nvrvins iin ini A 124 nnd 34 ... 68 © North and south aisles of nave......... bl ans rates 3... 40 © Choir and Presbytery ..................... 40... coon 33 +... 8% © Transept, north...... a. iviiin ston 46. ...cciiiiaii 34 ... B30 ” SOWING... iii icin iianne 46. 0000s. 345 :.. 86 © Lady Chapel .............. ..ioivsiivii. Ja 90 i ioininniens 258... 46 © Chapter-ouse ~....c.....iveioisnes wiionss ITD irises 33.4 35 © Cloisters, about........ Gorter eeenanens 147 -square...... 125... 18 6 Bower... nn a 40 onleadroof 40 ..i. 22% © The total lengths of the Cathedral are: —Internal measurement, 407 ft. ; external measurement, 425 ft. Some of the best views of the exterior of the Cathedral are to be seen from the meadows on the north-west, and from the canons’ and other gardens on the north-east and south-east of the building. The tower is an unrivalled design ;* and the east end of the presbytery, with its singular construction and very ingenious attachment to the Lady Chapel, is quite unique, a most interesting study, and, as regards the upper part of it, singularly elegant. To thoroughly comprehend the alterations of this east end, and its conversion * An admirable drawing, by Mr. W. H. Bidlake, of the upper part of the tower, was published in the Builder for July 31, 1886. from a Norman apsidal termination into the present fine eastern facade, the work itself must be seen; any written description of the exceedingly clever transformation would probably be tedious, and possibly fail in affording the required information; “sufficient to say, therefore, that it is one of the masterpieces of the Cathedral,— wonderful for its constructive daring, and most happy in its artistic results. These « remarks may equally apply to the whole of the Perpendicular casing of the choir, the choir ambulatories, and the transepts, behind which casing may be seen at a glance the bold lines of Serlo’s old church. Viewed from the exterior, the extraordinary patchwork of the styles of archi- tecture to a visitor who sees the Cathedral for the first time must be very startling, observing as he will do fourteenth and fifteenth-century windows surrounded with Norman mouldings and ornaments, all framed together as if they were originally so designed ; and his difficulties will continue until he sees for himself, or is told, that the old Norman church is buried under a new casing of Decorated and Perpendicular work, and that the old Norman remains have been re-used in the new erections. It would seem as if these fourteenth and fifteenth-century men were conservative in their ideas, and had felt more pleasure in using up the old masonry than they are usually credited with, thanks to their better taste. Of the cloisters, it is needless to speak, they are so well-known as the finest and most perfect in the kingdom. Of minor works, special attention may be drawn to the Early English reliquary in the north transept, to the reredoses in the various chapels, and especially to that in the Lady Chapel, now a ruin, but which in the time of its glory must have been one of the finest works of its kind in England, both for its design and its painted decoration. FREDK. S. WALLER. Fe Whitrteres — pe gre me re + = JM peel CRI ee NA hy Nira. iy WW J 5 Sule INE ah a Ul es. & dese AW se GW He ac Wier - + ““ @he Builder’ Cathedral Levies. GLOUCESTER: FROM THE CLOISTER DRAWN BY Mr. C. E. MALLOWS. GARTH, ni Ee mit > SL. - PHOTO-LITHO. SPRAGUE & C® 4 & 5, EAST HARDING STREET, FETTER LANE, E.C. PLATE XXII. CLOUGCFSTER CATHEDRAL CROUND PLAN. Reference me Norman, jis Early English. NY decorated (Abbot Thokey). Roteler & Seabroke. fe Perpendicular casing by Abhol® Wygmore Horfon, Boyfield, Froucesler, EAS Perpendicular West Front” &. South Porch by Abbol” Morwent” 9 2 & & : : S 0 zZ J 3c s Pe S ul] 2 Es . J ~~ : 8 2X J A £417 ou 4 flo 8 Yd 5% 8 22 L £5 2 wo A 58 2 v2 BE oo lle Coad 0 La ne a I tees 4 yE : SL = > ElEeH EY 3% ] 5 3 fe o ° ei fs © uU CS SL OL 84 E T L S658 5 SIS mE aR 2 = 0 LEGESAS 8 ell c= all = ~~ 0D RS << ™ ye 2 Chel eo Bg WEES EE Ee a > x as ie SE a ars sa LE £ Oo af © © hl EE BE en ae a ca ea a. 2 QO on vi 3g © - —t 2 3 OH . 5 x Sab 2 \ CS 0 “EET : 3 Wi CECE Yr J v Ost od : S He 2000 » a ec Eu ey ein ' Vv Ss = g 3d ©P > 2- LS EE v cg oes i a 552 06g 8 UNE PEERLES f fT O00Y ane ol fn ane CcoO0uWwUy oF. ms ee PT | CLOISTER. | £ < ~ X 55 7 AN ABBOTS = R | 1 No 4 ' ¢. i i — om ————— ~ ' ' oh i - x N ! ar ey ' | Zr 7 \ : i to” 1 ————— = ———— —— — ——————— nm ———— 4 SS 1 2 t NT Lis , 7 3 } - ' Nol) ie Al LN \ WN = < C Mmmm ene me mm mma & oN 3 : \ ay 720% > NT A, by STITT SN = 2 iS . > 2 7 ox , 4 ~ 1 \ \ ™ \ a ~~ I + ’ 1 1 Fy he ! > » ' ! AN \ | a 1 $! > Ns , | el ‘ ~ oi Fob oy og Sl fog Foo No Sl ' 1 y ’ ' Ty \ DB ' LE a NS ’ } | I . 1 ! 1 Ss x .’ | 1 ~ : boi a Xe { N, ‘ ' . f ) 1 ' y ! ~~ i ) oa \ 7 ‘ 1 ra ‘ ' t ! : ' | } La ) ' yoy ! | | i ! ! 1 i i ) , 1 i Loy ’ \ { : 1. 1 i ! i | . 0 ! i ’ ' / ! ) \ ! iy Zu | 1 Yay 2! g : 2 dT | of z ~ : yo . Z x i ! ve 7 i . ) 1 , Ad N | ’, 1 x i ,— : : i i 2 0 1 \ L Moos 2 g (c \ Sa © ie 7 : 1 Sy” ‘ LD 3 / ’ = | No ce “eM ae Sp iN i im seid : 7 >, vs - ed -- -——— «The Builder’ Cathedral Zevies. WORLEST ER, iT. WOLFSTAN of Worcester, the founder of the Norman Cathedral, is recorded by William of Malmesbury to have burst into tears while watching the pulling down of the earlier Saxon church built by St. Oswald, exclaiming, “ We wretched ones destroy the works of the Saints.” Apart from the question of inferiority in architectural design, which did not form the basis of St. Wolfstan’s regret, his words might find an echo in the consciences of cathedral architects of our own day, professional and amateur, at Worcester and elsewhere. The rebuilding of both the east and west fronts of the Cathedral, for the mere purpose of consistency in style, and the abstraction from the choir and Lady Chapel of later features than those of the ordained period of Early English, as “debased,” as well as the demolition of the magnificent Guesten Hall, form a record sufficient to justify reasonable regret. It, however, says much for the architectural value of the Cathedral, besides qualifying censure upon its restorers, that it still remains a building of marked beauty and interest. Professor Willis, who was carefully optimistic about the doings of his contemporaries, wrote in 1863, before the choir was “restored,” that of “ Great English cathedrals and conventual churches it is inferior to very few in interest and value, when considered with respect to the history and practice of Medieval architecture ;” and, adding the words “and of restoration in modern times,” we may adopt his opinion. The See of Worcester was founded in the seventh century, and St. Dunstan of Canterbury was among the early holders of the bishopric. He was succeeded by St. Oswald, who founded a Monastery of Benedictines, into which he absorbed the original secular canons of the Cathedral, and erected the Church of the Virgin, removed for a grander edifice by St. Wolfstan. The latter saint was the last of the Saxon bishops, and a man of sufficient character and power to be recognised by the Norman conquerors, whose two kings he faithfully served until his death in 10935. An interesting link with the Saxon church exists in the design of the baluster columns of the wall arcade of the slype, which, if not themselves relics re-used from St. Oswald's Church by Wolfstan, are of marked Saxon character and distinct from the other Norman work. He began in 1084 the erection of the Cathedral which we now ‘see, and it was sufficiently advanced in 1088 for the monks to enter into. In a document of Wolfstan’s, dated May 20, 1089, he incidentally reveals some of the first principles of Medi®val architects in stating that he added to the monastery by “the construction and ornamentation of a church (“ecclesie constructione et ornatione”). In simple constructive beauty apart from ornaments, which at that period were archaic and crude, the crypt, with its twelve vaulted aisles and apses, and the impressive circular-vaulted chapter-house of his immediate successors, which remain to us, are unrivalled ; the crypt being the most perfect of the four Norman ones,—Winchester, Gloucester, and Canterbury, are the three others,—both in proportion and completeness of design, and the chapter-house being the patriarch of the subsequent polygonal ones so characteristic of English Medieval design. The crypt occupies the space beneath the present choir, and with its apse defines the eastern limit of the Norman church. It is uncertain whether a Lady Chapel then existed further eastwards or not. The width of the church was not varied later, and the nave extended to the full length of the present church, the south-west entrance to the cloisters marking the limit. The piers of the central tower (now cased with fourteenth-century work), the walls of the great transept, the north and south aisle walls of the nave, the slype abutting on the south transept, and the basement of the refectory on the south side of the cloister, with the south- east entrance adjoining, all indicate that Wolfstan’s Cathedral, west of the choir, was co-extensive with the present church. Besides the crypt, slype, and undercroft of the refectory, the Early Norman remains are fragmentary though unmistakable ; two fine arches in the east walls of the transepts exist, which opened into chapels now destroyed, that on the south replaced by an Early English building, into which the Norman arch now opens. An Early capital protrudes from the south-east pier of the tower in the choir aisle, and Norman masonry shows in the north-east pier in the triforium. Another capital is in the east bay of the north aisle of the nave, and in the same wall the Norman columns and caps of the north door remain. Upon the opposite side five large simple and unmoulded semi-circular headed recesses exist for altar tombs, and two Early Norman vaulting shafts mark the junction between the rebuilding of Wolfstan’s nave in the Early English period and the Transitional Norman work of the two westernmost bays. A characteristic of considerable beauty in the earliest Norman work, which is not found in that of the later period, is the use of two building-stones of varied colours in horizontal bands, as in early Italian marble masonry. One stone used was the creamy-coloured oolite from Bath, and the other a grey-green stone from Higley, on the Severn. In the subsequent work a red sandstone was largely employed, and a fine general effect of warmth of tone and variety obtained. Two circular stair turrets, of the Early Norman masonry, project into the western angles of the transepts in an unusual but picturesque manner, and afford a very favourable surface for the banded masonry. The apse of the crypt, and of the presbytery above, had seven radiating bays, with concentrating vaults upon the inner arcade and central column of the crypt, the width of the presbytery being subdivided below by three ranges of columns and vaults into four aisles; the aisles above, with a central range, and also the north and south chapels opening from the transepts, making in all twelve vaulted aisles in the crypt. The northern chapel and the outer aisles of the apse have disappeared, but the construction of the early vaults, as also in the slype and chapter-house, is perfectly sound to-day. The chapter-house, which is slightly later that Wolfstan’s work, has a lofty central column, with a simple splayed capital and circular abacus, from which the vault, divided by boldly- moulded ribs into ten bays, springs; two tiers of wall-arcading surround the walls, the lower recessed for seats, and the upper of a simple interlacing type. Perpendicular windows have replaced the Norman ones, and in the same period the exterior walls were squared from the Norman circular plan into a decagon with angle buttresses. The two western bays of the nave are of the latest type of Norman," in which pointed and round arches are both used. The ground story is almost sufficiently advanced in type of moulding and carving to be called Early English, with fully-pointed arches, but the triforium, which is of two bays, within severe pointed enclosing arches, encloses small arcades of round Norman arches ornamented with a simple zigzag, and curious rosettes ' arranged ' upon the. tympana, The clearstory also divides the round and pointed styles without mingling them, consisting of a central wide round-arched opening, with Norman ornaments, flanked on each side by a narrow steeply-pointed opening. The shafts of the ground story and vaulting piers are delicate, and clustered, with square and splayed abacuses. The vaulting shafts of the easternmost of two bays rest upon the earlier Norman banded pier, before referred to at the level of the triforium. The nave vault over these Transitional bays is of later date, but the vault of the south aisle is of contemporary work, also that to the south-west entrance passage to the cloisters which adjoins. Three western doorways exist in the end wall; all were blocked up until recently, ei] > \ ho N \ \ ® 5 Y A y a = 1 gE] © ° | / / d / 7 / a 5 7 / / ps tes, 2 a a er as 1 : -~ an BL 0 yo 7 fl SL A aio oR He HD . > | a YY | i ES Scale tr Plan. io 5 © 2.0 30 40 50 60 70 30 55 oofeer N : NS \ NAN N \ N N i N . = = | e | 3 X= —— — . = m—— 3 3 ~ N 3 ) | | : 1 | t Arr rr Plan and Part Section of Crypt. when the great west window was erected, and with it a modern Norman portal made for the nave; the arches for the doors to the aisles are traceable in the wall Otherwise no Norman or Transitional features remain to be recognised in the west front, except the angle turret buttresses and the restored round-headed windows above the aisles in the triforium, with later tracery insertions. A beautifully-elaborated pointed Norman doorway exists unrestored to the south-east entrance passage to the cloisters, of a different type to the other Norman work, and its isolated position at the end of the earlier passage suggests that it was the work of a different time. In the south wall of the great transept there are fine Late Norman windows, with round arches with a bold zigzag enrichment; these are now obscured by the great organ. The restoring purists removed a Perpendicular window from the upper story of this wall to place in the Norman wall an Early English triplet, while in the opposite north transept they replaced the eighteenth-century Perpendicular window with a Geometrical traceried one; a concession, doubtless, to the variety of dates in the removed windows. The original Early English work of the choir and presbytery is exceedingly fine; it was begun in 1224, at about the most vigorous period of the style as a native growth, and the design of the Lady Chapel and choir can compare boldly with Lincoln or with Salisbury, which were in course of erection at the same date, and not to any disadvantage. The carving is rich and pure, and much fine figure sculpture was used, some of which remains in the spandrels and tympana of the triforium and wall arcades. The proportion of the extended choir, eastern transepts, and Lady Chapel 56 | The Cathedrals of England and Wales. -~ externally produce the same happy effect as at Lincoln, the lantern tower standing nearly midway between east and west. The internal proportions, though, of course, on a much smaller scale, are not dissimilar; the height of the choir, raised as it is upon the Norman crypt, and continuing the ridge line of the nave, being reduced to the moderate height and full width of the Lincoln choir; but eastwards Worcester has the advantage, for, as soon as the limit of Wolfstan’s apsidal crypt is passed, the Lady Chapel resumes the lower level of the nave floor, and the additional height being thrown into the ground-story piers, an effect of loftiness is obtained which is very dignified. This increased effect of height was evidently sought for in the design, as the eastern transepts, though of the same approximate height as the great transepts, are considerably narrower. The width of the bays in the Lady Chapel eastern transepts and sacrarium is also less than those of the choir, thus aiding in apparently increasing the height eastwards. s WL 5 i = — ot Yh = pam == hme oy gm em heme nee - | t ( | = L i | | I % t I 1 [ 2 i » = 7 TT mm gl = z or c Hp be —— ~~ — — 1" z/ — ——— —— — — — > F gem —— v . Interior Elevation of Bay, North Side of Nave But before the beautiful and extensive work of the Early English epoch was undertaken, the usual fires, falls of towers, and wonders worked at tombs had occurred. Eight years after Wolfstan’s death Worcester was destroyed by fire with the church and castle, and the preservation of the bishop’s tomb from the falling embers and lead of the roofs, shows that his contemplated choir and apse had been erected and roofed in over the crypt. The Transitional work towards the end of the twelfth century, which replaced Wolfstan’s, was itself destroyed by fire in 1202. Of this, however, the western bays of the nave remain, and the then new tower is recorded to have fallen previously in 1175. We also read of the fall of two towers besides, in * This, and the elevation of the two western bays of the nave on the following page, are from measured drawings by Mr. Harold Brakspear. a storm, and, as there were no western towers, it is conjectured that smaller towers or turrets adjoining the transepts must be referred to. In the midst of these disasters wonders began to take place at the tomb of Wolfstan in 1201, upon St. Valentine’s Day, and continued increasing to a considerable extent during the ensuing year, so that a commission appointed by the Pope visited Worcester on St. Giles’ Day, and inquired into them and reported. The result was that St. Wolfstan was canonised in May, 1203, and the flow of offerings continued to an extent which justified the rebuilding of the eastern end of the Cathedral in 1224 by Bishop William of Blois. The Cathedral had meanwhile been repaired and re-dedicated after the fire, “and the works had evidently extended over some years. King John, who had visited the tomb of St. Wolfstan in 1207 in state, and contributed to the cost of the reinstate- ment of the cloister after the fire of five years previously, had died in 1216, and his body was brought from Newark and interred in the choir between St. Oswald and St. Wolfstan. A fine sixteenth-century decorated effigy and tomb now mark his resting-place, and one fears that the favour he showed to Worcester and its Saint, rather than even blind respect for his office, have preserved in the very centre of the choir of a Christian church the effigy of one of the worst kings politically and morally that England has had. It is indeed a wonder that Cromwell’s soldiers, who mutilated every saintly image in the building, spared his nose and face; perhaps he was left in cynical respect for the memory of the departed monarchy. The repaired Cathedral was dedicated in 1218, in honour of St. Mary, St. Peter, St. Oswald, and St. Woifstan, on June 7, in the presence of Henry III. and many distinguished persons, when the remains of St. Wolfstan were placed in a magnificent shrine. The miracles continued after the interment of King John, and, with the undoubted sympathy of his son, the re-erection of the choir and the eastward extension was commenced. The best use was made by the monks and bishop of the tide of gifts and profits from the miracles while it lasted, as it soon after began to flow down the Severn to Gloucester, to the shrine of Edward IL It is recorded that Bishop William of Blois begun the new work of “the front.” Professor Willis remarks that in Mediaeval documents the front of the church is usually the east end. This would be, therefore, the wall of the Lady Chapel, and involved the demolition of the superstructure of the Norman crypt recently re-dedicated, and extending up to the tower. The new choir, with its vault, was loftier than its predecessor, and the bays were wider than those of the Normans, rising with their pointed arches higher still in proportion. The triforium was, however, lower than the corresponding Norman story, but the clearstory was similar in height. A secondary arcade at the back of the triforium, against the wall which encloses the space over the aisles, gives much the same effect of inter- Sis wikeied 7 lacing arches as in St. Hugh’s much-discussed arcades at Lincoln. The shafts clustering around the piers are of Purbeck marble, now of that peculiar colour produced by ill-directed attempts at polishing. They are jointed with metal bands, and as it is stated in Leland’s Itinerary that Bishop Giffart decorated the columns of the east portion with small marble columns having joints of gilt brass, considerable discussion has arisen not only as to the chronology of the work,—the bishop reigning from 1269 to 1302, the building being commenced in 1224,—but as to the rings and their use. It does not seem to have occurred to Professor Willis even that the marble shafts are bedded with lead seatings, and that this narrow seam of lead was decorated by the rounded brass ring with which we are familiar at Westminster. The presence of an iron cramp connecting the shaft with the pier has been rightly understood as provided for the purpose of attaching the shaft after the settlement of the pier; but this has nothing to do with the brass ring and lead bedding, the existence of which can be tested by scratching the surfaces. Bishop William, who initiated the works, and probably saw them partly vaulted, if not entirely, before his death in 1236, lies buried in the middle of his work, before the altar of the Lady Chapel. His effigy is a singularly complete and beautiful work of the thirteenth century showing the full vestments, which were formerly ornamented with jewelled settings. : The rebuilding of the nave was not undertaken until the next century, it being commenced by Bishop Cobham, who occupied the See from 1317 to 1327. The condition of the Cathedral at this time appears to have been that the magnificent choir and Lady Chapel had been completed, by means of the pilgrims’ offerings, much as we see them now; that the twelfth-century tower, however, which fell down in 1175, had not been rebuilt ; the adjoining transepts had been damaged by it, and now exhibit Transitional and Norman work in their lower stories only, the upper portions being of Perpendicular date, without connecting links to the earlier period, and the nave of Norman and Transitional work. We find that so late in the thirteenth century as 1281, Bishop Nicholas, of Ely, formerly of Worcester, bequeathed a legacy for the rebuilding of the tower, but as no work of that date remains, it is probable that the expen- diture was deferred until Bishop Cobham undertook the reconstruction of the north side and aisle of the nave completely. He lived to complete the clearstory and to vault the side aisle throughout; the main wall, however stopping at the two westernmost bays, which he left, of the Transitional nave. This early fourteenth-century work is a good example of the Decorated style. The shafts and mouldings, though not so bold as in the earlier work of the choir, are full and rich, not suffering from the earlier refinement of the later work. The plan of the earlier nave was adopted, the heights of the ground and triforijum stories being altered, but the .total height of the springing of the vault remaining the same ; springing-stones were built in for the vault, which was not added for some considerable time; a rectangular chapel was built in the second bay of the aisle from the transept, and vaulted with the north aisle. Professor Willis gives a summary of the fourteenth-century works, obtained from the notes of Dr. Hopkins, a 7 — = = — = - ~~ Ste geyySemimine whee e.g ® i heen 7 ——— en —— — —— o— — £7 "em em m= em = e— e The Cotludenls of England end Waks, 57 prebendary of the Cathedral from 1675 to 1700, which he found in the Baker MSS. in the Harleian Collection, as follows :— 1320. Prior Braunston built the gesten hall. 1372. Refectory and cloyster built. 1374. Tower or belfry. 1376. Stone vault over the quire under the belfry, and over St. Thomas’ altar. This is explained by the fact that the quire at that time was placed under the belfry. 1377. The vault over the nave of the church, the library, treasury, and dormitory. 1378. The water gate. 1379. The infirmary and stalls in the quire. 1380. The west window. 1380. The north porch of the church. The north wall of the nave being rebuilt in the early part of the fourteenth century, and the south wall and vault not being undertaken till fifty years after, the condition of the church with one side Norman, the end Transitional, and the other side of new Decorated construction, can be imagined with difficulty, as a temporary roof only could have been used. The slackening of the tide of pilgrims and their gifts probably hastened the completion of the nave, as the late fourteenth century south wall and aisle, of Early Perpendicular detail, do not display the care and skill or beauty of the northern wall, which it closely follows in general design. The mouldings are attenuated, and the shafts over-thinned, and scrappy little carved capitals take the place of the rich bands of foliage which make the Decorated capitals. The vault, perhaps with the exception of the two western bays, which were the work of Bishop Wakefield, 1375-1394, was built by Abbot Horton, who died in 1377, and is ingenious and beautiful. The unity of design secured at Worcester is unusual in Medieval work ; the Transitional, Decorated, and Perpendicular portions all come together as harmonious parts, well connected into a whole by the vault ; there is no definite breach of inten- tion or contemptuous ignoring of earlier work, as so often seen elsewhere. As much of each period is retained as possible, probably not only out of respect for the work of the patron saint, but also, in the later portion, from motives of economy. It also appears that the works were never wholly given up to the unrestrained will of one individual ; the existence of the large monastery acted as a balance to the power of the bishop, as we find agreements between bishop and convent respectively for the execution of fixed portions of the work in the cases of Bishops William of Blois and Cobham. Simultaneously with the work in the nave the reconstruction of the tower was undertaken ; the Norman piers remained as a core, and were cased with the fourteenth-century shafts and mouldings ; the springing of the arches was raised to the new level of the nave vault in 1374, the vaulting under the belfry completing the work in 1376. Bishop Wakefield's work remains in the north porch and the inner arch of the great west window,—filled in a few years ago with geometrical tracery inconsistent in style with everything in the Cathedral,—and he was buried under the two bays of his vault at the west end. Of later Perpéndicular work there remains the very fine chantry of Prince Arthur, son of Henry VII, on the south side of the choir, an interesting example of the early development of the traceried vaulting that so rapidly attained the beauty exemplified in his father’s later chapel at Westminster. Perpendicular tracery was freely inserted in the earlier ‘windows. The principal internal work, however, was the vaulting and decoration of the great transepts. The walls above the ground stories, which are of Norman, were panelled with an early cusped treatment, with mullions and transomes that form strings and vaulting ribs, and are an early attempt at a complete panelling of the wall surface, which later became prevalent, as at Canterbury and Gloucester. The cloisters, now completely restored, are of this period. The vaulting is boldly moulded with finely-carved bosses. It springs from the south wall of the nave, without any relation to the buttresses which mark the internal vaulting bays. The piers on the inner walls around three sides of the garth have square openings in them, somewhat of the character of a continuous hagioscope. The chapter-house had windows inserted and a new face given to it at this time. A most interesting series of apartments betwcen the chapter-house and the south transept also belong to this period; they are the treasurer's chambers, and have a communicating passage to the south-east chapel of the choir. They are roofed with a flat four-centred vault, and have a vaulted gallery leading to other smaller chambers, perhaps used as dungeons. Upon the opposite side of the church, in the north choir aisle, is a picturesque oriel window of similar date, projecting from the outer wall as a watching-loft. This must have been reached from the chamber over the north-east chapel now destroyed, and was used by the sacrist or watching friars. There are also evidences that the large room over the north porch was used as a dwelling in connection with the Cathedral. The triforium gallery over the south aisle is now used as the Cathedral library, the books being recently removed there again from the chapter-house. It is lighted by Perpendicular windows above the south aisle. A finely-moulded stone Perpendicular screen, a fragment of which has been preserved, is fixed in the arch opening to the choir from the south transept. The pulpit in the choir was erected there in 1748, but is of Perpendicular date, and was formerly in the nave. le me de = i —— dd es re Sigh ww cb wm ee = gg RY a, 4. SN EY Reformation times and Worcester will always be connected with the great Bishop Latimer, the most vigorous reformer and eloquent preacher of his time. In his day there was a “fair stone cross in the churchyard, which was the usual preaching place, as at St. Paul's London. There were also seats for the chief of the city on the north side of the church, but south from the cross, much resembling those of St. Paul’s” There is no memorial of Latimer in the Cathedral, or indeed anything but the name of the place and See to remind us of him; but his fame will not suffer by this neglect. The choir seats and stalls of 1379 were removed from under the tower to the presbytery, their present position, about 1537, on the establishment of a Dean and Chapter, and Renaissance canopies placed over them at a latter period. These remained when Professor Willis wrote in 1862 that they “are valuable specimens of woodwork,” they were however removed at the “restoration” of the choir, and nothing put in their place. The Cathedral suffered much damage after the battle of Worcester at the hands of Cromwell’s soldiers, and substantial repairs were made in 1712, partly at the cost of the Government, to replace the damage. At this time a buttressing wall was erected across the north-east transept to prevent the piers of the choir from falling, and the wall was pierced with four quatrefoils of bold design. The great north transept wall was rebuilt in 1748, with a Perpendicular window of the period and turrets, by a local architect, Mr. Wilkinson, who erected St. Andrew's, Worcester, and displayed a tendency to the most attenuated form of spire and pinnacles. i = xr —~—— 2 wisps fre Pa 1 TT Fe x ec, to dg, == — etl htt de ——- — py — - gym Gr %- -z7 = —- z= . mid =m ay Interior Elevation of Two Western Bays of Nave. Successive alterations were made to the east and west windows. In 1812 a new altar screen was erected, and finally, in 1857, extensive restorations were undertaken, under the late Mr. Perkins, of Worcester, and Sir Gilbert Scott was called in to desjgn the “ restoration” of the choir. Of all this work, and the elaborate reredos, it is exceedingly difficult to speak even descriptively. One has a lingering fear that the enthusiasm with which it was regarded twenty years ago has already changed to dislike, and fearing lest this feeling should also prove ephemeral, it may be better to leave the modern work at Worcester to the tender mercies of the next generation, who may safely regard it as the ne plus wltra of Liberal “Conservative Restoration.” PLATE XXII ER : oe 5 ! z i INK-PHOTO SPRAGUE & C° 4 & 5 EAST HARDING STREET, FETTER LANE, E.C. RNA CALIFO FROM THE NORTH-WEST, DRAWN BY MR. BERESFORD PITE, AR1.BA. WORCESTER a SANE a 3 Tes Sa “he Builder’ Cathedral Series. a ‘ Ln Te TIN SWF {=a TI AN ew SL EEE \) FERRER ( oo i ET es ~ ANS ~N | | . ts I= Sa Or “NORTH IIT TI TTT ITT IIT TTI II i, 2 Y% L. 7 7 l a lp vz i \ vi ~~ eet ae Sy NY Hi I R 13 | ! | | | I ll Eg 1 TRANSEPT} Ym =n Z Ei abu eral J ~Q : . { wv J . ws A Tf lo i-<0 2 ® . rd ov §2d E 0 = ‘ming 48 234 131% 1 ado ‘Eefii nylon 23235 l81%.4 TEE Ii ei SAY rr ees 7 2A 0T E 3 ee Ne 222353 Sixis i383 § aT e=3 EEE IE. ¢ ® $F OEE e3ZSTUE EEE ALBA pC = 2's > PETC eegZaf if ~~ - oO N® J Ce gsagNIoopRd E © z 2 o Ww QB ° a TH % 2 : 292 : z LB ETE 7 ST Ie LF. iT > =z SS gS 2 3 —t 2 2 2X < ¢ g vw TD DZ EEE RF” 3 EIT gts SEH ize ead Ts: E Cys 00, —_— - PEEP ELLIE NTT 0a ilies oe 3 n = = Q (2B 23 si" us mi ee kee < FIliin"Ciropd po 8 =D CT “_ oon 3 Sexi a0X = NST Ro ENG: in 0 g 19 7 = > = o. o % [LIT Bf of 2 Jd = ~ 2 : 5 S ° Z Sg z $ Zz EB Norman. A F ~~ b 3 x SN ol = . > Eo / ~ 2 z waa J wo % o / A Cy X o z oc 5 \ 1 CTE ud 7 J/ \ ~ NY 7 REESE. CC Novis asund Sani, \ 7 >Z yey z ZN \ \ ~ N. | il {] NY 2s Sw SAAN RX N A CLOISTER - CARTH. ho Nr en =n - 30% - z : eR ay. Lnatiohear. Prremo of dll ol Al | av . apf 1770 - ely Cross A "* 10. Font Sle of S" Jahn TD 20 0 31 32 PHOTO-LITHO, SPRAGUE & C2 4 & 5 EAST HARDING STREET, FETTER LANE. EC. Maret - 1204 . 1523. GSROVND - PLAN . reourl” Yee - nN 5q : a v6 Sw Gvy HyTh R 4 Bp Maddox - 15 Ser Wilham +H | Feel. 260 ‘WORCESTER -CRTHEDRAI®. ( Oiasles Transilional .e 1150. Bp John de Paynham. Pecoraled. Bps DeBlors- Diltord « Cobham. /s0 [IH Perpendicviar. Bps Lynn 4 Wake held 4 = Modern. . Early. English .c 1216 + seq. Bp SilVesler. 7772 DIN Secale. Sule of PORMITORM. — | re tn. meme. tern, am. watt. a. emt. ene. sn} “@he Builder’ Cathedral Series. Rk epi malty MANCHESTER, HE present Diocese of Manchester is of modern creation, but the Cathedral Church itself, or, as it is still called in the local vernacular, “ th’'owd Church,” is of ancient foundation, having been originally Parish Church, then Collegiate and Parish Church, and now finally Cathedral of the Diocese and Parish Church of Man- chester, the Cathedral proper consisting of the choir and its aisles only, while the nave and its aisles are still the Parish Church. The Dean has, moreover, according to Act of Parlia- ment (13 & 14 Vict, c. 41, 8¢C 4), * cure of souls in the Residuary Parish, in which he is assisted by the Minor Canons, who shall be subject to and act under his directions; and the said Dean shall have all rights and powers in reference to the performance of the services of the said Parish Church as fully and effectually as if he were Rector of the same.” Manchester, together with the rest of Lancashire, originally formed part of the large Diocese of Lichfield and Coventry, but on the formation of the See of Chester by Henry VIII in 13541, Lancashire was transferred to the jurisdiction of the Bishop of Chester, and remained so until 1848, when the present Diocese of Manchester was created. There is a general, though totally erroneous impression, that Manchester, and all pertaining to it, is of quite recent, if not of purely mushroom growth. As a matter of fact, it has been a place of some importance ever since the Romans established a camp on the banks of the River Irwell, part of the walls of which still remain, by a curious change of circumstances, in the basement of a modern warehouse. This Roman station was about a mile south of the site of the present church, and after the departure of the Romans from Britain, the site of the town was removed north to a point at the junction of the rivers Irk and Irwell, the position now occupied by the Cathedral and Chetham’s Hospital, this latter at one time the. domestic buildings of the college. This migration was probably brought about by the plundering of the old town by the Danes. At this new site a manor house was built, and in all probability a church erected near the site of the present one. This settlement, with the exception of the church, was formed into an island by the formation of a broad and deep moat, joining the two rivers. Traces of this moat still exist in the deep cellars of the modern buildings which cover it, and the passage known as “Hanging Bridge” is in reality the Mediaeval bridge crossing the moat, and leading straight to the south door of the Cathedral. The arches of this bridge are still zz situ, though hidden between the cellars of the houses on either side, and still carry the footway which forms the chief means of approach to the Cathedral from the town. The old Church of St. Mary, mentioned in Domesday Book, stood about 200 yards south of the Cathedral site, and outside the moat, and there is no evidence to show when the present site was first built on. The view generally taken is that the present site was not built on till 1421, the date of the foundation of the college ; but, as will be hereafter mentioned, the Cathedral contains evidences of a date considerably anterior to this. The Cathedral occupies a commanding position on high ground, and is not seriously hemmed in by surrounding buildings except at the east end, and stands in its own disused churchyard; but it suffers much from the general character of its surroundings, and from the smoke-laden atmosphere which is unfortunately such a marked characteristic of Manchester. It is now difficult to realise what the natural beauty of the site must once have been, when smoke as we now know it was not, ° and the Irwell—not to mention its disgraceful tributary, the Irk—was still clean, and when the oak used in the building was still in the form of living trees growing in the immediate neighbourhood. Now, the outside is entirely black, save for patches of new stonework here and there, and this in spite of the fact that the whole church has been recased externally within about the last thirty years. To the ordinary observer, the first impression of the church is one of disappointment. It possesses few or none of the attributes one is accustomed to associate with a cathedral, especially with the cathedral of an important city like Manchester, though it cannot be denied by even the most disappointed that it possesses a beauty and dignity of its own. It never was built for a cathedral; and, considered as such, it must be admitted that it is disappointing, though it really is a very fine and complete specimen of a late Collegiate church. The Cathedral consists of a nave and choir, with north and south aisles, a lofty western tower, a Lady Chapel at the east end, and a small octagonal chapter-house opening out of the south aisle of the choir. Again, beyond the aisles proper exist outer aisles on both sides. These outer aisles were originally private chantries or chapels, and were divided from the aisles by wooden screens, which in the choir still remain ; but in the nave the chapels have been gradually incorporated into the body of the church, with the result that we have a very unusual plan for an English church, though more common abroad, of a central nave with inner and outer aisles on both north and south sides. The effect of this multiplicity of aisles and apparent maze of columns is very striking on first entering the church, and moreover the. effects of colour and “atmosphere” produced are very fine, the interior being built of red sand- stone, and nearly all the windows being now filled in with stained glass. The Cathedral has suffered fearfully by so-called restorations and beautifications, chiefly at about the beginning of the present century, when many of the chapel screens were removed, enormous galleries were erected, and the old work was hacked away and covered with Roman cement, and worse still, was in places refaced and “improved.” During the last ten years, however, all this has been altered, and the restorations effected since then have improved the building in many respects, and the extensions rendered necessary to accommodate the congregation, and to take the . place of the removed galleries, have been carried out entirely in keeping with the ancient structure. Little or nothing is known of the early history of the church, prior to the date of its collegiation. Domesday Book records that there were two churches in Manchester, St. Mary’s and St. Michael's, which were possessed of one carucate of land, free from all taxes, save danegelt. No mention is definitely made of any church in Manchester between the date of Domesday Book and the date of the foundation of the College, and even the approximate date when a building was first erected on the present site is at present a matter of conjecture. The names of many of the early rectors are however, known, and among them are several who were advanced to the very highest positions. Chief among them, perhaps, was Walter de Langton, who in 1292 was appointed Rector of Manchester, and in the same year Keeper of the Great Seal by Edward I. Four years later he became Bishop of Lichfield, where he built the Lady Chapel, and left funds for its completion. He retained the rectory of Manchester for three years after his appointment as Bishop, and, quite possibly, being a great builder, he may have indulged his tastes at Manchester. William de Marcia was another cele- brated Rector of Manchester. He was Treasurer of England, also in the reign of Edward I., and was subsequently Bishop of Bath and Wells. We also learn that in 1342 there were four chaplains in Manchester. Also at about this time several valuations of the Rectory were made, which average at about 200 marks per annum. It is quite reasonable to argue from these facts that an important church must have existed in Manchester prior to 1421, the date of its collegiation, and, as far as it is possible to read it, some parts of the architecture of the church seem to favour this view, and to show in addition that it existed on the same site. For instance, the arch and its responds opening into the Lady Chapel are almost certainly of Decorated date; while the Lady Chapel itself, said to have been founded (rebuilt?) by Warden West in 1518, contains windows which, though the work of the eighteenth century, seem rather to have been copied from Decorated than from Perpendicular work, as they contain circles in the tracery, and a bastard imitation of the ball-flower in the mouldings. Also, when the old tower was pulled down in 1864, it is recorded that the lower portion was undoubtedly of Decorated character, and during the various restorations of this century many fragments of Decorated, and even earlier stonework have been discovered. The existence of Decorated work at each extreme end of the building is strong pre- sumptive evidence that a church of equal dimensions existed before the present one was built. The popular tradition is that the original church was of wood, like several still remaining in the district, and very likely parts of it were so constructed; but having regard to the fact that Manchester was then a place of considerable importance— one of the few in Lancashire indeed in those days—it seems reasonable to suppose that there was a large Decorated church on the same site before the present one was built, and that some traces of it still exist. As, however, these traces are but pro- blematical, it has been thought best to shade the plan in two ways only, for Perpen- dicular, including restorations, and modern additions. In the year 1421 licence was granted by Henry V. to Thos. Lord de la Warre, rector and lord of the manor of Manchester, to collegiate the parish church. The words of the charter are “ Ecclesiam de Mamcestre in ecclesiam Collegiatam erigere ”— which seem to point rather to the fact of the existence of an earlier church of sufficient size and importance to be made into a collegiate church, than to any expressed intention of building a new one. “Erigere” is seldom used as meaning to build. As a matter of fact the church was, with the exception of the minor fragments above mentioned, entirely rebuilt within the first hundred years following its collegiation, and it is only from this date, 1421, that anything really certain has been recorded about the fabric —and even now many contradictions and irreconcilable statements exist. On the formation of the College the church was dedicated to St. Mary, St. George, and St. Denys, and the collegiate body originally consisted of a warden, eight fellows, four clerks, and six choristers. The College was dissolved by Edward VI, and its land passed into the possession of the Stanleys, but was re-established by Mary, and its lands—with the exception of the domestic buildings—were restored to the College. The buildings remained in the possession of the Earls of Derby until after the Restoration, when they were conveyed to the feoffees of the Chetham Hospital, and have ever since been used as a school and library. They remain in much their original condition, and are one of the most interesting “sights” of Manchester. The re-establishment of the College was confirmed by Elizabeth, who altered the foundation to a warden and four fellows, again by Charles I., and again at the Restoration by Charles II. The first warden, Sir John Huntington (1422-1458) began the work of rebuilding on his appointment, which was sedulously continued by his successors for something like 100 years. Huntington is generally credited with having first built the choir and its aisles and chapter-house. Langley is supposed to have built the nave, and Stanley 60 The Cathedrals of England and Wales. is said to have rebuilt Huntington’s choir, to have built the double entrance to the chapter-house, a sketch of which is given, and in conjunction with Richard Beck, a Manchester merchant, and a member of the London Grocers’ and Mercers’ Companies, to have erected the splendid stallwork of the choir. Moreover, Stanley at his death, when Bishop of Ely, left permission for the erection of the Derby and Ely chapels, marked on the plan as St. John the Baptist's chapel. To follow out carefully all the traditions as to which warden built what would be far beyond the scope of the present paper ; it must suffice to have mentioned them, and to refer to some of the features of the building. : Cr J JER ‘ —— le a a] Jade = 7 : y Ge : = LTE ~ ~ -— == -—— Chabliv Henle RR : EDR, The nave and choir are of six bays each, very similarly treated as to detail, and divided by a lofty chancel arch—rising nearly to the roof and springing from responds coupled to octagonal turrets containing the stairs leading to the rood-loft and roof. The stonework of the choir is original, having been skimmed only with cement—now The nave has been entirely rebuilt, but has removed—and so fortunately preserved. been exactly and carefully done, and is a faithful reproduction of the original work. The roofs of both the nave and choir are original ; that of the nave was repaired when the stonework was rebuilt, but with the exception of a few new timbers is practically tN StusJameg Chapel in 1507. the old roof. The intersections of the timbers are covered by a series of most beautiful bosses, carved out of the solid, and at the feet of the springers of the principals are a singularly perfect series of angel-figures playing on musical instruments, stringed instruments on one side and wind on the other. These figures are carved with great power and spirit, and are in good condition, in spite of the fact that several of them contain bullets fired into them, presumably by the Commonwealth soldiery. The choir roof is more elaborate, the panels between the timbers being filled with delicate tracery. The bosses of this roof are built up, not carved out of the solid. Each leaf is carved separately, and nailed in its position. The effect is very good. This roof was repaired recently by placing strong new principals over the old, and bolting the two together, None of the other roofs are ancient, although in places the old timbers remain covered by deal casings. and by removing the various coats of paint with which it was covered. The arcade dividing the inner and outer aisles on the north side of the nave dates from about 1500, the Holy Trinity Chapel having been founded in 1498, and The arcade corresponding to this on the south side is entirely modern, the chapels on this side having been originally divided from each other by walls, and from the south aisle by arches not in the form of an arcade. These were removed, together with the oak-screens, in 1815, and an arcade was then built, which has been replaced by the present one. Both porches are modern, but a small ancient one once existed on the south side, as shown on the plan. On entering the choir, the first thing that meets the eye is the magnificent tabernacle work of the stalls. These were erected about 1505 to 1510, and will compare favourably with any work of the same sort in England. A curious point in connexion with these stalls is that they were, without doubt, designed and executed by the same hand that produced those in Beverley Minster, and very probably those at Ripon, while a strong family likeness, so to speak, can be traced to other similar work in the north of England. At Beverley the resemblance is singularly striking, the whole design being nearly identical, with the exception that the very unusual feature of the level cornice above the canopies is omitted at Beverley, and the canopies finish in spirelets in the more customary manner. The misereres at Manchester are very fine, and the stalls-elbows, bench-ends, and finials, and, indeed, all the details are well worthy of the minutest study. The rood-loft is situated above the return-stalls and the rood-screen, and carries part of the huge modern organ (the remainder being stowed behind the stalls in the north and south aisles). The organ case was designed by the late Sir G. G. Scott, and is of good outline, but too “fussy” in detail. The ancient rood-screen is a magnificent specimen, with three large openings with folding-doors. There are two other remarkably fine oak screens in the choir, that between the south choir aisle and the Jesus Chapel, and that to the Lady Chapel. Both are excellent pieces of work, but the Lady Chapel screen is of more original and unusual design. On either side of the opening to the Lady Chapel—which has been before alluded to—occurs the rebus of the first warden Huntington; on one side a hunting scene for Hunting, and on the.other a iun, or cask, for zon. This same rebus occurs in the choir roof. On the north side of the choir is the Derby Chapel, entirely surrounded by oak screen- work, of good design, but of much inferior workmanship to the stalls and the rest of the screens. The outside of the Cathedral is of considerably less interest than the interior. The western tower was rebuilt and its design “improved ” (rather questionably) in 1864. It is more or less a reproduction of the old one, and is undoubtedly fine, though it is to be regretted that it is not what the old one was. It is the chief feature of the exterior, and from many points is very commanding, particularly from the other side of the river, where the height of the site is most apparent. too, has unfortunately been “improved.” The parapet of the clearstory, It is now battlemented, but was originally in one straight line from end to end of the church, giving a much greater appearance of length, an effect much wanted from most points of view, and on the evidence of old drawings a great improvement on the present arrangement. The steep conical roof of the chapter-house, too, another important external feature, is entirely modern, and though it is uncertain whether such a roof originally existed, it cannot be denied that it adds greatly to the effect of the view from the south. x ; PLATE XXIV. gi, PHOTO-LITHO_SPRAGUE & C2? 4 & 5 EAST HARDING STREET, FETTER LANE, LEC MANCHESTER: "FROM "THE SOUTH-EAST. : DRAWN BY MR. F. Dh. BEDFORD, A RI.BA. “@he Builder’ Cathedral Hervies. MANCHESTER CATHEDRAL. CROUND PLAN. NN -- --- 3 Reference. nk A Ancient Piscine. e RE | B Hagioscope. eis rk 0 r NSS C Tomb of Warden Stanley, Bishop NEE alld Ee iy] of Ely.d.IS15. PORCH i BELLOWS ROOM | : D Brass fo Anfony Moseley 1607. A kl, + CHAPEL i nw uw» Oswald Moseley 1630. Lin Caro. 3s 5 ore. E Mov, to Richd Heyrick.1667. toh : GR a vio oi et EE F» = Thot Ogden 1763. Eee : G =» » Rev.Geo.OgdenB.D.I706. | | iii sg iss me 4 Y H =» » Thos.Fleming 1848. | | HOLY y= gemma lily Fo fd d¢ =. 9 Humphrey Chetham. | | i iH £ A : 3 K = ©» Hugh Birley. | TRINITY ; | ST JAMES’ ol oS Bt JOUN BAPTISTS CHAPEL ; L Organ by Father Smith 1684. | | CHAPEL CHAPEL | - & M Entrance to Vault below Choir, | ! : le = : In which 1s preserved fhe brass ! i AS from the Tomb of Sir John rene BE Huntington, first Warden. N Rebus of SirJ.Huntington. O Site of Hulme's Chapel. P » » Bibhy's Porch. Q Mon" fo Bishop Fraser. = O et — = : > 0 r m | PULPIT FALLS : N R S ( Gs SCL — ————— « O CRN Magee Zz I bed ed 5 A NS V- » Wak Led had Wig : 2 Nx Ag = ; 5 bast 4 vr CREO FRNA 1 | O ] 4s 6 + o + LATE NTA NA NV © aL 2 CH GQ | RB ? « oe PRETET NP = CHAPEL | » \ L LoL Ey SHE bt oc Pr 7 Ah > oS — : il, ra SAL Sa 8 a ” | 4,57, > A £ ~ ARN I 1 EL Sh ; N R A 225 - Sa STALLS THRONE | R Monuments of Various members : | | SewTH Arssue of the Chethaw Family i 50 U'TH Als LE ! S Classical Font, formerly in use | EF in fhe Nave . | BY hE od ie ap ig fn en we | Co ET sa. ss Os et 5 a) ¢ FRASER | H I ! } Ho SE : Li | [o]] 3d | | JIEISUS CHAPEL ‘ | 3 p £ 2 CHAPEL | ; al] La | ; ing ; IR TE FONT 39 iad ST GEORGE'S CHAPEL ST NICHOLAS' CHAPEL \lizsl | AT PRE[SENT VESTRY § LIBRARY CHAPTER mn BAPTISTRY aa | J HOUSE 777) Perpendicular. fois am ma a RT depeche he tinny Ls Ae a ey | preeeeeed. ; NN Modern. Ny promminboienBeny ~x onli 2 0: 2 WT ; i tian LORIE WL Cry | Pon! ZL 2 Pky Lh : ye. AF p48 73. SCALE : > 10 5 or 10 20 30 40 A 50 60 70 80 90 de Feel. SS SIBRARTA ( 2 e @T he Builder 2 Cathedral Lrpriew. {| LANES E { ok | 4 ) PHOTO-LITHO. SPRAGUE & C® 4 & 5, EAST HARDING STREET, FETTER LANE, E.C dN SS RANTS. ER sz 3 Rr ie Rw YORK. | HE view of York Minster, is, as in some other cases, taken from a presbytery (the four eastern bays of the present church) were built, the Early English supposed position which, owing to intervening houses, is not really choir was standing, causing some difficulty, no doubt, in the setting-out of the new accessible. The view shown here can really be seen from the work. The centre of the east front was, however, made to agree with the centre line road which runs round the north-east of the Cathedral (except the of the nave and central tower. But beyond this the lines of the new work do not seem upper part of the western towers and of the north transept gable), to have been laid down with very accurate measurement. In the first place, the main but no picture could be made from this point of view, as the axis of the centre of the presbytery bends to the north (going westward), and at the angle included would be too large to take in the building in a eastern face of the lantern is, as near as possible, 2 ft. 6 in. north of the centre line of drawing. The reason for selecting this view is that it presents the lantern and nave. In addition to this, the sides of the presbytery (the four east one of the most picturesque aspects of the building, and one which is less known, drawn, bays of the eastern arm) erected by Thoresby are not parallel, but are closer together and photographed than most others, and also because we must confess that we have at the bay west of the present reredos than at the east end. This is still more never been able greatly to admire the west and south facades of the building. The west marked in the side aisles, the result being that the east walls of the aisles are not front, in spite of its exuberance of detail, is somewhat coarse and commonplace in parallel with the east wall of the centre alley, and the buttresses at their angles are design, and the same may be said of the south transept, and therefore we have preferred turned outwards. The western portion of the presbytery (including the choir proper) to take the north side in spite of the disadvantage of having to take the shadowed built by Thoresby’s successors, has its walls practically parallel, but the main axis or side of the building. There are other fine points on the north side; the bold and centre line of Thoresby’s work was kept, causing the divergence before noted at the massive treatment of the nave, for instance, and of course the celebrated “Five Sister” central tower. This in its turn has affected the later rood-screen, its doorway having windows, but the latter have been so much illustrated that it was of less importance had to be made central with the choir and not with the tower. There are consequently to include them here. On the other hand, we get in the foreground the chapter- eight divisions containing canopied arches and statues on the south side, and only house, which is one of the most characteristic and picturesque features of the building. seven on the north. In fact, York, like Canterbury, is so large and multifarious a building, that one can no more give a single general view of it from any close la pm. quarters, than one can give a general view of a town. Ent Fock | ) Tr & i a York was the site of a church from as early as 627 A.D., when a No ; | = pe 4 7 7 small chapel or oratory is related to have been built at the baptism in Tonseph | Le teriumcomcemrnd stmcre Beinn ss a that year of King Edwin, who subsequently commenced a permanent hymn mmm tees cvmeselien = «sing mun mgm stone church on the site, and one or two other churches succeeded each other and fell to decay; in fact, York Cathedral seems. to have been specially marked out as the prey of fire, down to the comparatively recent conflagration in the present century. The present Cathedral in the main may be said to have had its rise after the fire in 1137, when Bishop Roger commenced the rebuilding of the choir in 1171. In 1260 the north transept of the church was built by John le Romayne, the treasurer of the church, and was com- pleted in 1260. He also erected a central tower. His son, the Archbishop of the same name, laid the foundations of the nave in 1291, and this and the two western towers were finished in about forty years from that time, : ; ; Space apparently once filled In by Archbishop Romayne and his successor, William de Melton. Arch- |\—tou. — __._‘_ ______. bishop Roger’s choir, however, was destined to disappear, owing to the esa se p kog ) ) ppear, g usual Medieval feeling of a desire to improve on the architecture of a former period, and to rebuild it in the style of the day; and accordingly Archbishop Thoresby in 1352 deliberately pulled down half of Archbishop Roger's choir, and built the eastern extension of presbytery and Lady Chapel. The western portion of the old choir very soon followed, at a slightly later date. There appears to be no record that the former choir was dilapidated, or that it was destroyed for any other reason than the desire to put something better in its place. Shortly after this the present tower was erected, and (with the previous addition of the chapter-house) Eu 2 3 £5 2B 5B 3 @ w Porfion of the Crypr & dime... Soa ee walls of be Norman Ch 6 ~ . AD, < | . | ’ ’ ' . | ke Fir tie ves SRA Be SEs the a] IT T= TAL the Cathedral may then be said to have assumed in the main its present architectural aspect, the other additions and alterations having been of _ nn reas : - on ar minor importance. of | r 7°! a In the process of measuring for the plan of the Cathedral given Bit : i. }.] in this publication, some irregularities have been detected in the laying a Lb out which afford interesting evidence of the difficulties experienced in | Bef t ET - fitting some of the portions together, in the process of altering and rebuilding piece by piece. : Plan of Cript.. By Mr. H. R. Brokspear. At first sight, few of our Cathedral plans look more simple and regular than that of the Minster at York. There are, however, several points throwing This brings us back to the central lantern and the transepts, in connexion light on the history of the building, some of which are shown clearly on the plan here with which is another point to which we will refer. The erection of the lantern in given ; others, smaller in scale, which would probably be passed over if attention were not late Perpendicular times caused a considerable thrust on the transept arcades, and drawn to them, and which have been noted during the process of measuring and plotting. pushed them out of the perpendicular. So serious was this that portions of the The tower piers still retain their Norman core, which is the only Norman work transept arcade were rebuilt nearest the lantern, although the upper portion seems to above the floor level. The other important fragment of the early church is the crypt have been uninjured, and, consequently, was retained. This reconstruction appears to under the choir, of which we give a plan. The tower piers have been added to at have included the Decorated piers of the arch north and south of the lantern on various times. The western sides of the western piers are Decorated, forming the the west side of the transept, the filling in of the space between it and the Early responds of the nave arcade. The north and south sides of the north-west and south- English pier, and the rebuilding of the column which carries the two arches on the west piers respectively are likewise Decorated—part of the reconstruction in Decorated west side of the north transept nearest to the “Five Sisters.” It is desirable to lay times. The western arch does not stand at right angles with the north and south | some stress on this point, as hitherto the rebuilt pier in the north transept and arches of the tower, as the width of the easternmost bay of the nave arcade is greater those next the Early English retained piers have been considered as belonging to on the north than on the south by a foot. the Decorated period. They will be found, however, to be of very different section to The axis of the chapter-house is not parallel with that of any other portion of any of the Decorated work in the Minster, and although perhaps largely old stone the building—not even with that of its vestibule. The chapter-house was, as is shown re-worked, date undoubtedly from the period of the construction of the lantern, and by its mouldings continuing on the exterior, built before the vestibule; and the latter, are not part of the Decorated scheme. Professor Willis, in his exhaustive paper when erected, being made parallel with the north transept out of which it leads, was published in the York Volume of the Archeological Journal, makes the pier in the joined on to the chapter-house proper without regard to its being parallel with it. The north transept Perpendicular on his plan, but, owing to what is evidently an error, whole of the eastern arm of the church—the choir, presbytery, and Lady Chapel— refers to it in the text as “ Decorated.” presents some curious instances of irregularity. When Thoresby’s Lady Chapel and Amongst lesser points of interest in the plan is the fact of the west aisle of the 62 The Cathedrals of England and Wales. north transept being wider than its corresponding aisle on the south side, and the clever way in which the sacristies on the south of the choir have been worked with their lockers in between the eastern buttresses of the south transept. These sacristies were additions to the Early English choir, to which afterwards the Zouche Chapel (founded by Archbishop Zouche in 1351) was added. This group of smaller buildings was, consequently, in existence when Thoresby commenced his great work of rebuilding the presbytery, and the gradual diminution in the width of Thoresby’s work may partly have been caused by a wish to retain the inner walls of these buildings as much as possible. As it was, the two sacristies were somewhat curtailed, and the Zouche Chapel had its north wall considerably interfered with, even if it was not, with its vaulting, entirely rebuilt. Externally, as we have observed, the west front of York is not a very admirable composition ; the ranges of niches in the lower portion of the buttresses have a fine and rich effect, but the treatment of the upper portions of the towers is very commonplace, and the break in the line made by the strongly-marked cornice with the pinnacles above it oversailing the wall line, and the vertical line of the buttresses entirely cut off from it, has a very bad effect. The doorways were restored by Smirke in 1845. On the south side of the Cathedral the exceedingly tall pinnacles of the nave have an effect by no means monumental, the building seems to want solidity and simplicity and to be too much cut up and frittered in line. The south transept has not these defects, but itis not interesting nor refined in design, and the details and mouldings are in a large and coarse style. Eastward of the transept the south and north sides of the main building are nearly identical in design ; and it is one of the characteristics of York, a Cathedral in which architectural play of fancy seems to have been curiously limited, that the window tracery all round the choir is of the same design, and as far as the ground story is concerned a poor design, which, however, is continued all round mechanically, and repeated in the smaller windows of the east front. The clearstory windows are indeed not of very interesting tracery design either, and the tracery-bars are thin and starved-looking, as was frequently the case in late Gothic ; but an interest is given to them by the singular and very unusual treatment of the design here, by which a mullioned screen is interposed in front of the window, of entirely separate design, the piers between these screens also standing out quite separately from the main wall, with a considerable space between. Effective shadows are, of course, produced by this arrangement, and a degree of effect given to the clearstory which the rather tamely-designed windows in themselves would certainly not have given. The introduction of the lofty narrow eastern transepts, breaking the line of the choir on each side, is a very fine and happy architectural feature, though the long window, with its meagre mullions and poor tracery, does not make the most of the situation. The same may be said of the large east window, effective from its size but not from its design. On the other hand, the manner in which that is connected with the wall design by the wall mullions is a very good feature. Some of the carving in this portion of the building is very spirited and bold in execution, particularly the seventeen heads which are carved each in a square panel under the sill of the east window, and which form an interesting series of studies of Medizval sculpture. The treatment of the buttresses and pinnacles at the east end is very picturesque and in some respects rather curious; the bases of the pinnacles are crowded with such a complicated mass of gablets and crockets and finials that until one gets close to them on the roof it is almost impossible to distinguish how they are set out; but the effect is rich, and furnishes a good base to the tall slender crocketed spirelets. The series of wall niches carried over the east front and round into the angle buttresses is a very telling feature, and the designing of the corbel tables and parapets to both upper and lower roofs is well worth attention ; the main feature of the corbel table to the upper roof is a convex string of boldly-carved conventional foliage, that to the lower roofs a series of heads or masks; the whole of the carving here has been very well carried out and with an evident intention to produce a sumptuous piece of work. The chapter-house is one of the most characteristic features of the exterior. It may be a question whether the peculiar treatment of the upper portion of the buttresses is not an afterthought, arising from a desire to put more weight on them than was at first thought necessary; it is difficult to believe that they were really designed in this form; but the result, though it looks like a makeshift, is remarkably effective and picturesque. The adjoining bit of the vestibule also shows some interesting treatment of buttresses, in a very different manner from the chapter-house, but very pretty in its way. The solid and grand design of the north transept is known to everyone, and is one of the most famous features in our English cathedrals; and there is something very satisfactory and monumental-looking in the plain and severe treatment of the nave buttresses on the north side, which in our opinion is far superior in an architectural sense to the be-pinnacled business of the south side. The tower produces effect mainly by its mass and by the bold and simple treatment of the angles, which gives it a great look of power; the window treatment here, as elsewhere, is poor. The tower was probably intended to have angle pinnacles; there is little doubt that it gains in architectural effect by not having them, its square mass being far more dignified and impressive without them. Internally York produces an effect by its remarkably spacious and lofty character, but it is a somewhat bare-looking interior, especially as far as the nave is concerned; and, as Fergusson remarks, the open spacing of its wide arches prevents any sense of mystery, one sees through the building in every direction. Considering the size of the building, the monuments are few, but several of them are of great beauty of design. First in point of early date and refinement of detail stands the monument of Archbishop Walter de Grey, in the eastern aisle of the south transept, near which on the wall is the simpler monument of Archbishop Lewal de Boville. On the north aisle of the presbytery is Archbishop Savage's tomb, with a fine effigy under a rich late Perpendicular canopy with heraldic work in the spandrils. Not far off, in this aisle, are two fine cope chests with early ironwork, of part of which we give an illustration, from a drawing by Mr. B. Walker. At the east end, in the Lady Chapel, are six monuments commemorating Archbishops Markham, Scrope, Rotherham, Musgrave, Bowet, and Matthew. That of Archbishop Bowet is the only one which calls for special mention, being surmounted by an elaborate canopy somewhat similar to those at Gloucester and Tewkesbury. In the east aisle of the north transept is an elegant canopied monument to Archbishop Greenfield (who died in 1315), and near it, in the north aisle of h : 5 @ 5 i 7 No Y= Sie) ZARA \ Q \ Seer > AN % ad & York Minster. “Sketch of Ironwork on lids of Cope chest in North Choir Ausle. : Scale > ! 2 ho. feel the choir, is a mural monumental recess to William of Hatfield. There are a few modern monuments, but their design does not claim attention for beauty. One of the chief glories of York Minster is the magnificent glass which still remains in many of the windows. The earliest is the grisaille work in the lancets of the “ Five Sisters” in the north transept, of that mellow tone of greenish white so characteristic of the examples of the glass of the period which we have left to us. Not less beautiful is the fourteenth-century glass in the vestibule to the chapter-house, and in the chapter-house itself ; figure subjects and heraldic work forming the chief features. Again, in the great east window of the presbytery is a magnificent example of early fifteenth-century glass, made by John Thornton, a glazier of Coventry, who contracted with the Dean and Chapter to glaze and paint the great eastern window, “for which he was to receive four shillings a week, and one hundred shillings at the end of each of the three years : and if he performed the work to the satisfaction of his employers, he was to receive the further sum of ten pounds, in silver,” * The date of the indenture was 1405. There are, besides these, several windows in the nave retaining ancient glass, some fine examples being in the north aisle near the transept. * Britton’s “ Cathedral Antiquities : York.” Appendix IX. CC @he Builder’ Cathedral Series. YORK: FROM THE NORTH-EAST. DRAWN BY Mr. H. H. STATHAM, F.RIBA. pomm— PZ LIBRAR IN / > < g OF THE \ i i i VE; = vensiTy i Na OF ly NN am Rt rp ns hire sn A INK-PHOTO SPRAGUE & C° 4 & 5, EAST HARDING STREET, FETTER LANE, E.C. PLATE XXV. N STE R. Yor K CROVND PLAN [00 Feet?” s 3 ELL Scale. Monuments elt. i 53 Se WEL 3 EV . v Eo L 2 Bp Bo rxtr31 dy d R28. 09 LE "5% { £ EEO s E23 0 i LEIS ES PLP U8 42 r Y ; 0G S00GE U0 Ios 48F EPeE0=f BCT SpE it o. dE Fev HB 2 eine ER 5 EfaC¢ UE EPR Bae BBY Es 8 Taine Sd A eo £0 S SY. 135 3B r ERE = 0 < 0208 BASE — NF OO NS OZ dd ToonE Modern Building -——o——-y- \ nal --— vs 1 7 / ol AC ! N 7 ’ J » i Ree’ PG - ~ s i” 7 ’ 7 zZ Ne mm —-—— N\ , | | <4 < | © ” SOU Ee \, \ \ , RAN, ER \ ’ & , J * #7 N ’ 7 ii Ro ANT wm EN \ | -X LN \ ® - ” oe --- ~ ’ \ las Lg I 7 / \ \ / \ > — —f —— I | 1 | | | | ~~ = | ! 1 ! | | | | ' Reference Haas Norman. — Early English 3 Decorated OO 8 Ferpendicular aud Pino. 84 All /£72. luo a ft do do do Thpdem i LANE, E.C PHOTO-LITHO. SPRAGUE & C9 4 & 5 EAST HARDING STREET, FETTER « @he Builder’ Cathedral Series. Hi 3 : j SEL AE sl StL } : gE iE 222% i ae aE a ae SOUTHWELL. HE view of what is now Southwell Cathedral, but a few years ago was known as Southwell Minster, has been taken from a point in the north-east portion of the Cathedral enclosure from which the artist has been able to group together in one view the central tower, the chapter-house, and the fine and solid Early English work of the east end, which gains additional effect by contrast with the elegant later work of the chapter-house. For the following historical notes we are indebted to Mr. Ewan Christian. Camden, who had access to documents then existing at Southwell before the spoliation by Cromwell, quotes the Venerable Bede as his authority for attributing the foundation of the Minster to St. Paulinus, the first Archbishop. The “Simposion,” a curious MS. now preserved at Southwell, and written in 1604 by one of the Prebendaries, evidently thoroughly acquainted with many sources of information then existing, sags —* If 1 fetch the antiquity of the Church no further than that learned, godly antiquary, Mr. Cambden, hath done, although it come far short, yet it may easily thereby appear that there was many hundred years. past a collegiate and - parochial church at Southwell.” Dugdale quotes a grant made by King Edwy to Archbishop Oseytel, 958, Thomas Stubbs has the following entry of a church anterior to the present one: — “ Kinsius Archiepiscopus ad ecclesiam sancti Johannis apud Beverlacum turrim excelsam lapideam adjecit et in ea duo preecipua signa posuit similiter et in cceteris ecclesiis archiepiscopatus sui quae sunt trans Humbram scilicet apud Southweliam et apud Ston, signa ejusdem magnitudinis contulit.” 1 ! a ) fd PF 8 i Centre Portion of Rood Screen g (from Choir) Stubbs further mentions the establishment of canons :— _ “Terras multas de suo proprio emit et eas ecclesiz sux adjecit et de quibusdam prebendas apud Suthwell fecit et refectoria ubi canonica simul vescerenter unum Eboraci alterum Suthwelle statuit.” The Domesday Survey gives the following as the possessions of the church A.D. 1080 :— “In Sudwelle the Archbishop possesses ten carucates, three clerks (‘clerici’) have 4% carucates and two bovates zz prebenda, they have also one other carucate and a half Bingehamhon in Crophill and Hellingly S. Mary of Southwell has 21 carucates of arable and seven carucates of pasture in Norwell the same church has 12 bovates of arable and six carucates pasture.” Bishop Thomas, who held the See of York from 1109 to 1114, addresses a letter to all his parishioners, which is preserved in the Liber Albus. — “Thomas Dei Gratia ac omnibus parochianis suis de Nottingham scira salutem et benedictionem. Precamur vos sicut filios carissimos ut in remissionem peccatorum vestrorum adjuvetis de beneficio clemosine vestre ad faciendam ecclesiam Sancta Marie. de Suwell®e, &c., &c” Walter Grey, Archbishop 1215 to 1255, grants an indulgence to his venerable brethren the Bishops, and to his beloved sons the Archdeacons. The letter is too long to quote, but one sentence is important :— ~ “Cum igitur facultates ecclesie Suwell ad incepte dudum fabric consum- mationem non sufficiant et per benevolentiam suam opus hujus modi feliciter ’ consumetur, &c., &c. Dat. apud Torp. ix. Kal. Decembris Pontificatus nostri anno decimo nono. A.D. 1233. Robert de Lexinton, Canon, founded a chantry not later than 1241. In 1204 John de Romaine, Archbishop of York, directs that as certain prebendal houses are falling into ruins on account of non-residence on the part of some strangers or foreigners (“ alienigenarum”), they either be properly repaired within the year or heavy penalties imposed, which fines are to go towards the new chapter-house. Next In order is a licence granted by the. Xing, Edward Ill, for the carriage of stone from the quarry of the fabric at Mansfield through the forest of Shyrewode, “ Ex parte dilectorum nobis in Christo canonicorum et capitule ecclesia beatee Marie de Suthwell nobis sit ostensum,” &c. In 1352 Torre quotes a leiter .of -request to collect the alms and charitable contributions of the people within the city and diocese and province of York for the support of the fabric; but this rests on his authority, the letter not being now extant. Donations to the fabric are mentioned in the years 1411, 1444, 1475, 1490, 1499, and 1534. The following copy of a report of Mr. Ewan Christian on the state of the building and the work carried out in restoration will be of interest: — “The work of repairing this church has been in progress during many years, under instructions from the Ecclesiastical Commissioners for England. Previous to 1851 the western towers were repaired and underpinned under Mr. Railton, and subsequently a good deal of work was done under the direction of the Rector, Archdeacon Wilkins, aided by the mason of the fabric, John Gregory. fil ff ¥ o 1 8 [ i i a | 3 { Zid IA y 3 Sad . EN = = = 3 3 p= = x 2 q 5 == Fk ~~ y_ = a E =! = S =. | & a Ww Tr Triforium oF THave During this time some of the fifteenth-century windows were re-converted to Norman forms, following the example still remaining in the north aisle, and these were filled with stained glass by various donors. In 1851 Mr. Christian was instructed to make a survey of the fabric and to advise generally as to its repair in the future. The process of gradual repair then recommended was subsequently carried out, and the whole of the walls and masonry were carefully restored and put into sound condition ; this work, under Mr. Christian’s direction, was almost entirely done by John Gregory, mason, only occasionally assisted by others, aided by his labourer, John Cook, with an amount of zeal and devotion rarely exhibited by modern workmen, and was continued until the year 1875, when it was in almost every substantial respect, as regards masonry, very nearly completed. During the progress of the repairs within the choir, it became necessary, in order to carry out the work effectually, to remove the galleries with which its aisles had in the early part of the century been choked, leaving the space underneath them a foul rubbish hole ; and those only who saw the church in its former condition can fully appreciate the enormous gain to the beauty of the interior which was thereby effected, In 1375 a further report was made by Mr Christian, under instructions from the Ecclesiastical Commissioners, with a view to the general completion of the building and its refitting as a parish church. This report advised the renewal of the roofs of the whole of the fabric excepting the choir and central tower, restoring them to the original outline, which had been disregarded in the modern roofs erected after a great fire which occurred in the early part of last century; also. the restoration of the spires on. the western towers on the lines of the ancient ones removed in 1802, and the conical roof of 64 | | The Cathedrals of England and W. ales. the chapter-house ; also the re-flooring of the whole church, and the refitting of the interior of the choir with stalls for the clergy and choir, and the provision of chairs for the general congregation. . The works of re-roofing and spires being of a heavier description than any before undertaken, were executed under contract by Mr. Clipsham, of Norwell. The Half Plan of Pier et ee hI ha on Lop of Cap-~ fp 8 C.0.r Tave »» Sections of old roofs removed were of very poor construction, and covered with slate. The new ones are of massive English oak timbers, and all covered with cast lead. When these were completed the re-flooring of the nave and transepts was substantially carried out on the old lines, under the direction of the clerk of works by whom the general works were superintended. Before anything was settled as to the re-fitting of the choir, the late Bishop of Lincoln (Dr. Wordsworth) consulted Mr. Street, who made a report to his Lordship, confirming the advice given by Mr. Christian, that the plaster screens put in the early part of the century between the choir and aisles should be removed, and suggesting that they should be replaced by new screens of oak on the model of those which formerly existed, and of which fragments were found still remaining zz situ, besides many loose pieces which had been stored in the roof of the chapter-house. Mr. Street made other suggestions of value and interest as regards the use of the choir and church, but these did not come within the scope of Mr. Christian’s instructions, which only related to the re-fitting of the building as a parish church. The work of re-fitting, therefore, as carried out, comprises the renewal of the side screens and the fitting-up of new stalls in the place of the removed modern pews, also the re-flooring and the provision of chairs for the general congregation. This work has been ‘leisurely done, in the expectation that when the destination of the building was to be changed from that of an ordinary parish church to that of the Cathedral of an important diocese, contributions from the general public might be hoped for to aid in fitting it completely and worthily for so important a purpose, and in a manner befitting so beautiful a fabric. The flooring, therefore, and the stalls, so far only as the old ones extended (1892), have been executed, leaving the pulpit, Bishop’s throne, and ‘any further screens and fittings that may be desired, to be carried out thereafter. As regards this portion of the work, the stalls and screens of the choir have been executed by Messrs. Cornish & Gaymer, of North Walsham, who have devoted considerable care and skill to the execution of the elaborate carving with which they are enriched. The flooring, also of stone and marble, has been executed by the same firm. A new pulpit has not been provided, because it was felt that if hereafter a throne was erected for the Bishop, the two should be made to harmonise, and that the temporary omission would be of less importance than any imperfection in such important articles of furniture. All the works hitherto executed have been done at the cost of the Eccle- siastical Commissioners, who were responsible for the general repair and maintenance of the fabric, but whose instructions did not extend to its treatment as the Cathedral of the new diocese.” The first view of the exterior from the west is the view of a grand, solid, bare Romanesque nave and Norman tower. We apply the term Romanesque to the nave, since it presents, more than is often the case in English work, characteristics common to Romanesque architecture of a certain period all over Europe, and there is a very German look about the exterior, suggestive of the early churches of the Rhineland, in the straight lines of the western towers, the flatness of the buttresses, and the plain circular windows of the clearstory. One slight peculiarity in the details of the west tower is of interest. The northern tower has, at about two-thirds of its height, the form of decorative wall arcade so common in rather advanced Norman work, formed with round arches intersecting one another. The arcade in the same position on the other tower is a pointed arcade of exactly the same design in other respects, the intersecting portion of the arches being omitted. This looks really like giving some countenance to the old, and, as most of us now think, exploded, idea that the pointed arch arose from the intersection of round arches. That it did so in this instance there can be no doubt, though this merely ornamental use of it does not invalidate the conclusions as to its structural origin when used on a large scale and as part of the construction of a building. The stern character of the architecture is continued round the exterior of the nave and transepts; the fronts of the transepts have an almost barbaric appearance with the large rude cable-moulds to the windows, and the incised ornament of zig- zags and small circles filling up the heads of the low-pitched gables; and the change is the more remarkable from this rude architecture to the beautiful Early English work of the eastern transept chapels and the choir, and the later and richer work of the chapter-house. The chapter-house externally recalls a little, in the treatment of the buttresses especially, the York chapter-house, but on a smaller scale. Going round to the east portion of the choir we are reminded still more of another Cathedral — Lincoln. The architecture here is in the purest and most refined Early English style; very reticent of ornament, but with an almost Greek refinement and delicacy in the design of the buttresses and the general composition of the lines; and in general effect, and in the detail of the buttress-heads, the base-course, and other points, is so similar to the work of the nave and south transept of Lincoln that one cannot but think some of the same hands were employed on both. A peculiarity in the east end [2 Tewt Half Plan rr of jor seme BOIL oe LES mt osm es ceil WN, Half | Plan 23 on Top of Cap = Ff . ol. TE Re : at. : wt = oT Choir = i | i : i A Piers and Mouldings. is the arrangement of an even number of lights in the window (four), with the pier in the centre, and the curious way in which the centre rib of the vault is brought down on to it, as shown in the sketch subjoined.* : 2 A | LEC TL AH UTP anil} Ny [ Vy : East Window Internally, the nave at Southwell is a grand specimen of Norman architecture, with the characteristic that, in place of the ordinary triforium gallery, there is what is in fact a doubled-storied aisle, the large triforium arcade opening, not on a narrow gallery in the thickness of the wall, but on a floor the complete width of the aisle, and resting on the lower aisle-vaulting. In the choir-screen we have one of the latest pieces of work in the church, Late Decorated, and very rich and beautiful in detail. The mimic vault which covers the entrance to the choir is peculiar in more ways than one; in the fact that it has vaulting ribs flying quite free of the vaulting surface (or what would be the vaulting surface if it were a genuine built vault), and still more in the fact that there is here found a decided and pronounced example of the German trick of interpenetration of mouldings. Another example of this occurs also, though less marked, in the aisle vaulting at the south-east angle of the choir. There is something unusual in other details of the work ; as, for instance, in the wall diaper work on the inner side of the screen, where we find a minute design dividing the wall surface, as usual in wall-diaper of this date, into small squares, but in which every square is differently treated,—a by no means usual refinement. The interior of the choir is a very fine specimen of Early English work, worthy of the exterior, and in remarkably good preservation; indeed, both the interior and exterior of the choir show in their present state how carefully the stone must have been selected, and how well the whole has been built. Much of the external detail is nearly as sharp and clean as if new. The chapter-house is approached from the choir by a passage, part of which has formed an open cloister along the side of a small open court left between the chapter-house and the north-east angle of the crossing. The arcade which separates it from the open court is carried by double shafts placed well apart, and with a cross lintel bearing from the inner to the outer shaft, from which the arch springs. The cross-lintels are carved on each face with beautifully delicate naturalistic foliage, in low relief, and mostly in excellent preservation. The beauty, however, of this little bit of architecture is at present much marred by the fact that the space between the shafts has been built up with a plain stone wall up to the level of the * This and the other sketches are all by Mr. T. MacLaren. The Cathedrals of England and Wales. 65 caps, and the space in the head of the arch filled up with glazing. This has no doubt been done for the sake of warmth during the time when the chapter-house was still in constant practical use by people who did not like draughts on their way to it; but by this proceeding the beautiful effect of the coupled columns is, of course, lost, and the whole thing spoilt. There can surely be no practical objection to removing this wall Ll _ an ps i ni i ii hi Hi hil Bi. R ih — Tei Ta i ; % | il 0) h | : al 0 I Tr min il nid ” nt HE rm Ly Sr rrr er ET 1 = Clointer and opening out the little arcade again, and thus enabling us to realise the effect of a peculiarly elegant bit of architectural composition. The chapter-house dates just about the zenith of the Early Decorated or Geometrical period, while the style still retained, with the richer decoration then coming into fashion, the chastened beauty of line and the constructive truthfulness and simplicity of the Early English style. Much of the carving in the chapter-house would convey in itself the notion of a later date, for a large proportion of it is as naturalistic as the carver could make it; but it is evident that there was an original genius at work here, who would not run in the accepted paths of conventionalism, and who, by his own individuality and love of nature, anticipated by a considerable period the style of naturalism which was afterwards to develop in English architectural carving, and not only anticipated it, but surpassed it beforehand. Cap in Chottir House Those who visit Southwell should not omit to go into the small open court before mentioned, adjoining the cloister leading to the chapter-house. From the north-east corner of the small court there is a most picturesque view of the parts of the building visible from thence, especially if seen, as we had the good luck to see it, on a day of bright sunshine and cloudless sky—nothing visible but the picturesque and time-tinted walls of the choir and cloister, interspersed with beautiful bits of detail, and above, the grand mass of the central towered relieved against the blue sky. H H 8 PLATE XXVL Ec. LANE iNK-PHOTO SPRAGUE & C° 4 & 5 EAST HARDING STREET, FETTER FROM THE NORTH-EAST. SOUTHWELL. T. MACLAAREN, ARIBA. DRAWN BY MR. Wathedral Yevies. 3) “«@he Builder SOUTHWELL CATHEDRAL. TEE Eee . ; = B & {ng © 3 3 << . a Ea 0 & a LP PE oP ois YEP} NEL CEPOL & 3ITNB LSI A ECS goss 502% thlz TESEELLSSS Cru -—0 — ang oon Seth eT SOUTH TRANSEPT TRANGEPT, 100, Feel” Reference io Doge, Hoo-115¢. Archbrehop Thomas ILete. 1215-1250. Archbishop Waller Grey. 1260-1230. Canons Lexington &. Vavasour: Archbishop John Romaine. 1425-1500. Archbishop Kempe ef. Note . The original form of the Norman Fresbytery,efe , shewn bus : === 1204. YW 1320 337. Zz ’ Z es, ORNL cia Re aaed Zz 8 © 0 0 yo 4 < - a of | | 9 2% | 0 wa 5 Ha ee 0. ~~. 0 all LN. : oz le So ity t= ao 5 gE | 8g i] of g § aa NT nd | Oi pa! Ne | | fis | | Ln 01 (i Sh ! reid a Wi «a Ey iJ = |KKKS EEE a 1 4 : | 1 i | | | n. PHOTO-LITHO. SPRAGUE & C% 4 & 5 EAST HARDING STREET, FETTER, LANE, E.C From plans lentb mr A chnsta “he Builder’ Cathedral Zrevies, yon ties BANGOR. are surpassed in both by many parish churches in England, and even in the Principality itself. The chief interest of Bangor lies in its plan. Much as restoration has been abused,—and Bangor has come in for its share of abuse, —we owe much of the elucidation of its history to the repairs and partial rebuilding to which it was subjected under the direction of the late Sir Gilbert Scott. It was up to that time in a deplorable state, as were the other Cathedral establishments of Wales, and if we in these later days cannot always agree with all that has been done, we can and must at least bear tribute to the great care which was taken to found, as far as possible, the new work upon what had gone before, in preference to a new and original rebuilding, which could have been, at that time of the Early Gothic revival, hardly a success. Of the Norman Cathedral, destroyed during the wars of the Edwardian period, we have only one visible trace at present,-—namely, a window and buttress on the south side of the presbytery. The restoration, however, revealed to a greater extent the dimensions of the Norman building, and by reference to the ground plan here given,— which, with other information, has been kindly put at our disposal by Mr. J. Oldrid Scott,—it will be seen that the position of the central tower, the length of the transepts and the lines of the presbytery and apse, were all determined. The church which arose on the ruins of the Norman structure in the fourteenth century followed to a great extent the lines of its predecessor. The central tower was 1 Wl = BanQor Th Cathedral Te Font of similar dimensions,—the old foundations being used, and the transepts and eastern arm lengthened. The original extent of the Norman nave is now uncertain. The fourteenth-century one had aisles, which the Norman one probably had not, and on the north side of the presbytery a chapel was built, equal in length with it, and approached both from it and the north transept. To Bishop Anian (1267-1305) is due this rebuilding, and of his church some considerable remains have been found. For in the troublous times of Owen Glendower the Cathedral was a second time attacked and almost entirely destroyed, and the vestiges of Anian’s church which are now visible are due chiefly to the remains which were found during the restoration, and which have been taken as a guide for, and incorporated with, the new work of the transepts. The presbytery walls, the shell of the north chapel, and the aisle walls of the nave are largely Anian’s work in all probability, although there seems some doubt as to the latter; but the jambs of the great windows of the transepts found during the restoration are of his time, and that on the northern side is especially worthy of notice for its detail,—simple but well proportioned. On the east side of the south transept was an aisle or, perhaps, a sacristy, the foundations of which were unearthed, but which has not up to the present time been rebuilt. This south transept, the nave aisle wall, and the Norman window and buttress before alluded to, are shown in our view, taken from the south-east. It was not until the end of the fifteenth century, three parts of a century after its second destruction, that the fabric of Bangor was again taken in hand. To Bishops Deane and Skevington we owe the Perpendicular work in the presbytery and the nave and western tower. Deane’s work is perhaps represented by the better class of work at the east end of the presbytery, and the nave arcade, while his successor Skevington may § EITHER of the two northern Welsh Cathedrals is conspicuous for f its interest as an episcopal fabric, either in scale or detail. They be credited with the clearstory of the nave, and the windows of similar type on the south side of the choir. The west tower, over its western entrance, also bears the following inscription :—“ Thomas Skevynton, Episcopus Bangorie hoc campanile et ecclesiam fieri fecit a° partus virginel 1532” The Civil War left its mark on the fabric, and the modern fittings and absence of stained glass show how completely all that was of value had been destroyed. Of the period between the Civil War and the restoration by the late Sir G. G. Scott in 1366, perhaps the less said the better. It was a period during which the fabric was allowed to become degraded architecturally, and any interesting features of the sixteenth century that might otherwise have been preserved, gave place to the “execrable gimcrack” to which Scott alluded in his report to the restoration committee. The interior was put into thorough repair; the aisles of the central tower and the transepts almost entirely rebuilt, the fragments of Anian’s church being worked into the latter; and new stalls, pulpit, &c., took the place of the eighteenth-century excrescences. The stalls are placed in their old position east of the tower, the two three-light windows high up in the south wall (shown in our view) having been placed here in Perpendicular times to light the choir = FH Z - above the stallwork, while the eastern portion of the \ \ ys <<} ZZ presbytery was lighted by a larger window of five RG? mE {3 L lights placed at the more ordinary level. The central tower, which, if rebuilt in the sixteenth century, was destroyed completely, has not been rebuilt, and it is doubtful whether the foundations would bear the additional weight. The ti | dignity of the fabric would be much increased by this B feature, Skevington’s west tower being but a poor N 3 one for ao cathedral church. After the detail of x \ : Anian’s church the chief interest of the building u A | ] lies in. its interior. During the rebuilding of the OOCKA >| Tor fr al E) : | 1 aisle or chapel north of the choir, some interesting | S discoveries were made. It was found that there had |x i SO I 1) been more than one floor,—and fragments of these, ¥ g Za % - including tiles of curious pattern with animals and I? : 3 Hi > > birds incised, were unearthed, and are now to be © : iit : seer at the west end of the north aisle, where they < 3 i IR have been relaid in the floor. Standing against the | 8 SH \ e wall near to them is a curious slab with an incised [3 : ; io 4 female effigy and inscription. It was discovered in sg fl i g § the same portion of the building as the tiles, against |¢& i 7% | > the north wall of the chapel, and near its east end. pa 5 2 > It is composed apparently of a fine grey limestone, ol 5 3 and bears the following fragmentary inscription in % : a Lombardic characters :—HIC * JACET * EVA * QVE * FVIT > % UX [OR ] ANWELL * CVJVS * ANIME * PROPICIET(UR) < E > (DEVS). . The effigy .i13 an interesting study in j : 7 costume, and in good preservation® A rosary Bg hangs over the left arm, and the head, resting on a > s TE pillow, lies under a cusped canopy, the carving in the spandrels being in the form of fleurs-de-lis. The space between the canopy and the pillow and shoulders is curiously powdered with four-leaved flowers, giving a much richer effect to the whole. Bangor Carhedral incised Sepulchral Slab found inl.ady Chapel £ The drawing of it here given is from a carefully-measured drawing made from the original. As it lay almost immediately north of the altar in the chapel, it must have commemorated some one of importance. The two sepulchral arches on either side of the choir, shown on the plan, are now hidden by the stalls. The tomb in the south transept is of plain character, with a cross slab lying on the top, and a rough crucifixion built into the wall at the back. At the west end of the south aisle is the font, a good fifteenth-century example, the panels of the shaft being elaborately decorated with various shields of arms, which are here given. Close by in the nave arcade are traces of an earlier respond. Another respond was discovered at the east end of the same arcade, and, though now covered is shown on the plan, and points to the existence of an earlier arcade than that at present existing. * The slab measures in its present state 5 ft. 8 in. in length and 1 ft. 11 in. in breadth at the top the bottom being 2 in. narrower. PLATE XXVIL ee Tr fori INK-PHOTO SPRAGUE & C° 4 & 5,EAST HARDING STREET, FETTER LANE, E.C. FROM THE SOUTH-EAST. BANGOR DRAWN BY MR. ROLAND W. PAUL. ‘“« he Bailder’ Cathedral Zrevies. So Sls a BE “The Builder’ Cathedral Srevies. BANGOR CATHEDRAL GROUND PLAN ar NoRrRTH TRANSEPT. Ee CIT NOU TH Als LE SOUTH Ancien ly : Yd 29 IE \ormon TRANSEPT Et Foundatiops. | ; C1 Early Decorated. 5 1 Later Decorated. ; & ThE GELY ] J. IR CT a BX Ferpendicular 2. Monumental Recess (? Bishop Anan Sar). A V/Z:772 Modern (1870). 5 Deo. Do. (? Tudor ap Grono ap Tudor). i! 4 Do. Do. (? Owen Gwynedh sovereign toon 2) femais of Noman, «Prive of Wales). i] 6. South Traneept (now Covered;. Rial ae tous ual 7 Respond (? ofan drcade) . now covered. al from plan (en! by 3. Ancient Tiles ond incised Slab found in Lady Chapel. M" J. Oidrid Scott PHOTO-LITHO. SPRAGUE & C2 4 & 5 EAST HARDING STREET, FETTER LANE,K EC. sp Hain 5; fo ad Np Cis oa ARLISLIE, WHE architectural history of a cathedral church is chiefly to be found in the changes and additions that have been made to the eastern arm, differing in this respect from an ordinary parish church, where the growth of the nave responded to the growth of the parish. Carlisle is no exception to this rule as regards the eastern limb, for the noble choir we now see is the third, if not the fourth, that has occupied the site. The nave also has a looking into the Infirmary Court, to which a passage on the south side of the cloister gave access. This south side was occupied by the Frater House, or refectory, with a vaulted basement under it. At the east end was the staircase to the dorter, which still remains, and the passage already referred to as leading to the. infirmary. At the west end of the Frater House was the kitchen court, beyond which the menial history of its own, in that it formed the parish | church, and that it has come down to us so shorn of its goodly proportions as to be but a shadow of its former self. We have little to guide us in the history of this Cathedral beyond tradition and the actual remains of the buildings themselves. We know that in 1092 William Rufus visited Carlisle ; that he found it a waste place, inhabited by a few Celts only; that he set about the erection of a fortress, a turris fortisstma, on the north of, and abutting on, the site of the ancient Roman town; that he sent Flemish masons and other artificers from a distance to carry out the buildings ; and that Walter, a Norman, was in charge of the works. To this Walter is given the credit of having commenced to build a church at Carlisle, and of intending to found a religious house. The work was taken up by Henry I, who brought settlers from Kent, Essex, Middlesex, to people the town, and, at the inter- cession of his Queen, Matilda, founded and endowed a church and a house of Regular Canons of St. Augustine, in honour of the Blessed Virgin Mary in the year 1101, and appointed as Prior Athelwold, or Adeluph, his chaplain, then Prior of St. Oswalds, at Nostell, in Yorkshire, a house of the same order. The same king, in the year 1133, founded the Bishopric of Carlisle, and made Athelwold the first Bishop. The site selected for this religious house was within the area of the old Roman city, between the new fortress and the site of St. Cuthbert’s Church. It possessed all the necessary requirements: water within a few feet of the surface, a frontage to the city boundary, through which they could, and did thereafter, contrive a postern gateway of their own, with access to the rich meadows beyond, a river running almost at the foot of the walls, with possibilities for a mill race, for mills and fish-garths, which they eventually possessed. The site consisted of a good square plot of ground amounting to nearly five acres, with the road to the castle on one side of it, the city wall on the other, and a narrow lane on its north-west boundary, which afterwards became Paternoster Row. From its western angle, a street ran directly to the west gate of the city, then, perhaps, the most important outlet, opening as it did to the Port of Sandsfield, and the ancient fords. This street, known certainly from the time of Henry VIII, if not earlier, as Abbey Street, is stated by the Rev. Mackenzie Walcot in his “ Memorials of Carlisle” to have been called Irish Street, a name which still attaches to the site of the old gate; this gate is marked in old plans as Calidey Gate, from the adjoining river, and still gives its name to the suburb beyond it. The site on its south-west corner abutted on a narrow strip of property extending along the city walls, some half an acre in area. This property the then owner of it, Robert de Eglesfield, the founder of Queen's College, Oxford, and chaplain. to: Philippa, Queen of Henry 111, gave in the fourteenth century to the Priory. In the latter part of the seventh century Carlisle and the ecclesiastical district round .it had been assigned to St. Cuthbert. So that it is probable that a religious house existed at Carlisle long before the twelfth century, but no positive proofs exist of any older | building on this site, except two early gravestones, one in the | f clearstory wall of the present Norman nave, and the other on the south transept. On the site I have described the buildings were laid out with | masterly skill. The church was set diagonally across the north-west | portion of it, with its main axis almost due east, the west end of the church being set about 33 yards from the boundary, and thence, as far as the site allowed, the arrangements followed the normal plan. To the south of the nave was the great cloister, about o6 ft. by go ft. or thereabouts, round which the buildings ‘appertaining to The JYare {Lon fe ©.S ovlk- Tran SEL the monastic life were grouped, and it will be convenient to refer to them now as they eventually grew to be. The east side was occupied by the dorter, which abutted on the south transept, and had a doorway and staircase into the church. In the cellarage under the dorter was, next the church, a slype or parlour which gave access to the canons’ cemetery to the east. Then came a library or treasury and the vestibule to the chapter-house, which the ruins show to have been an octagon of about 28 ft. across. Beyond the vestibule was the common room, or calefactory, with windows to the south and west, offices of the monastery extended: the larders, pantries, wash-house, laundries, brew- house, and stables, with the horreum or great barn at the extreme boundary, a sloping way under the road giving access to a postern in the wall, and to. the meadows, mills, and fish-garths, beyond. To the west of the church and of the great cloister was the curia, or outer court, with the Prior's Lodgings or Camera, now the Deanery, adjoining the monastic buildings and the gate-house on the further side. The kitchen- court was cut off from the curia by the bridge or covered way which connected the 70 The Cathedrals of England and Wales. Prior's Lodging with the cloisters, and by the passage under it which connected the Frater House with the kitchen ; the doorway leading to this upper passage still exists in the Deanery. 1 am inclined. to think that, on account of the position of the Prior's Lodging, the buildings enclosing the west side of the cloister must have been low and unobtrusive, if more than a wall only as at Alnwick. In that case the buildings devoted to hospitality in addition to the Prior's Camera, would probably be placed between the lodge and the gate-house; the remains show that buildings were attached to the gate-house itself, and they would probably be the Almonry or common hall. These buildings were of various dates, they had been reconstructed more than once, and at different times, but the parent house must from the first have been set out on these lines and on a considerable scale. . : A view of Carlisle in the reign of Queen Elizabeth, now in the British Museum, published in Lyson’s Cumberland and again in Bishop Creighton’s Carlisle, shows the remains of the buildings as they then existed. The Deanery is there depicted as nearly equal in size to the. Cathedral, and the Frater House much exceeds the choir, but the general lay of the buildings is easily distinguished, especially the chapter-house with its conical roof. Of these buildings there now remain the great church with a portion of its nave, an indication of the chapter-house and of the cellarage under the dorter, the Frater House, the Prior's Lodging (now the Deanery), the gate-house and a great portion of the tithe-barn, together with their postern in the city wall. Recent discoveries at the east and west ends show that the Norman church was of the basilican type; that it consisted of a nave, with transepts and north and south aisles; that the nave was of seven bays, and 122 ft. in length to westward of the crossing, and 61 ft. in width; that the west wall was upwards of 7 ft. thick; that it had four flat pilasters, about 6ft. 6in. broad and 1ft. 3 in. deep, and a great doorway in the centre of four orders; that from the eastern face of each transept projected a small circular apse; but we have no precise information as to the ter- mination of the eastern limb beyond the transepts, whether it terminated in three apses of unequal projection or in one. We do know, however, that there were at least two arches between the presbytery and its aisles, because the remains of a circular pillar, very similar to those of the nave, have been found almost zz stu. Of this Norman church three bays only of the nave remain, portions of the transepts, and the arches of the crossing. The fact that the eastern and western arches of the crossing are carried on corbels so as to leave the sides below smooth and free from impediments shows that the eastern limb was short, and that the ritual choir extended westward of the crossing. The plan was of an early type, such as a Norman architect would have supplied, but the recent exposure of the foundation of the apse of the north transept proves that the workmanship was of a later type. It was throughout of well-bonded masonry, whereas the early Norman builders imitated not only the fashion but the constructive methods of the Romans, and built in concrete faced with stone without bond or tie, as may be seen in the early work at Canterbury Cathedral, at St. Peter’s, Northampton, and in the staircase of the great Norman keep at Carlisle. I take it, therefore, that some delay took place in the execution, and that no work now visible is earlier than that of Athelwold. The uncovered foundation of the apse showed signs of a building and rebuilding; the. stones were tooled with a hatchet. The details of the apse return on the north transept, and reappear in the aisles of the nave, thus showing that they are of one date The Norman church was built of a beautiful greystone, said to be from a quarry near Rickerby, now unknown. Much of it had probably done duty first in the Roman wall or other Roman buildings. No trace of French influence is to be seen in its details, it follows rather the simple massive character of Durham, on a small scale. The long, low line of its nave was characteristic of English work—it is bold, simple in treatment, and the vigour of its execution may still be discerned in the life- like corbel cowses under the eaves. The arches of the nave are much crippled from defective foundations, aided by sundry springs of water said to run across the transept from north to south. The nave, aisles, and transepts were all intended for wooden roofs. It has, however, been suggested that the aisles were vaulted, but the remarkable thinness of the walls precludes this idea, for the aisles are 14 ft. wide, and the north wall not more than 2 ft. gin. thick, exclusive of the pilasters. In the transepts are two wells now walled up. In 1853 some Scandinavian runes were discovered on the lower part of the transept wall ; they are the scribble of some master-mason or workmen and the generally received reading is: — Dolphin made these marks.” We have no record of how long the Norman apse existed, or whether it was destroyed or taken down, as so many others were, to be rebuilt on a larger scale. The evidence of the existing building shows that towards the middle of the thirteenth century, a scheme was commenced for the entire rebuilding of the church on a scale of great size and magnificence; it comprised a new eastern limb of sufficient size to take in the ritual choir; in length it fully equalled the western limb, which it exceeded in breadth by 12ft. and very considerably in height. This was carried out, and the further intention was to have taken down the north transept and rebuild it on the same scale, with an aisle to the east of it. This is proved by the existence of one pillar of the intended aisle, and by an off-set on the north face of the aisle wall, with the*feturn of the base-course and string-course upon it, left almost to to- day ready for the aisle that never arose; for in 1292, when it is probable from internal evidence that the new choir was about finished, one of those disastrous fires arose which were the scourge of the medieval towns and totally destroyed the choir, the belfry, and the bells, and thus it happened that for the next hundred years and more, the energies of the canons were devoted to building up the choir anew. Then it was that the great east window arose, which marks a step in advance in art, and is the glory of the building. The determination with which this work was carried on during the episcopate of at least six bishops seems to show that it was part of a settled plan, supported possibly by the great Chapter of the Austin Canons, which met in the south. The Canons of Carlisle, except at certain intervals, had, after the beginning of the thirteenth century, an independent endowment of their own, and would, therefore, be able to take the initiative. On the Bishop fell the begging, the issuing of briefs and indulgences, and thus his name would be publicly associated with the work, and when they had for their Bishop a man conversant with their wants, of local knowledge, and of more than local position, they would be able to make progress. Such they had in Walter Malclerk, once a canon of their own church; he held the See for twenty-three years— from 1223 to 1246—he was in high favour with the king, and a leader in political life, and it seems probable that the first great scheme of rebuilding was initiated during his episcopate. Such, again, they had in Bishop Halton, from 1292 to 1325, a prelate selected by Edward I. for the most important trusts, of whom it is stated by the late Mr. Hartshorne, * that whatever was done in this fortress (of Carlisle), in the Cathedral at Rose . . . . or whatever was done in the diocese to the ecclesiastical architecture, must be attributed to the superior mind and energy of John de Halton ;” he also had been a canon of the church, and it was during his episcopate that the first thirty years’ work of the rebuilding of the choir took place, that the choir was set out on an increased scale, and that the great east window was conceived and erected as high as the springing of the arch. In this rebuilding they added a bay to the choir, and increased its length to a total of 134 ft. 3 in; the width remained the same 34 ft. 2 in. between the pillars and 72 ft. across the aisles. The new walls they increased considerably in thickness—the aisle walls to 5 ft. and the east wall to 6 ft. 6 in, indicating a building of greater height than its predecessor. The aisle walls of the thirteenth century they retained, as they had been protected from the fire by their stone roofs; the arches common to them and the choir they also retained, either by rebuilding them on new pillars, or by undersetting, so that we find arches of the thirteenth century on legs of the fourteenth; in the bay they added, they followed the general. outline of the earlier work in the aisles; they repeated the beautiful cinquefoiled arcading under the windows, but they applied to it the more advanced detail of the day. The carving and some of the decorative work, even a great part of the mouldings of the east window, they left unwrought, and thus we have a curious interweaving of work—early work with later work below it and later work over it. We find thirteenth-century work on a small scale in perfection in the aisles —we can note in the south aisle the gradual step taken towards the development of window tracery in uniting the single lights under one arch, and we see window tracery carried to its perfection in the east window. We see the crisp Early English carving in the corbels of St. Catherine chapel, the more naturalistic carving of a later period in the corbels to the choir of the roof; and in the capitals of the piers executed in the beginning of the fourteenth century we have the most complete representations of the seasons known to exist, the first six months being on the south side from east to west, the last six on the north from west to east. In the triforium and clearstory we find the master-hand has gone—the windows, mere perforations on the face of the wall—no depth—no shadow—no life—without buttresses and without a break—it looks as if the importance of Carlisle were already on the wane. With such a clearstory the roof was of necessity of wood, but it has the appearance of a compromise; the great hammer-beams promise an open-timbered roof like the chapel of St. Stephen’s at Westminster, or the great hall there, and the panelled ceiling that was eventually carried out looks somewhat incongruous—a ceiling that now glows in the utmost brilliancy of modern paint. Notwithstanding these defects, the choir is a noble one, equal if not superior in width to those of St. Albans, Durham, Salisbury, Winchester, and Wells, exeeeding Durham and Wells in height, as it also exceeds those of Lincoln, Ely, and Canterbury. The new developments of architecture to be found in it mark it as a creation in which that art made no small advances. A further departure was made in the erection of this choir in the use of redstone; we find the older quarries deserted, and the redstone used for the first time on any great scale. - The fabric work was completed in the last quarter of the fourteenth century. In the roof of the choir the arms of those who contributed towards the work were placed—the Lucy’s, Neville’s, Percy’s, and Edward III. (king). The glass was inserted in the great window between the years 1380 and 1384, as proved by the arms therein. The old glass still remains in the tracery, the only old glass the Cathedral possesses —the subject, a Doom, the Resurrection, and the Judgment. The later history has no such brilliant record as that passed through. We again have records of losses by fire, and subsequent rebuildings, but of parts only. The idea of a complete rebuilding on the scale of the choir dies away; and during the episcopate of Bishop Strickland, about 1401, the central tower was rebuilt, not as the makers of the east window would have built it, but on the old piers and scale of the nave, as nearly as could be half the bulk it would have been to fit the new choir. It is said to have been capped by a short spire covered with lead, but no prettiness could ever supply its want of size; it is too narrow, by more than 12 ft, to span the choir; this defect is cleverly screened on the north side, but not overcome. About the same time the forty-six stalls were erected in the choir. They stand upon a plinth of red sandstone, and, with the canopies and tabernacle work which surmounted them almost immediately, they present an admirable illustration of the furniture of the day. The statues are gone from the niches, and the hand of man has blacked the woodwork and somewhat dulled the carvings, but their vigour can still be discerned, and the whole is rich and effective. In Prior Gondebour, who was elected to his office about 1484, the church found a munificent supporter. He may be said almost to have rebuilt the monastic offices. The chapter-house and cellarage on the east side are shown by the remains to have been of the time of Edward II. The Frater House on the south side he built anew, as shown by his initials on the cellarage under it. It is a fine room, some 79 ft. by 27 ft. with the usual arrangement of the entry within a screen, and the very unusual one of having its front door turned inside out—that is, the door opens outwards into the ambulatory, midway on the stair of access from there to the refectory. It possesses a charming little gallery for the reader, and two beautiful canopied niches in the interior. It is well lighted by traceried windows, those on the north side being placed high on the wall to allow for the roof of the ambulatory. Gondebour also rebuilt the kitchen offices abutting on the Prior's Camera and the great barn. This barn, or the best part of it, still stands at the boundary of the The Cathedrals of England and Wales. 71 property ; it is entirely open on one side, with a row of massive oak posts to support the roof. The roof itself is quite a forest of timber; beams 21 in. deep, all held together by pins, without a nail in it, and puts most modern roofs to shame. Gondebour also caused the legendary paintings to be executed on the backs of the stalls, with subjects taken from the history of St. Augustine, St. Anthony, and St. Cuthbert. He added some beautiful screens, the remains of which are still to be seen in St. Catherine's Chapel. He further inserted the two Perpendicular windows in the aisles, since removed, and he is said to have completed the decorative work of the choir. The roof he painted in red, green, and gold, on a white ground; the choir pillars white, diapered with red roses nearly 12 in. in diameter, with an LH.C. and ].M. in gold. His successor, Prior Senhouse, repaired and beautified the Prior's Lodging. To him is due the painted ceiling of the Solar. On it we read that Symon Senus Prior set this roof and ceil up here To the intent that prayer should be said every day of the year. We find birds and scrolls and the motto of the Prior, “ Loth to offend.” The spelling is without rule; the same words being spelt differently on the same beam, and even his own name is spelt in several different ways. The Prior's lodge, however, possesses a further interest in that it is a fourteenth-century Peel Tower, a little fortress, with a vaulted basement of ribbed arches similar to that in Lord Dacre’s tower at Naworth ; remains ; it has on it the representation of eight figures, each under a canopy standing on conventional foliage. The second cope is also semi-circular, of cloth of gold, with a bold pattern formed by the ruby silk of the warp. Again, a portion only of the orphray remains, so dilapidated that the pattern cannot now be deciphered. An impression exists of the common seal of the Priory and Convent of the Cathedral Church of Carlisle amongst the Corporation muniments; it is circular, 2% in. in diameter. The device thereon is a half-length figure of the Virgin crowned, with infant Saviour at her breast, with censing angels on each side with outspread wings ; below, under a semi-circular arch, are trefoil-headed niches, with a vesica over, in the former the figures of the Bishop and Prior, and -in the latter a cross.” To right and left of the arch is seen the Priory Church, 4 pinnacled front with three lancet windows and a small trefoil over; below is an embattled parapet. The legend is much broken, and the only words to be deciphered are Ecclesie sancte, and a portion of the word Karlioli, The seal is- of the thirteenth century, and has not been heard of since 1660. : The Priory was surrendered to the crown January 7th, 1540, its revenue being valued at £481 a year. The charters and statutes of the present foundation, changing the dedication to that of the Holy and Undivided Trinity, were given on June 6th, 1545. ARLISLE CATHEDRAL SCREEN-BETWEEN: ANCEL-AND-NORTH. AISLE. LANCELOT'SALKELD- LAST PRIOR. AND: FIRST DEAN 1532 ELEVATION TO: N-KISLE- NOTE THE: FRIEZE ‘AND: LOWER PANELS ARE CLOSED: THE-REST IS OPEN WORK: CARVING dps Section at. C- yap seclion.at. A ~ 1893 - it had its Solar, sleeping rooms, and battlemented roof over, with garderobes and closets on each floor. The Gale Tower at the north-west angle of the curia was rebuilt by Prior Slee in 1528, as the inscription round the inner arch tells us. It is on rather a larger scale than usual, with a deeply-recessed portal on the outer front, with a gateway and wicket recessed within the archway; it possesses an upper chamber, to which access was gained by a circular stair. The battlements and parapets have been long since removed and replaced by chimneys and imitation chimneys set up at the four comers of the roof. It had a porters lodge on the north side and other buildings attached to it on the south-west side. To Launcelot Salkeld, the last Prior and first Dean, is due the beautiful Renaissance screen on the north side of the choir; it has his initials upon it, followed by the letters D.K., Decanus Karlioliensis, the initials of his new title. The Cathedral possesses few ancient monuments. In the south aisle is the recumbent effigy of a bishop of the date of the middle of the fifteenth century. On the floor of the choir is the incised brass effigy of Bishop Richard Bell, who died in 1496. Under an arch in the north aisle are the remains of a recumbent effigy of a bishop of the thirteenth century; above the head is an Early English canopy, now much mutilated. It also possesses the remains of two copes. The earlier one is of the usual semi-circular form, of flowered dark blue damask, with beautifully embroidered splays of foliage applied to it in fine wool and gold thread, a portion of the orphray only The buildings, there is reason to suppose, were handed over in good order at that time, and it was not until the civil wars in 1646 that we hear of the destruction. Dr. Todd in his manuscript records that: “ The abbey cloisters, part of ye deanery, chapter- house, and houses built for ye prebendaries and ye rest of ye members of ye College, which was stately buildings, they pulled down, and employed ye stone to build a maine guard, and a guard house at every gate, to repair ye walls, and other secular uses as they thought fit.” The westward of St. Mary’s Church they demolished, which was after built shorter, as it now stands. This practically brings the history of the growth and partial demolition of the Cathedral Church of Carlisle to a close. Since then its record has been a praiseworthy and generous endeavour to bring it into line with the standard of the day, under the direction of men of the highest reputation; and if, in the doing of it, something has been lost, much, on the other hand, in the way of permanence and stability has been gained. * C. J. FERGUSON. *¥ I am indebted for much valvable information relating to the Cathedral to Mr. Ewan Christian, under whose direction the restorations in 1856 were carried out; to Mr. Purday, who acted as his representative on the works at that time, and who published a short history of it; and to the valuable copy of the statistics translated and published by the Archdeacon of Carlisle; and to many papers in the “ Transactions of the Cumberland and Westmoreland Antiquarian Society,” on the glass, the capitals, the copes, and other matters.—C. J. F. PLATE XXVIII INK-PHOTO SPRAGUE & C° 4 & 5 EAST HARDING STREET, FETTER LANE, EC. CARLISLE: FROM THE NORTH-WEST, DRAWN BY MR. E. RIDSDALE TATE. ; “The Builder’ athedral SHevies. CARLISLE » CATHEDRAL: 10 5 ° 10 20 30 40 so 100 GROVND‘PLAN bpd t + | 4 + . — FEET SCALE TRANSEPT: REFMACED. . WINDOW -MODERN ail ' | NOTE . THIS PERPEN" WINDOW.,Q THAT OPPOSITE - WERE. INSERTED IN- 1484 FOR ENGINE ADDITIONAL - HGHT -ON- THE CHOIR « THEY.WERE HOVSE REMOVED: INTH1S-CENTY AND. E: E. WINDOWS. ACCORDING To 1892 THE. ORIGINAL DESIGN - SUBSTITYTED « PERPENDICVLAR WINDOW-REMOYVED. 4 i ==2 She SUN a; 0 .. \ /' ~ . N ~ | CRN Zar ZN rae Zot SS 3 II . | N Ar 3 5 £7 ¥ oo 20 SS oY " 3. 77 [i = Le ds = Fi ‘ 2% Pi 1 ht) 5 k Gon. 7 \ a 7 i > 2 1 2 TRANSEPT My i! ht, l 4 = 7 lH Ns |! = 75! 4 Go 1 - f AX IN tl 2p { ., N ” » Se : Nn HN Ne 74 Fh lly pf jon Hy 7 Ts Ly Zr an I 7 NN wt Na : . y | by Tig leo ie mt Bp i EE 3 ch mmm m2 ; = FEES Gm mm — = ak ae 3 ; » Ao\s 10 AL _— Aaoad - 020 SE by 20 Sy ) iS 2a i SRE 0) ja aati Gad tes, * + ! CHOIR: STALLS THE-OTHER orzAl OVER 15® cent 2 Ol 9 0 t | aw ' A FIVE BAYS WERE ] —ly BISHOP: STRICKLAND - ; 1 DOORWAY DESTROYED- 1646 1 BLOCKED, | 1 WEST. WINOOW . : wN - + MODE 1 1 ! Tr LT TY a BR OC oS "Ts | HX 7 SSW é 4 be Is rh EE id “WN | ZN, { | 2S ; 7 NN ! | ’ z As ' 2 Ni. ‘ i SN. aid 7, 2 x l i 7s NN f J nn vt 7 Ny 3 7 Ms 4 ; oN Ls ad 1” ~ ] @® B § 23 Ke TRANSEPT. : S¥gi=c nef Ge res = ERPENDICVLAR | Te AVESTRY-RE- IINBON REMOVED, i Te dhe i IZ CA TNE : REFERENCE « DATES - ! p! Se | Tome oF BISHOP BARROW : 1429 | n Resto ob <} 2 BRASS EFFIGY OF -BISHOP-BELL - 1496. es NORMAN - HENRY. | - ; 2t 3 EFFIQY-0f. BISHOP-DE-EVERDON 1255" oR BiISHOP.IRTON , : bem mmm oo A 4 TOMB -OF-SIMON-SENHOVSE « PRIOR IN-THE-REICN QF HENRY V(1 + JIM =ARLY-ENGLISH [VESTER de EVERDoN] A er arn. 1245 = 1254. | 6 + = SAMVELWALDEGRAVE -BISHOP. D: 860 - 7 MODERN: FONT * DECORATED - 12.92. ~ 1353 ~1362. . 8 PuLPIT. 0 BISHOPS THRONE: MODERN. EEE eercenOICULAR. [srshor- STRICKLAND: 1400-1419 | Hii 0 LECTERN-: . yhe hig NM ON-WALL'AT:x A-RVNIC SCRIBBLE "DOLFIN: WROTE: THESE-RVNES . I 17 CENTVRY /% { WOODEN-SCREENS: PRIOR-GONDIBOVR 1484 - ! RENAISSANCE . P 5 . . wn NODE 4 \SSANCE : SCREEN RIOR: SALKELD: (532 — IS (LECENDARY-— = 19 APOSTLES. \ 16 |~PAINTINGS— _moeMNOD.0r S ANTHONY . PRIOR \ 1] [NT THE LEGEND OF. S'AVGVSTIN* GONDIBOYR . ) 18 | —BACK-OF— LEGEND. OF S-CVTHBERT. 15K cent Y } lg [~THE STALLS: \ 20 X 21 STONE-BRACKET «FOR: FIGVRE* . OF. . . 0 ’ . 5 TOMB: OF. SIR: TORN SKELTON { Tis plas was prefoaced fron are oullie plar WELLS tha pt Frgudane made Ears ago. Jhe liag i+ a. Ee ’ g f Paced). £3 pnd gs. PHOTO-LITHO. SPRAGUE & C°® 4 & 5 EAST HARDING STREET, FETTER, LANE, EC «“@he Builder’ Cathedral Zrevies. 5 19 AYO AD aaa ar ean BOtHR WH MIW sqeslseng Zvi "oi ‘wan Fay : na ; on fe i i" ) : 4 in nel red = = D3ve WOamTW TE Tae a erate cry * E45 ose ERT AAT oe Mestad a ah Lamp Se ysis LAaTARLDNCG : i mma DURHAM. ROUDLY seated on a rock, at the head of a small peninsula formed by the river Wear, winding and doubling oh its course; and at the highest point of the gently sloping plateau which crowns the peninsula, is the great church of St. Cuthbert, at Durham; occupying a position which no other English cathedral can rival. From the great natural advantages of its situation, and from the remarkable events which led to its being there placed, Durham may be called the most romantic of our cathedrals. None other can afford such a variety of prospects; it is literally a church amongst woods, rocks, and water, and the view of it from | Mme \ the north side is the only one that in any way resembles that In 0 | C obtained of most of our great churches. N A he [t is equally fortunate from a historical point of view, as the \ ! Ka! whole story of its rise and development has been recorded in a N | series of chronicles which have been preserved. Symeon and Reginald, NX lin in the twelfth century, Geoffrey of Coldingham, Robert de Graystanes, li and William de Chambre in later times, have given us complete N I accounts of what was done through the Middle Ages. These are NN I supplemented by various account rolls of expenditure during the NL fifteenth and sixteenth centuries, while the list is closed with “The NN Rites of Durham,” a work written by one who had known the Abbey before its dissolution, and which gives accounts, not only of the arrangements of the buildings, but also of the varied ritual and the services of the. church, its stained glass and monuments, and also of the offices and domestic economy of the house. The rise of Durham was brought about by the departure of the .congregation of St. Cuthbert from the Island of Lindisfarne owing to the Scandinavian ravages of the ninth century, and the possession by the community of the incorruptible body of St. Cuthbert, which enabled them to survive those troublous times, and after various wanderings to establish themselves on the site of Durham, which is so strongly defended by nature itself. The settlement of the “congregation” at Durham occurred in the year 995 during the episcopate of Aldhune. A wooden church was erected at first, but this was soon replaced by a stone building, which, at the time of Aldhune’s death, in 1018, was almost complete. Reginald gives some description of it. It was called the “White Church,” and it seems to have had two stone towers, a western and a central one, both with spires of metal. Reginald’s eulogistic words N as to the beauty of this building leave us nothing on which to N ground a supposition as to its size, but the two towers imply a 3 church of upwards of 200 ft. in length. The present church occupies N the same site, and there are no remains of its predecessor; it has N S 7. entirely disappeared.® The existing Cathedral was begun by the seventh Bishop of Durham, William of St. Carileph, in 1093. The foundation-stone was laid on August 11, in that year, Aldhune’s church having been previously destroyed. Thus the usual course of building, at any SE rate, a part of the new church, before removing the old one, was La departed from. We are not told what the people used for a church = between times, but the extreme rapidity with which the building was executed seems to confirm Symeon’s account of the mode of JI 4 a S fe. g ==" ." NTA DIA LNIA =~ FL 8 -! OTT SRA 5 ==AT rT InN Gr ONIDINY A eo 4 ; ide. ¥ ~ TTT Fre Re pling Dee JI = (ly) is; SNE ) LUE (0 SRW SRR WR AON ia =~ J) sem Py ill Mrs vo i) h 93 17 mt lets Te YN ak 4 = [ "ie SIE | Nerd If J 4 Mr RG Ty aa 22a TEN IS, ih 0 0 Mp TEN Yo gl AE LHR Sly LIN 8 =7 fr + 2 My 10 5 Eo 255 vl = 2 =i ta) AMT! = 3} i gL 7 2 Z) re RTL he = = : i TON OW 1 Z 3 I z >, = 9» ie as—" ; ies = 2 = ed HE SS A > 2 4y iE 3d is not unlikely. It is clear that his church was intended to be vaulted throughout, in single bays in the aisles, and coupled bays over the main area. The choir aisle vaults, along with those to the transept aisles were executed with the other work, and afford one of the earliest, if not the earliest, example of a completely designed Norman vault to be found anywhere, ze, one in which each member of the supporting pier or shaft carries a corresponding member or rib in the vaulting system. In fact, Carileph’s design carries out to the full the true Gothic principle, as it has been called, and shows that the arguments of those who say that this does not exist in England TE raanraans ln Gl ez FREE VII Eo rm A = Zl) SE ~ a = ik A WIKIA Tn wn 3S 1 DiI D= L —_— IIL LLU, i= fi) gl JAE \ J ELLER 3X Sl =g= y Hn FEIN 3 Me SE ~3 She ETE ~= = A] RY =a 3 =i r= N == 3 = HE v3 = A il / 3 =H J) : a i HE == 3 B Ze =\ a = = ? n—— 23 5 fea [ES 3 3 2 =! 3 2 0. Late {3 FE = 73 J 3 | =f £3 2 = SFC \ ID! Wh rt : E ; Ww 3) a)ufd) ul W BN = == Ee eo EEE a a E &) s / Ena, 5 > J Zz - PORES xe oy! = 2 eZ © -~ » - — ~. hs | SEE - ET & le Es 57 y AEE Sere ” == 2. NaS SE 2 vit =y Ey g og PY I SS TCL oa 4 y i , Tt a IF ATCTALINY ON 7 = e ” vfs B ! 2 i >, 5 Y N we ifig 120 ~ r > RT ~ Sw : ¥ . 7 i lr = esis Arete sen = ody d a aa . | Re Ey ot AEE ILS ASN . N + “ ~ 3 . ‘ "ni. ta 1 Heb ae - ! » ' pnd nag Ja crept agin Baap ubigns be vot] szr gon wp Wagnid ms Joi) DB \ \ = = J lb, dy, ’ > = = Sh v \\ \ \ — oh ny, wns hmm ul) s=d.,, IVIL gp) = TY 0 ‘AY | ATT YS a dah, J MOOI Tes ) W 1/4, f 1011 1)))1s ey ) hs i ) ale 2 St 4 l = 3 iz Be 2) dls VAN 23 / iF Se 25 En _t IN or : pa Lf — —= = nr J mp = = \ 1 FeTT JL hye 3 r I } Ea " FT i ug. SEE Zul ta! 4 ny 1 / wilson) | | iin II wii () ll i = | | | XE ) ii 7: T= | : hy a= “ EE I ll ih =—————=||\Ill IE ZW = | l 577; \ 11) T procedure. = : ai Vl Carileph’s plan comprised a choir of four bays, with an apsidal : = = ESCs == Lh im Lei I eastern termination ; transepts of four bays to the north and the south, Za ii N=’ I = = — with an eastern aisle only; and a nave of eight bays, with two aisles = : = Jim ———— and two western towers, which project somewhat beyond the line of —_—at i TTT TL Tae A the aisles. A central tower was also intended. — Hil—— gig tat = : — oS 4 The foundations of all this work were laid in, the walls all TT = ) {0 oy round the church carried up as high as the top of the aisle wall TH f fo : E — Mh hd arcade, the choir with its apse finished, the crossing piers and arches Thm od oe : Ey <= Ey built, along with two bays of the nave in the ground story, one bay 3 J; ge = a i EEE 0200 TE =24) of the triforium on either side, and the greater part of both transepts gps = Chama ro N “ - Gi between 1093 and Carileph’s death in 1096; and in the interval between his death and the election of his successor, Ralph Flambard, in 1099, during which time the monks had carried on the work. Carileph’s design was one of great ambition, and in advance of anything of his time either in England or Normandy. Owing to political differences with the king he had been an exile in Normandy for three years, and there can be no doubt that his design was inspired by what he had seen in progress in that country, even if he did not bring over with him a Norman architect, which * Billings says there “are some Norman arch and column mouldings of earlier date than the present church” in the floor of a passage in one of the western towers. These are now covered with cement. A curious capital which may have belonged to the early church was found in the “College” some few years ago. This has now disappeared. View across West End of Nave. are fallacious. It is to be regretted that we are in ignorance as to the exact lines of the eastern termination of Carileph’s choir. That it had an apse is certain, and there can be little doubt that it was surrounded with an ambulatory, as at Norwich and Gloucester, and not of the solid form as that of Peterborough. The foundations of this apse were seen in 1827, when St. Cuthbert’s grave was reopened, and again when a burial took place in the Nine Altars in 1844. These were seen by the late Dr, Raine, who has recorded the facts, but unfortunately no measurements or plans were made at the time, and it is much to be desired that the Cathedral authorities would allow a slight excavation to be made beneath the floor of the Nine Altars in 74 The Cathedrals of England and Wales. . order that the very interesting question as to how St. Carileph’s church actually terminated toward the east could be set at rest. The design of the choir is bold and massive in the extreme; all fine detail and redundant ornament is totally abgent. The four bays are divided by two circular columns, having triple vaulting |shafts attached to them on the aisle side; and a pier of extraordinary length carrying responds east and west, and triple vaulting shafts towards the choir and the aisle. That towards the choir, rises clear from the base to the spring of the vault, thus carrying out the vaulting principle to its full extent. The columns are ornamented with spiral sinkings, have plain cushion capitals and still plainer bases. The arch mouldings are of a good section, but there is no projecting hood. The triforium wall-plane is set back one foot behind that of the wall below. Over the circular columns, or, in other words, to every alternate bay, is a triple vaulting shaft, which has its origin as the level of the triforium floor, and has no projection beyond the wall below it. These shafts carried the intermediate transverse ribs of the Norman vault. The triforium arcade has coupled arches under a containing arch, the arches are plainly moulded, and the tympana are solid. The clearstory is of ample height, has one window in each bay, but no were so spaced as to render the transepts of greater apparent length than they actually are. The same thing was sometimes done by making the walls of a church converge towards the east. Those tricks, however, were not commonly resorted to by Medieval architects. The general design of the transepts is identical with that of the choir, except in the clearstory. The triforium occurs only on the eastern side, and has to accommodate itself to the spacing of the arches below. In the two extreme bays the triforium consists of a single arch only. The triple vaulting shafts found in the choir have become couples, and in the extreme bays these rise to the vault surface, which they seem to penetrate. As the two outer bays in each transept are spanned by “a single quadripartite vault, the intermediate shafts are therefore useless, and were only inserted to preserve as far as possible the continuity of the design. The west side of the transept has arches opening into the nave aisles of the time of Carileph, a large window in each wing beyond the nave aisles, and above, at the triforium level, a wall passage, the openings to which are of various forms and present some peculiarities. The clearstory is of different designs in the two wings. On the north it has a triple arcade to each bay, the centre opening being opposite the windows. This arcade has single shafts with cushion capitals and moulded bases. The form of this clearstory shows that when it was built a vault was intended, but whether the existing one is of contemporary date or a subsequent addition cannot YT (7 AW SE h I 1 : \ 2 - J : 4 Sas + I \ Hd 4 | | 4 | {| 1 FE in RIRIER : 5) £ sy 211 Hi el A EO 2 nat al | | | | = { r= 7 ys CD Sn Ae NN A file ~ now be definitely decided. It is of semi-circular form, is divided into two sections, that towards the crossing béing of double quadripartite form, while the outer bay has two diagonal ribs only. Each transept is spanned by a great transverse rib or arch, carried by the These arches are not carried square across the The clearstory of compound piers. transepts, but are placed somewhat obliquely. the south wing was so constructed as to show that a vault was not contemplated when it was first built, as though economy had to be observed in the carrying out of the ‘work, It is of plain character, and had an arcade of plain square arches and piers between the wall passage and the church. The vault is of similar plan to that on the north, but the ribs are ornamented with zig-zag mouldings, being the earliest in the church. At the time the vault was added the side arches of the clearstory arcade in the bays next the tower were filled up as the vaulting passed over them. The clearstory passage was carried all round the transepts, but is now destroyed at the ends, owing to the insertion of the great north and south windows in later times. The Continuator of Symeon’s chronicle says that Bishop Flambard, who held the See from 1099 to 1128, found the church advanced as far as the nave, and that he prosecuted the work somewhat intermittently, but before he died had carried up the walls of the nave as far as the roof. Any decision as to how much work was done at any particular period can only be arrived at by a careful examination of the building, and it is a most 2) interesting study to trace the extent of Flambard’s work, how he blended it with that of his predecessor, what changes he or his architect made in the general design and its details, and how they carried on their work so as to make it harmonise with that which had been done before, although using details to suit their own tastes. When Flambard’s builders began their work on the nave, they found the aisle walls standing to the top of the arcade* at any rate for the greater part of its length, and the two eastern bays of the IIT main arcade with one bay of the triforium arcade on either side. This work had been done at the same time as the crossing, to serve as i an abutment to the great arches. The clearstory was not begun. |} As all the pier bases had been set out, and some of them perhaps 1 laid in, they were compelled to adhere to the arrangement of coupled | bays, of which there are three in the nave, then an odd bay, and : then the western tower bay. It may be here remarked that the great | fault of the design of Durham is the shortness of its nave in comparison with the scale of the church. i | end to the steep, rocky bank of the river prevented its being made AONE ne one The proximity of the west i wks any longer, and some local cause, now unknown, no doubt prevented the whole building being placed any further eastwards. Had the western tower bay been an addition to four coupled bays, instead of to three and a-half, there would have been a completeness about the plan that is now lacking. The principal changes made in the design were the omission of the triple vaulting shafts from the columns, and the substitution of a half column on the aisle wall, opposite the wall passage. The aisles have a wall arcade with semi-circular intersecting arches The -aisle vault is carried on the wall or outer side, by triple vaulting shafts rising from the floor, and on the inner side by shafts of similar section attached to the piers and columns. The transverse ribs are semi-circular of plain mouldings resting on coupled shafts with cushioned capitals. The vault is quadripartite, with moulded ribs. or slightly horseshoe in form, while the diagonals have a flattened irregular curve. The crossing piers are of great size and solidity, and so well built that they have stood without buttressing or any subordinate supports, and they and the arches they carry show no signs of shrinking, though they bear aloft a tower 216 ft. 8 in. in height, the highest central tower in England, Lincoln only excepted. The chief peculiarity in the plan of the transepts is the narrowing of the space between the columns as they recede from the crossing in either direction. The intercolumniation of the two extreme bays is reduced to half that of the bays nearest the crossing. The reason of this setting out was to give an exaggerated perspective effect to the view of the transepts from the crossing. The choirs of the Norman churches were so arranged that the stalls were placed beneath the crossing. Those seated in them looked down the transepts, and it was to give the utmost effect to this view that the arches single columns, for the triple vaulting shafts found in the choir and transepts. They abandoned the intention of vaulting the nave altogether apparently intending to carry up the great vaulting shafts on the piers to support arches spanning the area upon which a wooden ceiling was to rest. The wall plane was to be carried up in the same line throughout, instead of being set back at the triforium string-course, as in the choir and transepts, the bay of the triforium which they found. built was therefore faced above its arch, so as to bring the wall surface into one plane. The triforium vaulting shafts over the columns found in the choir and transepts were omitted, as with the modified design they were not required. The clearstory has a wall passage, and the external wall was made similar to that in the transepts, but internally large plain arches of 14 ft. span seem to have been formed as an arcade towards the church. Such was Flambard’s design for the nave. It was a bold conception, but was a much more economical plan than that of his predecessor, who kept the requirements of the vault * This is proved by the different colour of the stone above and below the arcade, and by the weathering of the surface caused by the work standing exposed for a few years, as well as by certain chippings and injuries along what was the top course. Some of these could not have occurred if the wall had all gone up at one time. I I Nn) - Geoffrey Rufus assumed the See. in arch mouldings, string-courses and vaulting ribs. The Cathedrals of England and Wales. 75 ever before his mind as the main thing to be considered, while Flambard did not hesitate to throw it over altogether. But before the work had reached the western limit of the church considerable modifications were made* Flambard died in 1128, and after his death the See was vacant for nearly five years. © During that time the nave of the church was completed, the monks being devoted to the work.’t It seems highly probable that the changes in the design of the nave were made at this time, and that its completion and its vault were carried out between 1128 and 1133, when These changes consisted in the abandonment of the wooden ceiling ‘and the arches to carry it, and the substitution of the vault. The only provision for this which could be made available was the vaulting shafts at the main piers which had been carried up for the transverse arches, which, however, do not seem to have been erected, but the springers for their outer orders remain on the capitals projecting beyond the transverse ribs of the existing vault. Over the intermediate columns no vaulting shafts existed. Double corbel heads, from which the diagonals spring, were therefore inserted, by cutting into the walls. The clearstory string-course was also cut through to admit of the springers. were also inserted against the capitals on the main vaulting shafts. The transverse ribs are pointed, their centres being, according to Billings’s measurements, about 31 below the springing line. The diagonals are semi-circles, with their centres a little above the springing line. The adoption of the vault necessitated a change in the clearstory, and an internal triple arcade was inserted between the jambs of the larger arches. The arch opposite the windows is 6 ft. in width, while the two side ones are only 18 in. There are shafts with cushion capitals and moulded bases. The straight joints in the jambs and the extra wall thickness of the older arcade show that this change was made. The details of all the work in the nave later than Carileph’s time are much more elaborate than in the earlier work. Similar corbels There is a profusion of zig-zag In the great arcade a good effect is gained by a ring of sunk squares on the extrados of the arches. The arch mouldings are, however, inferior in their sections to those of Carileph’s time. The six single columns in the nave are ornamented with sinkings. The designs are three in number and the columns are treated in pairs. The eastern pair have a reticulated pattern formed by crossing spirals. There is a small square left at each intersection. The intermediate pair has a zig-zag grooving with a good moulding. The western pair has vertical flutings of hollows and beads. The Norman west front, had it been fully carried out and remained unaltered, would have been one of the grandest in England. The western towers were only carried up to the level of the wall-head of the nave in Norman times, and subsequent changes have robbed the facade of all its original character. The great west doorway had five orders of arch mouldings, all zig-zagged, and a hood moulding. The inner order was taken out and the jambs cut into when the Galilee was built. The ends of the transepts have been so changed, both in Medieval and modern times, that their original character has disappeared. The aisles of the nave had originally a series of gables between the buttresses. The marks of these on the south side were very perfect before the refacing was done in 1849. There are some traces of them on the north side still. : In the Middle Ages architecture was developing so rapidly that no great church ever remained long without some changes being made in it. The cayses which brought about these changes at Durham were of a very curious nature, and resulted in the church assuming a plan which is quite unique. St. Cuthbert had, from some cause or another, a great dislike to the female sex, which he carried so far that he could not treat the Blessed Virgin with that honour which was usual in his time. The successors in his See seem, however, to have carried this craze still further on behalf of their Saint than he himself ever contemplated, and to have made a handle of it to provide their own schemes. In the time of Hugh Pudsey, one of Durham’s most conspicuous bishops (1153-1193), there was a scheme on foot to provide the church with a Lady Chapel. A To effect this Carileph’s apse was condemned to destruction, and by a mode of reasoning, which is common enough in our own time in similar cases, because they wanted to destroy it, they said it would fall if they did not do so. Preparations were made for erecting a Lady Chapel at the east end of the church in the Transitional style. This work had not gone far when it showed signs of weakness and dislocation, we can only assume from faulty construction, and the failure of some of the works of Pudsey’s architect supports that view—he was an excellent designer but a poor engineer. As to what the contemplated design was like some little idea may be formed by an examination of some details found on the site and lying about the church. Some of - these are portions of large columns, with bold mouldings running on their surface in raised patterns, which seem to have been intended for a crypt, as they resemble those in the crypt at York of contemporary date. Difficulties having arisen almost as soon as it was begun, and the work having failed, St. Cuthbert was said to have manifested impatience at a building dedicated to a woman having been begun near his grave. The Lady Chapel was therefore erected at the west end, between the west front and the river. The four arcades of four bays each are of excellent proportions; the arches rested originally on coupled marble monolithic shafts with volutic capitals. Two other shafts, built up in stone, were added to them in Cardinal Langley’s time (1406- 1437), when the “Transitional ” capitals were, curious to say, copied so exactly that many will not believe they are not twelfth-century work. None of the original windows remain in use. Those in the north and south walls were altered at the close of the thirteenth century, and those in the west end replaced with large Perpendicular ones in Cardinal Langley’s time, while the original clearstory windows over the two outer arcades were built up when the present roof was added. The transfer of the Lady Chapel to the west end allowed the apse to remain, but fashion was against it, and the time soon came for its removal. The concourse of worshippers about the shrine of any great saint rendered it necessary that the portion of the building containing it should not be straitened in its dimensions. A semi-circular apse was an eminently inconvenient form for a building which had to accommodate large * « Symeon’s Continuator” says :—* As to the works of the church he prosecuted them at one time with energy, at another time tardily ; as money was plentiful or scarce with him, from the offerings at the altar or in the cemetery. From these sources he carried up the -walls of the nave as far as the roof” Changes in the design were not an improbable result from such a mode of obtaining funds. + “ Symeon’s Continuator.” numbers. It was therefore decided to do at Durham what had been done at Fountains Abbey, viz, to form an eastern transept to the church by throwing out long wings to the north and south. The old excuse was made use of when begging money for the work, which was said to be necessary on account of the fissures and fractures prominent at the eastern end of the church, threatening terrible ruin to all beholders.” The time when the work was begun (1242) was a singularly auspicious one in an architectural sense. The Early English style was at its highest development, and the Gedmetrical was about to evolve from it. The convent also was wealthy, and St. Cuthbert’s fame had not diminished by the passage of time. The architect employed was a master of his craft, and the result was that the thirteenth-century addition to the plan of Durham was a masterpiece in all senses. Judges competent to give an opinion, both from knowledge and taste, have pronounced it to be the best specimen of Early English to be found. It is magnificently built. Though its walls rise straight from the ground, they have borne up its lofty vault for more than six centuries without the least sign of settlement or flaw, though unaided by arcades, aisles, or flying buttresses. The great thrust of the heavy ribs is taken by the enormous thickness of the walls, nearly 8 ft, and by the huge piers at the angles forming buttresses and carrying pinnacles. The details throughout are most carefully designed and beautifully wrought. Arches, capitals, vaulting ribs and bosses are all liberally supplied with carving, all of it of the best class, yet so great is i £5 i “ wn i Noi i) hE X ny Tm 7% 3 E In MEA rE 1 The: i AN = ] =H) l W | if (THC ar iF i Armas Sy ’ Hj fi Capital: Nine Altars. Arcading : Nine Altars. 7 the scale of the building that there is no appearance of undue richness. A great point was made by lowering the floor to that of the level of the falling ground to the east, instead of by raising the building on a crypt. This has given an internal height of 8o ft. considerably exceeding that of the choir or nave. Against the east wall nine altars were placed. - There are doorways at either end, placed to the west of the steps to the altars. These doorways were no doubt used by pilgrims and others who would be accommodated in the main area of the building to view the shrine, which was placed on a platform on the level of the choir floor and projected into the Nine Altars. The only subsequent extensions of the church, as far as the plan is concerned, were the north porch, added in the Early English period and destroyed in 1780, and the Revestry on the south side of the choir, a very considerable building with curious chambers at its western end. It was built about 1300 and destroyed in 1802 to make way for some heating apparatus which, however, proved a failure. Its windows were all filled with fine ancient glass which has perished with the other curiosities of that interesting building. The sacrist’s exchequer was added in the time of Prior Wessington (1416-1446), and stood in the angle of the north choir aisle and north transept. It was removed in the time of Charles I, The western towers were Ue Lae carried up in the early years of b ml y Lia the thirteenth century. They were STN Te a, crowned by lofty octagonal timber \ : ATINS spires covered with lead. These survived till the time of the great rebellion. The present battle- ments were added about 1780. The central tower does not seem to have been built in Norman times. Had it been it would pro- bably have survived, as there has been no failure in the piers, such as has caused the destruction of SO many Norman central towers ear Peas 3 m eS — tr —— un in both ancient and modern times. An Early English tower existed, which had, no doubt, a lofty leaden and timber spire, for it was destroyed by fire after being struck by lightning in 1429. The pre- sent fine tower was begun about 1464 and was unfinished in 1474. It was intended tc carry a spire, as there are massive squinches in the angles; and there can be no doubt that both piers and tower have successfully borne the extra load. SS ——————— i: 2 Zed, = Naan r The changes made in the Norman church during the Middle Ages, beyond those enumerated, were the insertion of larger windows and the addition of furniture and tombs aa The Cathedrals of England and Wales. The great window at the north end of the Nine ‘Altars is not an insertion but was erected with the work in which it is placed, though the original design was for a series of lancets as at the south end. The Nine Altars was begun in 1242, but was not finished till about 1280, and as the north end was the last portion executed the work extended into the Geometrical period. In the time of Prior Fosser (1331-1374), the great west window and the north transept window were inserted. Prior Wessington (1416-1446), added the south transept window and the new rose window at the east end, destroyed in 1780. An Early English rose existed, as is shown by the scoynsen arch of that date still remaining. The aisle windows of the choir were insertions of the fourteenth century. Those on the ‘south side have been renewed according to the old designs, those on the north side were most stupidly destroyed, and copies of others in Kent and Lincolnshire substituted. Carter's and Billings’s plates show the former ones. The magnificent open altar screen was erected in 1372. It was made in London and sent by sea in chests to Newcastle and from thence to Durham. Its erection occupied seven masons for a year. The splendid new shrine of St. Cuthbert put up at the same time has entirely gone. Bishop Hatfield’s tomb and the bishop’s throne over it is still the chief ornament of the choir. Much of the painting and gilding upon it can be traced. It .is interesting, though tantalising, to read in the “Rites” of the splendid furniture and ornaments which the Cathedral once contained. Not a fragment of Medieval woodwork remains in the church; the cove of the Jesus altar is at Brance- peth, and some bits of the reredos of the altar of the Virgin in the Galilee are at Croxdale ; everything else has perished. It is still more vexatious to think that the very fine Marian and Jacobean furniture and screens which replaced the older work have been to a great extent destroyed or removed quite recently—eg., the beautiful screen of St. Cuthbert’s shrine in 1844, and the clock-case, which contained a good deal of Medieval work of the time of Prior Castell, in 1845. The font cover escaped by being put into a corner as inconvenient to remove, and has been reinstated. Of the three splendid brass chandeliers which served to light the choir, two were recovered by the action of Canon Greeawell, after having been thrown out as lumber and sold. The third, the large centre one, was used at Ryton Church for a time, “then sold to a music-hall in Newcastle, and ultimately melted” The account of the havoc and destruction wrought at Durham since the blight of “restoration” fell upon it would require a book to itself. Only a few things can be mentioned here. One of the most deplorable was the destruction of all the traceried windows in the nave and transepts, except the great end windows and those which have fortunately escaped in the north transept, and the substitution of imitation Norman. In like manner the amount of ancient stained glass which has perished during the same period is almost incredible. - In 1840, on the’ destruction of the windows in the Nevill chapel, the stained glass in them, which many remember, perished too. Our survey of the monastic buildings must be a brief one, Next the south transept is the slype, apparently contemporary with the transept. It has a good wall arcade of intersecting semi- circular arches. The chapter-house was .of two dates, and was not completed till about 1140. Its apsidal end had had traceried windows inserted in the fourteenth century. This portion was destroyed in 1796 along with the vault over the whole. The west walls remained, and the side walls in part. THREE Carter’s drawings preserved a record of it, and it is GLAZING now being rebuilt more or less on the old lines. QUARRIES, Beyond the chapter-house are some early walls of the time of Walcher, the first Norman bishop. Then an early crypt, with a double-barrel vault, carried by an arcade on square pillars. South of the cloister is a long Early Norman crypt, and various chambers connected with the domestic economy of the house. Above this was the Frater House, now the old library, which has been twice modernised. The west side is occupied by a long vaulted crypt of Early English date, with later insertions and additions. A portion of Norman walling has survived on the west side of it. Above is the new dormitory, a magnificent room of the fifteenth century, with two tiers of windows and a grand open timber roof, which only escaped destruction in 1850 by the architect employed boldly refusing to do the evil work. The kitchen is an octagon with a fine vault, and dates from 1368. The cloister was rebuilt in the time of Bishop Skirlaugh (1388-1405), but all the windows were replaced by the existing ones about 1773. , The basin of the old lavatory still lies in the centre of the garth. The Priory is of various dates, and contains a good chapel of Early English, with a vaulted undercroft. The chapel itself is turned into modern bedrooms. There . 5) wo =), AA = 2, ET, Z i, y I mn on bis, Hib Sd tn RR ER a SS 4 AES a i 4% Ee [EI (REE ji om nk $9 ugh = Son ” HI el 2) ved iE J SRC 2 R/ Ww 4 um fiE A Wap A [1 Nd bi, 0 yl (110 {i % 3 ~auting ion o is also an entrance hall of Prior Castell's time (1494-1510), with a traceried south window and good ancient panelling. One of the bedrooms has a fine ceiling of Medieval woodwork. ; The Abbey gate, to the south-east of the Priory, is also of Castell's time, and has a good vault. The curious buildings to the west of the new dormitory have recently been excavated and opened out under the direction of Canon Greenwell. They contained the latrines and the great prison. Their connexions with the dormitory and also the cellarer’s exchequer were destroyed not many years ago. They may be understood by a reference to- Carter's plan. The plan is taken through the church at the level of the aisle windows, and through the other buildings at the ground level, but the chapter- house and kitchen are taken at a higher level to ) q show some features which do not appear on existing — ; fh = |! 4 2 The Sanctuary Knocker. plans. The Priory is drawn in as well as other buildings from special surveys previously unpublished. 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BI 3 \ L 03 18 - 2 R 3 i | ; = z < Lo O = HR > yt 1 i . N = 22 | x 5 ot ap. 20 AE ia {Hr * ‘Is — yy oo SE in . 0) | : VSSYd aNNOYoYIgNN "5 o ——— ——— il PHOTO-LITHO. SPRACUE & C© 4 & 5 EAST HARDING STREET, FETTER, LANE. E.C “ @he Builder’ @athedral Series. Tees ci ARNT NR TY] vy LAE J ML WINCHESTER. f OTH Winchester and St. Albans lay claim to be the longest Cathedral in England. Taking, however, the plan of St. Albans published in the present series, and the careful measurements taken by Mr. James Neale, and comparing them with the measurements taken expressly for the plan of Winchester, the result is to give the greater length to Winchester. St. Alban’s Cathedral, from the interior of the west wall to the inside face of the east wall of the lady Chapel, is 3521 ft. 1} in, —that of Winchester 526 ft. 6 in. The projection of the porches westward is also greater at Winchester than at St. Albans, but the best idea and fairest result to be obtained is by comparison of their internal lengths. This great length at Win- chester is, as in the case of - St. Albans, one of its chief external features. The long line of roof cannot be considered picturesque in either case, and it is eastward of the tower that the exterior of Winchester assumes more the importance of architectural grouping, and the striking mixture of styles which renders our Medieval buildings so interesting, and which promises so much for variety on reaching the interior. The interior of the presbytery at Winchester is undoubtedly one of the finest architectural sights in England, and in many ways is similar to the arrangement at St. Albans. These two great churches should, indeed, be taken and studied together, and the various ways in which the Norman church was developed and altered, compared. The Norman nave at Winchester was of even greater length than the existing one. Its western front, apparently flanked by towers, was 40 ft. westward of the present porches. The eastern arm was, of course, shorter, and in this case apsidal, as at Peterborough. The form of the early eastern arm is still marked by the crypt, and in one instance in the church above, by abandoned, and the older nave piers were refaced, the Norman core only being retained. The clever way in which the nave was re-designed on the Norman basis, as it were, is an interesting study, and is fully given in Professor Willis’s paper on the Architecture of the Cathedral, to which we refer our readers* With the rebuilding of the eastern bay of the Lady Chapel, the various additions of importance come to an end, and the other developments were in detail rather than in structure in fittings and shrines, and all the accessories which the church of a powerful establishment such as that at Winchester required for the due performance of its religious life. With the exception of portions of the late work in the presbytery, the exterior of Winchester is severe in treatment, and plain wall-space plays an important part in the design. Plain parapets and simply-treated pinnacles characterise the work of the nave. The Norman transepts are externally but little altered, except by the insertion of Decorated windows to give more light to the altars in their eastern aisles; and De Lucy’s work eastwards is, compared with some work of its date, simple in the extreme. Rather more elaboration was bestowed on the design of the new eastern bay of the Lady Chapel by Prior Silkestede and Bishop Courtenay ; but, taken as a whole, Winchester has one of the simplest exteriors for its size and importance in the country. On gaining the interior all is altered, and the treatment, more particularly of the presbytery and its surroundings, is of the most elaborate nature. Unfortunately for its impressive effect, the rood screen has gone, and a modern copy of the choir stall canopies, serving as a choir the remains of a circular column in Bishop Gardiner’s Chantry (see plan). ES Won The tower, like many other Norman structures, fell, and was rebuilt, and 5 pr £ c= IX She the fear of further catastrophe induced the builders to add considerably % : $ og 4 wr Nig to the size of the tower piers, giving them the priority in bulk of the nih 4 by ™= 5 % tower piers of England. In the transepts the theorist will find ample SU de 2. fo ; scope for discussion as to the former arrangement and use of the returned * 4 “oh SR Te] aisle (the same arrangement that excavations discovered to have once 1 4 i i) Lee J existed at Ely), and its treatment above the arcade level. Various . g % | pe | By 3 suggestions have been made, but so far no very satisfactory result has poh 5 | sah] been attained. The central tower and its piers, the transepts, crypt, fragments of the presbytery, and the ruins of the chapter-house on the south, with the slype between, are thus all we have at present visible of the church founded by Walkelyn in 1079, and dedicated July 15, 1093. To this, in succeeding styles, builders have altered and added, the elongation of the presbytery, as in so many other cases, being the chief work of development. 1 ay 7 r= (CN GU ins J AN Jf LL 77 1 3 me IL Al 7 De Lucy (Bishop, 1189-1204) commenced rebuilding the presbytery, ww 18 AN iE 125 ei ig his work being eastward of the Norman building (leaving the latter “ae Eon ET 1 wil NIX NT aeia Ris le i i vi 4 . : . A 3 Hr AE ETH Aha RE } / OA 4 x thus undisturbed as long as was practicable), and in Decorated times (WEHTRERITHIEITA Vr 0 4 i ih. iorielaty i bbs = A 3 4 nz Z NA A KE the presbytery itself was rebuilt, the Norman work (except the crypt) 1 fe WE being removed, and the new work planned, not to follow the spacing of i : : es . Vo = the Norman bays, but yet so designed that it kept in its form a certain WW A = BZ, record of the earlier church. Hence the bending inwards of the bay EE a between the great altar screen and the east window. De Lucy’s work = = Lo J = EE rendered some such scheme desirable, as his central alley was made =, Deangry, a7 (a thedral a narrower than that of the presbytery. What he would have done had i his work extended to the remodelling of the Norman work we can only conjecture, but probably some arrangement, such as at Salisbury, with a triple or double arch behind the altar, was in his mind. We can scarcely, however, regret, that the arrangement as it exists was carried out. The result is far more picturesque and less stiff than the rectangular lines would have been, and gives a character to the east end of the church, both externally and internally, which it would have otherwise lacked. The next and the last works on any great scale were the rebuilding of the west end of the nave by Bishop Edington (1345-1366), and the entire transformation of the nave by the great William of Wykeham (1367-1404). screen, is the only object which breaks the view between the west end and the great reredos. In this respect the interior of Winchester lacks the fine effect of St. Albans, St. David's, and the Priory of Christchurch, in Hampshire, where the eye is led gradually from one feature to another, tending to increase in the imagination the idea of great length, which a perfectly open vista, such as is here and at Salisbury, utterly destroys. Passing up the nave, if we cannot admire all the details of Wykeham’s work, we can but bear tribute to the conception of the whole. Its lofty arcades give no space for The first of these works entailed the removal of the Norman front, and, as we see by the plan, the western arm was shortened. Instead of two flanking towers, as at St. Albans, or one great central one as at Ely (as the Norman foundations seem to suggest), the front now assumed a type more in character perhaps with a great parish church than a cathedral. The church at Edington, in Wiltshire, is, to our thinking, a finer and more successful conception, the west window and the treatment below it at Winchester being somewhat out of scale with the rest of the building. Bishop Edington also began remodelling the nave; and the two west bays of the north aisle, and the west bay on the south, are in a great measure his work. The second great work, that of Wykeham, was far larger in scale and grander in conception. He appears, according to the late Professor Willis (whose carefully-dated block plan we have taken as a guide for the various dates on the large ground plan here given), to have kept, in the eight columns on the south side of the nave, the original masonry of the Norman piers, their contour being altered to suit the style—Perpendicular— of the day. On account of labour entailed or expense, the scheme was apparently triforium, and the proportion between the clearstory and the arcade is somewhat unsatisfactory. If we except the vaulted roof, and the chantry of the great Wykeham himself, and his predecessor Edington, this portion of the church may, with reason, be considered simple in its character, and bears distinct evidence of having been grafted on earlier work. The Norman columns still remain in one or two places towards the east end of the nave arcade (see plan), but with the exception of these and of the Norman masonry before alluded to as existing in the piers on the south, and, perhaps, portions of the aisle walls, all is transformed to Perpendicular detail. The tower arches and piers, and the transepts, remain Norman; the eastern portion is transformed into a mixture of Early English, Decorated, and Perpendicular, as before described. The central and chief feature of the presbytery is now, as it always was, the reredos. It has recently been restored throughout, and, like that at St. Albans, has had the niches for its statuary refilled. Of the three screens of the period,—St. Albans; St. Saviour’, * The Journal of the Archaeological Institute ; Winchester Meeting, 1845. 25 | The Cathedrals of England and Wales. Southwark ; and Winchester,—Winchester bears the palm for delicacy of carving and elaboration in design. Immediately behind the reredos, and approached from the sanctuary by a door on each side of the altar, is the space known as the feretory, with a raised platform approached by four steps on either side, opposite the door in the reredos. Tt is absolutely devoid of decoration inside, but its east wall is richly ornamented with canopied niches of Decorated date, once containing a long series of statues of kings and queens, whose names are still partly legible below the pedestals. The raised platform before mentioned supports what has been suggested to be the earlier high altar before the reredos was built. Its appearance and position certainly suggest something of the kind, but there seems to be no direct evidence that this was so. It is now used as a museum and receptacle for the carved work that has been found at various times about the Cathedral, amongst which are some very delicately-moulded heads and cresting, besides a portion of a painted chest with armorial bearings and figure subjects. ToT U YY TT he AL WA LE SW erm NEL Na A ZA ts ANT J el | GT 7a I ~N al 1d 14 tas = j | ) Yl jl is i nie —_—— — —_———— 4 = / Ye: yi TN 1A in er oe ET AHL MAL below, and lighted by pairs of lancets above, with the rear arches carried on groups of detached shafts. On either side of the central alley are the chantries of William of Waynflete and Cardinal Beaufort,—north and south respectively,—Perpendicular structures with elaborate canopies and vaulting, but neither of them remarkable for refinement of detail. Taken together, however, with Fox’s and Gardiner’s chantries and the smaller monuments, they make an imposing group, backed by the darker lines of the woodwork in Langton’s and the Lady Chapel. Between the shrines is a good effigy of a cross-legged knight with shield, bearing arms, in fine preservation. There are also one or two earlier memorials of bishops, William of Basynge, and another unknown. The floor here is laid with old tiles, mostly foliage patterns. The Lady Chapel itself is partly Early English and partly (the eastern of the two bays) Perpendicular. It retains still traces of a series of frescoes on the walls of the later portion dealing with scenes from the life of the Virgin, more remarkable for their curious,—and sometimes bad,—drawing, than 2 rer In SI) JUL du VO MATL GN ek we gi em HL fe bi HT i = \ IE am =A Sak Aen hee ZEN) Gea =u Se SENNA A = \ TTR @ « ® WN d S 8 EAS y A] {§ J i f : i | A 1 | . i I i 1 Hi \ oy | Ce | U Mir Hi | i | i lil ILL = sala 18 midi | SES Rw 7 \ 19.3} | g 9 Spee -—— FOOSE RERE IE =; $0 f ME ———— Ls TRE AON 7 a =) (AE I= ’ | = 2 =~ {ig = EE BSE Tie i —| = ——— > — = eZ z ml =" = a = hes = gl Eg el —~ Flanking the feretory are the shrines of Bishops Gardiner and Fox,—the former on the north side, the latter on the south. Fox's chantry is the most beautiful in its detail of all the chantries in the Cathedral. It was built at a time when the Renaissance was just beginning to affect the architecture of the day, and there is a freedom about some of the carving and detail which is very charming. Over the altar was a small reredos in a sunk panel (now empty), and over this a band of angels holding shields bearing the emblems of the Passion. These retain their colour in a very perfect state. At the back was a little chamber with a cupboard. Bishop Gardiner’s chantry is a much later structure, curiously retaining the general forms of Gothic with the details and mouldings of the Renaissance. In this chantry, below the general level of its floor, is now visible the base of one of the columns which supported the Norman apse (see ante), interesting as being the only remains of the eastern arm which we have above the crypt level. Passing eastward of this feretory, we come to De Lucy’s work, simply arcaded TI ea NUE rll ~ SERRE ! [TTT Wii) End o TY - | By waned y Ces for any artistic value. At the entrance from De Lucy's aisles is the screen, and the stalls in the chapel remain and are very good. Bishop Langton’s chapel lies on the south side of the Lady Chapel and is a continuation of De Lucy's aisle, the walls indeed are his, and the early vaulting shafts remain, but the vaulting and the fittings and screen are all late in date; very beautiful in detail, especially in the execution of the heraldry which appears on the entrance door, and the back of the stallwork. The chapel on the north side of the Lady Chapel,—known as the Guardian Angel's chapel,—contains nothing of much interest beyond the paintings on the early vaulting (which here remains) and one side of a Decorated tomb built into the east wall. Space does not permit of a detailed description of all the points of interest in the building, but attention may be drawn to the following :—the ironwork on Wykeham’s chantry ; the Norman font in the nave, with its curious carvings ; a later Renaissance monument on the north side of the sanctuary ; the fine Decorated stallwork with misereres, and some later fronts with excellently designed panels; the coped tomb in the choir, The Cathedrals of England and Wales. | i” said to be that of William Rufus, and the gallery known as the pdb Sein 5 “ Minstrels’ Gallery” over the western bay of the north aisle of the / / Zr 7 a Cit Sey AAU Hl mi rh SEER TY hin gan re nave. There is, besides this, a mine of decorative work in the various [it —= — i) ——— reapers : % : 0 HS Si ey | x shrines and Fox's screens enclosing the presbytery, and on the curious NN i a | little painted chests over them, said to contain the bones of the Saxon kings; and fine remains of glass in very perfect’ condition in the clearstory windows of the sanctuary. The whole of the choir and presbytery obtains much additional dignity from being considerably raised above the nave. There are eight steps from the nave to the choir screen, and eleven more to the altar, giving a total of nineteen in all. The transepts are on a level with the nave, long flights of steps leading from them to the aisles of the presbytery. It is almost needless to add that this raising of the eastern Te ft : \ = 3 pl axel a ~~ Te ll tl \- 4 ' : RY # ! NA ! 2 Ty oh, vt > Lo 205 ! Jz 6 “x. J 20 \ Ci DI a Oc ASD FEE : it ad Te eT eS Dooie. bee = {f c = ol ‘ , neh | A= A. Base of column of B. Chapel of the 2 N HE he Norman Apse_ Hol epuichre. be hy ORTH 54 2% ewaining visible 1m Note = The columns of south arcade of Nave shewn (with fresco painfings) Lu eg] \ Bishop Gardiners Chany. black are hose given ty Prof Willis as being f ie Legis Norman MABE 7 roy hou t— the mouldings Fg = ITE merely remodelted by Bishop WE of Wykeham. Nxtinls Nel THT TRANSEPT, H sae’ a ara / ow.) ou. sds 0 ; ora 1 } | 1 \Dlfesg of \ 1 hy ? NN Doorway (blode Pour fo. orman C Xx. AA 0 i ¢ 20> : LT i : er 0 rN > "0g i | SEE Ll NY, zo 1-5 Sy eg ,y NN A sa | £828 vo! Ln A) AR ri ~ Jon ae RN oan 1-7 S seid On 19,74 4 : I “ 7 = ol V2 7, iy ’ I ote J AT RS MN Te 20 Wi | { iT J ; & 1 7} i a . 7 ' 1 or . "y . ih Y. yo = ers 4 Yond N:4- Sri fh AN gt FS Yep SB Rd Teel! JON Seep yf i 1th y 73-7 f He rer hy od NE aN a NRT As SAN cP Als Run A8T ris Natt, £72 db NR Sy, FA IN BNON AFR ATS IAN eS fp al aren mi nium [gpa ' A SNE a AUN A MAAK YN NSH TY rf EON INK A ot \ / i Wd | x? } LEE § A we, : oh yr Jian viv ny : 12S SE SA Lia on ARS Ln A Nal Tha Sey | vl nr YS 4} Sey ao Ri ; eto. 1) OE EAA 1 L > x 0d x A vf kA ‘hilo io) nN ! LY > A Tn: / wos) well ¥ ! / NK Ne NEY oy y body his! | I RP BESBY NTE 3) NN ! \ X [| / \ A050 a / \ ? 2% rl Ye th 47! LA >i > oy Ay Los WAAL ORAL POR A N al Ny Ar Tk LA 4 + x h yasd AE x ya: 4! i ! NE Lyd A 7 | ¢ Levee o£ loge ON i 7 pela Slp 7 Ee r=ge Py yh Pl-lnt ®t) --INEN Ja \ Za +L AS 2 ys ALL hy Wy 2 NI 2 is Aa SY rg a | 5 TAY EE = pA = | TR TR SN 7 ps Baal | i | Pet ‘ - ] 5 FTO : HA FR rr Cl 1 I rope! 1 ] / 4 Rl ee - ~ Sole on hs : SK a ie TN J es As ! 2 il hs Wh 7 is pit Ty N ir Tf - | od iby li," - pu eH. Re Th ‘ FEN .. : ’ Fg REGAN RFS Ng ay) ERE VR ER TS 3) ba = fy NAS ae INU i Nz B90. 0. \ VS Yad asa sl RY. \ Xv" ? i N\ = Osa =e eu y . DN S.Poor: (hlocked) Ne T= SOUTH Fc i Tl N | | . N, ' ' ih \ ; te ASIN | ba Al 3 Note: Thewall dreading below Ihe “UN 21. Ih Te lh =| WIndows 1 Shewh or [he Soulhb JANN wes aly gE side of Des Presymry -on ey 1 the north Side plan 15 lakeh at” The BS 4 hy , n window level. hn Fu dv A IE TRANSEPT'] i 4 ih I | (HAPTER ball Oo Se Of He Cloister guadrangle. LL s ls -——— a " die Ee gid -—— PR. TEE TY rE 2 Reference to Dates 7 hy Sx a Y ! Ne Zo | Loh oy Zo 1 N Room. | hz = v, ot ST 2S ! in Norman ~ / : X Ng Monuments. 3 : EJ Early English I. Chapel Tombs of Bishop Thos.Langlcn (1493-1501). = iid 2. Reston Earl of Porfland. 3. Porfion ofa fomb in wall. 4. EFFIQ in a Yesica. & Monument o Mason family (1609) 6. EFfFiQy of a Bishop. 7. Chanlry &. Tomb of Bishop WT Wayne Flee (1447-1436). 3 “ « « Cardinal Beaufort (1404 -1447). 9. Plan Tomb (coffin shaped). lo. EFfigy of a knight” Il. Prior WE de Pbasynge. 12. Bishop Sumrer (1827-1874). 3. Part-of an effigy. ~ 14. Sir Jobn Clobery 1687. 15. Chanlry Chapel of Bishop Stephen Gardiner (1531-1555) 16, vi. aw YE (ia) z Richard son of WT? Ihe Conqueror: 18: Bishop yg) - Resfored. 10. Bishop John de FPonfissara. Plan of the Norman West 20. King William Rufus. Front shewing the foundations 21. Bishop Wilberforce. discovered (fromWillia). 22. Chanlty 8. Tomb of Bishop Edingfon. rc Be © William of Wykeham. #85) Decorated. V2) Perpendicular (Edingfens work). RY pire (Wkebams 8.subsequent works). Site of Norman Chaplér House. aati / Pore 0. ef IFY2. ““« @he Builder’ Cathedral Zrevies. PHOTO-LITHO. SPRAGUE & C© 4 & 5 EAST HARDING STREET, FETTER LANL, E.C. ST. ASAPH. =R HE Cathedral of St. Asaph, the smallest of the Cathedrals of England and Wales, is finely situated on rising ground between the rivers Clwyd and Elwy. Of the four Welsh Cathedrals it is the only one built on an elevated site, and it derives a great deal of extra dignity from its position. No traces of an early building are to be found here, and the fabric as it stands now is, with the exception of the modern eastern arm, entirely the work of the Decorated period, begun by Bishop Anian at the end of the thirteenth century, and probably completed in the early half of the fourteenth century. The early church was destroyed in 1282, and the only vestiges we have were found during the rebuilding of the chancel, and consisted of portions of the side walls and window jambs. They were of thirteeth-century date, and it is probable that de-lis, a lion rampant; and placed diagonally, passing under the shield, is a sword. The lower part of the slab is partially occupied by a hare chased by a hound, incised in a somewhat rude, if vigorous style. In the south transept is a memorial of far higher artistic excellence, a figure of a bishop, finely executed, lying under a trefoiled cusped canopy flanked by pinnacles. It is somewhat remarkable in having had four angels, two with censors above the canopy, and two others guarding the pillow. The right hand of the effigy was held up in benediction, the left holding the crozier, but hands, crozier, and the heads and arms of the angels have been broken away. It is curious that the face has remained in such perfect condition, considering the evidences of past injury which the monument shows. It is generally supposed to WN on Anian’s return to his See, after his excom- J munication, his rebuilding did not include the FF choir, but commenced at the transepts and tower. k It will be noticed that the eastern arm is not Fier of Nave central where it abuts on the tower, the distance between the north jamb of the eastern tower arch being less than that on the south. The centre of the east window, is, however, central with the tower arch, so that but little deflection is noticeable in the interior. A chapter-house stood on the north side of the choir, and a ; / sdoor which probably led to it was found during the restoration. This building would correspond in position with the north chapel at Bangor (now used as chapter-room and library), and had an upper room. The general plan of Anian’s church was extremely simple; aisleless transepts, a central tower, and a nave of five bays with aisles. The arches throughout have continuous imposts, the moulding of the column being con- tinued round the arches without a cap. The mouldings throughout are of the simplest, merely consisting of a series of chamfered orders relieved with a wave moulding. This applies to tower arches, nave arches, and western doorway. > a — 1 8 » TT So MN WI SE \ Z TIT MIN i The window tracery is reticulated in pattern in the transepts, with a more MN JI arAsaphs Cathdt = — Cet Eets elaborate triplet under an enclosing arch, at the west end. The side windows of the aisle are modern, -but those at the west end are old, of two lights, AN » LMT he iii ihn = antiow = ] LH mH in C= : he Fi - with a quatrefoil in the head. Over the arcade a C= 3 . : : EE is a clearstory of square windows foliated, one = Th WN window in each bay; old on the south, modern copies on the north. On examining them inside, it will be seen that the windows were originally of larger dimensions, the old marks of the sill | being clearly visible (see sketch). In the north = ZA transept was an altar, in the south transept, which : 2 Lf ps ) was the Lady Chapel, there ‘were two. The north |) i od dl J Wa transept is now used partly as an organ-chamber : NR 1.olab in NF Transept™ and choir vestry, and ‘the south is devoted to Ey ASGINTS Cathedral 2.Effigy in or onset” the uses of a chapter-house and library. In the - centre rises the great central tower,—a massive bit of work, 40 ft. square, and, with the exception of the window tracery and the battlemented parapet, totally devoid of ornament. north-east angle. I oN A A oi I] ee — i CE L CUI = n FTV Thr TIT \ J {im © No 0» Ti V bid |] TEAR = i i di (0 represent either Bishop Anian or Llewelyn-ap-Ynyr (de Bromfield, his successor), and the details of the monument may very well be ascribed to that date. It is now (1892) in an erect position against the wall in the north-west corner of the south transept, where shown on plan; a good position for seeing it and for safety, but as a recumbent effigy its erect position is a little out of keeping. It should be restored to the choir, in which there is ample space. The stalls are good late Perpendicular work of Bishop Redman’s time (1471-1495) and have been added to and restored, together with a new throne and pulpit. The font retains portions of the old bowl, but is otherwise modern. The stair turret is placed at the Almost the only details of interest in the interior of the church are two monuments, of which we here give carefully-measured drawings. They were formerly on either side of the choir, near the east end, but were removed to the transepts when the eastern arm was rebuilt by Sir G. G. Scott. The first, a coffin-shaped slab, measuring over 7 ft. in length and 14 in. in thickness, lies in the north-east corner of the north transept. At the upper end is a shield bearing the arms semée of fleurs- : a a SLs > | | | i PLATE XXXI. > ¢ / - > 5 - * INK-PHOTO SPRAGUE & C° ee ope HARDING STREET, FETTER LANE, E.C. S. ASAPH : FROM THE NORTH-W - DRAWN BY MR. ROLAND W. PAUL. : } CC The Builder’ Cathedral Series. . = . . » ‘« @he Builder’ Cathedral Fevies. Monumenis. L Incised Sg 2. Luxmoore Morumenl™ 1850. 3. EFFigy of Bishop (?Aniani). 4 Dea” Shipley 1826. : 5S Bishop Bartow (1670-1680). ST AsarPH's CATHEDRAL. GROUND PLAN. Ip ; Q 10 20 3p 40 SpFeet” Scale. Sire of Chapter House. & Organ (with Vesky under). PRESBYTERY. SOUTH TRANSEPT. (Now used as Chapter House] Decorated (1234 -1352). MWY Modern. (1867-3). { ¥aeciloftul Mens of bets 1692. f / { | i \ \ Ty | PHOTO-LITHO. SPRAGUE & C?° 4 & 5 EAST HARDING STREET, FETTER LANE, EC oy Ge oy eS i: N 2 i ) rt , ¢ 4 ve bis ie n a din Ta pi Fig AS F a. A PE - . _ AER, CF —————— bs A ei on sat nn Sy i as X rE A ij Nh > ’ 5 8 mn ' y . ’ or ns oh 5 A ST TR I RTE ov ” Caged me ’ x a a HR A ual dlada SE dr Ja “BR + JN EE ECE EET CTT R FREE FESELES 4 * + Ww 1 i y p 3