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Title: The Cathedrals of Great Britain: Their History and Architecture

Author: P. H. Ditchfield

Illustrator: H. Crickmore
Helen M. James
Herbert Railton
James Ayton Symington

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*** START OF THE PROJECT GUTENBERG EBOOK THE
CATHEDRALS OF GREAT BRITAIN: THEIR HISTORY AND
ARCHITECTURE ***

THE CATHEDRALS
OF

GREAT BRITAIN

York Minster.

THE CATHEDRALS
OF

GREAT BRITAIN

THEIR HISTORY AND ARCHITECTURE

BY

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

Fellow of the Royal Historical Society, Rector of Barkham
WITH NUMEROUS ILLUSTRATIONS
BY
HERBERT RAILTON, J.A. SYMINGTON, H.M. JAMES,
H. CRICKMORE, ETC.
1902
London: J.M. DENT & COMPANY
Philadelphia: J.B. LIPPINCOTT COY.

All Rights Reserved

PREFACE
In this volume I have attempted to give an architectural description of all
the cathedral churches of England, Wales, and Scotland, together with a
brief history of each see. In order to include any adequate account of each
church and bishopric in one volume of portable size, which may be of use
to visitors in their travels, much compression has been necessary, but it is
hoped that nothing of importance has been omitted which might be useful
to those who would read aright the architectural history of our great
churches. On account of their immense importance in the history of Gothic
art, it has been thought well to include in this volume some account of the
churches of Westminster and Beverley. At the close of each history of a
cathedral will be found a record of the principal building dates and
dimensions, and also a brief account of the chief places and churches of
interest in the city or neighbourhood which it is advisable to visit.
I desire to express my grateful thanks to all who have kindly assisted in
the preparation of this work, to the deans and canons-in-residence who have
often guided me by their counsel during my study of their cathedrals, and
also to the vergers who have readily afforded me much valuable help. More
especially do I wish to thank the Deans of Lincoln, Ely, Chester and
Gloucester, Canon Tristram of Durham, Bishop Anson of Lichfield, and
Archdeacon Richardson of Southwell, for their courtesy and kindly interest.
I have also to record my obligations to the work of many previous writers.
The works of Freeman, Rickman, Britton, Willis, Winkle, and the Diocesan
histories published by S.P.C.K. have been consulted, as well as the special
monographs on each cathedral, which are too numerous to mention. Prior's
Gothic Art has been of the greatest possible assistance, Addis's Scottish
Cathedrals and Abbeys, and also the very valuable and indispensable
handbooks published by the late Mr. John Murray. I have found the
volumes of Bell's Cathedral Series most useful when visiting the buildings
of which they treat, and Messrs. Isbister's volumes written by the deans of
our cathedrals contain picturesque and attractive accounts of the historic
buildings. To all these works I desire to acknowledge my great
indebtedness. And lastly I have to record my grateful thanks to the artists

who have enriched these pages with their charming drawings, and to Mr.
Dent, the publisher of this work, for much encouragement, valuable advice,
and able direction, without which this volume would have lacked whatever
of merit it may possess.
P.H. Ditchfield.
Barkham Rectory,
September 8, 1902.

CONTENTS
PAGE
The Architecture of the Cathedrals of Great
Britain 1
St. Paul's 8
Westminster 35
Rochester 57
Canterbury 68
Winchester 85
Chichester 96
Salisbury 108
Oxford 125
Bristol 138
Wells 149
Bath 161
Exeter 164
Truro 177
Gloucester 178
Hereford 204
Worcester 216
Lichfield 230
Chester 248
Liverpool 263
Manchester 264
Carlisle 272
Newcastle 282
Durham 283
Ripon 297
York 309
Beverley 327
Wakefield 333

Lincoln 337
Southwell 351
Peterborough 360
Ely 377
Norwich 393
St. Alban's 409
St. Asaph's 423
Bangor 426
Llandaff 429
St. David's 432
Glasgow 439
Iona 441
Brechin 442
Aberdeen 443
Dunblane 444
Dunkeld 445
St. Andrew's 446
St. Giles', Edinburgh 447
Kirkwall 448
Glossary of Architectural Terms 450

LIST OF ILLUSTRATIONS
PAGE
York Minster Frontispiece
St. Paul's from Cheapside 11
The West Front 23
The Nave from the Choir 28
Woodwork, South Choir Aisle 29
Johnson's Statue 31
Dean's Yard, Westminster, in 1730 37
The North Front 40
Poets' Corner 43
Henry V.'s Chantry 47
Interior from Chapel of St. John 51
Rochester Cathedral 59
Canterbury Cathedral 71
Tomb of the Black Prince 78
The Crypt 80
Winchester Cathedral 89
West Front 93
Chichester Cathedral 99
The Presbytery 105
Salisbury Cathedral 111
Strengthening Arches, East Transepts 116
Oxford Cathedral 129
The Interior 133
Bristol Cathedral, the Central Tower 143
Wells Cathedral 153
Entrance to Crypt 159
Exeter Cathedral 165
Detail of Minstrels' Gallery 170
Gloucester Cathedral, The Deanery 179

From S.E. 183
Nave Pillars from the West 187
The Choir, looking East 191
The Lady Chapel 195
Carrel in South Cloister 199
Hereford Cathedral from the Wye 207
The Cantelupe Shrine 211
Worcester Cathedral from the Severn 219
Lichfield Cathedral, Distant View of Exterior 235
St. Oswald's Gate, Chester Cathedral 249
Chester Cathedral 253
The Choir 257
Shrine of St. Werburgh 261
Carlisle Cathedral from S.E. 275
Durham Cathedral 285
The Galilee Chapel 290
The Bishop's Throne 293
Ripon Cathedral from North 299
The Great Buttresses 302
The Apse 303
York Cathedral—Tomb of Archbishop Walter
de Grey 311
Chapter House 313
North Aisle of Choir 317
The Ladye Chapel 321
The Crypt 323
Beverley Minster, the West Front 328
Beverley Minster 329
Percy Shrine 332
Wakefield Cathedral 334
Chantry Chapel on Wakefield Bridge 335
Lincoln Cathedral Towers and Potter Gate 338
Lincoln Cathedral and Exchequer Gate 342
The Angel Choir 347

Southwell Central Tower and N. Transept 355
Peterborough Cathedral 365
North-west Transept 370
Ely Cathedral—Arm of Abbot's Chair 378
West Tower from Deanery Gardens 379
The Assumption of the Blessed Virgin
Mary, Lady Chapel 381
Ely Cathedral from South-east 383
The Octagon and Lantern from North-
west 384
St. Catherine's Chapel 386
In South Aisle of Nave looking to North
Transept 387
Carrel in Cloister 388
Norwich Cathedral 397
A Bay, North Side of Nave 401
Ancient Bishop's Throne 403
Bridge, North Aisle of Presbytery 404
St. Alban's Cathedral 411

LIST OF PLANS
PAGE
St. Paul's Cathedral 34
Westminster Abbey 56
Canterbury Cathedral 83
Winchester Cathedral 95
Salisbury Cathedral 124
Wells Cathedral 163
Gloucester Cathedral 203
Worcester Cathedral 229
Durham Cathedral 296
York Cathedral 326
Lincoln Cathedral 350
Peterborough Cathedral 376
Ely Cathedral 392
Norwich Cathedral 408

Cathedrals of Great Britain

THE ARCHITECTURE OF THE CATHEDRALS
OF GREAT BRITAIN

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

For the convenience of classification, mediæval architecture has been
divided into four distinct styles or periods, and we must again chronicle the
oft-told story of their varied peculiarities.
I. The Norman style commenced in the reign of Edward the Confessor,
whose work at Westminster (the sub-structure of the dormitory and the
lower part of the walls of the refectory with the ornamental arcade) is
declared to be the earliest example of the Norman style in England. This
style prevailed to the time of Henry II., when a period of transition set in,
and the style began to approximate to that of the succeeding century. The
main characteristics of the Norman style are—cylindrical massive piers,
round-headed arches, a great variety of mouldings such as zigzag, billet,
double-cone, pellet, lozenge, beak-head, etc., small and narrow windows
splayed only on the inside, buttresses slightly projecting from the wall.
Some of the best examples of this style are the naves of Ely, Gloucester,
Durham, and much Norman work is seen at Winchester, Exeter, Canterbury,
Chester, Peterborough, Norwich, Rochester, Chichester, Oxford, Worcester,
Wells and Hereford.
II. The Early English style began with the thirteenth century, in the reign
of King John, the choir of Lincoln being the earliest example. Wearied with
the Romanesque uncouth details of Norman art, the English masons were
feeling after and finding a more excellent way, and discovered the beauties
of Gothic architecture. This style flourished until the time of Edward I.;
during his reign another period of transition set in, and this style gradually
developed into the Decorated.
Its main characteristics are lighter and more elegant forms of
construction and decoration, pointed arches, often shaped like a surgeon's
lancet, whence they derive their name, deeply undercut mouldings, dog-
tooth ornament, piers formed of columns with detached shafts united under
one capital, and bound together by a band, bell-shaped capitals, stiff-leaved
foliage, trefoiled arches, plate-tracery. Early English work is seen in the
choir of Lincoln, Worcester, Chichester, Salisbury, Exeter, Wells, Rochester,
York (south transept), Southwell, Ripon, Ely, Peterborough, Durham ("nine
altars"), Glasgow.

III. The Decorated style commenced in the fourteenth century, or a few
years earlier, reached its zenith before the middle of the century, and ended
with the reign of the third Edward. The period of transition between this
style and the last is perhaps the era of the greatest beauty of English art. The
characteristics of the style are, more elaborateness of detail and ornament,
much larger windows with beautiful and complex tracery, heavier
buttresses, piers with closely-joined shafts, not detached as before,
sculpture closely imitating natural foliage, mouldings less deeply cut, the
ball-flower ornament. Decorated work is very plentiful, and may be seen in
the chapter-houses of Wells, Norwich, Winchester, Canterbury, also at York,
Lichfield, Exeter, Carlisle, Lincoln, Southwell, and elsewhere. A period of
transition again followed during the last half of the fourteenth century,
during which the style developed into the Perpendicular.
IV. The Perpendicular style prevailed during the fifteenth century and
continued until the reign of Henry VIII., when the mediæval period ceased.
This style is, as we have said, peculiar to England. In Scotland, where
French influence was great, there are many examples of the Flamboyant
style, which prevailed in France, and was scarcely known in England. This
style is characterised by more elaborate and richer work, increased use of
ornament and panelled decoration, peculiar window tracery (the mullions
being carried straight up through the head of the window, while smaller
mullions spring from the heads of the principal lights), much larger
windows, depressed arches (Tudor arch), much heavier buttresses,
mouldings carried up the piers and arches without any break or capital,
cavetto (a wide and rather shallow variety), ogee, bowtell mouldings, the
rose ornament, Tudor flower. The extensive use of panelling is always the
hall-mark of the Perpendicular period. The choir of Gloucester is the
earliest known example of this style, and King's College, Cambridge, St.
George's Chapel, Windsor, and Henry VII.'s Chapel at Westminster, are the
most perfect specimens of Perpendicular art.
Then followed the Renaissance period, when classical and Roman
features were mingled with the latest English style. There was an attempt to
revive the Gothic style in the time of James I., but the foreign influence was
too strong, and not till the close of the eighteenth century did this revival
take place. The love of Gothic art had never been quite extinguished in this
country, and to the English people belongs the honour of restoring to its

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

Our inspection of the exterior begins first by trying to obtain a good
general view of the building. We notice the remains of the walls and gates
which guarded the close, or precincts of the cathedral. Within these walls
the bishop's power was supreme. If sanctuary was claimed by a fugitive
from justice, here he was safe; and the clergy and the serving-men were free
from the ordinary law, and could be tried only by the ecclesiastics.
Then we notice the west front, usually a fine screen of stone-work,
wherein are enshrined in niches weather-worn statues telling of the men of
old who had done well in their days for their Church and realm.
Passing to the north we see the central tower, possibly Norman as high as
the roof, with a superstructure of later times. The pitch of the roof may have
been altered in later times from a high pitch to a flat one, and the marks of
the old roof may often be seen on the tower walls. Just below the eaves is
the range of clerestory windows. Flying buttresses connecting the buttresses
of the outer wall with those of the inner are frequent and produce a very
graceful effect. Niches for statues are often carved upon the buttresses.
Curious grotesquely-carved heads, called gargoyles, look down upon us
from the gutters of the roof. The tracery of the windows is no indication of
the age of the walls, as they have frequently been inserted in place of others
of an older period. The porch is a large structure, and sometimes has a
chamber, called a parvise, over it. The object of this chamber cannot always
be determined. Sometimes it was the abode of the sacristan, and
occasionally it was set apart for the use of an anchorite or recluse. The
monastic buildings are usually on the south side in Benedictine monasteries,
but sometimes on account of the nature of the ground they are on the north.
On entering the church we view the nave, which is usually in three
storeys—the main arcade, the triforium, which opens into a gallery or
passage, and the clerestory. Sometimes the choir occupies two bays of the
nave, but usually begins with the screen placed on the east side of the
central tower. This screen was formerly the rood-screen, and a large crucifix
stood on it; but at the Reformation all roods were destroyed, and sometimes
the organ stands in its place.
Entering the choir we see before us the high altar with a fine reredos
behind it, so called from the French L'arrière-dos, meaning "embroidered

hangings." On the south of this is the piscina, consisting of a hollow basin
with a stone-drain, wherein the priest cleansed the sacred vessels after using
them in the Holy Eucharist. On the same side are the sedilia, or stone seats
for the clergy, frequently with richly-carved canopies. Then there are the
beautifully-carved stalls with fine tabernacle work, and the sub-sellæ or
misereres (French, miséricorde) with their quaint carvings. It is a popular
error, gravely perpetrated by some cathedral vergers and others, to suppose
these misereres were a kind of ingenious trap for sleepy monks, who, when
the heavy seat fell down with a loud bang, were detected in slumber and
forced to do penance. They were so placed as a concession to human
weakness in order that the monks or canons might lean against them during
the long mediæval services, when sitting was not allowed. The eastern
portion of the choir is called the presbytery.
We pass to the north aisle of the choir and proceed to the ambulatory,
processional path, or retro-choir. Here, at the back of the altar, was the chief
shrine, where the relics of some great saint were preserved under a
gorgeous cover decorated with gold and silver and precious jewels, to
which crowds of pilgrims flocked, and there prayed and gazed upon the
wondrous shrine, and made their offerings. The steps and pavement leading
to the shrine often still show by their worn condition the evidence of the
tread of countless numbers of pilgrims. Near the shrine was a watching
chamber, where a monk stayed to guard the shrine and its treasures.
Eastward of the ambulatory is usually the Lady Chapel, where the altar of
the Virgin stood; and here, and in other parts of the church, are numerous
chantry chapels, sometimes built on to the church, or in the church itself,
containing effigies of the founders and altar tombs, where masses were said
by specially-endowed chantry priests for the repose of the souls of the
deceased and their families. Some effigies of knights and warriors have
their legs crossed. It is another popular error to suppose that this fashion of
representing the deceased had anything to do with the Crusades. Beneath
some portion of the church we find a crypt with the remains of numerous
altars, where masses were said for the souls of those who lie buried here.
A door on the south side of the church leads to the cloister court;
immediately on the left as we traverse the east walk we see the slype or
passage leading to the monks' cemetery. Another door from this walk leads

to the chapter-house, where the monks assembled daily to arrange the
affairs of the monastery, enforce its discipline, assign the duties of the day
and transact other business. On the same side of the cloister was the
dormitory; the refectory was on the south; the uses of the buildings on the
west side varied in different houses.
As we see our cathedrals now, the view that meets us differs much from
that which would have greeted us in mediæval times. Then all was ablaze
with colours. Through the beautiful ancient glass the light gleamed on tints
of gorgeous hues, on rich tapestries and hangings, on walls bedight with
paintings, and every monument, pier and capital were aglow with coloured
decorations. We have lost much, but still much remains. At the Reformation
the avaricious courtiers of Henry VIII. plundered our sacred shrines, and
carried off under the plea of banishing superstition vast stores of costly
plate and jewels, tapestry and hangings. In the Civil War time riotous
fanatical soldiery wrought havoc everywhere, hacking beautifully-carved
tombs and canopies, destroying brasses, and mutilating all that they could
find. Ages of neglect have also left their marks upon our churches; and
above all, the hand of the ignorant and injudicious "restorer" has fallen
heavily on these legacies of Gothic art, destroying much that was of
singular beauty, and replacing it by the miserable productions of early
nineteenth-century fabrication.
But in spite of all the evils that have been wrought, in spite of Puritan
iconoclasm and Reformation violence, in spite of natural decay, eighteenth-
century lethargy, and the intemperate zeal of unwise and tasteless modern
restorers, our cathedrals still preserve much of their ancient beauty and
attractiveness. They are standing witnesses to the greatness of the masons
and builders who fashioned and perfected our English Gothic art, "an art
that was created here in this land according to our native instincts, and in
accord with the sober dress of our skies and the simple pleasantness of our
scenery."[1] A man cannot fail to love that English art, whether he has been
born amongst it like ourselves, or has come wonderingly on its simplicity
from all the grandeur over seas.

ST. PAUL'S CATHEDRAL

T he great Cathedral of St. Paul has abundant claims to the love and
veneration of every Englishman. Situated in the heart of the city of
London, it has ever been associated with the religious, social and civic life
of the people; and as the great national Cathedral of England all the
principal events in our country's annals have been connected with St. Paul's.
Without doubt it is the finest and grandest building in London, if not in the
world. Comparing it with St. Peter's at Rome, we find that its dimensions
are, of course, much smaller, though its grace and beauty are in no way
inferior to the magnificent conception of Michael Angelo. It is the shrine of
our national heroes, the chef d'œuvre of a great genius; its massive dome
surmounted by a golden cross greets the traveller returning from beyond
seas; its walls have echoed with the strains of high thanksgiving on the
occasion of national victories and blessings, when kings and queens have
come in solemn state to render thanks to Him who is the King of kings and
Lord of lords. Just as Westminster was ever the church of the king and the
government, so St. Paul's was the church of the citizens.
The prominent place which St. Paul's takes in the national and social life
of England, in the great functions of Church and State, and in promoting the
religious life of the people, is worthy of its best traditions, and at no time
during its long history has it taken a higher place in the affections of the
nation.
The Older Cathedrals of St. Paul's
The present Cathedral, erected by the skill and genius of Sir Christopher
Wren, is the third sacred edifice built upon this site. Indeed, Camden and
certain early fanciful historians tell us of a Roman temple dedicated to
Diana which they assert once stood here, erected during the time of the
Diocletian persecution upon the site of an early Christian church. It is,
however, certain that when Sir Christopher sank his foundations for the
present building, he found beneath the interred bodies of mediæval times
several Saxon stone coffins, and at a still lower depth Celtic and Roman

remains, showing that the site had been set apart as a cemetery from very
early times.
The earliest church of which we have sure records was erected in Saxon
times by good King Ethelbert of Kent in the year 610. St. Mellitus, the
companion of St. Augustine, was the first English Bishop of London,[2] who
came there in order to convert the East Saxons. Siebert, their king, joined
with his uncle, Ethelbert, in building the Cathedral church, and the former
probably founded the monastery of St. Peter called Westminster on Thorney
Island, a place then "terrible from its desolate aspect—a mass of marsh and
brushwood."
But the Londoners loved their Paganism, and took not kindly to the new
faith. The men of the "emporium of many nations" clung to their worship of
Wodin and Thor, and not even the wise words of Mellitus in the new
Cathedral could win them. It was the original design of Pope Gregory, who
sent Augustine to our shores, to make the Cathedral of London the
Metropolitan Church of England—a design which Augustine could not
carry out on account of the violent opposition of the Pagan-loving people.
Hence Canterbury was elevated to the position of the Metropolitan Church.
Thirty-eight years passed away. At length the fiery spirit of the Londoners
was subdued after three great missionary efforts, and they gradually learned
the story of the cross. The Cathedral was beautified by Bishop Cedd,
brother of St. Cedd or Chad of Lichfield, and Sebbe, King of Essex, and
was fortunate in having St. Erkenwald as the fourth Bishop of London, who
wrought great wonders and attracted many converts, restoring wealth and
honour to his Cathedral. To his memory a golden shrine was erected which
was much frequented by pilgrims. Saxon kings gave of their wealth to the
endowment of the Cathedral, and many rich lands were granted to it, as the
ancient charters bear witness.
Fire has always been a great foe to St. Paul's. A very destructive
conflagration raged in 961 A.D., and again in 1086 the Cathedral was
wholly destroyed. We have no means of knowing what kind of architecture
characterised this earliest fane, but probably it possessed round arches of
stone, massive piers, and the usual characteristics of the Saxon style.

The energy of the English people is evident to all who study our national
annals. When any alarming catastrophe occurs, immediately they arise to
repair the disaster. As it was in the seventeenth century when the Great Fire
swept over London and laid the city low, so it was in the eleventh. The
Saxon church had no sooner been reduced to a heap of ruins than the
Norman builders began to rear another noble pile. Bishop Maurice was the
designer of this great edifice, which existed until the time of the Great Fire,
though it was greatly injured by a fire in 1136.
A very noble church it must have been, with its walls ablaze with colour,
richly-canopied tombs, pictures and frescoes, books, and vestments
glittering with gold, silver and precious stones. It was the largest Cathedral
in England.
Old pictures tell us that it was cruciform, with a high tower and spire in
the centre. The nave was long and noble, built in Norman style, having
twelve bays. William of Malmesbury describes it as being "so stately and
beautiful that it was worthily numbered amongst the most famous
buildings." At the west end were two towers for bells, and sometimes used
as prisons. The central tower had flying buttresses. Besides the high altar
there were seventy or eighty chantries, with their own altars all ablaze with
rich draperies. St. Paul's was also very rich in relics, among the number of
which were two arms of St. Mellitus, a knife of our Lord, some hair of
Mary Magdalene, blood of St. Paul, milk of the Virgin, the hand of St. John,
the skull of Thomas à Becket, the head of King Ethelbert. But "the pride,
glory and fountain of wealth" to St. Paul's was the body of St. Erkenwald,
covered with a golden shrine, behind the high altar. Dean Milman states that
in the year 1344 the offerings made by pilgrims alone amounted to £9000.
The choir was rebuilt in 1221, and the Lady Chapel added in 1225. There
was a very large east window, and a rose window over it. Buttresses
crowned with pinnacles and adorned with niches supported the walls. The
interior view, judging from Hollar's engraving, must have been very fine.
The pillars and arches were Late Norman. The choir consisted of twelve
bays and was finished about the end of the thirteenth century. We have few
records to tell us about the details of the building of this old St. Paul's. In
1312 the nave was paved with marble, and two years later a spire of wood
was raised to the height of 460 feet, then the highest in the world. This was
damaged and ultimately destroyed by lightning.

ST. PAUL'S FROM CHEAPSIDE

The Precincts
We will now examine the precincts of the Cathedral. A wall surrounded
the vast space which extended from Carter Lane on the south to Creed Lane

and included Paternoster Row. This wall had six gates, the site of two of
which is marked by St. Paul's Alley and Paul's Chain. The Bishop's Palace
occupied the north-west corner of this space, and on the north were some
cloisters decorated with mural paintings representing the Dance of Death, a
favourite subject of mediæval painters, of which Holbein's conceptions are
best known. This cloister was on the site of Pardon Churchyard, where a
chapel was founded by Gilbert à Becket, the father of St. Thomas of noted
memory. The chapter-house stood on the south side of the Cathedral, and
was a very beautiful structure, so beautiful that Protector Somerset coveted
the materials for his palace in the Strand, and took down and removed them.
At the north-east corner of the precincts stood the famous Paul's Cross,
the scene of so many famous preachings and strange events, where folk-
motes were held, Papal bulls promulgated, Royal proclamations made,
excommunications and public penances declared, and sometimes riots and
tumults excited. Paul's Cross played a very prominent part in the history of
old London. Near the Pardon Churchyard once stood the Parish Church of
St. Faith, called the Chapel of Jesus; but this was destroyed, and the
parishioners received in lieu of it a church in the crypt of the Cathedral.
Fuller, remarking on this and on the existence of the Parish Church of St.
Gregory on the Thames side of the Cathedral, quaintly observed, "St. Paul's
may be called the Mother Church indeed, having one babe in her body and
another in her arms."
St. Paul's was the centre of the life of London. Its great bell summoned
the London citizens to their three annual folk-motes at Paul's Cross, where
all the municipal business of the city was transacted, disputes settled,
grievances stated and rights vindicated. Very turbulent and jealous of their
liberties were these good citizens, and even the sovereign will of kings and
queens must bow before the noisy clamours of the burghers of London. The
bell of St. Paul's, like that of its famous brother "Roland" at Ghent, seemed
endowed with a human voice when it summoned the multitudes to their
meeting-place at the Cross, and declared in loud tones the will of the
people.
Historical Events

The citizens might well love to have their church in their midst, for the
ecclesiastical power was very strong, and often enabled them to defy the
will of tyrannical kings or troublesome barons. In the time of the
Conqueror, Bishop William of London obtained from the king a renewal of
their privileges of which the monarch had deprived them. In gratitude for
this benefit, the mayor, aldermen and livery companies of London used to
visit the tomb of the good bishop in grand procession, in order to pray for
his soul, and to commemorate his great services.
In the reign of Stephen civil war raged, and the country was divided into
hostile camps, one siding with the king and the other with the Empress
Maud. The citizens of London were not doubtful in their opinions. They
rang the great bell of St. Paul's, summoned their folk-mote, and loudly
declared that it was the privilege of the citizens of their great city to elect a
sovereign for England, and with one voice supported Stephen.
Thomas à Becket, Archbishop of Canterbury, was a favourite of the
citizens, though hated by his sovereign. Gilbert à Becket, his father, had a
shop in Cheapside on the site of Mercers' Hall, whither the fair Saracen is
said to have followed him from the Holy Land, where he had gone on a
Crusade. He built a chapel in the churchyard of St. Paul, and his son, the
famous archbishop, was well known to the citizens. Gilbert Foliot, Bishop
of London, however, had taken the side of the king, Henry II., in the fatal
quarrel, and aroused the anger of the prelate. A curious scene took place in
consequence in old St. Paul's. A priest was celebrating mass, when a man
approached, thrust a paper into his hand, and cried aloud, "Know all men
that Gilbert, Bishop of London, is excommunicated by Thomas, Archbishop
of Canterbury." The news spread fast among the citizens. Foliot at first
attempted to defy the dread sentence; but he knew something of the nature
of the citizens of London, and wisely bowed before the decree, which the
people were quite willing to enforce.
St. Paul's was the scene of a memorable council in the reign of Richard
Cœur de Lion, who was crusading in Palestine. The bishops, together with
the king's brother John, met in the nave and condemned Longchamp to
resign the office of justiciary, and to surrender the castles which he held in
the name of the king. During this reign a factious demagogue, William Fitz-
Osbert, equally distinguished by the length of his beard and the vehemence

of his eloquence, called the people together at Paul's Cross, and excited
them to rebel against their oppressors. Bishop Hubert, however, calmed the
multitude on the eve of a formidable rising. The people deserted their
leader, who took refuge in St. Mary-le-Bow Church, which was set on fire,
and Fitz-Osbert suffered death at the hands of the hangman. Thus from the
tyranny of a Royal favourite, and from that of a mob orator, the people were
saved by the influence of the Church in St. Paul's Cathedral.
A still greater service did St. Paul's render to England. Here was
assembled a grand concourse of bishops, abbots, deans, priors and barons,
to withstand the oppressive lawlessness of King John. Here Magna Charta
was first devised. Here, at the instigation of Archbishop Langton, the barons
and chief men swore to maintain the principles of the Charta, and to protect
the liberties of Englishmen.
St. Paul's also set itself in opposition to the authority of the Pope; and
when a Papal legate sought to enthrone himself in St. Paul's, he was openly
resisted by Cantelupe, Bishop of Worcester. Boniface of Savoy, "the
handsome Archbishop," brought with him fashions strange enough to
English folk. His armed retainers pillaged the markets, and he felled to the
ground, with his own fist, the prior of St. Bartholomew, Smithfield, who
presumed to oppose his visitation. He came to St. Paul's to demand first-
fruits from the Bishop of London, but deemed it advisable to wear armour
beneath his robes. He found the gates of the Cathedral closed against him;
but he fared better than two canons of the Papal party, who were killed by
the citizens a few years later when they attempted to enter St. Paul's.
London was aroused by these Italian priests, and the citizens at length
besieged Lambeth Palace and drove the obnoxious archbishop beyond seas.
Again and again the tocsin sounded, as St. Paul's bell rang clear and loud,
and the citizens seized their weapons and formed their battalions beneath
the shadow of the great church. Now it was to help Simon de Montfort
against the king; now to seize the person of the obnoxious Queen Eleanor,
who was trying to escape by water from the Tower to Windsor, and who
was rescued from their hands by the Bishop of London, and found refuge in
his palace. Now the favourites of Edward II. excited their rage, especially
the Bishop of Exeter, the king's regent, who dared to ask the Lord Mayor
for the keys of the city, and paid for his temerity with his life.

An incident which shows the attachment of the people to their church and
bishop occurred in the reign of the third Edward. Wycliffe was summoned
by Bishop Courtenay to appear before a great council at St. Paul's. But the
reformer did not come alone; to the surprise of his accusers he arrived
attended by a large following of friends, among whom were John of Gaunt
and Lord Percy. These powerful supporters of Wycliffe attacked the bishop
with angry words.
News was flashed among the citizens that John of Gaunt had threatened
their bishop and vowed to drag him out of the church by the hair. They
gathered together in angry crowds, and would have slain the duke and
sacked his palace, the Savoy, in the Strand, if the bishop had not interfered
on behalf of his enemy. Wycliffe and Lollardism did not then find much
favour with the people of London.
There were reformers within the Church who were quite as eager to
correct abuses as those outside the fold. Among these was Bishop
Braybroke of London, who lived in the time of Edward IV. He contended
for the sanctity of the sacred building, inveighed against the practice of
using it as an exchange, of playing at ball within the precincts or within the
church, and of shooting the pigeons which then as now found sanctuary at
St. Paul's.
The chronicles of the Cathedral tell the story of the troublous times of the
Wars of the Roses. We see Henry IV. pretending bitter sorrow for the death
of the murdered Richard, and covering with cloths of gold the body, which
had been exhibited to the people in St. Paul's. We see Henry V. returning in
triumph from the French wars, riding in state to the Cathedral, attended by
"the mayor and brethren of the city companies, wearing red gowns with
hoods of red and white, well-mounted and gorgeously horsed, with rich
collars and great chains, rejoicing at his victorious returne." Then came
Henry VI., attended by the bishops, the dean and canons, to make his
offering at the altar. Here the false Duke of York took his oath on the
Blessed Sacrament to be loyal to the king. Here the rival houses swore to
lay aside their differences, and to live at peace. But a few years later saw
the new king, Edward IV., at St. Paul's, attended by great Warwick, the
king-maker, with his bodyguard of 800 men-at-arms. Strange were the
changes of fortune in those days. Soon St. Paul's saw the exhibition of the

dead body of the king-maker, and not long afterwards that of the poor
dethroned Henry, and Richard came in state here amid the shouts of the
populace. After the defeat of the conspiracy of Lambert Simnel, Henry VII.
celebrated a joyous thanksgiving in the Cathedral, and here, amid much
rejoicing, the youthful marriage of Prince Arthur with Catherine of Arragon
took place, when the conduits at Cheapside and on the west of the Cathedral
ran with wine, and the bells rang joyfully, and all wished happiness to the
Royal children whose wedded life was destined to be so brief.
The Reformation and After
At the dawn of the Reformation period we will pause in order to try and
realise what kind of scenes took place daily in the great Cathedral, and what
vast numbers were employed on the staff. The members of the Cathedral
body in the year 1450 included the following:—The Bishop, the Dean, the
four Archdeacons, the Treasurer, the Precentor, the Chancellor, thirty
greater Canons, twelve lesser Canons, about fifty Chaplains or Chantry-
Priests and thirty Vicars. Of inferior rank to these were the Sacrist, the three
Vergers, the Succentor, the Master of the Singing School, the Master of the
Grammar School, the Almoner and his four Vergers, the Servitors, the
Surveyor, the twelve Scribes, the Book Transcriber, the Bookbinder, the
Chamberlain, the Rent-collector, the Baker, the Brewer, the Singing-men
and Choir Boys, of whom priests were made, the Bedesmen and the poor
folk. In addition to these must be added the servants of all these officers—
the brewer, who brewed in the year 1286, 67,814 gallons, must have
employed a good many; the baker, who ovened every year 40,000 loaves, or
every day a 100, large and small; the sextons, grave-diggers, gardeners,
bell-ringers, makers and menders of the ecclesiastical robes, cleaners and
sweepers, carpenters, masons, painters, carvers and gilders. One can very
well understand that the Church of St. Paul alone found a livelihood for
thousands.
The inventory of church goods belonging to the Cathedral in 1245 exists,
and is worth studying. It enumerates sixteen chalices, five of gold and the
rest of silver-gilt. A chalice of Greek work had lost its paten, but retained its
reed (calamus), a relic of the time when the deacon carried the chalice to
the people, and each one drank of its hallowed contents through a long
narrow pipe, which was usually fastened on a pivot to the bottom of the cup

of the chalice. Amongst other curiosities of the inventory are three poma, or
hollow balls of silver, so contrived as to hold hot water or charcoal embers
for the warming of the hands of the celebrant during mass.
Of shrines and relics we have already spoken. There were three episcopal
staves, and also a precentor staff of ivory with silver-gilt and jewelled
enrichments, and a baculus stultorum for use at the profane travesty called
the feast of fools. Among the mitres were two for the boy-bishop's use on
St. Nicholas Day. There were thirty-seven magnificent copes, and forty-four
others, and thirty-four specially fine chasubles.
The inventory of 1402 supplies some curious information as to the
manner in which the numerous and costly vestments were arranged when
not in use. In the treasury, on the west, stood a wardrobe, armariolum, in
which were twenty-four perticæ, pegs, or rods, or frames, from which the
copes and chasubles could be suspended, one pertica holding from three to
six copes. The vestments were arranged according to colour. Three other
wardrobes were also stored with goodly vestments, and there were twenty-
six in daily use. The total is 179 copes, fifty-one chasubles and ninety-two
tunicles, and the colours were red, purple, black, white, green, yellow, blue,
red mixed with blue.
We have remarked that St. Paul's was the centre of the social life of the
people in olden days, which led to some abuses.
Francis Osborn says, "It was the fashion in those days, and did so
continue until these, for the principal gentry, lords and courtiers, and men of
all professions, to meet in St. Paul's by eleven of the clock, and walk in the
middle aisle till twelve, and after dinner from three to six, during which
time they discoursed of business, others of news."
Shakespeare represents Falstaff in Henry V. as having "bought Bardolph
in Paul's"; and Dekker thus speaks of the desecration of the sanctuary, "At
one time in one and the same rank, yea, foot by foot, elbow by elbow, shall
you see walking the knight, the gull, the gallant, the upstart, the gentleman,
the clown, the captain, the apple-squire, the lawyer, the usurer, the citizen,
the bankrout, the scholar, the beggar, the doctor, the idiot, the ruffian, the
cheat, the Puritan, the cut-throat, highman, lowman and thief; of all trades

and professions some; of all countries some. Thus while Devotion kneels at
her prayers, doth Profanation walk under her nose in contempt of Religion."
Here lawyers received their clients; here men sought service; here usurers
met their victims, and the tombs and font were mightily convenient for
counters for the exchanges of money and the transaction of bargains, and
the rattle of gold and silver was constantly heard amidst the loud talking of
the crowd.
Gallants enter the Cathedral wearing spurs, having just left their steeds at
"The Bell and Savage," and are immediately besieged by the choristers,
who have the right of demanding spur-money from anyone entering the
building wearing spurs.
Nor are the fair sex absent, and Paul's Walk was used as a convenient
place for assignations. Old plays are full of references to this practice.
Later on the nave was nothing but a public thoroughfare, where men
tramped carrying baskets of bread and fish, flesh and fruit, vessels of ale,
sacks of coal, and even dead mules and horses and other beasts. Hucksters
and pedlars sold their wares.
Duke Humphrey's tomb was the great meeting-place of all beggars and
low rascals, and they euphemistically called their gathering "a dining with
Duke Humphrey."
Much more could be written of this assembly of all sorts and conditions
of men, but we have said enough to show that the Cathedral had suffered
greatly from desecration and abuse. Indeed, an old writer in 1561 declared
that the burning of the steeple in that year was a judgment for the scenes of
profanation which were daily witnessed in old St. Paul's. He writes, "No
place has been more abused than Paul's has been, nor more against the
receiving of Christ's Gospel; wherefore it is more marvel that God spared it
so long, rather than He overthrew it now. From the top of the spire at
coronations, or at other solemn triumphs, some for vain glory used to throw
themselves down by a rope, and so killed themselves vainly to please other
men's eyes," and much more to the same effect.
But the strictness of the worthy divine did not altogether cure the evils
against which he railed. Eight years later the first great lottery was drawn

before the west doors. There were 10,000 lots at ten shillings each, and day
and night from January 11 to May 6 the drawing went on. The prizes were
pieces of plate, and the profits were devoted to the repair of the havens of
England. So profitable was the lottery that another took place here in 1586,
the prizes being some valuable armour.
At the dawn of the Reformation we see Henry VIII. in all the pomp and
glory of mediæval pageantry riding in state to the Cathedral to be adorned
with a cap of maintenance and a sword presented to him by the Pope. There
was no sign yet of any breach of alliance between the Roman Pontiff and
him whom he honoured with the title of "Defender of the Faith." Lollardism
in spite of some burnings spread, and the western tower of the Cathedral
earned the name of the Lollards' Tower, as several were imprisoned there.
Wolsey, the great cardinal, in the height of his prosperity often came to
St. Paul's, and very gorgeous were the scenes which took place there, when
thanksgiving for the peace between England, France and Spain was
celebrated, when Princess Mary was betrothed to the Dauphin of France,
and Charles V. proclaimed emperor. But signs of trouble were evident.
Bishop Fisher thundered forth invectives against the works of Luther, which
were publicly burnt in St. Paul's Churchyard. A few years later there was a
burning in the Cathedral of heretical books in the presence of the cardinal,
who caused some of Luther's followers to march round the blaze, throw in
faggots, and thus to contemplate what a burning of heretics would be like,
and be thankful that only their books and not their bodies were condemned
to the flames.
During this troubled time and in Mary's reign, St. Paul's was often used
as a place of trial for heretics, but Paul's Cross was a fruitful breeding place
for the principles of the Reformation. Here Latimer, Ridley, Coverdale,
Lever, and a host of others used to inveigh against the errors of Rome and
deny the authority of the Pope. Here they exhibited the Boxley Rood, with
all the tricks whereby it was made to open its eyes and lips, and seem to
speak. The crowd looked on, and roared with laughter, seized the
miraculous Rood, and broke it in pieces. And then a strange thing happened
in the Cathedral. One night all the images, crucifixes and emblems of
Popery were pulled down. Terrible havoc was wrought, chalices and
chasubles, altars and rich hangings, books and costly vestments, were all

seized and sold, and helped to increase that vast heap of spoil which the
greedy ministers of Edward VI. gathered from the wasting of the Church's
goods. Tombs were pulled down, chantries and chapels devastated, cloisters
and chapter-houses removed bodily to Somerset House by Protector
Somerset for the building of his new palace, and all was wreckage,
spoliation and robbery.
Then came the fitful restoration of the "old religion," and many riots
ensued, many ears were nailed to the pillory nigh Paul's Cross; many
Protestants condemned in the Cathedral to the fires at Smithfield, and many
horrors enacted which Englishmen like not to remember.
With the coming of Elizabeth more peaceful times ensued, but the
Cathedral was in a sorry condition. Desecration reigned within. Then in
1561 the spire caught fire, blazed and fell, destroying parts of the roof. The
clergy and citizens soon set to work to repair the damage, but the glory of
"old St. Paul's" had departed, and its ruinous condition was the distress of
rulers and the despair of the citizens and clergy.
Elizabeth often visited the Cathedral, and troubled Dean Nowell by her
plainly-spoken criticisms. Felton was hung at the bishop's gates for nailing
a Papal bull to the palace doors, which declared the queen to be a heretic
and released her subjects from their allegiance. This attempt of the Pope to
dethrone the Virgin Queen was not very successful. Some other conspirators
suffered for their crimes in the following reign in the precincts, four of the
gunpowder conspirators being hung, drawn and quartered before the west
doors. Here also Garnet, the Jesuit, shared a like fate.
King James attempted to restore the Cathedral, but his efforts came to
nothing. Charles I. did something, and from the designs of Inigo Jones built
a portico at the west end, and made some other improvements, but the
troubles of the Civil War intervened, and the money which had been
collected by Archbishop Laud and the generosity of the citizens of London
was seized by the Parliament and converted to other and baser uses.
The Civil Wars
Desolation reigned supreme in the once glorious church when Puritan
rage had vented itself on its once hallowed shrines and sacred things.

Cromwell's troopers "did after their kind." Whatever beautiful relics of
ancient worship reforming zeal had left were doomed to speedy destruction.
In the western portico built in the last reign shops were set up for
sempstresses and hucksters; Dr. Burgess, a Puritan divine, thundered forth
in his conventicle set up in the east of the building; and the rest of the
Cathedral was turned into a cavalry barracks.
The conduct of the rough soldiers created great scandal. They played
games, brawled and drank in the church, prevented people from going
through the nave, and caused such grievous complaints, that an order was
passed forbidding them to play at ninepins from six o'clock in the morning
to nine in the evening.
The Mercurius Eleneticus of 1648 waxes scornful over the misdeeds of
these rough riders, and scoffs sarcastically: "The saints in Paul's were last
week teaching their horses to ride up the great steps that lead to the Quire,
where (as they derided) they might perhaps learn to chant an anthem; but
one of them fell and broke his leg, and the neck of his rider, which hath
spoilt his chanting, for he was buried on Saturday night last, a just judgment
of God on such a profane and sacrilegious wretch."
The famous Cross in the churchyard, which according to Dugdale, "had
been for many ages the most noted and solemn place in this nation for the
greatest divines and greatest scholars to preach at, was, with the rest of the
crosses about London and Westminster, by further order of the Parliament,
pulled down to the ground."
After the Great Fire
With the restoration of the monarchy came the restoration of the
Cathedral. Dr. Wren, the great architect, was consulted, plans were
discussed, Wren prepared himself for the great work, and all was in
readiness, when the Great Fire broke out, and completed the ruin which had
already begun. It, however, paved the way for the erection of the grand
church which will ever be associated with the genius of its great architect.
Both the diarists, Pepys and Evelyn, speak of the melancholy spectacle of
the great ruin. Pepys laments over the "miserable sight of Paul's church,
with all the roof falling, and the body of the nave fallen into St. Faith."

And Dryden sings:—

"The daring flames press'd in and saw from far
The awful beauties of the sacred quire:
But since it was profaned by civil war
Heaven thought it fit to have it purged by fire."

THE WEST FRONT

Evelyn, in his diary, describes his visit to the church before the fire with
Dr. Wren, the bishop, dean and several expert workmen. "We went about to
survey the general decay of that ancient and venerable church, and to set
down in writing the particulars of what was fit to be done. Finding the main
building to recede outwards, it was the opinion of Mr. Chickley and Mr.
Prat that it had been so built ab origine for an effect in perspective, in
regard of the height; but I was, with Dr. Wren, quite of another judgment,
and so we entered it: we plumbed the uprights in several places. When we
came to the steeple, it was deliberated whether it were not well enough to
repair it only on its old foundation, with reservation to the four pillars; ...
we persisted that it required a new foundation not only in regard of the
necessity, but that the shape of what stood was very mean, and we had a
mind to build it with a noble cupola, a form of church-building not as yet
known in England, but of wonderful grace...."
Then came the Great Fire, so graphically described by Evelyn. He writes:
"The stones of Paul's flew like granados, the melting lead running down the
streets in a stream, and the very pavements glowing with fiery redness, so
as no horse or man was able to tread on them, and the demolition had
stopped all the passages, so that no help could be applied."
This Great Fire roused again the energy and indomitable spirit of
Englishmen. They beheld without alarm the ashes of their houses, and the
destruction of their great city. They felt that the eyes of Europe were upon
them. A new city was to be built worthy of their nation, worthy of the great
centre of the commerce of the world. But to restore St. Paul's was a
stupendous work. Some were for rebuilding on the old walls. Pepys
describes the ruins: "I stopped at St. Paul's, and then did go into St. Faith's
Chapel, and also into the body of the west part of the church; and do see a
hideous sight of the walls of the church ready to fall, that I was in fear as
long as I was in it; and here I saw the great vaults underneath the body of
the church." And again: "Up betimes, and walked to the Temple, and
stopped, viewing the Exchange, and Paul's, and St. Faith's, where strange
how the very sight of the stones falling from the top of the steeple do make
me sea-sick."

They began to repair the west end for service against the advice of Wren,
and Dean Sancroft was obliged to confess to the architect,—
"What you whispered in my ear at your last coming here is come to pass.
Our work at the west end of St. Paul's is fallen about our ears."
At last the order was given to take down the walls, clear the ground, and
proceed according to the plans of Wren. He was thwarted and distressed by
the interference of many. His original design was to build it in the form of a
Greek cross, but to this the clergy objected, and a Latin cross was decided
upon.
In 1674 the workmen began to clear away the old ruins, no light task, but
in the end it was accomplished, the first stone of the new Cathedral being
laid on June 21, 1675. In October 1694 the choir was finished, and on
December 2, 1697, Divine service was performed for the first time in the
new edifice. It was a special thanksgiving for the Peace of Ryswick, a peace
which settled our Dutch William more securely on the throne of England.
His Majesty wished to attend the service, but it was feared that amongst the
vast crowds there might be too many Jacobites, and he was persuaded to
remain at his palace. Bishop Compton preached a great sermon on the
occasion from the text, "I was glad when they said unto me, we will go into
the House of the Lord."
Thirteen years elapsed before the highest stone of the lantern on the
cupola was laid by Wren's son, and the magnificent building was completed
by the skill, genius and determination of one man, whose memory deserves
to be ever honoured by all Englishmen.
The men of his own day did not treat him worthily. During the building
of the Cathedral he was beset by all the annoyances jealousy and spite could
suggest, and at the end of his long and useful career, by the intrigues of
certain German adventurers, he was deprived of his post of Surveyor-
General after the death of Queen Anne. He retired to the country, and spent
the few remaining years of his life in peaceful seclusion, occasionally
giving himself the treat of a journey to London, in order that he might feast
his eyes on that great and beautiful church which his skill had raised.

His was the first grave sunk in the Cathedral, and it bears the well-known
inscription, than which none could be more fitting:—
LECTOR, SI MONUMENTUM REQUIRIS CIRCUMSPICE.
The Existing Cathedral—Exterior
The new St. Paul's is without doubt the grandest building in London.
Perhaps the finest view is obtained from the approach by Ludgate Hill, and
the grandeur of its majestic dome is most impressive. The style is English
Renaissance. We will begin our survey with the West Front, which was
erected last, and therefore bears the stamp of Wren's matured genius. There
are two storeys. In the lower there is a row of Corinthian columns arranged
in pairs, and in the second storey a similar series. On the triangular
pediment above is a carving of the Conversion of St. Paul, while a statue of
the saint crowns the apex, the other statues representing SS. Peter and
James and the four Evangelists. Two towers stand, one on each side of the
front, and complete a superb effect. These contain a grand peal of twelve
bells, one of which, called Great Paul, fashioned twenty years ago, is one of
the largest in the world. Rich marbles, brought from Italy and Greece, adorn
the pavement.
Proceeding to the north side we note the two-storied construction, the
graceful Corinthian pilasters,[3] arranged in pairs, with round-headed
windows between them; the entablature; and then, in the second storey,
another row of beautiful pilasters of the Composite order. Between these are
niches where one would have expected windows; but this storey is simply a
screen to hide the flying buttresses supporting the clerestory, as Wren
thought them a disfigurement. The walls are finished with a cornice, which
Wren was compelled by hostile critics to add, much against his own
judgment. There are some excellently-carved festoons of foliage and birds
and cherubs, which are well worthy of close observation. The North and
South Fronts have Corinthian pillars, which support a semi-circular
entablature. Figures of the Apostles adorn the triangular-shaped head and
balustrade. The Royal arms appear on the north side, and a Phœnix is the
suitable ornament on the south, signifying the resurrection of the building
from its ashes.

The south side is almost exactly similar to the north. The east end has an
apse.
The magnificent Dome is composed of an outward and inward shell, and
between these there rises a cone-shaped structure which supports the
lantern, crowned with its golden ball and cross. The arrangement of this is
most complex, and is a witness to the marvellous skill of the architect.
Above the row of Composite columns is a gallery, which affords a good
view to those who are anxious to climb. Above the actual dome is the
Golden Gallery, and then the lantern, roofed with a dome bearing the ball
and cross. The whole height is 365 feet.
Interior of the Building
The view on entering the Cathedral at the west is most impressive. The
magnitude of the design, the sense of strength and stability, as well as the
beauty of the majestic proportions, are very striking. Over the doors we see
carvings of St. Paul at Berea. A gallery is over the central doorway, and here
is a good modern window.
The nave has a large western bay with
chapels, three other bays, and a large space
beneath the west wall of the dome. It has
three storeys, the lofty arches, a storey
which in a Gothic church would be termed
the triforium, and a clerestory. Grand
Corinthian pilasters are attached to the
massive piers, with wonderfully-wrought
capitals, which support the entablature.
The arches spring from smaller pilasters
joined to the larger ones. Great arches
springing from the triforium piers span the
nave, and between these arches are dome-
shaped roofs. High up there are festoons of
carving. The aisles have three large
windows, and Composite pilasters adorn
the walls and support the vault. The north
The Nave from the Choir
chapel at the west end is the Morning

Chapel, and is adorned with mosaics and modern glass, in memory of Dean
Mansell (1871). The south chapel is called the Consistory, and once held
Wellington's monument, to which the marble sculptures refer. Here is an
unusual Font of Carrara marble.
The Dome is supported by immense and massive masonry. Above the
arches a cornice runs round, supporting the Whispering Gallery. Then the
dome begins to curve inward. Above is a row of windows, set in groups of
three, separated by niches recently filled with statues of the Fathers, and
then the dome is completed and painted by Sir James Thornhill with scenes
from the life of St. Paul. These are too faint and too far distant to be easily
observed. The painter nearly lost his life through stepping backward in
order to see the effect of his brush, and nearly fell from the scaffold. His
companion just saved his life by flinging a brush at the painting, and
Thornhill rushed forward to rescue his work, and thus his life was saved.
The Pulpit is made of rich marble, and the lectern was made in 1720. The
modern mosaics are of unique interest, and add much to the beauty of the
Cathedral. To Sir William Richmond the credit of this work is mainly due,
and for some of earlier portions to Mr. G.F. Watts, R.A.
The Transepts have good windows, representing (north) the twelve
founders of English Christianity, and south, the first twelve Christian Saxon
kings, and also a window in memory of the recovery from illness of His
Majesty Edward VII. when Prince of Wales.
The Choir has some wonderfully-carved stalls by the famous Grinling
Gibbons, and these bear the names of the prebendaries attached to the
Cathedral, with the parts of the Psalter which each one had to say each day,
an arrangement similar to that at Lincoln.
The Reredos is a noble example of modern work, and is worthy of close
examination. Behind it is the Jesus Chapel, containing a monument of
Canon Liddon. The mosaic decorations of the choir are the work of Sir
William Richmond, and are worthy of the highest praise.
Monuments
One feature of St. Paul's especially endears it to us, and that is that there
lie all that is mortal of many of our national heroes. Westminster is richer in

its many monuments of great poets and
writers; but the makers of the Empire and
most of our distinguished painters are
entombed in the "citizens' church." We can
only point out the tombs of the most
illustrious.

Nave (North Aisle)—
Wellington (d. 1852), the hero of
Waterloo.
Gordon (d. 1890), slain at Khartoum.
Stewart, General (d. 1880), who tried
to rescue Gordon.
Melbourne, Viscount (1848), Queen
Victoria's first Prime Minister.
North Transept—
Sir Joshua Reynolds (1792), by
Flaxman.
Rodney, Admiral (1790), the hero of
Martinique.
Picton (1815), slain at Waterloo.
Napier, General (1860), author of Woodwork South Choir Aisle
Peninsular War.
Ponsonby, General (1815), killed at Waterloo.
Hallam, the historian (1859).
Johnson, Samuel (1784).
South Transept—
Nelson, Admiral.
Sir John Moore (1806), killed at Corunna.
Turner, Joseph, R.A. (1851), painter.
Collingwood, Admiral (1810), Colleague of Nelson.
Howe, Admiral (1799), Colleague of Nelson.

Howard, John (1790), the prison reformer, the first monument erected.
Lawrence, General (1857), killed in Indian Mutiny.
Cornwallis, General (1805), fought in American War and in India.
South Choir Aisle—
Dean Milman (1868).
Bloomfield, Bishop (1856).
Jackson, Bishop (1885).
Heber, Bishop (1826), of Calcutta.
Liddon, Canon (1890).

Johnson's Statue in St. Paul's Cathedral

The Crypt contains the Parish Church of St. Faith, Wellington's funeral
car fashioned from captured cannon, and his tomb, Nelson's tomb (the
coffin is made from the wood of one of his ships—the tomb is sixteenth-
century work and was made for Cardinal Wolsey), the grave of Wren with

its famous inscription, and many illustrious painters sleep in the Painters'
Corner, amongst whom our modern artists Leighton and Millais rest with
Reynolds, Lawrence, Landseer and Turner.
Dimensions
Total length 460 ft.
Length of nave 200 ft.
Width of nave 100 ft.
Height of nave 89 ft.
Length of choir 160 ft.
Height of cross on dome 363 ft.
Height of west towers 222 ft.
Area 59,700 sq. ft.
Style—English Renaissance.
Building Dates
Begun June 21, 1675.
Cathedral finished 1710.

PLAN OF ST. PAUL'S CATHEDRAL

WESTMINSTER ABBEY

T he famous Abbey Church of Westminster, though not a cathedral, must
be included in our chronicle of the chief ecclesiastical buildings in this
country. It is the coronation church of the sovereigns of England, the final
resting-place of many, the national tomb-house of our heroes and great men,
as well as a triumph of Gothic architecture of singular beauty and
attractiveness. For one brief space at the time of the Reformation there was
a Bishop of Westminster, but the see did not long continue, and it is for
other reasons that Westminster must find a place in this volume. In early
Saxon times a chapel dedicated to St. Peter was built by Siebert in the
seventh century on an island rising from the marshy ground bordering the
Thames. It was called Thorney, and the eastern portion of the water in St.
James's Park is a part of the arm of the Thames which encircled the
sanctuary of the monks and the palace of the Anglo-Saxon kings. Here was
established by Dunstan a colony of Benedictine monks. In the charters of
Edgar (951) the original boundary of Westminster is clearly defined, though
this charter is esteemed doubtful by Kemble, and the importance of
Westminster gradually increased. Edward the Confessor took a particular
interest in the place, and began his building of the Abbey in 1050. On
Childermas Day (the Feast of the Holy Innocents) 1065 the choir was
finished and consecrated, and on "Twelfth Mass Eve" the king died and was
buried here. The Bayeux tapestry depicts the scene of this Royal funeral,
and gives a representation of the church. The earlier church still remained
as the nave of the new choir. A few fragments of Edward's work remain
beneath the pavement of the present choir. The work progressed while
William Rufus was building his Royal palace, and at the time of his death
the transepts and first bay of the nave were completed, the first conspicuous
example of a great Benedictine church in England. Henry I. and Matilda
were crowned here with much pomp, and all the monarchs since the time of
the Conqueror. Early in the days of Henry III. a new lady chapel was built,
and this inspired the artistic soul of the young king, who determined to
build an abbey worthy of the honour of God in the best and newest style of
architecture. He was a Frenchman in feeling, and had passed many days at

the Court of St. Louis. So his new monastic church must be fashioned in the
French style; his monks must speak French, and he chose a French model
for his architecture, for the plan of his church with its French chevet, and
for the radiating chapels of the choir. But in spite of this French design our
Westminster remains "a great French thought expressed in excellent
English"; it is like "one of Chaucer's lays, a sweetly English poem inspired
by a French romance," and is the most finished product of the Early English
of the first half of the thirteenth century. Its French peculiarities may be
seen in the narrowness and height of the bays of the choir, its plan with
regard to the radiating chapels, and in the tracery of the windows. The work
began in 1245 with the east end, and all the building as far as the fourth bay
of the nave was finished in 1269. The noble re-founder was buried in his
glorious minster. Edward I. brought here the coronation stone of the
Scottish kings, and had it placed in the new throne which he fashioned to
enclose it. In the fourteenth century much building was done to perfect the
monastery. In the time of Richard II. the reconstruction of the old nave was
in progress, and Henry V. took much interest in it. His father died in the
Jerusalem Chamber. The building of the nave continued, and the well-
known Whittington, "thrice Lord Mayor of London," in 1413 helped
forward the work by liberal contributions. The Tudor badges in the vaulting
of the last bays show the later character of that portion of the building.
Henry VII. built the beautiful and famous chapel at the east end in place of
the Lady Chapel built in 1220, which is such a perfect example of the best
Perpendicular work. It was finished about 1520.

DEAN'S YARD, WESTMINSTER, IN 1730

At the dissolution of monasteries Westminster shared the fates of the rest,
and the last abbot, Benson, became the first dean, and for a brief space there
was a bishop. Protector Somerset turned his greedy eyes upon the noble
minster, and was with difficulty induced to refrain from plundering it
overmuch. Indeed, he had thoughts of pulling it down, but was propitiated
by bribes of some manors and many loads of Caen stone for the building of
his new palace, Somerset House. The services were of course changed, and
many goodly treasures sold; during the brief reign of Mary the Roman
Catholic ritual was restored, and the Confessor's shrine re-erected; but
Elizabeth turned out Abbot Ferkenham, and constituted Westminster a
collegiate church with a dean and twelve prebendaries. The remains of poor

Mary Queen of Scots were brought here by James I. and laid side by side
with Queen Elizabeth. Here in the gatehouse Sir Walter Raleigh was
imprisoned. Soon the tumults of the Civil War arose, but Westminster
happily escaped the fury of the Puritans. The noted Westminster Assembly
was called together in Henry VII.'s Chapel in 1643, for the purpose of
"settling the government and liturgy of the Church of England and clearing
of the doctrine from false aspersions and interpretations." This Assembly
took upon itself to denounce the Book of Common Prayer and to substitute
the Directory for Public Worship. Many restorations of the fabric have
taken place since the Restoration of the monarchy. Sir Christopher Wren
was a wonderful architect, but he was scarcely the man to tamper with an
ancient and beautiful Gothic building. He set to work to rebuild the western
towers, which were finished after his death in 1739. New stone-work has
been erected in place of the old in most of the exterior of the Abbey, and Sir
Gilbert Scott and Mr. Pearson were responsible for the restoration of the
north front of the north transept. The complete story of the Abbey of
Westminster would tell of all the pageants and coronation festivals which
have taken place therein, to which another has just been added when King
Edward VII. and his queen were crowned; it would tell of the last solemn
rites of monarchs and great men, poets, sages and generals who sleep within
the hallowed precincts. But the story must be left to others, and we will now
examine the details of this ancient pile which is so closely connected with
all the chief events in English history.
The Exterior
The West Front is flanked by two towers 225 feet high, built by Wren,
and finished by his pupil, Hawksmoor, about 1740. In the centre of the front
is the great Perpendicular window, beneath which is a row of niches. The
entrance porch has a groined roof. The nave is remarkable for its length and
height. On the north side we notice that there is a wealth of buttresses.
Strong buttresses support the aisle walls, and from these flying buttresses
stretch across to the walls built on the central arcade. The four eastern
buttresses comprise the part of the church finished by Henry III.; the rest of
the nave, with the exception of Wren's towers, was built during the last half
of the fourteenth century and the beginning of the fifteenth. The figures in
the niches are modern.

THE NORTH FRONT

The North Front is new, designed by Sir G. Scott and Mr. Pearson. It is
very elaborate work, and much of it is beautiful, but it does not seem to
harmonise with the rest of the building. There is a large rose window; on
each side tall buttresses crowned with turrets and covered with niches.
There is an arcade of open work below, and then some deeply-recessed
Early English windows, and below three doorways under one string-course,
the centre one having a high gable. This door is divided by a pier having a
finely-carved figure of the Virgin and Child. The tympanum is divided into
three panels. In the highest is Our Lord in glory surrounded by angels, and
below Him are the Twelve Apostles, while in the lowest tier are figures

representing Art, History, Philosophy, War, Legislation and Science, with
the builders of the Abbey, Edward the Confessor, Henry III. and Richard II.
The niches are filled with figures of persons in some way connected with
the Abbey. The Choir is in the form of an apse, with radiating chapels,
planned on the model of the French chevet, according to the taste of Henry
III., which he had cultivated during his sojourn in France. The Lady Chapel
at the east end, commonly called Henry VII.'s Chapel, is one of the noblest
examples of the best Perpendicular work in the kingdom, and ranks with St.
George's Chapel, Windsor, and King's College, Cambridge. The monastic
buildings are on the south side of the Abbey, and will be approached from
the interior.
The Interior
The view of the interior is very impressive. Standing at the west end of
the nave we cannot fail to admire the magnificent beauty of this noble
shrine. This Nave of twelve bays, with its clustered columns, its beautiful
triforium, and its lofty and firmly-proportioned roof, soaring to the height of
101 feet, is very striking. A close inspection will show the difference
between the piers of the portion finished by Henry III. and the newer work
of the fourteenth century. The tracery of the triforium openings is very fine.
The Choir-Screen, which crosses the nave at the eighth pier, is modern, and
also the pulpit. The west window is Perpendicular, and has some Georgian
glass containing figures of the Patriarchs. Much architectural beauty has
been sacrificed for the sake of ponderous monuments, but many of these
have much interest, and for many visitors will prove the most attractive
features of the Abbey. A list of the most important monuments will be found
at the close of our account of the Abbey.
The north-west tower contains the monuments of distinguished members
of the Whig party, and has in the window some ancient glass. The south-
west tower was formerly the Baptistery. The architecture of the aisles has
suffered much from the erection of stupendous monuments. The gallery at
the west of the south aisle was erected at the same time as Henry VII.'s
Chapel by Abbot Islip, and is known as the Abbot's Pew. The door at the
east end is Late Early English. The South Transept is known as the Poets'
Corner, on account of the memorials of the votaries of the muses which
stand here. The architecture is of very beautiful design in the style of Early

English, when it was merging into Early Decorated. In the south wall is the
entrance to the Chapel of St. Faith, the door of which was once covered
with the skins of Danes. Two tiers of trefoiled arches are above this, and
higher still the triforium, the spandrels of the arches being enriched with
sculpture. There is no west aisle. Chaucer's tomb will attract most visitors.
In the chapel are some ancient paintings of the Crucifixion, St. Faith, and a
kneeling monk.
The Choir, which has been the scene of so many solemn and memorable
services, has no ancient woodwork. The stalls were erected about the
middle of the last century. The altar and reredos are modern. There are some
large figures, and a mosaic of the Last Supper. Here the coronations of our
monarchs take place. The pavement is interesting, as it was brought from
Rome by Abbot Ware in 1268, and beneath it he rests with other abbots of
Westminster. The sedilia are thirteenth-century work, and were decorated
with paintings. The figures of King Siebert, the first founder, and of Henry
III., the munificent re-founder, remain. Above the base of the tomb of Anne
of Cleves, one of Henry VIII.'s many wives, is a remarkable painting of
Richard II., and behind it some ancient tapestry. A record of the interesting
tombs here will be found later. Edward the Confessor's Chapel is a
mausoleum of Royal personages, wherein our monarchs have been laid to
rest, a portion of the building which always possesses a solemn and pathetic
interest. Here is the shrine of the "miracle worker," the pious but weak last
Saxon king, St. Edward. It was fashioned in 1269 by order of Henry III., the
artificer being one Peter, a Roman citizen. The style of the oldest part, the
base of the shrine, is of a Byzantine character. The upper part was probably
made by Abbot Feckenham in Mary's reign, in imitation of that which was
destroyed in Reformation times. It is difficult to imagine what must have
been the splendour of this wondrous shrine when it was adorned with gold
and gems, ere the greedy commissioners of Henry VIII. despoiled it of its
treasures. Henry III., Eleanor of Castile, in whose honour her loving
husband, Edward I., raised the Eleanor crosses wherever her body rested on
its last journey to the Abbey, Edward I., and other monarchs rest here.
Henry V.'s Chantry is a splendid piece of ornate Perpendicular work, with
elaborate sculptured figures representing St. George, St. Denys, and the
story of the hero's life, his fights, his coronation, his court. The effigy has
been much mutilated. Above the tomb is the monarch's achievement, his

shield, saddle and helmet, which were borne in his funeral procession. The
coronation chairs have especial interest at this time, especially the famous
throne of Edward I., which has under the seat the coronation stone of
Scone, brought by him from Scotland. Legends tell us that this stone was
the veritable stone used by Jacob as a pillow when he dreamt that wondrous
dream at Bethel. There is also the throne of William and Mary, and Edward
III.'s sword and shield.

Poets' Corner Westminster Abbey

In the South Ambulatory are three chapels, dedicated to SS. Benedict,
Edmund and Nicholas, all of which have interesting monuments which will

be noticed later. We now enter Henry VII.'s Chapel, the most perfect
example of the Perpendicular style at its best in the country. At the entrance
are beautiful bronze doors covered with designs symbolical of the titles of
the Royal founder. It is impossible to describe in words the richness and
beauty of the interior of this noble chapel. Washington Irving wrote: "The
very walls are wrought into universal ornament, encrusted with tracery and
scooped into niches, crowded with statues of saints and martyrs. Stone
seems, by the cunning labour of the chisel, to have been robbed of its
weight and density, suspended aloft as if by magic, and the fretted roof
achieved with the wonderful minuteness and airy security of a cobweb."
The vault is very beautiful with fan-tracery. The banners of the Knights of
the Order of the Bath hang over their stalls. The misereres are wonderfully
carved, and are worthy of close examination. The black marble tomb of the
founder is considered to be the best example of the Renaissance style in
England. It was fashioned by Torregiano. Very numerous monuments are
found here, which will be described later. The tombs of Mary Queen of
Scots and of Queen Elizabeth have especial interest. Oliver Cromwell's
body once lay in the most eastern chapel, but the Royalists at the
Restoration wrought vengeance on his corpse, and on that of other
regicides, and did not suffer them to remain in these hallowed precincts.
Returning we traverse the North Ambulatory, from which open the
Chapels of SS. Paul, John Baptist, Erasmus and Abbot Islip. St. Erasmus
was a Bishop of Campania, martyred in the time of the Diocletian
persecution. His chapel has a fine, Late Decorated doorway. Abbot Islip
died in 1532, and had previously adorned this chapel for his tomb, of which
only the base remains. A curious eye will discern his rebus. In the upper
chapel are preserved some remarkable wax effigies of deceased monarchs
and others, which were used in ancient times in funeral processions. Charles
II., Elizabeth, William and Mary, Anne, Duchess of Richmond, General
Monk, and a few others have survived the wreck of time.
The North Transept resembles the south and is remarkable for its noble
architecture. It is part of Henry III.'s construction. The carving is rich and
beautiful, especially the famous sculptures of the censing angels, which are
best seen from the triforium. On the east are the three Chapels of SS. John
the Evangelist, Michael and Andrew, which are now filled with monuments.

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

HENRY V.'S CHANTRY

Kings Buried in Westminster Abbey
Siebert, King of the East Saxons. Edward V.
Edward the Confessor. Henry VII.

Henry III. Edward VI.
Edward I. James I.
Edward III. Charles II.
Richard II. William III.
Henry V. George II.
List of Monuments
St. Edward's Chapel, or the Chapel of the Kings—
Edward the Confessor. Edward I.
Eleanor of
Henry III.
Castile.
Henry V. Queen Philippa.
Richard II. and
Edward III.
Queen.
Queen Editha and Queen Matilda (good
Queen Maud) are buried here.
Henry VII.'s Chapel—
Mary Queen of Scots. Henry VII. and his Queen.
Queens Elizabeth and Mary. James I. No monument.
In the "Stuart Vault" are buried—
Elizabeth, Queen of Bohemia, and Prince Rupert.
Lady Arabella Stuart, Anne Hyde, and several Royal children.
In the "Royal Vault" are buried—
Charles II. Queen Anne.
Queen Mary II. Prince George of Denmark.
William III.
Under the Nave of the Chapel are buried—
George II. and Caroline of Anspach.

Edward VI. The old altar by Torregiano under which he was laid has
been of late years restored.
In "Oliver's Vault" were originally buried—
Cromwell, and other leaders of the Commonwealth; the only body that
has remained undisturbed is that of the Protector's daughter,
Elizabeth Claypole.
A small sarcophagus contains the bones supposed to be those of
Edward V. and the Duke of York.
In this Chapel are also buried—
Addison, to whom a statue was raised in 1809 in the Poets' Corner.
George Villiers, Duke of Buckingham, an immense tomb.
Nave and Choir—

Charles James Fox.
Henry Fox, Lord Holland.
Major-General Charles George Gordon, bronze bust.
William Pitt.
William Wordsworth, seated statue. }
John Keble, bust. }
Frederick D. Maurice, bust. } Baptistery.
Charles Kingsley, bust. }
Matthew Arnold, bust. }
Dr. T. Arnold, bust. }
William Congreve.
Major John André.
Charles Robert Darwin, medallion portrait.
(Sir John Herschell, buried next to Darwin).
Ben Jonson (buried here—monument in Poets' Corner).
Sir Charles Lyell, bust.

Sir Isaac Newton.

Buried here are—

David Livingstone, }
Robert Stephenson, } without monument.
Dean Trench, }
Sir George Gilbert Scott, }
Lord Lawrence, bust.
Sir James Outram (a bas-relief of Relief of Lucknow).
Colin Campbell, Lord Clyde.

Dr. Isaac Watts.
John and Charles Wesley (buried elsewhere).
Admiral Sir Cloudesley Shovel.
Sir Godfrey Kneller, the only painter commemorated in the Abbey.
William Wilberforce, seated figure.
Henry Purcell, tablet.
(Sir William Sterndale Bennett buried here.)

INTERIOR FROM CHAPEL OF ST. JOHN

North Transept—

William Pitt, Earl of Chatham.
Viscount Palmerston, statue.
Sir Robert Peel, statue.
Lord Beaconsfield, statue.
Gladstone (no monument yet erected).
Warren Hastings (buried elsewhere).
Richard Cobden, bust (buried elsewhere).
Poets' Corner—
John Dryden, bust.
H. Wadsworth Longfellow, bust.
Abraham Cowley.
Geoffrey Chaucer.
Lord Tennyson, bust.
Robert Browning (no monument).
Michael Drayton.
Ben Jonson, monument bears same inscription as stone above grave.
Edmund Spenser.
Samuel Butler (buried elsewhere).
John Milton.
Thomas Gray (buried elsewhere).
Matthew Prior.
Thomas Campbell.
Robert Southey (buried elsewhere), bust.
S. Taylor Coleridge (buried elsewhere), bust.
William Shakespeare.
Robert Burns (buried elsewhere), bust.
James Thomson (buried elsewhere).
John Gay (buried?).
Oliver Goldsmith, medallion (buried elsewhere).
Sir W. Scott, replica of bust at Abbotsford.
John Ruskin, medallion.
George Frederick Handel, statue.
Jenny Lind Goldschmidt, portrait head.
W. Makepeace Thackeray (buried elsewhere), bust.
Joseph Addison (buried in Henry VII.'s Chapel).
Lord Macaulay, bust.

William Camden.
David Garrick, full-length figure.
Among those buried here without monuments are—
Sir John and Francis Beaumont.
Sir John Denham.
Dr. Samuel Johnson (monument at St. Paul's).
Richard Brinsley Sheridan.
Charles Dickens.
Sir William Davenant.
Richard Hakluyt.
Thomas Parr.
Queen Anne, Richard III.'s wife, is believed to be lying here.
Monuments to Dr. Busby and Dr. Robert South.
Portion of tomb of Anne of Cleves.
Within the rails of the Choir are three old tombs—
Aveline, Countess of Lancaster, married to Henry III.'s son, Edmund
Crouchback.
Aymer de Valence, Earl of Pembroke, cousin to Edward I., employed
as general in wars in Scotland.
Edmund Crouchback, Earl of Lancaster.
South Ambulatory—
Supposed tomb of King Siebert.
Chapel of St. Edmund—
William de Valence, Earl of Pembroke (father of above), half-brother
to Henry III. This is the only existing example in England of an effigy
in Limoges enamel work.
Lord Lytton, black marble slab.
North Ambulatory—
General James Wolfe.

Chapel of St. Paul—
James Watt, statue.
Islip Chapel—
Remains of Islip's tomb form a table by the window.
St. John's Chapel—
Sir John Franklin.
St. Andrew's Chapel—
Sir Humphrey Davy (buried elsewhere), tablet.
Mrs. Siddons, statue.
John Kemble, statue.
Among those who are buried in the Cloisters are—
Thomas Betterton, actor.
Mrs. Bracegirdle, actress.
Aphra Behu.
Samuel Foote.
A tablet in the Cloisters has been put up in memory of seven of the
Queen's Westminster Volunteers killed in South Africa, 1900.
Monument to Dean Stanley (Henry VII.'s Chapel).
Archbishop Tait, bust (Poets' Corner).
Window commemorative of—
George Herbert.
William Cowper.
Dimensions
Length of nave 166 ft.
Breadth of nave 38 ft.
Breadth of nave and aisles 71 ft.

Height of nave and choir 101 ft.
Length of choir 155 ft.
Breadth of choir 38 ft.
Length of whole church 511 ft.
Height of central tower 151 ft.
Height of west towers 225 ft.
Area 46,000 sq. ft.
Principal Building Dates

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

PLAN OF WESTMINSTER ABBEY

ROCHESTER CATHEDRAL

T he city of Rochester has a distinguished past. It lies on the great high
road to London, the Old Watling Street. Hence, all the great and Royal
visitors passed through Rochester, and few events of historical importance
which occurred in the Kentish corner of England were unconnected with
this city. It was a Roman station. The Saxons called it Hvof-Cæstre.
Ethelbert founded the Cathedral here in 604, and this first raised it to
importance. Athelstan established a mint here, and at the beginning of the
tenth century it was one of the principal ports of the kingdom. This was the
cause of its undoing, as the Danes found it a convenient landing-place, and
pillaged and ravaged the city. A Norman castle was built by Bishop
Gundulf, of whom we shall hear more later. This fortress, of which there are
extensive remains, has been frequently besieged. It was granted by the
Conqueror to Odo, Bishop of Bayeaux, who was faithless to William and
was besieged in this castle. Again, King John and Simon de Montfort, and
Wat Tyler, all tried the strength of this mighty fortress. Many scenes of
mediæval pageantry took place here. In the time of Henry III. a grand
tournament was held here, and gay was the city with the presence of
contending knights and squires and all the pomp of ancient chivalry. It were
vain to name all the Royal visitors who have sojourned here. Here at the
Restoration came the "Merry Monarch," and here, when the fortunes of the
Stuarts were very low, came James II. in his secret flight, and embarked
from Rochester on his fatal journey to France. The story of the city is full of
interest; but its Cathedral was the primary cause of its greatness, and thither
we must wend our way, and try to read its history.
The see was founded by Ethelbert at the instigation of Augustine in 604,
Justus, one of the followers of the Apostle of the English, being its first
bishop. He was the builder of the earliest church, some foundations of
which have been recently discovered. Here the great missionary of the
north, Paulinus, came, the Apostle of the North of England, having been
driven away from Northumbria, and was bishop here till 644, when Ithamar
succeeded, the first native bishop of the English Church. The church was
dedicated to St. Andrew. Danish invasions caused much destruction.

Siward, formerly Abbot of Abingdon, was the last Saxon prelate who
preserved his see when the Conqueror came. But the chroniclers tell of the
miserable condition of the church, "wretched and empty, destitute of all
things within and without." In 1076 came Gundulf of Bec to preside over
the fortunes of the harassed see, and he wrought vast changes. He
introduced Benedictine monks, who replaced the secular canons, rebuilt the
Cathedral, and, not content with that, erected a castle here, and built parts of
Dover Castle and the Tower of London. Soon after his death Ernulf, whose
work at Canterbury we shall see, became bishop here, and carried on his
great building operations, erecting the dormitory, chapter-house and
refectory.
In 1130, in a grand assembly of bishops, nobles, and in the presence of
the king, Henry I., the Cathedral was consecrated.
As with many other cathedrals, fire wrought havoc in the sacred fane,
especially in 1138 and 1177. The later Norman builders added much to the
perfection of the church, carving the capitals of piers of the nave, recasing
them, and building the west front, which Gundulf does not seem to have
accomplished. After the fires the building was renewed, especially in the
monks' quarters, which had suffered much. Another great misfortune was
the plundering and devastation of the church by King John after his capture
of the castle; but happily an event occurred which helped to fill the treasury
of the monks, and enabled them to adorn their minster. One William of
Perth, a baker by trade, who was of a pious mind, undertook a pilgrimage to
the Holy Land, but was killed by robbers near Chatham, and buried here.
Miracles were said to have been wrought at his tomb; the fame thereof
spread; and crowds of pilgrims began to frequent St. William's shrine, and
bring costly offerings. William de Hoo was sacrist and prior at the
beginning of the thirteenth century, a most active builder, who rebuilt the
choir and aisles, using much of the old Norman work. This choir was used
for the first time in 1227. Another great builder was Richard de Eastgate,
sacrist, who constructed a new west transept, and began the construction of
the central tower. His work was continued, and before the century was
completed there was a new south transept, and the piers finished for bearing
the tower.

Rochester Cathedral

Bishop Glanville (1185-1214) was much hated by the monks, and
continuous disputing arose. "He came from Northumbria," says a monk,
"and is a proof of the saying that out of the north proceedeth all evil."
In 1264 Simon de Montfort and the barons besieged Rochester, and on
Good Friday "the satellites of the devil entered the Church of St. Andrew
with their drawn swords, and, striking fear and horror into its children and
those also who had taken refuge in it, crucified them together with the Lord,
Who suffereth in His elect. Moreover, they plundered the gold and silver
and precious things. Some of the monks they imprisoned all the night, and
armed men on their horses rode about the altars, and dragged thence with
impious hands certain persons who had fled to them. The holy places—the
chapels, cloisters, chapter-house, infirmary—were made stalls for their
horses, and filled with filth and uncleanness."
Walter de Merton was bishop here in 1274-1278. He was the noble
founder of Merton College, Oxford, and from his rules which he framed for
his institution it is evident that he liked not monks. At one time it seems to
have been the intention of the builders to pull down the nave and rebuild it

in Gothic style, but in the fourteenth century the monks seem to have given
up the idea, and joined the new work with the Norman.
The affairs of the monastery did not always go very smoothly. We have
noticed some disputes between the bishop and the monks, and in the
fourteenth century there were endless quarrels between the monks and the
citizens. The latter had the altar of St. Nicholas in the body of the nave near
the screen for their use. Their access to it the monks tried to control, and
scenes of violence resulted. So the monks encircled the precincts with a
wall, and enclosed the choir with strong gates and screens, and
subsequently built a church for the parishioners.
Bishop Haymo de Hythe (1319-1352) contributed large sums to the
restoration of his Cathedral. He built the central tower and raised a
campanile, in which he placed four bells, named Dunstan, Paulinus, Ithamar
and Lanfranc. He also built the door leading to the chapter-house. Several
alterations were made in Perpendicular times, new windows inserted, and
the Lady Chapel built in the unusual position on south of the nave, and the
fabric of the Cathedral finished. At the dissolution of monasteries the
monks were turned adrift, and the New Foundation called into being,
consisting of a dean, prebendaries, minor canons, choristers, together with a
grammar school.
At the Civil War the Cathedral fared better than many. The soldiers
changed the position of the altar and broke the rails, and profaned the
church by using it as a stable and a tippling place, while saw-pits were
made here, and carpenters plied their trade.
At the Restoration all churchmen set about repairing their cathedrals, and
the citizens of Rochester lagged not behind. Much money was spent on the
fabric, and many repairs effected. In the eighteenth century Sloane was the
architect who rebuilt the steeple. Very extensive alterations were made at
the beginning of the nineteenth century, under the direction of Cottingham,
which were drastic, and Sir G. Scott and Mr. Pearson have both been at
work on the Cathedral, whose restorations we will examine when we
inspect the Cathedral. The Bishopric of Rochester since the Reformation
has been occupied by several remarkable men. Bishop Fisher, a learned,
brave and saintly man, was doomed to death on the scaffold by Henry VIII.

(1535), and Barlow, Buckeridge, Warner and Atterbury were all men who
achieved fame in their times.
The Exterior
The best view can be obtained from the castle. The West Front is a fine
example of Norman work, with the exception of the large Perpendicular
window, and the modern imitation of Norman work. It is a mistake for
architects to destroy the accretions of centuries, and to substitute a
reproduction of what they imagine to have been the original design. Mr.
Pearson had the audacity to take down the fifteenth-century north turret,
and to erect a bran-new Norman turret in its place. The front, as we see it,
consists of a centre flanked by turrets, and two wings, which form the ends
of the aisles. First we notice the beautiful west door, which is one of the
finest Norman doorways in the kingdom. It has five orders, and is of
elaborate design and profusely adorned with mouldings, the capitals being
richly carved. On the fourth shaft on each side are two curious figures,
supposed to represent Henry I. and his queen. In the tympanum is the
Saviour, with angels and the evangelistic emblems, and below small
mutilated figures of the Apostles. The old doors were said to have been
covered with the skins of Danes, but these have disappeared, and the new
ones have no trace of the epidermis of our destructive visitors. The great
west window was inserted about 1470. Rows of Norman arcading adorn the
front. Two modern statues of Bishops Gundulf and John have been placed
in the niches on each side of the doorway. The turrets are octagonal, that on
the west being modern, and built by Mr. Pearson on the model of that on the
south, in place of a Perpendicular one erected at the same time as the
window. The north tower has been quite recently erected in imitation of the
ancient design, and the south tower raised to its original height.
The Nave is for the most part Norman. The clerestory is Perpendicular,
also the windows in the north aisle. The North Transept is Early English,
but has been re-roofed at a much higher pitch by Sir G. Scott, who added
the pinnacles and circular windows. On the east of this is Gundulf's Tower,
built by the founder of the Norman church and probably intended for
purposes of defence, and as a treasury. It seems that the only entrance to it
was from the top, a bridge connecting it with a staircase in the neighbouring
transept. It was afterwards used as a belfry. The north side of the choir

shows its Early English character, and the presence of the dog-tooth
ornament bespeaks its style. There is, however, much modern work. The
high gables that call loudly for corresponding roofs were built by Scott, and
perhaps some generous visitor will be willing to grant their silent appeal.
The south side of the presbytery adjoins the chapter-house and library, built
in the eighteenth century in place of the noble Norman chapter-house, the
ruins of which still remain. The monastic buildings stood in an unusual
position on the south side of the choir, and were mainly constructed by
Ernulf. Gundulf's cloisters were on the south of the nave in the usual place
for a Benedictine abbey, but these have entirely disappeared. In the ruins of
Ernulf's monastic buildings there is much fine Norman work, zigzag and
billet mouldings, his favourite diaper which is found at Canterbury, and a
curious carving of the sacrifice of Isaac. Parts of the wall of the dormitory
and the refectory, with a lavatory, remain. The south side of the choir and
the choir transept were much restored by Cottingham in 1825. A fine
Decorated window has been inserted in the south wall of the choir transept
aisle. The South Transept is Late Early English work. On its west side is the
Lady Chapel, erected in the Perpendicular style about 1500.
The lower part of the central tower, which is hardly worthy of the
Cathedral, was built by Bishop Haymo de Hythe (1319-1352); all above the
roof was erected by Cottingham in the restoration of 1825.
The remains of the old wall which surrounded the precincts are still in
existence. The Prior's Gate was built about the middle of the fourteenth
century; and the other remaining gates are College Gate, and the Deanery
Gate, both of which belong to the time of Edward IV.
The Interior
We enter the Nave by the beautiful west doorway and are at once
impressed by the fine Norman character of the building. Much of it is the
work of Gundulf, the first Norman bishop, the companion of Lanfranc, who
fashioned his rising church after the model of Canterbury, and has thus left
us a copy of the appearance of that church ere it was refashioned by later
builders. The two eastern bays are Early Decorated. The clerestory is
Perpendicular work, and the flat timber roof was erected at the same time.
The later Norman builders, Bishops Ernulf and John (1115-1137), greatly

improved the appearance of Gundulf's nave. They finished the west end,
recased the piers, and carved the zigzag mouldings and the capitals, and
seem to have added a new triforium or enriched the old arcade with diaper
work. There is no triforium gallery, as it opens both into the aisles as well as
into the nave. The fine interior of the west doorway will be noticed, and
also another Norman doorway in the south-west corner. The windows in the
north aisle are Perpendicular. The font is modern, and also the pulpit, stalls
and lectern. On the south of the south aisle is the Late Perpendicular Chapel
of St. Mary, usually called the Lady Chapel. It was restored in 1852. Here
the consistory court used to meet. It is now used as a chapel for the
grammar school. The South Transept is of later date than the corresponding
north transept; its style is Late Early English, when the style was merging
into Early Decorated. The architect was Richard de Waldene, sacrist. Above
in the south wall there are five single-light windows, and below three
double windows, and the extensive use of Purbeck marble in the shafts will
be noticed. Banded shafts of marble cluster around the great tower-piers.
Cottingham erected the present ceiling in 1840. It will be noticed that the
Purbeck marble shafts on the two western tower-piers stop some distance
from the ground, and a block of intrusive masonry obtrudes itself on the
west of the northern one. Various conjectures have been made concerning
the object of this. Possibly it formed part of a stone rood loft, or served as a
buttress to the arch. The North Transept is Early English, the work of
Richard de Eastgate, sacrist. The dog-tooth ornament is seen in the
clerestory. The carved corbels, representing monastic heads, are finely
executed. In the recess on the east side there is a piscina which marks the
site of an altar.
The Monuments in the nave and transepts are not important. That of
Richard Watts in the south transept is worthy of notice. He entertained
Queen Elizabeth at his house called Satis,[4] and erected a hostel for six
poor travellers, "not being rogues or proctors," which in later times has been
immortalised by Charles Dickens, as a tablet sets forth. Near it is the
monument of Sir Richard Head, who sheltered the fugitive monarch James
II. when he fled from his kingdom. The glass is all modern.
The Choir Screen has been restored in memory of Dean Scott, who, with
Dean Liddell of Christ Church, Oxford, compiled the well-known Greek
Lexicon. The doorway is ancient Decorated work; the figures are

(beginning on the north side) St. Andrew, Ethelbert, St. Justus, St. Paulinus,
Gundulf, William de Hoo, Walter de Merton, Bishop Fisher, all of whom
were connected with the See of Rochester. As at Canterbury, we ascend
several steps to gain the choir, rendered necessary by the height of the crypt
below. All the work before us in the choir is Early English, but fashioned on
the old Norman walls. It was finished sufficiently for use in 1227, in the
year of the accession of Henry de Sandford to the bishopric, and is the work
of William de Hoo. The choir aisles are separated from the choir by stone
walls. Shafts of Purbeck marble support the vault. Some of the brackets of
Early English foliage which support the shafts are beautifully carved. Some
of the windows in the presbytery and south choir transept are later
insertions, and are Decorated. Sir G. Scott wrought drastic changes here,
and substituted two tiers of lancets instead of a large east window, brought
the altar away from the extreme east end and designed a new reredos. He
made new stalls, using much of the old woodwork. Some fine old
fourteenth-century painting he discovered behind the old stalls, which he
carefully reproduced, and designed a new throne, pulpit and reredos.
Amidst so much that is new and beautiful in its way, it is pleasant to
discover some ancient work. The sedilia are Perpendicular, and an Early
English piscina and aumbry are observable behind the altar. There is a
curious and interesting mural painting on the north wall representing the
Wheel of Fortune, which is probably a thirteenth-century production.
The North Choir Transept (Early English) contains the tomb of St.
William, to whom we have already referred, and whose shrine brought
much gain to the treasury. The tomb is of Purbeck marble, with a floriated
cross. A flat stone marked with six crosses in the centre of the transept is
said to be the site of the shrine. The steps leading to this transept from the
north choir aisle are much worn by the feet of pilgrims. Here is also the
tomb of Walter de Merton (1274-1277) of Early Decorated design, the
founder of Merton College, Oxford. The slab is modern; an alabaster effigy
made in 1598 now is placed in the adjoining recess. Here is also the tomb of
Bishop Lowe (1467). In the aisle (St. John Baptist's Chapel), are tombs of
Bishop Warner (1666), the founder of the college for widows at Bromley,
who occupied the see during the Commonwealth period; of Bishop John de
Sheppey (1360), the sculpture of which is worthy of the highest praise. It
was long hidden away in the wall, and remained so for centuries, until the

restorations of 1825 brought it to light.[5] Here also is a very ancient statue
said to be the figure of Gundulf. In the chancel or sacrarium are the tombs
of Bishop Gilbert de Glanville (1214), a shrine-shaped monument with
medallions containing mitred heads; Bishop Lawrence de St. Martin (1274),
of Early Decorated design; at extreme east, Sir W. Arundel (1400) and his
lady; and on the south side the supposed coffin of Bishop Gundulf; Bishop
Inglethorp (1291), a thirteenth-century coffin, and another in the south choir
transept (name unknown). The glass in this part of the church is all modern.
The doorway into the Chapter-House is one of the great glories of the
Cathedral. It is Late Decorated work, and was probably erected during the
episcopate of Haymo de Hythe (1319-1352). Cottingham restored it in
1830, and made the left-hand figure into a grave and reverend bishop
holding a model of a cathedral and a crozier. It is probably correct that in a
more recent restoration the figure should have been made into that of a
female. It is meant to signify the Christian Church, just as the right-hand
figure represents the Jewish Church, blindfolded, and leaning on a broken
reed and holding a reversed table of the Law. The two seated figures on the
right and left sides represent the four doctors—SS. Jerome, Augustine,
Ambrose and Gregory, while above appear angels who have rescued a pure
soul from purgatorial fires. The crocketed ogee arch and the diaper work
above are worthy of attention; the door is modern.
The Chapter-House and Library occupy a room which is a modern
addition. The library has some treasures, amongst which may be mentioned
Textus Roffensis, a collection of records, gifts and privileges of the
Cathedral, compiled under the direction of Bishop Ernulf (1115-1124). It
has passed through many perils, having been stolen, restored, borrowed,
lost in the Thames, recovered, and we trust its dangers are now over.
Custumale Roffense, another valuable MS. of the thirteenth century, a
great collection of Bibles, including Coverdale's, Cranmer's or the Great
Bible, and the Bishops' Bible. Above the choir transepts are two chambers
called the Treasury, where the church plate is kept, and the Indulgence
Chamber.
Following the course of the pilgrims, we proceed down the flight of steps
to the south choir aisle, or Chapel of St. Edmund. There is the mutilated

tomb of Bishop John de Bradfield (1278-1283). Following the second flight
of steps we come to the Crypt, which extends under the whole choir and is
one of the most perfect in the kingdom. The western part is Early Norman,
and has massive piers and cushion capitals. The rest is Early English. The
altars in the crypt were numerous, and traces of them remain, as shown by
the piscinas. The crypt was extensively decorated with mural paintings, and
some traces of them may still be seen.
Dimensions
Total length, 306 ft.; length of nave, 126 ft.; width of nave, 65 ft.; length
of choir, 147 ft.; length of west transept, 120 ft.; length of east transept, 88
ft.; height of tower, 156 ft.; height of vault, 55 ft.; area, 23,300 sq. ft.
Description of Architecture
Norman—Most of the nave and part of crypt and old chapter house.
Early English—The choir and transepts.
Decorated—Chapter door and some windows at east end.
Perpendicular—Clerestory of the nave, west window, Lady Chapel.
Modern—Tower, chapter-house and library, roof of west transept and
north-west tower.

CANTERBURY CATHEDRAL

I n the minds of readers of English history Canterbury must always rank
first amongst our cathedrals on account of the wealth of historical
associations connected with it. The story of Canterbury is the story of
England, and every record of our annals abounds with allusions to it, or to
the distinguished prelates connected with it. It is the metropolitan church of
the southern province, and is regarded with veneration as the Mother
Church not only of England, but of all the churches in America and the
colonies of the British Empire.
There was probably a Roman or Romano-British church here; when
Augustine converted King Ethelbert to Christianity the monarch gave him
his palace together with an old church which stood near it. This was on part
of the site of the present Cathedral. We need not record again the tangled
story of the conversion of the English, or the names of all the successors of
Augustine. The first seven were buried in the Monastery of St. Augustine,
now St. Augustine's College, Archbishop Cuthbert (d. 758) being the first to
be interred in his own Cathedral. Archbishop Odo (942-959) known as "the
Severe" on account of his endeavour to restore discipline among the clergy,
although born a heathen Dane, was a zealous prelate, and set himself to
restore the ruinous condition of his Cathedral. For three years the work of
building progressed. The eleventh century brought the Danish ravages, and
with fire and sword the Pagan hosts attacked Canterbury and murdered the
archbishop, Alphege. His successor, Living or Leofing, was held captive by
the Danes for some time, but sought safety beyond seas, and lived to crown
Canute. The Cathedral was restored by the next prelate, Egelnorth, but a fire
destroyed it in 1067, and it was not till Norman times that a complete
restoration was attempted. Lanfranc, the first Norman archbishop, finding
the church utterly dilapidated, destroyed the old fabric and built a noble
minster. We have a description of the old Saxon church in the writings of
Eadmer, a monk of Canterbury: "At the east end of the church stood the
high altar, which enclosed the body of St. Winifred. This was of rough stone
cemented together. A little before that was an altar where Mass was said
daily; in which altar St. Alphege enclosed the head of St. Swithun, and

many other relics which he brought with him from Winchester. Descending
hence by several steps was the crypt. At the foot of these steps was a
descent into a vault which went under the east part of the church; and at the
east end of it was an altar, wherein was enclosed the head of St. Fursius.
From hence by a winding passage, at the west end, was the tomb of St.
Dunstan, separated from it by a wall. His body was buried deep in the
ground before those stairs, and over him was a tomb erected in the form of
a lofty pyramid. The hall or body of the church was separated from the
choir. About the middle of the hall were two towers jutting out beyond the
walls—that on the south had an altar dedicated to St. Gregory; and from
this tower was a passage, the principal porch of the church, anciently called
Stuthdore, a large and capacious portico. The tower on the north side was
erected to the honour of St. Martin, having a passage to it from the cloisters.
The end of the church was adorned with the oratory of the Blessed Virgin.
In the eastern part of it was an altar, consecrated to her, which enclosed the
head of a saint."
Lanfranc also built the monastic buildings. The saintly Archbishop
Anselm, who succeeded Lanfranc, took down the east end and rebuilt it
with great magnificence. His chief architect was Ernulf, the prior,
afterwards Bishop of Rochester. Prior Conrad succeeded, who finished the
choir, which was hereafter known as "the glorious choir of Conrad."
Gervase, a monk of Canterbury, describes this church, which had a central
tower, a nave supported on each side by eight pillars, two western towers
with gilt pinnacles, a rood-screen, surmounted by a great cross with figures
of SS. Mary and John. He concludes that the dedication of this church was
"the most famous that had ever been heard of on the earth since that of the
Temple of Solomon."
This church was the scene of the murder of Thomas à Becket, which
convulsed the land, and here Henry II. did penance before the tomb of the
archbishop slain at his instigation. In 1174 a fierce conflagration raged and
destroyed the beautiful choir, and at the sight of the ruins, Gervase tells us,
the people were mad with grief, and beat the walls and tore their hair,
blaspheming the Lord and His saints. The task of rebuilding was at once
commenced, and William of Sens was appointed architect. He laboured for
four years, and then falling from a scaffold was so much injured that he was
obliged to return to France. An English William then took over the

superintendence of the work. It is not stated that he was a pupil of William
of Sens, or was in any way influenced by French models. In 1184 the choir
was finished, and soon new cloisters were added. In 1304 the choir was
beautified and a new pulpit erected by Prior d'Estria, who added the great
bell called Thomas. In 1376 Archbishop Sudbury took down the western
transepts and the nave, and began the rebuilding of the former in the
Perpendicular style, the work being continued by Prior Chillenden during
the rule of Archbishop Courtenay, the oppressor of Lollardism. The cloisters
and chapter-house were finished at this time. Archbishop Arundel (1396-
1414), who was addicted to burning heretics, also added greatly to the
beauty of the church, and his successor, Chichele, spent vast sums on the
church, founded a library, and began the spire on the west tower. In 1449
Prior Goldstone built the beautiful chapel of the Virgin called the Dean's
Chapel, and another prior of the same name in 1495 began the great central
tower, or Angel Steeple, when Archbishop Morton ruled, whose rebus is
inscribed upon it. The same prior also built the Christ Church Gate in 1517.
The troublous times of the Reformation followed, and we find Cranmer
occupying the archiepiscopal throne, who was ultimately doomed to the
stake at Oxford. Fanatical reformers wrought terrible havoc in the
Cathedral. The magnificent shrine of Becket, to which millions had flocked
to pay their devotions, was entirely destroyed, and numerous other costly
shrines shared its fate. Archbishop Laud attempted to restore the beauty of
the sanctuary, and erected a fine altar with reredos; but soon the pikes of the
Puritans and their wild savagery reduced the interior of the Cathedral to a
ruinous desolation. The usual scenes of mad iconoclasm were enacted,
windows broken, altars thrown down, lead stripped off the roof, brasses and
effigies defaced and broken. A creature nicknamed "Blue Dick" was the
wild leader of this savage crew of spoliators, who left little but the bare
walls and a mass of broken fragments strewing the pavement.

Canterbury Cathedral

Since then numerous alterations and restorations have taken place. At the
Restoration of the monarchy Bishop Juxon of London, who attended
Charles I. on the scaffold at Whitehall, was made Archbishop of
Canterbury, and he and Archbishop Sheldon, his successor, did much to

restore the fabric and remove the traces of Puritan fanaticism. Archbishop
Tenison (1694-1716) removed the old stalls and substituted pews. He
covered Prior d'Estria's screen with wainscotting, and erected a fine throne
with carving by Grinling Gibbons. Queen Mary also added to the beauty of
the Cathedral by sundry costly gifts. In 1834 a new north-west tower was
built. In 1872 a fire broke out in the roof, but happily no very extensive
damage was done, and five years later Sir G. Scott began his restorations,
which have removed some of the faults committed in the early eighteenth-
century alterations.
The Exterior
The best views are obtained from the mound in the Dane John (or Donjon
—probably a fortified earthwork of Norman times) approached by St.
George's Terrace, adjoining the Cattle Market, from the green or outer court
of the monastery, and from the village of Harbledown. The West Front is
flanked by two towers. That on the north was built in 1840, as the former
one, called the Arundel, was in a dangerous condition; that on the south,
called the Dunstan, was finished by Prior Goldstone (1449-1468), and is in
the Perpendicular style, with characteristic panelling. A large window is in
the centre of the front, and two smaller windows for the aisles, and above,
in the gable, another window with elaborate tracery. The South Porch was
built by Prior Chillenden about 1400. Erasmus tells us that he saw figures
of Becket's murderers here, but these have disappeared. The niches have
been filled with modern figures. Proceeding along the south side of the
church, we notice the Perpendicular style of the nave and aisles, the work of
Prior Chillenden, which replaced the old Norman nave. There is a close
resemblance between this and Winchester, which was being constructed at
the same time. All that remains here of Lanfranc's nave is the lowest base of
the aisle walls. The south-west transept is of the same date as the nave and
has a large window on the south front with three tiers of panels over it, and
an elaborate turret at the south-west corner. The south-east transept is Late
Norman, the work of William of Sens and William the Englishman. Here
we have Norman round-headed windows with arcades, also a circular
window, and on the west a Norman turret capped with a short spire.
Proceeding eastwards we see Anselm's Tower, and on the extreme east the
corona, the work of English William. On the west Henry IV.'s Chantry, St.
Andrew's Chapel, corresponding to that of St. Anselm, the treasury, and the

range of monastic buildings, consisting of library, chapter-house and
cloisters, which we will examine later. A wall surrounded the precincts, the
principal gate being that called Christ Church Gate, erected by Goldstone in
Perpendicular style in 1517.
The Interior
We enter the Nave by the south porch. Lanfranc's nave was entirely
removed in 1380 on account of its ruinous state, and the present nave
erected by Prior Chillenden, who was employed and supported by
Archbishops Sudbury, Courtenay and Arundel. As we have said, it
resembled Winchester, built at the same time, but it is lighter in character, as
here the piers were built anew, and not cased with Perpendicular work as at
Winchester. The height of the floor of the choir necessitated a lofty flight of
steps leading to it from the nave; and this is a peculiar feature of this
Cathedral and of much beauty. The nave is very lofty, being 80 feet high.
The great west window contains the fragments of old glass which have been
brought together here. The rest of the stained glass is modern and hideous.
In the north aisle are monuments of Adrian Saravia, the friend of Hooker
(1612), Orlando Gibbons, organist to Charles I., Sir John Boys (1614),
founder of a hospital, Archbishop Sumner (1862), who crowned Queen
Victoria, and memorials of military men who died for their country. In the
south aisle are monuments of Dr. Broughton, Bishop of Sydney, and Dean
Lyall (1858).
The central tower is supported by original Norman piers, cased with
Perpendicular work at the time when the nave was built. The vault and all
the upper part of the tower above the roof were erected by Prior Goldstone
(1495-1517), and also the arches, which act as buttresses and bear the
Prior's rebus, three golden bars. The screen is fifteenth-century work and is
remarkable for its beauty; formerly the figures of our Lord and the Twelve
Apostles occupied the upper niches, but these fell victims to Puritan
iconoclasm. The devastators spared, however, the figures of the kings in the
lower tier.
The North-West Transept, or Chapel of the Martyrdom of Becket, claims
our close attention, as the event which occurred here filled Christendom
with amaze.

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

published forbidding anyone to express such an opinion, the popular feeling
still manifested itself. Some soldiers attempted to seize the corpse, but the
monks, who had received an intimation of the design, buried it hastily in the
crypt of the Cathedral.
Since that eventful scene the transept has been rebuilt. The stones around
us, except it be the pavement, did not witness that bloody deed. When the
nave was rebuilt by Chillenden this part of the church was much
transformed. Portions of the old Norman walls built by Lanfranc remain,
but the main character of the building is Perpendicular. The door is the same
by which the murderers entered, part of the wall, and probably the
pavement, wherein is a small square piece which marks the actual spot
where Becket fell. The great window was given by Edward IV., and has
figures of his queen, his daughters, and the two princes who were murdered
in the Tower. The west window is modern, and represents scenes from the
life of Becket. There are monuments here of Archbishop Peckham (1292),
the oldest in the Cathedral, and Archbishop Warham (1532), who crowned
Henry VIII., and was the opponent of Wolsey and the friend of Erasmus. A
door at the east end of this transept leads to the Dean's Chapel, formerly the
Lady Chapel, built by Goldstone in Perpendicular style. The monuments
here are to Dean Fotherby, Dr. Bargrave, Dean Boys with his books, and
Dean Turner, a favourite of Charles I.
The daily crowd of pilgrims who visited the scene of the martyrdom in
mediæval times used to pass on to the shrine of St. Thomas by the north
choir aisle, on their way to his shrine, and we will follow in their steps. In
this aisle we see much of the original Norman work of Archbishop Anselm's
choir, erected under the supervision of Prior Ernulf. William of Sens added
many architectural details and made some alterations, but he seems to have
intended to preserve the special features of the earlier work. The roof was,
however, raised, and the clerestory of Ernulf's building converted into the
triforium windows of William of Sens. The latter brought with him the use
of the chisel, the former carving his ruder ornamentation by means of an
axe. William also introduced the pointed arch. Here is the monument of
Archbishop Tait. Three "squints" will be observed in the west wall. Two
apsidal chapels are at the east end, dedicated to SS. Stephen and Martin. In
the aisle there is some ancient glass of thirteenth-century work, which is of
extreme beauty, also an old desk with ancient Bible. An ancient mural

painting should be noticed, representing the conversion of St. Hubert. Next
we visit the Chapel of St. Andrew, now the vestry, which has some traces of
colour decoration. It was built by Prior Ernulf, and was formerly the
sacristy, where relics of Becket were preserved in a chest, together with a
quantity of vestments. Beyond this, to the north, was the treasury, which
was well protected by a massive door. The treasures of costly plate and
jewels at Canterbury were of enormous value. In the aisle on the south side
there is the splendid tomb of Archbishop Chichele (1443), whom
Shakespeare represents in Henry V. as instigating the war with France, and
who was the founder of All Souls', Oxford. Also there are monuments of
Archbishop Howley (1848) and Archbishop Bourchier (1486).
Up lofty steps, climbed by pilgrims on their knees, we ascend to the
Retro-Choir, the work of William the Englishman, the successor of William
of Sens. Holy Trinity Chapel occupies the centre, where stood the wondrous
shrine of Becket. Architecturally it is interesting as showing the triumph of
English achievement over the foreign influence, and the gradual
development of the English Gothic style; and historically it is fascinating as
being the goal of pilgrims from all quarters of the land. The famous shrine
has entirely disappeared, owing to the cupidity of Henry VIII. and his
commissioners. Some idea of what it was like is given by a representation
of it in one of the windows of the chapel. There was a stone base with
marble arches, and above the shrine covered with a wooden canopy, "which
at a given signal was drawn up, and the shrine then appeared, blazing with
gold and damasked with gold wire, and embossed with innumerable pearls
and jewels and rings, cramped together on this gold ground." One great
diamond or carbuncle was as large as a hen's egg, called the Regale of
France, and presented by Louis VII. All the monarchs and nobles in
mediæval times came here to worship, and crowds flocked from all quarters
"the holy blissful martyr for to seek"; the pavement is worn by their knees;
cripples begged to rub their limbs against the pillars of the holy shrine, and
perchance were healed—faith plays a wondrous part in many a cure—and
Chaucer sings of the tales and doings of the not always very austere
Canterbury pilgrims. The windows of this chapel contain some of the best
thirteenth-century glass in existence. They record miracles wrought by
Becket. Above the shrine is a gilded crescent, concerning which many
theories have been suggested, none wholly satisfactory.

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

"Tu que passez ove bouche close pur la ou c'est corps repose,
Entent ce qe te dirray, sicome te dire la say,"
and proceed to contrast the riches and glory of this present life with the
mouldering and decay of death. Below are seen shields of arms which bear
those of France and England, and the ostrich or Prince of Wales's feathers,
with the motto Houmont Ich diene. Both Welsh and German origin is
claimed for the motto. Dean Stanley preferred the latter, and stated that
Houmont meant high-spirited, while the latter words signify I serve.
Another interesting tomb is that of Henry IV. (1413), and his second
wife, Joan of Navarre (1437). The tomb was opened in 1832, and the body
of the dead king discovered in wonderful preservation. He founded the
chantry near his tomb. Some vestments taken from a tomb are preserved in

this chapel. Other memorials are those of Dean Wotton, by Bernini;
Cardinal Coligny, whose brother fell in the massacre of St. Bartholomew,
and who was poisoned by his servant; Archbishop Courtenay, the oppressor
of the Lollards, who is represented in archiepiscopal robes, with his mitre
and crosier.
The Corona at the extreme east end is a beautiful piece of work,
accomplished by English William. It is in the form of a circular apse, and
has a triforium and clerestory. For some obscure reason it has been
popularly called "Becket's crown," possibly from the presence here of some
relic of the martyr. Here were the shrines of Archbishop Odo and St. Wilfrid
of York, and here is the tomb of Cardinal Pole, archbishop in the time of
Mary, a plain brick monument, plastered over with the inscription: "The
body of Cardinal Pole."
Turning to the South Choir aisle, which resembles the north, we see the
Chapel of St. Anselm, formerly that of SS. Peter and Paul. It resembles that
of St. Andrew, and was built by Ernulf, and probably restored after the great
fire. Behind the altar was buried the great Anselm, one of the most saintly
and renowned prelates who ever occupied the see of Augustine. The south
window is Decorated, inserted by Prior d'Estria in 1336. There is a
monument here of Archbishop Simon de Mepham (1333), whom we shall
hear of again at Exeter, when his visitation was resisted by the arrogant
Bishop Grandisson; and also of Archbishop Bradwardine (1349). Above
this chapel is the Watching Chamber, where a monk was stationed to guard
the shrines. Proceeding along the aisle on the right are monuments of
Archbishop Sudbury (1381), beheaded in the Wat Tyler rebellion;
Archbishop Stratford (1348) and Archbishop Kemp (1454).
The South-East Transept is similar to the northern one. The walls are the
work of Ernulf. It is to William of Sens, however, that we have to attribute
the architectural details. There are apsidal chapels dedicated to SS. John and
Gregory, the remains of Archbishop Winchelsey's tomb (1313); and the
"patriarchal chair," erroneously called "St. Augustine's." In the aisle on the
left are two tombs said to be those of Archbishop Hubert Walter, who
accompanied Richard I. on a Crusade, and Archbishop Reynolds (1327), the
friend of Edward II.

The South-West Transept was rebuilt at the same time as the nave by
Chillenden. On the east of this is the Warrior Chapel, dedicated to St.
Michael. Its style is Perpendicular, circa 1370, and was probably erected by
Chillenden. Here is the monument of Stephen Langton (1228), who wrested
from King John the Magna Charta. The position is curious, only the head of
the tomb appearing through the wall. Other monuments are those of John
Beaufort, Earl of Somerset, half brother of Henry IV. (1409), and Thomas
of Clarence, second son of the same king, killed in battle in 1421, erected
by the widow of both; Lady Thornhurst (1609) and Sir Thomas, Sir John
Rooke, one of the heroes of the capture of Gibraltar, and some military
trophies and memorials.
The Crypt is one of the finest in
England, built before 1085. There is here
some very fine Norman work, the western
portion was constructed mainly by Ernulf,
though there is some of the work of
Lanfranc also here. The carving was
executed after the stones were set in their
places, and we can see that some of the
carving was left unfinished, the designs
having been roughly traced out. The
portion of the crypt east of the Trinity
Chapel is the work of English William
(1178-1184). The Chapel of Our Lady
Undercroft is enclosed by some Late
Perpendicular open stone-work, and was
very magnificent. Only privileged pilgrims
were allowed to see the wealth of precious
The Crypt.
stones and costly ornaments with which
this wondrous shrine was adorned. In the
crypt is the monument of Lady Mohun of Dunstar (1395), the chantry
founded by the Black Prince, St. John's Chapel, the tomb of Isabel,
Countess of Athole (1229). Here Becket's body was hastily buried by the
monks after his murder; it remained here for fifty years, and was resorted to
by the crowds of pilgrims, and here Henry II. endured his penance,
receiving five strokes of a rod from each bishop and abbot present, and

three from each of the eighty monks, and remaining all the night fasting,
resting against one of the pillars. Queen Elizabeth gave the Flemish
refugees the use of the crypt both as a place of worship and as a home for
their industry. Here they plied their busy looms, and in their moments of
leisure wrote inscriptions on the walls. The descendants of these settlers still
live in Canterbury, and use part of the crypt as their chapel.
The Monastic Buildings
Canterbury was a Benedictine monastery. We enter the Cloisters from the
north transept, which are mainly Perpendicular in style, though occupying
the site of the old Norman buildings, and containing remains of earlier
work. Chillenden, the builder of the nave, is responsible for all the
Perpendicular work. The Chapter-House was rebuilt on Norman lines late
in the thirteenth century, and re-ceiled and re-windowed in the fourteenth by
Chillenden. The ceiling is composed of panels of Irish oak. Unfortunately a
severe restoration in 1897 has somewhat vulgarised its former beautiful
features. At the east end there is the beautiful priors' sedilia, with glass
mosaics on the spandrels of the throne. After the Reformation the chapter-
house was used for preachings, and acquired the name of the sermon-house.
On the north of the garth was the refectory, the entrance to which may be
seen, and also the remains of the monks' lavatory.
Passing along we see the Priors', now known as the Green Court, a large
open space surrounded with the remains of the domestic buildings of the
monastery. The Deanery, previously part of the priors' lodgings, is on the
east, and the south was also occupied by the dormitory and refectory, with
kitchens. On the west is the Porter's Gate, a Norman structure, with curious
ornamentation. The very interesting late Norman Staircase leading to the
hall of the Grammar School should be examined. Returning, we traverse the
passage north of the chapter-house, and come to the Lavatory Tower—
erroneously called the baptistry—of Late Norman construction, built by
Prior Wibert for supplying the various buildings with water, and adjoining
this is the Library, which possesses a fine collection of books. A very
interesting MS. is the charter of Eadred (949 A.D.), written by Dunstan;
there is an ancient portrait of Queen Edgiva (late fourteenth century). The
remains of the infirmary and the garden of the monastery may also be seen;
and an arched doorway in Palace Street is all that remains of the once

famous Archbishop's Palace, which was inhabited by so many distinguished
prelates, and the scene of so many events in English history. It was
destroyed during the Commonwealth period.
Dimensions
Total length 522 ft. (inside, 514 ft.)
Length of nave 178 ft.
Width of nave 71 ft.
Length of choir 180 ft.
Height of nave 80 ft.
Height of central tower 235 ft.
Height of west tower 130 ft.
Principal Building Dates

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

PLAN OF CANTERBURY CATHEDRAL

Other Churches and Objects of Interest

St. Martin's Church, traditionally said to be the oldest church in the
kingdom, is certainly of great antiquity. A large number of Roman bricks
are built up in the walls. It contains a stone coffin, in which it is said that
Queen Bertha lies, the wife of King Ethelbert, converted by Augustine, but
this is improbable. The font is Saxon, and it is, according to tradition, which
is not very reliable, the font in which Ethelbert was baptised.
St. Augustine's College for Missionaries was formerly the Monastery of
St. Augustine. The earliest house was dedicated to SS. Peter and Paul, said
to have been founded by Augustine. Dunstan enlarged it, and added the
founder's name to the dedication. It became very rich and important. The
buildings were destroyed by the Danes, but they arose again in greater
glory, and at the dissolution of monasteries the house became a Royal
palace. The buildings are well worthy of a visit.
St. Dunstan's Church.
The West Gate, built by Archbishop Sudbury, temp. Richard II.
Holy Cross Church.
St. Peter's Church.
St. Thomas's Hospital for Entertainment of Pilgrims.
The remains of the old Chequers Inn at the south-west corner of Mercery
Lane, can be traced, and a portion of it is incorporated in the house known
as Grafton House. There are some fine old houses in this street, anciently
called La Merceri, each stone projecting outwards, so as almost to meet at
the top, typical of an old English city street.

WINCHESTER CATHEDRAL

T he city of Winchester, the ancient capital of England, the Caer Gwent of
the Britons, the Venta Belgarum of the Romans, the Royal city of
Alfred the Great and of William the Conqueror, was a place of vast
importance in the annals of England. Under Cnut it was the capital of a
kingdom stretching across the seas to Scandinavia, and under the Normans
a large part of France was in subjection to it. Here kings were born and
Royal weddings celebrated with great pomp in its grand Cathedral. If Royal
patronage could have preserved the glories of ancient Winchester, it would
have remained the capital of England; but London was the centre of the
commercial activity of the country, and in the end Winchester was forced to
yield supremacy to its more powerful rival.
Its ecclesiastical history is no less important. A British church here is said
to have been destroyed during the Diocletian persecution (A.D. 266) and
restored subsequently and dedicated to St. Amphibalus, the martyr.
Heathendom returned with the Saxons, until they were converted by St.
Berinus, and by the baptism of King Kynegils the triumph of Christianity
was assured. He built a new Cathedral, which was again rebuilt by Bishop
Ethelbold (980) and consecrated by Dunstan, and this church remained until
the Norman builders came with the Conqueror, and began, under his
kinsman, Walkelin, to erect that stately fane which we are now about to
visit.
Winchester is unlike Salisbury, which was, for the most part, completed
in one period of architecture; the former was the work of several builders at
different eras. A large part of the Early Norman Cathedral remains; the crypt
and transepts and the core of the walls being all Norman work. The eastern
aisles and chapels are the work of Bishop de Lucy (1189-1204), built in the
Early English style, during the troubled reigns of Richard I. and John; the
noble nave was begun by Bishop Edingdon in 1345, and not finished until
the time of Waynflete, in 1496, while the dawn of the Reformation saw the
building of the side aisles of the presbytery and the east part of the Lady
Chapel. The celebrated William of Wykeham, Bishop of Winchester,

Chancellor of Edward III., the founder of the Colleges of Winchester and
New (Oxford), was the chief architect of the nave.
We approach the Cathedral by an avenue of stately elms, and reach the
west door. The best exterior view is obtained from the north side of the
close. The tower is low massive Norman work, built in the time of the first
Henry, the first tower having fallen, as some said, because William Rufus,
the bad king, was buried beneath it. The west front has been recently
restored. It is evidently Perpendicular work, and was probably constructed
by Bishop Edingdon.
On entering we are struck by the grandeur and impressiveness of this
noble nave: Winchester is the largest Cathedral in England. The whole
church is 556 feet in length, and nearly 400 feet of magnificent stone-vault
is visible from the west doorway. This nave presents some architectural
problems. The style is evidently Perpendicular work of the fourteenth and
fifteenth centuries, but the builders of that period transformed much of the
original Norman work, which still remains in the piers and walls, into that
of the later style. They did not rebuild, but transformed, adding new
mouldings, casing, and concealing, though not obliterating, the ancient
Norman features. We can trace the work of the successive builders. Bishop
Edingdon entirely rebuilt the west front and extreme west portion. Examine
the two west windows of the north aisle, and compare them with the third,
the work of William of Wykeham, and notice their heavy and less graceful
appearance. Wykeham was responsible for the complete transformation of
the nave, but lived only long enough to complete the south side. Notice the
thickness of the piers. This was caused by casing the Norman piers with
Perpendicular stone-work, and the balcony above the arches was
necessitated by the work of reconstruction. Wykeham's successor, Cardinal
Beaufort (uncle of Henry V., the "rich Cardinal," as men called him, one of
Joan of Arc's judges, but withal not so base a man as Shakespeare depicts),
continued, and Bishop Waynflete, the founder of Magdalen College,
Oxford, completed that magnificent structure which we now see. On each
side of the west door are bronze statues of Charles I. and James I. by Le
Sueur.
On the bosses of the roof we see some armorial bearings; the lily (the
arms of Magdalen College) is the device of Waynflete, and the arms of

Wykeham, Beaufort, John of Gaunt and Richard II. (white hart chained) are
there represented.
The Minstrels' Gallery or tribune, erected by Edingdon, is at the west end
of the north aisle, and the oldest piece of iron grill-work in England of very
good design is seen in a neighbouring door. The font is Norman work, the
sculptures representing scenes from the life of St. Nicholas of Myra,
together with doves and the salamander. The chantry chapels on the south
side of the nave are extremely interesting: (1) Bishop Edingdon's Chantry
(1345-1366), (2) William of Wykeham's Chantry, which is very beautifully
designed. We see the effigy of the distinguished prelate with two angels
holding the pillow under his head, and three monks at his feet praying for
his soul. Some modern statues have been added at the east end and an
ingenious chronogram. In the south aisle there are two monuments by
Flaxman (Henrietta North and Dr. Warton), and one to the once famous
Bishop Hoadley, the founder of the Bangorian controversy, which shows the
Magna Charta by the side of the Bible and the cap of liberty contending
with the pastoral staff. Some heroes of the Crimean War are also
commemorated. There are memorials of Mrs. Montagu, the founder of the
"Blue Stockings," and of Jane Austen.
The pulpit is Jacobean, and was brought here from New College, Oxford.
The screen separating the nave from the choir is modern. The bronze
figures of James I. and Charles I. formed part of an older screen erected by
Inigo Jones. Cromwell's soldiers wrought havoc here as in many other
churches and cathedrals. They broke the windows and woodwork,
desecrated shrines, and paid much attention to this statue of their king.
On entering the choir we find ourselves immediately beneath the tower,
which, as we have observed, is Late Norman work, and notice the immense
piers which support it. The former tower having fallen, the builders were
determined not to have a similar misfortune, and therefore built these piers
abnormally strong and massive. The ceiling was erected in the time of
Charles I. (1634), and bears medallions of that ill-fated monarch and his
queen. Beyond the tower we see the piers and arches and clerestory of the
presbytery, which belong to the Late Decorated period. The noble reredos
belongs to the fifteenth century, and has been recently restored, the vacant
niches being again filled with statuary. In the centre is the figure of our

Lord upon the Cross, with the Virgin and St. John. On each side of the altar
are SS. Hedda and Ethelwolf, and in the spandrels of the two doorways
some ancient sculptures of the life of the Virgin. Above are figures of SS.
Swithun and Berinus, and above the doors SS. Benedict and Giles, and SS.
Stephen and Lawrence. In the highest row are SS. Peter and Paul and the
four Latin doctors. There are numerous smaller statues of kings and
prelates. The whole appearance of the screen is very magnificent.
The woodwork of the stalls is the most perfect in the kingdom, and was
constructed in the closing years of the thirteenth century. The carved foliage
is remarkable for its grace and elegance. Notice the carved heads and the
monkeys and other animals playing amidst the branches. The Misereres are
interesting, and are earlier than the canopies. The pulpit was presented by
one "Thomas Silkstede, prior," whose name it bears.
In the centre of the presbytery we see the supposed tomb of William
Rufus, who was accidentally killed by an arrow when hunting in the New
Forest. His ashes, however, do not rest beneath this stone, but are preserved
in the chests above the screen, together with the bones of Canute and some
Saxon prelates. Cromwell's soldiers rifled the tomb and found therein a
chalice, which sacred vessel was usually placed in the coffins of bishops
and therefore could not have belonged to the grave of the red-haired
monarch. Bishop Fox (1500-1520) did much for this part of the Cathedral.
He placed the glass in the east window, which has been much modified.
Glass painting at this period had attained its highest perfection as an art, and
in its original condition this window must have been unrivalled. The stone
screens on each side of the presbytery were also erected by Fox, and six
mortuary chests containing the bones of Saxon kings and bishops are placed
upon them. Amongst the bones of other illustrious men are deposited in a
mingled state the mortal remains of Kynegils, Ethelwolf, the father of
Alfred the Great, Egbert, Canute, and many others. The soldiers of
Cromwell played havoc with these bones of kings, and scattered them about
the Cathedral, hence it is impossible to be certain that these chests actually
contain the mortal remains of those whose names they bear. The vault of the
presbytery is wooden, and the bosses are interesting.
Behind the reredos is the feretory or place for the shrines of patron saints,
with a stone platform at its east end on which formerly stood the shrines of

St. Swithun[6] and St. Berinus.

WINCHESTER CATHEDRAL

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

We now visit the north transept and find ourselves in the earliest portion
of the Cathedral, built by Bishop Walkelin in the old Norman style. The
windows were inserted in the Decorated period, and the ceiling belongs to
the last century. The transepts have aisles on the east and west sides and
also at each end, over which is a gallery. This is not common in England. At
St. Alban's there is a similar arrangement, and in several Normandy
churches. The Norman work of the transepts is of two periods. The earlier
part by Walkelin (1070-1098) is distinguished by the smaller piers and plain
groined vaulting; the later (1107) by the ribbed vaulting and larger piers.
When we visit Ely Cathedral we shall notice the similarity of design, the
transepts of that building having been erected by Simeon, Walkelin's
brother. Under the organ-loft is the Chapel of the Holy Sepulchre. Notice
the curious mural paintings representing the Passion of our Lord which date
from the thirteenth century, and the Decorated canopies built against the
Norman piers.
We now enter the north aisle of the presbytery and proceed to the
extreme eastern portion of the Cathedral. Here seven chantries and chapels
are seen which record the memory of illustrious prelates. "How much
power and ambition under half-a-dozen stones! I own I grow to look on
tombs as lasting mansions, instead of observing them for curious pieces of
architecture," wrote Walpole. Almost all the east end was built by Bishop
Godfrey de Lucy (1189-1204) at the beginning of the Early English period
and is of exquisite design. The north chapel is called that of the Guardian
Angels, and is so named from figures of angels in the vaulting. There is a
bronze figure of the Earl of Portland here, the treasurer of Charles I. Notice
the figure holding a heart. It represents Bishop Ethelmar, half-brother of
Henry III., who died in Paris but directed that his heart should be conveyed
to this Cathedral.
The Lady Chapel has work of divers periods—north and south walls
Early English (De Lucy), east wall and window with small eastern parts of
north and south walls Perpendicular (Prior Hunton, 1470-1498, and Prior
Silkstede, 1498-1524). The rebuses of these two priors on the vault are
curious: T. Hun and a ton (Thomas Hunton), and 1 and Por for Prior; T. Silk
and a horse (Thomas Silkstede). Mural paintings by the latter prior
representing the legends of the Virgin adorn the walls. The panelling is the
work of Bishop Fox.

The south chapel (Early English) is the Chantry of Bishop Langton, who
died of the plague in 1500, just before he was translated to the
Archbishopric of Canterbury. The woodwork of the stalls is very beautiful.
The pikes of Cromwell's soldiers wrought havoc here, and we notice that
just above the height they could reach with their weapons the woodwork is
uninjured. Mediæval artists were fond of puns and rebuses, and here we
have Langton's name represented by a long (or musical) note with a ton,
and a vine and ton for Winton or Winchester. Winton is also represented by
a dragon coming from a ton, referring to Solomon's warning against the
wine that is red which biteth like a serpent, etc. An object of much interest
is preserved here—Queen Mary's chair upon which she sat when she was
married to Philip of Spain in the Lady Chapel. On that occasion there was
much feasting and rejoicing in Winchester, though the nation liked not the
Spanish marriage, and much ill came to England through that ill-starred
connection. De Lucy's tomb in the centre of the retro-choir looks upon the
noble work which he built for his beloved Cathedral. On the north of the
central aisle is the Chantry of Waynflete, the founder of Magdalen College,
Oxford; on the south that of Cardinal Beaufort. Both were much injured by
the soldiers. Between these is the effigy of a knight in armour, Sir A. de
Gavaston, the father of the favourite of Edward II.
Notice the wall at the back of the feretory, with its beautiful tabernacle
work of Decorated period, under which images once stood. The names of
the worthies appear below. "The Holy Hole" formerly led to the crypt but
has now been closed. On the north side of this wall is Bishop Gardiner's
Chantry, who was the leader of the Roman Catholic party at the
Reformation and was styled the "Hammer of Heretics." He took a leading
part in the Marian persecutions. On the south side is the Chantry of Bishop
Fox (1500-1528), the founder of Corpus Christi College, Oxford, who bore
the pelican as a device.
The south wall of the south aisle of the presbytery is Late Perpendicular
work. Another instance of heart burial is recorded on the wall opposite, that
of Bishop Nicholas of Ely (1280), and an inscription tells of the burial of
Richard, son of William the Conqueror, who was killed while hunting in the
New Forest.

We now enter the south transept, the architectural features of which are
similar to those of the north transept. Silkstede's Chantry should be visited.
This worthy prior loved a rebus, and here carved a skein of silk to represent
his name, also the letters thoMAs appear on the screen, the MA being
formed differently from the rest to represent his patroness, Mary the Virgin.
Isaac Walton's tomb is here, the author of the Angler. There are some good
mural paintings. The monument of Bishop Wilberforce forms a conspicuous
object in the transept. Adjoining Silkstede's Chapel is the Venerable Chapel,
with a fine screen. On the west side are the chapter-room and the old
treasury. Passing through the chamber on the south we enter the slype.
The library has some treasures, notably
a Vulgate of the twelfth century and some
valuable MSS. The crypt is entirely
Norman work, except the east part, which
is Early English. The cloisters and old
chapter-house were destroyed in 1563. The
Deanery was formerly the home of the
prior; its entrance belongs to the time of
Henry III., and the hall within the house to
the fifteenth century. Over the dean's
stables is a long room which was probably
the guest-house for pilgrims; rude carvings
can be seen on the beams of the roof
probably made by the pilgrims.
Dimensions
Total length, 556 ft.; length of nave, 262
ft.; width of nave and aisles, 88 ft.; height
of vault, 78 ft.; area, 53,480 sq. ft.
Principal Building Dates The Cathedral
West Front.
1079-1093—Transepts, crypt and cores
of piers and wall; 1120—central tower
rebuilt; 1202—retro-choir and eastern chapels; 1320—presbytery rebuilt;
1360—west front and two bays of nave; 1394-1486—nave reconstructed;

1487—east end of Lady Chapel; 1520—alterations in presbytery by Bishop
Fox.
Other objects of interest in Winchester—
The School, founded by William of Wykeham; the Hospital of St. Cross,
founded by Henry de Blois in 1136; Hyde Abbey, the resting-place of the
body of Alfred the Great; the County Hall, with the so-called Round Table
of King Arthur; Wolvesey Castle, the ancient episcopal palace.

PLAN OF WINCHESTER CATHEDRAL

CHICHESTER CATHEDRAL

C hichester, like most of our cathedral cities, has a long history dating
back to the time of the Romans. The Roman town stood on the line of
the road now known as Stane Street, and seems to have been a populous
place where trade was carried on, and not merely a military station. A
marble slab discovered in 1713 (preserved at Goodwood) bears an
inscription which tells us much of the Roman city and runs as follows:
Neptuni et Minervæ templum pro salute domus divinæ ex auctoritate Tih.
Claud. Cogidubni r. leg. aug. in Brit. collegium fabror. et qui in eo a sacris
sunt d. s. d. donante aream Pudente Pudentini fil. Much has been made of
this inscription, that there was a temple here dedicated to Neptune and
Minerva, that there was a large body of craftsmen who built this temple,
and that Chichester was the seat of King Cogidubnus mentioned by Tacitus
as possessing independent authority in Britain.
When the Pagan Saxons under Ælla came they destroyed the place. "Ælle
and Cissa," says the chronicle, "beset Anderida[7] and slew all that were
therein, nor was there afterwards one Briton left," and overran the coast,
establishing the kingdom of the South Saxons, or Sussex. Then Cissa,
having captured the old Roman city, made it the capital of his kingdom,
calling the place Cissan-caestre, or the fortress of Cissa, now corrupted to
Chichester. This was at the close of the fifth century. Shut in by the great
forest of Anderida, these South Saxons retained their Paganism long after
the advent of Augustine and the conversion of other parts of the country. St.
Wilfrid was shipwrecked on their coast, but they fiercely attacked the crew
of the vessel, which escaped with difficulty from the perilous coast owing
to the prayers of the saint. Thirty years later he returned and converted them
to Christianity. A famine raged owing to long draught. He taught them to
fish in the sea, and so won their confidence, and on the day when their
chiefs came to be baptised rain fell and the famine ceased. The Island of
Selsey or Seal's Island was given to the saint, where he founded a
monastery and became the first bishop of the South Saxons. Until the
conquest Selsey remained the seat of the bishopric. The last Saxon prelate,
Ethelric, though he was a learned, and moreover a very aged man, received

harsh treatment from William I. He was deprived of his bishopric and
imprisoned. Then came Stigand, who moved the bishop's throne to
Chichester, and made the minster Church of St. Peter's Monastery his
Cathedral. The waves of the sea now roll over the site of the Early Saxon
church. Ralph de Luffa, the third Norman prelate (1091-1123), began the
building of the present Cathedral. Fire played havoc with the newly-erected
church in 1114, four years after its completion, but Ralph again set to work
to restore it. It was consecrated in 1148, twenty-five years after his death.
He was a noble bishop, and accomplished much for his diocese and for the
Church of England in the time of the tyranny of Norman kings. Fire again
raged in 1186, which prepared the way for the alterations and improvements
of the transitional builders who were developing the beauties of English
Gothic. Bishop Seffrid, the second who bore that name, was the director of
the work, which shows the purist style of the twelfth century. The triforium,
the upper storey of the western towers (the present north-west tower is a
modern imitation of the south-west tower) and the lower storey of the
central tower are mainly his work. This bishop had the doubtful honour of
crowning King John. Bishop Neville (1224-1244) designed and began to
build the spire, and the Lady Chapel was partly constructed by Bishop
Gilbert de St. Leofard (1288-1304). John de Langton, bishop (1305-1336),
who was a skilful architect, finished the retro-choir and the south wing of
the transept. By this time the Cathedral had assumed much of its present
form. The apsidal chapels in the choir had been made to assume the more
English form of square-ended buildings. The thirteenth-century bishops
who accomplished all this excellent work were remarkable men. Bishop
Simon Fitz Robert (1204-1207) obtained many benefactions for his see, and
grants of stone from the Isle of Purbeck for the beautifying of his church.
Richard Poore, the noble builder of Salisbury, was here for two years, and
Bishop Neville worked hard during his episcopacy for his church, and built
a palace for his see in London which stood on the site of Lincoln's Inn. St.
Richard de Wych was an excellent bishop (1245-1253), who reformed his
diocese with some severity, and ordered his flock to contribute liberally to
the building fund of his Cathedral. "St. Richard's Pence" afterwards became
a fruitful source of income. Bishop Gilbert de St. Leofard followed in his
steps, and, as we have said, built the main parts of the Lady Chapel, which
is of Decorated style. The work of the fourteenth century was rather that of
adornment than of construction. We find Bishop Langton (1305-1337), the

suppressor of the Templars, inserting a beautiful window in the south
transept, and building the chapter-house. A little later a noble reredos was
erected behind the altar, the choir stalls added, and some changes made in
the window tracery. The founder of Merton College Library, William Read,
was bishop here in 1369-1385. Lollardism was rampant in the diocese, and
Bishop Robert Rede (1397-1415) took strong steps to uproot the obnoxious
teaching. The beginning of the fifteenth century saw arising the detached
bell tower, called Raymond's Tower, the only existing detached belfry in the
kingdom. Some of the Bishops of Chichester at this time fared ill. Bishop
Moleyns (1446-1450), who helped Henry VI. to marry Margaret of Anjou,
was murdered by some sailors at Portsmouth, and his successor, Peacocke
(1450-1459), was tried on account of his supposed heretical opinions and
deprived. Bishop Storey (1478-1503) was the builder of the famous Market
Cross and the Grammar School. Bishop Sherbourne (1508-1536) who
favoured not the "new Religion," employed the Bernardi, an Italian family
who had previously settled in Flanders, to decorate his church, and we shall
see some of their work in the Cathedral. Then came the trouble of the
Reformation period, when altars were destroyed, shrines pillaged of their
gold and ornaments, and the whole church ransacked of its treasures.
Further spoliation and destruction were wrought by the Parliamentary
soldiers under Waller, who "plundered the Cathedral, seized upon the
vestments and ornaments of the church, together with the consecrated plate
serving for the altar; they left not so much as a cushion for the pulpit, nor a
chalice for the Blessed Sacraments; the common soldiers broke down the
organs, and dashing the pipes with their poleaxes, scoffingly said, 'Hark,
how the organs go!' ... On the Tuesday following, after the sermon,
possessed and transported by a Bacchanalian fury, they ran up and down the
church with their swords drawn, defacing the monuments of the dead,
hacking and hewing the seats and stalls, and scraping the painted walls. Sir
William Waller and the rest of the commanders standing by as spectators
and approvers of their barbarous impieties." Bishop King was prelate at this
time; his palace and goods were destroyed, and he was treated with cruel
indignity. In the seventeenth-century the north-west tower fell, and the
central tower was so insecure that the upper part of the spire was removed
and rebuilt by Wren. Since then several attempts at reparation have been
made. At length in 1860 a terrible disaster befell, and the central tower and
spire collapsed. It was rebuilt by Sir G. Scott with much care, and may be

said to be an exact copy of the old, and in addition to other improvements
the north-west tower has been rebuilt.

Chichester

The Exterior
The best views may be obtained from the city wall to the north, also from
West Street and East Street, and a fine distant prospect is observed from the
Goodwood Downs. We will begin our inspection as usual with the West
Front, which consists of a gable with windows and porch, flanked by two
towers. The upper part of the north-west tower is a recent construction,
made in imitation of the south-west tower, and built on the ruins of the
former tower. The south tower is of Norman workmanship, the upper part
being Early English, and also the plain and heavy buttresses at the south-
west corner. The basement and next storey are part of the original work of
Bishop Ralph, and the rest of Bishop Seffrid II. The west porch is plain and
deep, with double buttresses at the corners. The doorway consists of a wide
arch, under which are two smaller ones divided by a single clustered
column. These have been restored in imitation of the ancient design. The
interior of the porch is very beautiful Early English work, the arcading of
quatrefoils being very effective. The monuments have evidently been
placed there in later times. Above the porch are three Early English
windows, and above these a large modern window, and in the gable are two
small Early English windows. The cross above is modern.
The Bell Tower, the only instance in England of a detached belfry, though
not unusual abroad, is a massive and plain building, 120 feet high. The
upper storey is octagonal and low, and resembles the great west tower of
Ely, but is much inferior. Both these towers were built about the same time,
at the beginning of the fifteenth century, and are in the Perpendicular style.
The north side of the nave exhibits in the clerestory the round-headed
windows of the original Norman church. The parapet is fourteenth-century
work. Flying buttresses connect the clerestory with the outer wall. The
windows of the chapels are Early Decorated, and were erected during the
reign of Edward III. One of them is modern. The North Porch is Early
English work, and the dog-tooth ornament is observable in the arches. It has
a parvise. The North Transept on the west side has some of the original
Norman wall and Norman windows, and on the north end there are
thirteenth-century buttresses with octagonal turrets, a large window and a
rose window over it. On the east side there are some Early English
windows. Proceeding eastward we pass the Chapels of St. Edmund and St.
John Baptist, of Early English design, with some Perpendicular windows,

the same style prevailing in the presbytery. Flying buttresses support the
main walls. The old Norman church ended in an apse, and traces of the
curve can still be observed, and other remains of twelfth-century work can
be seen. Two of the windows are Perpendicular in style, but have been
much restored. The low Lady Chapel projects at the east end. Two western
bays are twelfth-century work, the two eastern bays being added by Bishop
Gilbert de St. Leofard at the end of the thirteenth century, and are Late
Decorated. Much restoration has been found necessary here. Early English
work prevails in the chapel on the south side. The south wall of the choir
aisle has several points of interest and several styles of architecture are
shown here. A consecration cross can be seen in one of the bays. The south
transept is very similar to the north, and on the west of it is the sacristy.
Norman walls are on the north and east, and Early English on south and
west. On the south side of the Cathedral are the Cloisters, which are
curiously shaped. The Paradise is not square, the east walk being longer
than the west. These cloisters are fifteenth-century work, having
Perpendicular windows and flat roof. The south side of the nave is
interesting, and resembles somewhat the north side. The arches of the
windows in the aisles are Early Decorated, the tracery is modern. In the
fourteenth century the buttresses were strengthened and enlarged, the
parapet added. The Norman wall and windows remain in the clerestory,
though later tracery has been inserted in two of these. The south porch
leading to the west cloister has been much restored. The doorway in the
south-west tower is Norman, and is adorned with chevron moulding, and
beautifully designed. The window over it is also of the same date.
The Interior
The interior is more imposing than the exterior. The best view is perhaps
obtained from north-east corner of the nave. The width of the nave is the
first peculiarity which we notice. It has double aisles on each side of the
nave, a peculiarity shared only with Manchester, and some parish churches,
such as Abingdon, Taunton and Coventry. There are some grand effects of
light and shade, and the nave is well proportioned, and has a quiet dignity
which is all its own. There are eight circular arches, supported by seven flat
piers, isolated and flanked by half columns of cylindrical character with
plain capitals and cable moulding. Purbeck marble is extensively used in
the string-courses and capitals of the vaulting shafts. The triforium

preserves its Norman character. Here are the Norman circular arches,
containing two smaller arches resting on single shafts. The surface of the
stone in the head is hatched as at Rochester. There is a striking analogy
between Chichester and Peterborough, both in the nave and choir. Both
were destroyed by fire, and both rebuilt about the same time. The main
arcade and triforium are the work of Bishop Ralph de Luffa (1091-1124).
Bishop Seffrid II. (1180-1204) rebuilt the clerestory, and made it loftier
than the triforium. The style is Early English. It will be noticed that the
middle arch of the windows is round and higher than the side arches, which
are pointed. The windows are separated by small shafts of Petworth marble,
and the capitals are carved with leaves of palm trees. The Cathedral is
dedicated to the Holy Trinity, and the builders seem to have wished to
express symbolically the threefold nature of the Deity by the triplicity of the
work. Triple clustered shafts appear everywhere. The vaulting is of stone,
and is a little later than Seffrid's work. Alarmed by the fires, the architect
determined to build a stone and chalk roof instead of wood. In the sixteenth
century this vaulting was painted in gaudy colours by Bishop Sherbourne.
Two storeys of the south-west tower are original Norman work, with rude
cushion capitals, and formed part of the first church finished by Bishop
Ralph. This is used as a baptistry, and has a modern font, an imitation of
that at Shoreham.
In the South Aisle are the Chapels of St. George and St. Clement. The
latter has been restored in memory of the last good bishop, Durnford. The
figures placed in the old wall arcade are SS. Anselm, Clement and Alphege.
The old piscina and aumbrey remain, as also in the other chapel. The
chapels were added in the second half of the thirteenth century. The North
Aisle resembles the south. Here were the Chapels of St. Anne, St. Theobald
or the Four Virgins, and SS. Thomas and Edmund. The screen, pulpit and
lectern are all modern, and also the glass. The monuments here are:—in the
south aisle, Bishop Durnford (1895), and Captain Cromwell (Flaxman); and
in the north aisle, Poet Collins, Richard Fitz-Alan, Earl of Arundel and his
wife [the earl was a supporter of the Duke of Gloucester, uncle of Richard
II., and was beheaded in 1397], an unknown lady, supposed to be Countess
of Arundel (1270). This tomb is of Decorated design, and is beautifully
executed.

The North Transept was once the Parish
Church of St. Peter the Great. The main
walls are part of Bishop Ralph's Norman
church, and there are Norman windows on
the west and arches of the same style on
the east. These open into the old Chapel of
St. John Baptist and St. Edmund, which
has now been converted into the Library.
The north and east walls are Early English,
the vaulting is very beautiful, the ribs
being ornamented with zigzag. The library
has some early MSS., but is not
particularly rich in its treasures. Entering
the north choir aisle we see the monuments
of Bishop Storey (1503), the builder of the
Market Cross; Bishop King (1670), who
suffered much from the Parliamentary
soldiers; Carleton (1685); Grove (1691);
Otter (1840), and an early slab of
thirteenth century representing a heart The
Presbytery.
burial. Formerly an inscription could be
deciphered which told in Norman French:
"Here lies the heart of Maud." At the end of this aisle is the Chapel of St.
Katherine. This eastern end of the aisle is all Early English work. Here are
preserved the paintings of the Bishops of Chichester and Kings of England
made by Bernardi, which were much injured by the soldiers and restored by
an indifferent artist. The Retro-Choir is early thirteenth century, and has a
fine vault which in style resembles that of some French churches. The piers
are curious, and the shafts are further detached from the main piers than in
any other known example. The capitals are most beautifully carved. The
triforium is ornamented with rich tracery and carving and clustered shafts of
Purbeck. It somewhat resembles Ely, the work of Bishop Hotham in 1235.
The clerestory is later. Here stood the magnificent shrine of St. Richard, the
glory of Chichester, and the resort of pilgrims. This St. Richard de la
Wyche, who was the friend of Becket, died in 1245. He was remarkable for
his zeal and charity. On his death his body was found wrapped in a shirt of
horse hair and bound with rings of iron. Miracles being reported to have

taken place at his tomb, he was canonised. The Lady Chapel in Norman
times extended two bays eastward, and was extended by two bays by
Bishop Gilbert de St. Leofard at the end of the thirteenth century (1288-
1305). It was formerly used as the library, and Willis speaks of it as "having
nothing to recommend it except a good collection of books." The east
window has five lights, and all the windows have been restored. The
vaulting is good and the fittings are modern. In the vault is a beautifully-
painted design by Bernardi (1519). The South Choir Aisle resembles the
north. The Chapel of St. Mary Magdalene is at the east end, which has been
restored. St. Richard's head was preserved here as a precious relic. Some
modern paintings here represent scenes from the life of St. Richard and our
Lord. Passing by the door into the cloisters we see on the north the tombs of
Dean Hook (1875), and Bishop Daye (1552); and on the south, Bishop
Sherbourne (1536). Here are two carved panels of very early character,
which legendary lore tells were brought from Selsey when the bishop's stool
was transferred to Chichester. It is quite possible that they are Saxon, and
the style of art has a Byzantine appearance. The subjects are the Raising of
Lazarus and Our Lord at Bethany with Mary and Martha. A door on the left
leads to the vicar's vestry, and then we come to the South Transept, which
resembles the north. The walls on both west and east are Norman. On the
south is a very beautiful window inserted by Bishop Langton (1305-1337),
one of the finest Early Decorated windows in England. The glass is modern
and hideous. The paintings here on the back of the choir stalls are
interesting. They are the work of Theodore Bernardi, an Italian artist, who
settled in Flanders and afterwards came to England, and with his son lived
at Chichester. Bishop Sherbourne employed him to decorate his Cathedral.
The paintings here represent the foundation of the see at Selsey by
Caedwalla, and the foundation of four prebends by the bishop and Henry
VIII. The soldiers much injured the paintings, which were restored by
Bishop Mawson, who employed an inferior artist and thus destroyed much
of their merit. The saintly Bishop Richard has a monument here. On the east
is the Chapel of St. Pantaleon, a Nicomedian martyr, which retains its
piscina. It is now used as the canons' vestry. On the west is the entrance to
the Sacristy, a large room, now used as a music room, with a vaulted
ceiling. Above this is the old consistory court where heretics were tried.
Lollards were often examined and condemned here, and behind the seats
there is a sliding door leading to what is commonly known as the Lollards'

prison. It was probably either a treasury or evidence chamber. Langton's
tomb, the builder of the beautiful window, is below that fine structure. He
died in 1336.
The Choir is long and narrow and has been much restored. The design is
Early English, though much of the old Norman piers was retained. The
carving in the triforium is very beautiful. The screen is modern. The stalls
were erected in Bishop Sherbourne's time, and are of carved oak and
inferior to many. The dean's and precentor's stalls are new. The old throne
was much defaced by the soldiers under Waller. A new one was given by
Bishop Mawson (1740-1754) and this has given place to a modern one. The
reredos and altar are modern.
Dimensions
Total length 393 ft.
Length of nave 155 ft.
Width of nave 90 ft.
Height of nave 61 ft.
Length of choir 115 ft.
Length of transept 131 ft.
Height of spire 277 ft.
Area 28,000 sq. ft.
Building Dates

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

SALISBURY CATHEDRAL

S alisbury is one of the finest examples of Early English architecture in
England. It was built for the most part in one style and at one period,
and therefore does not present to us that varied conglomeration of the art of
different ages which we see in most of our ecclesiastical edifices. The story
of its building is full of interest, and we must look for the original home of
the Salisbury diocese on the wind-swept fortified heights of Old Sarum,
where Bishop Herman fixed his episcopal seat in Early Norman times. The
early history of the sees of Southern England is somewhat complicated.
When the Story of the Cross was first proclaimed here, and the savage
Saxons became Christianised, the whole of Wessex and Sussex were
comprised in the see of Dorchester, a small village in Oxfordshire. This
huge bishopric was then divided into the two sees of Winchester and
Sherborne. Then Selsey (afterwards Chichester) was taken out of
Winchester, which diocese was again divided, and Ramsbury formed. Out
of the diocese of Sherborne, Wells and Crediton were constituted, and then
Bishop Herman in 1058 united the sees of Ramsbury and Sherborne, and
formed the diocese of Salisbury, fixing his seat at Old Sarum, the Saxon
town of Searobyrig. On this hill fortress seven prelates ruled, amongst
whom were the saintly Osmund (1078-1099), who completed the first
Cathedral, of which no stone remains, and compiled the famous "Use of
Sarum," the model of all service-books in the South of England; Bishop
Roger (1102-1107), a most powerful prelate and castle-builder; Jocelyn de
Bohun (1142-1184), the opponent of Becket; Hubert Walter (1188-1193), a
crusading bishop, the companion of Richard Cœur de Lion; Herbert le Poer
or Poore (1194-1216), and then his brother or kinsman, Richard Poore
(1217-1228), the founder of the present Cathedral. Various reasons are
assigned for the transference of the see. Old Sarum lacked water. It was a
lofty, barren height, swept by every wind of heaven, and "when the wind
did blow they could not hear the priest say Mass." But the real reason was
the quarrel between the clergy and the soldiers who guarded the castle of
the king. On one occasion, when during Rogationtide the ecclesiastics went
in solemn procession to the Church of St. Martin, on their return they found

the gates closed against them, and had to remain without shelter during a
long winter's night. Similar insults frequently being offered them, the
bishop and his clergy determined to seek a new home. Whither should they
go? Legends tell us of the arrow shot at random from the heights of Old
Sarum, of the bishop's mysterious dream, wherein the Virgin appeared and
told him to seek for the spot Mœrfield, of his talking with the Abbess of
Wilton, and her reply that he had plenty of land of his own without seeking
to spoil her. At any rate the bishop gave the land for his new Cathedral out
of his own domain, and he began to build the stately edifice which we now
see. The first stones were laid on the feast of St. Vitalis, April 28, 1220; one
Elias of Dereham was the master-mason, and the work progressed rapidly
until Bishop Poore was translated to Durham in 1228. There his "Chapel of
the Nine Altars" attests to the love of building which he acquired at
Salisbury, and the similarity of the styles of architecture. His successors
continued to build with much zeal, and in the time of Bishop Giles de
Bridport (1257-1262) the church was consecrated by Archbishop Boniface,
of Savoy, in the presence of Henry III. and his court. The church was now
complete. Only forty-six years were spent in its building—a marvellous
achievement. The monastic buildings were begun by Bishop Walter
Delawyle (1262-1270). As yet the tower was not so high as it is now, and
there was no spire; but the fourteenth century had scarcely begun before the
two upper storeys were added, and the lofty spire, which forms such a
glorious crown of this beautiful structure. It was the work of the mason,
Richard of Farleigh, who was at the same time engaged on work at Bath
and Reading. In the time of Bishop Wyvil (1329-1375) Edward III. granted
permission to fortify the close, and to use the stones from the Cathedral of
Old Sarum for this purpose. Hence in the walls which surround the close we
see Norman carvings which once adorned the ancient edifice. Of this
Bishop Fuller says that "it is hard to say whether he was more dunce than
dwarf, more unlearned or unhandsome, insomuch that Walsingham tells us
that had the Pope ever seen him (as he no doubt felt him in his large fees) he
would never have conferred the place upon him." His curious brass tells of
his recovering for his see the Castle of Sherborne and the Chase of Bere, of
which the bishopric had been wrongfully despoiled. Prominent among its
bishops was Robert Hallam (1408-1417), who was present at the Council of
Constance, which saw the burning of Huss and Jerome of Prague, and
strove hard to avert their fate. Bishop Ayscough (1438-1450) was murdered

by the rebel followers of Jack Cade at Edingdon. Bishop Beauchamp (1450-
1481) built the great hall of the palace, and his chantry (destroyed by
Wyatt). Here one of the unhappy Woodvilles, brother of Edward IV.'s
queen, was bishop (1482-1485), and he had the unhappiness of seeing his
brother-in-law, the Duke of Buckingham, beheaded at Salisbury, just before
the battle of Bosworth (cf. Shakespeare's Richard III.). Cardinal Campeggio
was bishop just before the Reformation, and after Wolsey's disgrace was
deprived of his see. There are no records to show what damage was done
during that stormy period, but probably the niches of the west front were
deprived of many of their images at this time, the windows broken, and the
treasury shorn of its plate and relics. One of the best of the Salisbury
bishops was Jewel, the author of the Apology of the Church of England
(1560-1571), who built the library over the cloisters. During the Civil War
Ludlow's soldiers were quartered here, and garrisoned the belfry, but they
seem to have behaved with extraordinary mildness. The Cathedral had
powerful protectors, and when some of Waller's men carried off some
church goods, the Parliament ordered that these should be restored. Bishop
Seth Ward (1667-1688), one of the founders of the Royal Society, did much
to repair his Cathedral, and restored the palace, which was ruinous, having
been bought by one Van Ling from the Parliament, and partly converted
into cottages. Unhappily the arch-destroyer, Wyatt, was turned loose on the
building at the end of the eighteenth century, who wrought vast and
irreparable destruction, which it is pitiable to see. Since his day there have
been many efforts to obliterate his work; vast sums have been spent, and the
Cathedral restored to much of its ancient glory and beauty.
The Exterior

Salisbury Cathedral

As we enter the Cathedral precincts we are at once struck with the
wondrous beauty and charm of this peaceful close, which surrounds, with
its circling green sward, the magnificent Gothic pile. All writers have vied
with each other in singing the praises of this grand achievement of Gothic
art, and nowhere can we gain a better view of the grand proportions of this

church, with its noble spire, than from the south-east or north-east corner of
the close. Around us are the venerable walls of the fortifications, erected in
the time of Edward III., who granted a license for this purpose, and gave
leave to the bishop to pull down the walls of Old Sarum, in order to provide
the stone. Embedded in the wall we find some stones with Norman carving,
which bespeak their former location in the Norman buildings on the old
stronghold of Sarum. The grand Spire is the highest in England (400 feet).
The tower on which it stands is Early English as far as the first storey; the
two higher storeys were added in the early part of the fourteenth century,
and are Early Decorated. The whole structure is magnificent. On each side
there is an arcade, richly canopied, and having double windows. At each
angle there is a turret, with a small crocketed spire, and from a mass of
richly-decorated pinnacles the great spire rises. In the capstone still remains
a small leaden box containing a fragment of decayed silk or fine linen,
doubtless a relic of the Virgin. The spire has sometimes caused anxiety, and
has been strengthened by metal bands, but the Early English sub-structure
has sustained with wonderful constancy the weight of the two higher
storeys and the spire which the somewhat venturesome builders of the time
of Edward III. forced them to bear.
The West Front it is the fashion to abuse. It has been censured for its
"parcellings" and "raggedness." Professor Freeman denies the honesty of
such fronts, because they extend beyond the walls of the aisles and nave,
and are what the professors of "true principles" call "shams." Such
criticisms fail to recognise the real object of such screens, which was to set
forth a chronicle in stone of the history of the church, and people the niches
with figures of the great men and benefactors, the saints and heroes, whose
memories are here enshrined. It is no "sham," and we must try to imagine it
as it really was, not shorn of half its beauties, bereft of its images, or
supplied with the works of modern art which do not always harmonise with
their surroundings. Inferior it may be to the fronts of Wells or Lincoln, but it
still possesses many merits, and is certainly impressive. It was the last
completed portion of the Cathedral, as in the mouldings we see the ball-
flower which is the sign-manual of the Decorated period. There is a central
portion with a gable and buttresses, and a compartment on each side flanked
by small towers with small spires. There are five storeys. In the lowest there
is a triple porch, deeply recessed with canopies. The west window is large,

and is a triplet divided by slender clustered shafts. There are about 100
niches which have been filled with some of the best examples of modern art
by Mr. Redfern. Above all we see our Lord in glory, to whom all the others
are offering their praise.
Mr. Armfield in his Legend of Christian Art gives us the following
detailed account of the various figures in the west front and the meaning of
their several emblems:—
The Tier of Angels.—The celestial hierarchy have been divided into three
classes, each class containing three grades. The first class consists of
Seraphim, Cherubim and Thrones; the second of Dominions, Powers and
Authorities; the third of Principalities, Archangels and Angels, Angels being
thus the lowest order of celestial creation.
The Tier of Old Testament Worthies.—David, with the harp; Moses,
carrying the Tables of the Law; Abraham, with the knife in his hand; Noah,
with the ark in his left hand; Samuel; Solomon, with the sceptre in his right
hand and the Church in his left hand.
The Tier of Apostles.—St. Jude, with the halberd; St. Simon Zelotes, with
the saw; St. Andrew, with the cross; St. Thomas, with the builder's square;
St. Peter, with the keys in his right hand; St. Paul, with the sword in his
right hand; St. Luke and St. John. The figures of St. Peter and St. Paul are
restorations of ancient figures which had been mutilated. St. James the
Less, with the fuller's club; St. James the Greater, with the pilgrim's staff;
St. Bartholomew, with the knife; St. Matthias, with the lance.
The Tier of the Doctors, Virgins and Martyrs.—St. Ambrose, Bishop of
Milan; St. Jerome, in a Cardinal's hat; St. Gregory the Great, with the tiara
of the Papacy; St. Augustine, Bishop of Hippo, in Africa; St. Augustine, of
Canterbury; St. Mary the Virgin, St. Barbara, St. Catherine, St. Roch, St.
Nicholas, St. George, the patron Saint of England; St. Christopher, St.
Sebastian, St. Cosmo, St. Damian, St. Margaret, St. Ursula, St. John the
Baptist; St. Stephen, the proto-martyr; and the four virgins—St. Lucy, St.
Agatha, St. Agnes and St. Cecilia.
The Tier of Worthies distinctively belonging to the English Church.—
Bishop Giles de Bridport, bishop of the diocese at the time of the

consecration of the Cathedral; Bishop Richard Poore, founder of the present
Cathedral; King Henry III., the monarch who granted the Charter for the
building of the Cathedral; Bishop Odo; Bishop Osmund, who built the first
Cathedral of Sarum; Bishop Brithwold; St. Alban, holding sword and cross;
St. Alphege, Archbishop of Canterbury; St. Edmund, king and martyr; St.
Thomas of Canterbury. A mutilated figure on the west side of north turret is
probably that of St. Berinus. We notice several consecration crosses on the
walls of the church.
The North Porch is large and massive, and has a parvise in the upper
storey. On the inside there is a double arcade with foliated arches, and the
pinnacles on each side of the gable are very fine. The Nave presents a
perfect example of Early English workmanship. Notice the regularity of the
masonry, which is one of its great peculiarities. The stones run in even
bands throughout. The aisle windows have two lights; the clerestory has
triple lancets, and each pair is flanked by flying buttresses. The fronts of the
transepts are graced by beautifully-designed windows and are divided into
four storeys. The porch on the north side was removed by Wyatt. The east
front of the choir is a fine arrangement of lancets. There is great similarity
between the north and south sides of the Cathedral. On the north side of the
Lady Chapel formerly stood the Hungerford Chapel, ruthlessly destroyed
by Wyatt; the Beauchamp Chapel on the south side shared the same fate.
Bishop Beauchamp erected the flying buttresses on the south of the choir in
1450. The gates of the close are:—High Street Gate, built at the same time
as the walls; St. Anne's Gate, and Harnham Gate, of which little remains.
On the south of the nave is the cloister-court, which we will visit after
seeing the interior. Salisbury possessed at one time a separate belfry at the
north-west corner of the close. It was entirely destroyed and removed by
Wyatt. The Palace is on the south-east. It was commenced by Poore. The
hall was built by Bishop Beauchamp in the fifteenth century.
The Interior
Entering the building by the west door we obtain a grand view of the
interior. The beautiful clustered columns of the fine arches, wrought of
Purbeck marble, the fine triforium and clerestory, the distant view of the
choir, all combine to make a very impressive scene. The oft-quoted lines
tell us that

"As many days as in one year there be,
So many windows in this church we see;
As many marble pillars here appear
As there are hours throughout the fleeting year;
As many gates as moons one year does view—
Strange tale to tell! yet not more strange than true."
The uniformity of the architecture in the
first beauty of Gothic conception, the long
rows of sepulchral monuments of warriors
and bishops, and the noble proportions of
the building, add greatly to the charm of
this building; and yet it lacks much of the
beauty which once shone here. Little of its
stained glass, which once shed wondrous
light on all we see, has been saved from
the wreck caused by Reformation zeal and
the wanton destruction of Wyatt. The
triforium with its flat-pointed arches, sub-
divided into four smaller ones, ornamented
with trefoils and quatrefoils, alternating
with cinquefoils and octofoils, greatly
resembles that at Westminster. The
clerestory windows are triple lancets. The
vaulting is plain, the arches rising from
clustered shafts with foliated capitals, and
resting on corbel-heads. The west wall has
Strengthening Arches.
a triple-lancet window, and beneath this is
East Transepts. an arcade of four arches, each of which
contains two sub-arches. In the west
window has been collected fragments of old glass saved from the wreck. It
is possible to discover the figure of our Lord in Majesty, the Virgin,
Zacharias in the Temple, the Adoration of the Magi. There is some Flemish
glass also here. The glass in the west windows of the aisles is ancient
(1240-1270), and we see here the arms of Bishop Jewell (1562) and John
Aprice (1558). The aisles have double-lancet windows. There is a curious
stone bench on each side of the nave, upon which the piers stand. This was

so placed in order to distribute the great weight of the building resting on
these piers, as the foundations were not laid upon any very firm ground, the
nature of the soil being formerly marshy, and the situation liable to floods.
This ingenious plan has evidently had the desired effect, as the building has
stood for nigh 700 years. The nave contains a fine series of monuments
which were arranged here by Wyatt in a barbarous fashion. This vandal was
guilty of every enormity. Not only did he remove the monuments from their
original positions, but he seems to have mixed up the effigies and put them
on tombs to which they did not belong. Beginning at west end of south side,
leaving the figure of Hibernia, which graces Lord Wyndham's monument
(1745), we see the monuments of the following:—

1. Bishop Herman (1078), which was brought from Old Sarum.
2. Bishop Jocelyn (1184), which was brought from Old Sarum (the
head is later than the rest).
3. Bishop Roger (1139), which was brought from Old Sarum. (There
is some uncertainty about the identity of these.)
4. Incised slab to an unknown personage.
5. Bishop Beauchamp (1481), whose chantry was destroyed by
Wyatt.
6. Robert, Lord Hungerford (1459), whose chantry was destroyed by
Wyatt. Notice the plate armour and collar of saints, also sword and
dagger.
7. Lord Stourton, hung in the market-place in 1556 for the murder of
the Hartgills, accomplished in a brutal fashion. He was hung, as a
concession to his noble birth, with a silken cord. The "wells" on each
side allude to the six heads of the Stour river, which rise near the
Stourton mansion.
8. Bishop de la Wyle (1271), mutilated. The base is made up of
fragments of much later date.
9. William Longespée, first Earl of Salisbury of that name, son of
Henry II. by Fair Rosamond (1226). Notice the chain-armour and

surcoat, shield with arms of Anjou, and the decoration of the tomb—
silver diaper work. He fought in the Crusades and in France, and was
present at the signing of Magna Charta.

Crossing to the north side we see the monuments of—

10. Sir John Cheyney (1509), standard-bearer of Henry of
Richmond at battle of Bosworth, unhorsed by Richard III.
11.} Walter, Lord Hungerford, and his wife.
12.}
13. Sir John de Montacute (1389), fought at Creçy and in Scotland
under Richard II. Notice armour, especially gauntlets.
14. Chancellor Geoffrey.
15. Person unknown.
16. Longespée, Earl of Salisbury (1250), son of the above-
mentioned earl, a Crusader killed by the Saracens. The fact that this is
a cross-legged effigy does not prove that all cross-legged effigies
represent Crusaders.
17. "Boy Bishop," the great attraction of the ordinary visitor and
tourist. The ceremony of the boy bishop is well known. One of the
choir boys was elected on St. Nicholas Day, and presided until
Innocents' Day, and a special service and procession took place during
his rule. The old idea was that this boy died during his brief
episcopacy, and was thus honoured with an effigy. It is now generally
believed that such small figures represent heart burials. In bygone
times the body was usually buried at the place where the person died,
and not infrequently the heart was conveyed to the special church
associated with the family or life of the deceased. The library,
however, contains the order of service of boy bishop, and the
ceremony lingered on until the time of Elizabeth.
18. Person unknown.

Near the entrance is a monument to Dr. Turburville, an oculist of
Salisbury (1696).
The North Transept is entered by a Perpendicular arch, by Bishop
Beauchamp (1450-1481). It was designed to support the tower. The style of
this transept resembles that of the nave. The two-light windows, which take
the place of the triforium on the north side, and the beautiful clerestory
windows, with their slender pilasters, should be noticed. There is an eastern
aisle, divided into chapels, which Wyatt robbed of their screens. The
monuments here are:—Brass to John Britton, the eminent antiquary; James
Harris, author of Hermes, by Bacon; Earl of Malmesbury, by Chantrey;
W.B. Earle, by Flaxman; Bishop John Blythe (?) (1499); Sir R. Hoare, the
Wilts historian, by Lucas; Richard Jefferies, the charming modern writer on
country life; Walter and William Long, by Flaxman; Bishop Woodville
(1484).
The South Transept resembles the north. Here are monuments of:—
Bishop Mitford (1407), a fine tomb of white marble; Bishop Fisher (1825);
Edward Poore (1780).
The Choir-Screen is good modern work, and replaced a patchwork
structure of Wyatt's handiwork, made up of spoil taken from his destroyed
chantries. The organ is modern.
The Choir and Presbytery differ in no way from the architecture of the
nave. The east end is beautifully designed. At the base of the reredos are
three arches, and above five arches, with cinquefoil headings, and above
these a triplet window. The roof is painted with an interesting series of
designs, which are modern reproductions of thirteenth-century work. First
there are series of Old Testament saints, the Forerunner of our Lord being
ranked with the prophets. Then come the Apostles, with the figures of our
Lord and the Evangelists; and further east are representations of the months,
which are curious and interesting. January is represented by a man warming
his hands; February, a man drinking wine; March, digging; April, sowing;
May, hawking; June, flowers; July, reaping; August, threshing; September,
gathering fruit; October, brewing; November, timber-felling; December,
killing a pig.

The Choir Stalls are a patchwork composition. There is some old
Perpendicular work; some of the work is by Wren. Happily Wyatt's
productions have been removed. The reredos is modern, is a very elaborate
piece of work. All the other fittings of the choir are new. In the choir are the
chantries of Bishop Audley (1524), a fine piece of Late Perpendicular work,
which has a fan-vault and some traces of colour, and of Walter, Lord
Hungerford (1429), removed here from the nave, and made into a family
pew by Lord Radnor. The iron-work is good, and such chapels are rare, the
Chantry of Edward IV. at Windsor being the finest of its kind.
In the North Choir Aisle and Transept there are two monuments of the
memento mori type, the large tomb of a thirteenth-century bishop, either
Bingham or Scammel, Bishop Wyvill (1375), Gheast (1576), and Jewell
(1571), and the curious brass of Bishop Wyvill, who recovered for the see
Sherborne Castle and the Bere Chase, seized by Stephen, and granted by
Edward III. to the Earl of Salisbury. To decide the right the wager of battle
was resorted to, and both bishop and earl chose a champion. The king,
however, caused the matter to be settled amicably. The bishop is here shown
in his castle, praying for his champion, and below are the hares and rabbits
representing the chase. In this north-east transept is a fine Early
Perpendicular lavatory, which is evidently not in its original position, part
of an Early English screen, removed by Wyatt, and a curious aumbrey. In
the aisle toward the east we see an effigy, said to be that of Bishop Poore,
the founder of the Cathedral, and at the east end is the monument of Sir
Thomas Gorges and his lady, who was a maid of honour to Queen
Elizabeth. It is a cumbrous piece of work.
The Retro-Choir or processional path has beautiful clustered shafts and
fine vault, and forms a graceful entrance to the Lady Chapel, a most perfect
piece of Early English building, and the oldest part of the church. At the
east end is a triple lancet, with another lancet on each side, filled with
modern glass. There is a new altar here, and modern colouring adorns the
walls and ceiling. The canopies of the niches under the windows on the
north and south were brought here from the Beauchamp Chapel destroyed
by Wyatt. Here in former days stood the shrine of St. Osmund, the second
Norman bishop, the saintly man to whom the diocese and the English
Church owe much. His tomb remains here, but his shrine was plundered
and destroyed at the Reformation. At the east end of the south choir aisle is

the stately tomb of the unhappy Earl of Hertford (1621), who married
Catherine, the sister of Lady Jane Grey, and thus incurred Queen Elizabeth's
resentment, and was imprisoned. The poor lady, when released from the
Tower, was separated from her husband, and died of grief. He survived her
sixty years. Near here are the modern tombs of Bishops Moberly and
Hamilton, and the Perpendicular tomb of William Wilton, Chancellor of
Sarum (1506-1523). The old sacristy, now the vestry, is on the south of this
transept; above this is the muniment room, the ancient treasury. In the
transept is the remarkable monument of Bishop Giles de Bridport (1262),
under whose rule the church was finished. It is the most interesting tomb in
the church. The carvings in the spandrels record the chief events in the
bishop's life—his birth, confirmation, education, and possibly his first
preferment, his homage, a procession (probably referring to the dedication
of this church), his death, and the presentation of his soul for judgment.
Here are monuments also of Canon Bowles (1850); Bishop Burgess (1837);
Bishop Seth Ward (1689), Hooker, the famous divine; Young, the father of
the poet; Isaak Walton, the son of the angler; Bishop Davenant (1641); Mrs.
Wordsworth, the wife of the bishop; and a brass to Canon Liddon's memory.
Further on are the monuments of Bishop Salcot (1557), and Sir Richard
Mompesson and his wife (1627). Notice the inverted strengthening arches
in both choir transepts.
Passing through the south transept we enter the Cloisters, which are
considered to be "among the finest in England," and without doubt they can
lay claim to be a great and beautiful architectural triumph. They are a little
later than the Cathedral, having been begun directly after its completion,
and finished during the rule of Bishop Wyvill, about 1340. The windows are
finely constructed, and consist of double-arched openings, each arch having
two sub-arches, while in the head is a large six-foiled opening. On the wall
side is a blind arcade of graceful arches. An unfortunate restoration in 1854
did not improve the appearance of the cloisters. On the north side, between
the cloister and the church, is the plumbery. The monuments here do not
possess much interest. The Library, over part of the east walk, was built by
Bishop Jewell, and contains about 5000 volumes, and a valuable collection
of MSS. One of the most interesting is a Gallican version of the Psalter (969
A.D.), Geoffrey of Monmouth's Chronicles (twelfth century), a copy of
Magna Charter (now in muniment room), and many others of much value

and importance. The Chapter-House was built early in the reign of Edward
I. It is a noble octagonal building, and can scarcely be surpassed by any
other. The roof is modern. There is a central pillar, from which the vaulting
springs. On each side there is a large window, resembling in tracery those in
the cloisters. Below the windows is an arcade, and beneath this a stone
bench, and at the east end a raised seat for the bishop and his officials.
There is a remarkable series of sculptures above the arcade, which are
extremely interesting and merit close study. The following are the subjects
represented:—
The Angel touching
West Bay 33.
Jacob's Thigh.
Meeting of Jacob and
1. Description of Chaos. 34.
Esau.
Creation of the
2.
Firmament.
South-East Bay
North-West Bay
35.Joseph's Dream.
3. Creation of the Earth. 36.Joseph relating his Dream.
Creation of the Sun and Joseph being placed in a
4. 37.
Moon. Well.
Creation of the Birds and
5. 38.Joseph sold into Egypt.
Fishes.
Creation of Adam and Joseph's Coat brought to
6. 39.
Eve. Jacob.
Joseph brought to
7. The Sabbath. 40.
Potiphar.
The Institution of Joseph tempted by
8. 41.
Marriage. Potiphar's Wife.
Joseph accused before
9. The Temptation. 42.
Potiphar.
10.The Hiding in the Garden.
North Bay South Bay
11. The Expulsion. 43.Joseph placed in Prison.

The fate of Pharaoh's
12.Adam tilling the Ground. 44.
Baker and
13.Cain and Abel's Offering. Butler.
14.Murder of Abel. 45.Pharaoh's Dream.
15.God sentencing Cain. 46.Pharaoh's Perplexity.
God commanding Noah Joseph taken from Prison,
16. 47.
to build and
the Ark. interpreting the Dream.
17.The Ark. 48.Joseph ruling in Egypt.
The Brethren journeying
18.Noah's Vineyard. 49.
into
Egypt.
The Cup placed in
North-East Bay 50.
Benjamin's
Sack.
The Drunkenness of
19.
Noah.
Building of the Tower of
20.
Babel.
The Angels appearing to
21. South-West Bay
Abraham.
Abraham entertaining
22.
Angels.
23.Destruction of Sodom and 51.The Discovery of the Cup.
The Brethren pleading
Gomorrah. 52.
before Joseph.
Jacob and Family
24.The Escape of Lot. 53.
journeying to
Abraham and Isaac
25. Egypt.
journeying to
The Brethren pleading
the Mount. 54.
before
Joseph after the Death of
26.The Sacrifice of Isaac.
Jacob.

Joseph assuring his
East Bay 55.
Brethren of
his Protection.
Moses in the Presence of
27.Isaac blessing Jacob. 56.
God.
The Passage of the Red
28.Blessing of Esau. 57.
Sea.
Destruction of the
29.Rebecca sending Jacob to 58.
Egyptians.
Padanaram.
Meeting of Jacob and
30.
Rachel.
Rachel introducing Jacob
31. West Bay
to Laban.
Jacob wrestling with the
32. 59.Moses striking the Rock.
Angel,
and Jacob's Dream. 60.The Declaring of the Law.
In the vestibule the doorway is remarkable for its great beauty. In the
voussoirs of the arch is another series of sculptures representing moralities,
the triumph of virtue over vice. We see Concordia trampling on Discordia,
Temperantia pouring liquor down the throat of Drunkenness, Bravery
trampling on Cowardice, Faith on Infidelity, Virtue covering Vice with a
cloak, while Vice embraces her knee with one hand and stabs her with the
other. Truth pulls out the tongue of Falsehood, Modesty scourges Lust, and
Charity pours coin into the throat of Avarice. These sculptures are of the
very highest class of art, and are among the most interesting remains of
Early Gothic carving in the world. All the glass in the chapter-house is
modern, and also the tiling. A fine old specimen of fourteenth-century
furniture is seen in the ancient table preserved here.
Dimensions
Total length 473 ft.
Length of nave 229 ft.
Width 82 ft.
Height 84 ft.

Height of spire 404 ft.
Principal Building Dates

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

Other buildings of interest in Salisbury—
The Guild Hall.
Market Cross, called the Poultry.
Churches of St. Martin, St. Edmund, St. Thomas à Becket.
In the neighbourhood are—
Old Sarum.
Stonehenge.

PLAN OF SALISBURY CATHEDRAL

OXFORD CATHEDRAL

O xford is so full of varied interest that we must leave our readers to gain
knowledge of its history from other sources, and confine ourselves to
its Cathedral records. This see was one of those founded by Henry VIII. out
of the proceeds of his spoliation of the monasteries. The Cathedral was
originally the Church of the Priory of St. Frideswide. This lady was the
daughter of Didan, the chief man of the town. At an early age she took the
veil, and her father built for her a convent; but Algar, King of Mercia,
wished to marry her, and swore that he would carry her off. She fled for
refuge, and on her return to Oxford was gallantly defended by the men of
her city against Algar, who was struck blind. She was buried in her convent,
and many miracles were wrought at her shrine. Such was the beginning of
what ultimately became the Cathedral of Oxford. Terrible was the scene
which took place in this little church. The Danes were in Oxford. There was
peace between the Saxon king, Ethelred, and their foes; but on St. Brice's
Day, 1002, the folk of Wessex were excited to slaughter the Danes, who
fled for sanctuary to the little church. The Saxons respected no more the
sacredness of the building than the laws of hospitality, and set fire to the
place and massacred the helpless Danes. The remains of this Early Saxon
church are said to have been discovered, which we shall examine later.[8]
Ethelred, repenting of his crime, determined to rebuild the church, which
he accomplished, and recent authorities assure us that the present church is
in plan and main substance the Saxon church of Ethelred, erected in 1004,
and not the later Norman church about which the older writers tell us. He
seems to have established a community of secular canons. The work was
interrupted by the later Danish invasions, and perhaps never finished. At
any rate it was ruinous in the time of the Early Normans kings.
In 1111 A.D., it was granted by either Roger, Bishop of Salisbury, or by
Henry I., to Prior Guimond and his fellow canons. This prior began to
restore the ruined church and monastery, but his successor, Robert de
Cricklade (1141-1180), did most of the work, and restored the nave, choir,
central tower and transepts. All the later Norman work is due to him. In

1180, in the presence of Henry II., his nobles and a goodly company of
bishops, the relics of St. Frideswide were translated to a place of honour in
the restored building on the north side of the choir, to which there was great
resort of pilgrims on account of the miraculous healings which took place
there. Fire played havoc with the city of Oxford in 1190, but the church
escaped without much injury. The monastic buildings suffered, and the
traces of fire can still be seen on the old Norman doorway in the cloisters.
In the thirteenth century the Lady Chapel was built adjoining the north side
of the choir, some of the old walls being used, the spire raised above the
tower, the chapter-house and part of the Latin Chapel added, which was
completed in the fourteenth century. A few Decorated details were added at
this period, and windows in this style inserted. The fifteenth century
witnessed sundry alterations in the cloisters, the building of St. Frideswide's
latest shrine, the insertion of some Perpendicular windows, and the erection
of the fine vaulting of the choir.
Then a mighty change dawned on the old monastery. Cardinal Wolsey
obtained a bull from Pope Clement VII. for its suppression and determined
to convert it into a college, which was designed to be the largest in Oxford.
He played sad havoc with the fabric of the church. A great part of the nave
he destroyed altogether in order to make room for his great "Tom Quad," so
named after the famous bell which still rings each night at five minutes past
nine, and is the signal for the closing of the gates of all Oxford colleges.
Part of the old cloisters disappeared also. Wolsey contemplated the building
of another church for his college, and indeed began its construction; but his
fall in 1529 put an end to the carrying out of his great conception, and the
college fell into the hands of King Henry VIII. Here the monarch
established one of his newly-formed sees (the bishop's seat was first fixed at
Oseney Abbey, just outside Oxford), and with characteristic parsimony
applied the revenues of the college to the support of the see. The dean of the
Cathedral is still the head of the college, and the canons are university
professors. As was usual at this time, the Cathedral was shorn of all its
costly ornaments, vestments, plate and other treasures, but the fabric
remained intact.
Dean Brian Duppa in 1630 wrought much evil in the way of restoring his
Cathedral, destroying the old glass and woodwork, tearing up the brasses,
and "improving" the windows by cutting away the old tracery. He was

rewarded for his zeal by being made Bishop of Salisbury. His loyalty to the
fallen fortunes of his sovereign, Charles I., somewhat atones for his wanton
destruction of much that was beautiful in Christ Church Cathedral. In the
Civil War, Oxford was the great centre of the Royalists. Here King Charles
held his court. Students flocked to his standard, and the Cathedral was the
scene of several thanksgiving services on the occasion of victories.
Cromwell's soldiers at length captured Oxford, and did some damage in the
Cathedral, breaking much of the glass. Bishop Fell (1676-1686) was a
munificent benefactor of the college. His father when dean had built the
fine staircase to the hall with its fan-tracery vault, and commenced the
buildings on north and west of the quadrangle. This Bishop Fell finished the
buildings of the college together with the west belfry, designed by Sir C.
Wren, but he does not appear to have done much for the Cathedral. Neglect
and the hard hand of time wrought much mischief, and it seems to have
been in a deplorable state when the restorations of the last half of the
nineteenth century were inaugurated. To rescue it from its wretched
condition Dean Liddell, whose name is familiar to every student of Greek,
set himself with much energy, and the work was entrusted to Sir G. Scott.
His restoration was carried out with much wisdom and careful regard for
antiquity. The author of Alice in Wonderland, a fellow of the college,
published a satirical pamphlet on The Three T's, the tunnel, the tower (the
third we forget), and compared the new entrance with a railway tunnel,
representing a railway train emerging from the portal, and scoffing at the
new tower, which arose above the grand staircase to the hall. But it is easy
to criticise, and Sir G. Scott's work at Oxford compares favourably with
most restorations, and for this posterity will thank him.
The Exterior
Oxford Cathedral is so hidden away behind the obtrusive walls of
Wolsey's college that it is difficult to obtain any good exterior views. The
best is that seen from the garden of one of the canons, to enter which
permission may be obtained. The view from the cloister is also satisfactory.
The principal entrance is from "Tom Quad" by the "tunnel," as Lewis
Carroll termed the passage or porch situated a little to the north of the
entrance to the hall. As we have said, the west front and the greater part of
the nave were destroyed by Wolsey when he erected the college buildings.
He also destroyed the west walk of the cloister, which we enter by a passage

leading from the entrance to the hall. The cloisters are Perpendicular work
of the latter part of the fifteenth century. The north walk was at one time
converted into a muniment room, but has recently been restored to its
original form, and has a modern imitation of the old vaulting. The old
refectory stood on the south side, but has been converted into college
rooms. Its large Perpendicular windows still remain looking on to the
cloister. The entrance to the chapter-house is in the east walk, and a fine
Norman doorway it is. It belongs to the later Norman period. It has four
orders, richly ornamented with zigzag. A round-headed window is on each
side of the door. The chapter-house is one of the best examples of the Early
English style in the kingdom, and may be compared with those of Lincoln,
Salisbury and Chester. The east end is very fine, and consists of an arcade
of five arches which are double. Slender clustered shafts with capitals
adorned with foliage support the inner arches. The three central arches are
pierced for windows. Similar arcades are at the east end of north and south
sides. The sculpture in this chamber is extremely fine. Grotesque corbels,
carved capitals and the bosses in the vault, are all beautiful and interesting.
One of the bosses represents the Virgin giving an apple to the infant Christ.
There is also some old glass and interesting mural paintings. Diocesan
meetings are held in this delightful room. The foundation stone of Wolsey's
college at Ipswich is preserved here. In the room on the south are some fine
paintings, an Elizabethan table and an old chest. Another door in this
cloister leads to the old slype, a passage to the monastic burial-ground. On
the left is St. Lucy's Chapel, mainly of Norman construction, the east
window being much later. It is of Decorated character, and the tracery is
flamboyant and of very beautiful design. The south choir aisle adjoins, and
is part of the original church. The windows are modern imitations of
Norman work. The windows in the clerestory of the choir are Perpendicular.
The east end is modern, having been reconstructed by Scott. On the north
side of the Cathedral, viewed from the canon's garden, we see the north
transept with its large Perpendicular window, erected at the beginning of the
sixteenth century, flanked by two turrets crowned with pinnacles; the Latin
Chapel of beautiful Decorated design, erected in the fourteenth century, and
the Lady Chapel, the east wall of which is part of the old Saxon church, and
Mr. Park Harrison has discovered the remains of three Saxon apses which
are perhaps the remains of the earliest Saxon church, the Church of St.
Frideswide, built by Didan early in the eighth century.[9] A Decorated

window has been inserted here. We must now notice the Tower and Spire, a
beautiful feature of the Cathedral. The lower storey is Late Norman, similar
to the style of the nave; the belfry and the spire are Early English. This spire
ranks with that of Barnock, Northants, and New Romsey, Surrey, as being
one of the earliest in the kingdom. It was restored by Scott. The pinnacles at
the angles of the tower are modern but accurate copies of the ancient ones.
The spire is octagonal, and is what is termed a broach spire, i.e., it rises
from the exterior of the tower walls and not from the interior of a parapet as
in the later spires.

Oxford Cathedral

The Interior
Entering by the new porch from the quadrangle and passing under the
organ-screen we see a Cathedral, small, indeed, but possessing features of
peculiar interest. In its main plan it is possibly the church of Ethelred begun
in 1004, but finished in Late Norman times when Robert de Cricklade or

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

Oxford Cathedral
(Herbert Railton)

The East End is modern, and is a fine conception of Sir G. Scott based
upon early models. The Reredos is a fine modern work, and the altar,
lectern and throne are also new. Turning to the north we enter the North

Choir Aisle, where we stand upon debatable ground. Perhaps we are in the
Early Saxon church built for St. Frideswide, or the later Saxon church of
Ethelred. Authorities differ, and it is impossible to decide. At any rate, there
in the east wall are the remains of the three Saxon arches which lead to the
apses discovered on the outside. And here, too, is the noted Shrine of St.
Frideswide, of which Mr. Ruskin said that every stone was worth its weight
in silver, if not in gold. It has been gradually collected from odd corners of
the precincts, as the shrine was destroyed by Henry VIII. The carved foliage
is very beautiful, and when this base of the shrine was complete and
crowned with the jewelled cover, beneath which reposed the relics of the
saints, it must have been very imposing. There is a curious story in
connection with these relics. When the tomb was destroyed these were
carefully preserved in secret by "the faithful," and in the meantime the body
of the wife of Peter Martyr, a Protestant professor, was laid near the saint's
shrine. As this poor lady was an ex-nun, in the time of Mary and Cardinal
Pole her body was cast out into a cesspool, and the relics of the saint
restored to their place of honour. In Elizabeth's time the saint's bones were
again removed. The queen ordered the decent re-burial of the remains of
Peter Martyr's wife, and while this was being done the sacred box
containing the relics was produced, and "the married nun and the virgin
saint were buried together, and the dust of the two still remains under the
pavement beneath our feet inextricably blended."[11] The exact spot is
conjecturable, but a brass has been placed where the mingled remains are
supposed to lie.
The Lady Chapel is on the west of the choir aisle, and is of Early English
construction. It was added about 1250, when the present piers and vault
were built. The east wall, as we have said, is manifestly earlier, and is part
of one of the earlier Saxon churches. The east window is restored
Decorated. The west arch is round-headed, and shows that this part of the
chapel was the east aisle of the north transept. There are extensive remains
of colouring. Here is the remarkable "Watching Chamber," supposed by
some to be a later shrine of St. Frideswide, and by Professor Willis and
others to be the chamber where watch was kept for guarding the gold and
jewels which adorned the actual shrine. It has three stages, and is very
beautiful Perpendicular work. In this chapel there are some interesting
monuments—Sir George Nowers (1425) (with good example of armour);

Prior Guymond (?) (1149), or Prior Alexander de Sutton (1316), with
Decorated canopy and effigy; Lady Montacute (1353), the supposed
founder of the Latin Chapel; Robert Burton, author of Anatomy of
Melancholy (1639). Some "Morris" windows have been inserted here
designed by Burne-Jones, very beautiful in themselves, but perhaps scarcely
in keeping with their surroundings. The St. Cecilia window is extremely
fine. The Latin Chapel is mainly Decorated work of the time of Edward III.,
the western parts being earlier. The vault has some richly-foliated bosses,
on which appear the waterlily and the roses, and heads surmounted with
crown and mitre. The east window has strange Venetian tracery, but some
excellent modern glass designed by Burne-Jones and representing incidents
in the life of St. Frideswide. The other windows have some fine old
fourteenth-century glass; the north-east window is modern. The woodwork
is very fine; it is later than the chapel, and was not designed for it. The
cardinal's hat, supported by angels on one of the carved poppy-heads, shows
that this was prepared for Wolsey's choir. Some of the work is much older.
In this chapel the writer used to listen to the lectures of the divinity
professor, and was often distracted from the discourse by the architectural
beauties around him. Beautiful vistas may be obtained here of "long-drawn
aisles and fretted vault," and he became very conversant with the history of
St. Frideswide as depicted in the fine east window.
The North Transept is similar to the nave in style. The north window is a
modern restoration, and the glass is not very pleasing modern work. Here is
the Perpendicular tomb of a monk, Zouch (1503), and some good brasses in
the aisle. The north aisle has Norman vaulting. The windows are restored
Perpendicular, and the glass is modern. The window at the west end of the
aisle was refashioned by Dean Brian Duppa in his usual barbarous manner,
but it has some good Flemish glass by Van Ling representing Jonah and the
Gourd, with Nineveh in the background.
Crossing to the south side of the church we pass several monuments in
the vestibule at the west end and reach the South Aisle, which is later in
style than the north. At the west end is a Burne-Jones window, representing
"Faith, Hope and Charity." The south transept preserves its Late Norman
character, but has been shorn of its length. On the east side is the Chapel of
St. Lucy. At the back of the wall on the south is the slype, and above this
the vestry. One of the windows here is said to be Saxon. St. Lucy's Chapel is

Norman, and is now used as a baptistry. The east window has flamboyant
tracery and some fine old glass. Several monuments of distinguished
Cavaliers who died for the Royal cause in the Civil War are in this part of
the church. The South Choir Aisle resembles that on the north. The south
windows are in the Norman style, but are modern imitations. The glass of
the east window was designed by Burne-Jones and portrays St. Catherine. It
was erected in memory of a daughter of Dean Liddell. The monument of
Prince Leopold, brother of the king, formerly a student of Christ Church,
has a pathetic interest, and the tomb of Bishop King, Oxford's first bishop
(1557), is a fine piece of Perpendicular work. The window to his memory is
on the south and shows a representation of the Abbey of Oseney, where his
episcopal throne was first established, before it migrated to the Church of
St. Frideswide.
Dimensions
Extreme length 175 ft.
Length from screen to reredos 132 ft.
Extreme breadth 108 ft.
Height of spire 144 ft.
Dates of Building

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

BRISTOL CATHEDRAL

B ristol, the great western port of England, has a history which tells of
the ancient glories of English seamanship. From this port sailed the
first Englishman who landed in America, Sebastian Cabot, who was born in
Bristol, and was the first to discover that which is now known as the United
States. A Bristol chronicle states, "this year 1497, on St. John the Baptist's
day, the land of America was found by the merchants of Bristowe, in a ship
of Bristol, called The Matthew, the which said ship departed from the port
of Bristowe the 2nd of May, and came home again 6th August following." It
was a Bristol ship which brought home the real Robinson Crusoe (Juan
Fernandez) from his island home. Very famous were the great merchants of
Bristol, such as William Cannynge, who founded the noble Church of St.
Mary Redcliffe, whom his king, Henry VI., delighted to honour, and styled
"his beloved and honourable merchant." Vast was his fleet—his shipping,
amounting to 2470 tons, was seized by the victorious Yorkist monarch—
and vast were his commercial enterprises, whereby he made Bristol a large
and flourishing port.
But we must go back to earlier days. In Saxon times the port was famous,
or infamous, for its slave-dealing, which the coming of the Conqueror
scarcely suppressed. Here Harold's three sons made a vain attempt to rescue
the kingdom from his iron grasp. A famous Norman castle destroyed in the
Civil War was built here, where Stephen was kept a prisoner. Pleasanter
visits were frequently paid by other monarchs. The city was besieged and
taken by Henry Bolingbroke, and Shakespeare in Richard II. tells of the
beheading of four supporters of the luckless king in the city market-place.
Here, too, five martyrs were burnt, and in the first year of Elizabeth's reign
a mass of roods and images shared the same fate. The imposition of the
ship-money tax was so distasteful that the Royal cause was not very popular
at Bristol. The citizens opened their gates to the troopers of Cromwell, who
held it from 1642 to the following year. Prince Rupert stormed the place,
and held it till it was wrested from him in 1645. The "Bloody Assize" of
Judge Jefferies left its mark on this western port; six prisoners were
executed, and hundreds sent across the sea to serve in the plantations. The

darkest spot in the history of Bristol is the story of the Reform riots of 1831,
sometimes called "the Bristol Revolution," when the dregs of the population
pillaged and plundered, burnt the bishop's palace, and were guilty of much
vandalism. Of the old churches we shall write subsequently. The old quaint
houses are very attractive, especially the old Norman hall and Tudor
windows of the house of Edward Colston, one of Bristol's merchant princes,
Cannynge's house, with its fine Perpendicular roof, and the old Hospital of
St. Peter.
The History of the See
Bristol was one of the sees founded by Henry VIII. in 1542, after the
destruction of the monasteries. There is, however, in the British Museum, a
MS. copy of a Papal Bull of 1551, for the refounding of the see, directed by
Pope Paul IV. to Cardinal Pole. In 1836 the Sees of Bristol and Gloucester
were united, and remained so until 1897, when they were again separated.
The church has a history long before it became a Cathedral. It was the
church of the monastery of Augustinian canons, founded in 1142 by Robert
Fitzhardinge, afterwards Lord of Berkeley, on the site of Augustine's oak
(so tradition says), where Augustine met the British bishops in conference
and offended them by his haughty demeanour. The consecration of probably
the chancel took place six years later. In 1155 Fitzhardinge received from
the king the forfeited estates of Roger de Berkeley, and was thus enabled to
extend his building operations, which were continued until the time of his
death in 1170. The church consisted of a nave with north and south aisles, a
central tower with north and south transepts, a presbytery with north and
south aisles, and a processional path. The choir had a square ending, and
consisted of three bays, the altar being at the east of the second bay, the last
bay forming a via processionum. The chapter-house and vestibule are also
Norman. The Early English builders erected the Elder Lady Chapel, Bristol
Cathedral being rich in Lady Chapels, and possessing two. Abbot John
(1196-1215) or his successor, David, was doubtless the builder. Later Early
English work is evident in portions of the north and south transepts and in
the Berkeley Chapel, but much of the work of this period has been
destroyed. Serious complaints were made at this time concerning the
conduct of the monks, and sundry visitations were made and orders issued
for the reform of the monastery. During the Early Decorated period the roof

and east window of the Elder Lady Chapel were added, and a little later
(1306-1332) Abbot Knowle reconstructed the choir and choir aisles. With
his work came the beginning of Perpendicular aspiration, and it is an
earnest of the course of the later English Gothic which first manifested
itself in the choir of Gloucester. Bristol nearly had the lucrative honour of
receiving the body of the murdered King Edward II., slain at Berkeley
Castle. But for fear of offending his patrons Abbot Knowle declined to have
the burial here; hence the corpse was taken to Gloucester, where it caused a
great concourse of pilgrims, and brought many offerings. Knowle's
successor, Abbot Snow (1332-1341), was made a mitred abbot, and had a
seat in Parliament. He continued the work of his predecessor, erected a
chantry, and built the Newton Chapel. Soon after his death terrible
misfortunes happened to the city and monastery. The Black Death invaded
the land, and so great were its ravages that in Bristol the living were hardly
able to bury the dead, and few monks survived the awful malady. The
effects were disastrous. For over a hundred years no building was
attempted, and the monastery was in a deplorable condition. In the time of
Abbot Newbury (1428-1473) the great tower was begun, and finished by
his successor, Hunt (1473-1481), who re-roofed the church. Abbot Newland
(1481-1515) rebuilt the upper part of the abbey gateway in Perpendicular
style, and began to rebuild the ruinous nave. As the power of the town
increased the citizens often had disputes with the monks over rights of fairs
and markets and other matters, and the burghers of Bristol were not more
submissive than those of other places. Hence the usual quarrels arose and
disturbed the peace of the city. Some of the succeeding abbots wrought
some minor improvements, but in 1543 a most drastic remedy was applied
to the ruinous nave. It was entirely pulled down, and not rebuilt until recent
times. The monastery was dissolved like other similar institutions, and Paul
Bush became the first bishop of the new see founded by Henry VIII. For a
brief space during Mary's reign the old worship was restored, and Her
Majesty and Philip bestowed costly gifts of copes and altar frontals and
vestments. But in Elizabeth's reign all "relics of Popery" were ordered to be
destroyed, such as the rood-lofts, tabernacles for images, and scripture texts
and the table of the commandments to be painted in large characters on the
wall. Beyond purloining the lead from the roof neither the besiegers nor the
besieged did much damage to the church during the Civil War.

On the site of the destroyed nave some houses were erected, but after the
great riots these were taken down. The building seems to have been kept in
fairly good order. Edward Colston, the benefactor of Bristol, repaired the
pavement. Sundry restorations were taken in hand during the last century,
and finally in 1865 it was decided to undertake the stupendous task of
rebuilding the nave. The work was begun in 1868 and finished in 1888.
Since then the Elder Lady Chapel and the tower have been restored, and the
church is now complete. It contains much of unusual value and interest, and
the completion of the nave is a triumph of nineteenth-century achievement.
The Exterior
As we have said, the whole nave is new work, and therefore need not be
examined very closely. The West Front is flanked by two towers, which
bear the honoured names of Bishop Butler and Edward Colston. The style is
an imitation of fourteenth-century work. There is a crocketed gable above
the door, a rose window of good design, and some delicately-carved work
surmounted by a cross. The face of the towers has three storeys; on the first
a large window; on the second some lancets; and above two windows with
louvres, the heads of which have crockets and finials. There are pinnacles at
the four corners.
On the South Side we see the remains of the monastic buildings. The
north and east walks of the cloisters alone remain, except a few traces of the
western walk, and the north is a restoration. We will visit the east walk from
the Cathedral. Passing round to the North Side we notice the North Porch
built in 1873. We have often noticed the figures of the four great doctors of
the church—SS. Gregory, Ambrose, Jerome and Augustine. They appear in
the sculptures of many of our cathedrals. A great storm of indignation arose
at Bristol when it was proposed to place these figures here, and the four
Evangelists were substituted. We can pass over the modern work, which is
not wholly satisfactory, and notice the interesting character of the eastern
portion. The north transept has some remains of Norman work in the north
wall. The north window is modern in memory of Colston, and replaces an
Early English window. The building adjoining is the Elder Lady Chapel,
which is Early English work of the early thirteenth century. The east
window is Decorated and is rather earlier than the choir built by Abbot
Knowle (1306-1332). The battlemented parapet is, of course, a later

addition. The buttresses of the chapel are Decorated, and there are curious
little flying buttresses connecting the two pinnacles. The Lady Chapel at the
east end of the Cathedral is of the same date as the choir, and has a large,
noble and graceful window. Passing round to the south we see the outside
of the Berkeley Chapel, of Decorated design, and adjoining it the sacristy
and external walls of the Newton Chapel, chapter-house and modern vestry.
Here, too, is the old churchyard. The Central Tower is Perpendicular and
was constructed by Abbot Newland (1481-1515) or his successor, Abbot
Elliot (1515-1526).
The Interior
Retracing our steps, we enter the Cathedral by the north porch and view
the new Nave from the west end. The slender piers and fine vaulting are
striking, and the work is in many ways very beautiful. The surface of the
walls in the aisles is broken by canopied recesses for tombs, one only being
occupied by a marble figure of Dean Elliot. The baptistry is in the south-
west or Colston Tower, and is decorated in memory of Bishop Monk.
Already there are many memorial windows of good modern glass.
The North Transept has some original Norman work in the core of the
buttresses and in the wall below the north window. Some alterations were
made during the Decorated period, probably by Abbot Snow (1332-1341),
and the arch leading to north choir aisle is Perpendicular work constructed
by Abbot Newland (1481-1515), called "the good abbot." Either he or his
successor, Elliot, constructed the groined roof, which has on the bosses
sculptured representations of the instruments of the Passion. The north
window is modern, in memory of Colston. The well-known writer, "Hugh
Conway" (F. Fargus), has a memorial here, and also Jane Porter of literary
fame, Sterne's "Maria" (Mrs. Draper), and the parents of Macready, the
actor.
The South Transept has much Norman work in the lower part of the
walls. Part was rebuilt in Early English times. Abbot Snow (1332-1341)
continued the work and constructed the arch leading to the south choir aisle.
The vault is Perpendicular work by Abbot Elliot (1515-1526).

Bristol
The Central Tower from S E

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

It is deplorable that a beautiful stone screen of Tudor architecture, which
separated the choir from the transept, was ruthlessly destroyed in 1860, and
another one erected. This also has been removed, and the view of the east
end, with its Decorated piers and arches and the rich glass of the windows,
is extremely fine. All the work before us was constructed by Abbot Knowle
(1306-1332) and is Decorated. The Norman choir had two bays with a third
for a processional path. Knowle added two bays to the choir and built the
Lady Chapel. The clustered piers have triple shafts which support the
vaulting. The capitals on these shafts have very graceful foliage. The piers
have no capitals, but the mouldings run round the arches continuously, as is
not unusual in Decorated work. The vaulting is what is known as lierne.
Iron screen work divides the aisles from the choir. The reredos is modern,
erected in 1899, and has some fine carving. The Stalls were originally
Decorated, but "restoration" has destroyed much, and little of the old work
remains. There are some curious Misereres: a fox preaching to geese, a
tilting with brooms between a man and a woman, one mounted on a pig, the
other on a turkey-cock, the story of Reynard the Fox. The pavement is new,
and not altogether successful. The organ is a noble instrument placed on the
west side, and has been often reconstructed. The Throne is modern and has
some fine carving. Passing into the north aisle we notice the peculiar
vaulting. It will be seen that the roof of the choir and aisles is the same
height, and in order to support the weight of the choir-vault transoms are
thrown across the aisles supported on arches, and above a vaulting shaft
springs from the centre of the transom. This ingenious plan produces the
same effect as a flying buttress and is most ingeniously arranged. The
windows have beautiful Decorated tracery and the ball-flower is extensively
used in the string-course beneath them. The east window has seventeenth-
century glass, said to have been given by Nell Gwynne, more probably by
Dean Glemham (1661-1667). It treats of the Resurrection, with Jonah and
Abraham's sacrifice as types of the same, the Ascension with Elijah as a
type. There are monuments here of Robert Codrington (1618); Harriet
Middleton (1826); Paul Bush (1558), the first bishop; Robert Southey, the
poet; Bishop Westfield (1644); Bishop Howell (1649); and Mary Mason,
wife of the poet, with some touching lines (1767).
Between the aisle and the Elder Lady Chapel are the effigies of Maurice,
Lord Berkeley (1368), and his wife, Elizabeth. There is a tablet to the

memory of Robert Fitzhardinge, the founder of the Cathedral and also of
the house of Berkeley. Some Norman corbels will be noticed in the door
leading to a staircase in the third bay.
The Elder Lady Chapel is Early English and therefore earlier than the
choir, and was probably built by Abbot John (1196-1215); it is therefore, as
the architectural details testify, very early work. The east window is
Decorated. There are some curious grotesques in the spandrels of the arcade
—a hunter-goat blowing a horn and carrying a hare on his back, a ram and
an ape playing musical instruments, St. Michael with the dragon, and a fox
carrying off a goose. The foliage is what is known as stiff leaved, and
opposed to the more natural foliage of the Decorated period. The roof is
Early Decorated. The eastern Lady Chapel, formerly the chancel of the
choir, was built by Abbot Knowle and is Decorated like the rest of the
eastern part of the Cathedral. It has a magnificent east window with
beautiful tracery. This is a Jesse window, showing the descent of our Lord
from Jesse, the father of David, and the glass is in the upper parts of the
same date as the stone-work. Above we see the arms of many distinguished
families—the Berkeleys, Mowbrays, Beauchamps and others. The glass in
the other windows is also of the same period and is of much interest. The
parapet under the windows is modern. The reredos is ancient, of the same
date as the chapel, and designed by Knowle, but it has been much altered in
Perpendicular times. The Sedilia have been much restored. A characteristic
feature of this Cathedral is the star-shaped recesses designed by Knowle,
which are very beautiful. In one of these is Abbot Newbury's tomb with
ball-flower ornament; in another Abbot Hunt (1473). Here, too, is Abbot
Newland's tomb, and a modern brass to the memory of Bishop Butler, and
at the back of the reredos a brass to Bishop Ellicott.
The South Choir Aisle resembles the north. It has a very similar east
window, and the same curious vaulting. Two very interesting chapels adjoin
this aisle. The Berkeley Chapel is entered by a richly-ornamented doorway
which leads into the old sacristy, with its chests for relics and plate, and a
hearth for baking sacramental bread. Abbot Knowle was a student of nature
and loved to reproduce in stone the fruits and flowers which he saw
growing around him. In the ornaments of the doorway we see the ammonite
and medlar. The chapel had two altars, as we see the remains of two
piscinæ, beneath the two east windows, separated by a screen. There is an

altar tomb of Thomas, Lord Berkeley (1321). The lower part of the tomb is
Early English. The other chapel is the Newton Chapel, which is Late
Decorated and almost Perpendicular in some of its details. The ball-flower
has ceased to be used as an ornament. There are many memorials of the
Newton family here, and one to Bishop Gray (1834). Returning to the south
choir aisle we notice another of the curious recesses adorned with oak
leaves, acorns and mistletoe. There are some more Berkeley tombs which
furnish interesting studies of the armour of the period.
We now enter the Cloisters. As we have said, only the north and east
walks remain; the north is entirely new, and the east has been much
restored. The vestibule and chapter-house are, however, part of the original
Norman building, and the work is of Transitional character. It is oblong in
shape. The east wall is modern and has three windows. The north and south
walls have beautiful arcades, and above lattice work and zigzag mouldings.
The west wall has three rows of arcading. Twelve stone coffins were found
here and a curious piece of ancient sculpture representing our Lord
wounding the head of Satan and rescuing a child by means of the Cross.
Adjoining the chapter-house was the dormitory. The refectory was on the
south side of the cloister garth. It still exists after many transformations and
is the house of the master of the Cathedral School.
The Great Gateway should be visited. The lower part is of Norman
character, and was part of the founder's work; the upper is Perpendicular
and was the work of Abbot Elliot. He probably renewed the rich Norman
ornamentation, so much so that in the opinion of Mr. Godwin, the great
authority on Bristol architecture, "the so-called Norman gateway of College
Green is no Norman gateway, but a Perpendicular restoration of the old
work."
Another gateway, which formerly led to the palace destroyed in 1831,
exists, which is part of the original Norman work of the Cathedral. At the
south-west corner of the cloister is an Early English doorway, which
formerly led to the refectory. It is a sad pity that so much of the old
monastery has been destroyed.
Dimensions
Total length 300 ft.

Length of nave 125 ft.
Width of nave 69 ft.
Height 52 ft.
Area 22,500 sq. ft.
Principal Building Dates

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

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

WELLS CATHEDRAL

T he beautiful city of Wells entirely owes its origin to the noble church
and palace built here in early times, around which the houses and
population grew. It is one of the most picturesque in England, situated in the
most delightful country, and possessing the most perfect ecclesiastical
buildings which can be conceived. History tells us that Ina in 704 built a
church here, near a spring dedicated to St. Andrew and known as "The
Wells," and Edward the Elder, son of Alfred the Great, formed a bishopric
for Somerset and set the bishop's throne here. Three Abbots of Glastonbury
became Bishops of Wells, which was richly endowed. The first Norman
prelate was Giso, who built some dwellings for the secular canons which
were destroyed by his successor, John de Villula, a native of Tours, who
erected a palace in their stead. Moreover, he moved the seat of the see to
Bath, where he had formerly practised medicine, and Wells was allowed to
become ruinous. Bath minster we shall visit presently. There was much
ancient rivalry between the two places and sore disputings, which were only
partially settled by the conjoining of the title "Bath and Wells." Bishop
Robert (1135-1166) had pity on the ruinous state of Wells and rebuilt the
church. This took place while Stephen and Matilda were fighting for the
crown, and Bishop Robert scorned not to take up arms on behalf of
Stephen, and was moreover imprisoned by the adherents of his rival.
Almost all of Robert's work has disappeared in subsequent alterations.
Jocelyn de Wells (1206-1239) has for many years had the credit of building
the main part of this beautiful House of God. It is hard to have one's beliefs
and early traditions upset, but modern authorities with much reason tell us
that we are wrong, and that another Jocelyn—one Reginald Fitz-Jocelyn
(1171-1191)—was the main builder of Wells. Old documents recently
discovered decide the question, and moreover the style of the architecture is
certainly earlier than the fully-developed Early English of Jocelyn de Wells.
The latter, and also Bishop Savaricus (1192-1205) carried out the work, but
the whole design and a considerable part of the building are due to Bishop
Reginald. Savarac or Savaricus was concerned with the release of Richard I.
from his prison in Germany, and was one of the hostages for the payment of

his ransom. He styled himself Bishop of Bath and Glastonbury, and when
the monks objected he stormed the abbey and beat and imprisoned them.
Jocelyn de Wells found his church unfinished and dilapidated. His was a
grand era for church-building; moreover, he was a friend of Hugh of
Lincoln and Bishop Poore of Salisbury, both consummate architects. So he
set to work to finish and repair Reginald's rising church, completed the nave
and added that wonderful west front which is one of the glories of this
Cathedral. Bishop Burnell (1275-1292) erected in later Early English style
the crypt of the chapter-house, which was itself partly built some time late
in the Decorated period, probably by Bishop William de la March, a
favourite of Edward I., who is said to have advised the plundering of the
monasteries. During the episcopate of Drokensford (1309-1329) the central
tower was raised, the choir was begun and the Lady Chapel and chapter-
house finished. Dean Godelee at this time was a great builder and seems to
have devised these additions. Bishop Ralph of Shrewsbury (1329-1363)
continued to perfect the Cathedral, enlarging the presbytery and building
the fine east end. He did much work outside his church, founding the
college, restoring his palaces and fortifying his palace at Wells. The upper
part of the Harewell Tower was built by the bishop of that name (1366-
1386). This is the south-west tower. The north-west tower was built later
still by Bishop Bubwith (1407-1424). This prelate built the east walk of the
cloister, the west and south walks being finished by Bishop Beckington
(1443-1464) in the Perpendicular style. Wells was then in its full glory. The
church, the out-buildings, the episcopal palace, the deanery all combined to
form a wonderful architectural triumph, a group of buildings which
represented the best achievement of English Gothic art. It was shorn of
some of its glory at the Reformation. The church was plundered of the
treasures which the piety of many generations had heaped together; the
beautiful Lady Chapel in the cloisters was pulled down, and the infamous
Duke of Somerset robbed it of its wealth and meditated further sacrilege.
Amongst these despoilers and desecrators of churches there was a mighty
hunger for lead ("I would that they had found it scalding," exclaims an old
chaplain of Wells). Once the richest of sees, it would probably have been
suppressed altogether, but for the advent of Queen Mary to the throne, who
appointed Bishop Bourn and restored the palace. In the Civil War it
escaped. Some damage was done, the palace was despoiled, and at the

Restoration much repair was found needful. Monmouth's rebellion wrought
havoc here. The rebels came here in no amiable temper, defaced the statues
on the west front, and did much wanton mischief, and would have caroused
about the altar had not Lord Grey stood before it with his sword drawn and
thus preserved it from the insults of ruffians. Then came the evils of
"restoration." A terrible renewing was begun in 1848, when the old stalls
were destroyed and much damage done. Better things were accomplished in
1868, save that the grandeur of the west front was belittled by a pipy
restoration, when Irish limestone with its harsh hue was used to embellish
it. In the palace, too, modern ideas have effaced much of the refinement of
its thirteenth-century beauty.
The Exterior
Fergusson declares that though Wells is one of the smallest it is perhaps,
taken altogether, the most beautiful of English cathedrals. Some of the
distant prospects are perhaps the best. There is a fine view from the
Shepton-Mallett Road. We enter the precincts by Browne's Gate at the end
of Sadler Street, and see before us the magnificent West Front, a
masterpiece of art superior to any in this country or abroad. It is 150 feet in
width and 70 feet high. Six deep buttresses project from its face. There are
six tiers of sculpture. The doors are small. Not for the living throng, but to
the dead was this front dedicated who lie in the cemetery at its feet.[12] Here
is the history of God's Church on earth expressing its faith and pointing to
the hope of the Resurrection. Its style is Early English and is intermediate
between the west front of Lincoln and Salisbury. The upper part of the
towers is Perpendicular, that on the north being finished by Bishop Bubwith
(1407-1424), that on the south by Harewell (1366-1386). In the lowest tier
the sculptures have nearly all gone. In the second are angels in small
quatrefoils. In the third subjects from the Old and New Testaments. In the
fourth and fifth there are 120 statues of kings and bishops and heroes of
English history from Egbert to Henry II. The sixth is called the Resurrection
tier. And above are the angels and Apostles, and finally the Lord in glory. It
is difficult to identify the statues with any feeling of certainty, though many
lists have been published which may, or may not, be correct. There can be
no doubt about the excellence of the sculpture, and all authorities unite in
praising them as being the perfection of design and execution. Flaxman said

of them that in them there is a beautiful simplicity, an irresistible sentiment,
and sometimes a grace excelling more modern productions.
The North Porch is earlier than the west front and possesses transitional
features. The zigzag ornament is used, and shows that Norman traditions
have not yet passed away; though Early English foliage appears on the
weather moulding. On the capitals on the east side are representations of the
martyrdom of St. Edmund, who shared the fate of St. Sebastian and was
afterwards beheaded. Mystic animals appear in the panels on either side of
the arch—one is a cockatrice. Above, three lancets light the parvise.
The Central Tower is 182 feet high, and is Early English as far as the
height of the roof. In the Decorated period the upper part was added, which
caused much disaster, as the foundations were unable to bear the additional
weight. Very skilful treatment was required, as we shall see when we enter
the church.
The Nave is Early English, but Perpendicular tracery has been inserted in
the windows, and the walls of both the aisles and clerestory have been
crowned with a parapet of Decorated work. The North Transept is rather
earlier than the nave, and retains much of the Transitional character. It has
two aisles, and is not so richly ornamented as the nave. The windows are
pointed and have Perpendicular tracery. Passing on we come to the Chain
Gate, a very beautiful structure erected by Bishop Beckington (1443-1465)
in Perpendicular style. Figures of St. Andrew and other saints appear in the
niches. The gallery over the Chain Gate connects the Cathedral with the
Vicar's College. After passing under the gate we see the beautiful Chapter-
House, which is octagonal, we are surprised to find the chapter-house in this
position and far removed from the cloisters, but this is accounted for by the
fact that secular canons served this Cathedral, and not monks; hence the
cloisters were an ornamental appendant rather than the centre of the
monastic life. The chapter-house was finished in 1319 in Decorated style
under the guidance of Dean John de Godilee, who employed one William
Joy as the master-mason. There are some curious gargoyles here. The Choir
and Lady Chapel form a beautiful composition. The western portion of the
choir was until recently attributed to Jocelyn.

Wells Cathedral

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

and contains the books belonging to Bishop Ken. An Aldine edition of
Aristotle has the autograph and notes of Erasmus, and there are several
important MSS., the chains which formerly attached the books to the desks,
a thirteenth-century pyx-cover, and a crozier of the same period.
The Bishop's Palace, unfortunately much restored in 1846, is one of the
finest examples of a thirteenth-century house existing in England. It was
begun by Jocelyn. The great hall, now in ruins, built by Bishop Burnell
(1275-1292) for the purpose of great entertainments, was destroyed by
Barlow. The chapel is Decorated. The gatehouse, moat and fortifications
were constructed by Bishop Ralph of Shrewsbury. The Deanery was built
by Dean Gunthorpe in 1475, chaplain to Edward IV. On the north is the
famous Vicar's Close, which has forty-two houses, constructed mainly by
Bishop Beckington (1443-1464), with a common hall erected by Bishop
Ralph (1340), and chapel by Bubwith, but altered a century later for the use
of the Vicars-Choral. We notice the old fireplace, the pulpit from which one
of the brethren read aloud during meals, and an ancient painting
representing Bishop Ralph making his grant to the kneeling vicars, and
some additional figures painted in the time of Elizabeth.
The Interior
Few will fail to be impressed by the many beauties of this glorious Nave,
which we will gaze at from the west end. It is rather narrow, but the
proportions are good, and the magnificent clustered columns and enriched
capitals, the groups of bearing shafts, grotesque carvings, and the fine vault,
all combine to form a noble structure. The curious inverted arches at the
east end of the nave are remarkable. These were added early in the
fourteenth century to save the collapsing central tower; and so skilfully was
the work done that the object of the builders was completely accomplished.
The nave has generally been assigned to Jocelyn, but architects have
noticed that it is only a little removed from the Norman style, and recent
investigators have shown that the greater part is the work of Bishop
Reginald (1171-1191). The four eastern bays are assigned to him, and the
rest to Jocelyn. A close inspection will reveal several points of difference
between the earlier and later work. The heads of a king and bishop between
the fourth and fifth piers (counting from the west) mark the change. The
difference may be thus tabulated[13]—

East West
Masonry in small courses of stone. The blocks are larger.
Small human heads at angles of
No heads.
piers.
Grotesque animals in tympana of Foliage and larger
triforium. heads.
Medallions above triforium sunk in
Flush with the wall.
the wall.
More ornamented and
Capitals plainer.
richer.
The piers are octagonal with clustered shafts. The capitals are enriched
with foliage. Birds, animals and monsters twine and perch among the
foliage. The triforium arcade is continuous, and composed of lancet
openings. The clerestory windows have Perpendicular tracery inserted by
Beckington. The roof is vaulted, with bosses of foliage. The Music Gallery
stands in the central bay on the south side erected in Perpendicular style,
and near it formerly was another gallery supported by two brackets, on
which are carved the heads of a king and bishop. The curious and grotesque
carvings should be carefully studied. The west end has an arcade of five
arches. Above are three lancets with dog-tooth moulding and Perpendicular
tracery. The glass was collected by Dean Creyghton on the Continent during
his exile with Charles II., and represents the life of St. John Baptist. Its date
is 1507. The other windows have the figures of King Ina and Bishop Ralph.
The north and south aisles correspond with the nave in their architecture.
Perpendicular tracery has been inserted in the windows. Under the north-
west tower is the Chapel of the Holy Cross, now used as a vestry, and the
opposite Chapel is now used by the ringers. There are two beautiful
chantries in the nave—one is Bishop Bubwith's Chapel (1421), with much
mutilated east end; the other is Sugar's Chantry, formerly dedicated to St.
Edmund. Hugh Sugar, dean of Wells, died in 1489. The fan-tracery of the
roof, the niches and the cornice of angels are worthy of notice. The Pulpit
was erected by Bishop Knight (1541-1547). The lectern is by Bishop
Creyghton, who erected the west window, and shared Charles II.'s exile.
The Transepts are rather earlier than the nave, and are part of Reginald's
work. They have aisles, and the capitals of the piers are richly sculptured. In
the South Transept we see on the west Elias, a woman extracting a thorn

from her foot, a man with toothache, the grape-stealers and their fate. On
the east there is only foliage and no figures. The Chapel of St. Calixtus is on
the east, containing the beautiful monument of Dean Husse (1305), with its
finely-carved panels. The subjects are the Annunciation, God the Father,
and some ecclesiastics. The other Chapel is that of St. Martin, now a vestry,
and has the tomb of a Chancellor of Wells (1454). In the transept are the
monuments of Lady Lisle (1464), wife of the Earl of Shrewsbury, and of
Bishop William de la Marchia (1302). The Font is Norman, and probably
the only remaining link with the early church built by Bishop Robert (1136-
1166). The cover is Jacobean. The North Transept resembles the south.
Here we see again a series of strange carvings, amongst which are Moses
and Aaron, man with goose, woman with toothache. The reason why so
many representations of this distressing malady occur is that the shrine of
St. William Bytton (1274) was famous for its cures of persons so suffering.
On the east are the Chapels of St. David, with tomb of Bishop Still (1607),
and Holy Cross with tomb of Bishop Kidder (1703). Another tomb is that of
Bishop Cornish (1513). The famous Clock is here with its tilting knights
and human-shaped striker, who perform wondrous things when the
expiration of each hour summons them to action. We will not dispel the
curiosity of the visitor by any description of the performance, which is
popular, and should not be missed.
The Tower is of Early English date as far as the roofs, and has a fine fan-
tracery vault. As we have said, it was raised in the Decorated period, and
the superstructure caused a dangerous settlement, which was counteracted
by the inverted arches, and some flying buttresses.
The Choir-Screen is Decorated, and has not been improved by modern
restorers. Above it is the organ, a modern instrument, which replaces the old
organ erected by Dean Creyghton.
The Choir is very beautiful, but it is only a shadow of what it was before
the evil hand of the restorer rested heavily upon it. It is terrible to
contemplate the mischief which has been accomplished here in the fatal
restoration of 1848. However, it would have been difficult to efface all its
beauties, and some of these happily remain. The three west bays are
probably Reginald's work, and were formerly attributed to Jocelyn; the rest
is Decorated, and two of the west piers have been converted into this style.

There is no triforium, its place being taken by rich tabernacle work. At the
east end there are three graceful arches; and above these rich tabernacle
work, and a large window of seven lights with Late Decorated tracery.
There is a lierne vault. The vandals of the nineteenth century destroyed
nearly all of the old woodwork, and substituted canopies of Doulting stone.
The pulpit is modern; the throne was erected by Beckington, but has
unfortunately been much restored. The Misereres have happily been saved,
and are very remarkable. They are Early Decorated, and can scarcely be
surpassed. Amongst the many curious subjects are a mermaid, griffin and
various monsters, two goats butting, cats, peacock, cock, fox and geese,
lions, rabbits, etc.
The glass of the east window, and of
those on each side of it, is fourteenth-
century work (circa 1330). The east
window is very fine, and is a Jesse
window, showing the genealogy of our
Lord from the "Stem of Jesse," with
figures of kings and prophets, the Virgin,
and finally the Crucifixion and the
Judgment. In the north-east window is a
figure of St. George. The South Choir
Aisle is of the same character as the choir;
the windows are Decorated. Here is the
famous monument of Bishop Bytton
(1274), who was canonised, and whose
tomb was much resorted to by pilgrims,
especially by those who suffered from
toothache. This is the most ancient
example of an incised slab in England.
Near the saint lie Bishop Beckington
(1464), (who did so much for this
Cathedral), and Bishop Hervey (1894). Entrance to Crypt.
Below the effigy is a skeleton-like figure,
which was intended to proclaim the moral
maxim, memento mori. The iron-work should be noticed. Here also are the
tombs of Bishop Harewell (1386), Bishop Hooper (1727), and Bishop Lake

(1626). In the Chapel of St. John the Evangelist are buried Dean Gunthorpe
(1498), the builder of the Deanery, and Dean Jenkyns (1854), who was
responsible for the "restoration" of the choir. There is a fine Decorated
piscina here. The Retro-Choir is very beautiful. Slender piers of Purbeck
marble support the fine vault. The carving of the capitals and bosses is very
excellent. All is in the Decorated style. The Lady Chapel is of the same date
and style, finished in 1326. Its shape is pentagonal, and it is of rare beauty.
The glass is of the same date as that of the choir, but has been restored.
Angels bearing the instruments of the Passion appear in the east window,
and in the tracery of the other windows are the Evangelistic emblems and
heads of patriarchs and saints. At the south-east corner of the retro-choir
was St. Catherine's Chapel. The glass is old and rich. There is a monument
by Chantrey of John Phelips, and that of Bishop Drokensford (1329), who
was bishop during the building of the Lady Chapel, and part of the choir is
a graceful structure. At the opposite corner is St. Stephen's Chapel, and then
we enter the north-east transept or Chapel of St. John Baptist, which
contains Bishop Creyghton's tomb (1672), also monuments of John de
Myddleton (1337), Bishop Berkeley (1581), Dean Forrest (1446). The
North Choir Aisle has the tomb of Bishop Ralph (1363), and an effigy,
attributed to Bishop Giso (1088). Bishop Jocelyn caused several of these
effigies to be executed, in memory of his predecessors. On the north is a
door leading to a vaulted passage, which conducts us to the crypt of the
chapter-house. Notice the curious carved heads in this passage. There is a
curious stone lantern in the wall near the inner door. This crypt or
undercroft is on the same level as the floor of the church, and was used as a
treasury. It was finished about 1286, and is Late Early English. There is a
massive octagonal pier in the centre, and eight other round piers, which
support the vaulting. A piscina in the doorway has a curious sculptured dog
gnawing a bone. Here are preserved a cope chest, some stone coffins, and
other treasures. Retracing our steps to the aisle, we enter the noble Staircase
leading to the chapter-house. It is Early Decorated, the door at the upper
end being added in the Perpendicular period, when the Chain Gate was
erected. Two Decorated windows light the staircase. The Chapter-House,
octagonal in plan, is entered by a fine doorway composed of double arches.
There is a curious boss here, composed of four bearded heads. There is a
central pillar, with clustered shafts of Purbeck marble, from which the
beautiful ribs of the vaulted roof spring. There are eight windows, the

mouldings of the arches being ornamented with ball-flower, and retaining
some old glass. An arcade runs round the wall under the windows, with
ornamented canopies, and beneath this are the stone benches. Sculptured
heads and grotesques appear in the ornamentation of the arches. This
chapter-house is later than the staircase, and was probably built by Bishop
William de la Marchia (1293-1302), the vault being added after his time,
and finished in 1319.
Dimensions
Total length 383 ft.
Length of nave 161 ft.
Breadth of nave 82 ft.
Height of nave 67 ft.
Length of choir 103 ft.
Length of transepts 135 ft.
Height of towers 160 ft.
Area 29,070 sq. ft.
Principal Building Dates

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

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

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

PLAN OF WELLS CATHEDRAL

EXETER CATHEDRAL

E xeter, the noble city of the west, which proudly bears the motto granted
to it by Queen Elizabeth, Semper Fidelis—"Always Faithful," has a
venerable Cathedral, which was commenced in Norman times on the site of
a Saxon church, entirely removed. The principal feature of Exeter is its
Decorated work. A large portion of the Cathedral was erected during that
period; and as Salisbury is the most perfect example of Early English
architecture, Exeter represents the most beautiful specimen of the
Decorated style.
Southey's judgment on the Cathedral was that "it looked finest when you
could only see half of it." Indeed, it is difficult to obtain a good view, and
the north side is the only one which presents a favourable prospect. The
historian of Exeter Cathedral, Mr. Hewett, wrote: "As we walk round this,
we cannot but consider that the Cathedral, though far from lofty, and
presenting none of the majestic features of several of its sister churches, is
nevertheless a fine composition. The aisles of the choir and nave,
intercepted by the stately Norman towers, further broken by the prominence
of their chantries, and spanned by flying buttresses richly pinnacled; the
large, pure windows, which pierce both aisles and clerestory; the roof,
highly pitched, and finished with crest-tiles, form a decidedly graceful and
pleasing whole." With this excellent description all visitors will agree.
Glancing back at the early history of the see, we find that Crediton was
the ancient seat of the bishop, where was born in 680 St. Winfrid, called
Boniface, the apostle of the Germans. There was a monastery at Exeter in
the time of Athelstan, which was much plundered by the Danes. In 1050
Bishop Leofric, the favourite of Edward the Confessor, removed his
episcopal seat to Exeter, and continued to hold it when William the
Conqueror came. Osbern was appointed in 1072, but he contented himself
with the old Saxon church, and it was not until William Warelwast (1107-
1136), nephew of William the Conqueror, became bishop that the present
Cathedral was begun. The Norman work was continued by Bishop Marshall

(1194-1206), who is said to have "finished the building according to the
plot and foundation which his predecessors laid."

Exeter Cathedral

Exeter has suffered many sieges, and during that of Stephen, in 1136, the
Cathedral was much injured by fire. The two towers at the end of the
transepts are all the portions that remain of Warelwast's building, and one of
these (that on the north) has been much altered, until it has assumed the
features of Perpendicular style. This was done by Bishop Courtenay (1478-
1487), when he transferred here a great bell from Llandaff.
In 1258 a poor man's son, one Walter Bronescombe, though not in priests'
orders, was elected bishop, and set to work to rebuild his Cathedral, his
labours being continued by his successor. The Lady Chapel with adjoining
chapels was partly built by this bishop. His successor, Bishop Quivil, the
foe of the Franciscans (1280-1291), finished it, and erected the north and
south transepts. The choir, nave, porches and west front were built by
Bishops Stapledon (1308-1326) and Grandisson (1327-1369). Stapledon
was a great statesman, and in the troubles of the second Edward's reign took

the side of the king against the queen and Mortimer, and was murdered by
the citizens of London in Cheapside. Grandisson was also a mighty prelate
who refused to allow the Archbishop of Canterbury to visit his Cathedral as
his ecclesiastical superior. He, with a band of armed men, met the intruding
archbishop at the west door and forbade him to enter, and an armed conflict
was with difficulty averted. These mediæval bishops were very powerful.
They usually built a strong wall with gates around the precincts of the
Cathedral, and ruled their clergy, their servants and dependants quite
independently of any external control. The conflicts between the clergy and
the townsfolk were very numerous, and the struggle severe in nearly all our
cities and monastic towns.
When Queen Elizabeth came to the throne, "visitors" were appointed to
examine churches and to remove all that savoured of "superstition." Their
zeal outran their discretion, and much mischief was wrought in Exeter and
elsewhere by their iconoclastic violence. Strange events took place during
the Commonwealth period. The Cathedral was divided into two portions by
a brick wall, and in one called "West Peter's" an independent preacher
thundered forth his declamation, while in the other, "East Peter's," a
Presbyterian divine conducted his form of service. Happily the Restoration
put an end to these curious proceedings, and the wall was taken down, and
the Church of England service renewed.
We will now examine the west front erected at the close of the fourteenth
century. The screen is very remarkable and beautiful, and has three rows of
figures of saints and kings and warriors. In the first row appear angels; the
second has figures of kings and knights, and the third saints, and figures of
Athelstan and Edward the Confessor stand above them. Some of the ancient
figures have crumbled away and been replaced by modern sculptures.
Bishop Brantyngham was the builder of this screen, who lived in the time
of Richard II., and the crowns and armour represented on the figures belong
to that period. The figures in the lower row, beginning on the left, are:—
1. Canute. 16.Robert of Normandy.
2. Edgar. 17.William II.
3. Ethelred. 18.A king unknown.
4. Justice, } small figures 19.} Bishops.
5. Fortitude, } above north 20.}

6. Discipline,} door. 21.John.
7. Edward II. 22.Edward I.
8. Henry III. 23.Edward III., { over
9. } Unknown bishops. 24.The Black Prince,{ south
10. } { door.
11. Richard I. 25.Godfrey de Bouillon.
12. Henry II. 26.Stephen, Count of Blois.
13. Stephen. 27.Guy de Lusignan.
14. Henry I. 28.Ethelwold.
15. William I.,{ a modern 29.Alfred.
{ imitation. 30.Edward the Elder.
In the upper row, beginning at the left hand, are:—
1. Samuel. 19.St. John.
2. Samson. 20.St. James the Greater.
3. Jephtha. 21.St. Thomas.
4. Gideon. {a
St. James the Less, {
5. Barak. 22.
modern
{
6. Deborah.
statue.
7. Noah. 23.St. Simon.
8. St. Matthew. 24.St. Luke.
9. St. John. 25.St. Mark.
10.St. Jude. 26.St. Augustine.
St.
11. 27.King Ethelbert.
Bartholomew.
12.St. Matthias. 28.St. Berinus.
13.St. Philip. 29.St. Boniface.
14.St. Andrew. 30.Kynigils, }
15.St. Peter. 31.Cwichelm, }
16.King Richard II. 32.Kenwalch, } Kings of
17.King Athelstan. 33.Kentwald, } Wessex.
18.St. Paul. 34.Caedwalla, }

35.Ina, }
The sculpture has been pronounced "remarkable, characteristic and
beautiful," but that at Wells and Lincoln is earlier and perhaps better.
Above the screen is a platform on which the bishop used to stand when
he blessed the people, and also the choristers and minstrels when they
hailed with song the advent of distinguished persons.
The three doorways should be noticed. The central one has a moulding of
carved foliage, and on the central boss of the groined roof is a
representation of the Crucifixion. The south doorway has two sculptures,
the appearance of an angel to Joseph in a dream, and the Adoration of the
Shepherds. Between the south and central doorways is the Chantry of St.
Radegunde, which we will examine on entering the Cathedral. The north
porch was built by Grandisson, and is very beautiful with its triple canopy.
The Puritan soldiers have mutilated the Crucifixion scene on the east wall.
On the central boss is a well-carved Agnus Dei. Notice the cresting of the
roof in a fleur-de-lis pattern, which somewhat relieves the long, unbroken
stretch of leaden roofing.
We now enter the Cathedral. Though the nave is less lofty than many, it is
most beautiful, and the richness of the architectural details abundantly
atones for the lack of height, which is 70 feet. The roof springs from slender
vaulting shafts and is studded with beautifully-carved bosses, representing
foliage, animals, strange figures and heraldic shields. The murder of
Thomas à Becket occurs in one of these bosses. Clustered pillars of Purbeck
marble support the roof and separate the nave from the aisles. Notice the
sculptured corbels between the arches, which are peculiar, and the exquisite
carving of the leaves and figures. In the triforium on the north side is the
Minstrels' Gallery, the most perfect in England, where the musicians played
on high festivals, or on the occasion of some Royal visitor. The figures are
represented as playing on various instruments—cittern, bagpipes, flageolet,
violin, harp, trumpet, organ, guitar, some unknown wind instrument,
tambour and cymbals. The heads of Edward III. and his queen, Philippa,
support two niches. This gallery is a very beautiful example of mediæval
art.

Instead of the usual triforium we have a blind arcade, the height of which
is much less than in most cathedrals, but above this there is a very lofty
clerestory. The windows of the nave are Decorated, and have a great variety
of most beautiful and elaborate tracery. They are arranged in pairs, one
window corresponding to its opposite. The glass of the west window,
erected in 1766, is a great eyesore, and spoils the beauty of the stone
tracery.
We have abundant evidence that this
noble nave was constructed almost entirely
in Norman times, and subsequently
transformed into the Decorated style, just
as Winchester was changed from Norman
to Perpendicular work. Disturbances of
masonry in both north and south walls
indicate the position of Norman pilasters,
and outside flat buttresses of Norman type
are observed which correspond to the
position of these. We gather that the nave
was finished in Norman times by Bishop
Marshall, and that Stapledon (1308-1326)
began the transformation, which was
carried on and completed by Grandisson
(1327-1369).

Detail of Nor must the work of our modern men
Minstrels' be disregarded. The nave was in a very
Gallery
dilapidated state. The Purbeck marble
columns were fallen into decay, and
hideous high pews disfigured the view. Sir Gilbert Scott in recent times
most judiciously restored the Cathedral, and made it again one of the finest
in the land.
We will now examine the chapels and monuments in the nave. On the left
of the west door is the Chapel of St. Radegunde, which contained formerly
the body of Bishop Grandisson; but in the time of Queen Bess the tomb was
plundered and his remains scattered no one knows whither. St. Radegunde
was a Frankish princess, the wife of Chlotar, the son of King Clovis. Notice

the carved figure of our Lord on the roof, His hand outstretched to bless,
and the holes in the stone for suspending lamps.
On the north side is the Chapel of St. Edmund, which is earlier than the
nave itself, and was connected with it by Bishop Grandisson.
The following monuments in the nave should be examined:—
North Aisle—
Tablet memorial of Lieutenant Allen, and window to memory of one of
the Earls of Devon.
Brass memorial of men of North Devon Regiment slain in Afghan war
(1880-1881), with regimental flags.
Memorial of 9th Lancers who died in India.
Tablet to the musician Samuel Wesley.
South Side of Nave—

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

Brass to memory of General Elphinstone, V.C. (d. 1890).
Brass to Hugh, second Earl of Devon.
Window to Thomas Latimer.
Window to Dean Cowie.
We now pass into the north transept. The Norman towers at each end of
the transepts were originally separated from the church. Bishop Quivil,
however, wishing to enlarge the building, took down the massive walls
which divided the interior of the towers from the body of nave, and
constructed arches to sustain the sides of the tower. The original Norman
walls remain, and in the north transept one Norman window and two
narrow, circular-headed doorways. Quivil also erected the two galleries. On
the east of north transept is St. Paul's Chapel, used as a vestry for lay choral
vicars; there are here some interesting old tiles with heraldic devices, and
amongst them the arms of Richard, Duke of Cornwall, brother of Henry III.
Near this is the Sylke Chantry, founded in 1485 by William Sylke, sub-

chanter, whose skeleton effigy proclaims the message—Sum quod eris,
fueram quod es, pro me, precor, ora. An interesting mural painting has been
discovered representing the Resurrection.
The old clock is very remarkable, which is about 700 years old. The
historian of the Cathedral thus describes it:—
"On the face or dial, which is about 7 feet in diameter, are two circles:
one marked from one to thirty for the moon's age; the other figured from
one to twelve twice over for the hours. In the centre is fixed a semi-globe
representing the earth, round which a smaller ball, the moon, painted half
white and half black, revolves monthly, and by turning on its axis shows the
varying phases of the luminary which it represents. Between the two circles
is a third ball, representing the sun, with a fleur-de-lis, which points to the
hours as it daily revolves round the earth."
The maker of the clock was a believer in the old-fashioned astronomy
which recognised the earth, and not the sun, as the centre of the solar
system. Below the clock is a door leading to the tower, which contains the
great bell called "Peter," which is only exceeded in weight by the Great
Tom of Oxford. It was brought from Llandaff by Bishop Courtenay at the
end of the fifteenth century, and weighs 12,500 tons. It was cracked on 5th
November 1611, "from a too violent ringing in commemoration of the
Gunpowder Plot."
We now enter the south transept, which is similar to the north. The
monuments here are interesting. There is the supposed tomb of Bishop John
the Chaunter (1185-1191), but is of later date; a sixteenth-century
monument of Leofric, the first Bishop of Exeter; a mural tablet to the
memory of Sir Peter Carew, who played an important part in the rebellion
of the Devon men, caused by the changes introduced into the Prayer-Book
at the Reformation, when they besieged Exeter and well-nigh gained an
entrance. Sir John Gilbert has a monument, a relative of Sir Walter Raleigh,
one of the brave discoverers of the Elizabethan age and founders of our
maritime supremacy. The colours of the Cornwall Light Infantry hang here,
which were carried at Waterloo and in the Indian Mutiny.
The Chantry of the Holy Ghost in the south-west corner of this transept is
a Norman structure. It has a font which was first used at the baptism of

Henrietta, daughter of Charles I., who was born in Exeter in 1644. The
Chapel of St. John the Baptist, on the east side, is similar to that of St. Paul
in the north transept. Bishop Oldham, whose chantry is in the south choir
aisle, erected the screen of this chapel. Beyond the Chapel of the Holy
Ghost is the chapter-house. The cloisters were destroyed by the Puritans.
The chapter-house has been recently restored. Notice the Early English
character of the arcade (thirteenth century) in the lower part; the upper part
has Perpendicular niches. The Chapter Library has about 8000 volumes.
Retracing our steps we approach the choir, entered by a door in the
beautiful screen supporting the organ. This was the old rood-screen, on
which formerly stood the rood or figure of our Lord on the Cross. It was
erected in the fourteenth century. The rose and thistle in the carvings were
inserted later, in the time of James I., to mark the Union of England and
Scotland under one monarch, but these have happily been removed, and
probably the worthless paintings belong to the same period. The organ was
built by Loosemore in 1665 (one of the oldest in England), rebuilt in 1819,
and has been so much renovated that very little of the old work remains.
The choir is remarkably fine. The style is now Decorated. The original
Norman choir extended to the third arch. Bishop Marshall completed this
by adding four more bays. Then came the builders of the early fourteenth
century who transformed the Norman pillars and other details, and
converted the choir into Decorated work. The bishops who accomplished all
this were De Bytton (1292-1306) and Walter de Stapledon (1306-1329) and
Bishop Grandisson (1327-1369). The last dedicated the high altar in 1328.
The bosses of the vaulted roof are worthy of especial examination, so
remarkable are they for the delicacy of the carved foliage. The choir has
been carefully restored in recent years, and the stalls, pulpit and reredos are
modern, and were designed by Sir Gilbert Scott. Notice the interesting old
misereres, which are very remarkable, and probably the oldest and most
curious in England. The foliage denotes the Early English period, and they
were probably designed by Bishop Bruere (1224-1244). Notice the
mermaid and merman on the south side, the elephant, knight slaying a
leopard, a minstrel, etc. The lofty bishop's throne was erected by Stapledon,
and is said to have been taken down and hidden away during the civil war
period. The painted figures represent the four great building bishops—
Warelwast, Quivil, Stapledon and Grandisson. The sedilia by Stapledon are

very fine. Notice the carved lions' heads, and the heads of Leofric, Edward
the Confessor and his wife Editha. The east window is Early Perpendicular,
inserted by Bishop Brantyngham in 1390, and contains much old glass. The
tombs in the choir are:—
On North Side—
Bishop Stapledon (holding a crozier and a book).
Bishop Marshall (d. 1206).
Bishop Lacey (d. 1455), to which tomb pilgrimages used to be made on
account of the reported miracles wrought there.
Bishop Bradbridge (d. 1578).
On South Side—
Bishop Chichester (d. 1155).
Bishop Wolton (1594).
Entering the north choir aisle we see the Chapel of St. Andrew, renovated
by Stapledon, having an upper chamber containing the archives, the Fabric
Rolls, MSS. of Roger Bacon, Leofric's book of Saxon poetry, and many
other valuable treasures.
Next in order we see the Chantry of St. George, or Speke's Chantry
(Perpendicular style), containing the monument of Sir John Speke, who
endowed this chantry for the good of his soul. When the Cathedral was
divided into two portions in the days of the Puritans, a doorway was made
through the east window as an entrance to "East Peter's." At the east end of
this aisle is the Chapel of St. Mary Magdalene, erected originally by
Bronescombe, transformed by Quivil, but has Perpendicular screen. The
east window has good fifteenth-century glass. Notice the noble monuments
of Sir Gawain Carew (1589, restored in 1857), his wife and nephew, Sir
Peter Carew (see p. 172). The latter is remarkable as a very late example of
cross-legged effigy. The monuments in this north choir are—a cross-legged
effigy of Sir Richard de Stapledon, brother of the bishop (d. 1330). [It need
not be stated that this fashion of crossing the legs has nothing to do with the
Crusades]; effigy of Bishop Carey (d. 1626); a tablet to Robert Hall, son of
the bishop; tablet to Canon Rogers (d. 1856); an emaciated sepulchral

figure; Elizabethan tomb of Anthony Harvey (1564), who gained great
wealth from the dissolution of monasteries.
Passing behind the high altar we come to the ambulatory, or "procession
path." The style is Early Decorated. Notice the ancient Bible-boxes and the
two Jacobean tablets. The windows contain good modern glass.
The Lady Chapel was entirely transformed by Bishop Quivil (1280-1291)
into the Decorated style. The bosses in the east bay show the Saviour's head
and the emblems of the Evangelists. The reredos was erected by
Grandisson, but only the central portion is ancient, the rest has been
severely "restored." This chapel contains the tombs of:—

1. Bishop Peter Quivil (d. 1291), a slab with the inscription—Petra
tegit Petrum nihil officiat sibi tetrum.
2. Bishop Bartholomaus Iscanus (d. 1184), a bearded figure, of
military type.
3. Bishop Simon of Apulia (d. 1223). This effigy, when compared
with the last, shows the advance of art made in a century.
4. Bishop Bronescombe (d. 1280). The canopy is older than the
monument, and is Perpendicular.
5. Bishop Stafford (d. 1419). A fine monument, much defaced.
6. Sir John and Lady Doddridge. Sir John (d. 1628) was one of the
judges of James I., called by Fuller the "sleepy judge, because he
would sit on the bench with his eyes shut to sequester his sight from
distracting objects." The dress of Lady Doddridge is remarkable.

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

first syllable of his name, "old," or "owld." The bishop was a Lancashire
man, and in that county old is usually pronounced owld.
The third chapel in the south choir aisle is that of St. James, built by
Bishop Marshall, and renovated by Bishop Bronescombe in very Early
Decorated style. It contains a beautiful monument, raised in the fifteenth
century to the memory of Leofric, first Bishop of Exeter. There are two
cross-legged effigies in this aisle, which are usually said to represent
Crusaders.
With this chapel our tour of the Cathedral closes. Of some of the great
men who have been Bishops of Exeter we have already spoken. The names
Warelwast, Marshall, Bronescombe, Quivil, Stapledon, Grandisson, have
often been mentioned, and of others whose tombs still adorn their mighty
resting-place. Others there are whose memory remains. Miles Coverdale,
the well-known reformer; Joseph Hall, the famous theologian; John
Gauden, the supposed author of the Eikon Basilike (though modern scholars
have come round to the belief that the book was really written by Charles
I.); the learned Seth Ward; Trelawny, one of the seven bishops committed to
the Tower by James II.; Phillpots and Temple, have all added lustre to the
See of Exeter.

The city of Exeter is full of interest. The old Guild Hall and scanty
remains of Rougemont Castle should be visited, and fifteen miles away is
the noble collegiate Church of Ottery St. Mary, which well repays a minute
examination. In construction it somewhat resembles the Cathedral of
Exeter, and the main part of the building belongs to the fourteenth century.
Dimensions
Total length, 383 ft.; length of nave, 140 ft.; breadth of nave, 72 ft.;
height of nave, 66 ft.; area, 29,000 sq. ft.
Principal Building Dates
1107-1200—Part of towers in transept and core of walls of nave; 1224-
1244—stalls; 1258-1291—Lady Chapel and transepts; 1308-1369—choir,

nave, porches and west front; 1390-1519—east window, part of chapter-
house, Oldham's Chantry, Speke's Chantry.

TRURO CATHEDRAL

T ruro is one of the oldest towns in England. The courts of the Duchy of
Cornwall are held here, and it once enjoyed the privilege of a mint. In
the time of Elizabeth it had jurisdiction over the port of Falmouth. Norden,
in his survey of England, in 1574, wrote of Truro:—"There is not a towne in
the west part of the shire more commendable for neatness of buyldinges,
nor discommendable for the pride of the people." It showed its loyalty by
furnishing a large body of soldiers for the king in 1642, commanded by Sir
Ralph Hopton.
In 1876 the See of Truro was formed, and a new Cathedral was built, Mr.
Pearson being the architect. It is one of the most important modern
ecclesiastical buildings in England, and is a fine imitation of the Early
English style at its best period. The south wall of the old Church of St.
Mary, which formerly stood on this site, has been incorporated in the new
Cathedral. The newness of this Cathedral and the entire absence of any
historical traditions and associations will perhaps hardly tempt travellers to
journey so far west to see the creation of modern architects and builders.
The whole plan of the Cathedral has not yet been completely carried out,
and the church still lacks its towers. Whether our modern architects can
build so surely and so well as our ancient monks and priors time will show;
but reports speak none too well of the substantial nature of all that has been
done at Truro.

GLOUCESTER CATHEDRAL

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

154 Westgate Street. Before the dissolution of monasteries there were many
religious houses, and the friars were numerous; there were colleges of Grey,
White and Black Friars, some remains of which still exist. There are several
interesting churches—St. Mary de Crypt, a cruciform building of twelfth
century, with some Decorated and Perpendicular work; St. Mary de Lode,
built on the site of a Roman temple, with an old chancel and tower; St.
Michael, from the tower of which the curfew sounds each night; St.
Nicholas, of Norman construction.

The Deanery
Herbert Railton

History of the Cathedral
Gloucester was one of the sees founded by Henry VIII.; its episcopal life,
therefore, does not extend further back than 1541, when the last Abbot of
Tewkesbury became the first Bishop of Gloucester. The story of the minster,
however, carries us back to very early times. The first Abbey, as we have
said, was founded by Osric, nephew of King Ethelred, in 689, and was
designed for both monks and nuns. It was not long-lived, and in a century
was deserted and fell into decay. The Mercian kingdom was much
distracted, and confusion reigned until Beornwulph restored the ruined
walls of St. Peter's Abbey, and introduced secular canons, who seem to have

lived as they pleased, and loved not discipline. So Canute in 1022 turned
them out and established Benedictine monks. These did no better. Their
abbot, Eadric, was a waster of the goods of the Abbey, and the pious
chronicler saw in the destruction of the monastery by fire the vengeance of
God for their sins. Then Bishop Ealdred of Worcester, who brought back the
Black monks of St. Benedict, began to build a new church. Then came
Abbot Wulfstan from the Worcester Monastery in 1072, and Abbot Serlo, a
worthy monk of Mont St. Michel, who found desolation, an almost empty
monastery, a poor, mean building, and began to raise that glorious pile
which we see now. It was dedicated in 1100, when there was a mighty
concourse of bishops and great men. A remarkable sermon was preached
here by Abbot Fulcher of Shrewsbury, prophetic of the death of the cruel
king, Rufus. Abbot Serlo sent to warn him, but in vain, and soon the news
of his death in the New Forest rang throughout the country.
Fire frequently played havoc with the minster. In 1102 it suffered much,
and again in 1122, when "in Lent-tide the town was burnt while the monks
were singing their Mass, and the deacon had begun the Gospel Præteriens
Jesus," and the fire came in the upper part of the steeple, and burnt all the
monastery and the treasures except a few books and three Mass robes.
Again in 1179 and 1190 fires raged. The Early English builders set to work
to repair the damage, and the church was re-dedicated by Walter de
Cantilupe, Bishop of Worcester, in 1239. The monks were now very busy
building, and in 1242 they had finished the stone vaulting of the nave,
which replaced the old Norman wood vault; in 1246 the south-west tower
was completed, and they had begun to rear for themselves a new refectory.
Yet another fire in 1300 wrought havoc in the cloisters, and deprived the
monks of their dormitory. Abbot Thokey was a noble prelate who did much
building, erected some of the beautiful Decorated windows in the aisles and
choir triforium, and was the means of enriching his Abbey "beyond the
dreams of avarice." When Edward II. lay dead, foully murdered at Berkeley
Castle, unlike the time-serving Abbot of Bristol, who feared the anger of
Queen Isabella and her party, he boldly demanded the body of the dead king
and gave it honoured burial in his minster. Then arose that strange cult, the
worship at the dead king's shrine. Thousands came from far and near, and
their offerings so enriched the monastic treasury that the monks were able
to adorn and beautify their church and monastery, and make it one of the

glories of English architectural achievement. The fearless abbot felt himself
too old to carry on the work; so he resigned in favour of his friend, Abbot
Wygmore (1331-1337), who began to erect that "veil of stone" which
covers the old Norman work, and is such a characteristic feature of
Gloucester.
The south transept was the first recased, a noble screen erected, and the
work was carried on by succeeding abbots. Abbot de Stanton (1337-1351)
constructed the vaulting of the choir and the stalls on the prior's side, which
Abbot Horton completed on the abbot's side, together with the altar and
choir and north transept, and also began the great cloister, which Abbot
Froucester finished. The west front, south porch and two western bays of
the nave are Abbot Morwent's work (1420-1437). The tower was built by
Abbot Seabrooke (1450-1457), and Abbots Hanley (1457-1472) and Farley
(1472-1498) built the Lady Chapel.

Cathedral from S E
Herbert Railton GLOUCESTER

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

scars than many of our cathedrals, and retains much of its original beauty
and delicate attractiveness.
The Exterior
The plan is cruciform, and consists of a nave with two aisles; north and
south transepts, with apsidal chapels on the east side of each; a tower rises
at the crossing. The eastern portion consists of choir with aisles, forming a
processional path, with four apsidal chapels opening from them, and a Lady
Chapel. With the exception of the Lady Chapel this plan is exactly the same
as that of the original Norman church built by Abbot Serlo. We approach
the Cathedral from the south-east and obtain a good view of its beauties
across the close. The West Front, built by Abbot Morwent (1420-1437), is
not very rich or striking when compared with many others. There is a large
Perpendicular window, and another on each side, and a rather small
doorway. The flanking buttresses are crowned with pinnacles, and a cross
crowns the centre of the embattled parapet. The pierced buttresses, designed
so as not to darken the west window, and the parapets of open-work below
and above, are distinguishing features. The south aisle is Abbot Thokey's
work, and is very beautiful with its fine Decorated work. The buttresses are
very massive, and are surmounted by figures, and the windows deeply
recessed.
The South Porch is rich Perpendicular work, built by Abbot Morwent.
The figures are modern, and represent SS. Peter and Paul, and the four
Evangelists, Osric and Abbot Serlo, the founders of the earlier and Norman
Church—SS. Jerome, Ambrose, Augustine and Gregory—against whose
figures the fanatics of Bristol manifested such unreasonable hate. There is
an upper chamber or parvise. The doors are contemporary with the building.
The South Transept shows the remodelling of the Perpendicular period.
Norman work may be seen in the arcading, the turrets, and traces of an
original window; while the capping of the turrets, the windows and
battlement belong to the Perpendicular style.
Passing on to the east we notice the beautiful lofty choir. The main part
of the walls are Norman, and we notice the unusual polygonal radiating
chapels, which are part of the original Norman plan. The windows are
Decorated and Perpendicular, inserted in Norman openings. The great east

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

NAVE PILLARS FROM THE WEST

Entering by the south porch we note its Norman character. The old
Norman wooden roof has been replaced by a stone vault, and Decorated
windows of the time of the second Edward have been inserted, but
otherwise there has been little change. The west end, with two bays of the

nave, is Abbot Morwent's work (1420-1437). He destroyed two western
towers or turrets, which were built in 1222-1243 in place of two similar
Norman structures. The height of the Norman piers is unusual, leaving a
small space for the triforium and clerestory. The zigzag and double cable
moulding appear on the main arches. Abbot Serlo was the builder of the
original nave. The stone vault was erected by the monks in the thirteenth
century (1242), when the clerestory was altered in the Early English style
by Abbot Foliot (1228-1243). Morwent inserted Perpendicular tracery in
these windows. The remains of coloured decoration were discovered during
the restoration. We have mentioned the numerous fires which wrought
havoc here. Traces of the fire may still be seen in the reddened surface of
the piers. The contrast between the Norman piers and the Perpendicular
piers at the west end is noticeable, also the disappearance of the triforium in
the last bay and the lierne vault. The west window contains some modern
glass inserted in memory of Bishop Monk (1856). There is a curious series
of grotesque heads on the arches of the nave showing the mummeries of
gleemen. The story of the North Aisle is similar to that of the nave. We have
the same Norman work and the Perpendicular western bays of Abbot
Morwent. Perpendicular tracery fills the Norman windows which have
zigzag mouldings, and the vault is Norman. The monks' entrance to the
cloisters is at the west end of the north wall, and is richly ornamented in
Perpendicular style. Another Perpendicular doorway, called the Abbot's
Door, is at the east end of the wall. The history of the mythical King Lucius
is the subject of the west window. There are memorials of Bishop
Warburton (1779), the friend of Pope, a learned divine; Flaxman's
monument of Sarah Morley and Thomas Machen (1614).
The South Aisle retains some of its Norman style, but was remodelled by
Abbot Thokey (1306-1329) in the Decorated style. The ball-flower
ornament is much used on the windows. The vault is Decorated work
erected by Thokey, and the windows have been more effectually
transformed than in the north aisle. There are monuments to John Jones,
M.P. for Gloucester at the time of the Gunpowder Plot, with his deeds and
documents; Sir G.O. Paul (1820), a prison reformer; Dr. Jenner, the
discoverer of vaccination. The Chantry of Abbot Seabrooke (1457), the
builder of the tower, is at the east of this aisle, much mutilated. The chantry
has been restored. The effigy is a good study of ecclesiastical dress of the

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

THE CHOIR, LOOKING EAST

In the North Transept we see the further development of the
Perpendicular style in the recasing by Abbot Horton (1351-1377). Here is
the remarkably interesting Reliquary, of Early Decorated work, said by
some to be a lavatory. The carved foliage is very beautiful and also the

figures, though mutilated. A chapel is at the east side of this transept,
similar to that in the south transept, dedicated to St. Paul. A door opens to
the north choir aisle. At the entrance from the transept there is a curious
desk which was used by a monk appointed to check the pilgrims as they
went to the shrine of Edward. The chapel was repaired in 1870, and the
niches supplied with figures of SS. Peter, Paul and Luke. A good
Perpendicular doorway is on the north side, with carved angels in the
moulding. The Chapel of St. Anthony is on the south of this transept, now
used as a vestry. There is a curious painting here of St. Anthony rescuing a
female from the mouth of hell. The transept has a monument of John Bower
(1615), which bears the words: "Vayne, Vanytie. All is Vayne. Witnesse
Solomon."
The Screen supporting the organ was erected in 1823 and replaced an
earlier one. The story of the screens is a long one which Mr. St. John Hope
has told so well that we need not repeat it. It appears there were two
screens, one called the Pulpitum and the other a stone screen supporting the
rood-loft. But these have disappeared, and we have instead an early
nineteenth-century structure which need not be described. The original
organ was built at the time of the Restoration, and some of the pipes bear
the monogram of the Merry Monarch. The Choir is remarkable for its
extreme beauty. From the lofty traceried roof down to the elaborately-tiled
floor the walls are covered with richly-carved panelled work, broken here
and there with delicate screens of stone. Behind this veiled work of stone
stand the old Norman walls and piers. This casing was done by Abbots
Staunton (1337-1351) and Horton (1351-1377). The lierne vault is one of
the finest in England, with its multitudinous ribs, and ranks with King's
College Chapel, Cambridge, and Westminster. The vaults of the tower and
choir both belong to the same period. The Stalls were erected by the
builders of the choir and have fine canopies. The Misereres are curious and
well carved. Some of them represent hunting scenes, St. George slaying a
giant, etc. Before us is the grand East Window, the finest in Christendom.
Its date is 1345-1350, and is part of Abbot Horton's work. The Coronation
of the Virgin is the subject, and the figures consist of angels, apostles,
saints, kings and abbots. The arms of Edward III., the Black Prince, and the
lords of Berkeley, Arundel, Warwick, Talbot and others appear, who took
part in the campaign against France when Creçy was fought. It is thought

by some that the window is a memorial of that famous victory. The
clerestory windows retain some of their old glass, which is of the same date
as that of the east window, but has been restored. The Reredos is modern,
designed by Sir G. Scott. The Birth, Burial and Ascension of Our Lord are
represented. The floor of the presbytery is paved with some remarkable old
Tiles, which record the names of some of the abbots, the arms of knights,
and other interesting devices. The sedilia are adorned with modern
sculptured figures, and the restoration has been accomplished with much
care and taste. There are five principal historic Monuments in the choir.
Near the altar is the canopied tomb of Osric, the founder of the first Abbey,
said to have been erected by Abbot Parker (1515-1539). Guided by the
description of the tomb told by Leland, Dean Spence opened the cenotaph
and found the grey dust and bones of this ancient benefactor. Near at hand
is the beautiful Tomb of King Edward II., murdered at Berkeley Castle. It
was erected by Edward III. The effigy is of alabaster, and the features are
thought to have been reproduced from a waxen mask taken after death. The
tomb is a forest of pinnacles and rich tabernacle work. It has been much
restored at various times, but the extreme beauty of the work has in no way
been impaired. The white hart, chained and collared, the badge of Richard
II., is painted on the pillars. The Chantry of Abbot Parker, or Malverne
(1515-1539), has a much mutilated effigy of this, the last Abbot of
Gloucester. Vine leaves and grapes adorn the screen, and the base has some
heraldic devices and the emblems of the Passion. On the south side is a
projecting bracket which Leland tells us marks the grave of Abbot Serlo, the
founder of the Norman Church. The bracket is Perpendicular, the effigy
Early English, both much mutilated. The figure has a model of a church in
his hand, and therefore denotes that the abbot was a founder, but the Early
English character of the effigy points to it representing a later abbot than
Serlo, and possibly Abbot Foliot (1243).
The North Choir Aisle, or ambulatory, is original Norman, the windows
being filled with Perpendicular tracery. At the north-east corner is Abbot
Boteler's Chantry (1433-1450). The old tiles are interesting, amongst which
we see some representing the arms of the Boteler or Butler family (three
cups). The decoration of the chapel is all Perpendicular work, screens,
windows and reredos. This last is very fine, and has some well-carved
figures of the Apostles. Here is the effigy of Robert, Duke of Normandy,

eldest son of William I., whose wild youth was atoned for by his prowess in
the Crusades. He, however, had to endure twenty years' imprisonment,
inflicted by his father. The effigy was probably made not long after his
death. The chest on which it rests is fifteenth-century work. The effigy was
hacked to pieces by Cromwell's soldiers, but the fragments were put
together by Sir Humphrey Tracy, and replaced in the Cathedral.

THE LADY CHAPEL

The Ante-Chapel, or vestibule, leading to the Lady Chapel, is the
meeting-place of the old and new work, and is ingeniously contrived. The
Norman apse is pierced by a doorway and two Perpendicular windows. It is
separated from the Lady Chapel by an open-work screen, which is very
beautiful, and has a fine lierne vault. This, and the Lady Chapel, are the
work of Abbots Hanley and Farley, who presided over the Abbey during the
last half of the fifteenth century. The Lady Chapel ranks with Ely as the
largest in England, and certainly it is a triumph of Perpendicular
architecture. It has lofty Perpendicular windows, which seem to produce the
effect of a wall of glass with panelled tracery. The head of each panel is
much ornamented, and panel work, with niches, covers the walls. The lierne
vault is very fine, and the bosses carved with beautiful foliage. At one time
the walls were painted, and traces of colour remain. The east window has
much old glass, which is also visible in the heads of the other windows.
There is a very poor modern reredos, which might be removed without
much regret, as it hides a very interesting, though much mutilated, mass of
rich tabernacle work. The altar rails belong to the time of Laud, who was
dean here, and are said to be the first introduced into churches. Many of the
original tiles remain, and bear inscriptions: Ave Maria grā plē, Dñe Jhū
Miserere. There are two side chapels, with fan-tracery vaulting. In the north
chapel is the monument of Bishop Goldsbrough (1604). There is an upper
chapel, or oratory, and the same arrangement obtains on the south side. This
chapel has a monument of Th. Fitz-williams (1579). The marks on the walls
of these upper oratories show that the love of recording names by visitors in
historic places is not confined to modern times, and dates as far back as the
sixteenth century.
Returning to the entrance, we follow the ambulatory to the south, which
retains its northern features. St. Philip's Chapel is at the south-east corner,
and has been restored in memory of Sir C. Codrington, Bart. (1864). There
are Norman arches, and fourteenth-century tracery inserted in the windows.
The spacious chests for copes are interesting records of the rich
ecclesiastical vestments in use in former times.

The Triforium is unusually fine, and now extends over the north and
south choir aisles, but not over the east end. That part was removed when
the choir was reconstructed, and in order to connect the severed portions of
the triforium together, the Whispering Gallery was constructed. This part of
the church retains its Norman features, and is full of interest. The first
chapel on the south has Decorated windows, with ball-flower ornament.
There is a double piscina. A very ancient painting of a Doom or Last
Judgment, discovered in 1718, is a very remarkable example of early art. It
was probably painted towards the end of the reign of Henry VIII. The view
of the choir is very beautiful, and the way in which the later builders cased
the Norman work with a veil of stone can best be observed from the
triforium. The next chapel (south-east) is Norman, with later windows
inserted. There are some fragments of an old choir-screen stored here.
The Whispering Gallery is built out at the back of the great east window,
and in its construction old Norman stone-work has been re-used. It happens
to possess the curious acoustic property of the famous gallery of St. Paul's,
London. The next chapel is over the ante-chapel of the choir, and has a
stone altar, with the usual five crosses carved on it. The north-east chapel
has a Decorated window, and the north-west a double piscina of the same
period.
We will now descend to the Crypt (entrance in south-east transept),
which is very Early Norman, founded before 1085. The walls and piers are
very strong and massive, the former being 10 feet thick. There is a central
apse, an ambulatory, out of which radiate five chapels. The half columns in
the ambulatory have been strengthened and recased in later Norman times.
The chapels have little of interest except their own intrinsic architectural
merits. There are some good piscinæ, and some memorial slabs.

CARREL IN SOUTH CLOISTER

The Monastic Buildings are some of the finest in England, especially the
cloisters, which are remarkable for their excellent preservation and for the

beauty of the fan-traceried vault. It is thought that this kind of vaulting,
peculiar to this country, originated here. The outer walls are Norman, and
have been recased with Perpendicular panelling. This work was begun by
Abbot Horton (1351-1377), and finished by his successors, Abbot Boyfield
(1377-1381) and Abbot Froucester (1381-1412). The south walk possesses a
very interesting feature in the Carrels or studies of the monks. The glass of
the windows is modern. The passage or slype, of Norman date, at the west
end, was the main entrance to the cloister from the outer court. At the north
end was the door to the refectory. A window has been placed there instead,
but Mr. Hope points out "the iron hooks on which the doors were hung."
Little of the refectory, which was on the north of the garth, remains, except
the south wall, preserved by the cloister, and part of the east end. The action
of the fire of 1540, which destroyed this noble hall, is observed on the
walls. In the north walk are the monks' lavatories, the most perfect in
England; opposite is the Manutergia, or recess for towels. This walk was
reserved for novices, and Mr. Hope shows us the tables for games which
they played scratched on the stone bench, the "Nine Men's Morris" and
"Fox and Geese" being their favourite pastimes. The east walk gives
entrance to the chapter-house. The doorway is Norman, with zigzag
ornament. The chapter-house is Norman, with a Perpendicular east end. At
the west end is a Norman doorway and an unglazed window (the
corresponding one being covered up when the south-east staircase was
added), and three Norman windows. Traces of fire may be seen here. The
seats of the monks under the arcading may be traced. The vault of the
Perpendicular part is finely groined, and there is a large Perpendicular
window at the east end. The names of several illustrious leaders under
William I. appear on the walls.
The Locutorium, or monks' parlour, lies between the chapter-house and
the north transept of the church. This passage is often erroneously called the
"Abbot's Cloister." Here the monks met to converse when talking was
prohibited in the cloister. Above is the vestry and library. The latter is a long
room, of Perpendicular character. The library at Gloucester has had many
migrations and vicissitudes; the books of the old monastic library were
dispersed. A new collection was begun in 1624 by Bishop Goodman. The
books have been stored in the chapter-house, and elsewhere, and have now
found a permanent resting-place. Its principal treasure is Abbot Froucester's

Lives of the Abbots of Gloucester to 1381. This copy was lost at the
beginning of the nineteenth century, and discovered again at Berlin, and
restored to the library. The dormitory has been destroyed. It probably stood
on the north of the chapter-house. The remains of the infirmary and little
cloisters are on the north of the cloister.
The Cathedral close was surrounded by a wall. Some of the gateways
remain. St. Mary's Gate, on the west, is a fine thirteenth-century structure;
the Inner Gate, of fourteenth-century work, leading to Miller's Green, the
site of the old Abbey Mill and outhouses; the south, or King Edward's Gate,
built by Edward I., of which only fragments remain; and the Westgate Street
Gate. The Deanery, as we have said, has many interesting features, and
remains of the work of eleventh, twelfth, thirteenth and fourteenth
centuries. The Bishop's Palace is modern, built on the site of the abbot's
house, erected in the early part of the fourteenth century. Previous to that
period the abbot lived at the present Deanery.
Dimensions
Nave, length 174 ft.
Nave, width 34 ft.
Nave, height 68 ft.
Transepts, length 46 ft.
Transepts, width 34 ft.
Choir, length 140 ft.
Choir, width 33 ft.
Lady Chapel, length 90 ft.
Lady Chapel, width 25 ft.
Tower, height 225 ft.
Total length 407 ft.
Area 30,600 sq. ft.
Principal Building Dates

Norman (1089-1100)—Piers, arches, triforium of the nave, walls and
vault of north aisle and pilasters of south aisle, walls of choir and

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

PLAN OF GLOUCESTER CATHEDRAL

HEREFORD CATHEDRAL

T he story of the See of Hereford takes us back to very early times, to the
days of the British, and shows the connection and identity of the
Church of England of the twentieth century with that which existed even
prior to the landing of Augustine. The see was in existence in the sixth
century, and was subject to the Archbishop of Caerleon. Legends tell us of
Dubricius, who crowned King Arthur at Cirencester. One Bishop of
Hereford represented the old British bishops at the famous conference with
Augustine, when, by his want of tact and haughty demeanour, the Roman
missionary alienated the native British Church. A very tragic event
enhanced the glories of the see. King Offa slew Ethelbert, King of the East
Angles, who was a suitor for his daughter's hand, and buried him at
Hereford. On the night of the funeral, "a column of light, brighter than the
sun, arose towards heaven," according to the monkish chronicler, and
miracles were wrought at the tomb of the martyred monarch. This distressed
Offa, who tried to expiate his crime by erecting a noble monument,
founding the monastery at St. Alban's, and devoting costly gifts to the
church of Hereford. One Mildred, Offa's viceroy, built "an admirable stone
church," dedicated to the martyr Ethelbert. This was rebuilt by Bishop
Ethelstan in 1012. Then followed sad times when the Welsh tribes invaded
the land and destroyed the city and church by fire. When the Normans came
Bishop de Losinga (1079-1095) began to rebuild the ruined church, and the
work was continued by his successor, Raynhelm (1107-1115). During the
troubles of Stephen's reign Hereford suffered much. The Cathedral was
deserted and desecrated, and Bishop Robert de Bethune, a worthy prelate,
was forced to seek safety in flight. Stephen entered the Castle of Hereford
with great pomp, and occupied during service the episcopal chair, which
still remains. On his return he cleansed and repaired the building. Then we
see Gilbert Foliot, Bishop of Hereford, the stern opponent of Becket, who
preached the sermon at Canterbury, when Henry II. did penance for the
murder of the archbishop. Bishop William de Vere (1189-1199) is said to
have built much, removed the apsidal terminations at the east end, and
made other alterations. His work was continued by the erection of the Early

English Lady Chapel. Probably he built the Palace. Bishop Giles de Bruce
(1200-1215) took part with the barons against King John, and was a very
warlike prelate, who allied himself with Prince Llewellyn, and destroyed
the castle of Earl Mortimer, an adherent of the king. He was driven from his
see, but afterwards made peace with John, and died at Gloucester when he
was returning to his see. Writers commonly assign to him the building of
the tower, on the ground that his effigy has a model of the church in its
hand. But this effigy was erected long after his death, and cannot be taken
as any evidence of the truth of the statement. The profusion of ball-flower
ornament certainly points out that the tower belongs to the fourteenth and
not to the thirteenth century.
Peter d'Acquablanca in Savoy (1240-1268) was one of the foreign
favourites of Henry III., who fought in the Crusades. He was a simoniacal
prelate who tried to gain the See of Bordeaux, and was much ridiculed
when, after paying the money, the Archbishop of Bordeaux was found to be
alive. He was expelled from England, but returned, and then went off to
Ireland to collect tithes. Unfortunately King Henry visited Hereford during
his absence, and found that no clergy were there, and the church in ruin and
decay. He therefore wrote a strongly-worded remonstrance to the absent
bishop, who returned in time to be seized by Simon de Montfort and put
into prison, while his hoards of wealth were divided amongst his captors.
He died soon after this. His tomb remains, but his heart is buried in Savoy,
his native land. He is said to have rebuilt the north transept.
Thomas de Cantilupe (1275-1282) was a noted bishop, who attained to
the honour of canonisation, and was, moreover, Chancellor of England. He
was by no means a meek-spirited saint, excommunicated an earl for
capturing his game, and made another lord walk barefoot to the altar of the
Cathedral, after chastising him for interfering with his tenants. On his death
in Italy his flesh was buried at Florence, his heart at Ashridge, Bucks, and
his bones at Hereford. Various miracles were said to have been wrought at
his tomb. His successor Swinfield (1283-1317), built, or began, the eastern
transept, the clerestory of the choir, the central tower above the roof, and
probably the nave aisles. Adam de Orleton (1316-1327) espoused the cause
of the queen against Edward II., and involved Hereford in the troubles of
that disastrous time. He is said to have instigated the murder of the king; at
any rate he captured the fugitive monarch, and Hugh Despenser, the king's

favourite, was brought here and hanged. He obtained from the Pope a grant
of the tithes of two Berkshire parishes, Shinfield and Swallowfield, for the
repair of his Cathedral. The fifteenth century saw several additions to the
fabric, the cloisters in 1418-1448, the great west window by W. Lochard,
the precentor, some chantry chapels which we shall notice later, and the
enlargement of the north porch. At the Reformation an ardent reformer,
Edward Fox, was appointed bishop, and Hereford, like other cathedrals,
was despoiled of its valuables and treasures. Fox's successor, Skip, was a
liturgical scholar, and helped in compiling our liturgies. Another learned
prelate was Francis Godwin (1617-1633), the author of the Lives of English
Bishops (de Præsulibus Anglicæ). At the Civil War period Hereford
suffered the usual misfortunes. Both bishop and people espoused the cause
of the king. The city was taken and retaken without much damage being
done, until Lord Leven with the Scottish army besieged it in 1645, when the
church suffered considerably; and when, by the treachery of the governor,
Colonel Birch, the city was again taken, it was plundered and the Cathedral
ransacked. Brasses were torn up, monuments defaced, old windows broken,
the library pillaged, and when the dean courageously preached to the
riotous soldiers on their sacrilege, they levelled their muskets at him, and
were scarcely restrained from firing.
Injudicious "restorers" have worked their wicked will on the fabric;
amongst these was Bishop Bisse (1713-1721) who spent much money,
erected several monstrosities, which have happily been removed, and
destroyed the half-ruined chapter-house in order to restore the Palace. In
1786 the western tower fell, and carried with it the west front. Then Wyatt,
of evil memory, was let loose on the Cathedral. He made a new west front,
shortened the nave, and took down the Norman work in triforium and
clerestory, substituting his own designing. Plaster was used unsparingly.
The old spire was removed, the roofs lowered, and much other vandalism
perpetrated. From 1837 to 1863 continued restoration took place, and in
spite of the havoc which has been wrought the church retains much of its
ancient and interesting character, and is well worthy of accurate study.

HEREFORD CATHEDRAL FROM THE WYE

The Exterior
A good view is obtained from the close on the south side. On the banks
of the Wye is the Palace and College of Vicars Choral; on the east was the
old castle, one of the strongest on the Welsh marches. The West Front is an

erection of Wyatt's, and need not be noticed. Formerly there was a great
tower here, which fell in 1786 and destroyed the old west front. The Central
Tower is very fine. The abundance of ball-flower ornament proclaims its
Decorated style. The date is about 1300. It has two stages. The pinnacles are
modern. As we have said, a wooden spire which once capped it has been
removed. On the west side there is a noble Porch of Perpendicular style,
built by Bishop Booth in 1530. There is a parvise in the second storey with
Perpendicular windows. This porch joins on to an inner one of the
Decorated period. Octagonal turrets containing staircases stand at the
angles. The iron-work of the doors is excellent modern work. The walls and
windows of the aisles are Late Decorated, about 1360. The clerestory is
Wyatt's construction, who destroyed the original Norman work. The North
Transept is worthy of attention. The buttresses are very massive. It was built
about 1285 for the reception of the shrine of Bishop Cantilupe. The
windows are very lofty, of three lights under triangular-headed arches. The
window on the north is similar, but double. On the east side there is an aisle,
with triforium windows of three lancets, and above the clerestory windows
are triangular.
The Lady Chapel is fine Early English work, and belongs to the first half
of the thirteenth century. We notice especially the tall and graceful lancets
and elegant arcades of interesting arches.
The east end was rebuilt in 1850. On the south is the Audley Chapel. It is
difficult to approach the south side, as walls and gardens prevent easy
access. The Vicar's Cloister, connecting the Cathedral with the College of
the Vicars Choral (incorporated in 1396), is Perpendicular work. The oak
beams are finely carved. The quadrangle of the college is well worthy of
notice. The Bishop's Cloister is on the south of the nave. Two walks remain,
and the west walk is partially restored and contains the library. Their style is
Perpendicular. The chapter-house was pulled down by Bishop Bisse; only
the double doorway remains. We notice the grotesque heads over the
windows, the richly-groined roof, and the Lady's Arbour, a small room in
the tower at the south-east angle, which may possibly have obtained its
name from the Virgin, our Lady. The Chapels of SS. Katherine and Mary
Magdalene, of Norman construction, formerly stood against south wall, and
some remains are evident.

The Interior
We enter the nave by the north porch, and proceeding to the west end we
notice the grand Norman piers and arches. Wyatt's hand was heavily laid
upon this structure, and the triforium, clerestory and vault are all his
handiwork. Moreover, he took away one bay entirely. The view eastward is
very impressive. The arches are adorned with the billet and other Norman
mouldings, and are remarkable for their richness. The Font is curious and of
Late Norman design. It has figures of the Apostles, and at the base
projecting lions. The aisles are Late Decorated, except the lower part of the
walls, which is original Norman. The chief monuments in the nave and aisle
are, on the south:—Sir Richard Pembridge (1375), who fought at Poictiers.
The effigy is a good study of the armour of the period. The right leg is a
restoration. Two unknown figures of ecclesiastics. On the north—Bishop
Booth (1535), the builder of the porch; a fine tomb, protected by original
iron-work.
The Screen is a magnificent work, designed by Sir G. Scott. The lectern
is modern.
The Central Tower has passed through many vicissitudes. The original
Norman piers being unable to support the heavy Early English shaft, they
were cased with new stone-work, and the Norman arches were blocked up.
In Dean Mereweather's time extensive restoration was found necessary. All
the parts above the arches is fourteenth-century work. The vaulting has been
removed, and the tower is now open to the belfry floor.
The North Transept is particularly fine and remarkable, and is Late Early
English or Early Decorated (1282-1287). It was built for the shrine of
Bishop Cantilupe. The arches are sharply-pointed and unusual. On the west
are two windows of two narrow lights under sharply-pointed arches, the
tracery of the heads being in the form of three circles enclosing trefoils. On
the north is a double window of the same character. On the east is an aisle
with clerestory and triforium. Dog-tooth ornament appears in the
mouldings. The arches of the triforium are very beautiful, and the diaper of
leaf-ornament in the spandrels is effective. The windows above are
octofoils.

This aisle contains the remains of the
Cantilupe shrine, which was a source of
much revenue to the church, derived from
the pilgrims who flocked hither. The date
of the tomb is 1287, and the details are
worthy of study. It is made of Purbeck
marble. The lower part has fifteen figures
of Knights Templar, of which order the
bishop was Provincial Grand Master. The
details of the armour are very exact.
Curious monsters appear at the feet of the
knights. The foliage is excellent Early
Decorated, retaining some of Early
English features. Other monuments are
Bishop Westfayling (1602), John Philips, The Cantilupe Shrine
author of The Splendid Shilling (1708),
Bishop Charlton (1329), Bishop Field (1639), Dean D'Acquablanca (1320),
and brasses to Dean Frowcester (1529) and Richard Delamare and his wife
(1435). Near at hand is the beautiful monument of Bishop D'Acquablanca
(1240-1268), the finest in the Cathedral. (Concerning the unenviable repute
of this bishop, see the history of the see). The tomb was originally
elaborately coloured.
The South Transept has much Norman work. The east wall is entirely
Norman, and has five ranges of arcades. Perpendicular windows have been
inserted in south and west walls, and the lierne vaulting belongs to the same
period. Bishop Trevenant (1389-1404) is said to have been responsible for
this later work.
The monuments in this transept are:—Sir Alexander Denton and his wife
(1566), an altar tomb with alabaster effigies. The latter died with her infant,
who is represented as a "chrysome" child, i.e., one who dies within a month
of its baptism, and wears its white baptismal robe. Bishop Trevenant, who
was responsible for the Perpendicular alterations, is buried here; his effigy
has been much mutilated. Masons' marks are observable, and the Norman
fireplace is said to be unique.

The Choir is full of interest. The main arches and triforium are Norman,
the clerestory and vaulting Early English (circa 1250). The carving of the
capitals exhibits foliage and grotesque heads, and the lozenge ornament
appears round the arches. The headings of the pilasters between the piers
are Early English. The clerestory windows consist of one lofty pointed
window and a small trefoiled one on each side. The reredos was designed
by Cottingham, the architect at the restoration in 1850, and represents the
Passion of Christ. A curious effect is produced by the central pillar and
arches in the retro-choir appearing through the arch at the east of the choir,
and presenting a broad spandrel, on which are carved some modern figures
of our Lord and St. Ethelbert. The stalls are good Decorated work with rich
canopies and some curious misereres, with carvings representing a pair of
wrestlers with ropes round their necks, an irate cook throwing a dish at a
troublesome guest, etc. Some are modern. The Throne is also Decorated,
and there is the remarkable old chair already mentioned, on which Stephen
is said to have sat on the occasion of his visit here. The Organ has some
parts of the instrument presented by Charles II. The monuments in the choir
are those of—
Bishop Trilleck (1360), an excellent brass; Bishop Stanbery (1474),
whose chantry we shall see in the west choir aisle; Bishop Giles de Bruce
(1215), with model of church in his hand; Bishop Bennett (1617). We notice
the small figure of St. Ethelbert on a bracket on east pier on south side, of
fourteenth century.
In the North Choir Aisle the wall has Decorated arched recesses, which
contain the effigies of Bishop Godfred de Clive (1120) (executed in
Perpendicular period); Bishop Hugh de Mapenore (1219); Bishop Richard
de Capella (1127). Bishop Stanbery's Chantry (1453-1474) is entered from
this aisle, and is Late Perpendicular. It is very richly ornamented with
tracery and panelling and shields and has a groined roof. It is a good
example of the over-elaborateness of Late Perpendicular work.
The North-East Transept is Early Decorated, the original apsidal
termination being altered in the latter part of the thirteenth century. Traces
of Norman work are still evident. There is a central octagonal pier which
supports the vaulting. There are monuments here of Dean Dawes (1867);
Bishop Godwin? (1633) (the tomb is certainly earlier and cannot be his);

and the altar tomb of Bishop Swinfield (1316), though the effigy upon it is
not his. The ball-flower moulding is plentifully used. Proceeding onwards
we come to the Retro-Choir or ambulatory, which is Transitional Norman.
The chevron and diamond moulding on the ribs of the vaulting point to its
Late Norman date. There was evidently an ambulatory and Lady Chapel in
Norman times, and the windows on each side of the vestibule show that
formerly these walls were outside walls, and the windows were glazed.
Here is a monument of Dean Beaurieu (1462), which is of some interest on
account of the accurate carving of the dress, and the rebus boar and rue
leaves; and there are some late brasses.
The Lady Chapel is remarkably fine, being very rich Early English. Its
story is difficult to read, as the architect Cottingham redressed the old
stone-work and made complications in 1840-1850. He rebuilt the east
gable. Five narrow lancets form the east window, and above are five
quatrefoil openings. The glass was erected to the memory of Dean
Mereweather, to whom the Cathedral owes so much. The subject is the life
of the Virgin. The aumbrey and piscina are reproductions. On the north
there is an interesting but somewhat conglomerate tomb. The effigy is
supposed to be Humphrey de Bohun, Earl of Hereford, in the reign of
Edward III., but the canopy is Perpendicular, and the figures in the arches
were discovered elsewhere and placed here, except the two mutilated
central ones, our Lord and the Virgin. The others are SS. John Baptist,
Cantilupe and Thomas of Canterbury. The Countess of Hereford, Johanna
de Bohun (1327), lies here, a great benefactress, whose effigy and tomb are
worthy of study. On the south is the Audley Chantry, erected by Bishop
Audley (1492-1502), who constructed another chantry at Salisbury, whither
he was translated, and where he was buried. It has two storeys, and a
curious and interesting screen separates it from the Lady Chapel. There are
traces of considerable colour decoration. The chapel has five sides, with
two windows in the lower and five in the upper storey. The central boss of
the vaulting in the upper chamber or oratory has a figure of the Virgin
crowned. The window west of this chapel has some good fourteenth-
century glass. Beneath the choir is the crypt, of Early English date, and is
the only example of a crypt constructed later than the end of the eleventh
century. It is called "Golgotha," on account of its being used as a charnel-
house.

The South-East Transept is similar to its opposite. It has monuments of
Bishop Charlton (1369); Bishop Coke (1646); Bishop Ironside, who died in
London, 1701, and was buried in a city church, which was destroyed in
1863, and the body brought here. This was the bishop who, as Vice-
Chancellor of Oxford, resisted the action of James II. in regard to the
expulsion of the Fellows of Magdalen College.
In the South Choir Aisle are four Perpendicular tombs under Decorated
arched recesses, supposed to represent Bishop William de Vere (1199);
Bishop Hugh Foliot (d. 1234); Bishop Robert de Betun (1148); and Bishop
Robert de Melun (1167). There is a brass of Dean Frowsetown (1529), an
effigy of Bishop Mayew (1516), who conducted Catherine of Arragon to
England from Spain; and an effigy of Bishop de Losinga (1096), erected in
Perpendicular period. The vestries are of Norman construction; the vaulting
is the only example of Norman vaulting in the Cathedral. Here in this south
choir aisle is preserved the famous Map of the World, as known in 1300. It
was designed by Richard de Haldingham, Prebendary of Hereford. This was
generally supposed to be the most ancient of its size in the world; but
another map has been discovered at Ebstorp, near Hanover, which is larger,
more highly coloured, and about the same age. The library of Corpus
Christi College, Cambridge, has an earlier map of Henry of Mainz, and
there is a small Psalter map in the British Museum. The world is shown to
be round; at the top is Paradise, with its rivers and trees, Eve's
transgression, etc. Above is the last Judgment with the Virgin interceding
for mankind. Jerusalem is in the centre. Rome proclaims itself the head of
the world, and Troy the most warlike city. The British Isles have much
space, and most of the cathedrals are mentioned. Monstrous animals, birds
and fish abound. The monkey appears to live in Norway, the scorpion on
the Rhine. There is very much that is strange and curious to be seen in this
wonderful map.
The Library has a splendid collection of chained books. The building is
modern, having been opened in 1897, and built on the site of the old west
cloister. There is an ancient copy of the Gospels at least 1000 years old,
written in Anglo-Saxon characters, a beautiful twelfth-century MS., a copy
of the "Hereford Use" of thirteenth century, Wycliffe's Bible (1420),
"Bangor Use" (1400), with a curious charm for toothache inserted in the
book, Decreta Gratiani, of twelfth century. There are many Incunabula,

Nicholas de Lyra's Bible and Commentary (1485), Polychronycon, by R.
Higden, with additions by Caxton (1495); Caxton's Golden Legend, a very
fine copy.
Here is an ancient Reliquary, with representation of the martyrdom of St.
Thomas of Canterbury, a pre-Reformation chalice and paten, taken from the
coffin of Bishop Swinfield (1316), and some episcopal rings. This
collection of chained books is the finest in England.
Dimensions
Total length (exterior) 342 ft.
Length of nave to screen 158 ft.
Breadth of nave 31 ft.
Breadth of nave and aisles 73 ft.
Height of nave 64 ft.
Height of lantern 96 ft.
Height of tower with pinnacles 165 ft.
Length of choir to reredos 75 ft.
Length of Lady Chapel and retro-choir 93 ft.
Width of central transepts 146 ft.
Width of eastern transepts 110 ft.
Principal Building Dates

Norman (1079-1115)—Main arcade of nave, arcade and triforium of
choir, font, east wall of south transept, vestry. (1189-1199)—
Retro-choir.
Early English (1200-1250)—Lady Chapel, crypt.
(1282-1287)—North transept.
Decorated (1300-1360)—Walls and windows of aisles, choir transepts,
upper part of tower, stalls and throne.
Perpendicular (1400-1530)—Cloisters, windows in south transept,
north porch, Audley and Stanbery Chantries.
Modern—West front, triforium and clerestory of nave, east front,
library.

WORCESTER CATHEDRAL

W orcester has many points of interest outside its Cathedral. All round
the city is historic ground. It was the battlefield of Briton, Roman,
Saxon, Dane and Norman. It heard the sounds of fighting in the wars of the
barons and in the wars of the Roses, and in the great Civil War Worcester
repeatedly suffered, and within its boundaries the great battle of Worcester
was fought, the last effort of a dying cause. The half-timbered houses of the
Elizabethan and early Stuart times, the interesting churches, and streets that
by their names record many a curious custom and phase of old English life,
all remind us of ancient times and the manners of our forefathers.
We will walk round the town and note its chief points of interest. We
notice the old houses in New Street, the remains of the old city wall, "the
Cross," the old centre of civic life, the Guild Hall, designed by a pupil of
Wren in 1721; St. Helen's Church, from the tower of which still nightly
sounds the curfew. Along Sidbury the tide of battle rolled in 1651, when
Charles II. was making his last gallant struggle against the army of the
Protector. The old Edgar Gate is near at hand, which leads to the castle and
Monastery of St. Mary.
The Commandery in Sidbury was a hospital founded by St. Wulfstan,
Bishop of Worcester about 1085, for a Master, Priests and Brethren under
the rule of St. Augustine. The house is a wonderful example of mediæval
architecture, and is kept in its ancient state by the present occupier, Mr.
Littlebury, who allows it to be inspected. Here in 1300 Hugh le de Spencer
held a court. The great hall is of Tudor architecture. King Charles I. stayed a
night here, and the Duke of Hamilton died here, after wounds received in
the fatal battle. "Fort Royal," fortified by Charles I., is seen from the
garden, and cannon were placed here at the battle of Worcester; but
Cromwell captured the stronghold. Charles II. withdrew with difficulty, and
the house in the old Corn Market is shewn where he took refuge, and
effected his escape at the back door as Colonel Cobbett, his pursuer, entered
at the front. Over the entrance is the inscription: "Love God. Honour the
Kinge."

History of the Cathedral
The See of Worcester was first formed in 680, when the unwieldy
Diocese of Mercia was divided, and Bosel was its first bishop. The
successive Kings of Mercia poured wealth into the episcopal treasury, and
endowed the see with many a rich manor. St. Dunstan was bishop here
(957-961), and then came Oswald, subsequently Archbishop of York, the
reformer of monasteries, who is said to have replaced the secular priests by
a community of monks, and built the Church and Monastery of St. Mary on
the site of the present Cathedral. This sacred fane was destroyed by the
Danes, under Hardicanute, in 1041. Bishop Wulfstan, the second prelate of
that name who held the see, was appointed in 1062, a holy, simple and
earnest prelate, who, though a Saxon, held his see in spite of Norman
opposition and prejudice. He laid the foundations of the existing Cathedral,
and some of his work remains in the crypt and monastic buildings. When he
saw the workmen pulling down the ruins of the old Church of St. Oswald he
wept, saying, "We destroy the works of our forefathers only to get praise....
We neglect the care of souls and labour only to heap up stones." He was
canonised, and many miracles were reported to have taken place at his
tomb, to which there was great resort. In 1113 fire destroyed part of the
Cathedral, as well as the city and castle. In the troublous times of Stephen,
Florence, a monk of Worcester, tells us that when a raid was made on the
city the people took their chests and sacks of goods and deposited them in
the great church, while all the church goods, the curtains and palls, albs and
copes were hidden away in recesses in the walls. The west bays of the nave
were built about 1160. In 1175 the "new tower" fell, a misfortune common
to so many cathedrals; in 1189 another great fire raged, and the troubles of
John's evil reign were felt heavily here, when the city was taken by the
king's forces, the church pillaged and the monks compelled to pay a heavy
fine, to defray which they even melted down the shrine of the saint. Soon
John was buried here, and could do no further mischief.
In 1218 the church was dedicated, when Henry III. and a goodly number
of bishops and nobles were present.
In a storm is 1221 the two "lesser towers" fell. Happily the offerings at
the shrine of St. Wulfstan, which was soon repaired, were very numerous,
and in 1224 the present choir and Lady Chapel were begun by Bishop

William de Blois in the Early English style, and doubtless continued by
Bishop Walter Cantilupe, uncle of the sainted Bishop of Hereford. He was a
sturdy Englishman who upheld the rights of the English Church against the
Pope, and was excommunicated by the Roman Pontiff. The work of
rebuilding the church gradually progressed. The nave was built in the
Decorated style on the north side (1317-1327), and Bishop Thomas
Cobham, styled "the good clerk," made the vault of the north aisle; so
Leland informs us. The south side of the nave is a little later, about 1360,
when traces of Perpendicular work are evident, blended with the Decorated.
In this century also was built the Guesten Hall, now, alas! destroyed, the
roof of which is now seen in Holy Trinity Church.
Henry de Wakefield was a vigorous builder (1376-1394). During his time
the refectory and cloister, the tower, the stone vault over the choir, under the
belfry, over the nave, library, treasury and dormitory, the water-gate,
infirmary, the stalls in the choir, the west window and the north porch were
erected.
At the Reformation Worcester had a very zealous reforming bishop in the
person of Hugh Latimer, who was subsequently burnt at Oxford. Under his
rule the costly shrines of St. Oswald and St. Wulfstan were destroyed, and
the relics buried near the high altar. During the Civil War Worcester fared
badly, and terrible scenes took place in the sacred building. In 1642
Cromwell's soldiers under the Earl of Essex entered the town and did after
their kind. They pulled down altars, destroyed vestments and furniture, and
carried off stores of treasure concealed in the crypt and deposited there for
safety. The bishop at this time, John Prideaux, was a vigorous Royalist, who
excommunicated freely all who fought against the king. In return the
soldiers pillaged his palace, and the poor bishop was reduced to selling his
books in order to gain a livelihood. But this was not all the evil that befell
the "faithful city." It was besieged four years later from March 26 to July
23, but when the Roundheads gained the day and entered the city they
behaved in most becoming manner, and did less damage than the soldiers of
the Royalist garrison. But even this was not all. In 1651 was fought the
battle of Worcester. We can see Charles II. watching the issues of the fight
from the top of the tower, and then the divers fortunes of the fight (to which
allusion has already been made), the final victory of Cromwell, the capture
of 6000 prisoners, who were confined in this sacred building. Then

followed one of the most terrible scenes in the war, when the soldiers of
Cromwell were let loose on the helpless citizens, and ravaged and
plundered without mercy in the streets and lanes and houses of this unhappy
city.

WORCESTER CATHEDRAL FROM THE SEVERN

At the Restoration of the Monarchy it does not seem that any extensive
repairs were immediately undertaken. In the eighteenth century some
unfortunate "restoration" was carried out which disfigured the building, and
did not materially contribute to its strength. As most of these disfigurements
have been removed, we need not record them. A great restoration was
begun in 1857 by Mr. Perkins, the architect, and continued by Sir Gilbert
Scott, and the church was re-opened in 1874. Opinions differ with regard to
the severity of this restoration. Certainly it has destroyed all appearance of
antiquity in the exterior of the choir and Lady Chapel, but Professor Willis
thinks that we have now a reproduction of its original aspect, as far as that
can be determined. However, the attempt to reproduce the original should
not be the entire aim of restoration. We want to have the whole story of the
building before us, and not its opening chapters interpreted for us, and often
mangled and distorted by the modern restorer.
The Exterior
We approach the Cathedral from the west and obtain a good view. At the
foot of the west end the river flows. The West Front need not detain us; it is
plain and unpretentious. There is a large modern window in Decorated
style, and above three lancets, and a cross crowns the gable. The doorway is
Norman much restored, and has figures of our Lord in glory, angels and the
Virgin and Holy Child. The North Porch was built by Bishop Wakefield
(1375-1394), and belongs to the period when the Decorated style was
merging into the Perpendicular. There is a parvise over it with
Perpendicular battlements, and figures of our Lord and the twelve Apostles
in niches. Above is a row of small figures. Between the porch and the west
front was formerly the charnel-house, built by Bishop William de Blois in
the thirteenth century and demolished in the seventeenth. The crypt still
exists. The two west bays are Transition Norman. The rest is Decorated
work. A small Decorated chapel, called Jesus Chapel, juts out from the aisle
on this side. The lower part of the walls of the north transept is Norman
work, but the transept was much repaired in the fourteenth century and the
windows are Perpendicular, and that in the north wall is a modern antique.
Strong flying buttresses support the main walls on the east of this transept.
There is a choir transept. The east end is plain. The east window is of Early
English design but modern workmanship. The south side is very similar to
the north, but enclosures and buildings prevent us from a close inspection.

The cloisters are as usual in Benedictine monasteries on the south side, and
these we shall enter from the church. The Tower dates from 1374, but the
details are modern, as the tower was very much restored. It is of good
proportion, has two storeys with crocketed pinnacles, a parapet adorned
with lesser spires, and the whole effect is not unpleasing.
The Interior
We enter by the north porch. The Nave covers the same ground as the
original Norman Cathedral, and some remains of the old building are left.
At the west end the door entering into the north aisle, at the north-east angle
of the north aisle, and the great Norman shafts running up the centre of the
second piers from the west, are pure Norman. The two Western Bays are
Transition Norman, and are an interesting study. We see here almost the
earliest advance of Gothic art and the earliest traces of the Early English
feeling which manifested itself for the first time in its developed form in the
choir of Lincoln. It will be observed that the arches are pointed, but the
capitals are Late Norman. The triforium is peculiar, and has a series of
pointed arches over three round-headed openings, the centre one being
much higher than the rest, and the ornaments are the zigzag, lozenge and
curious knots of carved leafage. The clerestory consists of groups of three
windows under round arches, the tracery at the back being Perpendicular
insertions. The date of this portion is about 1160. The vault was fashioned
by Bishop Wakefield (1375-1394). There are seven remaining bays. Those
on the south are later than those on the north, and the earlier work is the
richer and more beautiful. On the north the five eastern bays and the pier
arches of the other two are Decorated (1317-1327), while the rest of these
two bays and all the south side are Early Perpendicular. The great west
window is modern, erected in 1865 in Early Decorated style. Sculptured
figures of characters from the Old Testament appear in the tympana of the
triforium.
The South Aisle has two west bays of Transition Norman work like the
nave, quadripartite vaulting, Late Decorated windows, high in the wall on
account of the cloister on the other side, and two doorways called the
monks' and the prior's. The wall is original Norman. Here is a large modern
font. The North Aisle has also the two west bays of Transition Norman. The
vaulting is Decorated, the work of Bishop Cobham (1317-1321), and the

rest of the aisle belongs to the same period. The Jesus Chapel opens from
this aisle, separated by a modern screen in Perpendicular style. This chapel
has been recently restored by the Hon. Percy Alsop, and the scheme of
decoration is very elaborate and beautiful. The Pulpit is a very handsome
and elaborate structure made of marble and alabaster, with some excellent
carving.
The principal monuments in the nave and aisles are:—Sir John
Beauchamp (1388), much defaced, in alabaster, and his lady, whose head
rests on a swan, the Beauchamp crest; Robert Wylde (1608) and his lady—
the sides of the tomb are adorned with sunflowers rising from vases; Dean
Eedes (1608); Bishop Thornborough (1641). In the south aisle—an
ecclesiastic (late fourteenth century); Bishop Parry (1616); altar tomb
unknown; Thomas Littleton, judge (1481), learned law writer; Bishop Freke
(1591); Sir Henry Ellis, who fell at Waterloo; Richard Solly (1804); Bishop
Gauden (1662), the supposed writer of Eikon Basilike, a work usually
attributed to Charles I. In the north aisle—Earl of Strafford and soldiers of
the Worcestershire regiment who fell in India; Bishop Goldsborough of
Gloucester (1613); the Moore family (1613); and curious effigy of Bishop
Bullingham (1576).
Very little ancient glass is left; the windows of the south aisle have a few
fragments, but all the rest is modern.
The North Transept is Norman as high as the clerestory and is without
aisles. A Norman staircase turret is in the north-west corner. The different
coloured stones used in the building is remarkable and gives a pleasing
effect. Perpendicular work is evident. In the east wall is a Norman arch
recently discovered. Traces of colour are evident above the arch leading to
the north aisle of the choir. The north window is a modern insertion. The
monuments here are Bishop Fleetwood (1683), Bishop Hough (1743), the
Magdalen President who withstood James II., Bishop Stillingfleet and
others.
The South Transept is somewhat similar to the north. There are some fine
Norman window arches now blocked up, and a beautiful Norman arch
opening to the Chapel of St. John. The builders of the fifteenth century
cased the Norman walls with a screen of Perpendicular tracery somewhat

similar to the work at Gloucester. The great organ is placed here. Here is a
monument of Bishop Philpott (1892).
We now enter the Choir and eastern portion of the Cathedral. The screen
is of oak and open metal work designed by Sir Gilbert Scott. A figure of the
Saviour is over the centre and a figure of the Virgin looks eastward. This
part of the building is certainly the most interesting. It is of Early English
design and was begun in 1224, that is four years after Salisbury, and some
twenty-four years after Lincoln. Worcester was one of the earliest churches
in England in which English Gothic was developed, and therefore has a
peculiar interest for us. We notice that the span of the arches is wider than
in the nave, and that in consequence the arches rise to a higher level. The
triforium is, however, less in height than that of the nave. The piers are
composed of clustered shafts of Purbeck marble, and these have curious
brass rings which were placed there by Bishop Gifford. The dog-tooth
ornament is much used. The whole choir was restored by Mr. Perkins and
Sir G. Scott. The Stalls, which contain some finely-carved Misereres, have
seen many vicissitudes. Puritan soldiers destroyed the ancient canopies. The
carvings were placed on a hideous screen, at the beginning of the last
century, which separated the nave from the choir. The subjects are curious
—an old man stirring a pot over a fire, knights tilting, huntsmen, hawking
scene, and many others. The Stone Pulpit was brought here from the nave;
the upper part is Late Perpendicular. The sculpture represents Evangelistic
emblems—Heavenly Jerusalem with Tree of Life, Tables of the Law, etc.
The Throne is modern and is elaborately carved with figures, foliage,
animals, birds and Scriptural subjects. It was presented by Bishop Philpott.
The modern Reredos is of alabaster enriched with gold, mosaic, lapis-lazuli
and malachite. Over the altar are statues of our Lord and the Evangelists,
and there are figures of Apostles, prophets, David and Solomon and angels.
The organ is divided into three separate parts connected by electricity.
There are two Royal tombs; in the centre of the choir is that of King
John, who died at Newark in 1216, whence his body was conveyed here for
burial. The effigy is the earliest of an English king in this country. The
Royal garments are the tunic reaching to the ankles, and over this the
dalmatic with wide sleeves and a girdle buckled in front. On the feet are
sandals with spurs; on the hands are jewelled gloves, and there is part of a
sceptre. The head has a crown, and the face has moustache and beard. The

figures on each side are SS. Oswald and Wulstan. Recently the figure has
unfortunately been covered with gilt. The tomb on which the effigy rests is
sixteenth-century work. The other Royal tomb is that of Prince Arthur,
eldest son of Henry VII., who died at Ludlow Castle in 1502. His death was
fraught with great consequence to English history. The tomb is a very fine
example of Late Perpendicular work, in which the Tudor emblems, the rose
and portcullis, are evident. The exterior consists of open tracery, niches and
panelled work, crowned with a battlement and pinnacles. Within there is a
flat groined roof, a rich mass of tabernacle work at the east end with figures
in niches, in the centre a plain altar tomb, and at the west end a small figure
of the mourning father, Henry VII.
The South Choir Aisle is Early English similar to the choir, as is the rest
of this portion of the Cathedral, and therefore this need not be again
mentioned. The Chapel of St. John, restored by Earl Beauchamp, is very
fine. The glass is all modern. Passing into the eastern transept we notice a
piscina and aumbries and some remarkable sculptures in the spandrels of
the arcade which are reproductions of ancient work. They are supposed to
represent the present and future life. The subjects are: Knights fighting with
lions and centaurs (the world and its temptations); St. Michael weighing
souls, and the devil pulling down the scale; demons torturing souls over
flames (purgatory); hell's mouth; a burial (of Adam?); expulsion from
Paradise; an angel leading soul to heaven; the Resurrection; angels
sounding a trumpet and bearing the Cross and Christ enthroned. Other
subjects are monks building, Annunciation, Nativity, Crucifixion, etc. In
this transept is the effigy of a knight in full armour of the fourteenth century
of ringed mail. The shield has Harcourt arms, and below is the inscription—
Ici gist sur Guilliamme de Harcourt. Guide books usually point him out as a
Crusader because he has his legs crossed. As we have already stated, there
is no special signification in crossed-legged effigies. There is a tomb of Sir
Gryffyth Ryce (1523), "a noble knight," and his wife, daughter of Sir John
St. John, and near Prince Arthur's Chantry the tomb of Bishop Gifford
(1302), and Maude de Clifford, wife of Earl of Salisbury, beautifully
executed. It is a wonderful study of the dress of the period (1301). Here is a
fine statue of Mrs. Digby by Chantrey; this lady was maid of honour to
Queen Charlotte (1820).

The Lady Chapel, which has two aisles, is earlier than the west end of the
choir. The wall arcade is very rich and beautiful. We notice the brass rings
supposed to have been placed round the columns by Bishop Gifford. The
east wall is entirely new, and the tracery of the windows is a modern
restoration of ancient work. There are some curious grotesque carvings. The
North Choir Aisle has some beautiful capitals and bosses; a small oval
window of Perpendicular date looks on to this aisle, and was formerly the
window of the sacrist's chamber, through which he could watch the great
shrines. There is a curious carving under one of the windows.
The principal Monuments in the Lady Chapel are:—

A mural slab to the memory of Anne, wife of Isaac Walton, the
prince of anglers, who probably wrote the inscription:
"Ex-terris.—M.S. Here lyeth buried so much as could die of
Anne, the wife of Isaac Walton, who was a woman of remarkable
prudence, and of Primitive Piety. Her great and generale
knowledge being adorned with such true humility, and blest with
so much Christian meeknesse as made her worthy of a more
memorable monument. She died (alas that she is dead!) the 17th
of April 1662, aged 52. Study to be like her."
Bishop John Jenkinson (1840) of St. David's.
Prebendary Davison (1834), who wrote his famous work on
Prophecy.
An unknown lady of the fourteenth century, one of the most
beautiful mediæval relics in the Cathedral.
William, first Earl of Dudley (1885).
George William, fourth Baron Lyttelton (1886).
Bishop William de Blois (1236).
Bishop Walter de Cantelupe (1265).
Mutilated effigy of Bishop Brian (1361) or Lynn (1373).

Bishop Cobham (1327).
Bishop Walter de Bransford (1349).
An unknown lady of the thirteenth century.
An unknown knight, temp. Henry III.
Last Abbot of Evesham.

The Crypt is a very interesting part of the Cathedral, the work of St.
Wulstan, begun in 1084. We notice the fine Norman piers with cushion
capitals and square abaci. It is apsidal with aisles, and is remarkable for the
numerous pillars. Here in this crypt Wulstan assembled a synod in 1092,
when were assembled all the wisest men from the counties of Worcester,
Gloucester and Warwick. Here used to be preserved the old fourteenth-
century doors of the Cathedral, which were said to be covered with human
skin, which tradition says was flayed from the body of a man who stole the
sanctus bell.
The Cloisters are Perpendicular in decoration, though the outer walls are
Norman. We pass through the Prior's Door, and notice how perfect the
monastic arrangements remain. The vaulting is good lierne, and the bosses
are beautifully carved with foliage and other devices. We see the ancient
slype or arched passage of Norman character and the Chapter-House, with
its beautiful central pillar and vaulted roof. It is one of the few Norman ones
left, though much altered in the early fifteenth century. Its vault is
Perpendicular. A Norman arcade runs round the wall, and the central pillar
is Transition Norman. The windows and doorway are Perpendicular and the
exterior was coated with masonry of that period. Here are preserved some
fragments of ancient vestments, a paten of Bishop Blois', some good
bindings and other treasures. On the south is the Refectory with Norman
crypt. The room is Decorated, temp. Edward III., and is now part of the
school called the King's School, founded by Henry VIII. A sculptured
reredos of great beauty, with traces of coloured decoration, has recently
been discovered here. In the west is an interesting lavatory and entrance to
the dormitory, both Perpendicular. The dormitory has disappeared, but its
foundations have been traced. We return to the Cathedral by the Monks'
Door, or go by a vaulted Norman passage to the west front.

In the north-west cloister is a stone inscribed Miserrimus, which is said
to mark the grave of a non-juror, the Rev. Thomas Morris, or Maurice.
Wordsworth wrote the following lines on this subject:—

"'Miserrimus!' and neither name nor date,
Prayer, text, or symbol, graven upon the stone;
Nought but that word assigned to the unknown,
That solitary word—to separate
From all, and cast a cloud around the fate
Of him who lies beneath. Most wretched one!

Who chose his epitaph? Himself alone
Could thus have dared the grave to agitate,
And claim, among the dead, this awful crown;
Nor doubt that he marked also for his own
Close to these cloistral steps a burial-place,
That every foot might fall with heavier tread,
Tramping upon his vileness. Stranger, pass
Softly! To save the contrite, Jesus bled."
Dimensions
Length (exterior) 425 ft.
Length (interior) 387 ft.
Nave, length 170 ft.
Nave, height 68 ft.
Nave, width 78 ft.
Choir, length 180 ft.
Tower, height 196 ft.
Area 33,200 sq. ft.
Principal Building Dates

Norman (1084-1160)—Crypt, chapter-house, and parts of other
monastic buildings, west bays of nave with aisles, parts of north
and south transepts.
Early English (1224)—Choir with aisles and Lady Chapel.

Decorated (1317-1327)—North side of nave, vault of north aisle.
(1360)—South side of nave.
(1376-1394)—Refectory, cloisters recased, tower, nave and choir
vault, library, treasury, stalls and north porch.
Perpendicular—Windows in north transept, Prince Arthur's tomb.
Modern—West window in nave, north window in north transept, east
window in nave, reredos, etc.

PLAN OF WORCESTER CATHEDRAL

LICHFIELD CATHEDRAL

L ichfield has been the victim of Puritan rage and of the over-zeal of
modern restorers, but in spite of this it retains much of its ancient
beauty and its picturesqueness is evident to all. It is one of the smallest of
our cathedrals, but when one sees the three graceful spires of Lichfield,
known as the "Ladies of the Vale," the glories of its west front and the
richness of the carving, one cannot but retain a warm place in one's heart for
this wonderful building which has passed through such strange vicissitudes
of fortune. It has been be-pinnacled by our modern Gothic confectioners,
who have produced much unnatural "naturalism" in their sculpture; but if
we can forget that much that we see is new, we shall perhaps form some
conception of what the Cathedral was like ere innovators and destroyers
laid their hands upon it.
The history of the Cathedral is full of interest, and carries us back to the
early days of Christianity in England. The heathen King of Mercia, Penda,
long withstood the teachers of the Gospel, but when his son, Peada, was
about to marry the daughter of the Christian King Oswi of Northumbria, the
latter made it a condition that Peada should be baptised. Forthwith four
priests were introduced into Mercia, Diuma became the first bishop (656),
and on the death of Bishop Jaruman, the fourth bishop, the famous St. Chad
was appointed to the vacant see, who fixed his seat at Lichfield. He was a
very holy and humble man, and became the patron saint of the church.
Beautiful tales are told of him. Near the Church of St. Mary he built a
dwelling for himself and seven brethren. He was deeply affected by the
convulsions of nature, and when the wind blew strongly and the thunder
rolled he would always retire into the church and pray to God to spare His
people; and when a pestilence broke out and his end was near, angel voices
were heard which called him to his heavenly reward. The little Church of
St. Chad was near the well that bears his name. Another Saxon church was
built by Bishop Hedda (691-721) near the present Cathedral, but this has
passed away. The diocese was sub-divided at the close of the seventh
century, and Hereford, Worcester, Lincoln and Leicester were all separated
from the Lichfield See. In the time of Offa, King of Mercia, Lichfield

became an archbishopric, when Higbert was bishop, but this distinction did
not last long. At the Conquest William made his chaplain, Peter, Bishop of
Lichfield, who removed his seat to Chester. Then Coventry was made the
city of the diocese by Bishop Robert de Lymesey (1087-1117). History is
silent concerning the church at Lichfield, nor does it tell us with any degree
of certainty who built the Norman church which certainly existed here, as
its remains were discovered by Professor Willis. It had an apse, of which
the foundations lie below the present choir, and also a long, square-ended
chapel of twelfth century, destroyed when the Early English choir was built
in the thirteenth. Professor Willis compares the building of York and
Lichfield, and points out the close parallelism.
Unfortunately the soldiers in the Civil War destroyed all the records;
hence we have little to guide us except the history written in the stones of
the Cathedral. A Norman prelate, Roger de Clinton, did much for the
church, but all his work has perished. The diocese was then called that of
Lichfield and Coventry. He died in one of the Crusades.
The Early English builders began to build a new choir about 1200 A.D.,
of which only the lower part of the three westernmost bays and the sacristy
on the south side remain. About 1220 they began to replace the Norman
transepts with Early English work, beginning with the south transept and
ending with the north. The nave was constructed about the middle of this
century and central tower added, and the chapter-house belongs to the same
period of architectural activity. In the last quarter of the century the west
front was begun. At the end of the century a notable bishop was appointed,
one Walter de Langton, Keeper of the Great Seal and Treasurer of England
in the reign of Edward I., who incurred the hatred of Prince Edward,
afterwards Edward II., and was several times imprisoned by him. He led a
very stormy life, but found time to begin the building of the beautiful Lady
Chapel at Lichfield, surrounded the close with a wall and a fosse, thus
making it a fortress, erected a grand shrine for the relics of St. Chad and
built the Palace. This chapel was finished by Bishop Northburgh, who had
fought at Bannockburn and been taken prisoner by the Scots, and at the
same time the presbytery and clerestory of the choir were rebuilt in the
Decorated style.

The church was now complete, and very perfect must it have been,
glorious with the best achievements of true English Gothic art when that art
was at its best. Quaint Thomas Fuller describes it as "the neatest pile in
England," and tells us that Bishop Heyworth "deserved not ill of his
Cathedral Church of Lichfield, which was in the vertical heights thereof,
being, though not augmented in the essentials, beautified in the ornamentals
thereof. Indeed the west front thereof is a stately fabric, adorned with
exquisite imagery, of which I suspect our age is so far from being able to
imitate the workmanship, that it understandeth not the history thereof."
Quoting a saying of Charles V. of Florence, "that it was fit that so fair a city
should have a case and cover for it to keep it from wind and weather," he
adds, "so in some sort this fabric may seem to deserve a shelter to secure
it." It was also a church rich in relics and costly ornaments, and kings and
nobles loved to adorn it with bounteous offerings, while the shrine of St.
Chad brought many a pilgrim to fill its treasury when they paid their vows.
The fifteenth century made few alterations to the fabric. Dean Heywood
built a library, which has now disappeared. Some Perpendicular windows
were inserted.
At the Reformation Henry's commissioners carried off a vast store of
plate and jewels for "the king's use," and during the Civil War the Cathedral
actually endured a siege, the results of which were most disastrous. We
have recorded how Bishop Langton surrounded the close with fortifications.
The sacred precincts were garrisoned by the Royalists, who awaited the
attack of the Parliamentarians, led by Lord Brooke, a fierce fanatic, who
longed to pull down all cathedrals as relics of Popery, and extirpate
Episcopacy. On St. Chad's day they began the siege, and Brooke prayed in
the presence of his men that "God would by some special token manifest
unto them His approbation of their design." The "special token" was
manifested, but not in favour of the Roundheads; on the second day of the
siege a bullet fired by "Dumb Dyott," the son of Sir Richard, one of the
leaders of the Royalists, struck Brooke in the eye, and caused his death.
This signal act did not save the Cathedral. The spire was struck by cannon
balls, and fell, and after three days the garrison made terms of surrender.
Desecration and spoliation raged in the once beautiful church. Carved stalls,
organ, stained glass windows—all shared the same fate. Images were torn
from their niches and broken; tombs were rifled, and the ashes of holy men

scattered about with barbarous indecency. Bishop Scrope's tomb yielded a
silver chalice and crozier of much value, and a pandemonium of ruthless
rage filled the church. Prince Rupert came to Lichfield, and laid siege to the
Cathedral, and after ten days turned out the Roundheads. Here the luckless
King Charles came, after the disastrous fight of Naseby, and again, when
the Royal cause was well-nigh lost, the Parliamentarians besieged the place,
and the king's troops were forced to yield.
The Restoration of the monarchy brought about the restoration of the
Cathedral, which, according to Fuller, "was now in a pitiful case, indeed
almost beaten down to the ground in our civil dissensions." Bishop Hacket,
a worthy and zealous man, was appointed to the see, who immediately
began the stupendous work, and in eight years completed it, when the
church was reconsecrated with much solemnity. King Charles II. gave "100
fair timber trees" for the restoration, and a poor statue of the monarch was
placed at the west end, and the Duke of York gave the large window
beneath it. Both have now been removed.
Too soon the ruthless hand of the arch-destroyer, Wyatt, was laid on the
luckless Cathedral, who wrought mischief second only to that of the Puritan
fanatics. As the canons felt cold, he walled up the pier arches of the choir
and closed the eastern tower arch with a glass screen, removed the altar to
east end of the Lady Chapel, patched the piers with Roman cement, hacked
away the old stone-work, in order to make this cement stick, and fixed up a
large organ screen between the nave and the choir. Roman cement became
the passion of the hour. Statues were made of it, old stone-work repaired
with it; arches, mouldings, niches and pinnacles were coated with it.
Happily its reign is over. Sir Gilbert Scott began his restoration in 1856.
The difficulty of the work was enormous. He endeavoured to imitate the
ancient sculpture and stone-work, and restore the Cathedral to the condition
of its Early Gothic purity. Though some of the work has been severely
criticised, we must take into consideration the difficulties caused by Wyatt
and Roman cement which he had to encounter; we must remember that
Gothic revival had not reached its highest development in 1856, and be
thankful that so much has been spared to us of this once magnificent
Cathedral.
Exterior

When we enter the Close we notice that little is left of the fortifications
that once made Lichfield into a fortress. Here and there a few traces of the
walls remain. Lichfield was never a monastery, so there are no cloisters.
The view of the Cathedral upon entering the close is very striking and
beautiful. The colour of the stone is remarkable, as it is built of red
sandstone. The three spires are extremely graceful. A fine view of them is
obtained from the south side across the lake. The two west spires were built
by Bishop Northbury (1322-1359), and are Decorated. The upper part of the
north-western one was rebuilt, and there has been some renovation of the
other. The old central tower fell during the siege, and was rebuilt by Bishop
Hacket at the Restoration. The style is Perpendicular, having been built in
the fashion of the west tower.
The West Front must have been one of the most beautiful in England, and
has passed through many vicissitudes. It was commenced in 1275, and
completed by degrees, the work being protracted for more than a century.
The ball-flower ornament in the upper stages points to the later date of the
highest part. There are three principal stages. In the lowest are three
doorways, the wall being covered with a rich arcade of brackets and
canopies and statues. The next stage has three rows of arcading, the lowest
extending completely across the front. The west window divides the two
upper arcades. There are windows in the tower fronts in the third stage, and
the wall is covered with rich canopied arcade. The Puritan soldiers did
much injury to the statues which filled these niches. In 1820 the broken
figures were restored with Roman cement in a barbarous fashion. Sir
Gilbert Scott in 1877 began to reconstruct the west front, and placed new
statues in the niches, and endeavoured to reproduce an exact copy of its
appearance in the days of its early beauty. A study of the figures will not be
without interest.
Small figures in central west doorway—on north side—genealogy of
Christ according to St. Matthew from Abraham to the Virgin; on the south,
according to St. Luke from Adam to Joseph. Notice fourteenth-century
carving of Our Lord in Glory inside the porch.

Lichfield Cathedral
Herbert Railton
Distant view of exterior

North-West Doorway

On North—
1. Ethelbert, angel, with emblem of the Passion.
2. Edwin, orb.
3. Oswald, dove, with letter, and cross in his left hand.
4. Oswy, casket, with key and cross.
5. Peada, embracing a cross.
6. Wulphere, model of a Saxon church, and a shield.
On South—
1. Bertha, cross in her hand, and her daughter kneeling at an altar.
2. Ethelburga, glass and comb.
3. Hilda, angel hovering over her, and pastoral staff in her hand.
4. Eanfled, priest with letter.
5. Ermenilda, laying down crown.
6. Werburga, pastoral staff, and crown at her feet.
South-West Doorway
The figures represent the two sources of English Christianity, the Celtic
and Roman missionaries.
North Side—
1. St. Aidan, pastoral staff, and St. Chad as a boy in St. Aidan's School at
Lindisfarne.
2. Finan, pastoral staff.
3. Diuma, pastoral staff and banner.
4. Ceollach, pastoral staff, and mitre at his feet, indicating that he resigned
his bishopric.
5. Trumhere, pastoral staff.
6. Jaruman, pastoral staff, and model of a Saxon church.
South Side—
1. Gregory, young Saxon slaves at his feet, in the Market Place at Rome.
2. Augustine, crozier and model of Canterbury Monastery.
3. Paulinus, crozier.
4. Theodore, crozier and scroll.

5. Cuthbert, pastoral staff, and head of St. Oswald in his hand.
6. Wilfrid, pastoral staff, and treading on an idol.
Central Gable
1. Our Lord in Glory, in the act of benediction.
2. Moses, the two tables of stone.
3. Elijah, a book.
4. St. Gabriel, holding a lily, the emblem of purity.
5. St. Uriel, open book.
6. St. Michael, in armour, with spear and shield.
7. St. Raphael, pilgrim's staff.
Highest Stage—South Side—
8. Adam, clothed with skins, and with a lion at his feet.
9. Abel, shepherd's crook and a lamb.
10. Abraham, fire and knife.
11. Isaac.
12. Jacob.
13. Melchisedec, royal and priestly robes and censer.
14. Enoch, prophesying, with uplifted hand.
15. Methuselah, old man's staff.
16. Noah, ark and olive branch.
17. Daniel.
18. Job, staff, and prophesying the Resurrection.
19. Shem.
Middle Stage—Upper Tier—
20. Isaiah, a saw.
21. Hosea, skull at his feet, and scroll, "O death, I will be thy plagues."
22. Jonah, a fish at his feet, and scroll in his hand, "Salvation is of the
Lord."
23. Zephaniah, holding a torch and scroll, "The great day of the Lord is
near."
24. St. Michael, in armour, with spear and shield.
25. Bishop Hacket, holding the open Bible.
26. Bishop Lonsdale, model of Eton College Chapel at his feet.

27. Bishop Selwyn, his hand resting on the head of a Melanesian boy.
Bishop of New Zealand, 1841 to 1867. Bishop of Lichfield, 1868 to 1878.
28. Vacant.
Middle Stage—Lower Tier—
29. Ezekiel, wheel, with Evangelistic emblems.
30. Joel, locust at his feet, and scroll in his hand, "Jehovah is God."
31. Micah, with foot upon an idol; and the words, "Who is God like unto
Thee," in a scroll.
32. Haggai, unfinished temple at his feet, and pointing upwards, and scroll,
"Go up to the mountain."
33. St. Raphael, a pilgrim's staff, as a messenger of God.
34. Bishop Clinton, A.D. 1129, model of a Norman church.
35. Bishop Patteshull, A.D. 1240, wearing a chasuble, as shown on his
effigy in the Cathedral.
36. Bishop Langton, A.D. 1296, model of the Lady Chapel at his feet.
37. Vacant.
Lower Stage of Kings—
38. St. Chad, A.D. 669, pastoral staff, first Bishop of Lichfield.
39. Peada, A.D. 665, embracing the cross.
40. Wulphere, A.D. 657, shield, and model of Peterborough Monastery.
41. Ethelred, A.D. 657, four scrolls, indicating the four sub-divisions of the
great Mercian Diocese, Lichfield, Worcester, Hereford and Chester.
42. Offa, A.D. 755, archiepiscopal mitre.
43. Egbert, A.D. 827, orb and sceptre. First sole monarch of Saxon Britain.
44. Ethelwolf, A.D. 836.
45. Ethelbert, A.D. 860, crown and sword.
46. Ethelred, A.D. 866, holding a book to his breast.
47. Alfred, A.D. 871, a harp.
48. Edgar, A.D. 958, wolf's head; alluding to tribute of wolves' heads in lieu
of money.
49. Canute, A.D. 1017, orb, and looking to the sea; in reference to his
rebuke of his courtiers.
50. Edward the Confessor, A.D. 1042, a dove, and a ring in his left hand.
51. William the Conqueror, A.D. 1066, Doomsday Book and sword.

52. William Rufus, A.D. 1087, bow and arrow, and hunting horn; alluding
to his death.
53. Henry I., A.D. 1100, holding a book.
54. Stephen, A.D. 1135, orb, dove and sword.
55. Henry II., A.D. 1154, sceptre and sword.
56. Richard I., A.D. 1189, with banneret and battle axe.
57. John, A.D. 1199, signing Magna Charta.
58. Henry III., A.D. 1216, model of Westminster Abbey.
59. Edward I., A.D. 1272, the poisoned arrow.
60. Edward II., A.D. 1307, reversed sceptre; alluding to his deposition and
murder.
61. Edward III., A.D. 1327, the Garter and sceptre.
62. Richard II., A.D. 1377, orb, cross and sceptre.
Lowest Stage—North to South—
63. St. Cyprian, sword and book. Archbishop of Carthage.
64. St. Bartholomew, knife.
65. St. Simon, saw.
66. St. James the Less, club and book.
67. St. Thomas, the carpenter's square.
68. St. Philip, cross.
69. St. Andrew, a transverse cross.
70. St. John, pen and book.
71. Vacant.
72. Mary Magdalene, the alabaster box of ointment.
73. The Virgin and Child.
74. Mary, wife of Cleophas.
75. Vacant.
76. St. Peter, keys.
77. St. Paul, sword and book.
78. St. Matthew, wallet.
79. St. James the Greater, staff, book and scallop shell.
80. St. Jude, scroll.
81. St. Stephen, stones and the martyr's palm.
82. St. Clement, anchor and open book.
83. St. Werburga, pastoral staff, clasped book and crown at her feet.

North-West Tower
Middle Stage—Lower Tier—
84. Daniel, scroll and flames of fire at his feet.
85. Obadiah, hands lifted up and scroll, "The kingdom shall be the Lord's."
86. Habakkuk, writing the vision.
87. Malachi, fiery oven at his feet and scroll.
88. St. Uriel, a spear.
89. St. Luke, staff with serpent entwined.
90. Queen Victoria.
91. St. Mark, lion at his feet.
92. Dean Bickersteth.
93. Jeremiah, lamenting destruction of Jerusalem.
94. Amos.
95. Nahum, scroll and an Assyrian idol.
96. Zechariah, candlestick and scroll.
97. St. Gabriel, shield and sceptre.
98. Solomon, sceptre and model of the Temple.
99. St. Helena, the cross, and a model of a Basilica.
100. David, harp.
101. St. Editha, foot upon a crown.
North-West Tower—Upper Tier—
102. Eve, a distaff in her hand.
103. Old Figure. This and four others are the only remaining fourteenth-
century figures which have survived the wear of time and the violence of
the Civil War.
104. Sarah, three cakes in her hand.
105. Old Figure. Fourteenth century.
106. Rachel, crook.
107. Deborah, scroll.
108. Old Figure. Fourteenth century.
109. Hannah, with the boy Samuel at her side.
110. Samuel, anointing horn and scroll.
111. Aaron, scroll.

112. Old Figure. Fourteenth century.
113. Old Figure. Fourteenth century.
St. Anthony over the belfry window on south side of south-west tower.
The west window presented by James II. when Duke of York has been
removed and a Decorated window inserted.
Passing round to the north side we see the interesting north doorway,
which is a double one, with five orders, and of Early English style (1240
A.D.). The dog-tooth ornament is evident. Carved figures appear in the
mouldings. The genealogy of our Lord, beginning with Jesse, is on the east
side; on the west St. Chad and the Apostles. Kings and prophets appear on
the middle moulding, and angels on the inner. These are good specimens of
Early English carving, and are original, though somewhat restored. A
modern figure of St. Anne is in the central niche, and above a figure of our
Lord. The figures of SS. James and Jude are examples of the hideous
Roman cement work which once was so plentiful here.
Continuing our pilgrimage round the church we see the chapter-house
and the Lady Chapel, which has been too much restored with new niches
and statues of holy women mentioned in the Bible. The lower row (New
Testament) has figures of Priscilla, Anna, Dorcas, Mary of Bethany with
box of ointment, Martha with a dish and cloth, Lydia, Phebe and Elizabeth;
above Esther, Ruth with corn, Naomi, Rizpah, Deborah, Miriam, Rachel
and Rebecca. Passing the so-called mortuary chapels, probably vestries, we
notice a noble figure of the Madonna on south side, and though the head has
been defaced, and the child knocked away, it remains a beautiful study of
fourteenth-century pose and drapery. On the corners of the sacristy are
figures of Godefroi de Bouillon and St. Chad. The south portal has been
much restored. It is similar to the north doorway, but not so rich in
architectural details. On the tympanum are shields with arms of the diocese,
and on the west the arms of Lady Catherine Leveson, a benefactress of the
time of Bishop Hacket, and an inscription recording her munificence on the
east. A row of niches is over the door, formerly filled with figures of Roman
cement. Happily they have disappeared. The rose window is very fine.
Interior

We enter the church by the west door, and are struck with the richness
and beauty of the view of the nave and choir, the clustered columns with
richly-carved capitals, the elaborate reredos of marble and alabaster, and the
stained glass of the Lady Chapel. It will be noticed that the choir inclines
considerably to the north. This difference in orientation is observable in
many churches, and has been interpreted as a figurative representation of
the bending of our Lord's head upon the Cross. We believe that this
beautiful fancy has no authority, and most probably the inclination was
accidental. No records tell us when this nave was built. It is earlier than the
west front, and was begun about 1250, at the time when the Early English
style was being merged in that of the Decorated. There are eight bays. The
piers are octagonal, with many shafts, the capitals enriched with foliage of
Early English type. The triforium has two arches in each bay, each arch has
two sub-arches, with cusped heads, and a quatrefoil in the tympanum. Dog-
tooth ornament is used copiously. The clerestory windows are triangular,
with three circles in each, and a trefoil in each circle. Mr. Petit stated,
"Nothing can exceed this nave in beauty and gracefulness." The roof was
originally of stone. This the besiegers damaged, and after its restoration the
stone vaulting was found too heavy for the walls and piers; hence it was
removed, except the portions at the immediate east and west end. Wyatt
covered the rest with plaster to imitate the original work. The roof has now
been coloured, so that it is impossible to discover any difference between
the stone and plaster ceiling.
The Aisles are similar in style to the nave, and are very narrow. The wall
arcading is very fine Early Decorated work. The windows have three lights,
with three foliated circles in their heads. In the north aisle are tablets to the
memory of Gilbert Walmesley, the friend of Dr. Johnson and David Garrick;
to Lady Mary Montagu, the introducer of the inoculation for small-pox; to
Ann Seward, the "Swan of Lichfield" (1809), a window; brass to the
memory of officers of the Staffordshire regiment, and its colours. In the
South Aisle are two curious semi-effigies of ancient date—the heads and the
feet are carved, the rest of the body is left a blank in the stone; a good brass
of the Earl of Lichfield (d. 1854); and the monument of Dean Addison
(1703), the father of a more famous son—the essayist.
We now pass to the South Transept, which is earlier than the north, and
was begun about 1220. The north transept and chapter-house were built

twenty years later. Doubtless for the building of the transepts Henry III. in
1235 and 1238 granted licence to the dean and chapter to take stone from
the Royal Forest of Hopwas, south of Lichfield.[14] Both transepts have east
aisles. All is Early English work, except the windows. The large south
window is Perpendicular, probably inserted by Bishop Blyth (1503-1533).
The stone vault is also Perpendicular, erected in place of a wooden one,
which served as a model of that at St. George's Chapel, Windsor, according
to the order of Henry III. There is some Flemish glass in the south window
of the aisle, similar to that in the Lady Chapel. It was brought from
Herckenrode. We notice the memorial of one of Nelson's men—Admiral Sir
W. Parker. The south window is fitted with good modern glass. In the North
Transept we see that the style has advanced since the construction of the
south transept, twenty years earlier. The arcading here has trefoiled arches.
The windows have Perpendicular tracery, and a large north window was
inserted in Perpendicular times, but it has recently been removed and the
Early English window restored. The curious monument is of Dean
Heywood, representing his skeleton. The organ occupies the aisle.
Standing beneath the Tower, at the entrance of the choir, we notice the
conjunction of styles—the large piers with banded shafts of the Early
English of the choir blended with later work of the transept and the Early
Decorated of the nave. A modern metal screen of graceful design separates
the transept from the choir, and was designed by Sir G. Scott. Above are
bronze angels playing instruments of music.
The Choir, which succeeded the Norman apsidal choir, was begun in
1200, and the Lady Chapel about 1300, when the choir was lengthened by
one bay. Then the Early English choir was removed as far as the third pier
east of the tower, and the present choir built in the Decorated style; the
upper part of the three western bays was also removed, and a Decorated
clerestory added. Thus we have the arches and piers of the first three bays
Early English, clerestory Decorated, and three other bays Decorated. Wyatt
wrought havoc here, but his plans have now been altered, and the
arrangements been made to conform to the original design. It will be
observed that the tracery of the clerestory windows is Perpendicular,
inserted at the restoration after the siege; only one original being left. There
is no triforium, there being only two storeys. The spandrels have cusped
circles, and in the older part niches with statues: on south, SS. Christopher,

James and Philip; and on north, SS. Peter, Mary Magdelene and the Virgin.
The stalls and bishop's throne are modern. The Reredos is very magnificent,
designed by Sir G. Scott. The pavement contains a veritable history of the
Cathedral, while the space before the altar contains Old Testament types of
the sacrifice of our Lord. The canopies of the Sedilia are ancient and Late
Decorated.
The Choir Aisles resemble in style the parts of the choir to which they are
adjacent. In the north there is Chantrey's monument of Bishop Ryder, and
G.F. Watts's effigy of Bishop Lonsdale (d. 1867). The Lady Chapel is full of
interest, and especially noticeable is the stained glass of sixteenth century,
brought from the destroyed Abbey of Herckenrode, having been concealed
from the destructive zeal of French revolutionists. The subjects are scenes
from the life of our Lord and figures of the benefactors of the Abbey, and
are the work of Lambert Lombard, the first, and by far the best, of the
Italianised Flemish School of the sixteenth century. The architecture of the
chapel was begun by Bishop Langton (1296-1321), and finished by
Northburg; the style is Decorated. It has an octagonal apse—an unique
arrangement. Beneath the windows is an arcade, resting on a stone bench,
and between the windows are niches, which have recently been filled with
statues of excellent execution. These are:—St. Werburgh, St. Cecilia, St.
Prisca, St. Faith, St. Catherine, St. Margaret, St. Lucy, St. Agnes, St.
Ethelreda. The triptych which forms the reredos was carved at Ober
Ammergau. The altar rails are of alabaster. Looking back we have a good
view of the Cathedral, and note the considerable inclination of the choir. On
the south side are the so-called mortuary chapels, which have been restored
in memory of Bishop Selwyn, and contain his effigy and some mural
paintings recording scenes from the adventurous life of this great
missionary-bishop, who did so much to plant the Church in Melanesia. The
shrine of St. Chad formerly stood in the retro-choir behind the high altar.
In the south choir aisle is the consistory court, formerly the sacristy. The
walls are the oldest part of the Cathedral, being of the same date as the
Early English portion of the choir. We notice the old tile and coal pavement,
and the old Jacobean choir stalls. Above is the minstrels' gallery, so-called,
of Perpendicular work, opening into St. Chad's Chapel, chiefly intended for
the exhibition of relics to the pilgrims in the aisle below, and amongst these
those of St. Chad. This chapel, formerly used as a muniment room, has been

beautifully restored by Dean Luckock, and has good lancet windows, noble
reredos of alabaster, old piscina and aumbrey which probably once held the
skull of St. Chad. Carved figures in bosses and corbels tell the story of the
saint. The old treasury has been beautifully restored, and we see the old
aumbreys which once contained such a store of treasures and relics, and
some of the cannon balls which wrought such havoc during the siege. There
are many interesting monuments in this aisle—notably the famous
"Sleeping Children," by Chantrey (1817), daughters of Prebendary
Robinson; the monuments of Archdeacon Hodson and his son of "Hodson's
Horse" fame, who distinguished himself so much in the Indian Mutiny;
Erasmus Darwin (1802), grandfather of Charles Darwin, a writer of
botanical poems; Bishop Langton (1296), much mutilated; Bishop
Patteshull (1241), of Purbeck marble; Sir John Stanley (1515), a curious
effigy of a knight naked to the waist as if prepared for scourging. It is
supposed that he was excommunicated for some offence, and was not
ashamed to have his penance recorded on his tomb. Other monuments are
those of Archdeacon Moon (1876); Dean Howard (1868); Bishop Hacket,
the restorer of the Cathedral after the siege; one of the semi-effigies
mentioned above, and at the east end is a curious fourteenth-century mural
painting.
We now visit the Chapter-House, passing through the vestibule which is
of Late Early English design. We notice the beautiful arcading in the latter;
on the west side there are seats where, it is said, that the feet of beggars
were washed on Maundy Thursday. The dog-tooth ornament is extensively
used in the arcading. The doorway to the chapter-house is very fine and is a
double one with a figure of our Lord in the tympanum. Clustered shafts are
at the sides with capitals carved with foliage. The chapter-house is
octagonal, having the north and south sides longer than the others. The
central pillar is surrounded by banded shafts with richly-carved capitals.
The windows are Early English, with two lights. An arcade of forty-nine
arches with rich canopies surrounds the chamber. Traces of mural painting
may be seen over the door. All the ancient glass was destroyed, and modern
artists are depicting in glass the history of the see. Over the chapter-house is
the Library. It contains many treasures, in spite of the Puritan destruction,
the most valuable being the Gospels of St. Chad (preserved in a glass case
in the retro-choir), containing the Gospels of SS. Matthew and Mark and

part of St. Luke. It has 700 miniatures. Other treasures are Chaucer's
Canterbury Tales, which has all except that of the Ploughman's, supposed
by some to be spurious; Caxton's Life of King Arthur, the MS. Household-
book of Prince Henry, eldest son of James I., and many rare Bibles. The
copy of South's Sermons is interesting, as it belonged to Dr. Johnson, and
contains MS. notes for his Dictionary.
Dimensions
Total length 371 ft.
Length of nave 140 ft.
Width of the nave and its aisles 67 ft.
Width of the choir and aisles 66 ft.
Width of the Lady Chapel 29 ft.
Length of the transepts from north to south 149 ft.
Height of the vaulting 57 ft.
Height of the central spire 258 ft.
Height of the two western spires 198 ft.
Area 27,720 sq. ft.
Principal Building Dates

Early English (1220-1250)—Lower part of three west bays of choir
and sacristy, south transept.
(1250-1275)—Nave and aisles, central tower, chapter-house, north
and south doorways of transepts.
Decorated (1275-1357)—Lady Chapel, west front, and west spires.
Perpendicular—South window of south transept and vault, north
window of west transept, some other windows, minstrels' gallery.
(1661-1671)—Central tower, spire rebuilt.

CHESTER CATHEDRAL

R oyal Chester is one of the most ancient and interesting cities in the
kingdom. It was an important Roman station. It was called the "City of
Legions," and the twentieth Legion of the Roman army was stationed here,
and left behind it many traces of its occupation. Saxons and Danes also held
the place. The warlike daughter of Alfred the Great, and wife of Ethelred of
Mercia, drove out the Danes and rebuilt the walls, but the Welsh again
gained the mastery until the first Saxon Edward reconquered it, and later
Edgar subdued the Britons, and in 973 was rowed in his victorious vessel
on the Dee by eight British chieftains. William the Conqueror made his
nephew Earl of Chester, and for years he and his successors ruled as kings
in this corner of England, until Henry III. bestowed the title on his eldest
son, and since that time the earldom has always been held by the king's
first-born. Edward I. often came here when he was waging war against
Llewellyn and the Welsh, and worshipped in the great church. Here Henry
IV. brought as a captive the luckless King Richard II. and imprisoned him in
the castle. Of Royal visits old Chester had abundance. The city was famous
for its "miracle plays," which were performed in the streets. Frequently the
dread visitor plague made its presence felt, and grass grew in the neglected
streets. Tradition states that the name "God's Providence House" was given
to a house in Watergate Street, because that was the only dwelling which
the plague passed over. Chester played an important part in the Civil War,
and bravely resisted a siege and frequently repelled formidable attacks, and
the inhabitants were reduced to great straits and much ruin wrought. The
walls of the city are quite complete, and on one of the towers called the
Phœnix is the inscription: "King Charles stood on this tower September
24th" (27th it should be) "1645, and saw his army defeated at Rowton
Moor."
Chester retains many of its historical associations, its extensive Roman
remains, its walls and ancient houses, its wonderful Rows, "like which there
is nothing else in the world," the quaint street names, the interesting
churches, all contribute to make Chester one of the most delightful cities in
England. Although the great church is ancient, the present see is not.

Chester was one of the dioceses founded by Henry VIII. in return for some
of the great stores of treasure which he and his courtiers filched from the
church. It appears, however, that just after the Norman Conquest there were
Bishops of Chester. In 1075 the Bishop of Lichfield removed the seat of the
bishopric to Chester, and the Church of St. John the Baptist was his
Cathedral. Then Coventry became the centre of the diocese, but the title of
Bishop of Chester was frequently used, but fell into disuse in later time,
until Henry VIII. constituted the new see.
The church has, however, a very
interesting history. Possibly there may
have been a Christian church here in
Roman times. An old chronicler tells us of
an early church dedicated to SS. Peter and
Paul, and that in the time of the Saxons it
was re-dedicated to St. Werburgh and St.
Oswald. St. Oswald we have met before at
Durham and elsewhere. St. Werburgh was
the daughter of Walphur, King of Mercia,
A.D. 660, who, perceiving that his
daughter was much disposed to a religious
life, caused her to take the veil. Her aunt,
St. Ethelreda of Ely, was her spiritual
mother, and when St. Werburgh died her
body was conveyed to Chester, where a
monastic house was built, dedicated to her. ST. OSWALD'S GATE
The early history of this house is
somewhat uncertain. Ormerod, the
historian of Chester, states that it continued a nunnery until the time of the
Norman Conquest, when secular canons were installed in their stead, but
this change took place in the time of King Athelstan (925). Leofric, the
husband of Lady Godiva, is also recorded as a great benefactor of the
church and monastery. When Hugh Lupus, the nephew of the Conqueror,
became Earl of Chester, in the time of William Rufus he founded a new
monastery of Benedictine monks, and endowed it with rich possessions. He
introduced the famous Anselm, Abbot of Bec, afterwards Archbishop of
Canterbury, who made his chaplain, Richard, the first abbot. The Norman

church was begun in his time, and some of the features of the Norman
Abbey of Bec were introduced at Chester, especially the stone roof of the
apse in the south-east of the Cathedral. Some fragments of this church
remain in spite of the changes which time has wrought, notably the small
arches in the east wall of north transept, and an arch in the canons' vestry,
the north wall of the nave, the doorway between the east cloister and the
nave, the lower part of the north-west tower and the crypt. Fire played
havoc here as elsewhere, and we find Abbot Geoffrey lamenting over the
intolerable ruin of his church. This was at the close of the twelfth century,
and some reparation was affected, while, during the time of his successor,
Hugh Grylle, prosperity dawned upon the Abbey, and the number of monks
was soon after increased. Increased wealth tempted the rapacious, and the
abbey had to withstand a siege. A noted abbot was Simon de Albo
Monasterio, or Whitchurch, who did much for his monastery. He rebuilt the
Lady Chapel, enlarged the chapter-house, and began the present choir. The
refectory, with its beautiful pulpit, must have been constructed about this
time, the close of the thirteenth century, when the king, Edward I., gave
grants of venison from his forests for the support of the monks, "who were
engaged on the work of building the church." No records tell of any work
being done by succeeding abbots until the time of Simon Ripley (1472-
1493); but where records are silent the stone-work tells us that in the
fourteenth century some beautiful work was accomplished, notably the
shrine of St. Werburgh, the sedilia and choir stalls. Simon Ripley was an
energetic abbot, and rebuilt the nave, tower and south transept. This south
transept was claimed as the Parish Church of the parishioners of St.
Oswald, and there were much disputings, but the people had their way, and
retained their rights until 1881. We also find that the usual quarrels took
place between the monks and citizens about the rights to hold fairs and
markets. Abbot Birkenshawe continued Ripley's work, and completed the
west front and part of the west tower. An unfortunate alteration was made at
this time. The vault of the cloisters was raised, tradition says, by Cardinal
Wolsey, and mars the beauty of the earlier work. Then came the dissolution
of monasteries, and the Abbey of St. Werburgh shared the fate of the rest.
The See of Chester was created in 1541, the last abbot becoming the first
dean, and John Byrde the first bishop. Most of the lands and wealth of the
church were seized by the king and his courtiers. But, shorn of its wealth,
the Cathedral itself was at this time one of the most beautiful in England.

Dire troubles were, however, in store. The waves of the Civil War beat
fiercely on Royal Chester; and when, after the protracted siege, the
victorious Puritan soldiers entered the city, they defaced the Cathedral
choir, injured the organ, and demolished the font, broke all the painted
windows, and used the church as a stable. Randle Holme, the historian of
Chester, utters a sad lament over the condition of the city which he loved so
well, and compares it with Jerusalem, "the beloved citie of God, with not a
stone left upon another." Since then the story of the Cathedral has been one
of continual reparation and restoration. The exterior of the choir was
recased by Bishop Stratford (1689-1707). Bishop Law, in 1818, effected
some considerable repairs, and other efforts were made, until at length Sir
G. Scott was engaged in 1868, when Dean Howson ruled, and a very
"thorough" restoration was made. A modern authority on Gothic
architecture states that Sir G. Scott's was "a rebuilding of every external
feature of this Cathedral in the style of his own Victorian Gothic." Perhaps
this criticism is a little too severe. It must be remembered that the stone of
Chester Cathedral was very soft and perishable, that the state of the fabric
was so bad that it was almost dangerous, and that the difficulties of the
architect were great. However, in spite of what has been done, there is still
much to admire, and we will proceed to examine the details of this ancient
church.
The Exterior
To examine the exterior we must avoid the narrow streets in its vicinity,
and ascend the old walls of the city, from which we can obtain an excellent
view. Starting at the east gate, we get a good view of the south-east of the
Cathedral, including the tower, the east side of the south transept, choir and
Lady Chapel. We notice the colour of the stone—red sandstone. The plan of
the church is cruciform. The Tower is Perpendicular in style, and was
probably built by Abbot Ripley. Two windows of Perpendicular character
look out from each side. It has been much restored, and was only just saved
from destruction by this process. Sir G. Scott devised the turrets and
pinnacles out of his inner consciousness, and also the parapet; but the effect,
though differing, doubtless, from the original design, is not unpleasing. The
Lady Chapel is a simple and beautiful construction of Early English design.
On the south side there are three triple lancets under a pointed arch,
separated by buttresses crowned with pinnacles, and a parapet above. The

south aisle of the choir is Early Decorated, and there is a modern apsidal
termination, with a curious steep roof, almost resembling the spire of a
church, which Sir G. Scott constructed, and for which he found justification
in the remains of the earlier roof. This example is unique in England, but
not unusual in France. The south transept is unusually large, which is
accounted for by its being the Church of St. Oswald. There are some
curious modern sculptures in a corbel here, representing modern statesmen,
and the features of Mr. Gladstone and Lord Beaconsfield are not difficult to
discover. Passing along the wall of the city, at the east of Abbey Street we
see the north-east view. Near at hand, on the right, is the refectory, and on
the left the chapter-house, which is Early English. The north transept is
Norman work. The north choir aisle, which extends along the side of the
Lady Chapel, is, in its eastern part, Perpendicular; further west it is Early
Decorated, while by the canons' vestry we see unmistakable Norman work.
In this wall much of the old stone remains, as it has not suffered so much
from the weather as on the south side. We see the long expanse of the nave
roof, and then pass along Abbey Street, and have a fine view of this north
side. Then houses interfere with the prospect. Then we see the old Abbey
gateway, a fourteenth-century structure, and the new buildings of the King's
School, which occupies the site of the old Palace, and soon stand opposite
the West Front, which lacks the grandeur of this feature of many cathedrals.
It has a large Perpendicular window of good design and rich tracery;
beneath it is a Tudor doorway, and canopied niches, and on the south the
base of a tower which was never completed. Passing along we have a grand
view of the south side.

Chester Cathedral

There is a porch, with a parvise over it, of Late Perpendicular design,
with Tudor doorway, and battlements and pinnacles. The vault is modern;
the windows of the aisle are Decorated, and those of the clerestory
Perpendicular. This concludes our survey of the exterior, and we now enter
the Cathedral and examine the principal features of the interior.
The Interior
Entering by the south porch or the west door, we examine first the Nave,
which is small and not very striking in appearance. There are six bays, but
the southern arcade is much earlier than the north. The piers consist of
groups of attached shafts, with capitals of foliage. The southern arcade is
Decorated, while the northern is later. The initials S.R. appear on the capital
of the first northern pier. These letters stand for Simon Ripley, abbot (1485-
1492). He probably built the upper part of the northern arcade, but the lower
part is earlier. The clerestory was finished by Abbot Birkenshawe. The last
bay eastward is more ornamented than the rest, and has cusped windows in
the clerestory and tracery in the triforium opening. This is earlier, and is
perhaps more ornate, because the choir included this bay. The roof is
modern, and has a good specimen of fan-tracery vault. Some of the bosses

are noticeable, and record the benefactors—the Prince of Wales, Duke of
Westminster, and others.
Under the south tower is the Consistory Court, which is separated from
the nave by some curious Jacobean stone-work, and contains some good
woodwork of the same period. The south aisle has Decorated windows; the
north aisle contains some interesting remains of the old Norman church.
The north wall is entirely Norman. A Norman doorway leads to the cloisters
at the east end, and at the west there are some remains of the Norman tower
built by the nephew of the Conqueror. This is now the baptistry, which has a
curious font, presented by Earl Egerton in 1885. The dean states that "it
came from a ruined church in the Romagna, but it is not known whence it
was brought to Venice. It is of a rectangular form, of white marble; and in
all probability it was originally a village well-head in early Roman times,
and afterwards taken by the Christians and carved with symbols for a font.
The work is of the Ravenna type, of the sixth or seventh century." Near here
is hung an ancient piece of tapestry, which has been in the Cathedral since
1668. The subject is Raphael's cartoon of Elymas the Sorcerer. The vault of
this aisle is modern. The old wall is covered with rich mosaics, representing
Abraham, Sarah, Moses, David, Elijah, and other Old Testament characters.
The North Transept is small, and is of the same size as the original
church, there being no room for expansion on this side because of the
monastic buildings. The lower walls are original Norman, the upper Late
Norman. A Norman arch, now blocked up, leads to the canons' vestry on the
east. The arches of the triforium are very early, and are rude and massive.
On the west there are three Norman windows blocked up. Perpendicular
tracery has been inserted in some of the windows. That of the north window
is modern. The roof is Perpendicular, and on one of the bosses are the arms
of Cardinal Wolsey. A conspicuous monument here is that of Bishop
Pearson (1686), the author of the famous work on the Creed. The initiation
of the erection of this magnificent memorial of one of the greatest of
English divines was due to an American bishop, Dr. Whittingham of
Maryland. The organ-loft is very rich, and the instrument itself is a very
noble one, and replete with every modern contrivance. Crossing to the
South Transept, which until 1881 was the Parish Church of St. Oswald, we
notice its great size when compared with that on the north. It was
undergoing restoration when we last visited the Cathedral. It has Decorated

windows, and Perpendicular in the west aisle. The monuments in the naves
and transepts do not possess many features of interest, and may be passed
over.

THE CHOIR

We now enter the Choir, and can admire the modern screen, designed by
Sir G. Scott, and beautifully executed. The choir is remarkable for the great
beauty of the woodwork which it contains, as well as for its architectural
merits. The style is that of the transition between the Early English and
Decorated. The north side differs from the south, especially in regard to the
mouldings. The north side is earlier than the south, the building having been
commenced at the east end of that side. The mouldings on the north are
bold rounds, while those on the south are shallow and small hollows. The
triforium has a series of elaborately-carved cusped arches, and the
clerestory windows are light and graceful, with geometrical tracery. The
vault is modern, constructed of good English oak. At the east there are
figures of the sixteen prophets, and at the west are angels playing musical
instruments. There are some curious grotesque corbels, from which the
vaulting shafts spring. The carving of the Choir Stalls is equal, if not
superior, to anything in England. These are fourteenth-century work, and
rival the noble stalls of Amiens. They have been restored with much
accuracy and taste. The carving of the dean's stall should be noticed, as it
represents the Jesse tree, surmounted by the Coronation of the Virgin. That
representing Jacob's dream is modern. The Misereres are extremely
interesting and curious, and full of religious instruction, though often
conveyed in the way of sarcastic reproof. There are forty-eight, of which
three are modern. Some of the most curious are: a pelican feeding her
young; St. Werburgh and the stolen goose; a wife beating her husband; the
strategy of the fox; stag hunt; Richard I. pulling out the heart of a lion; a fox
in the garb of a monk presenting a gift to a nun; various wild men;
wrestlers; unicorn resting its head on a virgin's knee, and numerous
grotesques. The Throne is a handsome modern work, and also the Pulpit,
presented by the Freemasons of Cheshire, who restored also the ancient
sedilia, which, tradition states, came from the old Church of St. John
without the city walls. The altar is made of wood grown in Palestine. The
oak of Bashan, olive wood from the Mount of Olives, and the cedar of
Lebanon, are all used, and the carvings represent palm, vine, wheat, olive,
thorn, bulrush, hyssop, myrrh and flax, all of which are included in the flora
of Palestine. The reredos is a mosaic of the Last Supper. The magnificent
candelabra of Italian cinque cento work are the gift of the late Duke of
Westminster. Over the altar is an arch, through which the window of the

Early English Lady Chapel can be seen, and above is a window with
Decorated tracery.
The North Aisle of the choir is interesting. Traces of Norman work are
seen in the base of a massive round pillar at the west entrance, in the
inverted capital of a Norman pier, with an Early Decorated pier constructed
on it, and the Norman apse is marked on the pavement by a line of dark
marble. The canons' vestry is architecturally a very important building, as it
contains work of the eleventh, twelfth, thirteenth and fourteenth centuries.
The arch in east wall of the transept is Early Norman; the Norman apsidal
termination can be traced. It was rebuilt in the Early English period, and
made to terminate in a square form, and the doorway from the north aisle is
fourteenth-century work. There is an old chest or reliquary here with very
good iron-work and lock of the thirteenth century. Re-entering the aisle we
can trace the abandonment of the apse and the extension eastward in the
Early English period, as shown in the character of the vaulting and in the
piscina, which belongs to this period. In Perpendicular times a further
extension took place, in order to gain an entrance to the Lady Chapel. The
gates of both aisles are old Spanish work of 1558, presented by the late
Duke of Westminster.
The South Aisle has passed through somewhat similar vicissitudes, but
"restoration" has removed some of their traces, and it is now terminated by
the apse, the erection of which we recorded when examining the exterior,
and which is conjectured to be an exact reproduction of the appearance of
this end of the Cathedral in the time of Edward I. The apse has been fitted
up as a memorial to Thomas Brassey, the great contractor.
The Lady Chapel is of Early English design, and was built about 1266,
previous to the present choir. Many alterations were made subsequently,
including the removal of the ancient steep and lofty roof and the
substitution of a flat roof, and the insertion of Perpendicular windows. Most
of these additions have been removed and the Early English character
restored. The east window of five lights was designed by Scott, and the
original form of the roof has been restored. The vault, which is original
Early English, has a boss representing the murder of Thomas à Becket. The
mosaics were designed by Sir A. Blomfield. Here the consistory court was

held at the time of the Reformation, and George Marsh, the Chester martyr,
was condemned to be burnt.
The Monuments in the choir and Lady Chapel are to the memory of Dean
Howson, Bishop Graham (1865), Dean Arderne, an altar tomb to an
unknown person, and the famous shrine of St. Werburgh, of fourteenth-
century work, which is of exquisite design and construction. It was richly
ornamented by figures. There was a great resort of pilgrims to this shrine in
mediæval times. The pavement of the choir is worthy of attention. It is
modern; around the lectern are the heads of the twelve Apostles, and of the
four doctors of the Church—SS. Ambrose, Augustine, Athanasius and
Chrysostom. On the east end are representations of the Passover, and some
fragments of tesselated pavement are inserted here which came from the
Temple at Jerusalem. The stained glass is all modern. The Cathedral has a
rare treasure of the seventeenth century, a carved narwhal tusk, beautifully
carved by a Flemish artist. It is thus described by the dean: "The leading
subject is the Incarnation of our Lord Jesus Christ, passing on to the
exaltation of the Cross.... A Jesse tree occupies about 3 feet, and above is
seated the Blessed Virgin with the Holy Child. Higher up is the Cross with
the figure of our Saviour, whose countenance is full of compassion.... St.
Michael thrusting down Lucifer with a cross; the figures of SS. Peter and
Paul and the four Evangelists; St. Anthony of Padua and another monk
holding up a cross, and figures of angels, each holding in uplifted hands a
cross."
We will now proceed to the Monastic Buildings, which are of great
importance. They are situated on the north side of the Cathedral, and are
approached through a Norman doorway in the north aisle. Turning to the
left we see some good Norman arcading. The tombstones of some of the
earlier abbots are seen here. The south walk is entirely new, having been
restored by Scott. The west walk adjoins a fine Early Norman chamber,
probably the great cellar of the abbot's house. The cloisters are
Perpendicular work. In the south and west walks there is a double arcade on
the cloister-garth side, which contained the Carrels or enclosed studies of
wainscot, where the monks read or wrote, and on the opposite side are
recesses which are not tombs, but Armaria or cupboards, where their books
and materials for illuminations were stored. In the Perpendicular period the
roof of the cloisters was raised, which was not an advantage, as it caused

the aisle windows and those of the
refectory to be partly blocked up, and the
vaulting cuts into the earlier work. The
Lavatorium is near the entrance to the
Refectory, an Early English building with
Perpendicular windows. It is a noble
structure, shorn of some of its length, and
now used as a music room. The stone
pulpit is remarkably fine, of Early English
design, which rivals the famous pulpit of
Beaulieu Abbey. In the east walk we see
the doorway leading to the Vestibule of the
chapter-house. It consists of a cusped arch,
and three small windows are above it; on
the centre one the dog-tooth ornament is SHRINE OF ST. WERBURGH
used. Both the vestibule and the chapter-
house are fine examples of Early English.
In the former light, graceful piers support the vaulting without capitals, the
mouldings being continued along the piers and vaulting in a very beautiful
manner. The Chapter-House is a noble chamber. Its shape is oblong, and it
was built about 1240. There is a fine east window of five lights; and
windows of three lights are on the north and south sides, and have detached
shafts. The glass is modern, and represents the chief persons associated with
the history of the Cathedral. Here is stored the library, which is not rich in
treasures of bibliography. There is a fair collection of the Fathers and
liturgical works, a book which belonged to Bishop Pearson and Higden's
Polyolbion.
Dimensions
Length, 355 ft.; length of nave, 145 ft.; width of nave, 75 ft.; height, 78
ft.; height of tower, 127 ft.
Principal Building Dates
Norman (1093-1140)—north wall of north aisle and doorways, part of
north-west tower, north transept, part of canons' vestry, cellar in monastic
buildings; Early English (1266-1300)—Lady Chapel, choir, part of north

choir aisle, chapter-house, refectory; Decorated (1300-1400)—Abbey Gate,
south and lower part of north nave, windows of south aisle, part of south
transept; Perpendicular (1472-1500)—tower, upper part of north of nave,
east of north choir aisle, west front, south porch, part of south transept and
some windows; Choir recased (1689-1707).

St. John's Church is well worthy of a visit. It has an important history,
and was once the Cathedral of the first Norman bishop. It is mainly of
Norman construction. The massive piers are very early (1067-1105), the
triforium and clerestory are Transitional. A good history of the church has
been written by the Rev. Cooper Scott.

LIVERPOOL CATHEDRAL

L iverpool is a very modern see, the bishopric having been formed in
1880. It has at length been possible to take steps to found a Cathedral,
and many architectural problems have to be solved by the citizens with
regard to the site and the style of the new church. We trust that these will be
solved satisfactorily, and that the Cathedral of Liverpool will be made
worthy of the city. If wealth can accomplish this great achievement, there
should be no difficulty in this place. The Church of St. Peter is at present
used as the Cathedral, but it has no feature of either architectural or
historical interest.

MANCHESTER CATHEDRAL

O ther objects of interest rather than those of history or architecture
usually attract the stranger to Manchester. The great centre of modern
industry, the city that brings the sea to its walls, that finds employment for
tens of thousands, where the pulse of life beats fast—that is the Manchester
we all know. But there is another Manchester of quiet and sedate ways,
which is not devoid of history, which we will endeavour to read amidst the
din and turmoil of this hive of industry. It is difficult to imagine that the
parish "was originally a wild, unfrequented tract of woodland, inhabited
merely by the boar, the bull, and the wolf, and traversed only by the hunters
of the neighbouring country." Under Agricola, Manchester became a Roman
station. Camden tells of Roman inscriptions, and many other Roman
remains have been found. Edwin of Northumbria came here, and Paulinus
brought Christianity and thousands were baptised by him. Two Saxon
churches were built, St. Michael's and St. Mary's. Ina and his queen,
Ethelburga, sojourned here. The Danes ravaged it, and Edward the Elder re-
edified the town in 924. We find that Canute came here, and the historian of
the town derives Knot, or Knut, Mill from his name. The Conqueror gave
the manor to Roger de Poictiers, but it appears to have been regranted to the
Greslie family. It is unnecessary to follow the history of the manor and
barony. In 1235 Manchester is said to have had a Deanery, and Peter de
Greleigh (Greslie) held the Rectory in 1261. Hugh de Manchester, a
favourite of Edward I., went on an embassage to Philip of France to recover
certain lands for his king. Other distinguished rectors were William de
Marchia (1284), afterwards Bishop of Bath and Wells, and William de
Langton, afterwards Bishop of Lichfield, the builder of the beautiful Lady
Chapel of that Cathedral; Otto de Grandisson, Geoffrey de Stoke,
afterwards Dean of St. Paul's, London. In 1373 Thomas de la Warre was
presented to the living, and he obtained Royal licence in 1422 to found a
collegiate church, consisting of one warden, eight fellows, four clerks and
six choristers. The parishioners cheerfully agreed to build the new church.
John Huntingdon, the first warden, built the choir, and several leading
families, the Radcliffes, Stanleys, Traffords, Byrons and Strangeways

erected chantries. The college was founded at the same time as the
residence of the warden and fellows. The right of sanctuary was granted to
the collegiate church, the sanctuary men bearing a cross on their hand. The
college has a chequered career. In the reign of Edward VI. it was dissolved
and its possessions seized. Under Mary it was re-established, together with
the chantries in the church. In the time of Elizabeth the college had
prolonged disputes with the town, the clergy were beaten by the populace,
and one of them stabbed, and the plate and ornaments stolen. In 1578 the
charter was renewed. A famous warden was Dr. Dee, who is well known as
a dealer in magical arts, and his successor, Murray, was not a very learned
divine; when preaching before James I. from the text, "I am not ashamed of
the Gospel of Christ," the monarch said the Gospel of Christ might well be
ashamed of him. In 1617 a gallery was erected in the church, which was
much dilapidated and the income impoverished. In the time of the Civil
War, Richard Heyrick was warden and sided with the Parliament, the
Independents setting up a meeting-house at the college. Manchester
underwent a siege during the war, and in 1649 the chapter-house and chest
were broken into by soldiers and the deeds carried off to London, where it
is thought that they perished in the great fire. The college was dissolved.
Heyrick was a veritable "Vicar of Bray," and embraced all the opinions in
turn of all the parties in that troublous period. The collegiate buildings were
in much decay during the Commonwealth period, when Humphrey
Chetham, one of the worthiest of benefactors, conceived the idea of
converting them into a school and library, and left a large sum of money for
this purpose. Chetham's Hospital is quite the most interesting building in
the city, which has retained few of its ancient edifices. Lancashire folk were
very faithful to the House of Stuart, and in both the rebellions of 1715 and
1745 Manchester took part. The young Pretender was proclaimed here King
James III., and the "Manchester Regiment" was formed to fight in the
prince's cause, and subsequently many lost their heads, some being stuck
upon the Exchange. The Diocese of Manchester was formed in 1847, and
has only had three bishops—James Prince Lee, Fraser, and the present
Bishop Moorhouse, formerly Bishop of Melbourne.
The Exterior
Manchester smoke soon causes stone-work to assume a venerable
appearance, and although much of the Cathedral is new, its first appearance

is one of an ancient edifice. Manchester is a modern see, founded in 1847,
but its church, as we have seen, dates back to a very respectable antiquity
and has many features of special interest. It stands out well amidst the
surrounding mass of modern buildings, of shops and railway stations, and
seems to raise the thoughts of all who behold its beauties above the buying
and selling in this busy mart of human enterprise.
The present generation of merchants of Manchester and the Cathedral
authorities have done much for their Cathedral, and striven to make it
worthy of its name and position as the Mother Church of the diocese, and
all the resources of modern art have been lavished on the building. We shall
see this better in the interior. The exterior also shows that very much has
been done in building and decoration. There is first the new West Porch,
which has just been finished with a statue of Queen Victoria in the niche
over the doorway. Just as the burghers of the Middle Ages loved to enrich
their churches with the triumphs of architectural art, so do the modern
merchants of Manchester strive to adorn their Cathedral with elaborate
handiwork. This new piece of work is richly carved. The style follows that
of the Cathedral and is mainly Perpendicular. There is rich panel work, an
open-work battlemented parapet, and a richly-crocketed pinnacle crowns a
turret on the south side. The door itself is a very handsome piece of work.
On each side of the main porch there are rooms. The Tower stands at the
west end above the porch. There is a good west window in the lowest stage
with an ogee label richly crocketed. Above is the clock. In former days this
clock was not noted for keeping correct time. An old gentleman was
observed each morning setting his watch by it. "Excuse me," said a
bystander, "that clock is five minutes late." "Sir," he replied, "I have set my
watch by that clock for forty years, and right or wrong, I shall go by it for
the rest of my life." At each corner of the tower there are three pinnacles.
The windows of the church, we observe, as we pass to the south, are all
Perpendicular, but there is a pleasing variety in the tracery. The South Porch
has a parvise, and was built by Mr. James Jardine, a distinguished citizen of
Manchester, in 1891. On this side there are several chapels—the Brown
Chapel, St. George's, St. Nicholas or Trafford Chapel, Jesus Chapel, the
chapter-house with its pyramidal roof, the Fraser Chapel, a new building
erected in memory of Bishop Fraser. The battlemented parapet on this side
of the church is modern. On the east side is a tiny Lady Chapel with a

Decorated east window, which has been reproduced from the earlier design.
Proceeding onwards we notice the Ely Chapel, the Derby or John the
Baptist's Chapel, the St. James's Chapel, and that dedicated to the Holy
Trinity. The North Porch is similar in character to that on the south, and was
erected in memory of James Craven in 1888.
The Interior
The interior of the Cathedral is full of interest. We enter by the south
porch, and we are at once struck by the extraordinary width of the church.
On each side of the nave there are two aisles. The outer aisles both on the
north and south sides were formerly separated from the rest of the church
by screens, and were occupied by chapels or chantries. By a somewhat
drastic restoration at the beginning of the nineteenth century these screens
were removed, and the outer aisles thrown open. This procedure rendered
the church more useful for congregational purposes, though we may regret
the disappearance of the historic chapels, a few piscinæ being the only
remains. We will commence our pilgrimage at the west end, and from this
point view the length of the church, which is shrouded in "a divine religious
light," perhaps a little too dim. Most of the windows are filled with modern
glass which is generally of beautiful design; but modern glass lacks that
transparency which ancient glass has. The sunlight streams through the old
glass, and it is quite possible, as at Fairford, to read the smallest print; while
modern glass effectually shuts out the light, and at the best too much
sunlight is not usually observable in this region of smoky chimneys and
polluted atmosphere. The piers of the nave are modern imitations of the
original Perpendicular ones, and are lofty and graceful. There is no
triforium, and the clerestory is somewhat contracted. The windows have
five lights of Perpendicular tracery, and most of them are filled with modern
glass. The roof is ancient, but has been much restored. In the distance we
see the handsome choir-screen with the organ over it. The spandrels of the
chancel arch are richly carved with shields in quatrefoils, and above is the
Tudor rose. Shields adorn the spandrels of the main arches. Above us is the
ceiling of the tower, which is a good example of fan-tracery. The modern
baptistry is on our right. Passing the south porch, erected in memory of Mr.
James Jardine, we see the extreme south aisle, formerly consisting of
chantries separated from the rest of the church by screens. In a recess east
of the porch was the Brown Chapel, and north of this St. George's Chantry

(to which saint, together with St. Mary and St. Denis, the church was
formerly dedicated) founded by W. Galley in 1508. At the dissolution of the
collegiate institution John Barlow and Edward Smyth, priests of this
chantry, received pensions of £6 and £4, 12s. 6d. respectively. Then comes
the Trafford or St. Nicholas Chantry, the priest of which received a pension
of £5. The Traffords of Trafford are an ancient Lancastrian family who have
held the manor, near Manchester, since the Conquest, and the name of
Edmund Trafford appears upon the list of parishioners given in the licence
to erect the collegiate church. A piscina shows the position of the altar of
this chantry. Next follows the Jesus Chapel which has a fine sixteenth-
century screen. It was founded by Richard Bexwick in 1506, being granted
to him "to enjoy its privileges by James Stanley, warden, and the fellows."
His daughter Isabel gave it to Francis Pendleton and Cicely his wife,
daughter of Isabel. In 1652 it was in a ruinous condition. It is now used as
the library and vestry. From this chapel another chapel founded by Ralph
Hulme in 1507 opened, but it has been destroyed. One of this family of
Hulme founded in 1691 the Hulmeian scholarships at Oxford. Next we see
the entrance to the chapter-house built by James Stanley (1485-1509),
which is good Perpendicular work. Under the arch, which has panelled
work in the soffit, there are two doors having four-centred arches, and
above panelling. The Fraser Chapel, erected in memory of Bishop Fraser of
Manchester (1870-1885), "a man of singular gifts both of nature and the
spirit," who won all hearts and whose memory will ever be venerated in the
Manchester Diocese, stands on the south at the extreme east end of this
aisle. It contains an admirable effigy of the bishop, who was buried in the
little Parish Church of Ufton Nervet, Berks, where he passed the early years
of his clerical life, and for which he had tender memories. This was a
college living to which he was presented by Oriel College. Turning to the
north we enter the retro-choir and the Lady Chapel, originally founded by
George West, youngest brother of Lord Delaware, who was warden of the
college in 1518-1535. The last historian of the Cathedral, Mr. Perkins,
considers that West reconstructed a more ancient building, and that the style
of the windows inserted in the eighteenth century in imitation of earlier
ones point to an earlier date than 1518. This chapel was once known as the
Byron Chapel, and then the Chetham Chapel, as it contains several
memorials of that family. There is a modern statue of Humphrey Chetham,
the founder of Chetham's Hospital (which we shall presently visit), who

was born in 1580, and by trade "acquired opulence, while his strict integrity,
his piety, his works of charity and benevolence secured him the respect and
esteem of those around him."[15] He founded the school, and clothed, fed
and instructed twenty-two boys, and, though never married, thus became a
father of the fatherless and destitute. At the base of his statue is seated a
figure of one of these youths. Near this statue is the tomb of Hugh Birley, a
member of a distinguished Manchester family and a representative of the
city in Parliament. An ancient organ, more than two centuries old, also is in
this aisle. On the north is the St. John the Baptist or Derby Chapel, formerly
called the Stanley Chapel, separated by an old screen from the aisle. The
Stanleys belong to the same family as the Earls of Derby. The office of
warden was held by two members of the Stanley family, both having the
Christian name of James. The second James Stanley became Bishop of Ely,
and by virtue of his will (he died 1515) this chapel and the Ely Chapel were
built. His tomb remains, of grey marble, with a small brass figure of the
bishop in his robes, with the inscription:—"Off yur charite pray for the soul
of James Stanley, sutyme Bushype of Ely and Warden of this College of
Manchestir, which decessed out of this transitore world the xxxi. daye of
March, the yer of our Lord MCCCCC. and XV., on whos soul and all
Christian souls Jhesu have mercy."
Westward of this Derby Chapel stands the Ducie Chapel, dedicated to St.
James, founded in 1507, and next comes the Radcliffe Chantry, dedicated to
the Holy Trinity, founded by W. Radcliffe in 1498. The Radcliffes of
Radcliffe, near Manchester, were an ancient race, and the ballad of "Fair
Ellen," the daughter of one member of this family, who was slain by a cruel
stepmother and her body cooked in a pie, is a gruesome legend of old
Lancashire.
The east end of the nave is used for services, and there is a fine modern
pulpit. Manchester Cathedral possesses some very fine carved woodwork,
of which the ancient rood-screen is a good example. The organ is placed
above it. On entering the Choir we notice the magnificently-carved stalls
with rich tabernacle work, and quaint misereres. This is the work of James
Stanley (1485-1509) afterwards Bishop of Ely, assisted by a Manchester
merchant named Beck. The bishop's throne is modern, and also the reredos.
The three Patron Saints-SS. Mary, George and Denys—appear in the
niches. In accounting for this triple dedication Randle Holme states that to

St. Mary was the earlier church dedicated, and that Thomas Delaware,
"being partly a Frenchman, and partly an Englishman," selected St.
Dionysee, ye Patron Saint of France, and St. George, the Patron Saint of
England, as patrons of his new Cathedral. This does not seem probable, and
it is more likely that the claim of Henry V. to the crown of France at the
time of the founding of the college suggested the additional dedication.
The windows have all modern glass. Formerly there was some curious
ancient glass; in the east window of the south aisle, Michael and his angels
fighting with the dragon; in the east window of the north aisle, SS.
Augustine and Ambrose chanting the Te Deum Laudamus; in the clerestory
were pictures of the Virgin; and then there were some curious
representations of the Trinity. These have all disappeared. Of the modern
ones, the most interesting, perhaps, is the Gordon window in the north aisle.
John Huntingdon, the builder of the present choir (1422-1459), lies
buried in it, and formerly his tomb was inscribed with the words: Domine,
dilexi decorem domus tuæ, and there was a brass with this inscription: Hic
jacet Johan Huntingdon Bacc in Decr. Prim. Magister sive custos istius
collegii qui de novo construxit istam cancellam, qui obiit ix. mo die xi. bris
MCCCCLVIII., cujus animæ proprietur Deus. We could not discover this
brass, but on each side of the Lady Chapel entrance is the rebus of the
founder, on one side a man hunting, on the other a tun, which
"hieroglyphical quiddity" makes Hunting-ton.

Crossing the street to the north is a profoundly interesting building,
known as the Chetham Library and Hospital, of which Manchester may be
justly proud. Its chequered history has already been partially told, and
carries us back to the days when the college of warden and fellows,
chaplain and choir-boys, lived here. Now, as we have seen, it is the school,
with a noble library attached, founded by that worthy merchant, Humphrey
Chetham. As a baron's hall, an ecclesiastical establishment, and a
remarkable school, the building presents many features of unique interest,
and the grand library is worthy of minute inspection.

Dimensions
Length of nave and choir 172 ft.
Width of nave and aisles 114 ft.
Length of choir and Lady Chapel 88 ft.
Height of roof 50 ft.
Height of tower 140 ft.
Area 18,000 sq. ft.
Principal Building Dates

(1422-1458)—Choir.
(1465-1509)—Nave rebuilt, stalls and canopies, chapter-house,
chantries of St. George, St. Nicholas, Jesus, Ducie and Radcliffe.
(1518-1535)—Lady Chapel, Ely Chapel.
Modern—Baptistry, north and south and west porches, Fraser Chapel,
throne, reredos and glass.

CARLISLE CATHEDRAL

T his northern city has had a noted history. It was a town of considerable
importance under the Romans, and on their departure was captured by
the furious Picts. It has been a city of sieges. Egfrid of Northumbria rebuilt
it in the seventh century, and granted it to St. Cuthbert, but the Danes
sacked and plundered it. William Rufus again rebuilt and fortified it, but
David, King of Scotland, captured the place, and died within its walls in
1153. Two more sieges it again endured, and was at length taken in 1217.
Here came Edward I. frequently on his marches to conquer the Scots, and
held Parliaments here, and near here he died. A goodly company of nobles
hastened here to do homage to his son. After the disaster of Bannockburn
Robert Bruce besieged Carlisle, and had his quarters in the Cathedral,
which is outside the city walls, but he failed to gain the city. The Bishops of
Carlisle were sometimes warlike men, and took the field against the dread
invaders from the north. The old castle has seen much of fighting, and it had
a notable prisoner in the person of ill-fated Mary Queen of Scots. A long
siege, lasting eight months, took place in the Civil War time, and in that
time terrible damage was done to the Cathedral, as we shall see. Again, in
the rebellion of 1745, "Bonnie Prince Charlie" captured the place, and there
was a great flourish of trumpets, or rather bagpipes, until the king's forces
came and put an end to the poor campaign. The Cathedral was again used as
military quarters, and the prisons of the castle tell the sad story of the fate of
the rebels.
The ecclesiastical history of Carlisle reflects its civil history. As we have
said, St. Cuthbert of Lindisfarne and his successors ruled over this city and
district for many years. When William II. restored the city and raised the
castle, one Walter, a noble and wealthy priest, who was left as governor by
the king, set to work to build a church and priory. But death stayed his
hand, and Henry I. completed the task, and established here a monastery of
Augustinian canons in 1121. In 1133, on the advice of Thurstan, Archbishop
of York, he established a see here, and Udelulf became the first bishop. The
Cathedral, begun by Walter and finished by Henry I., was of the usual
Norman character. Its plan was cruciform, and it had a nave with aisles,

transepts with a low tower at the crossing. The architect was Hugh, Bishop
(1218-1223), formerly Abbot of Beaulieu, Hants, who brought with him to
Carlisle the traditions of a splendid style of architecture. In the early part of
the thirteenth century the Norman choir was taken down, and rebuilt in the
Early English style. Two fires did much damage, especially the one that
raged in 1292. The work of rebuilding was at once commenced, and a more
imposing plan was projected, but a long time elapsed before it was
completely carried out. At length, about the middle of the fourteenth
century, the choir was completed in the Decorated style, a new triforium,
clerestory roof and east end being erected. The Late Decorated east
window, which was finished at this time, is one of the most beautiful in the
world. Fire again injured the Cathedral in 1392, especially the north
transept, which was restored by Bishop Strickland (1400-1419), who also
rebuilt the tower above the roof, and crowned it with a wooden spire. The
monastery was dissolved at the Reformation, and a Cathedral establishment
formed, consisting of a dean and canons. In Mary's reign Owen Oglethorpe
was made bishop, who, "being a good-natured man and pliable," according
to Fuller, crowned Queen Elizabeth, "which the rest of his order refused to
do." He was, however, deprived on account of "certain principles of
stubbornness instilled into him." The Civil War did terrible damage to the
Cathedral. During the siege Puritan soldiers were quartered in the sacred
building, "who did after their kind," and, moreover, after the capture of the
city, in order to repair the fortifications, they pulled down a great portion of
the nave, and used the stones for that purpose. In the rising of 1745 Charles
Edward, the Pretender, as we have said, occupied Carlisle, and installed in
the Cathedral, as bishop of the see, a Romanist named James Cappoch.
When the Duke of Cumberland arrived and recaptured the city, Cappoch
allowed himself to be taken prisoner, and was hanged. The church was
again used as a barracks, and many of the poor Jacobite prisoners were
confined here.
Since then there have been sundry restorations, some very deplorable,
one about the middle of the eighteenth century, which were happily effaced,
as far as possible, by the work of the middle of the nineteenth. But the hand
of the restorers has fallen rather heavily upon the beautiful work of the
choir, and destroyed much of its delicate beauty. The architects of 1850 had
not yet learned to respect the antiquity of the buildings which fell into their